How To Paint Snowy Pine Trees | Acrylic Masterclass

1. Welcome!: Snow-covered pine trees are a beauty of the witticisms. And painting a canvas full of snowy pine trees can transport us. This magical thing. If you want to paint a winter landscape painting, learning to paint pine trees covered with snow isn't essential. And with that goal in mind, I created this course for you. In this class, you will learn how to paint snowy pine trees with four different types of acrylic brushes. With a flat brush. Next with a brush, with a fan brush. And finally with the small round brush. With each brush, you get to learn different brush techniques and also learn to paint different types of snowy pine trees. Once you learn all the different brushstrokes, you can decide for yourself which one resonates with the most and love painting and use that mostly in your paintings. This covers the first five sections of the class of where you get your basic straight. In section six, we learned a very important exercise of actually lending and color mixing that will help you understand how to paint any winter landscape. Finally, we finish up this class by creating some beautiful artworks. First we learn to create two beautiful paintings. Then we learn to create four different coasters and fill them with raisins so that you can use them as a home decor all for gifting this holiday season. And finally, we will create some handmade greetings cards with lots of snow and pine trees. I hope you're excited by now to dive into this exciting class of learning to paint snowy pine trees. 2. Art Supplies: In this video, let's talk about all the art supplies that you need for this class. So we need a very, very minimalist art supplies for this class. All I have used in this class is a four acrylic papers. Now for practicing all the techniques with the different kinds of brushes. I have showed them to you on an A4 paper. Now you can also do it, but I would suggest that do it on a journal, either use a A5, A4 journal. These are very good journals that I got from mineral. Both of these are from minora. These are binary journals, so practice them here so that you have those practice materials, all of these with you inside the journal because they lose, pages, may get lost. And also in the journal you can use as many pages as you like without thinking too much that you are wasting a paper. Which I know from experience that it can happen when you use one of these papers and it goes wrong, then you might feel bad. So all those things doesn't happen in a sketchbook. That's the beauty of sketchbook. You can do whatever you need. It's always inside and it's not going to bother you. Practice some fewer first-time when you're watching and practicing in the journal. And then if you want to, then you can create one more on the A4 paper. The entire class, I have very much done using just the acrylic paper, the paintings, also the greetings card at the end. Also, everything is done on exactly this paper. And two more things that you need are these clusters. They are basically MDF boards cutouts that I got from Amazon. I linked all these items that I have used under the resources section so you can get them if you want to. For the painting surface is the paper and these coastal steps that I have used, the colors are very minimalist palette for this class. Black and white and the blue and the green. That's odd. Now, I think I have used one or two blue shades, but just one sheet is totally fine. If you want to experiment, of course, you can use differentiates our blue like I have used, mostly Prussian blue because I love to share. You can use cobalt blue or ultramarine blue. Whichever blue you have paler blue. I have used, I think color blue and some other shades of blue also in some of the paintings. But if you have multiple shades of blues, please use them. But just know that just one shade of blue is going to be totally fine. And viridian hue, it's a green shape. But if I mix these two colors, I get this beautiful teal blue color that I love using all my paintings. So I, instead of using just one, turquoise blue or teal blue, I have used these two colors to mix and create that color so that I can get it in various shades. So if I use a little bit more blue, it will be more bluish teal blue color. If I use little bit more of the green, then it can become like an aqua green color. That's the benefit. I feel that if you mix two colors to create one color that you have, but feel free to use any colors that you have. So these are the main four colors. But to twist the end of the class, I have also shown a little bit of demo with a RPA. And for that I have mixed up pink with Prussian blue. So pink is also there. Or if you have just purple, you can just use that also for the practice thing. And of course you need a plate for mixing and a glass of water. Now, the four brushes that I used to teach you, the snowy pine trees. The first one is a flat brush. I think I have used this satisfies all four A4 size paper. And I think I have used this small size also for our six. So now depending on the size that you're painting on or if you're practicing on an A5 journal like this, then this might be too big, then you can switch to a smaller size. Maybe this is a stained, depending on the size of the surface that you're painting on, you can use a size six or eight or four, or a tool. If you're doing a really small one with a flat brush technique, you can use a brush size to having a stage of flat brush with you is very important. I feel in your painting experience just by a set of flat brush. So this is the first 1 s I have shown you with our field, but dressed the same. Same thing is applicable with the filbert brush. Also, I have used this ice team and our size for while creating the painting. Because the size of the fever, the tree was small in that painting. Again, have a set of filbert brush so that you can use the size that is appropriate for your painting surface. These are the first two kinds of brushes. Then I've used the flat brush. This is a fan brush. This is the fan brush that I've used in this class to teach you the techniques. And I think this brush is the best. So look at the bristles. They are so soft. Now there can be so many different types of fan brush. So I wanted to show you I have two more different types of brushes that I bought at some point of time. I don't know why. Because maybe I was fascinated by the shape of them, but I never use them in any of my paintings in my life. So I just wanted to show it to you that trash cans can come in different sizes. This is a hog hair or one. So this is like a hot Brazil. I really don't like using them much. So yeah, I never used it. You can see it's as clean as new. And this is another type of fan brush that I tried creating the smell pine trees with this brush and I could not do it because it's just so broad. You can see, I could not use this for a painting, but this one was perfect because this is like a little smaller one. So if you don't have a fan brush and if you need to buy, I would say by this one. And if you have some at home, you can use them, experiment with them and see how you feel. This is about the paintbrush and last about the small round brush. I have used a size for size two. Again, same concept applies like a flat brush. Our brush have a set of liner brush. This is a set of brush where I have size zero, size to size four is 2.4 is what you see here, man. And I think it goes all the way up to size eight or ten. Having these three sets of brush, I feel is very, very important. I love these miniature brush set because the ones that I think there is a size zero, there is a size double zero, there's the size triple zero. Those are excellent for painting miniatures pieces. Okay? And for this class I have used, I think size for this was perfect for using A4 size paper for painting on the small one on the coasters. Especially on the coasters, I think I used a size double zero for that. So having this setup brush, okay, I think I have covered everything. Oh yes, I have used resin in this class. But that I will tell you the reason part comes. So all you need is just some bracing and some paper cup and popsicle sticks to mix it before pouring it, but that is optional. So I'm not really getting into the detail of all of that here. If you don't want to cover your paintings with raisins, that's totally fine. You can just leave it on the coaster like this. Yeah, so very minimalistic set of art supplies that you need for this class. And I wish you the very best. 3. Preparing The Papers: Now for teaching focus, I'm using these artists acrylic paper and I'm going to paint it great, because they're a gray background. Obviously, I can show you the white snow effects on the trees much clearly. And that's why I prefer to do it on a grace gray paper. But you don't have to do that if you want to. It's a very fun process. You can totally go ahead and do it and paint your paper gray and then I'll practice along with me. But you don't have to because for practice purposes it's not really necessary because you are going to practice it on your plain white paper or sketchbook paper, whatever. Okay, So here I am using a flat brush with a lot of white and the tiny touch of black. So you vary the amount of black unit depending on how dark gray you want. I want it lighter gray. I don't want a very dark background. So I am using a little bit of black and with lots of white and coloring up my entire paper. And it's a very fun process. Does the blending the colors, two colors, mixing it. Creating this paper gray. Once you've covered the whole paper, just let it dry completely. Because the paper is if the paper is wet and you try taking off the tape, it might get spoiled. So just wait for a few minutes. I let the paper dry completely. And after that, I'm peeling off the tape here. And as you can see, the paper is a little formulating the center. That's only because the paper is very wet. So again, let's let it dry completely before we can start our projects. This is how the paper looks. It looks pretty decent to me to work on. Since I was coloring the paper, I thought, why not create a flu or some of the pages idea, not just one since I was coloring and I'm my brush, add a lot of colors. So I decided to color couple of more pages. So I ended up doing four of these phages. I mean, even see the sheets a little different, but this is a little darker. Let these three, this is much lighter. You can see the texture is also visible in few of them, the colors and everything. Okay, so now I'll start with a lighter one. 4. FLAT BRUSH - BRUSHSTROKES: Here is my paper. Let's start with the very first tree. Here is my plate. Glass of water. The first brush that I'm going to use is the flat brush. This is six artificials art brush, and this is the one that I'm going to use for the first tree. Colors I'm going to use are out of this black and white, and I have two types of greens and two types of blues. Okay. I'm going to do one tree with these two blues create absolutely different sheds of snow color. For one, I'm going to use ultramarine and for one, I'm going to do cobalt blue so that you can clearly see the distinction between the two different colors of snows and how they look. Okay. And probably I'll end up using both of these greens, and I might also use a little bit of yellow, but I'm not sure about that yet. Let's see if I want to use it, I will use it. I'll also tell you why I'm using. Before doing it on this paper, let me show you a couple of brush tropes so that you understand how the brush trokes come out of the flat brush so that you know how the tree will also come out. For flat brush, this is pretty much a new flat brush because as the flat brush gets older, the bristles are not so than on the top. As you can see, it's very almost like a in line that you can see on the top. But the Asa brush grows old. Here I have kept a old brush. You can see that the Brasels are not sticking together and they are feathered out on the side. These two are exactly the same brush, but look at the difference. I am not using this brush because most of you don't probably have this brush, but a new brush is very much readily available with everybody. I'm going to show the JMo with this one. Now let me grab a rough piece of paper and show you the brush marks that you get out of this flat brush and the brushes that are going to be useful for creating the snow bine rays. I'm starting with black and green mix. First thing is that with this flat brush, you can create absolutely thin line. I'll take just a tiny such as water because I'm working with thick body acrylics. Let's paint that a couple of times more. Now we are not going to do horizontal line in this case, we are going to create a vertical line. It might be helpful for you to take a rough sheet of paper and just practice this a couple of times. I've been doing this for a really long time and I can create pretty much straight lines, with my flat rush. But if you are doing it for the first time, and by the way, if you're not getting a straight line like mine, it's totally fine because none of the trees that you see out there in nature are having a straight branch coming in from the middle of it. Feel free to make it a little bit more wavy. I mean, I think that's just natural. Don't freight over if you're not getting a very straight line. It's totally fine. But just do it a few more times just to get a hang of how the lines. You see if I have more paint, more water, the lines are getting a thicker. I have a lot of paint on my brush right now. If I pace it absolutely lightly, barely touching the paper, I get this. Thin line. If I put a little bit more pressure, This is what I get. This is one stroke that we are going to be needing for creating the snow bind trees. The next thing is, the whole texturing of the tree that we're going to create is touch pick. Touch the paper, and lift up the brush. Touch the paper, heat up the brush. This is the techni that we are going to do. Now you can see that I'm still getting pretty thin lines. If I pre it really gently on the paper, I'm getting very thin lines. Almost like the lines we got here, except that over here, we touched and dragged the whole thing here and touching and lifting a pie brush. I hope you understood this brush strokes, small strokes. And then for the tip of the tree, we are going to use one of the corners of this flat brush. You see the flat brush is very rectangular ish with like two points on the two ends. That point I'm going to use. Now, if you find this difficult, you can definitely use a small round brush. That's always there. But I I want you to learn how to create the whole tree without even touching the small liner brush. So For the tip of the tree, you will have a line like this, then you are going to use this corner of the brush and you are just increasing it on both sides. You see? This corner is acting almost like the tip of a liner bruh, fine liner brush. You are using that to do this. Also, I'm not trying to go completely zigzat. Instead, I am trying to do this touching and lifting technique. The whole tree, I'm going to do with that. With just the corner, I am going in this way. Let's just practice that a couple of more times. I want you to do this along with me because the more you do better, your hand becomes better I brain hand, coordination you get, and better trees you paint. Do it as man You see what is happening is this mouth is opening up. All I'm doing is going on the plate and just pressing it on the plate and making the. Again, point so that I can come here and p this you understood how to use the corner of the brush here. Now, we'll move on to the next brush trope and where we are going to do this, but a little broader. Let me show you the difference that happens. When you have a lot of paint on your brush like I have now, I have a lot of paint, and I try to do this. You see I'm getting like a solid line. Lots of paint, solid bled. Now, less paint trying to get rid of the let me grab a tissue paper. Let's just get rid of all the paint and just pick a little bit of paint. When you have less paint, and you apply less pressure, you this broken kind of lines. You see the difference between this and this? Just taking a little bit of pain, not too much. You see this beautiful textural line that you're getting. This is also going to be one of the helpful lines strokes brush strokes that is going to help you create the trees. Now the last one. The line the tip of the brush is like a line. Now we don't want the line anymore. We wanted the line here while doing all these things. Now we don't want the line. Now, what I'm going to do is push the brush on my plate. I'm pushing it top down so that the brush resels open up in the mouth. See it opened up. It's spreading in all directions. C. Open it up. Now the tip is pretty much open. Almost like this old brush that I have. This is not pointy tip or a line, rather it's opened up. Now we're going to use this for creating the te. See. This is like this, except that there is a lot of gaps in between. Let's try that again. Lovely. So at the textures that I'm getting. It's exactly the same thing except with a lot of g, let me try this with a different color. You see, whenever I pick up paint, what happens is the mouth automatically closes down because more paint helps the bristles to come together because the paint is acting like a glue and the bristles are coming close to each other and gluing up to make it a li. Every time I'm taking pain, my paint is getting over and tacking paint, I have to do this. Then only I will be able to do this extra. Again, let me just pick up paint. Every time I pick up paint, I just push it down like this, and I come on my canvas and Now it all depends on your brush. Every brush is different, every body will push it different. Totally depending on these two factors, brush that you have, how new or how old it is, and who is doing the pressing. The artist. Everybody will be pressing different, no two people will be able to press it similar. The amount of pressure that you, amount of britel that is opening will decide how well you will create this. T. This texture is going to be very helpful in creating the trees. Here is a long list of brush strokes that you got. Practice them up nicely because all these individual brushtrokes we are going to use in creating the paint. Now what I'm going to do is as if I'm starting with my brush fresh. I'm going to wash this brush of. Get rid of all the excess paint from my brush. Completely dry it. Maybe a little bit of green will men. I'm not cleaning it up that well and make it completely ready for painting my first 5. Tree 1 - Step 1: Now that we have learned or the brushstrokes, I am going to start painting the first, true. Okay, so I hope you also have your brush, so please keep it on the side and you can refer to it as you are following this tree. Now, this is my A4 size paper. What I'm doing is I'm virtually dividing this paper into two halves. So this is going to be my tree, one entry to here. So the center of this hub is going to be the center line of my tree. Alright, so let's start. Just a little bit of water. It makes sea green and black. It's a little bit color. And I'm going to create the outline of my trip. All right, so the line is now the first step of creating your tree is I'm not getting into too much detail in your first step is creating. I want to use moral left for this, because this is just the outline of how this tree is going to be. And I'm using the brush and kind of marking out the entire idea of the tree, okay. How broad database is going to be? I'm trying to find out all those things. And do you see that I'm in a zigzag directions. So that is how I liked pink team, my snow pine trees or Christmas trees. And I think when I start painting, this base layer is, it might get increased a little bit tomorrow. This is my overall structure. So this is your first state. In the first day, you are just going to mark out the index shape of the tree, the outlines of the tree. This is very important in building, does no batteries is because what I've seen from my students work while LBJ School pine trees. When they start painting directly the tree from. But by the, by the middle portion, they already gone lecture. But then you don't have space. And then it just looks like big, fat, ugly, right? Hey, you want to mark out the space in your landscape, wherever you are painting your tree, you want to map out that how much, how much space for the tree you have so that you have a space for painting maybe another treatise makes to it. Now, if you made this big, then you have no space of PAD. So this is almost like outlining the tree. But instead of doing it with a pencil. So I have tried that for the triangular with the pencil. Somehow. I just don't feel connected inside the block is just for me. It just feels like I'm beating within the box and I just don't like that, but if that goal, so you go ahead and do that so you can see the penicillin. It's a smart object triangle so that you know, when you're painting the tree, you are not going to go outside that line and you want to stay inside. But for me that doesn't work. So this is how I liked I first in the state one, I first aimed the structure of the tree. Okay, so that's our step one. 6. Tree 1 - Step 2: What is step two? Step two is, we're going to fill this up, so make this tree a little bit more fleshy. So right now it looks like a skeleton. Now we are going to just create a little bit more. So the brushstroke that I'm going to use is obviously for the top, I'm going to use this, this attached and lifting it up. So like, like, like the way I showed you here, touch the top, I'm going to do this way. And for the bottom and we'll reuse it kind of like this with lots of paint. Because I'm not trying to create textures or the T in this step. I'm just making the skeleton more fleshy. Alright, so let's start. I am taking lots of paint because my purpose in this state is to add a lot of heat to the tree. The top is pretty much done for me, but I'm adding a little bit more. Not trying to create any texture in this one. Just adding it. So you see, the tip of my brush is almost like. So from here, I can start to add the whole tip of the brush on top of that. I have to use the corner. Why is it willing to go broad on the job? You don't want that. So now from here, I can use the entirety of the brush and lift, touch and do that. And that's all I'm doing. Does Emily and I am mixing. As you can see, the two colors, black and religion peel the dark green color. I am continuously mixing these two colors because I honestly, I don't like using black a lot in mind. I am fleshing out the CI. I am, what I'm doing is I'm just taking lots of pain from the tip of the brush. Also. Here. If you want, you can keep the horizontal direction or angle of the G string 180 degrees. As if you'll notice in mind, I am kind of making it a little bit curvy. So that is your choice. In the secondary, I'm going to show you how you can make the car go down. But for this first one, that's a lot of green, black, green and black mix. You see when flushing out a little bit of patient is coming on the site, which is okay. We don't dislike textures. It says that instead of two, that is not the focus. Of course we loved it shows and we are going to take the next step. So my flushing out of the CI is not going to go into much detail in this state because in the next step I'm going to go into the detaining and I'm going to do increase the place. There's a bit more week that extreme. So this is my step two where we have added a lot of flesh to the skeleton of the tree. 7. Tree 1 - Step 3: Okay. Now step three. Step three is this restaurant. Okay? I won't say Absolutely This kind of like this and this little bit of this texture, a little bit of this texture. So for both the texture, what was the requirement that your brush not having a lot of pain? So right now my brush has a lot of pain. I am getting rid of it. There are two requirements basically. One is less paint and one is you push them out down on the plate and kind of open it up. But they only you can create the texture. So I am starting to texture my cheat sheet. So for that, what I'm doing is because the top is really narrow, please. So I am using the corner of my brush very, very gently. Now from here, I can go on the side and you see the pictures that I'm creating. Okay. Bracing, it seemed forget to play. Sometimes the lines become solid and not tertiary. So if you're doing first time, you might face this problem first time when you're doing. But once you do multiple times between come easy to you because you make, you make the mistakes once you learn from your mistakes and then you repeat it. That's it. But make the mistakes. Because unless you make mistakes, they will not really learn. Okay, see, I made this mistake. So we need two things that I still love. The place, the little bristles a little bit more and open it up. And we are painting some things just so you see when I'm creating the t-shirt, also increasing the shape little bit more, but I'm not going to go all out. But just a little bit more. You see my zigzag pattern is still very much visible. Just pushing it down. So at this stage, if you want, like, I don't have patients to do this pushing all the day. But for showing you, I am doing this. So what I do is for this step, I always use my own rest. So this is a very old brush. I haven't told me only because I want to create amazing things with this. So if you have a flashlight distances of show a little bit and then I'll switch to once you can do is see. So you don't have to do this pressing and opening up the prisons are not in this brush. It really does come naturally without much, especially on the edges because there's no point retakes shooting event inside because it's kinda solid color. So the focus is on creating shadows on. So you see, I told you, by the time we reach the base, the base is going to increase because we add the texture is going to increase a little bit. So it's kind of helpful to keep an old brush and not to hit, right? Okay. But there are disadvantages of this brush also. You know what, if you keep doing with this brush a lot? So you'll see this gap in between each of these section of the trees that we get filled up. You see already some fellows have funkier. So that's why when you're creating small trees, you cannot do this, but you can very easily use this flat brush. And by just pressing and opening up the bristles, you can very easily go and create textures and if it will not fill up the gap between the two layers. So that's our step number three, where we have extra to the truth. I just feel over here and I have gone a little extra. So that happens always with me, my painting, pine trees that I won't go a little overboard and just go out a little bit more. It always happens, but I'm just telling you it might happen to you also. So just be careful while you're doing this, especially the first three states, because in the first three steps, we are creating the shape of the t. We are getting the desired shape, the structure, forming the structure. Because on top of these, we will not do a lot of shooting and add on on top of this one. So basically we're not going to go to much of the sides. So the first three steps are very crucial when you're painting pine trees. Make sure that you are doing it very carefully. 8. Tree 1 - Step 4: Okay, Now the next step, in the next step, which is step number four, we are going to add some highlights to the tree before adding the snow. Before maybe there's no pine tree. What do we have to do? We have to first paint a fine, right? So right now we have just done the basic structure of the pine tree. And then the next step, what I'm going to do is add a lighter shade of green to show that light and shadow. So let us assume that in this one the light is coming from the right. Actually the light is coming from in my table right now. On the right side is my windows, so the light is coming from there. So let me assume that light is coming from the right. So there will be more highlight on this side of the tree and there will be darkness on this side. Okay, So that is helping make unrealistic snowy pine tree just by varying the highlight and shadow and create the three-dimensional effect of the tricks for doing that. Now, we have added the darker shades are ready now to add the lightest. For adding the lightest shape. I am going to add the sap green on the right. You'll see right now what I'm doing is I'm only on half of the tree, so I'm going to add from here to here. I'm not going to go on the left side. This is I'm just trying to take it down, making it easy for you to understand. And of course pressing very important. Otherwise the textures are not going to form. C because this sap green is also not very light. So this color is not really much visible in skin damage or injury to see too much. I can see with my eyes, but it's very light. Okay, now that I've done almost to the center of all of this, so I'm adding on the top part of this, each of these sections, not on the bottom, but because that light is coming from the top. The top part is highlighted just a little bit on just feels like not every week, like we did everywhere. In the fourth state, we just add a little bit. So I'm not very happy with this because it's not visible. So let me grab that yellow. This is cadmium yellow. And just a little touch of yellow with the sap green, we'll make that very much lighter. And then if I do it, you will be able to see TLB I will give. Everybody is happy. So let's start from the job stocking be done. Offline. Yes. You see how nicely it's visible on the highlights. And I am adding H2S, but like I said, the light is coming from the top. The dabbing technique. So if you're doing this 17 me for the first time, make sure you practice it on your rough sketch book or a sheet of paper a few times. So you see I haven't moved towards the left. I have completely to the center. Now. Now we can leave the left completely without touching as it is. So we will pass the leg, but not so much as much we have touched on the right. So on the left, just a few lines here. It was the tone. And opening my prison. Now let me tell you that instead of doing snow line three, so now under this, but we'll just start adding this new instead of this note. If you go ahead with more yellow on top of it, this is kind of like light green. Then you make it light, and then you make it almost yellow there. You can make it lemon yellow, then you can make it, I think the last one. So if you keep adding more layers, so let me show you just a little bit. Just a little. Just by adding more yellow on top of you are just going to increase the layer of this tree and he will make enough creating a very beautiful pine tree. Notice no binary, just a beautiful pine trees. So that is the technique of creating pine tree that you can learn from this class as well. So not just smell pine tree, you can create pine tree as well. So you just have to keep doing more or less. You can see this is lighter, more lighter than this side. So this is leafy top, this is a little bit more light. You need just a little bit. See what happens is, I'll tell you the mistakes that often happens. And if you notice, you know, if you do the mistake, how you can correct it. You see why the adding the highlights sometimes what happens is you need to keep a little gap of this dark in between. So sometimes I tend to go overboard and cover up the black but also. So in that case, what you can do is wash your brush, just wipe it off because we already have the dark black and viridian who are the best. So just take that up a little bit. And then you can come here and add little bit of the dots in-between. Whatever you think it is required, what is whenever you feel added a bit too much of the highlight, especially at the bottom, you want to keep it done because at the bottom is the shadow. Okay. I'm pretty happy with how my state for someone down. And again, if you feel you about it too much of shadowed, you know how to add the highlights now, okay. So this is just showing you how to cut it. If you do any mistakes. And on the top, generally what I like to do is instead of keeping the highlight only on one side. So here for us that highlighted the right side, instead of keeping it just on the right? I keep it on both sides because on the top