Gouache for Beginners : Learn to Paint Bold and Beautiful Gouache Paintings

1. Hello & Welcome back!: I still remember the first time I painted with gouache, oh, my Gouache. It was indeed love at. First attempt. I really loved the creamy consistency and the opaque matt finish. If you have tried gouache at least once, I bet you're already a fan of this amazing medium. Hello everyone. My name is Zaneena Nabeel. I'm an artist and architect, a mother and an art instructor. I'm someone who's obsessed with night skies. I can spend endless hours watching the sky and the moon. Maybe it is because of this obsession Moon and night skies are my favorite subject to paint. as well. During the evenings. You will find me in my terrace watching, the sky and it's gorgeous colors. The sky is different every day and I try to incorporate those gorgeous colors in my paintings. So in short, this class is a combination of two of my favorite things, which is night skies and gouache. And I think it is a fantastic combination. This class is designed for an absolute beginner. So I will be explaining everything you need to know about Gouache, the paper as well as the brushes. Gouache is a very beginner friendly medium, and unlike watercolor, there is no complicated techniques that you need to master before you start with your painting. And not just that, you can start off with any basic quartzite and any thick paper. You don't need to worry at all if you're a beginner, I will teach you all the basic techniques that you need to know to master this medium. Even if you are using gouache for the first time today. By the end of this class, you will have a amazing set of moonlit landscapes. That's my guarantee. If you're ready to give it a try, join me right away. 2. Gouache - A quick overview: Gouache combines the exciting characteristics of watercolor and Eclipse pain. Most of the people call gouache is an opaque watercolor, which is more or less true. But gouache is beyond that. It has got some amazing characteristics which is absolutely unique and no other medium can match. I'm very sure you can get all the information about quash from cocoa. So I'm not gonna make it too long. I'll quickly explain what is gouache. Gouache is an opaque medium and it is made of natural or synthetic book men's water and come Arabic bars at somewhere between watercolor and ethics and has some of the amazing qualities of both mediums. Gouache is a water-based medium, which means you can add water to your paint. And you said similar to watercolor, gouache is opaque only in its original consistency. If you add a lot of water, you will lose the opacity of the paint and it will look transparent. Yeah, if you add a lot of water, your gouache will become more like watercolor and you can use it and Athena form. And if you choose to use it in its original consistency in a thick and creamy version, your painting look more like acrylics or oil. This way it is a very versatile medium and you can choose to use it like a cliques or watercolor. There are different kinds of gouache available in the market. There are tubes, there are graphs that content into the jar, and there are some jelly cups like the one you see on the screen. No matter in what form they come, they all can be reactivated by adding water, but then you won't be able to get that creamy consistency back. If you reactivate the paint to get the best results, it is recommended to work with freshly squeezed paint. The open character of gouache comes from the white pigment or a chalk that is added along with the colored pigment and the Pinto in order to make it less transparent. This is how it is different from watercolor. In watercolor, you have a pure pigment and just a binder. The main advantage of working with quash is that it dries up fairly quickly compared to acrylics or watercolor. You can finish off your painting quite quickly without any training time. When the painting dries, it has a very beautiful velvety matte finish, which is not too common with the other art mediums like acrylic or watercolor. And the grid property of gouache is that you can blend it just like acrylics. And because of its opaque character, you can use light colors on top of dark colors. In case if you're doing an illustration or a network where you want to add some lighter details on top of a darker background. You can easily do that with gouache. This means you can easily cover a few mistakes. And in case if you're not happy with your painting, you can apply a new layer and turn that painting into an entirely new one. That's a real quick overview of crash. But there's a lot more I want to talk about this amazing medium which I'm planning to do as we paint and as we learned techniques so that you have some real exercises in front of you. And this way you will be able to understand the media much better. 3. Why I love Gouache: All right, So we had a quick chat about gouache. Now I'll explain why I love quests so much and why you should try it to. The first and the foremost recent has to be the way how Gouache looks really allow the opaque matte finish of quash. It has a velvety look at this absolutely meaningful crashed. I don't think you can achieve this result by any other medium. Along with all these brilliant qualities, it is really hypernasal. So that's another recent allow gouache. Now coming to the second reason, it has to be the really quick trying time of gouache. I'm someone who don't get a lot of time during the day to paint. Drying time is a really important aspect for me. A really loud finishing my paintings in one sitting. If I'm working with watercolor, I'll have to wait for multiple times and between the layers to dry. For me, gouache is the best option. Another recent allow gouache is that there is no much complicated techniques like watercolor and there is absolutely no worries about water control and the wetness of your paper with watercolors. The business always worry about the right fitness of the paper. I always get messages from mainstream and seeing the people has dried. It is not string wet. I'm not able to blend the colors with gouache. You wouldn't have such problems. Even if you're a beginner, if you haven't tried gouache yet, you can still create a beautiful painting. You don't need to learn the techniques in advance. You will just learn them as you go. But that's not the case with watercolor. You will need to learn wet on wet, wet on dry and how to make your paper wet, how to add those clouds while you're on the selfed. Those things are quite confusing for the beginners. But with gouache, you don't need to worry at all. All of those things are gonna come naturally to you. You just need to know how to blend the colors that the only thing you need to know to create a beautiful painting. Another important reason why I love gouache paintings is that they don't reflect light. I really loud the matte finish off quash paintings. I love ClassFlow, but I'm not a fan of their closet finish. It is a main reason why I prefer gouache or acrylic, but yes, for bigger size paintings, quash is not recommended. You will always have to use acrylic or oil colors. And that's the same reason why artists who does a lot of illustration choose to work with gouache. This way we can easily digitize their artworks without losing its quality and use them on products like book cover or fabric. Another great reason why I love gouache is that unlike watercolor, you don't need an expensive artist grade paper with watercolor to get the best result, you have to go with an expensive artist grade watercolor paper. But gouache works on almost all kind of paper. It doesn't need to be an artist creed one. It can be textured or non-textual. It can be a 100% cotton or some loose paper. Not just that. If you're starting out, you don't need to get the best quality gouache painted the market. You can start with stored in Greek paint. You can create a wonderful results even with the cheapest gouache paints available in the market, The same goes for brushes, asphalt. You don't need to get any specific set of brushes. You can use any synthetic brushes, even if they don't have any plant. Gouache is a very beginner friendly medium where you don't need any specific set of brushes, are any specific kind of paper. The next reason why I love gouache is that they work on almost all kind of surface, not just paper. I used to work on wooden coaster, some ceramic tile, a piece of cardboard, anything that I can find in my studio. So whenever I'm bored or whenever I want to try something new, I paint on my book cover or a piece of wooden panel. You may not get yourselves like a clicker oil, but then it's nice to try them on different surfaces. Let's end the session with the best reason to try out gouache. Gouache, there is no room for mistake. Even if you make a mistake, you can easily cover that up with a darker shade or some other detail. Or we can simply add a new opaque layer on top of it and team sat into a different painting. So yeah, gouache is a very friendly medium and you can approach it without any field. You can add millions of detail and create a very complicated painting. I can just simply add some blocking of colors and create a very abstract painting. There are so many ways how you can approach gouache and there are endless reasons. Loved his brilliant medium. 4. Materails you'll need: Before we start with the techniques and class projects, let's take a look at the materials you will need for this class. I will start with gouache, the one I'm going to use for this class as from white light. This one comes in small jar. This particular set I'm using here has 16 colors, so it comes in little charts like this. I'm someone who allow working with the fresh paint. You all know, quash can be reactivated by spring some water. But I always loved to work with fresh paint. This one is in a jar, so I grab some paint using my brush and mix them in my palette. Whenever I'm using gouache tubes, I used a freshly squeezed the paint. I don't like to use that tried paint. I have always felt that the pain loses its opacity to a certain extent. If have reactivated it, you can use the reactivated paint for detailing as well as layering. But for the background layer, especially if you want an opaque look for your painting, it is better to go with freshly squeezed paint. Using gouache in tubes, I would recommend to use freshly squeezed paint. Always remember not to squeeze out a lot of paint onto your palette. If you need extra, you can always squeeze in between. This way you can avoid pain trying on your palate. Please don't worry about the brand of gouache that you're using. You can use any brand. Even a student grade gouache paint will absolutely work for this class. If you don't have gouache, you can also use poster colors that will also work. Other than this gouache that comes in a jar and in a tube, have got another kind of gouache. I'll just show you how this looks. This one is from a brand called hemi becomes as Chile cups. So this one doesn't have individual lid like the other ones which comes into the char. So it is very important to close the lid properly after every use. Otherwise, it will try and crack up in that little jar and it will be really difficult to take out the paint, no matter how gouache is, whether it's comes in a jar or an angelic up on a tube, it is always better to use in its original consistency. Don't leave it for trying. That is something that I recommend for the kind of landscape that I'm teaching in this class. You can see how thick and creamy this paint is. And it's very comfortable to work with the paint which has a creamy consistency competitor dry paint, picking the color and then applying that onto the paper and blending all of them becomes really easy if you're working with a thick and creamy consistency. The hemoglobin, it has a lot more variety of color than the other one, and I use it quite often to maintain that thick and creamy consistency. I used to spray some water on it after every use. This way I keep it moist and it won't lose that creamy consistency. You can use the same method to reactivate the paint that has tried on your palate. It is just that you won't be able to gain back that creamy consistency, but you still can't use it. So a small spray bottle is a wonderful tool if you're working with Crash, there's one way to think I want to talk about before we cover the next material. If you closely notice both the guar sets here, you can see there are two whites and both the sets with gouache to make the color lighter instead of water will be using white so that the painting wouldn't lose its opacity. That means you will inquire about a while to finish your painting Other than any other color. If you use water instead of white, you will lose the opacity of your painting and it will end up looking like watercolor. If you want that opaque characteristics of gouache instead of water, you should always be using white to make the color lighter. This also means the first color you finish from your course, it will be white. And that also means you should be getting a bigger tube or a bigger charge of white quash. I'm very sure after you finish this class, you will have plenty of ideas to create new quash paintings. So it is better to get a bigger white gouache at the holiest. So that's all about the gouache paint. You can use any brand, as I said earlier. And I will be explaining about the colors you will need while we are doing the paintings. Now let's take a look at the brushes you will need. For gouache, I mainly recommend using synthetic pressures. Competitor natural haired brushes, since decayed brushes hold a bit less water. And this will allow you to have a better control of the maintain. For this entire class, I'll be using brushes which asks and Medicare. I'll be using a brush with a long handle, which is mainly designed for acrylic as well as oil. You can see both the British here. This one has a long hand to the other one has a shorthand term. But both of them works the same way. So you can go with a brush features for short handle or a long hand tool. We just need a medium to bigger size flat brush. The handle doesn't really matter and also the brand. Okay, now let me show you the sizes of brushes that I'm going to use. So I'll be using four brushes, mainly, one flat brush and one round brush and two miniature brushes, flat brushes to apply the paint onto the background, you can use any of the flat brush. You have caught this 16 number six, and it has got synthetic hair. Next I have a size number one, Trump fresh. These ones are mainly designed for a click, so the size may vary. You can use any of your medium-sized brush and round brush. I'll be using this round brush to apply paint on our larger area. Other than these two, you will need a miniature brush or a detailing brush. These are the two detailing brushes I'll be using. As you could see here. The first one has a smaller round brush and the next one has a really nice pointed tip. The first one is to apply paint on a smaller area as well as for smaller detailing. The one which has a really nice pointed tip. I'll be using this one for fine details. Like some really thin and delicate lines. This one has three by 0. It's a brush use for miniature paintings. And this one is size number one. The full brushes I'm using for this class is from an Indian brand called brushstroke. At the moment, these brushes are only available in India, but you don't need to worry about the plant. You can use any of the synthetic brushes you have caught. Just go with something in similar size. Okay, in short, you will need a medium-sized flat brush and around fresh then one of two smallest size brush which has a pointed tip. Now we'll talk about the paper you will need for your projects. Usually when I teach watercolor classes, I start the class by explaining about the importance of 100% cotton watercolor paper. But for gouache, you can use any kind of paper. It doesn't need to be a 100% cotton or an artist grade paper. The one I'm going to use today is an acrylic paper. This one is a cold press paper made of cellulose pulp and it's not a cotton watercolor paper. So technically quash works on almost all kind of paper. It can be made of cellulose or it can be a 100% cotton. It can be textured or non textured. The only thing I recommend is going with a paper which has some thickness so that your paper won't buckle when you're applying multiple layers of opaque paint. Personally, for my gouache paintings, I allowed to work with paper which has less texture. You can see the kind of texture paper has got a very light texture. I have always felt that is much easier to blend the colors on a non textured paper compatible textured paper. But there are artists who allowed to work on Texture2D people, even for their quash paintings. It's a personal choice. You can go with a textured paper or a non textured paper. The size of the painting that I have to send for today's class is quite small. It is quiet and it is often by ten centimeter. You can go with any sites that you prefer. You can make it as big as you want. And also you can go with a different proportion. Now in case if you want to try out the paintings and a sketchbook, that's also absolutely okay. This one is one of my sketchbook. I painted both the sides because unlike watercolor, the side of the paper doesn't really matter with gouache. You can use both the sides. So just in a similar way, if you want to try your quash paintings on a sketchbook, you can do that. Decide on whether you want it on a paper or sketchbook and choose the size. Will be doing five paintings in this class so you can decide on the size and keep your paper ready. The next thing you will need as a masking tape or any other tape to master for sites. I'm going to use this clear tape. This one is from the brand trim. And if I remember right, I got it for some