the light is falling almost equally. Okay, it seems this is the first G I'm showing you to evaluate slowly. I don't paint binary. Is this the only ever? Because I haven't painting pine trees for a very long time. Like I've painted like thousands and thousands of binaries probably by now. And I can do it pretty fast. But since this is the first tree I'm teaching you, I'm doing it accidentally slow. Let's take forward is done. Okay, Now we will let it dry. But in the actual painting, if you're doing a landscape, you might not have just one tree. You might have a secondary. So what you do is you do till here, like all the green part of the tree, then you can do the, another brain, but by then this will dry and then you can come back and add the snow effect on the trees. So by the time you're doing this, this one will dry and then you can go on this one. But right now I am going to wait for this to dry. And then I'm going to do step five and step six. So there are two more steps remaining in state five, we're going to add one layer of snow. And in step six, we're going to add another layer of snow, which is much more whiter. Now you can take this even beyond and you can add a step seven also. But normally I have seen that just two layers of white snow is fine. For doing that. I am washing off my brush. Even watch this potential this one I don't need anymore. Okay. And this time also, you don't have to make sure that it's completely clean because we will use a touch of green. So it's fine. Now, let's start off with step number five. 9. Tree 1 - Step 5: The first tree I am going to use. These are the two blues that I have. So cobalt blue and ultramarine blue so far, the first one, let me use KOBAS. I loved the cobalt blue shade by the way. The ultramarine blue. So you'll see what the effects. So you will see two trees. I'll do one with COVID if N1 with the ultramarine. So you'll clearly see the difference between the two shades of blue, the snow effect that you get on your tree. For state five, we are going to create this no effect. And exactly the brush strokes is going to be like what we did in step number four. I'm just going to do a little bit here and show you how it looks so that you'll get a good idea of say five. So the color mixing is going to be white, blue, whichever blue you're using totally your call, you can use the opposite reward suppression. You also, I loved the Prussian blue effect as well, but I feel Prussian blue and this cobalt blue is kind of similar. And then take just a little bit of green. Any agreements by you can use viridian green also. You'll see kind of like a bluish green effect is what you are getting here. So this is not absolutely blue because why I say the reason for this also, the tree is green, right? So the actual tree is green. Why we are adding the snow? We want to keep the touch of green and then adult slow. But you will see some landscapes where the snow pine trees are absolutely like the actual tree looks black because all the green leaves are gone so that the tree is absolutely like dry, dry branched tree with very dark talent, least, where the green is not visible. So in that case, you might not want to do the highlight effect with so much of yellow. You might want to use burnt sienna for that because you're showing like a dried leaf dry tree and the snow is on the dry tree, which is actually the factory. In the winter, the pine tree actually dies completely. The green is gone, it's all black and the snow has fallen on top of this. I personally like to create pine trees. Pine trees with a green tree back background because I just don't like black. So I like and not like the colorful effect of the green from the background. So whatever green, so you will see once I start adding the snow, all these green is going to be gone, but little bit will be visible and whatever it would be, disability is going to be kind of like yellowish cream. Right? So with that being said, let's add. 10. Tree 1 - Step 6: Now comes the last and final step. We're going to add the snow for adding this. No, of course I'm not going to wash the brush. I want a lethal effect of I'm just wiping it off onto the tissue paper and getting rid of as much paint again. And I'm going to use only white. But you see the white is not absolutely pure white. It has a little mix of blue to it. And let's add this is the most payments tape of mine adding this stopping to the corner of the brush. Just talking a little bit on the left side now. Okay? So all of it is done. Now, I'm going to add a step seven because I just feel the snow is not absolutely white. So for that, what I'm going to do is let me wash off the brush, okay, so that I get absolutely pure white to start getting rid of all the colors that I have on my brush. Almost gone. And now let's add pure white. The corner of the brush gently, because this is the last step. Specialty on the edges where the snow has fallen, probably a lot more. We are adding a touch of white on the left. With the white. You see how I'm doing the texturing. Test with that, flat deep off the brush and just adding a few lines. Okay, Now, I just feel I just need to do a little bit of correction. The bottom which has become too much of white and not much green. So all I'm doing is washing off my brush. And it's taking a little bit of lack and green and just adding a little bit here and there. But I feel too much of a highlight color and the shadows are not that visible. This is how you credit your cheat just in case something has gone wrong. Spatially in the bottom, I like to add more shadows and they will. Our first tree is done. You might want to add a little bit of shadow just below each of these sections. This is just options. So whatever you like, I quite like this the way it has turned out so far. I think to me it's absolutely looking like a Christmas tree, don't you think so? I think the oldest sections are looking very beautiful. It's looking almost like it's giving me that circular cylindrical structure of the tree. And it's looking like proper three-dimensional. And the colors and my lights are looking very good. So this has been our first tree. Now since this was the first tree, like I said, I showed you all the six steps, or rather saving steps individually and I did it very slow. Now I am going to do the other one. The only difference between the first one and the second one is going to be like I was talking about the card. So this tree is little bit like this. Now you can keep it straight. Absolutely straight. You can keep it down. If you look at some snow pine trees pictures, the pictures of the trees, you will see that the tree is comes in. All right. So this is one I like. So I did this and I'm showing you this, this other carbon one. So for that one, I'm going to do it here. And the only difference between this and this is going to be bad. I'm going to use ultramarine blue for the stone rest. Everything is going to be similar. Plus I'm going to do it a little bit more faster so that you understand how we paint a tree faster, not discounting, because then you're going to pay for it. The vote on your legs. 11. Tree 2 - Step by step: Okay, so I already have black and green on my brush. So let's start with a secondary levels within that. So the reason I'm doing another one, I could have ignored this because I want you to practice more. Because the more you practice, the better your hand and eye coordination becomes embedded in painting. So by trees. Okay, So I started with black and green as usual. And taking kind of getting rid of all the excess paint for creating the center line. Okay. And we will see the first step that I showed you in the previous one that I showed you. I don't do it myself personally when I do it. But again, for your sake of understanding, I'm going to do it. This is mine. So now I'm going to flesh it out. So you can stay lots of paint. Again. Second and passed. It happens simultaneously while I painted alone. In my feelings, I do step two first and then state. Which means that while I'm flushing of the tree, I normally at the picture as well. But again, for the sake of teaching you, going to structure equals let me add flesh. Okay. So the exact flushing is that no, I'm not going to take water but just the paint. My brush, open up the prisons and add some tick shows on the sides. Okay, So the problem is that after you see is I have a lot of paint on my brush. So just wanted to get rid of the pain so that I have only on the tip of my brush. So you'll see all of these things are so vital for painting of good snow pine tree. How much paint you have on your fresh piece of going very gently on the edges. The edges are the most important one because on the center is kind of solid color. And I'm going a little faster. I'm sure you are able to catch up this time. So practice the first tree at a couple of X and then do this one. In practice, they turn, your skin becomes, is the case with everything you're doing live. More you practice the better you become. So how many times have you painted snow binaries before and have not been able to do it and then you're coming and seeing my video. If that is the case, let me know. Or if you're learning for the very first time. Then definitive way to learn painting, very nice. Pine trees. And then also you have to do it multiple times. Don't just do it once. I have a painting, I still remember the first time I ever painted as Nobody be, some around 2000 Cody and seems thin. I have painted like countless snow my interests. And as D practice a lot, I will show you probably in a later video how much I have to fill this last week you can do. I know how to paint my pine trees. But more I practice better. I become even after doing thousands of snow pine trees, I mean, isn't that crazy? And I think that is the case with anything. The more you practice somehow, you just learn something new every time. I just knowing, but still everyday practice, I just learn something new. I think more of a lag in the bottom. State three is over. And now I'm going to add the sap green. This time. I am not going to add the yellow because this little bit of yellow that is showing through it, which is not a very good thing because he has no bitrates, shouldn't have any yellow. That was just for you to show you how you can create just an all my pine tree. I added a little bit more, which I normally you shouldn't. So safranin is just too late, so I'm just mixing a little bit of yellow with the staff may just make them sad premium little bit more later. And we are on to our step. Which step is this? 1234? Named my Brazil. Okay. You see, this is what I, when I paint on my own, I just don't go all the way to Lake on the right side of the cheap ones and they've come back at the color and highlight color on the left. I just keep adding on the left, but compared to the right, and they have come up again. Okay. Alright, so the highlight and shadow is vacated. It is, it's mostly on the right. Look at it up close. So this is just a pine tree and now we're going to make it snow pain. No, I'm washing off my brush completely deaf when a tissue paper and I'm going to take ultramarine blue layer of the snow. Just a tiny touch of green with it. More fluids to whites. Because in the next step anyways, we're going to add the white on top of this. So might as well, just a little bit more blue in this step. That became a big blob over there. What do we do with this? I'm just going to add black and green. In-between. Okay, so that was our step number five. I'm washing off my brush and completely going to add a clean white or double of this? No. Okay. Let's take white. I'm going to gently, very tiny dots is softly adding lots of wide. But I'm keeping my textures in depth. I'm not adding too much of pressure. Act too much a patient. These beautiful shoes will not come with very gently. Bluish white. Left side is a little lift up. I'm just adding snow on them because I'll keep obviously the snow has fallen beloved as well. It's just not. To highlight it. You see a problem with this tree. I just feel this triangle shape is not paying. A little bit has increased on this. So normally if that happens in my painting, what I do is generally on the background there is a blue color of the sky or whatever bedroom calories, then I just add that color. But since here I don't have a background. I have a clean bed down and not doing that. But I'm just telling you what you can do to color correct. Your Christmas tree or snow binary. And another thing that I also sometimes what I do is just increase it a little bit on the left side also, and increase it on the top also to match with this line and end up increasing my tree little bit on the top using just the corner of the brush. Okay. I have to tell you one more thing. So I normally when I paint alone, what I do is I just played them by Linda State shooting. I hold my brush like this. And I'm telling you so that you can also do it. But because if I do like this, you will not be able to see anything. So that's why I'm holding my brush like this and I'm adding. Now that adding the pictures is very much possible. If I do like this. But if I do like this, you get a much better picture. You see it's a kind of peak picture that you get when you do like this. But if I do like, this is more like a light. Show you the difference of in a, in a minute. Let me just finish this and then I'll show you exactly what I mean by this. Okay, so I think that my white is added quite a bit on the right you too, and I'm fairly happy with how it's looking. Okay. I picked up a little bit more white. I like a good extent of white to this node. This is looking lovely. Like a thick layer of peak bunny. White. Almost looking like it's like as if drop-off snow on my tree. Maybe less patients. You can only achieve by adding very less pressure to add a lot of picture, you are not going to be getting mixtures. Okay? Our second tree is also done. 12. Final Touches: And I think it's looking beautiful. You tell me What do you think? Ok. And the texturing that I was talking about, let me show that to you in a bit. These are like all the final two means are texturing that I do is normally does take a little bit out only in certain places rather than keeping it like absolutely like a straight line. So what I do is so this is my seventh. Seventh step is adjust, increase. She lives in some places. And like I said, Hey, tend to overdo this and cover up all the beautiful shadows that I have seen highlights that only headlines as long there is a good shadow. So if you cover up the shadows, then there is no point in doing pilots because the highlights, I'm not going to be visible. So I need to stop. I need to stop but in our second okay. Okay. I'm not washing off my brush. It's very difficult for me to stop when I do these kind of things. See, look at the pictures. Beautiful. Now like I told you, for doing this entire two trees, cleaning off my brush competencies. Now for doing this is that fruit trees I showed you that I was holding my brush like this and bring the texturing so that you can get to see the indicting how I did it. Now, if I don't do it like normally, I don't do it like this. Right? Because when I'm painting, I like going like this and then I can do it faster also. And what happens is by chance and forget to press the brush on the plate to open up the braces. When I come on top of my canvas, it automatically opens with the pressure. You see it's opening up. This is a very effective way of doing it. And I'm just telling you all the tricks. And what happens is while you are doing 11 of the sections of the tree, it just adds a little bit of texture up and down because your results are opening up like this. So you go like, Okay, so now let me show you what I mean by that. So here is, here is the one I just taught you. And here is the one that I did before, which I did it without, you know, without filming. So obviously I could go on top of my canvas and I could do that sharing. So you can clearly see the difference between this and this are exactly the same. However, sure, you see the textures are a little broad and they're not so pains. So here what happened was since my vessels works like this, it was creating thin line texture. And in this one you see, since I was going like this, the textures are exactly the same two trees with the exact same technique, but the Luke is so different because of the actions. Depending on how you're doing your texturing exactly. This is how you're going to end up having two different trees using the exact same technique. And then look at this one. Same thing. My textures are pin line niche. So they are kind of like pin line, whereas in this one they are kind of pretty vague because they went on the top like this and they created a texture again with the same technique. See the different kinds of and also one more thing is, it's looking very different here because I did it on a white canvas, and this is a gray canvas. So the color difference is also there little bit. I am not able to get both of them in the frame, but yeah, I think you are able to understand the difference, right? Let me put them side-by-side. Okay. I'm going to put the picture of all these images so that you can see both the things that I have done and how differently, how differently they turned out because of a little tweak in the x-ray. Okay. And I'm just going to add a little bit of land and finish up these two these two trees. Let me grab my color. And for this one I'll use cobalt blue. So the light is coming from here, which means I will create a little shadow on the left. Tomorrow. Snow on the right. Just a little land to a touchy. Okay. And for this one, I am going to use the ultramarine blue. Just a little something to make your fees low. Good. She looked. She also please happy that you're giving it a land to stand on kind of view. And I like adding little pig, let you know to create some beautiful white. And that's it. Now to make it look even more preachy, I can add little bit of snow drops on top of this, you know, spreading some white. I'm just thinking out loud. I don't know if I'm going to do it. I still don't know. I'm just typing right now. Everybody should do it. I don't know. I don't want to do it right now. Let me just you the different kinds of trees and then look at both of these papers and then decide if I want to make some snowfall in this beautiful piece of paper where I showed you how to create snowy pine trees. Anyways. So we are done with the first two trees with a flat brush. So I hope you'll learn how beautiful and easy it is to create snow pine trees with your flat brush. So I have always painted my flat brush. But now I'm going to teach you another technique with a filbert brush. Let's get onto that. 13. FILBERT BRUSH - BRUSHSTROKES: Okay, here I got 1/1 mole of my gray paper, and here is my filbert brush. So this is from a set of filbert brush that I love. I bought the entire state because Philip brushes come in all different sizes in that seat. And I can use the size that is perfect for my canvas size. This is the size that I'm using for E4, but the size nail number is eight, whereas the one that I did in the previous one, so both of them are same size. Now you know that the size of the brush varies from brand to brand. So this size was five and this size is eight. But both of them are the same size over here, which is perfect for painting on A4 size paper. Sure. Right. Okay. Now before a teaching you the fever brush trees, let me show you the brush marks. Okay. Like I did, you know, like I did for the, for the flat brush. I will start by mixing black and green. The very first row. So the restaurants are very different than the flat brush filbert brush ones. And like I told you that, Let's pick up snow pine trees with flat brush always because I wasn't aware of filbert brush earlier when I started painting. And this I have discovered very dissenting, not very descended like couple of years I would say recently come back to my earlier, which are not courier rather than my career studying 2015, but I started painting in 2014. That was doing my corporate is when I used to work and paint at home. Do this. I do not know of the filbert brush at all. Vivid brush. I found out in the last couple of years, I think since the lockdown, researching more and understanding, learning more about painting and stuff. So this is the same technique, same brush technique that we did with the flat brush. So we're doing that same thing with this trope is absolutely the same. Okay. Now, for the next day, I showed you the clean lines. Now for the flat brush syllabus, look at the picture. This was absolutely straight line. Whereas for filbert brush, look at the shape. So cool, right? Because the tip is rounded. I want to know, let me show you with a little bit more paint. Okay. And now let's see for the tip, tip of the tree. So we are going to do exactly the same way as we did with a black brush, but you will get, so here, there is no corner right? So I'm pretty much using the same tip of the brush to create d. So for the tip, it's a little difficult. I mean, I'm just being extra courageous and doing it without the favorite brush. But you can always feel free to use up. What liner recipe, a small round brush. You might see some will come nice and will not come so nice. So It's totally depend on your practice. More you practice the better you. So I'll tell you my trick. What I do is after painting the whole thing when I'm actually in my landscape, I'm using the liner brush. I just saw the team and then just add that. Nice. Okay. So that is the tip. And then comes the picture you, okay, so this is when you are doing with a lot of paint. Now you understand the two different types of texturing you get once we'll do it like this. Once when you're doing, let's not get the belly of the brush, but you get more of a pin line when you hold your brush at this angle. And when you hold your brush like this, you get P. You can get a peek ot team depending on the pressure you, okay. And now for these last kind of picture, so that less stateless picture, you see that there's a little difference between the patient is looking kind of similar, but this one has a sheep to this one did not have a sheep. That's what I feel. Okay. So I hope you understood the brushing technique of the feet wet brush completely and without wasting any more time, let's get to our team. 14. Tree 1 - Step by step: So once again, we're going to do two trees, one width. This time, the two trees are going to be a little different than the previous ones that we did in the previous one. Flat brush technique. So this time I'm going to do the downward direction first. And then I'm going to do the upward direction because our population is going to be a little different. Okay? So let me start with a downward center of my canvas. And I'm going to do it a little bit more faster this time. So that's step number one. Now, let's create. You see I am combining step two when she here, can you notice that while I'm flushing of the tree at the same time, I am trying to, because that is my natural habitat of painting because I don't do this separately. So this time I pull and 22.3 together, that would be a little bit more faster. But I'm telling you so that you understand medical doing for the first time, take your time, do the flushing out first and then so be it. You see how my tree is not properly shaped. Like. It seems like the TPP has gone to one of the sides. So whatever you do is increase a little bit to the center. I just shifted the center a little bit. I hope you understood what I just did. If not, you can just go back a little bit and watch it again. I just shifted the d little bit was the right. And now, now I'm going to do that carving. Show that we get with nothing but brush. And I'm going to wipe off the excess paint so that I can create nice pictures. And I am using that feed on, so I go to add. So this is like fee is what I'm doing now. I think septic shock on the H. And again, I'm just opening up the results. This time just for fun. I'm not going to do the light from the right. I am going to do the light from the left just for fun, just so that you know, you get undecided on board the boat, the case. So by practicing this with me, you're going to get a handle, everything. Okay? Just adding, picturing. This is my texturing steps. So I'm just adding on the beautiful textures that I can. And I'm increasing the base of the tree little bit to bring it to ship. I absolutely love the pictures. Okay, now it's time to add some lighter sheets to it. Show the highlights. And this time we're doing it. Just eating the dog told the blacks from my brush because I have a lot of blacks up just getting rid of it. So that when I add the lighter shade, the highlight sheet. Not together. No, no, no, no, yes, no, yes. You know, I am loving this brush technique. Why? Because it says giving this beautiful texture of the leaves like, you know, like just pick that t. So like I told you in the previous flat brush technique, I'm holding my brush like this and touching. I'm not going like this, right? So I am pulling like this and just buy in this method with a fever brush. Pulling like this is creating such beautiful. They should have the leaves, the foliage is right. This is looking at almost realistic, this effect. You don't get it with the brush. So I feel personally after trying put the techniques, I feel favorite brush you can ask me which is my favorite one. Now, I would say, even though they were done with people growing up, I've never tried this because I didn't know. But good for you. I'm here to guide you. So you don't have to say e.g. do like it. Totally, totally, totally go ahead with, I've created hundreds of buildings with a flat brush because I didn't know it. But now she tells me I would tell you that just do it with a brush. Because I have these pictures. You Bye, beautiful. Everybody has a different definition of beauty in their mind. But I've seen beautiful morning parts of it loose, gives a more realistic feel. That's why I'm saying more beautiful. Right side. Left side is the highlights. I just don't remember, just for fun via EDI highlight on the left side. Let's get this beautiful. Okay, I am just going to add a little bit more black and green, like what we did in the previous one. And just add a few more shows. Since like extra. Once more. This is how you shape your tree. It's almost like you need a haircut and shaping the gut how you would ship, ship at it. But I mean, I always fascinated whenever I go for hair cut to see how beautifully shaded, right? So this is where I have this tree. It's like gardening your tree and give me the shape that you like. Okay, I think I'm loving this shape like the way it is forming. So we are done with step number four. In the next step now we're going to add the snow color that I am washing off my brush, off all the paint. And again, I will do this one cobalt blue and this one ultramarine. But this time I'm not really taking green. Okay, I am taking, Let's see, let's find out what happens. This number we must be fins because this green is a little bit, not a lot with just a little bit. So it's great to mix up a little bit with at least that's what I view. Let's see what happens. Just opening up the prisons little bit. Okay, I just feel adding leafy green. I mean, again, it's just my choice if you'd like to do just blue, you can feel that little bit of green. On the right and on the right also as and when I'm coming down on the right hand, we pay less. On the left hand going. You see this beautiful color when you mix, listen, green along with the fluid. On the right. I think I absolutely love how it has come out so far. And I don't want to add too much to it because I have a problem of doing too much. Because in the next two months, more of the whitish blue. And let's see how that happens. Because if I add too much, what happens in this step, if you go overboard, you cover up all the previous courses that you've done in the background, which you don't want to cover, a little bit of black and green should be visible, right? So that's H for step number five. And now I'm washing my brush. I am just going to wipe off my brush against you don't say it says blue and pink and white. And let's add some lights. Trying to open up the bristles, sequent back and create so many different sections of foliage here. Like I'm doing not just on the side, I'm doing a little bit in the same title, so loving this white on this side. This is the reason I added the gray back home first of all, so that I can show you how it looks when you add the white on the other side. So if you don't really have good green, but just for fun, you might try. It's just fun to see this. I don't like this has become a bit too much. So maybe I'll just cover it up a little bit of slack. Increasingly on the side of texturing. This time you see with a flat brush, we stayed only on the sides. Here we are with a little bit in the center. Awesome. That's why I keep painting with a fever. Rash is a good choice. Bend up black brush. Just a little bit of blue because on the right side and we want to add too much light color. Printing off the present because one beautiful dishes. Decide, I just added too much as it's fine. Yeah. See how nicely I'm decorating my tree. Like most like decorating a Christmas tree. Okay, So this is all done. On I'm going to do now is wipe off my, wash off my brush completely and add just a little bit of black and green in some places where I feel I have gone too much. Okay. So I'm just taking a little bit of black and green. And I fit here. I have gone a bit too much. So I just come and add little bit of green here to cover it up. Here also because at the bottom I want more of shadow color, not too much of a highlight color. And even sure Also I feel I've gone and listen to overboard and added too much snow. So just adding a little bit. Okay, now my tree is complete. 