packing purpose, not for painting purpose. One day I actually tried this clear tape for my quash painting and it worked perfectly ever since I'm using this clear tape from my quash painting. This is only in case if you want to clean border like this. If you would like to have that irregular natural bottle, you don't need to apply your masking tape. Unlike watercolor, you'll paint wouldn't float. The paint will stay where they have laid him. So it is not really necessary to use a masking tape. This is only in case if you would like to have a clean border for your paintings. Otherwise it is not at all necessary. And also even your normal masking tape will also work. It doesn't need to be a clear T. Cold water would tape that you have caught. It can be the same one that you use for your watercolor paintings. That's all about the masking tape. The next thing you will need a jar of water. I would recommend going with a bigger jar so that you don't need to run in-between to change the water. And unlike watercolor, you don't need two jars of water at the same time. If you feel like your water is getting dirty, just get up from your seat and change your water. If water's really dirty, the colors won't look fresh and vibrant. It will turn slightly muddy. So it is really important to change the water when you feel like it has getting 30. Next, you will need a mixing palette. I'll be using this transparent acrylic palette. This one is quite huge and it has plenty of space to mix the color. I normally crab the paint using a brush from this little jar and I mix them on my palette. I, if I'm using a quartz tube, I just squeeze out the paint directly onto the palette. Feel free to use any kind of palette that you are caught. It can be the same one you use for your watercolor painting. It definitely to have any well or any divisions because the painters and fluid and you won't be adding a lot of water. Even a flat plate or any flat surface will really work for your quash painting. Now other than this, you will need a pencil and an eraser to add some sketches and erase them in case if you make a mistake, then you will need a paper towel or paper towel or a cotton cloth is a very important tool when you are doing a gouache painting. Because we won't be using a lot of water for quash painting to rating the opacity. So in case if your paint has a lot of water, you will need to tap it on a paper towel or a cotton cloth. I normally use a cotton cloth. I have a lot of baby clothes like this. I use them for my painting. Resist that I don't show them in the painting process as it can be quite ugly on the screen. Off screen, I use any of the old cotton cloth instead of a paper towel. We all are responsible human beings, so we need to do our part to save them. It's a very small step, but together we can make a huge impact. Alright, so that's some rice, all the materials you will need for this class. Go grab them quickly and join me the next section. 5. Techniques & Tricks: Before we started with a godless class protects, let's take a look at some of the techniques. This section, we'll give you a better idea about gouache it by using it for the first time. I noticed that by the time you finish that technique section, you will have another four beautiful gouache paintings. Alright, so I have a full sheet of people here. This one is an A4 size, is the same people that I'm going to use for the painting phospho, I mean the class project successful. I'm going to pick out some paint onto my palette, this finance violet light. I'm directly dipping the brush in this little jar and I'm taking out some paint onto my palette. The paint that have taken hear a sentence, original consistency. I haven't added any water or any white paint into it. This is directly from the chart. You can see how creamy and thick gouache paint is opaque only in its original consistency. If you add a lot of water, it will be transparent and it will lose its opacity. The pain you see here as a dried out of the jar. First I'll splatter the paint and its original consistency. Then I will keep on adding some white paint into it to make it lighter. That's the paint which is right out of the jar. And you can see it's a bright color. And it is opaque gas full. Now I'm going to squeeze out some white paint and I will mix that with this violet. Gouache doesn't work like watercolor to make the color lighter, you shouldn't be adding water. You should always be using white gouache. And that is the reason why you should be having another white paint with you. The first color you finish from your class, that will be right. Now you can see the color. It is a lot lighter than the first one being described dry, so I'm going to dip my brush in a little water. This is something which is common with quash. Whenever you feel like your paint to dry, you can dip your brush in water. You can see here I have only the tip of my brush. I haven't read the entire brush. You shouldn't be adding a lot of water. Just one or two drops or just a gentle dip. This would mean that they most motor and we'll be able to apply the paint on the paper much easily. Now I'm going to add some more white and I will make the color more lighter. I just wanted to show you a different tonal values of the same color. When you add more right into it, you can see how the color is getting lighter and it is still opaque. It is not transparent. Now I'm adding some white and making the color lighter. Again. Don't be afraid to add a drop of water whenever you feel like your paint is still try. But just like I said earlier, it should be a very gentle tip. Don't dip your anterior brush. See that? It is still opaque, even though it is much lighter. I will make few more status by adding move right into it. I have added seven different tonal values or violet by altering the amount of white. You can see here all of them are looking opaque even though it is lighter. This is just because we haven't added much of water into it. We have just added white to make the color lighter. Now, I'm going to repeat the same exercise by adding water instead of white. First, I will start with the paint and original consistently. Then I will keep on adding some water and I will make the color lighter. That's as fast and it's also consistency. Now I'm going to keep on adding water and I will show you how the swatches looks like. All right, so we can see the difference factors here. We'll take God by altering the amount of water. They after. Beautiful but a lot of transparent than the above swatches. They don't really looked like watercolor. It has more of a chalky feel to it. But there are artists who prefer that chalky look for their paintings and they still use it for their illustrations. It's more of a personal choice. You can still use them like watercolor and use them for your paintings. But to me, I personally prefer the opaque and velvety matte finish off gouache, and I love to use it in its original consistency. Now let's try out some techniques and some exercises before we start with our class projects so that you have a better idea to efforts to meet him. I have already divided people into four sections. I'm going to take out some more violet for this anterior section. The major color that I'm going to use this violet. First I'm gonna start with a solid wash technique or the flat wash technique, which means you are going to apply a flat wash or the same color onto an entire section or onto your entire paper. Depending on the size of your people, you can create more paint in advance. And whenever you feel like your paint is too dry, don't be afraid to add a drop of water. I have added some white with violet. I'm going to add that onto the first section. Just a flat wash on the same color. There is nothing complicated here. I'm just running my pressure from left to right and I'm adding that same color onto the anterior section. You might have seen artists creating illustrations and patterns on a solid background. This is a technique they use to create that background. I'm almost done adding paint onto that anterior division. You can see how gorgeous that colors looking. It has a really chunky Mattie, velvety finish. And this is what I love about quash. I'm really obsessed with a finish off gouache. It is not like watercolor or acrylic. That velvety matte finishes something really unique. And the brush I'm using curious size number ten. This one is again an acrylic brush. The size of your brush, and this means likely differ if you're using watercolor brush, feisty and might look really huge, choose a brush which is according to the size of your paper. That's a solid bars are the flat wash technique. We have simply applied a single color onto an integrity. Now I'm going to show you the blending technique that I'm going to squeeze out some light onto my palette. I'll be using violet and we'll check out how to create a colleges blend of these two colors. Blending is one of the most commonly used technique in gouache. If you know how to blend two or more colors, that's it. You have all the matter, the medium. First, let's try out how you can blend two colors then gradually will turn that into three colors. I'm starting with violet, the same color I used for the solid wash. Applying that on the top of my paper. I'm going to add some more violet then or the bottom, I will introduce white. Our intention is to create a clean blend or violet and white. I have added enough for violet. Now. I'm going to take out some white and I'm going to mix that with violet to create a medium tone. And I'm adding that right next to that bright violet. You can see here the paint is really dry. So I'm going to dip my brush knowledge of water, just a gentle death. I'm not going to dip the entire brush. You can see I haven't just my entire brush. It is a very gentle dip. Now, I'm going to mix that drop of water with the paint to make it slightly loose so that I can easily apply the paint on the paper. Now it is a lot smarter than earlier. And I'm able to apply the paint much easily. Blending two or more colors are really easy if you approach it in the right way. You should be using a flat brush, preferably bigger brush. When you use a larger brush, you'll be able to apply the paint on a larger area in a single brushstroke. Applied violet almost on half of the people. Now, I'm going to switch to a lighter tone, a violet. The paint is still dry, so I'm adding a few drops of water and I'm making it slightly loose so that I can apply the paint quite easily. Now on the remaining area, I'm going to add this lighter tone or violet. Half of the section has a darker tonal violet and over the bottom we have a lighter tone. Now we need to blend this together and create a seamless blend of these two colors. Now, I'm going to Varsha the paint from my brush. Now target brush on a paper towel and make it slightly red. There shouldn't be a lot of water on your brush. Know, keep running your brush in a horizontal way from left to right where those two colors are meeting. You can see how easily we created a beautiful blend here. You just need to run a slightly wet brush, just damp brush. It shouldn't be too wet on that area where the two colors are meeting. The major thing you need to keep in mind is that you should be running your brush only in horizontal ways. And also use a bigger flat brush. Don't use a small flat brush. If you use a small flat brush, you will have to learn your brush multiple times. It would be really difficult to get a clean blend. The first one was a flat wash or a solid wash. The second one was a gradient wash. We used violet and white and we created a gradient wash of violet. And we tried out the blending technique that was just two colors. Now, I'm gonna do the same technique using three colors. Along with violet and white. I'll be introducing a bit of black asphalt. The technique that we're using to blend the colors is going to be the same. It is just that we have three colors this time. I'm going to start with black on the top of my sky, I will have a black sheet. Then I will switch to violet. And towards the bottom I will add some white and make the sky lighter. I'm going to take out some black. I'm dipping my brush directly in the jar and I'm taking out some black. It's an opaque paint. Now I'm going to apply that on the top of my paper just a little. The prominent color is still going to be violet. I'm going to add a little of black on the top. Now I'm going to wash all the paint from my brush. I'm going to switch to violet. I'm going to go with an opaque brush, no, violet. Picking some paint from the jar. Taking a very creamy opaque version of wavelet, adding that right next to black. I'm running my brush in a horizontal way. You can see the way I'm adding the paint. That's an opaque version of wallet. Where these two colors are meeting. I'm running my brush in a horizontal way and I'm blending them. And blending them right away as the colors are still wet. So it is quite easy to blend the color right now. If I come back after I add the lighter color, it might be slightly difficult. Now, I'm again going to watch with the paint from my brush. And I'm going back with a clean version of violet. Right now my brush has some black. I'm going to dab my brush on a paper towel and I'm going to remove the excess water content. I'm going back with wireless. And I'm adding that right? Or here. You can see it's a beautiful bright toilet. It doesn't have any black. Now we can add the lighter tone for that. I'm gonna get some white. I think they already have some light while it over there, so I'm going to pick that. Maybe that's not enough. I might need some more white. It's going to be similar like the one we did earlier where we use just violet and white. This time we have another color on the top. That's only difference. We first blended while it in black. Now we're going to blend from y tend to Pilate that we have a lighter tone, a valid at the bottom. For this one, I'm blending the colors as two separate segments. First, I blended black and violet. Now I'm blending that brighter wallet and lightweight, but the technique is the same. Users need to keep on running from left to right until you get a clean plant. It will paint this to dry. You can add a drop of water and repeat the same until you get a claim blend. I blended the colors has two different segments just because I didn't want the black to get into the violet. I wanted a really fresh and vibrant color at the bottom. Otherwise, you can just blend them together. You can just start from the top and stop at the bottom, or you can start from the bottom and stop at the top. Either way, you just need to keep on running your brush in a horizontal way. That's the only thing you need to keep in mind and you should be using a bake-off flat brush. Now I'm again going back with some violet. We have one more section here. For this one, I'm going to try something little different. The top, I will have a price on a wallet. Then over the middle, I'll be adding some white and I will make the color lighter or whatever. Then towards the bottom, I will add a bright tone of red. So here I'm making the color lighter at the center. I will have pretty color on the top and the bottom. That's something different from the other blending with it so far. That's violet. We have a really bright and opaque tone, or violet at the top of the center, we have a slightly lighter tone. Now, I'm going to grab some red. And red is a gorgeous color combinations. This one is upright rate. You can use any rate or any other color that you prefer. You could use orange. So I have cleaned my brush properly. Now, I'm going to grab some red. Just a little bit. You can see the color. It's a cold just right. Now I'm going to apply that at the bottom. See it's a beautiful color. We have a really bright to know, violet on the top and pride to know Fred at the bottom. Now, I'm going to grab some white and I'm going to make the color lighter at the center. Earlier for both the blending we tried, we had a darker tone at the top and we had a lighter tone at the bottom. This time we are making the color lighter at the center and having brighter tones both at the top and the bottom. I have played light tone at the center because I mix that color with threat. It is looking more like a lighter. Clean your brush thoroughly, and switch back to some white and try to make it a clean blend at the center. Taking some more wallet and make it a clean blend over here. It's again the same technique you need to keep on running your brush in a horizontal way from left to right. And try to get a clean blend and go with a slightly loose paint so that you can easily blend the colors. Which doesn't mean you should be adding a lot of water. Just a teeny bit of water-soluble need to make your paint loose and smooth. If you're using gouache for the first time, it might take few attempts to get the blending guide. But trust me, it is really easy. You should be using a bigger flat brush. Don't use a smaller flat brush. Now if in case you are not getting the Blending right, What again, towards wash off all the paint from your brush and go the slightly wet brush and just keep running your version horizontal way, where the two colors are meeting until you get a green blend. This is a really easy and quick trick. Using a slightly wet brush, you'll be able to blend the colors much easily than you have imagined. Just give it a try. I'm sure you'll be surprised by the results. But don't have your entire brushing water. Just dip the tip of your brush and it shouldn't be too wet. It should be just damp. Okay, so we started off with the flat or the solid wash technique. Then for the second one we use two colors and we've created a gradient wash. Then for the third one, we use three colors. On the top of the applied black and over the middle we use toilet. Then towards the bottom we used a light