15. Tree 2 - Step by step: Now I'm going to show you type 23 on this side with a filbert brush that this is going to be a little different than the previous three trees that video. Okay, so this is with a fever brush, but in this tree, this is the kind of tree that you will see in the landscapes quite a bit. So once you learn this, you will understand how to sew the technique is pretty much similar, except just one tweak in the technique that will give you a brushstroke, rather a little bit tweaking the brushstroke that will give you an entirely different direction. Alright, so let's start. Again. I'm starting with my black and green. And this time I am making the structure a little different. Not exactly going in the exact direction, right? Kind of going equally on both the sides. This time I'm not doing that dabbing technique also. So earlier I was doing like this. So this time I'm not really doing a debit. So maybe a little bit more broader in the bottom. But yeah, pretty much the structure is done. And now I am ready to flesh out this tree and add some strokes to wait for that. I am not really doing too much of debbie. Rather, I am using my brush and beating it forward like this painting, as in. Okay, let me show you the brushstroke so that you understand what I mean by this. Okay, here's my brush sheath. So rather than just this, I am moving my brush along with Debbie. So it's a bit like this. So kind of like moving my brush like this in this in this way, better than just doing this. So that's the only difference. So I am moving my brush. And also instead of zigzag, in this one, I am going from them. See me hurt point on both the sides and on the bottom of the tree trunk. I'm just trying to create. So what I'm trying to create here is, let's say e.g. so let's say this is one of the branch of the tree. So this is the tree, this is one of the brand. And I'm trying to create little strokes like this, like how you see the palm tree. So that is the effect that I am trying to create. Now, a very gentle way and not going overboard and doing this very loudly. Test a small strokes. So this is a little different than all the previous or the three previous treatments that you loved. But once you learn this previous three trees, I feel this is going to get so easily because you understand the steps, all the six steps. So the states are going to be exactly similar. Just the brush stroke is different. That is not going to be much patients. So step three, which is a shilling stamp, that is not going to happen here. So this is just a fleshing out the bony structure of the tree that we created. Instead. Band these branches are kind of coming out and going up. So this was done. So this is kind of but I'm using the tip of the brush to create this way up texture. Rather than painting it. I'm trying to create it with the brush tip. Making sense. If you have any doubt. I hope I'm hoping that I'm really good explaining a really good that it won't have any doubt after listening to my explanations. But if you still have any doubt, any any doubt at all, feel free to ask me. I'm always happy to answer any of your questions because answering your questions help me improve in terms of pitching also and picking myself. Because it's just I just learn by teaching more questions you ask better it is for me. Obviously, your delta. Okay? You know what I'm going to do? My center line is kind of shifted now every time it's happening, which is fine. So I'm just trying to just add more color in the center. So the center line is not visible. And I think I have done pretty good, pretty proud of myself. P anticipating lines. So these lines you can create with small liner brush holds, but I feel that final bleed with a wet brush is just another level. Okay. So that was our step two, which is kinda mixed with step three because we added the texturing while doing it. Or you know what? Instead of three, I can actually add just a little bit of a shame for the heck of it. So this takes shooting is the exact same brushstroke that we did in the previous one. There's nothing different. Okay, so step three is done, and now we're on to step number four, where I'm going to mix yellow and sap green. And we're going to continue doing the same thing just in them. On the upper layer of this is just the same. I'm adding that little bit of sap green, not too much of the yellow. Okay, so that is step number four. And now we're going to add the snow. And this technique is going to be at least two. So this is going to be again, the stroke that I showed you where you are not Gabby Heather, you're dragging your brush. So instead of Debian, you're treading So exactly that technique we're going to do in this one and with the snow. And I'm going to use ultramarine blue. In the first step, which is first step of this node rather, I am going to mix blue and white. And so this is a little different than all the previous trees. Okay, So pay attention this one, and I'm starting from the top. The top part is not too different because it's a tiny little section. As I'm coming down, rather than going in the way we did in all the previous ones. In this one, I am going to drag it. Drag it. Okay, So jacking up it, just taking tiny touch of what does because the colors are drawing on my plate. Jaggedy, jaggedy. And because of the shape of these brush strokes are coming kind of roundish. So sometimes I'm using the flat side, broad side of the brush and dragging like this, just sticking with his water like this. And then sometimes I'm holding the side of the brush. So there are two different. Then we show it to you here. There are two different types of brushstrokes happening here. One dabbing is a jogging is like this. One tagging is like this. So depending on the space, I can do it like this, or I can do it like this. And on this small ones, I am doing it with assigned and adding. Okay. I am jumping on to step number six. Okay. This is, like I said, I don't distinguish between the stapes, right? But for you I will stop here, which is, this was more of ultramarine blue and white. So this was then a few remaining. So this was our step number five where we added more of ultramarine blue and white mix and recreate it, be bowling shoes of snore at rather than all the small ones that we did in the previous one. Now in the last step, I'm going to use only white. I'm not washing my brush. I am using the same brush. And all I'm going to do is add one more layer on top of. The top is just the same. The edge of the brush to create the structure. Okay, and from here I start dragging gouache on top of this and adding some more strokes. Just adding more strokes. The dot, the top, I'm adding some more small strokes. And also these gaps. We don't want to keep so many gaps. So I'm just bringing in white in-between. And depending on the gas. You see that my natural tendency is to that because that is what I'm used to. Reading technique is beautiful, just helps you do the way you want. So now if you're learning this for the first time and if you like this technique, you can try this also without previous trees that we did and see how it turns out because I'm sure it's going to look good. Okay, Now I'm going to just add a little tiny extract Dutch of extending the snow on the outside, Elizabeth, the tip of that brush. So I'm adding, instead of doing this with a small liner brush, which you definitely can do, I am using the deep off topic but rest because it just creates a texture. Also. Want to add too much in that bottom because in the bottom be dark shadow that I think I added a bit too much. I guess I could do a little bit of correction and more of my green and black mix and add a few strokes. So you understood the main difference between this tree and all the previous ones? That in this one I did dragging the object Debbie. And in the previous ones we did model. Okay, so our final tree structure is done, and I think it's looking beautiful. 16. Final Touches: And now just before finishing it off, I'm just going to add a little snow in the bottom. So these two trees are done. And now let me show you the difference between the same thing when I did it on my own alone without the camera. So it's just the same thing done another time for you to understand that the same tree can come out a little different every time you do it. So this is the one that I practiced before teaching it to you. So you see the technique is exactly the same. This one looks very similar to this one. I don't see much difference. And this one also looks quite similar, but little differences there. I think you're on the age. I haven't added too much of white. And that I didn't do only because this is a white background. So if I, even if I add white, it is that it will not be visible. That's why I did not add white, you are, and I could add more white. So this is how this tool works. These are our four trees that we learned so far. 17. FAN BRUSH - BRUSHSTROKES: In this video, we are going to learn snow pine trees with a fan brush, right? So, but before painting snow pine trees, let us understand how a fan brush works because if you're anything like me, you wouldn't know much about family. I didn't know honestly for a very long time. And fan brush is not very easy to use. You need to know the right techniques that light strokes to create, but it's very easy once you learn it, it's really easy. Okay, so I am going to show you a few strokes, brush strokes with a fan brush that will help you create beautiful snowy pine trees. So here is my plate. And this time I've taken out a fluid acrylics. The reason being, this is a very thin brush, as you can see the bristles. So for small round brush or a fan brush, I can't really work with pig body acrylics without mixing it with water. That's why I decided to use a fluid acrylics so that instead of using water, a lot of times I can directly use the paint. Now if you don't have a fluid acrylics is totally fine. You just have to keep mixing water with your paint to make it a little diode because these small brushes, they cannot pick up a lot of paint, a pig body paint and it can really paint that when there is no mobility in your brush if you don't have a good amount of water. That's the reason. In a fluid acrylics, it's just easier to use and do the demo. Okay, So let's see first couple of techniques. So basic things that we can do. So here is my brush. And of course we can do a couple of straight lines. So now you see the bristles are kind of stuck together and they are separated in like 34 clusters. So if that happens, it's kind of a little difficult. So watch what I do. I'd like to do is use just one of the corners, this corner or this corner. So that way you can use it almost like a liner brush and create a beautiful lines. And this is particularly not helpful for creating small pine trees. But since I'm showing you how to do the flat brush, check out all the techniques, all the strokes that you can do with a fan brush. Look at this, how pretty all these beautiful strokes or you can actually create a lot of nice green leaves with a fan brush. So say e.g. c. So this is almost looking like a tree that is coming up on grass. Or you can create a palm leaf like this. So once you understand how to use fan brush, it's actually very useful to create beautiful leaves and trees. So can you see how easy it is to create beautiful pictures with a rush? So yeah, there are so many strokes, but this one important thing that I want to show you is that, so right now the bristles are kind of separated. But if you take a lot of paint, so let's say I'm dipping it in a lot of what happens when you dip it in a lot of paint, the prison stick together. And because like one whole thing. So that time we, if you do like this, you see, you just get a different kind of strokes. So basically, the thing that you need to remember is if you don't have a lot of pain, it just opens up. If I just get rid of all that exists between two that I have on my bristles. Okay, So now it's starting to open up. And you see that now when you take just a little bit of paint, then you have this kind of strokes, which is a little opened like this. If you've been on a lot of paint them, this is what happens. Okay? So that's just a little bit of basics of the fan brush. It's really fun. So if you have exploded yet, so just pick up your fan brush and just keep making masks on our journal and see what happens. What you can do with that, right? This really good thing to do, okay, Now coming to our snow pine trees, let me show you a couple of demos what all we can do. So one of the technique that we're going to use is the dabbing technique that we have been doing with all the previous two brushes. This is the actual, this is the brush movement that we're going to do. Now you can go like this downward curve, or you can go like this when there is a less space. So let's say I'm just painting a tree and show you, let's see, in the top, if you put this, it's just going to become too broad. So we don't want to make it so broad on the job. So at that time, we're going to use this corner of the Brazil. And as we keep coming down the base of the tree. And here, it's kinda good to go with the full length of the result. And now we can use braces to create the texture. So that is how it is. Back. As you can see, the tip of the brush is kind of like a Portugal is not really downward curve. So this is the downward, upward graph. So it's kind of easy with a fan brush to create a pain, to create a pine tree. We test downward. Now we have reached the length of the bristles. And now, so basically you can't do these small trees without fan brush. So it's kind of useful to use a fan brush if you're doing a bigger, right? So this is just one of the basic shapes that we learned in the previous two brushes. I'm not going to do a complete demo of this simple tree with a fan brush now because you already know how to do it. So I just showed you also your homework would be to create two trees with a, with a fan brush and create one with a downward direction, and create one with the upward direction. So this would be your homework. So you understood I gave you a little demo of it. It's absolutely easy. The fan brush helps you do it. But now for the actual label with the fan, fan brush, I'm going to give it them over a little bit different kind of a G naught, a base simple, upward or downward curve, because you already know it by now because with the previous two brushes we did just that. I hope you understood completely go haven't watched those videos. You can watch it. And then you can do it very easily with a fine brush, with a fan brush. It's so easy to do it. The structure like this. And then you just increase the shape. I'm just giving you ideas of how you can do it, right? So you just take your fan brush and create the oral structure like this. And then you test it in some places. I'm showing you a very heat up very, very rapidly. I've not really trained to do this here, but just giving you ideas how easy it is to do with the paintbrush. But, but let me tell you a fan brush if you just if you're using Canvas for the first time, if you've never used it before, you might find it a little tricky. So when I, we fan brush, I did snow pine trees. A lot, lot of bets like gaining tanks at least. And after that, I could get comfortable. So the reason I'm letting you know, it might be that you'll get comfortable just after two times, just after doing it for two days. But normally I have seen that femoris is a little tricky if you have not used it before. So if you're trying for the first time, I would just suggest that try doing it a couple of times and you are good to go. 18. Tree 1 - Step by step: So now that we're done with the brush strokes, one of the gray sheets. And now I will give you a demo of two trees. And these trees are not very simple. Curves, downward curve or upward curve, but they are a little complicated. So I just thought of something different kind of tree with a fan brush. Otherwise it's just going to be the same too boring trees, which I don't want to do. Let's make it fun. And that's why let's do something different. Okay, so the basic strokes are just the same. So I will start with black and green, and then I will take out yellow, blue, and white to do that. No pine trees. Okay. So dividing my sheet. Okay. Let me start. I'm using just the edge of the brush. Keep observing from here itself. It's not a regular tree that we have done in the past sections. Sure. I'm trying to do something different. Look at the structure of the tree and said the basic skeleton of the tree, that itself is a little different. So I'm leaving a little gap and taking some branches out. So if I have to describe this tree, it would be something like going in all directions, in upward direction and in downward direction. So if you look at some of the snow pine trees, you will see that there are a lot of trees out there in nature, which is like this. So that's why I thought let me do a combination of both and shooting something different. Okay. So you are coming up and tone. I think pretty much my skeleton structure is done. And I did not do too much because I am going to add the texture on top of it and then give it the actual shape. Okay, Now let's start texturing to this. I am using the edge of the brush to do the test suite. And this takes shooting is kind of like what we did in the last in other filbert brush second one where we can. So let me show it to you here. So that kind of texture that I'm trying to do is like this. Where I am with one stroke. I'm creating all those small tropes that we did individually in the previous one is just because of the fan brush, we are able to do this. Read me out on this small lines. Okay, doing slowly, it is a little complicated. I understand. By VP, just watch it carefully once and then try doing it. So basically, if you understand the science of what I'm doing and it'll be easier for you. So I created the branches, a main branches. And then I'm going individually in each of the branches and then creating the patient, but not in a random way. But I am just taking off small strokes like this. Okay? I'm also adding some more branches in-between and the texturing for them. So you see the design that I'm doing for each of the branches itself is making that she looks so different than the previous ones we did. So see, this is going down, this is going out. So it's a mix of both up and down structure. Let me show you the picture that I'm looking at so that you understand the kind of tree that we ever do. So this is, this is the tree that I am looking at, the date. So I will add it in the reference. And you can have a look at it and see all the small branches that are coming out. Okay? And also notice that I'm leaving some gaps in-between these branches, which is going to get filled up a little bit. Maybe start adding the snow. Pm. Accidently loving this fun thing that's happening because of the band Rush that begin to match. That's okay. In magnitude. Can be done. Okay, So pretty much the structure of the tree is done. Which is Alpha, which was right when we did the texturing. In state three. I think we're going to add the lighter color and give it a dimension. I'm absolutely loving how this tree is starting up. It was a little complicated. I agreed. I was a little scared also to teach you this, but I'm sure you will learn to do it just fine. Just creating the base of the shield. So just try it once and see how comfortable you feel with the band Rush. If you feel comfortable than good, if you don't, you have a lot of other ways to pink snow pine trees. I absolutely love the structure that we have done here. I think it's looking fabulous. Now I'm going to take out a little bit of yellow. And I am mixing the yellow with the black. And I'm getting this kind of olive shade. I don't want a bright green color, so I am mixing yellow and black here. And let's just add a little bit of texturing just to make the CI nice. So just adding a little highlight on the left side. One more thing to keep in mind while you're doing this. See, I have a lot of paint on my brush, so I'm just going to label a little bit and make, keep in mind that do not put a lot of pressure. Because normally fact if old fan brush, you need to have a lot of paint in your brush, otherwise the business will stay open. Like I told you in the previous video. So it's actually necessary to have little extra paint in your brush, which means you cannot put too much pressure on your painting. Because if you do, it will become a big troll, which we don't want. We are just adding highlights. So absolutely, I am doing fatal touch. My gosh. A bit more. Green was very dark because of the lag I already had in my brush. So it's not very light, so just adding a little bit more lighter shades so that the highlights a bit more visible. I hope you are understanding the brush strokes that I'm taking. Let me show you once again just in case you are not very clear. So here is my branch, each of the brands, this is this is the main trunk and the branches. And I am taking the strokes out. Okay. So that's all I'm taking. Just take it very slow. Do we gently do not rush. Why you are doing this? Once you get the hang of it, you can definitely go faster and do it quickly. Okay? But if you do it for the first time, just take your time. Do it nicely slowly. Adding little bit of back. Basis is to keep good enough shadow. Okay, So our third state is done. Now, I will take out the blue and white and we will add the slope lines. And Prussian blue, even these two colors. So I'm using that credit one. We just finished doing a safe for where we added the highlight on the tree. And now we're going on to step 5.6, where we're going to add the snow color on the tree. So you look at it. We've got the fan brush out there like for strong bristles on it so that I'm not going to use, I'm just going to press it on the plate few more times to get it kind of even out, kind of fanned out. I can now Let's go. So let's start. I'm starting with the corner of the brush and I'm dabbing a little bit. Okay. Not truly, fully in the fan brush strokes that really people, okay, Now I'm starting to do that on the top is very less rate, so I don't want to try to embed. And now recently I am adding dark pen brush strokes on to the branches. Ready gently, very, very faded touch. Because if you press, it's going to get all mixed up and all these beautiful textures, the strokes are not going to be visible. Okay? See I'm using the right side of the brush to go in late because this is kind of easier when I'm on the right and using the left side of the bristles. Just trying to make it as easy as possible for you to understand and decode so that you can easily do it on your canvas. Okay, Just wait, one branch at a time. Usually is nothing else except I'm just doing one small thing that I do not do either or your tree. We're going to stand up. I mean, we did pretty much this one in the last tree of the filbert brush. So the same thing I'm doing here. So instead of going just on the both sides and we taking a couple of strokes in the center. Okay. You need a lot of beat. The pen brush to work. Okay. So I take that is done and strokes and beautifully looking. And can you see how fast this is with the fan? Brush it gently. Once you get flu at it and you do it multiple times. Is this fleet, they'll just one stroke. You can just go on each side and your tree will be done in probably 5 min, right? So it's a really easy thing to do if you have the practice of it. Otherwise it can be elliptical. Like for me, I do not have the practice, so it's a little difficult for me. Okay, so that was our step number five, and now we will add just the snow or double. Know I'm cleaning off my brush and getting you to off and just using white. Okay. So let me start on the top. Use the accident with the corner of the brush. John is a little tricky because it's a metal. Okay, now I'm starting to add the patience of the panel. You see how much, how big blob it became because I did not do fit the data and I've been lucky fast. Just have to be careful and go slowly. We did it with the fan brush and we created a beautiful beach retreat. So do you realize how easy it is now that most often nobody is done? I'm just going to go over it and add a few more pictures, especially on the edges. Because on the easiest though, the snow is going to fall a lot more than on the inside. I'm just waiting on the edges and adding some final touches. Before finishing off this tree. Sometimes when you feed your fan brush is not helping you. You can always use the corner of the brush and create the strokes matter where you go. That's all. Okay, So I just finish it off by creating a small man for it. And, uh, before finishing you talk, it's almost done. I'm just going to do a little correction. I just feel the shadow part is almost gone. What I'm going to do is a little bit off black and green and just add a few. So this you can ignore if you don't want to is just I just feel it all just adding little bit of lab branches. And then I date is going to be good. So adding just a few lines on the side. Especially here where I added a big blob of white. This is the time I can do the corrections. Understanding corrections is always good in between so that you don't have any fear of being days because you know that if you do anything mistake, you can always go back and correct it and then still be confident. Saying dog, you don't you're not really scared of stocking up or making mistakes. I'm just adding a few of the strokes manually one-by-one because I just want my tree to look pretty, pretty as per my definition so that I like it. Okay, So our first tree is done. This is how it sees him. And I think we learned to create a very different kind of tree than the previous ones here. And he's always good to learn something new. It's a little complicated. I would not see that, but I'm sure you will find that it's actually easy. Once you learn, do we get? 19. Tree 2 - Step by step: Okay, now let's create the second one. The second one is all to wait to be a little different than the previous ones is going to be kind of like a different kind of complicated tree. So let's start. I'm starting with black and green. The same tonight first. Okay? So this one is not going to be weak. So much of a gap in-between. This one had a lot of gap. So for this one, let me just create the structure quickly. This is also not a very standard structure that like we did in the previous two with the previous two brushes. This one is also a little weird in shape. Even though basic skeleton structure is also kind of different. There is no fixed pattern to it. It's just going in all sorts of like up and downward direction. I just want to increase it a little bit more and give it a proper shape. Yeah, I think this is good for the time being. And then once I add the texture, it will flop out a little bit more and have started to it. Okay, so here in this one we're going to learn something new with the fan brush. So in this one we did this kind of stroke, right? This kind of stuff. But in this one, I'm going to teach you another kind of stroke, which is the one that I showed you here. This one, alright. Tried to very gently because my brush has a lot of fast. It's going to be a show. Okay, So the picture, He's coming, nice, I'm liking it. And it's kind of happening fast because the mouth is pretty wide than the flat brush and the brush. So the picture you have a little faster. Now, I'm going to add a little bit of yellow to my brush and just add a lot of yellow. We've been followed the light pattern from the left so and highlight only the left side. Can you see the dictionary is coming so nicely now with the band Rush, and I'm doing it on top of the black. They could see very easily the other pictures are coming with the fan brush. Just a few strokes. I finished the entire picturing. What other highlighted. Okay, I'm absolutely loving this one, but they shouldn't happen really fast because of the fan brush. And also it's looking gorgeous. Okay, now I'm ready to wash off my brush and we will add the slope. Make sure that it's completely dried as it's dried it off a little quickly because I don't want the white color to mix up with this with this background. Okay, so now how we did two different shades of blue in the previous, previous brushes for this one also, I'm going to do a different shade of blue, but without taking out any other further. So here is my Prussian blue, here is my dark green. And I'm going to mix these two and get a beautiful, this is the blue that I got, and this is the one that goes, so it's a little different. I don't want to have similar kind of blue look at this. This is like, I think absolutely the color of the snow day. And it's beautiful, teal blue color. Very gently going on the job. And I'm doing this, Debbie and creating small textures. The reason I'm more beamed is so that my pen brush is kind of together and it doesn't split out. So to achieve that, I am adding more mixing morphine, cheddar. See how beautiful the dishes are coming. Chest with a tip of the bristle, I am able to give some amazing pictures. No binds. Okay, so that's it. This is done. Maybe add just a bit more. Just a little bit. Okay, that's done. Okay. I am washing off my brush and I will take just white now. And I have to go very gently, okay. Especially on the job. The corner of the pen brush. Okay, that's done. Now let's keep going forward as it downward. And at discrete small, small strokes with the Debby. Also notice that I'm trying to go on top of the blue that I added in the previous step and not cover up green and black that we had because we want to have the shadow shrink. Otherwise I'll have to correct it. A green on top of that. Okay. More or less, the entire gallery is done. I'm just going to go over it a little bit and add just like the big blobs of snow falling. And that I'm going to do with this texture as it dragging the brush that I'm going to do with a quarter of the bristle. So only in a certain places that may be chunk of snow falling. Okay. Whenever possible, I am trying to get some texturing because that's how we want to drink. This one should be there. Now, a little bit more on the H's. Okay. Now, if you need to correct. So in this one, I don't really feel I need to do a collection. But if you feel you have added a little bit too much, you can always add little darker shade and add some shadows. I'm just I'm just repeating it again because I know if you agree for the first time you might find is a little difficult to do. And again, I would suggest that you do it at least couple of times before giving up. If you feel like you're not able to do it in the first shot, that is totally normal EV to know that it is normally between this for the first time, it's natural that you will not be able to do it the way I'm doing it. Because I did it probably 20 times before. I was confident that I can paint with a fan brush. Okay. So don't give up if you're not, it's not happening in the first goal. Just try it again. Just take it up sheet of paper and just keep trying. This is best-case books come really handy. Because in sketchbooks, you can just do again and again and again, and just without bothering if it is coming out. I absolutely loved the shape of the tree here. And now I'm going to add some snow. Okay, So that's it. We learned two types of trees with a fan brush. And I hope you learned something new to do like kind of complicated type of us know binary and do not give up if you did not get it in the first goal, give it at least one more, one more shot before giving up. And I'm sure you will be proud of yourself that you give us give it a second attempt. Okay, so now let's move on to the next one. 20. ROUND BRUSH - BRUSHSTROKES: Hello and welcome back. So, so far we have learned to paint six trees using three different types of brushes. Okay, So this was the one with flat brush. This was the one with filbert brush and this is the one with a fan brush. Okay? So one of the thing that is common to all these three types of techniques that we learned with three different brushes that you can't really create very small trees with these brushes because these, these brushes would be helpful. These techniques would be helpful if you're creating a big painting. Big, I mean at least A4 size that before or if you have a landscape or winter landscape where your snow binary is like the hero of the BD. So it is taking most of the highlights of the painting, then it makes sense to paint the tree with one of these three brushes, whichever method is comfortable for you, right? So say e.g. there is a landscape where there is snow background and it is like one big tree in the front. Makes sense to do it with a filbert brush like this. Or you can use a pen brush and do this one whichever is comfortable for you. But, but we did landscapes. You can look at snow pine trees that are binaries that you would see in a distance, or maybe off small size. Now, small size can be done with a flat brush. Also. If you have a smallest size brush, something like this. So this is a very small size flat brush. So with this, you can create a small, fine tree, right? But even small ones. So e.g. you are painting a really small size canvas or you are painting small, small, small peak or maybe four-by-four whatever. So for all the small paintings of painting with a round brush, really easy. And you can do it, do your pantries they quickly and effectively, rather than working with a big flat brush or a filbert brush or fan brush. For painting with these, you need, you have bigger surface, but small brush. You just need a small, small space. So for PGY1, a small space, the most effective way of doing it with a round brush. Okay, so now I'm going to keep this aside. So now I'm gonna keep this aside. And we need to learn to paint three different types of pine trees. No pine trees with the round brush, the round brush that I'm using it is from a state of miniature rest state that I have. You will find the link in the resources section, and this is size number two that I'm using. You can use three also for all so demanding on legno, you can just use whichever you want to use. I'm using this one because I really want to pay like small. There's no point in creating a big tree with a round brush because this is going to take forever. Then why would you do that? Right? If you have to create a B-tree, you might as well use one of the three previous brushes. So the main reason we're using small brush, round brushes because we want to create small trees. Okay, Now in this one I'm going to show you three different types of trees that you can create with a round brush. Now, with the round brush, see that you can create so many varieties of snow binaries because there are so many different structures of a snow pine tree. So if you are painting different structures of pine trees, then obviously the tree is going to be your friend. But there are, I failed after painting lots of snow pine trees. I think they're aligned with the roundworm. There are basically three techniques that you can use. I mean, there could be more, but these are three that I have used effectively most of the time. And I mean, out of this here I've actually used one or two mostly, but I'm teaching you three different techniques. Once you learn the techniques, then creating a painting by painting as the round brush, you can use whichever method is more comfortable for you. The three techniques involves three different restaurants. So there is not much to be done in with a round brush, but I can still show you just a couple of brushstrokes that you need for these feeding, these things. Okay? So again, I'm going to use fluid acrylics for this. Okay, So I've taken out four colors. Black, cadmium yellow, Prussian blue, and white. So I'm just going to use these four colors to do the demo of this one. I am not taking all green, particularly for this one, because we can create a green by mixing black and yellow, so I'm not losing weight. Okay, now let me show you the three main brushstrokes that is going to be helpful. And in taking the tree for the first stroke is small dots. This is the first pressure. That's it, as simple as this. So we're going to use this technique and create a tree like this where we are creating dots. So I'll get you the detail of it once I start showing you the demo. But just to make you understand, I am telling you this is all you're doing. So the dogs can be can be exact dot like this, or it can be like sideways like this. Or it can be like this. Whatever is comfortable, not it's not going to matter so much. All you have to do is Debbie and Debbie, right? All my debits. Okay. So this is number one. Number two, brush stroke back. We're going to use this small dash kind of stroke. Very easily. You can create this week round brush. It can be just smiled ash also, or a little longer dash. So how this is going to be helpful is we're going to create the branch of the tree with these strokes. And a number three brushstroke is long lines like this. Dot, fandom, middle, middle length dash, and then long dashes like this. So how this is going to be helpful in creating that she is like this. Okay? So that's all for the brushstrokes. There's nothing really to practice. You're just observing this. Once. If you just watch this, That's enough. Who understand how it is there is nothing to practice. You will start practicing directly when I start showing the tree demo. 21. Tree 1 - Step by step: So here is my gray sheet. This is the fourth one that I painted initially, I want to do three trees on this one. So I'm gonna do small ones and fit them on this A4 sheets. So I'll start with the middle one first. So I'm going to do the middle stroke. So out of the three brushstrokes, or the middle one, this one, number two, that is the one I'm starting with. Okay? So I'm gonna do it in the center because the center is doing on the side so that I can guess the space I need for each of the trees. So I'll start off with, and I'm starting with just pure black, nobody in this day. And with a small strokes, I am going to start creating the skin. You can see I'm not going into the exact direction. Rather, I am starting from the same, same center line, center point in the main line, oblique. It's like a Christmas tree. I'm taking small steps, right? Medium, medium size jokes. Okay, So that is done. We have structured the whole tree and now I'm going to add some dictionary. Okay? So now creating the texture, we are going to do the same thing that we did in the pen brush, where we created these small lines below each of these chunks. So that is exactly what I'm going to do without small mountain gushing. That can help. I'm just having a liner brush is very important for a nominal regressions. Fine. But I honestly like this one, like this mediation breasts, brush set that I bought. I think I've been using putting your mouth because it really pointed deep and helps me create small lines. Right now we're doing our Cohen's d, which is shooting. Don't cheat. Okay, so the entire structure of the tree is done. Now I'm going to add some dimensions to it using the yellow. And after that, I will start adding the snow, but since I don't have green, what I'm doing is just my brush already has a lot of black in it, so I'm not taking in more. I'm just mixing the black that I had was just probably get you don't listen because a lot of blood just mix it with yellow. You see you create this beautiful olive green color. I'm going to use this and create some of the dimension. For the cheap. Now, I am creating pretty much medium-size tree here right? Now, if you're painting a small landscape where your trees even smaller, you might want to ignore this state that I'm doing right now because this small highlight is not going to be really visible. Because once the snow comes on top of it is going to be hidden anyway. Because of the size of the tree is not going to be the seat, but the big ones that we did before in those months into it made sense to do because it is a big tree and little bit of green was visible even after that, it seemed that this is about, this is not absolutely small. All right. So this has some to it. It's like medium-size G, I would say. Let's see, I'm not adding too much, just a little bit. Just to make that field give it a structure. I'm mostly using the same brush strokes that you had planned on using the medium-sized stash. Alright, so this tape is also done now in the next two staves and would add the snow. What people play, brush and mixing. Blue. And now you can change the shade of blue here by using a different shade of blue. But this is the only shape that I have, all the fluid acrylics mediums. So just taking that time, that's up yellow. And adding to this move kind of like D shape, quite a bit of white. And now I will start adding medium size jokes. Remember that's what we're doing here. This is statement number two. I'm changing this small. And notice that I have a few strokes in the center like this. Not just on the sides, but some mistake. Okay. Would amount of snow color has and now I'm not washing off my brush. I'm just wiping it off. And I will pick up white and directly go and add the snow on top. This is happening pretty fast. It's not like the previous trees which took a long time. They're on Russia. Life. My light source. Now, if you need to do corrections, so let me show you a little bit of correction so that you will feel confident that even if you do some mistakes, you can always go back and connect it. For creations. You need to have shadow beneath each of these line strokes. So wherever there's less space, so I can see that he's a little less space here. The black is not showing too much as in I've covered up the black two months. So those are the places I am going and adding some more of the neck strokes. Okay. So washing my brush again and just add a little touch of white on that page. Adding some more highlights in the wall. And we are done with the first tree. 22. Tree 2 - Step by step: Now let's create the first one, as in the one with the dotted ones, which is sticking number one that I showed in the previous video. And now we will start with that. Okay, I think this is one of my most favorite. We often small trees, bigger, round brush, and this is the one that I use most of the time in my landscapes whenever I'm painting a small pine tree, this is the technique that I use, that I use. This is also very good technique, but I don't use it much. I feel for me, this is a little faster. So here is my center line. And then we're going to create some doors. And here I'm trying to go in the zigzag patient now, each of the dots that she doesn't really matter, you can do we to have all feels good to you. But what matters is that you are daunting with 11 degree, just machi all day. And Debbie, you see the beauty of this technique. Pretty, it's looking dotted lines. It's almost like, or maybe we are creating the texture of this tree. I am trying to bring it to the same level. This one, I think I will have to create one more level of the tree and then come down me, I think now I am at the same level as the tree. Okay. That looks good. I think I can stop here. And my structure is also done. My fixturing is also done. Everything is done and just making sure that everything is done the way I want it and just extend the branch on this side, or a few of them. Now on top of this yellow, rather olive green. And just create little bit of that mentioned, trying to stay towards the top of each of these branches. I absolutely loved the dimension that formed of this tree. And did you notice that the center part also, I have quite a lot. I mean, there are a few dots where the background is visible. But it's looking like part of the DOD, but most of the tree is pretty quick. That's quite congested, kind of a thing. Very different from this pattern. Katie, some more textures on the left. And I'm totally happy with how this is turning out. Okay, so let's create a dark blue color, blue shade of the snow first. Just a tiny touch of yellow to make it a greenish. Okay. Okay. Do it. I'm doing it very gently and just making sure that my dots are falling on the job of the branch area and not on the bottom because of the water we want the blacks. Since this is a small tree, we have to be careful by the dots because it's such a small glazing can move anywhere. So I'm sticking mostly it was the net because that is where the highlight color keys branch by branch. In some places, we want too much. I hope you understand already by now, the basic structure. Nobody tree. Because if you know that you can literally just create any tree, the stapes are really important points. You never even have to pay so many days, like I told you in my previous videos, I don't really remember the stapes because I created them to make you understand. I, myself don't use them so much while painting. I just keep on doing it. Again, just a little bit of black below this video because there's not much black. Okay. So the snow, the snow layer of the damage and bombing has been added one day. And now I'm going to add a new one up to n. Let's see how it turns out and accordingly. I'm doing it very, very slowly for you to understand how I am progressing, how I am making each and every dot. But when I've seen this in a landscape, I really fast. If you are also doing this for the first time, you are learning how to paint pine trees. We round, brush, take your time first couple of times and do it slowly. And then once you get to be maintained, after doing it a couple of times, I'm sure you will become a row and your hand will also move very fast. So see how I'm creating each and every dot to create the snow effect of the tree. 23. Tree 3- Step by step: Now we are going to create though. Okay, So Todd months the stroke, remember it was like a long stroke. Right? So let's start with that center line. And the long lines. Let me just go though. So that's a good area marked out. And now let me start filling it up. Good. You remember the strokes are kind of long lines. See each of the trees have very different techniques. So depending on which one you resonate with the most you are going to use in most of your paintings like this. This is the one that I resonate with the most. But it might happen that you resonate with this one the most. So Chido child, all three and see which one you feel good while doing it. Or rather you feel easier to do compared to other, other, other two. Nobody's going to ask you which technique you use to create this book by raising your big day, right? Nobody's going to ask you this. The reason we're doing this exercise is so that you understand what are the different ways you can create snowy pine trees and find the easiest way possible for you to implement in New York. Okay, So the basic map out and kind of texturing is also done. And now I'm going to add dimensions to it by mixing it with yellow with the olive green. I'm going to add some strokes. I think this one, this one is happening faster. I think it's one of the longest. But also because I was doing it slopes. So again, that vanishes on how fast or slow you do it. Okay, So let's create the darkest smoke color first, and then we will add the lighter color. So I love this color that I created as taking the non strokes. But since this is the narrow portion, I'm not really a beach, take very long strokes. So That's it. Now I'm going to add the white, this white washing or wiping my brush and taking the white to take leave because I want you to become a one chip lighter than absolutely white. Okay. I feel I have covered covered up the shadows too much. Too much. I would have a new connection in this one. Before moving on to lab, I just want to add a good amount of white so that I don't have to come back to white anymore. Okay. Now I'm washing off my brush and just a lot, just a tiny bit of black in some places. Okay, So that's it. I like poetry is also done. So here are the three different types of trees that you can create with the round brush. So not just three different types of trees, honestly, you can create so many types of trees without, without own rush. But these are the three main techniques that I feel like you understand. You can create any kinds of small trees, small, snowy pine trees with your round brush. I realize I forgot to add the land for this so quickly. Okay. I hope you liked that. Here is our three different types of techniques to create with the round brush. So do try them out once, just once. Follow the video along with me and create it. And they figured out which is the one that you want to paint for the rest of your life to paint the snowpack. I also wanted to show you the other trees that I did with a round brush technique. So here is my journal where I practiced before teaching it to you. So you can see there is not much difference between the ones that I showed now and the ones I did earlier because with the round brush, there is really nothing much that you can get. A few more that I did. Basically just the three techniques I practice multiple times. Because the more you practice, the better you get. So I want to encourage you to practice more than once if you can, because if not anything, you will end up with lots of snow bank fees like me, like this. 24. Small snowy pine trees: In this video, I'm going to do to how to create different structures of snow pine trees. Because snow pine trees can be in pine trees can be in so many various structures. I pretty much tried to cover as much I could come across. And if you just practice this once, understand how the different trees are painted. And if you just do it once, it will help you also, whenever you see a pine tree in your painting, you will know how to tackle it. So these are pretty much the same using the similar techniques that we learned in the previous video. But I feel especially if you learn this kind of trees, this will help you in creating misty pine trees where you see a lot of different shades of the same blue. So that is what I tried doing, some lighter shades in the bag and some darker shades in the front. So practice this couple of times. This and this are pretty much similar. And this is also one that if you practice this one, you will understand how this idea, considering that the light ray is coming from the left side and how you can create these small pine trees. And if you have the practice of doing this for, for some time, then whenever, because there are landscapes where you see this kind of small distinct pine trees in a lot of numbers. So if you don't have the practice of it, it will take you forever to create a painting. So if you just practice this one, you will actually have good practice with your hand. If you want. Please do it more than once. Because more you practice the better you get. Okay? So with that being said, let's start the process and just watch and paint along with me. Try this out once so that at least you have this painted in your sketch book on A4 paper, wherever you're doing, you have it with you. Once. I'm done with your own hands. And it is good to refer back whenever you are creating a painting and it will help you break down the painting in your head fairly easily. Once you know how to create different types of snow boundaries. 25. COLOR MIXING + BLENDING EXERCISES: Hello and welcome. In this lesson, we are going to learn three things. Before starting to paint any of winter landscape scene. You will not need to understand three basic things. Number one is actually blending. So how you blend the colors to create the snow effect the sky. So basically in any winter landscape, you will have the ACLU basic elements, which is the sky and this node. And there can be a lake or something, but that'll be part of the ground, right? So sky and the ground. And then that is number one. So first you will learn acrylic blending. Second, you will learn the colors, the colors that will create a beautiful winter landscape. So there are so many different shades of blues and greens and purples that you will see now in the landscape. And so the purpose of this exercise is to understand the colors that you like painting with the most. After painting a lot of winter landscapes, what I realized is for me, it comes down to just three colors that I really enjoy painting. So those are the three colors that I will show you. The purpose of this exercise is also to make you understand, do this exercise with your choice of color so that you understand the colors that you like. And the third thing that we are going to learn in this exercise is how to create the landscape form. We just get winter landscape. So there can be so many various wavy because there's less snowfall on the land. So they're going to be so many different types of land forming that can be distant land, that can be a frontline. So all those different types of combos that I'm going to teach you through this exercise. So once you understand this, you can literally create anything being just on your own without any reference and just place objects here and there and create your very own winter landscape. Just to sum up the three reasons why I am teaching you this exercise. Number one is going to be very helpful to understand accurately blending. Number two, the color combination. Number three, the land formation. So these are the three basic things that you are going to look. Okay, so here is my A4 sketchbook. As you can see, I have taped it down on all the four sides and I have divided the people also into two so that I get like three sections. So the three sections are pretty long, but you might want to paint a vertical one. That's totally fine. I just want you to use this length of the painting doesn't really matter. What matters is the color combination. So you can do this color combination into a square form also our indoor vertical format. So that's totally fine. The reason I used a broader space for doing these exercises so that I have more space to do the blending and show you how we can mix the colors and create different winters gaps. Here are my colors. Here is a glass of water. That's all you need for this practice lesson. First and foremost thing I want you to do is watch this lesson with the colors that I am teaching you. And then instead of practicing exactly what I'm doing, you can practice this same exercise with your choice of colors. So the colors that I have chosen for my winter landscape is Prussian blue, viridian hue, and pink. These other just three simple colors that I'm going to use to create oil differentiates of my winter landscape and of course, black and white. I mean, how can you create a main thing without these two colors? Right? Okay, so let's get started. I'll take out all the paint on my plate and we will start our start with all the six color blending exercise. 26. Exercise 1: Okay, So I have taken out white fresh in blue region who and pink, I have not taken out the black because in this exercise, we're not going to paint the objects on top of this landscape. Here, my focus is mainly on creating the background landscape. Teaching you how to create the background, beautiful land formations and the background of a winter landscape where black doesn't necessarily always come. You can use a light touch of black if you want to create kind of like a grayish background, if that is what you want, you can definitely pick out black. But the, the backgrounds that I want to do for that, just colors and white is important. And you can see I have taken out a lot of thick body acrylics are white because white is like the most important color for painting snow and with the landscape. So we need a lot of white. Let's get started. So I am thinking I will start off with this page first thing, I will do these three pages. So in this page, first thing what I want to do is just work with one color, okay? Just one color. So say e.g. Prussian blue for this color, for this one. And then I'm thinking I will mix. The reason I've taken out green is obviously you don't see much green in winter landscape. The reason I've taken out green is because I want to teach you how you can create a beautiful blue color, which is my favorite color. Now I know that that blue color may not be available in all brands. Or it can shade is almost like the blue or the blue kind of shade. But the reason I prefer green is because when you mix these two shades and create that beautiful shade of blue, you can vary the color shade depending on the proportion of these two colors you use. And that gives you more opportunities, more options to play in your landscape, not just one color. So say e.g. you take out just one color, pillow, blue, and we'll mix it with white. You will only get shades of blue, mothership. But when I mix these two colors to create a tailor blue effect or a turquoise blue effect, or a teal blue effect. I can vary the quantity of green that will be more greenish blue. Or I can use more of blue and blue that will make my shed more of a bluish. So I have our choice of that. And for the third one, I'm going to mix Prussian blue and pink. Exactly the same logic applies here. The reason I don't use the violet is because when you take out purple or violet from your pain, you can just launch it. Whereas when I mix these two shades, I can change the shade of the color depending on what I want. I can make it even just pink and white. Or I can make more of pink, less of blue, which makes it more like violet. And I can take more of blue, lesser pain that makes it more like purple, bluish purplish shade or it can be pinkish purplish shade. So there's so many options that you get when you mix two colors to create a secondary color. So I hope that is clear. Now let's get started with our first one. So in this first three pages, I'm going to do to these three colors that I talked about, Prussian blue, just simple, Prussian blue, teal blue color, violet shade. And for this tree, I don't know what I'm going to do yet. So let me finish this one first and I'll see what I want to do on this page are the colors that have taken out, the pressure taken up fluid acrylics rest. All of them are people yet, doesn't really matter. You can take out whichever, whichever color that you have. Here is the Prussian blue. And starting with very dark. For retail landscape, I don't like using so much of dark shades. I like to keep the background absolutely light. So I am using a lot of light. Don't down though. Okay, here. There is one thing that you need to learn is the brush stroke and the blending that I'm using. So you see, I'm kind of going in what I've been told duration time window. And I am also feeding a gradation of kind of dark blue and the dark to light blue. So this can be one form of landscape. Oh, and I forgot to say that the brush that I'm using, a size six brush. So I just want to make it a little bit more dark. So I just wiped up as my brush and a lot of white and just add a tiny touch of that Prussian blue on this corner. Okay, that's done. I'm just wiping off my brush and not wait to watch it a lot. Okay? Then what we are going to do is this is how you create a with the landscape. What you do is you just bring it down with white mixed with the Prussian blue color. So don't worry about anything. Just been in, bring the gradation from top to down with this bluish white. So you see the white is, no matter how much white and picking up the color is kind of like light pressure and that is the color we want. Okay. So my entire background mixing is done. You can see the brush strokes here and there. Like kind of beautiful brushstrokes created. Now for this guy, if I wanted to create some clouds, you can go ahead and add a little patches of light. This is kind of like blue mixed with white. It's not really pure white. And the background is wage, so it is going to blend in. Okay, so that's all about our background. I just feel that I want to add a little bit more of dark blue on the top. It's just too late. Just one on one corner. Otherwise my painting might look very flat. I just wanted to have a good contrast in the landscape, so just making one corner dark will do it. Okay? Now, the next step is letting it dry. So I will leave the complete background dry, and meanwhile, I will also wash off my brush. So the whole background is dry. Now you see how we create a lag. So now I wash off my brush and I picked up a light. And you just go in-between and just create a land. That's a good snow land. And now all we have to do is just blended down with a light blue color that we have as the background. Just gently drag it down. Very gently. I'm not pushing too hard because if you push out it will stay lot of white. Okay? So just gently blending it into the black background. Now, if you like, creating textures like me, what you can do is really thick layer of white on top of it and add a good amount of snow. So now we will leave it at that, that is, our first landscape is as easy as that. Now I have a lot of white. I'm not washing your job because I need this color for my next next one. 27. Exercise 2: So for the next one, I am using blue and viridian hue mixed with white. So let me blend the color on my plate and take lots of light, more of view. And you'll see we created this very beautiful steel blue shape. Now in this one, in the first one we created this blending with more of like presently strokes. But for the second one, I'm going to show you a different kind of acrylic planning. Okay, So for this one, I think I will do the last one and then we will come and do the middle one. Let me start. This one. I started from the top. Here. I'm starting from the center. And I am taking it up like this. And here's my strokes are not like this. It's more like short strokes. And I'm pleading it like this. So now let me take up some white and start from this corner and bring it all the way here and blend it with this dark color that we added. But look at my strokes, look at my brushstrokes. I'm making some small, small strokes. Kind of zigzag motion. Not exactly zigzag, but just to make you understand, I'm kind of going in zigzag motion to do this blending. See, like I said, I can change the shade of blue that I'm creating here. So all I'm doing is taking a little bit of Prussian blue more and adding that. So you see, I got a beautiful mix of teal blue and Prussian blue in the same landscape. Now if I want to give a touch of Prussian blue here and there, I can do that also. Everything in B, those small strokes. So the blending looks absolutely different. Busy, very light handed. My I do not have too much appreciate I'm not applying pressure. Add on. Just going very likely. Okay. I have a lot of Prussian blue in my brush, so all I'm doing is wiping it off. Taking that same blue color again and just cleaning it. You see I'm just adding tiny touch of green in some places. You see how beautifully blending is happening here. This corner is mostly white, so we don't want to add too much of the same concept applies. We will bring it down all the way to the bottom. So this same color, same color, we will apply all the way to the bottom. So for that, I will not use a lot of color, but just more awful white to bring it out. Whatever little palette I have, my brush. You see, so the whole background is almost filled up, just adding a tiny bit more of way and afford the brushstroke. I'm kind of moving my brush in sulcus. Right? Now. I am going to, now we will create this new plot, right? So for that, I am washing off my brush, getting rid of all the excess blues and greens from my brush. And I will pick up quite a bit of light. Okay, Let's start with his wife. Okay? And let's create one land like this. And let's create one land a little distinct like this. Okay, and now all we have to do is blended down with the background. This is a distinct line and this is a foreground lens. So since this is the foreground, we will add more white in this one and bring it down. Very gentle strokes and blending it with tobacco. This is another land formation where you're doing one land in a distance and one land in the front. Okay. I was just dry this part and add just a little bit more of white, but maybe I will do it later. I just want to darken the background just a little bit. So for that, I'm just using this data sheet once again and adding just a little dark shade on the background here. And also create some textures. It's a very kind of like foggy background kind of thinking that we are trained to help this land is kind of getting blended into the foggy background. So that's done. And on this corner also to leave, it just adds a little bit of dark and blended with the white. Okay? So now you just tweak it. You understand the concept now. So now you just tweak it and see how, what do you, you like. Okay. So I think I liked the land like this. I did add a little bit of this greenish background to this. You continue to learn just by adding the background or the lack of color, whichever is required in that part. So this is very nicely done. It just makes it a little bit with the smoke. Okay, I think that's beautiful. Now, all I want to do is just add a huge thick layer of white like we did on this one. So for that, I need to make it dry completely. And then also I'm just washing off my brush completely clean and taking good layer of white. Deem a good amount of white and blending it into this bluish green background. Give it the shape that you want. I'm just changing the shape of my land here a little bit. But that's how we did the one with the teal bluish shade. I absolutely loved that these white little bit mixed up with the new in the background. And the color is getting totally loving it. So this small, small things that makes you happy will make your landscape happy has failed. So just play around. I'm just trying to give you an overall concept that you can use to create any winter landscape. Alright, so we are done with the two colors. Now, let's play with the purple shade little bit, okay. 28. Exercise 3: Now for the purple shading, I am mixing light, Tiny veto, Russian blue, and tiny veto. Think. Okay, maybe just a little bit more pink. Just defining the shield. I like, I think this sheet is quite good. And let's take lots of white, more of pink. Okay, That's a pretty shade. Okay, now let's start painting our follicle background. You see there's a tiny touch of Russian blue also coming up, which is so pretty light, which is adding to our color shade. So that's it for the top. And now all I'm going to do is get rid of the excess paint from my brush and pick up lots of white and blended into it. So for this one again, I'm kind of doing long strokes, not this short strokes. And leave the gate with the dark purple color that I have. This one again, we're going to do a little differently so that I want to give you different aspects of doing different landscapes. So in these two, we added the snow in the front with a lot of white. But see, look at this one. What I wouldn't do. We do this a little differently. I'm just mixing a little bit more of the violet color and just adding a lot of Jewish. Okay, so here is my buffer. Move the brush strokes the way it feels comfortable. There is no particular way that I'm doing it. Okay. Now, all I'm doing is getting rid of this maximum amount of paint and adding a bit too much of white in the background. And you can clearly see my brushstrokes are very visible in the background. And I am going to not wash, but wipe off my brush even more and add a good amount of white in the background. So you see the difference here. We are adding lots of white into the background. Not as a land in front. And now we will take it up and blend it with the bedroom. And to maybe I just wanted to add more of light at the bottom so that the background is almost whitish. Maybe pretty light. Kind of Pope was shaped and blending it in with tobacco. Okay, so that's done. Lots of white. Now this way can be reattached to later. But for the time being, what we're going to do is get back to the dark color that we created at first. And we will create a land in front. Okay, so that is the difference. Elc. Now create the land the way you want that just giving you a shape like this. See, I did not wait for the background to dry and I'm going to leave immediately on top of it. That's because I, you see the widest kind of blending with this background that we're creating. And I like that. Okay, Now we'll go all the way to the bottom and just completely fill up this area. I'm not taking any more paint. Just using whatever color I have on my brush here because this has become too light because of the white. Great. So my entire big background is done. Now again, I just wipe off my brush and just take little bit of white. Just to add a little white in the land here. Not very prominent, kind of like blending it with the white here. That is why I left it where it happens automatically so that I didn't have to do the job. It just happened because there was a lot of way. And also I'm going to create one more, another short layer of land. Absolutely. So see you can create 23 layers of lens. We do landscape and make it look pretty. So. I like this land in the front. This is like proper snowy land. Kind of three layer. Let's get these two are this is like one layer. This is kind of like 1.5 layer. And this one has like good two layers of land. Okay, so you'll understand how it's looking nicely when I take off the tape. But, you know, understand the concept question. We are done with the first page of the landscape. 