pilot. Then on the last one we used while attempt rate, and we made the top and the bottom brighter. And with the center we introduced a lighter tone. So that is all about the blending technique. I hope that is clear. I hope you guys are clear. Now let's try the layering technique. Layering technique can be done in multiple ways. You might have seen artists using the layering technique to create patterns as well as some illustrations. That is one way of doing it. But in this class we are doing some landscape paintings. We're not gonna do any patterns or illustrations. So we're going to use the layering technique to add the details on our painting. So that is what we are trying Next, I have squeezed out a bit of white onto my palette. Now using the layering technique, I'm going to add a white move onto the first solid wash we have applied. So depending on the kind of painting you're doing, layering technique can be used in multiple ways. Heel via using it to add a moon. Layering technique simply means layer upon layer. One of the most interesting character of gouache is the ability to paint layer on top of layer. And that is what simply means by layering technique. Layering technique is not just used for adding some patterns or details. It can also be used when you make a mistake. You can simply apply a new layer, change that into something different. That is also the hearing technique. So just imagine you accidentally dropping some paint on a background that you have painted. Imagine if I drop some paint on this particular section, I will be adding another layer on top of it and cover up the background layer that can also be called as layering. Alright, so using the layering technique, I have added a small moon there. This one is a very solid and crisp shape. Now on the second one, let's try a glowing moon. For that you need some clean water. I just changed my water into a clean one. And I have my oppression some water. We need to go with a slightly watery version of white paint. And we're going to use that to create the base layer. Dip your brush in some clean water, Antonio white into a slightly watching efficiency. Then add a white circle, similar to the one we added about. But for that one we used an opaque paint. For this one we are using a slightly watery paint. After that, clean your brush thoroughly and taboo brush on a paper towel and go with a slightly wet brush. Now run your brush in a circular way and try to make the outer bottom blurry. For the previous one, we have a nice, crisp and solid border. But this one, we want a blurry bottom to make it look like the Moon is glowing, is actually pretty simple. You need to add a moon using a slightly watery white, then washed the paint from your brush and go with a slightly wet brush. If you feel like your brush is too wet, you can dab the brush on a paper towel, then keep running a business. So Cloud wave until you get a blurry Bordeaux, going with one more layer to make it slightly brighter. Right now it is looking really tell. I'm grabbing some more white paint. Adding that right at the same time. Now I'm running my brush in a circular way to make it blurry. I just wanted to make that blurry whites or social IP brighter. The color I had earlier was really tough. I thought of making a slightly brighter. It's the same step I'm losing. I just added one more layer of white. I cleaned my brush. Now I'm running my business. So cloud way to make the outer bottom blurring. Okay, So that is the base layer. If you're still not happy with the color, you can go with one more layer, entropy, the same exercise. We just wanted to make that outer border blurry. Now I'm going with an opaque white and adding a small moon Triton, the center of that blurry white circle. Using a detailing brush, you should be using any British as a pointed tip. Otherwise you won't be able to add a small circle. This time, I'm not using a watery white, I'm using an opaque white. And I'm adding a white circle right at the center of that blurring fight circle we added earlier. This one should be slightly smaller than the background layer. I have added a white circle there. Now, again, running my business, so colorway and I'm making the outer border blurry. I don't want a sharp border for this circle. I'm washing off the paint from my trench. David Bushnell, people tall. Let's repeat the same exercise. We're going to make the outer border blurry. Go with a slightly wet brush and keep turning your personal so-called away until you get a blurry bottom. You can already see the difference between the first molar and the second one. The second one is looking aspect is glowing. If you go with a more darker tone for the background, it will look really beautiful. Right now, the color we used for the background isn't that torque? And that is the reason why you're not able to keep the real feel of it. But in case if you use a dark blue or dark while at or black, you'll be able to fill that blue off much better. Alright, So under now we tried the solid wash technique and the blending technique. We also tried how to add a growing mode as well as a solid mode. Next we are going to try adding some clouds. I'm going to try adding some clouds on the third and the fourth one. The third one where we have used black for the top of the sky. I'm going to add some black clouds, something like a grayish. Wow, it's not really black. So let's try that first. I'm adding food drops of water, and I'm making the black into a slightly watery consistency. I'm not using an opaque version of plaque for adding the clouds. I generally prefer going with a slightly watery paint. I don't use an opaque paint to add the clouds. That's my way of doing it. So I have added a drop of water into black and I have done that into a slightly watery consistency. But I don't want to use a very watery paint, so I'm dabbing my brush on a people TO well, now using this slightly wet paint, I'm going to add some clouds on the third sky. I'm just adding some random shapes and some random lines on the sky. I'm not adding any round fluffy clouds. This is the way a highlight it and I think this is the way I get it right. I sometimes don't get the fluffy round clouds, right? Adding these linear clouds are much easy for me. So I always stick to these linear Cloud. You can go with any shape that you prefer. Whenever I'm adding the clouds, I don't use an open question of paint. I just add two drops of water to be two will be the color that I'm using. Then I dab my brush on a paper towel and make it slightly dry. Then I add my clouds. It is mostly a dry brush, doesn't have a lot of paint and the paint is not opaque and the paint is not too watery. I just make the color lighter by adding some water. I guess that made some sense. I think I've explained the environment time. If that didn't make any sense, I don't use an opaque version of paint to add the clouds. For me. I never get to try it whenever I use an opaque portion of paint. I always had some water into the color that I'm using and I turned that into a light tone. But I didn't use the watery paint. Once I have created that watery paint, I used to dab my brush on a paper towel to remove the excess amount of water. And I've always go with the slightly dry paint to add the clouds. And that is what you are seeing right here. Maybe you can try adding that on a scrap piece of paper first and then add Antonio main painting. This is a really easy way. I think you should definitely try it. If you have not tried this technique yet. I will add some more clouds and picking some paint that looks too watery. I'm dabbing my brush on a paper towel and I'm adding some linear clouds in our class projects will be using this technique to add the clouds. So just give it a try so that you'll be comfortable while you're doing the class projects. Okay, so that is it. We have used a black to add the clouds. Now for the next section, I'm going to use red to add the clouds. So let's give that a try. I have cleaned my brush properly and I'm going to add some drain. I'm going to use the same technique that I used above. But this time I'm using red instead of black. I just added few drops of water. And I'm using a loose version of it is not opaque. Again, adding some linear clouds. You can add your Clouds however you want to. If you don't like this linear clouds, you can go with rounded, Fluffy shapes. To be honest, I'm still learning how to do those round fluffy clouds with gouache. With a click, I give them right? But with gouache, it is really a mess. These linear clouds are much easier to add than rounded fluffy clouds. In case you're starting out, start with linear clouds as they're quite easy. Okay? So keep in mind to go with a slightly loose version of the paint. Once you have created that loose version, dab your brush on people told him that the paint is not too watery. Then you can add some random shapes like this with a slightly dry brush. It shouldn't be too dry and it shouldn't be too wet as well. I think when you try it, you will get that right consistency and you will get the hang of it. It is just the matter of trying give it a try and try to get the hang of it before we start with the class projects. So those are the four different blends we tried. We try the flat wash technique. Then we tried blending two colors. Then we try blending three colors. Then we learned how to add the moon, as well as how to add the clouds. And that is all about the technique section. Now before we start with the class predicts, I'm going to quickly turn these four sections into individual paintings by adding some sellout. I'm just using a round brush and some black quash to do that. These are just some exercises to understand the medium and also to learn the techniques before we start with our class projects. So it is not really necessary to add these clouds. I would really allow if you could try the exercises, even if you don't want to add this allowed, just try the techniques. Are often Gacy would like to have some extra paintings. By the time we finish the class, you can add some sell-out, but it doesn't need to be the same ones I'm adding here. It will allow to add some palm trees or mountains are some street lamps, you could do that. Okay, So let me quickly finish adding this allows, and I can't wait to show you these paintings. All right, so that's done. I just added some random sell outs onto all those four sections. I decided to board working to my mind. Now, I'm adding a chrysanthemum for the last row sky. This one is done in a similar way. I will add one or Washer asked for. I cannot tell you how much I allow the last guy. And also the third one. I think all of them are individually beautiful. It has its own beauty. Here is the technique section, and here's what we tried. I hope you guys are quiet, confident with the techniques. Now keeping all these exercises they did in mind, let's start with wool first-class project. 6. Class Projects: So before we start with the class projects, let me quickly show you how are we going to incorporate these exercises in the class projects? We try to flat brush technique, we try different gradients and we learned how to add the clouds and also how to add the moon in different ways. The first predict will be using SolidWorks or the flat wash technique. Then we'll use the layering technique to add the remaining details. So that's the first project. For the second painting, we'll be using the blending technique. We'll be using two colors for the sky, which is black and Prussian blue. Then for the rest of the details, we'll be using the layering technique, and we'll also add that glowing moon for this painting. The third one is going to be a black and white painting. Again, we'll be using the blending technique as well as the leaving technique. We'll also be adding some clouds in the sky using the technique we tried. The last two paintings from the series is absolutely coaches. Here is the fourth one. This one as well. It is a combination of the blending technique as well isolating technique. And we'll be adding some lighter clouds in the sky. And here's the last one which is my most favorite from the whole series. This one is again a combination of blending and layering technique. I really love this color combination and the weight has turned out. So what this painting, you will also learn to create that card you're seeing. Those are the five paintings we are going to do in today's class. To create these gorgeous paintings, all you need to know as the blending technique. The rest is going to be really easy. If you haven't tried to techniques section yet to give it a try and try the blending technique so that you will have a beautiful experience exploring this brilliant medium. 7. Painting 1: All right, so let's begin with the first painting. Here's the warm we're starting with. It's a very easy get a beautiful painting. You'll just need three colors for this painting, for the sky, I will be using ultramarine blue. Then as he could see here, for the moon, I will be using white and for the landscape I'll be using black, will be using the solid wash technique for this painting. And then we'll be using the layering technique to add the remaining details. You don't really need to use blue for your painting. You can use any other color of your choice. It could be purple or violet or an orange sky. It's totally up to you just follow the technique and the process. The rest is totally ties. Now before we begin, there is one thing that I want to talk about, which is the electric line. For this one, I used a brush to add those lines, but I did the sample painting earlier that I didn't add that pillar to post. I simply added two lines like this. To be honest, I'm not very confident with adding those lines, but then I just tried it and it came out perfect. But if you're not too confident, you can just use a pen instead off your brush, or you can completely skip that. Or you can just add some shorter line somewhere below the moon, just like I showed in the sample painting. Okay, so just feel free to add them however you want to. It's just an additional elements. So if you don't want to add that electric post analytic lines, that's totally okay. Alright, so without wasting any more time, Let's begin with our first painting. I have my paper already hear. Both sides of this paper has a slight texture. I really don't put a lot of attention at the texture. Sometimes I'd go with the front side and sometimes I use the other side of the paper, and sometimes I paint on both sides. So it works perfectly. Typically gouache books on almost all kind of paper. So the texture and the slide that you're seeing this actually matter. Now I'm going to tape down my paper onto my table. As I mentioned, an art supply section. I'm going to use this clear tape. You can use any of the normal masking tape to use. Unlike watercolor, they're not applying a quarter water and they're not using a watery paint. So the chances of the paint seeping into the bottle is very less. So you can use any kind of masking tape that you use normally. Let me quickly taped onto paper. It's not really necessary to tape down your paper. It is only if you want that clean bottom, you can apply a masking tape on to all the four sides. Otherwise, you can paint on the paper directly. You can have an irregular border. Because gouache is not like watercolor. It stays where we have applied it. It doesn't float on the paper. It isn't really necessary to apply masking tape. Only if you want to clean border, you can apply your masking tape. Also, you can decide on the thickness of your bottle. I'm going with a very thin border. You can see that here. It didn't apply masking tape onto the other two sides. Okay, so the paper is ready. I have a clean palette and the chair of water for the first painting we are going with a flat even wash for the sky. And to apply that, I'll be using a flat brush. This one's a size number six flat brush. Now let's choose the color for the sky. It's gonna be an even wash and even flat wash. And the color that I have chosen for the first painting is ultramarine blue. White with ultramarine blue to make it really opaque. And we'll be applying that onto the entire paper. So here's ultramarine blue and titanium white. These are the two colors I'll be using for the sky. If you don't want to go with a blue sky, it's absolutely up to you. You can go with violet or purple or any other color of your child, then obviously black to add the details. Those are the three colors you will need for the first painting. Also, instead of ultramarine blue, if you want to use Prussian blue or any other blue, that is also totally okay. I'm going to grab a bit of ultramarine blue onto my palette. It's a gorgeous color. I love that mystery is look for this blue. I really love using this for my skies. That's going to be the main color. Then to make it really opaque, as I said earlier, I'll be adding an Alawite. This is why does exhibit a mess? I have the bad habit of picking paint directly from the jar and mixing it there. So that is the reason why it is looking really messy way. I'll just use a bird and hopefully it doesn't turn the paint into a mighty one. Take enough of paint in advance depending on the size of your paper, so that you don't need to go around and mix and create the same color again. That is ultramarine blue. Now into this, I'm going to add a bit of white. It's actually a fight Antony that just on the top I have some messy pain. Usually I use it for blue. I'm the gyro white, which I have kept clean. This one is mostly for blues. Alright? Now if your paint is too thick, you can add a drop of water. Just one or two drops. Don't add a lot of water. That will kill the opacity of your paint. The paint is ready. I think this will be enough for this paper. Now, I'm going to apply this gorgeous blue onto the anterior paper. Looks like the paint is quite