29. Exercise 4: Now what I'm going to do on this side is I'm thinking that I will teach you three more different land formation, but the DC-3 that you learned is actually good enough for you to create any kind of fall landscape that you want to do. But lets us explore a few more options and try doing it in different ways. And for this, what I'm gonna do is I'm going to mix these colors. Okay, so maybe Prussian blue and teal blue in one, Prussian blue and violet in one. Blue and violet in one, something like that. I mean, not exactly like that. But I'm just giving you an idea that you can mix and match these colors also to do this, so say e.g. these are not the colors of your choice. You'll want to do with a cobalt blue maybe, or maybe you want to do with ultramarine blue. Maybe you want to do with green background, whatever colors that you have tried on this now, chyme mixing them and create landscape which has good options. So these are more like only one color, even though we created it mixing two colors, but it is ultimately one color that is prominent in the landscape. Now here I think I want to have a mix of both. Okay, so for the first one on this side, I think I'm gonna go with steel blue and Prussian blue mix because these two are my most favorite color for painting winter landscape. But there's going to be a very subtle mix of Prussian blue and blue. You see when you're creating the loo, you already have a shade of Prussian blue with it. So it's not going to be very different, but it's going to be a little different from the way we did here. So let's start. So I am mixing these two colors to create a pretty deep blue shade. Here. We kind of kept it dark on the top, but sure. I think I want to make it make the landfills so kind of like like this. And now I'm going to mix it up and make it white on the top, completely white, okay. And then I will add some Prussian blue in the bottom. Let's see. I'm just experimenting with it as I see any POC, that shade of blue here in this one is more towards the green side, which is with you something new. I think by accidentally I ended up using little bit more green, which is totally fine. We don't have a problem with that. Okay, mode of white on the top. Okay, So it's done. Now, what I'm going to do is just add tiny bit of Prussian blue on this bot blended in with the background. You see how I'm blending these two colors. Kind of weight now, right? So it's easy for me to blend right now. Leader, it might be a little difficult. And follow the stroke thoughts. I'm thinking small, small strokes and blend it with the background. Look at the way I'm blending. Instead of using the tip of my brush, I am making it to lie on my canvas and kind of going in London no direction. Leaving it with the background. So what's happening is it's not creating a very bold mix, and it's mixing the software interface absolutely. And also creating some beautiful textures. Now with the same concept and taking little bit of white, just adding on the top a little bit, bringing it down in some places. Okay, now I'm going to wipe off my brush because it already has a lot of deep blue, so the white is not very prominent. So now I want to add some more of light from the top. Okay, I think that's pretty good background you see the strokes that I used in blending and they are looking pretty good. Now I'm going to wash off my brush. Okay. Washed and cleaned it off. And now we will start with a lot of white. And let's create a white land here. Okay, Now, let's fill it in. Okay, That is little bit of teal blue shade coming which was not cleaned properly. So that's okay. It's not going to make a lot of difference. But my focus is on heavy, mostly white in this block. So you see we got a very okay. You see the tubule is coming and coloring my land level. I don't mind. Let's okay. But it's mostly white, right? Okay. Now I'm going to take tiny bit of Prussian blue. So this was more of teal blue on the top, even though we add a tiny bit of Prussian blue. But here now I'm going to add little bit of Prussian blue. The land. That's a lot. We don't want so much, so I just do add some more white to it. And I'm also adding a good amount of white to this. And a lot of Hawaii. Again. I'm adding some shading to the white here with depression. And I'm pretty happy with how this turned out. You can see the bend of the flow of the land though. The landscape very beautifully in this. Okay. 30. Exercise 5: Now, in this one, I'm thinking of doing a deal, blue violet mix. How about that? Okay. So let's get to that. Okay, So I don't know how to wash my brush because it has a lot of white. I am directly starting off with the top. Okay, this has a little bit of flashing blue. That's okay. And this background, I want to keep it more nice. Okay, So you see I did not have to pick up any color. So all the colors that was remaining in my brush is coming out. So I think I'll go with this. This is kind of mix of t blue and a Prussian blue, which is coming out from my brush without me doing anything. Which is great. And I'm just going to use this teal blue that is coming out from my brush and make this landscape. You see, look at the beautiful background that we are creating here. Right now, most of the colors have come out from my brush. So now when I'm taking white, it's kind of just white. So here is my land already formed. Okay, let's make this like this, like this. Okay? And while the light that I have, let me just mix it with the background. See I'm placing my brush and the color is coming out from the bottom of my bristle heal so much beauty of acrylic painting her. Okay, Let me wash my brush. And what I want to do is the pulpal color that I had to make speeches dried now. So I'll just mix a little bit. And that's color and we'll add to this corner. Now that the land is done, I'm just going to go over it and add some white. Make this look like a nice no land. And we can also add a layer from the distance. For this one, let me use a little bit of whatever mix I have. Honestly doesn't matter, so I'm just doing that. And of course, whatever I add, always I have to blend it with my background, right? So see how beautiful color will be formed without actually using much of paint with whatever leftover paint I had in my brush. This exercise, basically the point of this exercise, when you're doing this, you accidentally discover some landscape like this one quite accidentally just happened. The color combination, right? Because of the color's lived in the brush. So that way you understand one color combination that you like and then you can use it in your painting. So here also we did like two landscapes to do layers of plants. One in the distance here, and one in the front heel? No, just adding my finishing touches to make it look pretty the way I like it. I think that's fine. It's quite different. It's very light. I don't know if I like this license so much, so I think I just want to add little bit more about this and add shadow to this. Okay, I think now I like it. This landscape we evolve much more once we add some objects to them. 31. Exercise 6: Now let's make the last one of the experiments. This is how it's looking, although five of them. Okay. Now for the last one, I don't know what I want to do. Let me just go with the flow and see what we do. What can I do? I have on my brush right now, let's make this a little bit of blue mixed with white. Okay, I think I had some purple before and I ended up having different color, which is more like teal blue, but it also had a little bit of purple to it. That's okay. And in this short stroke kind of texture, I actually love this picture rather than, you know, this long strokes. I mean, not that. I don't like that, but I think I preferred this one over that. Okay, this is done. Now. I think what I want to do is add more white and I want to blend it with some force. Okay, so let's see, do I have purple? Maybe I'm just create little bit. And I think I'm still in the sky. When we blend this with this new color that I did before. Okay, I want more of thinking this happens at Okay. Don't have any space for my land. It's this guy is coming down quite a bit, but I'm loving the color combination of the teal and the poeple. Do you see that blue and purple can create such a pretty pollination. And I have kind of like little whitish portion in the front. And I totally love it. Okay. Now, let's create a land. What color land I haven't created yet? Maybe, you know, Prussian blue and white. Okay, I will wash off my brush. I haven't washed my brush in a way. Okay, and now let's create a land. What shape of land we want to create? What shape that I haven't created yet. Okay. Something which is elevated on both the side and not so elevated in the center. So something like something like this. Then I need to just pay displays a little bit more because otherwise it could be empty. So I'm just adding a little bit of purple to it. Okay? So this is done. Now, I will add more white on the size. Displays up. And now let's just add a tiny touch of Prussian blue to it. You see the variety of things that you can do once you understand this concept that I am trying to do here. Just a little touch of just having such a good playtime with this as I'm teaching you this. Because I'm also discovering so many things in the process. Here the strokes I am taking are kind of like this. Short strokes while also trying to create some points and the line direction. Okay, I'm going to leave it here. Take a little bit more of Prussian blue with the tip of my flat brush and do the same thing from the side. Not too light, not too dark. Just to touch on both the sides. And this is quite dark, I think on one of the corners, maybe this corner I'll just add a little bit to more of Prussian blue color, which is not absolutely dark, Prussian blue, which is when we want to keep it light. And some more of weight on this corner. 32. Final words on color blending exercises: K and we finished all the six landscapes. Let's have a look at them. Let's have a look at all the six clearly now. So we learned quite a bit of things in this lesson. I hope you understand the thing that I'm trying to teach you here. It's not about creating a pretty landscape. It's about understanding the science behind these landscapes. The way you can mix, mix, and match these three things. Color combination, land, land formation, and brushstrokes. You can mix and match these things and create anything out of this, these three things, Okay? Okay, so now let us fill up the tape and see how pretty or how ugly it's looking. I hope it's not looking ugly. But right now it's very messy. I can't see what is happening. One thing I forgot to tell you, and I think I should mention this because this is a question that I get a lot. How am I feeling of my tape so easily and it's not tearing off any of the papers because it generally does. Can you see this black thing in my tape? So what I have done is I am wearing gray t-shirt. So all I have done is before placing the tape, I have applied it on my t-shirt quite like at least three to four times. So all this bubbling from the t-shirt that gets onto the team and then I have placed it. So that is why I am able to peel off the tape so easily. Okay, So this is just a cool trick. If you also face this problem, you can try and not just once or twice, do it many, many times so that most of the adhesive tape is gone. So that is the autofocus not having at all any adhesive just good enough to stay on the paper. That is why these things have happened because there was not too much of additives, so a little bit of color spill from the side. Wow. What do you think? I am totally in love with how this pretty landscapes are looking? Okay? Now one of the important thing that you probably are wondering right now, okay, fine. We understand the science of creating winter landscape. We understand all the permutation combinations we can make, but how do we make it a pretty landscape? Now, this is your main question. So what you can do now here is in all these pretty landscapes, all you have to do is create small pine trees with a round brush. So refer to the tutorial where I talked to so many different types of pine trees that you can create with a round brush. You can do those, say e.g. this is a distant land here. You can easily create some small misty pine trees layer of it on the distance over here. Then, say e.g. in this slide, you can create a big tree in the front, or using any of the brushes that you like, fan brush or a filbert brush or a flat brush, right? So refer to those tutorials. If you haven't referred to those tutorials where you will get an understanding of how to do this. Those you can also create mountains, right? You can so e.g. in any of the landscape wherever you like, you can create distinct mountains, blend it with the background, and then create my interests in practice. You can also create a lake. See e.g. you can create a lake like this coming from here, from the distant land. Okay? You can create some pine trees over here, coming from the front, like this, right? For this one, you can create some pine trees coming from cure, maybe couple of from the front. So I tried to give you some ideas. Maybe few misty pine trees over here. One from cure or two from your, one from the front. In this one you can create some, something, something in the background. So the few elements of winter landscape is fine. Then you can create some of the birch trees. Also. You can fit some mountains. So these are the three things that easily you can mix and match and create anything, any beautiful landscape. Now what am I going to do with this? Maybe I will love. I haven't decided yet what I want to do in this one, but maybe I will do something later and shared it with you. I hope you enjoyed this lesson. This lesson is a really helpful if you want to understand how to create winter landscapes. I do not want you to skip this. You like. I highly recommend that you practice this exercise with your choice of color. You don't have to do it with my choice of color. But I do it with your choice of color with more than meat mixed and matched to three colors in one of the landscapes. Try creating different types of landforms though. Top to bottom. Or maybe like this. Like this, you can create so many different land formations. You can create so many different brushstrokes. You learnt so many brushstrokes than this one. So this was more like kind of curvy, long strokes. This was also very long strokes. Flat, kind of blended properly. This was more a small strokes and using the side of the bristles. So I kind of laid down the Brazil on the paper. This is more of the short stroke with a tip, the tip of the brush. This was kind of going round and round motion. These strokes. This is kind of a blend of everything. So the mean brushstrokes that I think is important is one is long stroke, where you can either make the brushstrokes visible or blended smoothly. One is a short stroke, and the third one is going in a down round motion round. We are blending. So please practice this exercise and show me what you did. I hope you gained much knowledge from this video. And once you do this, you will be able to pain to any retail landscape without any reference. 33. DAYLIGHT SNOWFALL PAINTING: Okay, so we have covered quite a lot, right? So I hope you're practiced everything by now. Spatially, these four different types of trees with four different types of brushes, and the small ones with small round brush. If you haven't, please practice them before starting the paintings in this section. And also the exercise that I taught you. Because if you have done this, it is going to be very easy for you to create the paintings that I'm going to teach you in this section. So before we start, I just wanted to show you and tell you a couple of things. Here are the two paintings that we are going to create in this section. Look at them how pretty they look. Okay, so now what I wanted to show you is that the tree that I have painted here is the one, the filbert brush, which is this one. And I have used a Buddha techniques. So little bit of this kind of strokes and little bit of dragging strokes, both of them I have used in this one because I don't think consciously when I'm doing this, I just feel like doing whatever is coming out of the out of my brush at that point. And that happens only because I have practice them a lot of time. Now one important thing that I want to tell you is that you don't have to do the filbert brush one if you don't feel comfortable after practicing it. So instead of the filbert brush, so exactly in this same landscape, you can either do a flat brush one or a fan brush one, whichever you feel comfortable. If you feel comfortable with the flat brush when you can definitely do that. Okay? And in this night painting, I have used a flat brush. This one. Okay. So that exact one I have done to it and even with a small distinct pine trees also, I have done the one with a flat brush and few of them with the small brush, especially this one. It just kind of lines like this. And also in the day painting also, I have done some of these distant trees which are almost like this one like this, this group of trees over here. Okay, so now that I've explained to you the techniques that I have used, and you can end the reason I haven't used the pen brush and because honestly I'm not very comfortable painting with a fan brush, but I'm sure I can do it. I just not try. But I want to tell you that, you know, if you feel comfortable with a fan brush, please paint one with a, with a fan brush. Or if you want to practice more, what you can do is create the same background and create three different paintings. We do three different types of pine trees instead of these two. Okay. Now, before starting to paint these paintings, I also wanted to show you all the practice that I did just to encourage you how much important practicing is. So here is my rough journal. This is an A4 journal that I use for practicing. And look at all that. These are the ones that I showed you also when doing the each of the brushes. So there is a lot I have practiced just to make sure that, you know, I I I get it right because practicing once isn't an hour. So I have practiced quite a bit. As you can see, hear, and feel more in my A5 journal also. I wanted to just see how it looks on a background, what how it looks on a plain white. And I just kept practicing. You can see how ugly this looks. And obviously I haven't put in too much of effort into doing this. I just want you to practice and see, try out with different strokes. You can see I've tried so many different types of strokes. So why you're practicing multiple times? You can also experiment because once you get the basic six steps, that's why I focus so much on the basic six days because once you understand that you can do anything with any brush, any strokes, anything that you like. Just keep on practicing, keep on experimenting. And that's all I've done that I feel that's quite a lot of practice that I did before shooting this class. And also just to get my hands more easily to paint. Us know, pine tree. Because I was looking at my paintings from couple of years back. And the way I used to paint us know, binaries, I could not believe how much I have progress just by practising. So I just wanted to encourage you to practice more. Because I know the tendency is always to create a pretty painting first without practicing exercises. So I just wanted to show you how I did so that you also feel inspired and do it on your own. Okay, so now let's start creating these two paintings. One day and one night painting. 34. Step 1 - Sky: Okay, so let's get started with the first painting. Okay, so here is my eight by 8 " acrylic paper. So this was an A4 paper. I have just cut it down to eight by 8 ". And I stuck it on top of a canvas, stretched canvas. And I have taped it on the site. The reason I have done this is because if I tape it to the table, I wouldn't be able to lift it up while showing you some of the brushstrokes if required, then my hand will come on top and the view will be blocked from the camera. And that's why I have done this. You don't have to do this. This is just for the teaching purpose that I'm doing it. But if you're painting, you can actually do it on stretch canvas directly like this. Or you can paint it on a sketchbook. Or you get painted on an acrylic paper. You can cut it into square, or you can do it in a landscape form, or it can do it in a portrait form. Anything you like. Now here is my plate of colors. This is the same plate from the previous video, and I have all these other colors also here, but we don't need all these colors for this painting. For this painting we need just three colors. Only three colors, black, white, and Prussian blue. So I already have Prussian blue and white. I'm only going to take out some black. And the tree that I want to show you first is this one from the filbert brush that we did. So we're going do this one. I used a big filbert brush because the size was A4. So this is a pretty big, I don't want to create that big brush snow pine tree on this canvas. So I want to do probably like this big. And so for that reason, I'm using a smaller size, bigger brush, which is from the same set. So that is why it's good to buy brushes in sets so that you have different sizes and you can use it on different size. Okay. So this is the filbert brush. I think this is the sizes. I'm not able to view it properly, but this is just one size smaller than the previous one. And then this is the same size flat brush that I'll use to cover the background of the painting. And I am using a small liner brush to create some of the mystifying the small pine trees in the background. Okay, so just three brushes, three colors, and your Canvas, That's all you need for this painting. And of course, a glass of water and some tissue paper's very important. Alright, so I am starting off with the background. And for the background, I'm going to do just a Prussian blue and white. Okay? So I don't want to take the dielectric Prussian blue because it's very, very dark as you know, it's a very highly pigmented color. I mixed the Prussian blue with just a little bit of white so that it's still dark, but not as dark as it's pure pigment is. Okay. And the strokes that I'm using are kind of long strokes. They are not very short strokes. Lots of beamed to create picked picture. Okay, I think that's good. Now I will start taking more of a white. One important thing that I want to tell you is that for painting winter landscape, I always prefer peak body acrylics because of the pictures that you get. I absolutely loved the textures that you get. Okay. Okay, actually we will come down. And let's say this is our distant land. Very simple landscape formation that we learned in the previous video. Okay. And now we've been just blend it with the top. Dark Prussian blue. Here you can create some of the cloud-like show with little bit of white. If you feel I'm going too fast for you, you can just watch it once and then watch it maybe couple of times and then do it. Okay, So I'm just trying to create a beautiful sky with clouds floating because it's a DC. More. By tier. You see when you pick up two colors, they automatically mix and create a shape that you cannot decide in advance what shape they are going to give you. But they always end up giving you a British yet. So that's why rather than mixing one solid color on your plate, I always like to create by mixing two shades on my plate. Okay, So these are some floating clouds. Good sky. Do I want to add just a little bit of that Prussian blue on the top to blend it in. And let see, I do not want a really dark background because then my pine tree will struggle to show stopper. I want my snow my entry to be the snows showstopper of this snow stopper. Oh, that's a nice word. I discovered snow stopwords of our building, yours, so I don't want to make it too dark. So that is good. So I just took some long strokes, like curvy strokes. This is the one that we did in the previous video. The top right, that same stroke. Okay. 35. Step 2 - Snow land: Now let me create the land. For creating the land, I'm using just a little darker. And I'm giving you leave like this. I'm taking just a tiny touch of water because it's very dry. I don't want the smooth background, definitely, but just having little water just helps me move the color nicely. Okay, and now we're going to add just a lot of white in the ground because we want to create a lot of snow. So honestly there is no definite stroke here. My focus is just on covering the entire background. Covered up my Internet acrylic people. See I am going to add some more snow after doing the pine tree depending on where it comes, where the base of it comes. Based on that, I will create some more land Leto. This is just for the time being to cover the whole background. I'm just using a lighter color, lighter Prussian blue shade. And my wife is almost gone. But whatever it is there, I'm just adding little touch ups on the background. And then later I'm going to add a mortal fit below the pine tree. Alright, so the background is painted. Okay, so the job of our flat brush is done. Now I'm going to let this dry completely and then I will add the misty pine trees in the background before adding the main trees in the foreground. So we will let it dry now. 36. Step 3 - Distant pine trees: Okay, So we are done with our flat brush, so I don't need the fat brush anymore, so I just wash it and keep it aside and switch to my small round brush. This is size three. And for creating them distinct pine trees, I am going to use this color, Prussian blue, white, and tiny bit of black. So the three colors that we mixed, our Prussian blue, black, and white, maybe just a more Prussian blue because we don't want to make it look like gray. We rather want to make it look like blue, light blue, but with a touch of black. And I kind of twist my brush like this to get rid of the excess paint and mixing it with white with some water. Because more liquid my brushes better, I will be able to being the snow biometrics. So just trying to get I have a lot of water, so I just get rid of that. So I hope you'll practice creating this small Brian g is by now. And if you have, you will be able to do it as fast as I am doing this when I had added a bit too much water. I'm also changing the height of the binaries to make it look nice. Also, you see that I'm changing the shades of the trees in all of them. None of the trees are absolutely the same shade. That's because every time I'm picking the color, I'm just mixing all the colors. And that is giving me some differentiate. It's not like, you know, absolutely similar shape. Maybe I'll create a few dark also. But since these are distinct pine trees is better to do them kind of light. Kind of like pine tree forest in a distance rate. And one trick that I want to teach you here is that when you're creating a distinct forest, you create some of them like this individually and some of them in the distance. You can just create some lines like this and it gives the illusion of forest. There are a lot of pine trees in the background. This is just a cool trick that I realized many, many years back when I started painting this winter landscapes. And hey, think it's a fabulous idea. Okay? So you see that it just looks like there's so many trees in the background. There are other layers in the background. I'm not going in the center a lot because my main trees are going to come here, um, and on this side, on the right side also, I'm going to just create a few to give the illusion of a pine tree forest in the back. Not very prominent at all. Hi, I'm reducing the height also as I am moving towards the same toe. So I think that's all I don't want to do anymore. Maybe the one on the side, I've been in, the height, play around with it. There is no hard and fast rule. You can just do whatever you want to do. Pine tree. And all I do is just add a little bit of shadow of these trees. Like this may be subtle. It's not going to be that visible. Just a little bit of shadow. And I'll also add some snow in-between on this distant land before moving on to the from trees. Snow stoppers. That's done. So my round brush work is also done. And again, I'll let it dry and then we will come to that main center trees. 37. Step 4 - Big pine trees: All right, Here is my filbert brush. I have also keep this paper right next to me so that I can refer to it. You can also do the same it will help you create, if you've already done this, is Cupid and x2, y2. It will help you create or you can just refer to my blog. I have this image on my blog. So you can just refer to that as well. Okay, So I am waiting my brush little bit and I'll start off with lag and Prussian blue mix. This beautiful color. Okay. I'm starting off. Megan, start off with the one on the right first. Okay. Let's take this a bit higher and I don't want to take chances with it. I think I should do it with a small round brush, but I am feeling adventurous and there is no harm in trying out. Being bold and trying out. Yeah. I don't like the tip too much, but I will fix it later with all round brush. Remember, our first step is creating the skeleton of the CI, and that is what I'm focusing on doing here. The age of the brush. I am able to create these lines on the side. Doesn't really matter much. So in the center I can use the complete belly of the brush. And on the side, I can use this. Okay, main structure is done. Now let me do it the way I like it. I will probably increase a little bit tomorrow on the sides. This I can do in the later stage also, but I'm just doing it now. Okay. That's pretty good. Now, I don't want any more black, but before washing off the black, what I'm going to do is do the entire structure for the left one left tree as well. And meanwhile, what will happen is this color will also dry a little bit so that I can come on top of it and at the highlight colors. Okay, so I had missed my black and blue again. And let's make this a little distinct one. So I'll make the size a little shot. Maybe I'll bring this down a little bit, little down. So to just to make it look a little different, but I can do all those adjustments when I paint the snow. Alright, so the two basic structures of the tree. Now I'm washing off my brush. Even if it is not absolutely killing, it's totally fine. Because I'm going to mix this color with white. So that will be our first layer. So this layer, I want to make it a little dark. And also at the same time, while creating this layer, I'm going to create some of the textures of the tree. So mostly you see these branches, each of the foliage branches that are done. I'm trying to go on top of them. So if this is one of the foliage, I'm going on the top. So my focus is on going on the job of each of these and creating a texture. The top, I'm going to deal with a little detail. But for the time being, Let's do this step. And in the middle, I am also taking a few short strokes. You remember how we learn to create this paint? This tree is better if you do it once, it will, absolutely make it easy for you to understand what I am doing if you haven't done it yet. All I'm doing is taking some short strokes On top of that dark color that we had. And you see how beautiful layer of highlight we created. And I'm adding a few of the strokes in the center. Okay, same thing continues on this tree also. Let's see the tip of the filbert brush create such one's textures, which is so good for creating our snow pine trees. Okay, I feel a little black to be added here because a lot of gap here. So you know how to do color correction. If that is, you have added a bit too much of y h, you can always go back and add some black liter. Knowing it is useful because you don't know, no matter what mistakes you make, you can always go back and correct it. Okay, So one layer of highlight is done at, i'm, I think the trees have started to look pretty three-dimensional already. Now, I will not wash off my brush. Rather I will mix of white and Prussian blue, kind of like fresh snow color, the morning delight, fresh snow color. With that color, I will go on top of it. Very light brushstrokes. And also very less compared to the previous layer. What we did. This color is almost same as the color of the sky. So make sure not to do too much that blends with the sky. So here you see I'm adding all the strokes mostly on the black. And I'm not trying not to go too much into the sky. And I'm adding just the tip of the filbert brush here and there to add sound beauty. At some pictures also in the process. Just the tip of the brush. Okay, same thing. Let's repeat on this one. Stick to the center of the black, mostly so that this color is visible and doesn't blend with the background. Okay. Three days of colors have been done, and now it's time to add absolutely bright, no color on top of this. So for that, I'm washing off my brush, clean it off. And now we will go with just white. And starting from the top. Okay, you don't have to do this. You can do it with a small round brush. I'm just being courageous and doing this. Okay? And just with the tip of the brush, I'm just adding some no textures on the site. This is my favorite parts of this painting. So I'm happily do it and hold it up so that my hand doesn't block your view. Just one stroke on my canvas is creating a beautiful picture of the foliage. And in-between these textures, I can also do a few jags like this, small strokes and create some some of the lungs trucks also. So if you understand what's happening here is I'm actually combining the two methods that I created with in the filbert brush techniques. So there are two trees I created right? The first one I created mostly this picture. And for the second one, this section, the structure of the T is that of the second tree, but I am using the textures of the first G as well here. You don't understand, okay, let me show it to you. So I created this people, does it feel but brush around extras. Here. I did the dragging. I'm combining both in this method, in this painting and trying to create whatever. I feel like there is no hard and fast rule. That is my b d. I can do whatever I like to do. So I'm just creating a few dabs of the secondary, especially in the center. And on the edges. Again, I'm going back to this sectioning. Such a fun thing to do, right? I hope you are able to do it. I know it looks complicated, but once you understand the techniques, It's really, really easy. I hope you understand if you're doing along with me, you know how easy it is. And if you have done the practice, of course more than once, if you don't practice, you cannot expect yourself to come up with a great tree because it's all in the practice. More you practice, the better your trees become. Snowfall in the daytime feels so good. I mean, as I'm painting this, I'm remembering my snowfall days in London, walking around in the snow, watching the pine trees on my car. I mean, snow snow pine trees or snowfall has his jump in the night as well. But the d is even more beautiful when you see blue and white everywhere. The whole thing is done. I'll just add a few of the white snow on the top, especially on the top of those branches where the snow would have fallen a bit more in some places and just adding and we will be adding some snowfall on top of this hill. All the places where there is not too much of white, it will be filled up by that. Okay, so I'm leaving it at that. I can continue this for much, much longer time. But for the sake of this video, I think this is looking good. Overdoing, it can spoil it. Also, you know that from the backtest. 38. Step 5 - Tree shadows: Okay, now what I'm going to do is just add some shadow off this pine tree and put that I'm using this PR, Prussian blue color. And adding this. Sure. See how pretty it looks once you add the shadow. Okay, I'll add some more white here, is to blend it into the background. So this is why I did not add too much of snow when I was painting the background because I told you after the tree has been added, it will be eventually, we will do it nicely. So it's almost like the sun is coming somewhere from the backyard and the light is falling. And that's what is creating this shadow layer of white. And you see this light blue background is creating, helping me create the snow even better. If that was not there in the white wouldn't have looked so much promising and not too much. I think I can stop here. Very difficult to stop. By the way. I love the beach of white snow on this side, it's very prominent to white. Now, I have a lot of white in my brush. And I'm going to do the final step which is adding snowfall on top of this painting. Before doing that, I just want to paint the tip of my brush really nicely. So I'm taking this dark blue color that I had prepared before. It is almost dried, so I'm just mixing it again and it's too watery, so it just makes more color. And I am just adding the two. And adding some voltages on the side over here. Adding some blacks as a shadow underneath this, wherever. I feel it's too white. And that's it. 39. Step 6 - Snowfall: And now the absolutely final step of the painting, we're almost there. So for doing the snow drops, I want to show you how I do this. So I'm mixing a lot of white with water. So the water is very important step of doing this step. I'm adding lots of white with water. You can use another brush and just dab it on top to create some of the snowflakes falling on your lens. Make sure they fall a lot more on the tree. And it's good if some of the jobs are big and some are small. I don't want to do too much. I want to show you how I do it later. After this. I want to take some more of this and just add, see, most of these jobs that are falling our kind of perfect circles. But we don't want to keep it perfect circles, rather we want to make it some random shape. So I'm picking some of these dots and changing the shape of it. And also one thing I feel if you don't, if you leave them as perfect circles, they look more like stars rather than so forth. So of course it's a daytime, so there are no stars in the sky. But we want to make us no false. And for that, we are changing the shapes. Okay, So the painting is complete and it led me now on the canvas. And let's find out how it looks. So here is our final painting, and I think it's looking cautious. I'm just not too happy with the strokes of the snow here, but that's just me. I'm sure you would come up with something that you like. I just want to add a little up to this final thing. So watch it if you want to insist is asked me, Okay, You don't have to do this. I just feel I want to add a little bit of shadow, the Prussian blue shadow over here. I think I'm okay with the snow. I don't want to add too much of snow over your textures are looking good. Look at them up close. I think shows I'm looking beautiful. So I hope you enjoyed painting this painting along with me. Let me know how it turned out for you. If you enjoy it. And I would love to see what you create it. 40. WINTER MOONLIT NIGHT PAINTING | Step 1 - Sky: Okay, so I hope you enjoyed painting the previous one, which was a deep painting. And now we're going to create a night painting with a lot of snowy pine trees. This is the same acrylic paper, eight by 8 " that I have fixed on a stretched canvas. Here is my plate. This is the same plate from the previous painting. And I wanted to show you that my pins are all pretty wet steel. As you can see. I'm painting after almost three to 4 h now. This is a question that I get a lot, so I thought I will address this here. I keep my plates inside. I have this semester since D, which valid, which is with an airtight lead. So if you keep, keep your weight fans inside that it stays wait for hours, but days and weeks and I have had paint will stay wait for months even. Okay. So if you I mean, the masters, it is a bit on the expensive side. But if you find any container where you can keep your plate inside, you can use that is just a cooling deep to keep your paints wet for a long time. Okay, so here is my glass of water and here are the brushes that I'm going to use. So this is the one which is going to be with a flat brush technique. So this is the flat brush that I will use for creating the bigger tree and also for doing the background. And I have kept one small flat brush we using which I can show you how to create small pine trees, also with the same flat brush technique. So this is size to this size six. And I'm keeping the size one and I can use this also if required. I don't know if I would need this, but I'm just keeping it on the side. And of course, a liner brush to create even the smaller by interests and also to create the bush tree that will come up in this vein. So this is a night scene. And for painting the 19, normally I feel just Prussian blue makes the painting look like a day painting and adding a bit of green with it, creating the teal blue color, which I like, which is my favorite color. By mixing Prussian blue and viridian view, along with why these two colors mixed, gives a very nice look. Alright, so now let us create the background by using different strokes. Here I'm going to show you a stroke which I haven't shown to you in the color mixing exercise and the brushstroke exercise. But it's very easy and you will be able to do it really easy. So I'm starting off with white. And I'm starting over here. So mostly not all the strokes that I've showed you, I like this, or short or round strokes just for lending purpose. But here we are creating one big round Texas. So this is how our top part is going to be. So now I have added quite a bit of white. Now I'm ready to create the teal blue shade that I want to use in my painting. This is more bluish. So you can decide when you are mixing the color, which is the shape that you like. And I'm not going too close to white yet. And let's say my sky is still here. Okay? So we are going in row. Let me create a little darker tone first. Then I will go light on the edge. I want to create absolutely dark color. Okay, and now I will start moving onto the lighter shades. So for creating the lighter shades, I'm mixing more of white. More white. I'm not getting any more insight because then it will become all bluish. So let me stop here. I mean, I'll go inside up in a little while. But let me first fix the outside. The inside out. Outside, we'd kind of darker to lighter shade. Went more dark. I'm just making sure that I have added color in my entire canvas and there is no white. Okay, I see some white spots left here. So making sure that I go ahead and add a few bad the snow white canvas lift. And also I have created a blending from dark to light in this circular motion. The bottom part is little bit, little bit left out, so I just go on the bottom also. I hope you're getting the blending part. All I'm doing is trying to blend dark to light. I'm going multiple times unless I'm happy with the blending is coming and also have covered the entire canvas. So I think I am pretty much done outside. Now. I think it's trying to get inside. And I'm also adding some strokes of light to make the blending look really attracted. Okay, I think, I think that's good. I just wipe off my brush and add the white over here. So the reason I wiped off my brush and I did not wash it is because I do not want the indicted blue color to wash off from my brush. I still want a little bit shade, but I want mostly white and the moon will come in the center lot on the surrounding part, I'm making more lighter before painting the moon. Okay, So this is all kind of light bluish. It's not absolutely white. And now with my finger, I'm just going in the same term and adding some white to create the mode. Okay, you see I created little texture on the moon here, which is looking pretty cool. Just with my fingertip, trying to make it a perfect circle. But I think that's fine. I'm test-taking little bit of black to add a little pre tomorrow morning. Okay. Let me not get too carried away. I think this is pretty good. The bad, the moon. And the blending also has been done really well. I might, so it's 200 white on the side. So I'm just going with my color, blue-colored little bit more and I'll add a little texture. Okay, I mean it almost gone. So a hesitant school back and add a little bit like this. Okay, I'm Liz, I'm happy. So this makes me happy and I am done with it. 41. Step 2 - Snow land: My brush has all the teal blue colored, all the mixing white and everything. I'm not washing my brush with the same brush without washing it off. I am taking lots of white and I am coming on top of the sky and adding a land. Sure. You see the colors that I had. I'm just taking tiny bit of green more because I want to have that greenish aqua blue effect over here. And I'm adding lots of snow color, which is just pure white. Maybe I want to take it even higher or chest a little bit higher. Okay. So just coloring it off just in random direction doesn't matter what exactly is happening. Okay, So one side of the land is done and now we will create the other side. So for that, I'm just mixing a little bit of green and blue again, creating my teal blue color. And I am going on the other side, creating a lab that goes in front of this. Let me mix little bit more. But my focus is more on green this time, right? I don't want to make it a bluish. So I'm mixing more of green and just a tiny touch of water because it's very dry. Okay. So I added the land from them site. And now I will blend it with white dots of white. You see this gradient color. If you just add tiny bit of it with white, it just creates such a beautiful bluish shade. It's not absolutely green yet. It creates a beautiful shade. Even though it looks like green on K. So you'll see, I blended this into this, this land, into this land. And I think it's looking really, really nice. I'm just adding more white and just blend it off. So you see I'm just going in random direction, random motion. There is no particular brush stroke that I'm following here. Just my focus is on covering the entire background. Okay, so my entire canvas is covered. Now, that was my first target. Okay, So that is done. Now on top of this, I will go and add a lot of beautiful things. So before that, I just want it to dry completely so that I can work on it and still pulled on blend with the background. 42. Step 3 - Road: It's kind of dried and now I want to create a little rod coming from here. Okay, just a little drop. So for that, I'm I still haven't washed my brush is just the way it was. I am taking a little kind of mixing my teal blue color again. And I'm coming over here. I had to mix a little bit of white. Otherwise, it's not letting me create. And that's it. You see, I kind of give the illusion of a road forming over here. And on the side, I will create lot of white to make this green path more visible. Some mode of white. Okay, That's a bit too much. I'm going to be into a big snow pine tree on the right. So all this background is going to be a little hidden. And then it's going to be I mean, I can paint it repainted a little later. But for the time being, just to add little bit of snow on either side of the road. I am just adding some snow color on. So I'm just adding more snow on the site and lending it with the road. Okay. I think my road is a bit too blended with the white, so I'll just go over it and reattach it to once again. Okay. I think that's very well blended. The road is kind of going behind these land over here. Okay. I'm very much happy with how the outcome has kept down doubt. There's going to be, like I said, a lot more to be added here. But before washing it off, maybe I don't want to add anymore over here. Here I will because you're the big tree will come up. But this side I probably I will not add anymore. So for that reason I'm just adding one last layer of white over here. And once it dries, I will add some birch tree over here. Okay. So let's add some snow here. Oh no. My beautiful blending is kind of wind over here, so I'll just blended once again. Okay. That's it. And that's it. Do you see how beautiful the blending turned out? And now I'll just wash off my brush because I think I'm done with this brush for the time being late. I'm going to use this brush for creating the big snow bank fee, but that time I will start with black. I don't need it for the database. So look at the texture or the color combination, the blending spatially up to those and see how beautiful. Let's see. Okay. You can absolutely see the 3D curve of the land falling from both the sides. Now I will let it dry completely and then I will start adding all the little snow mine trees in the background. So first we will cover the background. Then we will do the big tree and we will do the branch Bush stream on the front. 43. Step 4 - Distant pine trees: Alright, so now to create the distinct snow pine trees, I'll use small brush for this place because it's really tiny and then as it, as it goes bigger, so this is the way I am going to do it. So as it goes bigger, probably I will use this flat brush. Okay. So I'm mixing black and Prussian blue and green. So exactly the teal blue color that we used in a lighter form, that same color, just with a touch of deck. Okay, So this is the color we are going to use for the misty pine tree. I'm starting from here. And always for misty pine trees when you are using a small round brush, always have lots of colored. So remember, that's why I was using fluid acrylics when I was teaching the I'm round brush techniques. So exactly for that reason, I am you mixing it up with little bit of water to make it kind of fluid. Okay. So starting off in the center, we will go 1.2. So this is the most distinct ones. So when start off with the most distant area. Okay. I hope you're understanding how the technique of these snowy pine trees are coming. Make sure they are stretch. Okay. So this one got a little tilted. Try not to make them tilted. Tried to keep them straight. Okay. What is the technique I'm using here? Straight line. Then just zigzag, zigzag. And as you go down, just increase it a little bit. That's all. I'm just going to repeat this tape. It can be a little bit boring for you to watch it if you're just watching. But if you're painting along with me, you can keep playing the video. And I think I will stop here. And I will create one on the side. So for this, I'm using a flat brush. And the flat brush technique. With a flat brush technique, the pictures are automatically coming. I don't have to do much. So this is the tallest one on the edge. And then after that little smaller. I'm doing this in the exact same way as I taught you how to paint with the with the flat brush technique. Except I'm using a smaller flat brush. The tip, I will correct it with a small round brush. With a flat brush, It's happening so much faster also, right? Starting with the corner of the flat brush, then using the entirety of the flat brush. Okay? And do this, but also with a flat brush and then I will switch to round brush. Okay, so this is done with a flat brush. I will again use the flat brush so I'm not watching it yet. I'd probably be due to more in-between and I'm over here. It is simple. Do not make it complicated. Do not think also is complicated because if you think it is complicated, it will be complicated for you, okay? So do not even think it is complicated. I have taught this to hundreds and thousands of my students. People have never painted pine tree. You have already learned all the techniques. So people who have never even lifted a paintbrush, they have also painted it because it's that simple. I want you to understand that, okay? Alright, and now just for fun, I'm just thinking I'll just create even a smaller one and even one more. I'm just, you know, my rising as in when I'm going I don't know if this will be visible much, but I know I did this. So that's what matters. A tiny line here, right? So our first layer is done. What do we do next? We add the layering on top of it to make them look good. Okay, So with the same colors that I had, I'm just mixing lots of white. And I will not entirely in some parts and add the dishes. Maybe just a bit more clean. Okay. For the small ones, I don't think I will switch to the flat brush again because I would have more control if I am or let me just try. Let me show you also how it looks, okay, Now, the big one is actually good. The big one is coming out good. Just a few textures in-between. Let me try this one. See, it's not that comfortable with the flat brush, so I haven't switched to the liner brush. See, the moonlight is here. So this is the direction the light is falling, right? So my left side, my left side, my binary is left sides are more illuminated. So I'm adding more highlights on the left. Let me try a little bit more with gosh, Yeah, Nice. Okay. The big ones are done. We will do one more layer of highlight. By the way, this is not the only layer. Let me just do first layer. So what happens if I have taught this painting many, many times in my physical workshops and I have trained, I've seen many people paint this with me. People are various, experienced repeated before. We've never been to before. And I'm telling you from my experience that what most people do, does is they kind of hurry up this process. I want you to enjoy this process. I know it's a big boring. Bring this small trees in the background. Oh my God, so many trees. But don't think like that. Don't feel like that. Enjoy the process because you are, you just learned painting pine trees and you're creating a painting where the binaries are small in the background. Maybe nobody will, will watch it or ignore it will not come in the immediate eye contact when somebody looks at this painting. Now, I am taking just a lot of white with the same brush without washing it. And I'm adding technique I'm using here while adding the white highlight, I'm using techniques. One of the small round brush, which is more like dotted techniques, I'm just adding a few dots. I'm trying to add up. They're so small. You don't know what's happening. But yeah, I'm kind of make the dot technique was like this. You are just dabbing, right? So that is what I am doing here. Yeah. So I was saying that do not focus on the thing rather than, Oh my God, this is such a boring process. Okay. Enjoy the process because. You're doing it for yourself first and foremost, right? So just enjoy the process of doing one small gi, give your hundred per cent in creating just a one small tree. With all your effort. Do it with all your labs. Don't just rush it through because then there is no point of doing this exercise, doing this painting. Okay, I hope you are getting my point. I'm taking my own sweet time to do this. Okay? I think this line formation is looking nice. This is thickening number three, remember we did small light, long lines. So that is the thing I'm doing in this one. Mixup. Long lines, short dash, and the little dots. Mix up all the three techniques that we learned in the round brush technique. I'm doing all of them. Okay? So all that trees are done. I think this is not that white, so I might be doing this one touching the best with the snowy ground. It just noticed that I hadn't done that. Okay. Now in the next step, before doing this, there is one more thing left, which is adding some shadows. So for adding the shadows, I'm mixing listen bit more of blue-green, creating that blue shade. And I'm adding some shadows. Blue shade mixing it with white. The morning is here. So other reflections appalling this way. Sorry, all the shadows are falling in design gap. Okay. So the right side is completely done. And now we will create the pine trees on the left side. The left side, I will mostly use this small flat brush because the size of the tree is going to be a little bigger than on the left, on the right. So I'm mixing the colors. A little bit of black also. Okay, I'm starting from this end. I just took out a little bit more of viridian hue. And I'm mixing it with black because the first layer, I want it to be quite dark mode of blackmailing. And so remember the flat brush technique. We did, one with the curves down, one with the curves up. And there is one more that you can do that I didn't show, which is doing the street. Right. So I'm adding more black. That's my plus tree. Let me do the next one. Okay, I see with the land rush, it just happens much faster. And you get beautiful textures. Okay, that is done. Maybe a few more lines in between. To show it's a fine for us, just like we did in the previous painting also, right. And then one more. Oh, my pine tree on the right side is hidden. I knew this would happen, but it's okay. I don't want to go too much at overriding this trees, but maybe chest a little bit. I think I'll stop here. I don't want to go any further because it will just cover up this one. Okay? So this was my first layer. Now with the same brush, I will add one more layer and this time I'll make it green. Okay? Okay. I think I'm going in a downward direction and this one, can you see that? Okay. Just in case you don't remember, Let me show it to you. Okay, So these are the two techniques to trees we learned with the flat brush. One wing in upward direction, one wing in downward direction. So you can do whichever you want or even instead of going in either curve, you can go just trait. Also. Some of these have come out a little straight and this one has gone become downward. Okay. You know, I did a mistake. I did the light on this side. However the moon is the light would be on the right side. So on this one, I will go on the right side. One on so I'll just scroll a little bit towards the right. Okay, these are too small. So basically I'm having a problem with a flat brush. What I'm going to do is switch to the liner brush and add the shading on the right side of this small trees. Okay, and for this one on the left side, I will just add a little bit more of the dark shades. Just covered up the highlights that I did wrongly. Okay, so I have added all the highlights that I liked, and now it's time for me to add some shadow. So for that, again, I am using the same teal color mixing green, blue, and black. Sure. I will just go a little bit like this too much. Okay. Maybe I'll just mix it up a little bit with white snow. And that the shadow. Okay, I quite like the land. And also the shadows that are coming retreat. 44. Step 5 - Big pine trees: Okay, so the entire background of the painting is done. And now the final thing remaining is creating the final thing, the last two things, we're going to create a beautiful big snow pine tree like this one, which looks almost like a Christmas tree. I like creating this one, but you can definitely create this one or you can create with a straight curve, also straight line also. For creating the big one, I am switching to the same brush, which is size six with PTAs, started creating this painting. And I am going to use or start off with black and blue. Mostly black. It's okay. I'm not taking too much of our green in this one. I will take it a little later. That's totally so I'm starting here. Okay? Now for the top, but I'm don't want to take a risk and do it with the flat brush and spoil my beautiful painting. So I will start with a small round brush at the top. Okay? Now I will start treating with entire tip of my brush. Let me just create that structure first. Okay, I think that's pretty big. I think this is fine. Okay, so now I'm going to go on top and add some access to this. Or maybe I should just add just a bit more of the leaves to give it a little more. Structure. Failing to flesh it out a little more. Then create the structure is created if my tree tilting little bit towards the left, it looks like so that's okay. Maybe there is when it is tilting little bit. And now I'm just creating some textures. Now I'm mixing in. This is a bit of viridian hue to get that hillshade in a dark. And I'm just going over it. Once again to add some highlights. It's not too much visible, it's almost black. But I'll show you up close and you'll see that the blue shade, shade is visible on top of the black. And remember this time to highlight the left side because the moon is on the left. Okay, so look, look at the colors. So there is a little shade of blue that is on the left side. Now, immediately I'm going with another layer of shading, which is just a little lighter shade of the previous sheet that we did. Not too light shade, lighter. Okay, and now I'm going to add even a lighter shade. I'm not washing off my brush here because I want the shape to remain. So I'm just mixing more white to this little bit of green light, but this beautiful shade, I'm adding to it on the left, it's turning out more whitish, which is okay. Anyways, we are going to add a layer of white on top of it, right? So with little bit of white comes up, that's totally fine. Okay, more or less the entire highlighting has been done. Now, I'll just wiping off my brush and I am taking test pure white this time. And the brilliant shade of white on the left. That's my round brush. Okay, so that's our big tree that has been done. I quite like it. It's looking like the highlighted one coming out in front. And I'm just going to finish it off by adding some shadow in front of it. So I'll just mix little black, brown, black, blue, and green. And maybe just a bit more. The money is here, so the shadow will fall exactly the side. And I'm going to blend in and blend it in with some white snow. I am wiping off my brush because I have too much of lack in it. I don't want so much a black for the for the snow colored. So I washed off my brush and I added some teal blue color. I'm adding it. Okay, so that's in that blending is done, the shadows completely done. And now I'm going to create the birch tree on the left. By the way, if before or washing off my brush, I think I want to add a touch of this dark shade. Somewhere here I feel the shadow is not that when feasible. Only. This is the correction that I taught you in the next video. All right, so just a little bit of correction wherever you feel, you need to add more black, you can just go ahead and add at nato. So this is where I feel more of little shadow should be showing. Okay, and it's done. So I'm washing my flat brush and I will use the liner brush to create the birch tree in the front. 