thick, so I'm adding a drop of water. Maybe a bit more. Now it seemed smooth. I'm just turning my brush from left to right in a horizontal way. I'm simply filling up the entire people. For this painting, we are going with a flat, solid wash. We won't be adding any other color onto the sky. For the next painting, we'll introduce a second color and we learn how to blend two colors. The first painting is based on a solid wash exercise. Gradually we learn to add more colors onto the sky. Also, we learned how to add clouds. I think I'm running out of paint. Maybe I will add a drop of water and somehow I will make it till the end. Looks like that's not going to work. So I need to take out some more paint. I'm trying to create the same color as we did earlier. This is the reason why I told you to create enough paint in advance. I really don't want to make it look different at the bottom. Hopefully the color will look the same. I think I'd got the same mixture. Okay, so I'm going to fill up the color onto the remaining media. Cool, so that's done. So that's why the sky is love EDR missing here. Alright, so that's done. Now we have to wait for this to dry. And after that we'll introduce some more. And then we'll add some landscape on either side. And an electric pole, asphalt as a gorgeous blue, right? I'm going to clean my brush right away. And I'm gonna keep it aside for the next painting. For the remaining details, we'll be using a round brush and also a detailing brush. Let's keep this aside. For the next step. The brush, I'm going to use a size number one drawn fresh. This one is a long handled brush. I'll be adding the basic shape using this brush, and I will add some teeny-tiny leaves using my detailing brush. To add the smaller leaves, I would suggest you to go with the detailing brush, which has a pointed tip, so that you will get some small tiny leaves, which will add a lot of beauty TO painting. The other one you can use any other around fresh. It doesn't need to be a long handled one. The only thing is that you can avoid touching your painting to the maximum. If we use a long context brush, that's only thing. But that isn't a big table. You can use any of your normal round fresh. For the next step, the color you will need as black. This one is lamp black. Now, I'm going to take out some black onto my palette. On either side, we'll add a group of trees and plants using black. We won't be adding any other color. If your paint is too thick, don't be afraid to add a drop of water to loosen it up so that you can apply the paint much more smartly. Looks like my paint is too thick. I will need to add a drop of water. I'm going to keep the chiral water onto the other side, the car, this is much more safer. I always have the habit of accidentally dropping water onto my painting and spoiling it. Let me grab one of my painting. I'll show you what I mean by that. So here is one of the painting. I turned and you can see the marks or here on the top and the bottom that happened by actually dropping water onto the painting. I usually keep my jar of water over here. While I'm running my brush from the water to the palette, I dropped some water onto the painting and this happened. To avoid this, I'm keeping my jar of water on this side. This is something that you guys need to be careful about. You may not realize it until it happens. So it is always good to keep your child of water a bit far from your painting so that he won't actually drop any water onto your painting. Alright, so I have black paint here. And using my size number one Trump brush, I'm going to add a base shape. The brushes I'm using here are mostly used for acrylic painting. That is the reason why the British are quiet big. If you compare the normal size symbol one brush which you use for watercolor painting, they are much more smaller, but these ones are quite big compared to the watercolor brushes. So feel free to use any size that as comfortable with you. Maybe you can use a much more pickup brush. I'm just adding the basic shape. That's a rough shape. Once I have added the sheep, I will be adding some teeny-tiny leaves using my detailing brush, which is a much more pointed brush. Over here. I'm leaving a little cap. Just to make cover painting look more interesting. You can add the shapes however you want to. If you want to add more leaves, you can make them more beaker. With a very organic shape. You can add them probably you want to. It doesn't need to be like the one I'm to ensure. You can go with a much more bigger shape or a smaller shape, or you can add some onto this corner as well. Just like some leaves hanging from the top. So you can add them probably you want to, it's totally your choice. Now, I'm going to keep the bigger brush aside and I'm going to switch to my detailing brush. And onto the shape I have added here. I'm going to add some teeny-tiny leaves onto that outer sheet. The rest can stay assets. This one is a very simple painting, but the beauty of this painting will depend on the details you're adding. Go the smallest size brush, which has a pointed tip, and add some small leaves on that shape. You can see the way I'm adding them. I'm running my brush along that outer shape and I'm adding some teeny-tiny leaves using the tip of my brush. They can be very random and trough. It doesn't need to have any particular shape. Just keep on pressing the tip of your brush and add some smaller patterns. You can see the difference between the right side and the left side. The right side is looking more refined because we added those leaves. And we're going to do the exact same thing on the other side. Nearly done with the right side. So it does nothing but some teeny tiny leafy patterns. This will add a lot of realistic character to your painting. Now, I'm going to do the same thing onto the other side. I hope it is clear. Let's quickly do this. Now. I haven't add few on the top asphalt. The top right corner here. Make up a painting more interesting by this, absolutely. Okay. If you don't want to add it, if you already have added enough off trees and leafy patterns, you can skip this. If you're adding them, adding the base shape using your beaker brush, then onto that outer sheets we can add this teeny tiny little patterns. So first let's add that based on your brush in a very volcanic shape and add a messy shaped like this. Then onto the outer shape, you can add some teeny-tiny leafy patterns. And that's it. You have added a beautiful landscape to your painting. It's actually a very simple step. The only thing is those leaves has to be really small and tiny. Otherwise it may look a little out of proportion. Use any of your smallest size brush. It may take a bit of time, but it is the most exciting part of this painting. The more leaves you add, the more prettier painting is going to live because we haven't added any other details onto this painting. Focus a little on the size of the leaves. You can add them. How will you want to? It doesn't really matter, but the size has to be little tiny so as to make them look more interesting. Now, I'm going to add few branches here and there. And onto that I'm going to add few leaves. Again, this is also to make our painting look more interesting. Otherwise it may look slightly boring with the same kind of leafy pattern all around. At some places using my detailing brush, I'm adding some teeny-tiny branches onto that. I'm adding some leaves asphalt. Again, add an, a very random and volcanically don't add too many of them close to each other. And also don't overdo it. We just need two or three here and there. We don't need a lot. Alright, so that's done. Next. I'm going to add an electric post somewhere off to the left side. This one is absolutely optional just to make our painting up at more interesting, I'm going to bring in another element. Drawing the literate pool is really easy to just a straight line. But they literate lines are not like that. To get it as a clean line, you need to be really careful. Anyway, let's start with illiterate pose, which is just a straight line. I'm using my size number one detailing brush. You can go the slightly thick straight line. Adding that on the left side you can discern where you want to add. If you don't want to add, that is also totally up to you. That's the baseline. Now, I'm going to add a horizontal line on the top. To be honest, I used to avoid adding electric lines on my painting to the maximum because sometimes they used to come really create. I used to get that clean line and sometimes it used his pledge, my painting. I always think twice before adding them. All right, so I added that horizontal line. Now I'm adding some predictions, just some tiny predictions. Now it's time to add the electric lines. If you are not too confident using your brush, you could use your pen. That we, it is much more comfortable. Whenever I'm drawing them, I mostly use my pen. You can use any of your black drawing pen. Okay, so I'm just going to add the first lines on the left side case, so that's done. These ones were quite small, so I somehow made it work. Now, I need to add it on the other side. Decided is really long, so I need to be really careful while I'm adding them. All right, so the first one is done. But if at tiny Cap Hill, now I need to add one more line. I hope that also comes fine. Okay, So that is also done. I didn't mess it up. It was quite worried I might end up spiraling the painting, but that didn't happen. You just need to start with adding a straight line, a vertical line. Then you need to add a horizontal line on top of it, like a tissue. Then add some predictions on top as well as onto the vertical line. This is what brings that realistic character to your electric bolt. So don't skip them. I feel like adding another electric line over here. I don't know whether I'm being overconfident because the others worked. I hope this also works. Gifts it worked. The easiest way is using your pen. With your pen, you won't have this much friction. You will be able to draw a very easy flowy line with your brush. There will be some kind of pressure. You will always tend to break your line between. You won't get a clean line. Go with your brush or your pen, whichever you're comfortable with. Now we're going to finish off the painting by adding a moon. Let's take out some white quash. You just need a tiny bit. The white and those jars are fairly messy, so I'm just squeezing out some from a tube. You don't need a lot. We just need a little for the moon. I personally don't prefer squeezing out a lot of paint and making them try on the palette. You can reactivate them, but then you won't get that creamy consistency when you react to eat it. So this is a sample painting I did earlier. For this one, I simply added two lines over here. I didn't really add detail electric posts like the one we added in the painting. You always don't need to show the electric poles. You can just add some lines. All right, Now it's time to add the moon and wrap-up our first painting. I'm using my size number one detailing brush and I'm going to add a circle here. You can decide on where you want to add anymore, whether you want to add it to the top or towards the right or towards the left. Those things are totally your choice. For this painting. I'm just adding a moon using a solid white color. Let's keep the first painting really simple. Let's not complicate it. In the coming painting, we will learn how to create that glowing moon effect. In case if you feel like adding that glowing effect, you can always come back later. Master finish all the other painting. And then we learned how to create that cleaning effect. It is nothing like it has to be done right now. You can always come back later when you finish your painting. That's one great thing about gouache. You can always fix your mistake. And you can always add or omit something that you don't like about your painting. Clean circle. You have to use a brush which has a pointed tip. Otherwise you won't get a clean circle. You may end up getting an irregular shape. I think I will make the circle a bit more people. Right now it is looking quite small. Be very careful. Don't make it too opaque. The size looks perfect. Now it's time to peel off the masking tape. Always wait for your painting to dry completely before you peel off your masking tape and be very gently remove it at an ankle so that you won't be loved the paper. You can see how gently and peeling it and I'm doing it at an ankle. This is how you should be doing it. Don't just rip it off. Be very gentle. Now for this painting, I think I'm getting a clean border, but this is not the case with all the painting. Sometimes the paint seeping through and sometimes I accidentally rip off the paper. Those things are really normal. There's no guarantee that your masking table for call the time. Just because I got a clean border for this painting doesn't mean I get it all the time. Anyway, here is the painting. I really love how it has turned out, especially the colors we have used here. That blue sky and those sellout and the white moon, everything has come out rarely perfect. I really hope you guys loved it too. Now it's time to explore something more challenging. If you're ready, timing in the next video. 8. Painting 2 : Our second painting as a free Arly pretty one. As the first painting, we just use one color for the sky. For this one, we're going to use two colors. We'll be using plaque and Prussian blue for the sky, will be using the blending technique here. Then for the landscape, I'll be using black and to add those highlights, I'll be using orange mice. It doesn't have an orange, so I've been missing a little off red with yellow to create an orange color. Then for the moon, I'll be using white and yellow. So let's start with the second painting. I'll piece of paper ready here. I'll quickly fix that onto my table. As gouache paints are opaque and we don't use a lot of water. You can fix that directly onto your table. But then if you prefer fixing bath onto a backing board, you can use any of the backend board you normally use for your watercolor painting. Also, if you are using a white table or any other lighter shade, I would suggest you to fix it onto a port so that you won't accidentally staying clean table, usually after every painting, I just wipe off the table using our wet float. And it doesn't use sustain my table, but then I don't want you guys to take a risk. If you're afraid of stating your table, just go with a backing board. All right, so the paper is firmly fixed. Now let's pick the color for our second painting. For the sky, I will be using two colors this time, which is black and Prussian blue. On the top, it will be applying black to get a very dark and industry. And as we come down, we'll be switching to Prussian blue and we'll create a beautiful blend of these two colors. Okay, so that's for the background. Then we'll be adding some landscape and rude and a glowing moon. I haven't cleaned my palette here, but I've cleaned my tower and I have replaced the water. Now let's take out the paint and stand with the process. I'm going to use the same brush which I use for my first painting. This one has a size number six flat brush. First I'm going to take out some black. And I will directly apply that onto the top of my paper. As you all know, if you feel like you're paying this thick, you can add a drop of water, but don't add a lot of water. I'm running my brush in a horizontal way from left to right. And I'm adding black on the top. Maybe one or two lines to solve we need the rest is gonna be in blue. That's black. Now I'm going to pick some brushing blue. This is one of my most favorite color from the whole set. And I think I'm nearly finishing that Prussian blue. I need to find out whether I can get a replacement, maybe an individual char I haven't tried that yet. I'm going to wash out the paint because it's more like dark blue because I mixed black with that. Now I'm taking some thresh Prussian blue. When you're using this jar, it is better to grab some paint and mix them on your palette. But I'm really lazy. I always had to habitat begin the paint directly from the tower, applying on the paper. I didn't because I'm nearly finishing this color. I'm not really worried about it. But then if you're using a fresh jar, I would really suggest you to grab some paint and put that onto your palate and then take it from there. Otherwise, you may end up spoiling the freshness of your paint. So don't do that. I know I don't have the right to advise because I do that quite often. But anyway, that is just a solution. Now I'm going to have some white and I will make the brush in blue a little lighter than for the rest of the sky. I'm going to continue with this color. On the top you have a blackish tone. Then over the medulla you have a dark blue. Now towards the bottom, we introduced some white and we're making the color a bit lighter, not too light. You can see I haven't added a lot of white. It is still dark. I have added all the colors now, our task was to make a clean and smooth blend. I just added a drop of water. Whenever you feel like your paint is too dry, you're not able to blend the color. You can add one or two drops of water. That's absolutely fine. This way you'll be able to blend the colors much easily. If you use a really dry paint, blending will be a bit difficult. So don't add a lot of water, just one or two or three drops, not a lot. Gently dip your brush. Just a tip of the brush. Don't have the entire brush. That's the sky. Now I'm going to watch the paint from my brush and I'm going to wait for this to dry completely. Then after this drive will be using the layering technique and we'll be adding the landscape and the road. All right, so that has dried completely. Now our next task is to add the remaining details onto the painting. We will need to add some