45. Step 6 - Birch trees: Okay, so for creating the birch tree, I am mixing just a black, nothing else, just black with a lot of water making it fluid. And I'm going to start here. I'm going to start sure. And take it all the way up. I'm ending it like this. You can do a straight tree also. I just want you to do a bending tree. Okay. And now I will create some branches to it. Have I have some water in your brush while you are painting with a small round brush on these hills. I'm going to create a lot more. But before creating a more branches, let me create one more tree. Look at that shape. I did not intend on doing it, but it just happened like that. And I like it. Okay, now I'm going to paint all the beautiful branches coming out of it. Make sure that you are using just the tip of your brush. If you feel you're not having to do it with the beak. Round brush like mine. Switch to even liner brush. I can keep on doing. But I think this is good number of branches. I can stop here. Now. I'm going to add some shadows to this. So I'm watching it with my black. I am taking some of the teal blue shades, which I don't think I have, so I'm going to create some of it. Okay. And then now I'm going to go over it kind of in the center with a very light touch. Absolutely like that. And I think I like to use more green here. Okay. You see I'm not adding on any of the side, I'm kind of going from the center. You notice that the black is on either side. So right now we are creating dimensions of the tree. Like how we created dimension of the tree, as in the snow pine tree, by adding highlight colors exactly similar way. Now we are adding the highlights to all of these scratches. Okay, so small brush, not so much, just a light touch up brushing. Okay, that's it. Then finally, I'm going to add one more layer. And this one is going to come on the right of the tree trunk because of the moon. White patches on the branches. Just a little bit patchy. Don't have to go over all the branches entirely. Just a light touch. And I am going to add some snow to this tree now. So where ever the snowfall has happened, which are mostly just the gaps of each of these branches. And I'm using my teeth, body acrylics and just chopping kind of a big blob of light into this gaps. Okay. So the tree is done. Oh, there is one more, small one here, so I'll add some more. And the very final thing is creating the shadow of the tree. So here is the moon. So the shadow is going to be like this. So for the shadow color, I am using this kind of like little grayish. I did not actually mix any color. I had some white. I just mixed it with kind of grayish and absolutely dry stroke. I don't have too much water in my brush. So you see it because I don't have much paint. I'm getting these broken lines which is perfect for the shadow. And I'm just going to add some snow at the bottom of this trees. And that's it. This went on for a little longer than I expected, but that's only because I took time to create all these small pine trees with a lot of care. And now let me just peel off the tape and see how it's looking. So here is the final painting. Have a look at it up close. I am absolutely happy with how this turned out. Look at these two side-by-side so that you understand how this is looking more like day and how this is looking more like night. So this is more of like French blue color. This is more of like tone down till bluish color. They are looking just gorgeous next to each other. You could just frame them and put it in your wall. And you notice that I didn't do us know fall on this one and that's fine. If you want to do snowfall, go ahead. By all means do it. But I think it's just looking good by not adding snowfall in both of them. And that's it for now. Thank you so much for joining me. I'll see you in the next video. 46. RESIN COASTERS | 2 SQUARE + 2 ROUND: So now in this section we are going to learn to create four different clusters with four different paintings. Now, I have chosen two of them on round posters and two of them on the square one, but you can definitely do either on whatever your choice of canvas size is, okay? Or you can just do this one also on ground, or you can do all four of them on brown coasters, or you can do all four of them on square coasters. Whatever you have at home or whatever is your personal preference. I just decided to do onto different types to show you how they look. I somehow like the look of the round coasters, but I think they are also very pretty. Okay. Now, before starting this coasters section, all these paintings, it's very, very important that you have practiced this small pine trees with a round brush. Because these are all the techniques that we are going to use in this one because it's such a small size. It's it's four-by-four. Basically this one is four by four and this is also with a radius, with a diameter of 4 ". So they're really small and it's, it's kind of a struggle to paint them. I use like a zero-zero liner brush for this, but still it's a struggle to paint the small, especially the small ones. This one's in the background, the small binaries. This is, these are still much okay to do. But you can do it really well if you have practiced this pine trees spatially, this one and the techniques that I taught in this one. So what happens is when you have practice this, you will understand which one you like most and which one is easier for you to do. There'll be one or two of the techniques that you will naturally result to welcome creating any of the paintings. So say e.g. in this one, I have used the small, medium-sized strokes like this one. And in this one, I have done the dotted one. This first one. Okay? And here it's a mix of dash and dot. Here it's more longer strokes like this one. So it's not just one technique. That is what I want you to understand in this video right now, what I'm trying to tell you is that there is not one particular method that I've done just because I've practiced all these different types of small pine trees. It's kind of, you will realize that while you're doing it, one or the other method will come up while you're doing it. But if you practice them, you can easily do them on a painting. And one very important thing is if you understand the six basic steps that I have taught you in the beginning of this class. That is what will help you create any pine trees. Look realistic, look gorgeous in your painting. Even though see e.g. this one is so small. Even here I have applied all the six steps, not exactly prominently separately as they will see the video. But you can see that there is a first black line and in the back. And then I have added two or three highlight layers. That is there in all of them. All of them. So you won't be able to understand them. So individually each of the steps, but they are all there. Also. I wanted to say one more thing is that in this video, rather in this section, in each of these goes to paintings. I have not done it very slowly because I am assuming by now you have practiced everything data the two paintings in the previous section and you already know by now the basic things. So I will not get into detail of each of the basic things, but more or less tell you how to create these paintings so that you can create these beautiful cost coasters and use them in your home or use them for gifting. So let's get started with our first pasta. 47. Background: All right, So let's begin. So here are my two MDF, wooden panels, which I'm going to be using or creating those square coasters. And you can see this brown color on the edge, which I like. So I'm going to keep it as the backside and use the other side as the front side. So here is my plate, the brush, It's a pretty thick brush. And I'm going to color it with a white acrylic paint, which is fluid. This brush is waiting brush I consider certain number or size number, but it's the way big one to cover the coaster with just a few strokes. So the color I'm using is white acrylic paint, but you can definitely use JSON if you have it at home. I also have j, so but I prefer using this white fluid acrylic paint because I have a lot of them stored at home, so I'm using it, but it's totally your choice, what you want to use. So all I'm gonna do in this tape is color the coasters completely in the front and on all the four sites because when I paint on the front end, like to extend my painting on the side. And since we are going to be using this as Coasters, it just makes sense to have a little bit of beauty added on the site also, which will be when we use it as a co-star. So that's why I add this tape itself. I like to add the white color on the sides. So Yep, So pretty much that's all I'm going to be doing in this tape. I am going to color these coasters posters on the sides and keep them ready for painting. So of course, after coloring this, you have to let it dry for a few minutes, depending on your weather in your country, as much time it takes to dry. So I keep it under the sun and it just try ys in NP 15 min. Okay, I get them for drying. And here are my two round MDF for wooden boards. I think the size is so good and I love painting on round canvases. So again, I'm pretty much going to follow the same thing that I did for the square canvases. And color, fill these two also, and also make sure to color on the side of this town Canvas. Yeah. You get a little bit of paint in your fingers when you do this tape because it's just coloring all the way to the side. But that's okay. After this tape you can wash off your fingers and then we start painting. 48. Square Coaster 1: So here is my white wooden canvas, which is called completely dried up by now and it is ready to be painted. So here is my plate. I already have some white paint on my plate from the previous step. So I'm going to use that white and I'm taking out halo blue. I thought of experimenting with Taylor blue in this painting rather than mixing Prussian blue and viridian hue. The other colors I have taken out, our burnt sienna and black. So I'm starting off by painting the sky with a lot of white, with very little tailor blue, just to give a touch of blue into the sky. But I want to keep this painting more on the wider side. And that's why I decided not to use too much blue in this painting and just give a kind of like a highlight touch of light. Okay, so look at the color that I'm mixing on the plate. So it has a lot of white with a very less amount of blue. And the strokes doesn't really matter. Use it the way you want to. Our focus is blending the white into light bluish towards the horizon. Okay, So the blending is very well done now. So now with the same brush, I picked up a lot of light and adding the snow line. I did not wash the brush because I wanted that slight blue touch up in my brush and in that white color that I'm adding. But it's just not too much. So that's why I picked up a lot of weight because when you pick up a lot of white or whatever color remaining is there in your brush, it won't make much of a difference unless you press your brush on the canvas. I'm not pressing too hard. So that's why I might enter land is almost white. You can see that on the bottom part of the pre-sale, you can see some blue is remaining from the previous day. Now I'm adding kind of like a good layer of white to give some shape to the land that I'm building. But it's just pure white. Using my liner brush size two to create the house. So I'm mixing. Want CNN white, so that's pretty much all the color that I'm gonna be using for painting the house. So right now, I'm starting off with a lighter shade. And then gradually I will increase the density of burnt sienna so that it becomes dark and also add some burnt sienna with black lead to finish it off. But at the moment, I'm using just one sienna and white to color the whole house. Now I'm using more of just burnt sienna and creating some horizontal strokes to show the wooden panels of the heart, which are placed in horizontal way. It's a very small, tiny place to work with. So use a very liner brush. Here. I'm using double zero liner brush, which is even smaller because you have to blend 23 colors into this small space. So what absolutely slowly and do this nicely and neatly because there's just this much portion that I'm doing. That's all we have to be doing. Just a little bit of painting carefully and filling up the colors and doing a bit of blending. Here I'm using black santa and blending it with the bugs and, and white that I did in the previous step. Okay, Now that the tiny places over I switch to my number two liner brush and using Y just to create the roof of the hut, which is not that tiny. And I can very easily go with the white color and add the roof of the house. But here also you have to be bit careful because it's not a very big place as a little tiny place again, it's kind of difficult to paint on a smaller size. That's why it takes a lot of skill. And I would say a patient. To add this minute detailing when you work on a smaller size canvas, it's always like the same thing if you had been doing on a bigger size canvas, they need to type in much easier to do on smaller size canvas. It's a little, it can be a little difficult sometimes, unless you have the right brush. If you have the right liner brushes, then it's definitely kind of becomes a little easier, I would say. Now I'm trying to make some snow drops from this from the heart on the side. So I'm just dropping some of the lines on the side. Small lines, very small, tiny things. So, so difficult to do it by just a tiny it as because it's not going to be very prominent. Dan, and now I switch to the number two liner brush and we are going to paint our snow binaries. So I hope you feel practiced on the snow pine trees. You are a master buying now to create us know, buy-in fee. So first step I am at starting with black and with a little touch of blue, it's not too much visible. First, in the first step, I'm just going to create out all the structures of the pine trees into this painting. Okay, so after finishing creating the outline structure of the pine trees, I am adding the fence as well in this state itself before moving on to the highlights. Because my brush already has this dark black color with the little blue mix, but it's not really visible. And since this fence is also with the black color, so that's why I'm just doing it just because has this color. Very gentle. Don't see if I'll tell you one small tip. If you find it difficult to do with the liner brush, or what you can do is use a black pen that with a tiny point, micron tips. Especially. You can use that and put this up like a cheating code that I'm telling you if you find it difficult to do it with the brush. And now I'm starting off with the highlights. For the highlights, I'm again, you know, the highlights tapes very well. So I'm going to do to three layers of highlights with a little darker shade of blue. This is like more like black, blue and white mix. And then I'm going to do, I copied layer of white at the top. Alright, so all the trees are finally done completely. Now in this tape I'm going to add some shadows to the fence and a little bit to the trees as well. So that I have mixed is more of like gray with little bit of black and loves lots of white. And so I have just created the shadows of the fence and I'm going to create some shadows of this little hut as well. Cute. I feel like I've added a bit too much of the shadows. So this is a correction that I'm doing. And by adding little bit of white when I feel I've added too much shadow. So this is always a trick that you can employ wherever you feel you need to create something. You can always add the background color to it and it will be taken care off. So look at it up close. It's looking quite beautiful and I'm adding just a little touch of white highlights on the tree to make them feel of the strokes are very prominent. No, I'm just making sure that these white part is all dried. It's not wet at all. And now I am going to add them and paint this small dog. Okay. So just you can just watch this one the way I'm painting it because there is no proper I would say a technique to it. I'm just my intuition and trying to paint a dog. I'm not I won't say I am absolutely a pro at it. So what you can do is just watch me and do this on a rough piece of paper. And it's very easy. I won't say it's difficult. You are just creating the body of the dog and tilting the head by extending it a little bit towards the right and just creating the legs. That's all. But since it's so tiny, it can be a little difficult. Again here also, you can use the cheat code that I told you. You can use a micron deep black gel pen to create the dog. And you should be fine. You can practice it a couple of times on rough paper before doing it on to the capitalist. Here once again, I'm just adding a little bit of white because I feel I've just done a bit too much of the dog on the mix side. So I'm just adding little bit of white just to cover it up. This is the connection that I've already taught you, that it will, if you have to correct something, you can always add a little bit of the other color, the background color, and cover it up. And finally, I'm adding some final touch ups to the heart. And our first coaster is ready. 49. Square Coaster 2: Okay, so here is the second square canvas ready to be painted. Here is my colors. It's the same plate from the previous painting. I'm only taking out a little bit of viridian view because you know that I like using viridian, how fine of a little touch of greenish effect to the painting when I want to create a evening effect. And in this one I'm going to paint the sun setting in the horizon. So it's kind of like an evening ish look. So that's why I prefer adding a little bit of green effect to my background rather than keeping it PR, bright blue. So that's my logic. Okay, Now here I'm starting from the horizon and then going up and creating this dark color from the horizon to the lighter color on the top. And I like coloring on this side. Also. One other thing that I want you to understand is that I wipe off the excess paint from the brush rather than washing it. And then use a lot of white and blue because if you don't wash it, then you still have that remains of the color that you used at the horizon. And that color is blending with the white and creating a lighter shade of that color rather than pure white. Okay, So now all I'm doing is blending these two shades. And I like keeping the bristle kind of lying down on the canvas because when I keep keep my bristles like that, kind of touching the dad's side of the person on the canvas. It's very easy to split rather than using just the tip of the brush. This is where the sun is going to come. So I'm just kind of keeping a placeholder for it and adding the color around it. This dark shade around it. So I'm just creating a little bit of dark sheet to create this kind of like bluish greenish color and adding it on the side. Instead of because it's kind of stuck blending. So I'm using my finger to blend it. All I'm doing is tapping my finger into that blended area and using a bit of white. And the blending becomes a really easy way to do this with your finger rather than your brush. Because with a brush I just feel I don't have that much control as much I have with the finger just by tapping the finger because the surface of the finger is like really good to blend colors. So just in case you didn't know that it's going to be very beautiful experiment for you. Okay? Now I am picking up quite a bit of white and creating the sun in the center of that placeholder that we created little bit audio. I'm just increasing the site to make it look perfect. Circle. Look at that up close. Now I switch to my brush and picked up a lot of light on the same brush. I did not wash my brush. I'm going kind of halfway. Not halfway. I would say two-thirds way to the sun to cover it up and then add the snow land below it. And all I'm going to do is add a huge texture of a huge quantity of white paint to create new land. Okay, So the complete land is done now. I am blaming little bit of black with the white and just creating some of the snow landscape of the undulating land structure. So that is what I am creating with the brush right now. So I'll create 23 such formations to I think two is good enough. I don't have space for anymore in this mall landscape. And I'm going to blend it with whites and add some more white. Just blend it with the white background. It's no land. Now I switch to the liner brush size too. Because I felt with a flat brush, It's kind of difficult to blend because the space is too small. So I'm switched to the liner brush and it's kind of easier to blend it off with this brush. Okay, So after all the blending is done, I'm just adding one layer of white just below this undulating lens that I created, just to make sure that there is a lot of whites no visible on the left. So I'm just going below all the lines that I created and adding a layer of white. Okay, look at the textures up-close. Not that this is going to matter a lot once we pull the rays it on top of it. But yeah, so you can see a lot of textures into it. So now again, I'm switching to my zeros zero liner brush, which is the tiniest one that I have. Now, I think I have one more in the triple zeros. But now I'm going to use this tiny brush and create this beautiful snowy pine trees in the background. My favorites of snow by interests. And the texture that I am trying to use is the dotted one that I taught you in the round brush technique in the first one. The reason I liked the dotted ones, especially when I'm creating the small pine trees, the very small ones, because if you create strokes, it can get bigger. But with small dots, you can keep the size of the tree really small and it's still give it a beautiful eggshell. I felt like it's a little too small, so I'm just increasing the height of the tree a little bit. And you can see that I'm just going in zigzag direction and adding some tiny dots on the side. So this is how we the same process. I am going to create all the snow BY entries on this horizontal line. For this one, I'm using already a little bit of white. I'm not waiting for the next round. The highlight because it's so small, it's not going to be visible. And just to create, make this pine tree look like in a distance, I am adding a beautiful white to it so that it looks a little different because the dark black ones are kind of in the front and the lighter ones seems like in a distance. Okay. So on-site pine trees are almost done. You can see that I've created a few, one distinct one. And since these are so small, I did it in one step itself. And I'm going to add a layer highlight on top of this, but you can definitely do it if you want to. But I just feel it's unnecessary and I like the shades already created. While creating it with black, I actually added a little bit of a lighter blue already in the, in one go itself. I created the structure and the highlight itself. Not a very prominent highlight though, but I'm happy with it, but I'm just telling you if you want to do it, you can absolutely do it. And now comes the step that I'm probably most afraid of doing, painting the reindeer into this landscape. It's again, just like how we created the dog. There is create the shape of an animal and creating nick and the body, the four legs. So again, do it with a gel pen and practice it on the, on a rough piece of paper before doing it on the canvas. I am somehow confident, I'm very confident of myself that I can do it correctly on my cofactor. And, you know, my tree, if there is something goes wrong, I can always add some white background to cover it up. So I'm doing it very confidently on Canvas at one shot. And I'm sure if you just watch it once you will be able to do it too. Hello. Okay. So I'm not happy with the legs at all. I think they are twisted and all. So I am just adding some white background to cover it up and creating a slender legs of the MDR. But I think they are looking good, especially I love the horn part. But yes, I wish I had done it with a pin and not with a lightener brush because with the pain, obviously you get a very good grip of doing it and you can do much better. But I just think of doing it while I was painting it. I thought of it later and I'm telling you now so that you don't have to struggle painting with a liner brush. Okay, So this is pretty much done. Look at it up close. I think it's looking **** good. And let's bring in the other cluster and look at them side-by-side. I think they are looking like such a beautiful state of coasters and they're looking so good. Okay, You know what, I'm as I'm looking at it, I just feel that I have added a bit too much of gray on one in the snow land. And I don't like that three loops. So I'm just adding a little bit of blue. That's up to the land is not really blue data. I'm just adding a lot of white along with a little bit of blue, just to make it look a little bit more vibrant because I feel grace to dull. It just makes my Canvas look too dull and I don't like gray and black and all that in mind. Landscapes too much. So I'm just adding a tiny touch of color with the white and blue in the snow land. And that's it. So here are two canvases side-by-side. I think they are looking lovely. Okay, Now let's move on to the round coasters. 50. Round Coaster 1: Okay, so let's start with the round coaster. So the white color is completely dried. The colors I'm going to use for this painting, our Taylor blue, a little bit of viridian hue, which is already there in my plate from the previous painting and white. So I'm starting with my flat brush and adding the blue and white and also a little bit of viridian hue from this side of the plate. It's the same plate that I used in the previous two paintings as well. Now, the main thing of this painting is how beautifully you blend this background. Okay, so that is what is going to add the beauty of this coastal. There is nothing too much in this painting that we're going to do, just the background. So do the background fade beautifully. See how I am blending the colors. I'm not going with the same color all throughout. I have just adding little bit of light shade in some places, little bit of dark colors in some places, and I'm not trying to blend them all together. Okay, so here I just feel if you like that finger technique that I showed you in the previous one, you can start implementing that experiment with that and see how it turns out for you. So all I'm doing here is adding little bit of dark blue here and there, and then little bit of green in there, the little bit of white here. And they're trying to bring them together with little bit of blending between them. Obviously, you don't want to have separate categories of colors of the canvas, but it has to be all blended together. But this blending also you see that I'm doing is with the dabbing technique, the way I did it with the finger. So yeah, so that is the main tree. Basically you have to keep dabbing whether you do it with brush or finger. So now that the front is done, I am going to use the same colors and paint the side of the coaster as well, so that it looks pretty okay. So the entire background is done and I'm ready to create a moon. So far, everything I am creating one day and one night. So here is the light one for the circular canvas. And the next one we will do a take and just making it perfect circle as much I can. Okay, So now I am using just my liner brush and white and I am creating the pine trees. So by now, I'm sure you are a pro at paintings? No pine trees. Leg in the previous one, I barely use to highlight color, and I used mostly with black and blue. Similarly here, I'm not creating anything with the black at all, whereas I'm creating almost a snow highlight color of the pine trees. So whichever landscapes, as for whatever here also, I will add a little bit of shadow with a little blue underneath each of these snow branches. But the main focus here is on the highlights. So what I want you to understand is depending on the landscape you are doing when you, especially when you're painting a small pine tree with a small round brush. It is definitely important for you to understand all the six steps so that you know which one to ignore and which one to do, and how you can combine all the six steps into the pine tree. So here I just added little bit of shadow with the blue. There is no black in this one because it's not necessary because it's mostly white snow pine tree. So you know what to do and in which landscape, what to do and what to ignore. Okay, So likewise, I'm going to create all the pine trees in this landscape. I think this is one of the easiest one, just one background and then creating three or four pine trees around the circular canvas. Okay, now I'm mixing a little bit of water on my brush and mixing the white paint and I'm going to splatter some snow on top of this landscape. So in the previous two, we haven't done it. But if you want to, you can. So here I am just trying to splatter some whites know. By the way, I just think this flattering is happening. I'm not too sure if they are snow falls or the stars in the sky, but it can be some of both. Because we have created such a pretty background sky. If some of the white dots fall on that, it can give the appearance of some stars. But yeah, overall, Canvas looks good with this white dots. Here it is. Our first circular canvas is ready, and I think it looks pretty. And I think it's obviously one of the easiest ones to do. I'm just adding little bit of gray that's up to the moon. My perfectionism kicks in sometimes, and I just want to make it look perfect as much as I can. So just adding a little touch up to it. You don't have to bite. Yeah. I think I absolutely loved these coastal 51. Round Coaster 2: Okay, So now comes the last and the final round coastal. And for painting this, I am mostly going to be using just Prussian blue and white. And at the end just a little touch of black. But the entire painting is going to be done with just these two colors. I'm starting with the sky, but with a lot of light and Prussian blue, mixing them, blending them together to create a sky effect. My target here is to blend these colors not very properly. And then add some white clouds in-between floating by creating some random strokes. Here I'm not trying to blend them smoothly as you can see. I'm just creating the colors alternately, some dark blue on the top. And the reason I'm creating the dark blue is so that when I create the white clouds on top of it, it just stands out. Good. I'll be the same color. I'm just dragging it all the way down to create the lake part. I'm like it's just this it's going to be the same color. So I'm just dragging the remaining paint on my brush all the way down. And now I'm just creating some of the lake water reflection. So the lake water it because it's the water. I'm just going to use horizontal strokes. So right now when I have all these colors on my brush, I'm just using both these colors to create some horizontal strokes of blue and white. This is going to just go in the back. A leader, we're gonna do it nicely with a liner brush. But for the time being with a flat brush, I'm just outlining and dieting. Right? With the same flat brush. Just wipe it off a little bit to get rid of the excess of blue. And I'm using just the white to create the land structures on the side of the lake or a river, whatever it is, it's just a kennel or a lake or river. And I created the distant land in the back also, which is also snow-covered. So all these are basically outlining the structure. Instead of doing it with a pencil, I'm doing it with my colored brush. Now. I will let it dry completely and then I will start adding the detailing with the liner brush. My canvas is all dried now and with the liner brush, I am creating the outline of this river. Towards the bottom, the place I'm painting now, it's mostly where I'm, we do add the dark color of the Prussian blue absolutely. Do is very high pigmented color. If you just use the concentrated fresh in blue, it's very, very dark color. So that is the color that I'm using to create the dark shaped leader. I am going to add some black to it. But for the time being, I don't want to add to it because then my white it will also become grace. Right now, I want to keep the color combination between Prussian blue and white. So I'm just mixing these two colors to create the water effect onto this link. Okay, now that the basic structure has been done, now I'm adding some black and Prussian blue mix. Only at the bottom of this land as in the land where the leg is touching the land, that is where basically the shadow of the land on the water. So that is the area that I'm adding this dark color to now in the center of it. And again going and adding some of the blue and the white strokes are kind of blended strokes to show the watercolor of the river flowing into. The water always is done with just horizontal strokes. Now I'm adding the white land on the side. So you see that white structure that we created initially with a flat brush is all gone. The lake is completely done. So now with the white color, we will come on top of it and create the land's very nicely. So some of the, some of this link color that dark blue that we did is going to get hidden, which is fine. And the lake is going to come in front as in breaking through the water and the land are forming from both sides. So after I think most of the white land, I'm mixing a little bit of black and white to create the gray. And just like we did, the shadow color of the water, keeping it blue, black and blue. Here also, we have to keep creating the bottom of the lake land of creating some shadow for the land. By mixing a little bit black and white and creating the gray color to show the shadow of the land so that the highlight looks prominent. So the highlight is on the top. The bottom is great. Structure is done and it's starting to look pretty so. The water and the land structure is completely done. So far. One final time I'm just going in into the water area once again and just creating some white strokes. White and blue blends into the water. Okay, now start this. No pine trees. So here I am. I'm doing, I'm going to do all the six states, the tree. So I'm starting off with a black shade, lacking little bit of Prussian blue mixed with the darkest color. I'm going to mark out all the pine trees. Then I'm going to go with a layer of blue, highlight them blue and white. And then finally wide, we're going to do all the steps in this one because these are not very small. And here we can do the shading and it's going to look nice for the snow pine trees. I'm not going to say anything, just you could just start painting along with me because you already know all the steps by now. Okay, So all the snow pine trees are done. You can see all the layers of highlights onto the snow pine trees. And I think it's looking so beautiful. And again, I am queen back to the water one final time. I promise this last time, I'm just adding some more water strokes with the white of the water. I just feel it's too dark. So if I add a little wipe, it will look nice, kind of matching with those new land on the site. That's it. That's it. Our second canvas is done. Second round coaster. Look at both of them side-by-side. I think they are looking pretty **** gorgeous, one D and one night, beautifully created. And I hope you've also created your two beautiful coasters. 