foreground elements like a door at the middle. Then we'll be adding some landscape on either side to make our painting look more interesting. For that, I'm going to use my size two round brush. First, I will add an outline of the road as well as the landscape. Then I will start detailing that at a very simple narrow road at the center on the photo. And it can be really narrow. And as you're approaching the bottom, as you are coming closer towards that masking tape at the bottom, you can make it more whiter and go with a curvy shape to make it look more interesting. That's rude. Now I'm going to add the landscape on either side. I will simply add the shape right now. Then I'll be filling that in black. That's the very simple shape. Now let's add the landscape. Go the very organic shape. At some places it can be slightly higher and at some places it can be lower. This will make your painting more interesting. In a similar way. I'm going to add a shape on the other side. Then we'll be filling that in black. The moment you don't need to put a lot of effort and making it look perfect. It can simply add a rough shape, will be filling that entire shape in black. And then later we'll be adding some leafy pattern onto the outer shape. Will also need to add a glowing moon. First, let's fill this entire thing in black. Gradually you will see how our painting is turning out. It might look quite plain at the moment, but then trust me, you're going to love this painting and you'll be surprised to know how if he is to create a gorgeous, more or less landscape. Okay, So hopefully you have added that shape. Simply fill that in black with one of your bigger brush. If some pain gets into the road, that's absolutely okay. This one is not like watercolor. You can always fix your mistake. Okay, so let me quickly fill both the sites in black. Okay, so that's done. That's a first step. We have used a layering technique. We waited for the background to dry, and right now we have added a very basic shape for the landscape. You can see this really messy. It doesn't look nice at all. For the remaining details, I'm going to switch to my, meaning it's your brush. This one is a detailing brush. You can use any of your smallest size brush or any brush which has a pointed tip. We're going to add some teeny-tiny patterns along the outer shape of this landscape. Just to make it look like there are some trees and some plants or the hair, we need to add some teeny-tiny patterns. Using the tip of your brush. Keep on adding some tiny patterns. This is basically the same thing we did in the first painting. You just need to keep on pressing the tip of your brush and add some tiny patterns which will look like a dense group of leaves. Add them close to each other. You can see how gorgeous it is looking already. You can just compare the left side and the right side. The right side is looking more refined. Just go ahead and add in such teeny tiny pattern along the outer shape of that landscape you have added there. The right side is dark. Now I'm gonna do the same thing on the left side. You can alter the shape. How will you want to? Maybe you can take the left side a bit more and make it really interesting. Maybe you want to keep it lower. That is also totally up to you. The only thing you need to keep in mind is you shouldn't be using a smaller brush or any prohibits asked to find a tip. Because we need to get these leafy patterns really small if you use a big brush, the slaves will also end up looking back. The total painting will lose its proportion. They are trying to make it look like this enters rarely farm. You can see the narrow road over here. The road is much more wider towards the bottom. So we're bringing that sense of distance in this painting. It is better to use a smaller size brush and keep those leaves really small. Alright, I hope you all got the idea. Now quickly go ahead and fill the outer shape of the landscape with these teeny tiny feet pattern. If you want, you can modify the shape of those patches as well. Maybe you can make it a bit more higher at some places. Okay, so that's done. Now, washer the paint from your brush and you can really clean. Going to add the moon glow. That means we're gonna go with a lighter tone so your pressure be really clean, clean, thoroughly and tabular Shona people towel just to be sure there is no other paint on your brush. I'm gonna go with yellow ocher. I'll be looking a little of yellow ocher and I'll be mixing that with whites. And it is using that color. I'm going to create the glowing moon for this painting. I wanted a yellowish mode. Now I'm going to squeeze out a bit of white. You don't need a lot of yellow and white, we just need a teeny bit. Now, I'm going to mix these two colors and I'm going to create a light opaque washed off the yellow. I'm going to grab a little yellow ochre. Just a little. Now I'm mixing that with a little white. You can see the color here. It is a lighter shade. Now, I don't want it to be really opaque, so I'm adding a drop of water. That's the kind of color and coin. Okay, Now using this color, I'm going to add a circle. Now you're adding yellow onto the sky as it is blue, you may end up getting a slight greenish color over there or just absolutely fine. It is just the base layer. We'll be adding more layers onto this. So eventually you will lose that greenish shade over here. Without any fear at a yellow moon. Don't make it too big. Go with a medium size. It maybe something similar to the one we did in the previous painting. Adding your mode. You can see here only it was looking more greenish right now as I apply the second layer, that greenish tone has gone a bit. This is why I told you earlier, as you keep on doing this, you will be able to get rid of that greenish color and your morning and look really bright and flowing in yellow. Okay, so I have added a moon. Now, I'm going to brush with the paint from my brush. Dab a brush on a paper towel. Then using that slightly wet brush make the outer shape of the circle blurry. We don't need a sharp border. Keep running your brush in a so-called away and make the outer border blurry. Be very gentle. Don't put a lot of pressure. So first you need to watch the paint from your brush. Then tabulation of people told your brush has to be slightly but it shouldn't be too watery. Then along that outer shape, keep on running your brush in a circular way and make the outer border blurry. If you want to make it more yellowish, you can introduce new paint. I mean a second-order third layer. And again, repeat the same exercise until you get a blurry border for your mode. Just keep in mind not to use yellow directly. If you use yellow directly, it will end up more greenish. So you have to add a bit of white. You can use any yellow, but don't make it too yellowish, add a lot of white. We just need a slightly yellowish tone for the moon. If you're feeling it is looking more greenish, adding more white into your yellow. You can add one more layer and get rid of that greenish color. We can use the same technique to create a white glowing moon as well. So instead of that yellowish color, you can use white directly. First, add that blurry white circle. Then onto the middle of that blurry white circle will be introducing a more opaque white. So it will really look like the Moon is glowing. For the base layer, I use yellow ocher. I mixed a little white for the yellow ocher to create that base layer. I didn't want them to look too greenish. That is the reason why I didn't use any other yellow. I stick to yellow ocher, but now we'll need a much more pride to yellow. So for that I'm using yellow light. Again, you will just need a little mix that with some white. Now we're going to add this onto the center of the moon to make it look more frightened, glowing. Right now as we used yellow ocher, it is looking slightly towel. Now onto the center, you can add in that brighter version of yellow. As we already have a base layer. The yellow we're applying right now will look too bright. It wouldn't turn into greenish color. This is the reason why we applied to three background layer to get rid of that greenish color. Added in a circle again, make the outer shape blurry. They're going to go with one who layer, which is going to be the real mode at the center. Just like how we did earlier, you can wash all the paint from your brush and make the outer shape blurry. Just like I mentioned earlier, be very gentle with your brush moment. And run your brush in a circular way and try to make the outer shape blurry. That's done. Now I'm going to add in the mood for that. I'm going to use a much more brighter tone of yellow. Adding some more yellow into that mix and creating a very bright yellow shade. Now onto the center of the shape we have created here, I'm going to add a smaller yellow circle. It shouldn't be as big as the outer shape. It has to be slightly smaller. Now again, we need to make the outer shape of the circle also blurry. Once you have added the sheath, wash out the paint from your brush. Then dab the brush on a paper towel, stands slightly but make the outer shape blurry. I'm dabbing my brush. Now, running my brush in a circular way. Ready tingling and making the outer shape blurry. This way it will really look like the Moon is glowing. If you make a sharp outline, it wouldn't really have that glowy effect. In order to get that glowy effect first, you need to create a lighter background and outer shape has to be blurry. Then onto that you need to call it a brighter tone and adding new moon. And again, you need to create the outer shape blurry. This is the way how we create a glowy morning. Alright, so the Moodysson, our next task is to paint the road. We haven't added any paint or they're at a still and blue onto the farther end. Over here, I will be using the orange stone. Towards the bottom. I will be making it more grayish just to make it looked like the moon light is hitting the road. For that, I'm going to grab a bit of red and a blue mix that with a bit of yellow to create an orangeish color. The graphs that I'm using right now doesn't have an orange. So I usually mix a little of the allover the right to create that orange tone. I'm just using some yellow and mixing that with red. Now I'm going to apply this color onto the fatherland. Use any of your smallest size brush and add this orange color onto this motto end. They will be adding this yellowish orange only over here. As we are approaching the wider end, we'll be making it more darker by introducing some black and some grayish color. I'm just mixing bath but some black. I'm going to fill up the remaining of the road. We can add in some white to turn it more grayish lens we had done the road. We'll be adding that orange tones onto the landscape as full reflection of the more light on the road and the landscape is the major focal character of this painting. We'll be adding more orange tones over here. Right where the road is closer to the moon, onto that narrow end, you can introduce an orange tone. Towards the bottom. Onto this bottom corner, you can introduce more afford darker gray. That's how it has turned out right now, but I'm not really happy with the color. I think that it will has to be slightly more grayish. I'm adding some white into the same mix at making the rule a little more lighter. Towards that, Natalie, I haven't introduced some orangeish color. Gently run your brush along that shape of the rude. Make it really nice and cozy. I think there's agree looks much Plato or lady was really dark and it wasn't really visible. Now I'm going to grab some yellowish orange or maybe a bit of red, mixing that with the Cree. Adding that are here. My intention is to make this area slightly orangeish, reddish, just to make it look like the moonlight has hitting the road. The other end can be more darker like more grayish color. I think I lost the shape of the road. I might need to switch back to black and make the shape more clean. Viking out, but it is. But then I'm really happy with the color. Tried to add a reddish or an orange sheet towards this narrow corner. And onto the bottom right corner, you can introduce more of a grayish club. Now it's time to fix the shape of the road. I'm going to wash up the paint from my brush and I'm gonna switch back to some clean black. Nothing much. I'm just fixing the shape of the road. I'm running my brush very gently and making it a beautiful curvy road. Alright, so that's done. Now let's wait for a minute that the anti-apoptotic will try completely. Now the last task was to add that reflection on the landscape. For that, again, we'll need an orange color. I don't have orange for that as well. I'm going to take a bit of red and I will mix that with yellow to create an orangeish color the same way how I did earlier. So that's the yellow. Mixing some red and mixing them. For this to pass fail, you will need a brush which has a pointed tip. Don't use a bigger brush. Go with the smallest size brush. If you haven't orange color already with you can use it directly. You don't need to mix and create a color like this. It can be any kind of Orange. It can be a dark orange or a light orange. It doesn't really matter. This is the color I'm going to use. Now. I'm going to add some teeny tiny leafy pattern the same way how we did earlier. But this time I'm only adding them onto the ETL, which is closer to the moon. So these are the ADF there. The more light will be directly hitting only onto these places. I'm going to add some orange leaves. Just focus on the center area which is closer to the moon. So we need to add some teeny tiny leaves using that orange color. You can leave the rest of the area assets. Let's just focus on the ADI, which is closer to the moon. And you can add those orange leaves only over here. You don't need to bring them down, just add them only on that outer shape. Now when you're adding these orange leaves, remember to leave some cap in between. Don't add them too close to each auto. Let some black be seen in-between those orange leaves. What I mean by orange leaves is just a reflection. It is not the real color of the leaves. Just take some orange being and keep on adding some teeny tiny leaves. We need to do the same thing on the other side has CFO does exactly the same way how we added leaves earlier. Using black. You just need to keep on pressing the tip off your brush and add some teeny tiny pattern. You can see the way how I have added them. I have only added them onto the outer shape missing the way I'm going to add few orange leaves onto the left side. Asked him, you don't need to add lot and also you don't need to bring them down. We just need to add a little onto the outer shape. I have some leftover paint on my brush, so I just thought of adding some orange paint onto the road. Just to make it little more glowing. Just add a little over two this narrow and adding it anywhere else. Now I'm going to blend that into the background. This is absolutely optional. I just felt like adding a little. If you're already happy with the road, you can't just leave it Tacitus, you don't need to add this orange color. That looks fine. Now I'm going to mix that orange with a little of black. I'm going to turn that into slightly watery. It isn't too thick. Now let's add some more leaves using that taco tool. It's more like a brownish color. Right next to your orange leaves. You can add some leaves using that brownish tone as well. This is just to make that transition look most motor. You can see the left side. It just looked like somebody throw some orange paint onto the leaves. It doesn't really have that realistic free. But the right side you can see here because we introduce some problem, that transition is looking much most mortar. It really looks like the more light is reflecting on the landscape. That is the reason why I'm using a brownish tone here. So just add some more leafy pattern closer to the orange and bring that a bit down. That transition as much most motor, you'll really have a nice progression from orange to black. You can try the same thing with a sense of sky as well. You can just use a some introductory mode and use the same technique. I think that will look really beautiful. You can use a dark red and orange for the sky. Then you can add a son and a yellow or a bright orange. Then again, repeat the same for the bottom. That will look really beautiful. Anyway, let's finish out this painting. I'm taking a bit of white and taking the dark yellow as well. I think I have to make them much more prior TO right now it is looking rarely done. Let's go with a fresh layer and add a priority at all. Moon. Don't make it to pay and go with a smaller circle. Can you supply to yellow and add a small circle at the center? All right, my dear friends, but that we have done with our second painting, I'm really, really happy with the repossessed Entente. The beanie has completely dried, so I'm going to gently peel off the masking tape. Remember to peel it off at an ankle and be very gentle. All right, so here's the finished painting. I feel like that moon glow is looking really prominent. It doesn't have to look. I'm going to grab a wet brush and I'm going to run my brush in a circular way and I'm going to try to make it a little more subtle. I'm just doing this on the outer shape, simply running my brushes so Clough way and making it more subtle. I think now it is looking far better. You can really feel that clue. This is the main reason why I allow cars so there is no room for mistakes. You can always fix your painting. No matter when you have finished your painting, I still work on my one mutable painting. Sometimes I just add some layer, add some detail, make it look new. Alright, so here are several finished painting. I cannot tell you how much I love this color combination. I hope you aren't and try to test for. If you haven't tried it yet, be sure to give it a try. I'm very sure you're going to enjoy it. 9. Painting 3: All right, So we finished two projects. Now we're onto the third one. For this one, I'm just using two colors, which is black and white. I'm someone who's obsessed with black and white paintings. But if you want to try out the same painting with any other colors, that's totally okay. You don't need to use black and white. You can use any colors that you prefer. I have fixed my paper already. I have taken some black paint on my palette. Now, I will need some blight. I'm squeezing out some white onto my palate. So the colors are ready. Now we're gonna go with a gradient sky. Then we'll be adding some clouds. For the top of my paper, the top part of the sky, I'll be starting with plaque. And as I come down, I'll be making the color lighter by adding white. The base layer is going to be a simple bar or shaft, black and white. First I will add a line so that we'll know until there we have the sky. You can add line a little below the center of the paper. That's going to be of a sky. Now I'm using my size number six flattery. And I'm taking enough of plaque. Now I would apply this onto the top of my paper. We need that frightened Indians turned off plaque on the top. Now I'm taking some white and applying that dry next to the plaque, blending that we have a really dark gray over here. Now as we come down, we need to make the color lighter so you can take more white and renews the amount of plaque. Looks like my paint is really trying. I'm going to dip my brush in a little of water. Just a gentle dip. Now I'm mixing bad with the paint and making it little loose. Now, let's make it a clean blend. Just like how are discussed in the technique section, you need to keep on running a brush in a horizontal way from left to right to get a clean blend. Mix up different kind of brush moment, this might spoil your gradient. Just keep on running a brush from left to right in a horizontal way and try to make it a clean blend. You can see on the top we have plaque. What's the horizon line? I have made the color lighter. Now let me quickly make this a clean blend. Alright, so that's a sky. I'm pretty happy with the blend. Now onto the same scar, we are going to add some clouds. For that, we need a slightly watery wash of gray. I'm going to add the clouds somewhere to the right. You can see we have a grayish color over there. Clouds has to be slightly darker than the color you have in the background so that they will be visible. So I'm gonna go with a darker tone of gray. I have added few drops of water. It's not an OP coercion. At this moment you're painting might have almost dried. That is exactly what we need. We don't want it to be too wet. Now using that slightly watery gray, Let's add some lines onto the sky. You can see the color I'm using here. It's not an opaque paint. Those lines are looking too sharp. So I'm going to dip my brush in a little water and I'm going to smudge those colors into the background. So don't make your brush too watery. Just a gentle tip and tap the brush on a paper towel. It just needs to be ****. It shouldn't be too watery. Now I'm just running that slightly wet brush on top of the lines I have added here to make them little soft. That color looks nice. I think earlier I used a darker shade. This one is looking much better. I'm adding some more lines. So it doesn't need to have any particular shape. It can be some lines or some irregular shape. Adding them only over here. You can decide on the way how you want your clouds to be in, whether you want them on the top or towards the left. Those things are totally your choice. I wouldn't recommend adding a lot of clouds as our painting is too small. Let's not make it too busy. Just add a little onto the right or the left or towards the top. Next I'm going to add in a moon for that I need some clean white. The one I had there, I mixed that with black and it looks gray. I'm just dipping my pre directly into the two. And I'm taking some white paint. I'm going to add a tiny moon, which is playing hide and seek in-between the clouds. So we're not going to show the entire moon will make it look like the clouds are overlapping the moon. First, let's add a white circle. Then we can add some gray lines on top of it and just make it look like the clouds are overlapping. Asked gouache is an opaque medium and you can lay your ***, man, he has important. Let's make use of that brilliant advantage of using gouache. We can add a so-called first, just a teeny-tiny white circle. Don't make it too huge. Code the similar size. Now let's wait for that to dry. Maybe you will need to add one more layer. Right now the moon is not looking at opaque, it is looking slightly down. When everything drives, maybe we can come back and add one more layer, and then we'll add those gray lines as well to make it look like the clouds are overlapping the moon. For now I'm washing off the paint from my brush and I'm switching to black. We need to add the remaining details. It is something similar to the painting we did earlier. We'll have a narrow road at the center. Then we have landscape on either side. First I will add a rough shape, then I will fill that in black. As you all know, for this painting will only be using black and white. The entire landscape is going to be in black. Then for the rule will be using a creek color. Let's first add the basic shape of that landscape. I'm making it taller on either end and I'm approaching the center, making it shorter. Here is where our vanishing point. And from here we will start overrode. It will be really narrow over here. And as you're approaching the bottom, will make it more wider. Make it really curvy. See that it has to be really narrow over here. And you can make it more wider as you're approaching the masking tape. That's the basic sheet. If you're not really happy with the shape of your road, you can fix that later. That's absolutely okay. Once you have decided on the shape of the road, simply fill up the left side and the right side in black, entirely in black. Just a solid wash. If you're happy with the rule, can leave it as it is. If I'm not happy, That's okay. We can come back and change it later. That is a beauty of quash, right? You can always fix anything that you want to. It's an opaque medium. You can add in more layers and fix your mistakes. For now, just concentrate on filling up for the sites in black. We already had the boundary. So to make your job easier, maybe you can't switch to a bigger size brush and fill that in black. Okay, so that's ton. Now our next task is to add in those teeny-tiny leaves the same thing we did in the previous two paintings. You will have to switch to any of your smallest size brush or any other brush which has a pointed tip and add some teeny-tiny leaves along the outer boundary of this landscape here. Just keep on pressing the tip of your brush and add some teeny-tiny pattern. They have to be really tiny. Otherwise you won't get that sense of distance in your painting. Don't make it to take out a smaller brush. Press the tip of your brush and add some teeny-tiny patterns close to each other. If you want to modify the shape of that landscape, you can do that right now. If you want to make it more taller on either end or if you want to totally modify the sheath, you can't do that right now. You can clearly see the difference between the left side and the right side. Those little patterns on the top really mirror the friends. The left side is looking too weird. The reservoir right side is looking so realistic. This is the beauty of those teeny tiny pattern. That's the reason why I told you to cope with a brush which has a pointed tip. If it's too big, you're painting the loosest sense of distance. This is really important with any brush which has a pointed tip to just keep on pressing the tip of your brush and add similar patterns. The right side is done. Now let's do the same thing on the left side. Alright, so the sights on time. Now the only thing left is the road. For the role. I'm gonna use a grayish color. I'll just make some black and some white and create a darker gray. Towards the vanishing point. I'm going to make the color of the road lighter as I'll be introducing to wall street lamps. And also we have the moon right next to that. There would be some lives reflected on the road. So you can make the color lighter. And as you're coming down, as you're approaching that, and as you're approaching that bottom corner, you can make the color mode, AKA. I think it is easier to fill up the road in a darker shade of gray filled. Then we can add some white or some lighter gray towards that vanishing point and make it lighter or whatever. So that's fill up the entire road in a darker shade of gray. All right, So again, see here I have painted the entire road in a darker tone of gray. Now I'm taking out some white and I will add that white over here and I will make the color lighter. Towards us vanishing point. Our intention is to make the CDF slightly lighter compared to the bottom area. After all, if I said earlier, I'll be adding to street lamps on either side, one over here and another one over here. There will be some light reflected on the road. And it is just a shoot that reflected light on the road. We are making the color lighter over here. Okay, so just add in some white over here and blend that into the background. I'm going to place my street lamp right next to this area. Let's make this area a little more lighter. The street lamps, I'm going to use white, so it's gonna be a wide street lamp. You might have also seen yellow street lamps. So depending on the colors that you have chosen for your painting, you can choose to cover the yellow asphalt for this painting as I'm just using black and white. I'm using white for the straight line. But then if you are gone with a different color for your sky, you can try that but yellow or orange? No, I'm thinking some fresh white and I'm going to make them more, a bit more brighter. Earlier it was looking really dull. So let's add one more layer. Our next task is to add the street lamps. For that, I'm going to switch to my detailing brush. This one has a much more pointed tip down the other one. Now I'm picking some black. Just had a simple straight line on either side. I'm continuing, wanted to be slightly far and the other one to be slightly closer. The one which is far from you will appear smaller. And the one which is closer to you or will appear because you can either use a pen or a brush. I'll just add the locations using my pen. This is where I'm going to add the street lamps. Now I'm switching back to my brush and I'm adding the lines. You can see this one is really small, make it really thin. If you don't have a detailing brush, you can use your pen and adding your lines using a pen. We need them really thin. This one can be slightly thicker compared to the other one. Acid is much more closer to us. So it's just a straight line. Then you can make it slightly around it at the top, then add another horizontal line. Now we need to add the lights onto this that I'm going to use white, which will brush you're using. Be sure there's no other paint on it. Wash it thoroughly, and try and tapping that on a paper towel just to be sure it is clean. The technique that we're using to paint the street lamp or something similar to what we use for the more that glowing moon. So first we need to create a glowing part for that. You don't need to take out a lot of paint, just equal very little paint on your brush and add a dot like this. Now we need to Smart Touch into the background and create that base layer. Adding some water Antonio paint into something light. Don't use opaque paint. You can see the way I have added them there. Now I'm dabbing my brush on a paper towel and I'm going to smudge that into the background. So this is exactly the same way how we tried out that cluing more in the exercise section. But here we are using the same technique to paint a street lamp, not the moon. That growing part is ready. This is quite far from you, so you don't need to put a lot of effort in cleaning up the shape. You can just go for an overload kind of a shape. So the first step is to add in some white paint, then wash out the paint from your brush, then go with a slightly damp brush and take it in the SOC loud or an oval our shape and smash the outer area. You can see here, it's not really opaque, is a very light tone. Now onto the center of the shape I have added here. I'm going to add in the light. For that, we need to use an peak wide. It is really similar to the moon. I'm just adding a rectangular piece right at the center. Connecting to that black line. Just add a rectangular light there. Again, see how easily record that glowing effect for the street light. You can tell the same thing with any other color. It can be a yellowish lamp, orangeish lamb. We already added some white paint on the road to make it look like the light is reflecting on the road. Now to make our painting look more realistic, we need to add some reflected light on the street post ask well, you can use the same British or any other brush. Possess a pointed tip, add some white highlights. Writing thin white line. Don't make it too prominent. Make it asked in as possible. You're just need to add it only onto the inner side. Don't add the white line on the other side. So it is on this side the light will be reflected on. You won't be having any other lights on the other side. Just add a thin white line on the inner side. Next task is to add some white highlights on the ground. Right where you have your street lamps who can add some white lines. Just had a few. Use a smaller size furnish. Don't add a lot of white. You can see I'm adding very little. Don't make it to peak. Once you have added those lines, wash all the paint from your brush, and go with a slightly wet brush. Now we can simply as much that into the background. So we don't want them to be too prominent. We want a very subtle look. We're just trying to make it look like the lightest heating on the crown. If you make these highlights really bold and opaque, it may look slightly weird. Just add few lines and smash them into the background. I'm quite happy with the left side, but I think I added quite a lot of height on the right side. I'm just going back with a damp brush. Times marching similar lines and making it lighter. In case if you feel like you have added quite a lot in white, you can go back with a wet brush and smudge them into the background and keep the right among the white. You can see the difference now was really a lot. This is a right amount. Now the last step is to add the road marking. I will add a dashed line at the center, and then I will add a solid line on either side. For this one asphalt, you will need to use a brush which has a pointed tip. Otherwise these lines will be really thick. We need to give them as soon as possible. Just follow the shape of your road wherever it is turning these roads, marketing salts on hipster town. And where I will illustrate these lines has to be straight. Now let's add the lines on either side. For some reason it came up perfect today. But I never used to give them suffer affect. Those lines. Never used to be this thin, especially the ones on either side. We're nearly done. The last step is to add those cloud lines on the moon. I'm washing off the paint from my brush and I'm switching to a gray shade, something similar to the ones we use for the clouds. And I'm adding one or two lines crossing the moon. Just to make it look like the clouds are overlapping them with the size of the moon is really small, so do overdo it. You can add those lines at one or two places. Varnas, quite good. I have taken that green line into the moon at two places, one on the top and barn somewhere at the middle. If you only want to add one line that is also totally okay. Maybe you can go for a ticker one or a thinner one however you wish. All right, so that is our third painting. You can see how colleges that is looking. I think it has some mysterious look. The colors have turned out really great. Now I'm going to build off the masking tape. Will have to wait for your painting to dry completely before you peel off the masking tape and also remove it at an ankle that he won't tear off the paper. All right, mighty afraid. So here you go. Here's the finished painting. Really allow the street lamps and the reflection. I hope you guys enjoyed it too. If you're having tried it yet, do give it a try and chiming. In the next video, we're going to try a really bright and beautiful moonlit landscapes. 10. Painting 4: The previous painting we did was a black and white painting. I think it's nice to try a vibrant color combinations of time for this painting. For this guy, I will be using violet and red. I'll be using red for the leak as well. Then for the mountains you will need plaque. Has he could see here. In addition to those colors, you will need white, which is quite obvious, asks you would need to make the color lighter. And also for the moon. And then for the worst glowing light on the mountain, you will need yellow and orange. It is not at all necessary to use the same colors for the sky and for the painting. You can go with any colors that you prefer. If you want to go with a blue and a red sky, It's totally up to you. You can just follow the techniques and choose whichever color you like. For the sky, I'm going to go with a violet and red color combination. The set I'm using cure doesn't have a proper one and this one is more like a reddish violet. I'll be adding a little of blue into this wallet to make it a bluish one. So this is the color reddish violet. Now, as I mentioned earlier, the second color is gonna be read. You can go with any other color combination that you prefer if you want to try blue and red, that's also totally up to you. Let me grab red from the set. Instead of red, maybe you can use orange asphalt wallet. And orange is also a creek color combination. These are the two colors now to make the violet more bluish, I need to get some blue as well. I'm going to crap a little love ultramarine blue. Mixing this with violet. And I will turn that into more of a bluish violet. Okay, so let's do the color mixing. I'm going to crop some violet first. Just dipping my brush directly in the paint and I'm taking some blue. I used this fire it as such in the technique section. So you know the color. It's more of a reddish violet. If your gouache doesn't have an individual violet, you can just mix crimson and any blue and create a beautiful violet of your own. That's the color I'm going to use for this guy. I'll be applying this on the top of my people. Then as I come down, I'll be introducing right? And I will first create a query and wash of these two colors. Then using red, I'll be adding some cloud tasks for just the same way. Hobby try it in the technique section. Go with a very bored and pride torsion of violet and apply that on the top of your paper. For this painting, only half of your paper will be this guy. And what's the bottom will be adding a mountain and a small lake. So decide on how we want to add your colors. If you want more of violet in your sky, you can add more violet and just added it right towards the bottom. You want more readiness sky. You can reduce the amount of violet and adding more. Now, I'm going to squeeze out a bit of wild and I'm going to make the wildlife lighter. For me, I will more valid in my sky and less straight. Almost three-fourths of the sky is going to be inviolate. Then I will be adding a little of red towards the bottom where we have the mountain. Now I'm making the white and lighter. Now over here, I'm going to add a bit of red. Then our first task was to blend all these colors. Al-bashir, the paint from my brush, then I will add right? Then I will bend all the colors go. Let's try and make it a clean and a beautiful blend. Dabbing my brush on a paper towel. And I'm taking a bit of red, just like I mentioned earlier, depending on which color you want in your sky as the prominent color, you can decide on whether you want more red or blue, violet. I just need a little love red. So I'm going to grab a bit using my brush. It's a really bold and vibrant trade. Lateral white, and I will make it lighter. So I have added the colors from the sky. Now our task is to make it a clean plan. So just like we did in the previous paintings, you need to keep on running your brush from left to right and horizontal way to get the most beautiful blend. Whenever you feel like your paint is too dry, you can add a pinch of water. For this guy, we use three colors, which is violet, white, and red. On the top we have a taco to on a violet. Then over the middle, we have a lighter tone. Then towards the bottom we have a lighter tone off. The light violet and the red has blended well. Now in a similar way I am to blend the talk while it and the light violet right at the center. As you could see here, 3 fourth of the sky isn't violet. And just a little at the bottom isn't right? I don't want to get too dark that attack pilots where I'm going to make a bit more violet. The same color I created earlier. And I'm going to apply that on the top of the people. Otherwise, I might end up getting a light violet throughout the sky, which hadn't won. I wanted to talk to be really bright. You could see here, I'm running my brush from left to right horizontally. That's the only way I'm running my brush. Is it running, brushing multiple rings, you won't be able to blend the colors properly. So be sure to run your brush only in a horizontal way from left to right. No matter which colors you're using for your sky, the first step is to create a clean blend of those two colors. Looks like the base layer. I'm pretty happy with the color has the less the blend. Now I'm going to show the paint from my brush. The background has almost dry so we can apply the clouds. Now I'm gonna keep my flat brush aside and I'm going to switch to my Dawn French. This is why I require so much. It's just being less than a minute since we've finished painting the sky and it has already dried. Now to add the clouds, I'm going to grab the tough rate. But it's not an peak version, it's a slightly watery version. I haven't added any rights and directly using the red paint, I have just added up into water, but it shouldn't be too watery if you feel like your paint is too watery. Diarrhea, tonal people tell them and keep on adding some lines. I'm not going to add a lot of lines. I will just add a little better. We have to write a few lines at the junction of the wallet, tender red. Otherwise it may look slightly weird if we only add clouds at the bottom, just add few lines towards the right. And also where these two colors are meeting. I'm planning to make it really simple. I'm not adding a lot of clouds. But if you would like to make it really complex, if you want to add lots of cloud that's totally up to you. You can add as many as you want. Now just in case if you used a different color combination for your sky, imagine you went with blue and violet. You used blue on the top and violet over the bottom for your Cloud. So you can use violet if you're adding them towards the bottom, you can go with a brighter tone or violet and do it the same week. I always use the color that I used over the bottom to add the clouds. It's a very simple way of approaching it. If you're not too sure which color you should be using for the clouds. You can also do some clouds using gray or any other darker shapes. But this way you wouldn't. I looked at the trunk. This is an E CSV to do it. The next painting we can try the Cloud to signal different color. So you get comfortable with that as well. Looks like the sky is done. I'm pretty happy with the color as well as the clouds. You can see I didn't add much on the top. I just added some on the bottom. Now the next step is to add the mountain and we need to add our lake gospel. I think before the mountain as well as the leaf, we can add a moon. I'm going back with my Ron Fresh. I have cleaned it properly and I'm grabbing a bit of white, which is again a slightly watery white That's not really opaque. Now I'm going to add a moon over a hill. First, I will add that glory part, then onto this and planning to add a small crescent moon. First, let's add a soko, not a huge fan, maybe a medium-sized circle. Using a watery while. You can see it's not opaque. Don't make it too huge code the assembler size. Now keep running your brush now. So Callaway and meet the outer border blurry. Once this dries onto the center of this blurry circle, we'll be adding a small crescent moon. This is the first tip. It is looking really blurry. I think I need to grab some white and repeat the same exercise to make it slightly brighter. Adding some more white. Now what I need my British clicking in the so-called way to make it blurry. You can repeat the same in society until you're happy with that Chloe part. It doesn't need to be to prior damage, doesn't need to be to pick as well as we're going with a tiny crescent moon. Okay, So this is how it is looking right now. Now for the mountain, I'm going to grab a bit of black. I'm planning to have a smaller National League towards the left side, which is going to be injured because the color of the sky will be reflected on the water. So which will be the color that you used for your Skype over the bottom, you can use the same color for your cashflow. Now let's add the mountain. I think it is better to add the league first and then we can add a mountain. I just realized if you paint the lake first, by the time we add the mountains, it will try. Okay, so I'm switching back to a bit of red, slightly darker than the color we used for the sky, which will be the color that I've used at the bottom of your sky. You use the same color for your LEA cashflow. That's the color I'm going to use. It's a bright red. Now what we just had on software, not a lot. Going with a natural reward. You just need to add them at the lighter. The color is more or less similar to the clouds. It's a bright red. It isn't that bad asset. Now I'm going to brush over the paint from my brush and I just keep this pressure side and I'm going to switch back to my round brush and we can start adding the mountains. You might be wondering, I just added a very random shapes, seeing it as the lake. Don't worry. First we will add the mountains in the background. Then we will add some BlueLine mountain in the foreground. And gradually you will see the lake forming the shape. First, let's add a straight line. The lake is going to be really matter. So don't worry if you haven't applied a lot of paint over there. Make this a straight line. Now add some mountain. Don't make it too huge. This is really far from us. So go with a medium-sized mountains. You can use any kind of shape or profile for your mountain. Those things are totally up to you. Just watch out the size, don't make it to Qj. You can see the size I'm going with. This would be a good size. Just watch all the sides, the rest is totally your choice. Go ahead and add in your mountains however you want to. Using black. You can see how gorgeous those colors are looking. Already. Love with this painting, especially the color combination. We have added a mountain. Now we need to define the shape of the big. For that, I'm going to add some random pieces of land and I'm going to create a small narrow lake towards the left side. I just wanted to make them onto a bit more higher towards the right side. So first I have them do that. Then I will come back to the lake. Just making the site a bit different from the other side. The left side is looking very low. So to make our painting a little interesting, I'm going to make the site slightly higher whenever you're adding mountains in your painting, never make them look the same. If you have two or three mountains, you can make one of them higher and one of them lower. This will give a more natural feel to your painting. Now I'm going to define the shape of the lake. I'm just starting a random shape first. Then I will add small pieces of Latin between to make it look more realistic so that the shape, first we can fill up that entire area in black, leaving the red link there. Then slowly we can start defining the shape of the lake and a better way. Right now it is a very rough and a weak sheep. We haven't defined it, he hit four. Now, don't worry about how your lake is looking just at that boundary. We can define that later. First, let's quickly fill up that entire area in black and then we can come back to the leak. I had created a similar painting with a different color combinations from time Pat, and I absolutely loved it. You can see how easily we defined that leaky and it does looking so cartoons. I hope you guys are enjoying the process so far. We have pulled that entire area in black. Now we need to add some little projections into the lake to make cover painting more interesting. Just some little predictions here and there. You have to use a brush which has a pointed tip. Otherwise you won't be able to get something and crisp lines like this. It may end up looking to pick. Your painting will go out of proportion. It is just some small pieces of land. You just need to add some lines like this. Take it into the lake. Don't add a lot. You can just add three or four here and there. It's a very simple detail, but it is going to have a huge impact on the lake. It was just a rough shape. Now it is looking more realistic when we added those little projections. Just add few pieces like this using black gouache. Just remember to make them as small and thin as possible. The lake is already so small and narrow. You have to really watch or the size of these predictions you're adding. Don't make it too bold and pick that. We have painted the sky, we have added the mountains, and also we have defined the shape of the lake. Next I'm going to add the moon, as I mentioned earlier, I'm going to add a very small percentage will add the moon. I'm going to use a detailing brush because I want them all to be really crisp and tiny. I don't want it to look to pick. This brush has a really nice pointed tip and I'm hoping I can create a beautiful little crescent moon. Got some clean white and be sure to use a brush which has a pointed tip leading to Betty tiny crescent moon. Would prefer to add a full moon. You could do that or you can just add a crescent moon like the one I'm doing here. No matter whether you're adding a full moon or a crescent moon, make it really small and don't make it too huge. We have already added a blurry white circle. If you're adding a full moon, you can add that right at the center. You're adding a crescent moon like this. You can add it to the right or towards the left. The Mona sin. Now the next step is to add some light. We're going to add some yellow glowing light. What's the bottom of the mountain, just to make it look like the rest somehow saw settlements over there. This will make our painting look more magical. For that, I'm going to use yellow. And you would need a brush. It has a pointed tip because the light has to be really small, much smaller than the Moon. So it is really important to have a prefix task, a pointed tip. I'm going to use yellow. This one is the yellow light. You can use any other you have caught. If we didn't add a little, as we are just adding some dots that to very tiny dots. Grab any of your brush which has a pointed tip. Mixing pad with a lot of red to change that into an orange. First-time going to add some dots using orange, then I will switch to yellow and I will again add some more towards. This one is a light orange. I don't have an orange in my set, so I had to mix a little of red with yellow to create an orange. Now I'm going to add some dots using orange towards the bottom of these mountains. Some tiny dots. See that it's really small. Maybe we can make it a little bigger, but not too big. That that's the kind of size I'm using for the lights. It is really, really, really important to use a brush which has a pointed tip. Otherwise you won't be able to get such tiny tot. I'm going to add some dots using orange. For the lights. We're going to use a combination of yellow and orange to create that glowing effect, just like what we did for the moon, you need to create a background and you need to add a lighter and apply to tone on top of it to make it look like it's glowing. So that's what I'm doing here using orange. First we can add some dots using orange. Then right at the center of that orange dot, we can add a bright yellow dot, which has to be slightly smaller than the orange dot. I hope it is making sense. Anyway, let's give it a try. I think that's where you will be able to understand it more petal. First juice orange and add some random dots along the bottom line of the mountain. You can add them. How will you want to? There is no particular order at some places you can make it a group of three or four. Out of some places you can make it if took off two or just one. You can add them probably you want to however you want to. Okay, so you can see here I have added some orange dots in a very random way. Now I'm switching to yellow. I'm adding some white to that yellow light to create a much more opaque washed off yellow. Now onto the center of these orange dots, I'm going to add Animoto dot. You can see here only few orange dots are slightly bigger. Right onto the center of those orange dots. I'm going to add under dot using yellow. See that it's a combination of yellow and orange and that's how we make it look like it's chlorine. Now you don't need to do this for all the orange dots you have added. Just pick two, R3, R4 and adding yellow dot at the center. And that's it. Now along with that, you can also add some individual yellow dots in a very random way. Just like how we added those orange dots, you can create a cluster. These dots are really random. You can add them. How will you want to? And you can also group them how you want to. At some places you can add as a group of three dots and a templates as it can be a group of four, or it can be just one single light atom. How will you want to? There's no particular order for this. You just need to watch the size of the dots you're adding that's only paying. Other than that, it can be added. How would you want to all right. Looks like I have added in a fog lights and I'm pretty happy with the painting. Now the last step is to add some reflection. For that I'm going back with I'm adding few drops of water and turning that into a slightly loose consistency. I don't want an opaque read, something like what we used for the Cloud. So that's the consistency I'm going. Now right at the bottom of all these passes, we have added those tiny predictions. I'm going to add a brighter red line. Just to make it look like there are some reflection. I'm not going to add any other reflection on the water. Just this would be enough. I don't want to make it too complicated. It's a very narrow and a small lake. This is all. Just go with a brighter tone of rate orbit to a color that you used for the lake. And add a slightly declined along the bottom line of the mountain. Especially these patches. That is wood that we are done with our fourth painting. This painting has turned out much more beautiful than that I imagined. I'm going to peel off the masking thi, Here's the finished painting. I hope you all had a great time feeling the simpler you get. Beautiful morning. We have got one more painting to finish, the cities, and that's another gorgeous composition. So I'll see you there. 11. Painting 5: Really love this color combination. For this guy, I'm going to use Prussian blue and orange. Then for the mountain as you could see here, you will need for the scene, I'll be creating my own darker blue where I will mix some class with Prussian blue. Then for the moon, you will need some white and to create that light in the background, you will need to be yellow. Okay, So let's start. I have my paper ready here and it's already taped down to my taper. Now I'm going to take out the colors for the top part of the sky. I'll be using Prussian blue. I'll be going with a medium tone. Then along the mountain, along the horizon line, I'll be using orange. So I don't have an orange in my class it to create an orange album mixing some red with yellow. Now I'm going to pick out the colors onto my palette. And let's start with the painting by Italy. Now, just like I mentioned in the other paintings, you can go with any color that you prefer. It doesn't need to be the same color combination that I'm using here. First, I'm starting with Prussian blue. I was talking to the top turn-off Prussian blue because when i sound blending the colors, beta will automatically turn a little lighter. I'll begin with a taco tool. More than half of the paper is going to be the sky. For most of the parts of the sky, I'll be using blue. And just a little towards the bottom, I will be adding some orange. Some starting with a really bright tone of Prussian blue. Adding that on the top of my paper. I'm just running my brush from left to right and I'm adding some horizontal lines. This is the only way I'll be adding the paint. I won't be adding any other brush moment. Because we all know to get a clean blend, it is better to run your personal horizontal way from left to right. I hope you guys are getting confident with your blending technique and it is getting easier for you. Okay, So I have applied some blue on the top of my paper. Almost here. I'll be adding the sky. Then over the bottom we will have our C. I have added some blue onto the sky. Now I'm going to take out some white and I'm going to make the color lighter. Whenever you're using complimentary colors in your sky, it is always better to make your color lighter when you're introducing the second color. Here, the second color that we are using, this orange. Orange and blue are complimentary colors. You might end up creating a muddy color in your sky. If you introduce both of them together, add some white and make the blue lighter. If your paint is too dry, you can add a drop of water. Once you get to high enough gouache, you will automatically dip your brush in water. Whenever you feel like your paint is still try. And a very little time you will lose all that fear. And gouache will be your favorite medium. You'd need to trust me on that. Just keep on exploring the medium, try new color combination and try new techniques. And it will automatically get a hang of the medium. Okay, So right here you can see three different tonal values of Prussian blue. On the top I have a really tacked on a fresh in blue. Then over the middle I have a medium tone and towards the bottom I have a really light one of Prussian blue. Now, I'm going to introduce orange, picking some red as well as some yellow. And I'm mixing them well to create a beautiful orange. If you have orange gouache in your guar set, you can use internally. You don't need to mix and create an orange. I'm doing this just because I didn't have an orange and my car set. Okay. Now let's add that at the bottom. I have added a pencil line indicating the sky. I'm going to add my orange tried to what they are. I'm taking my brush from left to right and I'm adding a thick line of orange. I have added all the colors. Now, what task is to blend all of this beautifully? I'm going to pick some orange and I'm going to blend the light blue and orange first. I'll go from bottom to top. Just like I mentioned, the technique section, if you want to start from top to bottom, you could do that. Or you can go from bottom to top whichever way you prefer. But no matter whether you're going from top to bottom or from bottom to top. Always keep running your brush in the horizontal way. Don't add multiple kind of brush movement. You can see here I'm picking some blue and I'm trying to blend the blue part. We already discussed this in the technique section. The blending becomes a lot easier when you have a slightly wet paint on your brush. Depending on the color you have in the background. That paint and a slightly better version. And keep running your brief from left to right in a horizontal way. And to be that exercise until you get a clean blend. But don't add a lot of water. If you add a lot of water, the paint will lose. Its opacity. Should be just slightly wet. No matter which colors you are using. This is the same way how you blend colors. I'm nearly done. I just need to blend this orange part Tesco. So that is the sky. Next I'm going to paint the sea. I will apply the base layer first. The big slayer is going to be a solid wash of a darker blue. And to create that darker blue, I'm going to mix a little Prussian blue with black. I'm washing up the paint from my brush, and I'm picking some Prussian blue. This one is more like an indigo shade. So if you have indigo with you, you can use that directly. I don't have any negotiate myself. I'm just mixing a little of black and Prussian blue. And along with that, I'm adding a little white as well. Now I'm going to mix those three colors to cattle. Looks like I need to take a bit more blue, maybe some more. I don't want that to be too light. I want to really talk to us. Blue. The blue still looks like I'm going to pick a little of black. That looks nice. So it's a really dark tone of blue. You can just mix Prussian blue, black, and a bit of white and create a similar color. Now let's apply this onto the end to your C. That's gonna be the base layer. And later when this dries, we'll be adding more details onto it. So first let's apply our solid wash of this color. Depending on the size of the paper you have chosen for your painting. Make enough paint and lt fans. So you get the same sheet on the entire scene. When I apply the paint, it is looking to the back to me. So I'm going to add white to it. And I'm going to make the color slightly lighter. I think that looks better. Let me fill that entire area in this color. Depending on the color you want for your scene, you can try to alter the color by adding more white or black or more Prussian blue. We need a clean line at the horizon. Use any of your point approach or a flat brush and make it a straight line here. That is the C. Now let's wait for that to dry. Meanwhile, we can add some clouds in the sky. Right now we have been with a gradient wash of blue and orange. But to make our sky look more interesting, I want to add some cloud taskforce. To add the clouds. I'm using my round brush, this one as my size number one, Ron Fresh. You can use any of your medium-sized on Trish to add the clouds. I'm going to use the same color that I used for the scene. So let's pick that bluish gray. Just a teeny bit. And I'm adding some water. As you all know, I prefer adding the clouds with a slightly watery paint. So that's what I thought my paint and now I'm going to add some random lines and some random shapes on the sky. I'm going to add the mostly on the left side because I'm not really happy with the blend. That is a main reason why I am writing the clouds earlier, I had no plans to add the clouds, but then the blend is not looking that great. I thought I can cover that area where these two colors are meeting by adding some clouds. In case we are happy with your sky and in case if you are happy with the blend and if you don't want to add the clouds, that's totally okay. Just to hide that blend, I'm going to add a bigger group of clouds over here onto the right and simply add one or two lines. So depending on how we want your clouds to be, whether you want a bigger group or a smaller group, you can add them accordingly. Also, don't want any clouds on your sky. You want to keep it clean. That is also totally up to you. The current I'm using here is a darker gray like a bluish-gray, the same color I used for the water. I have added a drop of water into it and I made it slightly watery. I'm not using an opaque paint. I don't have a lot of paint on my brush. I just have a little paint. Those are few things you need to keep in mind when you're adding your clouds. This is how I add them and this works really well for me. I always add a pinch of water and I go with a slightly watery paint and I don't take a lot of paint on my brush. Those are few things I keep in mind whenever I'm adding clouds. You can clearly see here how I'm trying to hide that blend. And I think it worked whenever you're adding your Cloud so you don't need to replicate the same shape and the same size. You can add them however you want to. Maybe you have added more orange new sky or you have added more blue. So depending on those things, you can decide on where you want to add your clouds and what J we want to go up. Right now, I'm adding clouds in a linear way. You can see the shape. It's not around or cheap. It is mostly some lines and some irregular patterns. If you want to go with more fluffy and trout Cloud. So you can't choose that cheap. But I always prefer having clouds in a linear way. I don't always get the fluffy round clouds, right? This is something that I prefer just because I'm not good at the home, fluffy clouds. But in case if you like the rounded clouds and you're good at it, you could try that. I'm doing a safe play here. I don't want to make my painting messy. I'll just stick to these clouds. So with that, we're done with this guy. I think now I'm quite happy with the way it has turned out earlier. I wasn't really happy with the plant. I hope you guys are happy with this guy. Now the next task was to add the mountain. For that I'm using black. It's something similar to the previous painting. With it, we'll be adding some mountains using black along the horizon line. I'll be going with some medium and smaller sized mountains asset is quite far from us. Then along the bottom line will be adding some light at the end. Just to make your painting look a little more interesting. Let's add in the mountain, try to get a clean line at the bottom where you have your horizon line. Then again, decide on the shape of your mountain. You can go with any kind of profile. If you want to make it really low, you can't do that. Or if you want to make one or two mountains a little taller, that is also totally up to you. Design on the shape and the profile you want to use for your mountain and fill up your horizon line. Okay, so I have added the mountain. Now using the same color, which is black. I'm going to add some waves and some little details and the water. You can use any of your medium-sized strong crush, it doesn't need to be appointed brush. I'm using the same brush I used for the mountain. First, I'm going to add a thick line because a will take plaque on your brush and adduct the client. Something similar to this one here. Don't be afraid, just had a thick line like this. You might be wondering why the wave is looking like that, but don't worry, we'll be fixing that. So the first step is to add a thick line. Then you can keep on adding symptom lines right next to that using the same brush. This one's doesn't need to be that perfect. You can keep on adding some short and thin lines that I would look so much better, right? So this way we will be adding something and delicate lines on the entire scene using black. Maybe you can go over that way with a much more private one-off black and make it really prominent. Then you can repeat the same exercise of adding something and delicate lines. We're going to fill the entire see using such thin and delicate lines. This might take a bit of time, but the result is absolutely beautiful. So there is no way you should be skipping this step right next to this way. You can go with slightly thicker lines. Then when you're going away from the way, when you're approaching the horizon line, make your lines very thin and delicate. So that is the temporal. The lines which are closer to you can be really thick and bold. And the ones which are away from your has to be fundamentally kit. You will get that sense of distance in your painting. Let's fill this up. You can see here I have added some thick lines right next to the way. I'm using black to add these lines. If you want to use a darker tone of blue, that is also okay. Just like what you see here, closer to the wave, add some declines, but at least some tiny gap in-between when you're adding those lines. We need to see that background color in between. That is the beauty of the painting. Now I'm going to add some thin lines. As I'm going away from the wheel. I'm going to fill up that entire area and such thin and delicate lines, they don't need to be perfectly shaved. You can simply add some thin lines using a darker tone or black. You don't need to put a lot of effort, just keep on adding some thin lines in-between if some of them turned out to be pick, that's okay. You don't need to put any extra effort and fixing them. Let's do this. The top part is done now in a similar way, I'm going to add some lines at the bottom part. The bottom section is much more closer to you compared to the top section. You can add more. Borland declines over here. It doesn't need to be very thin and delicate. Keep in mind to leave some gap in-between when you're adding these lines. Don't add them too close to each other. If you do that, you might end up filling the entire background color. That blue color won't be visible. So leave some gaps in between. This is what adds more depth and beauty TO painting. The black and using here doesn't need to be really opaque. Maybe you can add few drops of water and uses slightly watery version. You can see the top part it is looking so cartoons. You can really feel that depth here as we used bold and thick lines over the bottom. And we use lighter lines towards the horizon line. That brought a lot of depth in our painting. This is the same reason why I told you to follow that technique. You can copy the same technique whenever you're doing a seascape, those ripples and bases which are closer to you should be darker and colder. And the ones which are away from you, which are closer to the horizon line has to be thin and delicate. I'm going to quickly fill this area with some lines. If you look at those lines individually, they're not that neat. They are slightly messy. But that doesn't really matter. What matters is you're filling up that entire area and such lines. And the individual lines and the beauty of them doesn't really matter. This is the way it has turned out. I'm really happy with the colors and I realized how the sky, The next I'm going to add a tiny crescent moon. For that. I'm going to take out some white quash and I'm going to use my brush, which has a pointed tip. The size of three pi is 0 and it has a really nice pointed tip. After I add the moon, I'm going to add some lights as well. Just the same way how we added the light and the previous painting. I'll just add few along the horizon line. Okay, So first let me add the mode. For the previous painting. We added that blurry white circle. But for this one, I'm really going with the chrysanthemum, going to keep it really simple and clean. I'm going to pick the paint directly from the tube and I'm going to add a small crescent moon. You have to use a tiny brush if you're going with a crescent moon. If you're adding a full moon, I think you can still use any of your smallest size brush. But to get the really tiny Krispy Kreme, getting it to use a brush, fantastic pointed tip. All right, I have added the moon. Now the last step is to add those glowing lights for that I'm going to pick some yellow. This one is the yellow light. You can use any of the yellow you'll have caught. I already have some white on my brush. I'm just mixing that with yellow to make it really opaque. Now I'm going to add some teeny tiny dots along the horizon line. That's gonna be the last tab, but they are going to wrap up our moonlit landscapes. This time I'm not going to go with different colors. I'll just use yellow. I will add some teeny-tiny thoughts. You can see the size of them. They are super tiny and go with a similar size. You will really get that sense of distance in your painting. If you make it too big, you will lose that sense of scale in your painting. Now we know adding them just the same way how I explained earlier, add them as a group. At some places you can add the message group of three or four, or maybe just a group of two. It will look more beautiful when you add them as a group. And that's the reason why I'm telling you to add the lights in a group. All right. And with that, we're done with our last painting from the series. Let me quickly peel off the masking tape. Here's the finished painting. I'm really happy with the way the sky and all slides and everything looks so perfect. 12. Thank you!: We made it to the end. Thanks a lot for timing. I hope you all had a great time painting with me more and more or less landscapes. I went off my most related subject to paint. I don't think I will ever get bored of painting more and more, less landscapes. In fact, the moment I'm talking here, I'm already messing with ideas to try something new. Maybe among peeping through some violet clouds are astronomy night with more life. There are plenty of things that you can try. You can just use the same techniques that we've learned in this class and try something new of your own. Maybe you can try out the same paintings with any other color combination of the child. But what do we are trying to do? Upload them to the project gallery. I would love to see them. All right, So thanks a lot for China and happy painting.