52. Preparing The Resin: Here are my four coasters that are ready for the reason for. So I want you to have a look at it up close before we start applying the reason on top of it. Because once we apply the raisin on top of it, this beautiful view, the textural view of these canvases is going to be vanished. And it's going to have a very clear Luke, once the reason comes on top of it. So I am having a good look at it and take some pictures of your coasters. If you want to have a picture of your coasters at this point of time when the textures are very much visible. And now we will start During the raisin. Next, I'm going to be a clip from my racing class where I will tell you what is resin, how to mix resin and how to use it in your artworks. In this video, we are going to create the racing. Now, if you are watching this video, chances are that you already know what a raisin is. But I will still mentioned what is raising and how we can create a racemic mixture. So basically raising comes in two parts. One part is called the raisin and one part is called the hard. Now. Now some of the raisin and we mixed these two competence and can be mixed in one is to one ratio or two is to one ratio. Three is to one ratio, which means three parts of one component and one part of the other competent. So here I'm using the one from Fortune, Amy, as you can see the brand name in the part a, which is the reason part that I've taken out three parts. So you sit 90 g on my wing scale. Okay. I just pick it up and put it down because sometimes the weight can change after I have pulled. The reason that is what I have noticed. Now, I am boring the second part, the part B of these two components, which is basically the hardener and that has to come in one ratio. So if I've taken out the first one as 90 g, I always try picking out the raisin part in multiples of three. So that's why I took out 90 gram exact so that I know the one bug has to be 30 g, which means that together it's going to be 90 plus 31, 20. So this time my focus is on getting the wing scale up to 120. Sometimes it can be 1 g here and there, but that's totally fine. So right now I have raising components in these three parts of the raising and one part of the hardener and now comes the actual part. What you have to do is you have to keep mixing it very well. So I have stored this for a good five-minutes. So five-minutes, you can put it on your timer, put time in it 5 min, and then you have to keep stirring it. And as it gives starting it, the liquid that was initially completely clear, you will see that it starts to become a little bit muddy color, not color, but the transparency vanishes. So that is when actually the two chemicals are reacting with each other and they are forming one clear mixture. So after mixing it for 5 min, you will see that it has become completely light, crystal like transparent liquid form. And that means it is now ready to use. This is the only one time that I am showing you how to mix. The reason this is what I have done throughout all the projects that I will do in this class. I won't be showing it to you again and again. So just, if you just watch this once you know how to create the reason and you're good to go further in their projects. So I don't create a lot of raising at once. I like to create it as an when I'm going for the first project, I created one for the second project I created one more time because this raising Hardin's after starts hardening after two to 3 h, you'll see that the container is becoming warm. The temperature increases in your car. So whenever you find that the temperature is increasing, it means is starting to harden. You have to work on it immediately after you mix these resin. I generally like to work on my projects within the first hour because from the second-order onwards it starts kind of hardening and completely cure it by curing, I mean, that completely hardened the reason owning your project, it takes about 24 h that probably you already know. But the main thing is after working, after mixing the two components, you don't want to keep it in your container for a very long time and you would want to work on the project within the first hour of creating the racing. So I hope you understand how to prepare a resin and you are good to start this project. Okay, So let's go. 53. Resin Pour: Okay, so here is my owing scale and I am putting a paper on top of it. The weight is zero, and now I am pulling the reason to a measure of 60 g. Okay? So on the unmet weighing scales it's showing 60. And now I'm going to take out the hardener. And in the tree is to one ratio, it should come up to 802-02-0203 parts. Another 20 is one part. So here is a total of 80. And now I am going to store the resin mixtures very well. So this mixing, you have to do it for a good 5 min. I did almost close to five to 7 min. Keep stirring until your resin is ready. So here is my mixed resin. So it's like very well mixed. And here is a little trick that I'm going to share with you now, which is a little different than what we did in the resin class. So in the Bayesian class, if you have taken that class, you know that we mixed the resin and then immediately we started adding colors to it and started using in the project. Whereas here, when I generally use resin to cover my artworks, I let it sit for a good like today. I have let it sit for exactly 1 h 40 min. Now. So what happens when you let it sit for some time is you see the consistency of the resin is not as thin as it was when I first mixed it, that you would see when you mix out raising pigment, when you mix both of them and you started for quite some time, it becomes very, it is really dilute at the beginning, but when you let it sit, it gradually starts Picking up. So remember earlier I have let it sit for even 2 h. How do you know? What I'm doing is continuously since last one-and-a-half hours, 2 h. I am continuously starting it in every 15 min. And now I see that it's very well thickened up. And you also feel a slight warm in your hand. So when I'm holding the cup like this, it's a paper cup. It's quite warm. So by this warmth also, I understand that it is pretty much starting to cure. So you know that the resin will start curing up in some type, right? In a few hours. So that is what is happening when we let it sit, it just gets picking it up. Okay, So this is the only trick that emulator tell you that I use before boarding the clear reason onto my artworks. So now what I would do is put the wood, the artworks, The Coasters on top of this paper cups just to elevate them a little bit from the table. Now I would recommend that you cover your table with a plastic paper or plastic cover so that it cannot spoil your table. But I'm not doing it because I think I would be able to peel it off from this table if it falls, if it was mine, my goal is to make sure that it doesn't fall. Okay, so let's see how successful I turn out to be. Okay. So I'm just keeping these two aside and let me start working on them one by one, okay? Yes. And one more important tip that I want to tell you is that here is I don't know what this is called, but it's kind of like a bubble inside. And when you keep it on top, if it is in the center, that means your service is labeled. I think I got it for free when I bought a set of frames, photo frames from Amazon, that is when they gave it, so that you can measure if a frame is straight on the wall when you're framing it. I find this very useful. So if the bubble is in the center, that means my table is c. This one is little to the side, which means it is tilted a little bit on this side. Okay? So the reason I'm using this is because I know my table is slightly tilted in some parts. So I use this. So right now I will pour it. Displays is very straight. I have seen this this side. Yeah. So the moment I start moving little bit decide it just keeps moving. So I'm just measuring it out so that I know I will be keeping my cool stuff like this along these lines. The line I think which is very much straight. Yes. Okay. But right now I will bring it inside the camera frame so that I can show it to you how I am doing this. Okay? Later on, I will move it, right. Let's for it one by one. Okay. Now, why do we need to pick it up? The reason little bit. I did not tell you the reason. The reason is when I pour the resin onto the coaster, I do not want you to follow up from the side. If it is very dilute, it will follow pretty easy, right? But I have tried this in the past and these walks wonder if the reason is a little peak, which it is right now, then it has high chances of staying on the coaster and not falling off from the side. You can see how thick it is. See how thick it is that I am having kind of struggling to push it on the side. And this is what will not make the reason. Jp. See, look at, look at, look at this. I am approaching the side here and steel. There is no chance of falling unless your table is tilted. Mine, and you keep it at a place where it has chances are flowing to the side. Otherwise you see it's very thick. Very thick. I think I read it a bit too long. I could have started doing a little earlier, but I just wanted to make sure. So very well covered. At this. I don't know if you can understand how rarely discovered and it is very Picasso, these very less chances of this flowing from the side. This is a good way of boring. So now I'm going to push it on the side and work on the second wife. Okay. Now one last thing that I like doing after going the reason is just go on the side and just tap it with just a little bit of reds and you can see it's already very hardened and it's not going to fall off. I'm very sure about that. So all I'm doing is because I want I have painted the sides of the posters as well, right? So I wonder side also to be covered with resin so that it looks good. So all I'm doing is just touching the sides of this. And I just wanted to show you how they look from the side. So you can look at them from the side when the sunlight is falling on them. Couldn't figure out if there is any sport that is remaining which is not covered properly or something. So you can just go around like this and make sure that you have entirely covered the coasters and there is no spot remaining. Okay. So I hope you understood how to pour regime on your coasters. So make them really take one and put the bubble tube like this to measure if the thing is straight or not. And then all you have to do is for erasing on top clear resin on top of your course does and that's it. 54. Final Pieces: Okay. So it's been 24 h and it's the next day. And this is how the resin coasters look, look at them, how shiny they are. How amazing It's looking. The pictures are almost gone, but some of it is still visible. Here also, everything is looking very smoothly blended even though I haven't tallied that way. But I think it's looking pretty gorgeous. And they are ready to be used as a coaster. Immediately. Look at the shine. This is how the bag is. None of the reason has stripped from the side. Just to inform you, none of it has it has dripped, nothing has gone on the back. And it's only because I have bought a really peak resin on top of the canvas. So you can see it's fairly clear, clean on the back. Here there is a literal job popping out. So wherever there is a little bit of reason that has gone, you can just cut it off with a knife like this. It's fun. Little joke. But anyways, I will take care of the bath in a little while. So all of them looks good. On the back there is nothing popping out. Why? Why am I showing you this is because this is the resin coastal that I created in the reading class. And if you sit the back of it, it's pretty ugly. And that's only because this was a liquid resin that I had pulled on top and that had dripped on this side. And this is how it has become. So anyhow, so I'm showing this, say e.g. when you drop the erasing on your canvas and the by chance that this happens, um, what you can do is, I mean, otherwise also, what I'm going to do now is make them absolutely ready for a to be used as a canvas. I can see a little bit pump here also, which is a little bit of erasing. I'll just cut it off on so yeah, so it's smooth now. Okay. So I have an A4 size paper here. You can take any colored paper, black, white, doesn't matter. Your choice on I'm gonna do is now that this paper into these sizes and face them behind so that it looks like a finished coastal piece. Okay, So here are the papers completely cut out from these A4 size paper? Or just one quick thing that I want to tell you is that I just made sure that the paper is not exactly as the size of this coasters, but a little bit smaller. Why? Because I don't want this paper to show off from the front. That is why you can see there's nothing none of the paper that you can see from the outside. And in the backside. It's just a little bit inside, which is fine. So I did for the circular one so that the paper is not visible from the front. So now I'm going to stick it on the back using physical or you can use whatever glue you have at home. Any glue is totally fine. Okay, So here are the final posters. So I think they look perfect on the backside and absolutely ready to be used right away. So you can use them for your personal use or you can use them for gifting. Christmas is coming up and I think they make perfect gifts. I hope you enjoyed this section of the class and you enjoyed creating this pretty coasters. So I hope you understand that all the paintings that we have learned so far, or maybe, you know, any pine trees that you can think of. Backtesting you can actually paint them on this four-by-four size wooden coasters. And you can create any poster out of these pine tree paintings that we learned. And they are just perfect for Christmas. So thank you so much for joining me in this section and I'll see you in the next one. 55. HANDMADE GREETING CARDS - Preparing the papers: Okay, now onto the final section of this class, and here is the A4 size paper. What I'm going to do is cut it into half. And then I'm going to use each of these section to create one greetings card that I think is going to be perfect for using these Christmas and New Year's, whatever is your location that you want to wish your friends. I want to create two greetings card out of this because I want to wish to open my most favorite people by sending this to guts. Okay, so the first thing I'm gonna do is cut it off into two equal parts. Okay, so here are two A5 size of papers and I am going to fold it into half. Okay. So here are my two creating Scott Ready to be painted on? I still haven't decided what I'm going to paint. But let me start thinking of something. And it has to be something with a fine trees because that's what we learned in this class. So I will try to create something very easy, very simple on this one. But you can talk like all the paintings that we have learned. You can create any of them on these cards, especially the one that we learned in the cost of section. I think this will make such a beautiful, something which is based on white, will create a very beautiful reading, Scott, I feel so you can create it like this and use up this space for writing message. Look at them. They look so pretty already just by facing live on the card. But I'm going to paint something on top of this. And let's get creative. 56. Card 1 - Purple background: Okay, so before painting on the grading, Scott, I am going to tape it down on my table. Okay, So this is well taped. Here is my plate of colors. And the colors I decided to use for this one is, I haven't really painted any purple painting as of now. So I thought I should do a corporate bond. So I've taken out Prussian blue, pink, black, and white. Okay, and here is the size for a small brush, which I will start blending of the colors. So the color I want to use is obviously Prussian blue and pink mix. So I am going to create these pretty color first. Okay, So I think that's a good amount of color that I have prepared. And I am going to start off somewhere and create like a V, The land, like this. Okay. Like I said, for my card, I do not want to use a very dark color. So that was the only dark color I used. And now I am going to teeny down. As I go up. I want a bit more of a pink because I feel it's too bluish. Okay? So I think this is a very beautiful color. Okay, Now I'm going to go do some blending from dark to light here. And I am going to use the side of the bristle to do my blending. I felt my brushes are too much of pain, so I'm going to wipe it off a little bit. So I am going to have little bit of pink in some thoughts. Some light. So blending all the colors here and there, and creating a very pretty background and more of white on the top. Okay, I have to be careful. I don't want to spoil it this side of the card. I take this pretty purple color is looking really nice. I haven't done any painting with this color yet. This is my first meeting. Okay. Here what I don't like the blending, it's looking more like a line. So I'm going to use some more of this color. Maybe just a little bit of the dark tone. Maybe there's just a little bit of Prussian blue also by not lending it in. Okay, no, that's too much of Prussian blue. I wanted to switch to purple again. Okay, I'm washing off my brush now because I feel I got a little too much of Prussian blue in my brush, which I don't want, and I wash it off and now back to a little bit more of the purple shade of pink. Okay. Just a bit more of pink on this side. I have my sister in my mind as I'm doing this because most favorite color, you can see she, She's lights, something in her stuff. So I think this will make a perfect gift for her. Okay. Just a little bit more of this dark purple on this corner. See, I'm moving my brush, encounter known direction and contemplate, dig off. Okay, I absolutely loved this beautiful background that has happened here. Okay, now what I'm going to do is same brush. I'm not washing it off, just picking up loads of white paint. And I am going to go over it like this, create that undulating lend structure. The snow-covered land. Not pressing my brush too hard because my brush has a lot of purple. And I don't want to get rid of it yet because I don't want that color just here. So I'm pressing my brush just a bit more to take out that purple color. See, it has come out. And now very slowly and gently, I am going to blend it off. Since I'm not going to put any reason on top of this. And this picture is going to look through it forever. I wanted to add a good amount of white texture as just a white thing body paint. Because I think it's just pretty clear. It's like the snow effect. And again, I'm just adding just a little bit more of this blue color. See, placing my brush to get out. Take this color out, which is here at the bottom of the bristle here. And good, good amount of color and texture and everything out onto this guy. Okay, now what I'm going to do is get rid of as much paint as I can possibly. And then what I'm going okay. Just I just wanted to add just a little bit more of purple. Okay, see, I have so much of purple in mind price still. You know what I'm thinking? I think I want to wash off my brush and have like absolutely clean brush before doing the next step. So I'm just washing it off, asking as possible. And now I am taking another huge layer of white. And what I'm going to do is add one more layer. Remember the landscapes structures that I taught you? You can do one layer, two layer, three layers of land, whatever you like. And now is going to be all white. You know why I'm keeping this on white? The bottom part, because this is where I can read my message or just add just a tiny bit of small message to make the card look pretty so. That's why I said I like to have more of white things in my painting when I want to use them as greetings card. And you see a little bit of purple is coming out at the bottom, which is totally fine, not too much. Because I cleaned off my brush and does adding layers and layers of white paint to make it look pretty. So. That's it. The whole background is done. And now I am going to wait for it to dry a little bit because if I start painting on top of it, my hand is going to blend up the colors, so I'm going to wait for it, dry it with my hairdryer and maybe and then I'm going to paint some pine trees around it. Okay. Now it's not completely dry, but it's almost dried and I will try to be a little careful and paint on top of it. So the color I'm using is mostly black mixed with a little bit of Prussian blue. And I'm going to start with the first one. I am going to start it behind this land and take it all the way up maybe till heal. And lucky bit of blue. And I'm going to add some tiny textures. Okay, So this is the pattern of the tree that I am trying to create here. Okay? You can see my fleet. Okay, here there's a thick layer of white. So I have to be a bit careful and add on top of it. So we're all I'm going to do is add huge layer of paint here so that it goes on top of this. So creating some small textures like this one we created with fan brush, but this place is too small for a fact for my fan brush to be used. So I am doing this with a small round brush. But I think the dishes are looking nice in this way. Okay, so that's my first tree. Maybe I'll just add a bit more of textures to this. Not too much. Okay, and now I'm gonna do one more of this tree, maybe one or two more. Let's see me. One only fuel. One is done and one that would be the last one. I don't want to add too much clutter displays. Small place anyway. Okay, so the main line is done. And now I'm going to create some of the lighter shades on top of it. So I'm mixing a little bit of the purple sheet with the white light bluish color. And I'm going to go on top of this. It's not going to be very prominent. Okay? And I'm going to finish it off by adding some snowfall on top of this. So I'm mixing it up with a lot of light and water. Okay, good number of snow has been added, so I'm just going to change the shape of few of them. I think this one on top of this tree, I quite like it is very big and of a weird shape. Okay. I think that's all not going to play around with it anymore. Let me uncheck this and see what's there inside. Look at this pretty predict card that we created. I think it's so good. There are unlimited options that you can do with it. And I absolutely loved this whitespace in the bottom because I'm going to write some message over here. So let me write that and show you how it looks. 57. Card 2 - Blue background: Okay, so now let's work on the second one. For the second one, again, I'm going to tape down my Todd onto my table. And here is my pleasure. Color is the same plate from the previous one. And all I've done is taken up a little bit of viridian hue. And I'm going to talk to coloring that indented becquerels. Okay? So for this one, of course you understand by now probably that I want to do my favorite color, teal blue. So here is my color. And I want to add it a little bit on this corner. I'm trying something. Absolutely. Meal. Let's see how this turns out. Only this bottom right corner. I want to keep it absolutely dark, remaining all of it. I want to and also see how I'm pleading subjects shoes out of it. Absolutely. Light color of green. Okay, I think this is pretty good. And now I'm just going to add some more of white into the background. And I'm going to wash off my brush completely clean and add lots of white on the other side. And blended in. Just a very smoky, foggy kind of background that we're treating here. This can create a beautiful painting as well. If you want to try this out as a painting, I think. See how beautifully I'm doing the shading all over Europe. Okay. I just feel this corner is not that prominent, so I'm just going to create this dark blue color once again and add some of it. And I'm dabbing it so that the pictures look beautiful. Okay, that's a lot dark. But only in some places, not everywhere. See how I am kind of vibrating my hand to create some of these textures in some parts. Okay. And while I am with this one, as they moved the dark color, what I'm also going to do now is before painting the pine trees, what I want to do is something, again, something new that I want to try out. I am mixing a lot of water with the, okay, maybe I will not do this with a flat brush and I will switch to my liner brush. Okay, he already is my liner brush. And I'm mixing these two colors, creating this dark teal blue, almost like peacock blue color. And I'm going to add a few drops here and there. More water because the more water you have, better splatters you make. I wanted to make this corner very dark. I think I would splatter some more on this corner. And just a few more here and there. Maybe I will make a little bit of white. Make this color a little lighter. And slice. Oh, look at that blob. I kinda like it or not that I dislike it. But I did not want that big, but if that happened, It's okay. Okay. So now all the blobs are coming a little lighter shade than the first layer, which was very dark. And now I think I want to make even a shade lighter. You see how I am graduating from one step to another and kind of improvising Mike Flynn. And some more lighter drops, some water. I want to get this white clean so that I have some space for writing. Okay, I think that's good enough. Quite like the background. It's like a foggy background with a little art, create art and creativity, kind of. I think I just want to add a few more dots. Sure. That's it. Not too much. That's it. Just a little bit. And now I'm going to let it dry. And then once this dries, I'm going to add the snow pine trees on top of this. Okay, now this has almost dried and now I'm going to create some pine trees on top of it. And I'm going to vary the shades little bit because you see there are so many variations of colors here. So I'm going to vary the sheets of the biases according to the background color. Okay, so let's see how I do that. So I'm starting off with the lightest colors. So here's the lightest color, Here's the middle color, here is the darkest color. So it's all the teal blue, just more white added onto them up starting off with though lightest color and the size I'm using is a keynote. See, number one. You can see it's almost not visible, but as it's coming on the dark bark, it's visible. I feel that she pops this brush is too much, so I'm switching to double zero. I think that's better. Now I'm taking the dot product one and adding one. Maybe. See, I did not increase the base of it. I kind of put it down from here because if I increase the base, it's going to come all the way here and I do not want that. So improvisations, okay, even a darker one because this place is already pretty dark, so I'm mixing the colors once again. Maybe I should make this just a bit of black with it. Yeah, I think with a little bit of lag, it's kind of looking better off trying to create some dots on the side and some shirt to this tree. Changing the shape of the tree itself. I think this is looking good. And maybe I want to create a little taller one with the medium sheet probably. How about C one phloem? Sure. Too high. I know. Okay, that's too dark. Maybe I want to switch one lightest shade. Kind of doing the technique. And you see as the color of the tree is matching with the background, I'm kind of leaving it at that and bringing just a line down. So this is, these are all artistic pine trees. Just increasing the fixtures on the side. None of this is plan is just happening. So I'm just keeping my eyes open and seeing how well I can blend it with this beautiful background that I have created. Right? And maybe some of the lighter ones over here. This one I'm taking down all abroad and nice. On the way to the base. That's a lot darker and probably make it a bit lighter. I want to add some white to this and see how this looks. Yeah, Some of my highlight colors. Nice. So there is no fixed pattern. Just follow your intuition and do wherever you feel like doing it, however you like, have fun with it. Play with the background. You have created a beautiful background. I go like this. It will be exactly like mine. But you understand how to create an even do it with any color that you like and then match up your trees with the background. So it's kinda like a fun game with your snow pine trees. So have fun with it. And now I'm just thinking, I will add some white highlights to this one, maybe a little bit to this one. This is the benefit of understanding how to paint a snowy pine trees because once you do, you can never go wrong when painting. So by increasing, even if something goes wrong, you will be able to correct it and get it. That is the beauty of good understanding the basics of doing anything. Once your basics is strong, you can literally do anything out of it. Okay, do I want to spoil this place? This I like this picture over here, probably I should not. Okay, one last thing I want to do is add a little snow drops on the double food. We have added all these colorful abstracts on the side. But now I want to add a little snow drops on this area that So for that, I am using a not so four terms with the white color. And I'm trying to drop the white on top of the trees mostly so that it looks like it's snowfall. So rather than creating the highlights with the with my brush and painting a layer of white highlight layer like we normally do. Sure, I am using my abstract. Brushstrokes are other splatters to create the snow drops on top of this trees. Okay, So our second card is ready, and now let me fill it off and see how it's looking. Wow, I think it looks absolutely classy and purchase. Just for the person that I have in mind that I want to give this talk. And I'm going to write something on top of these and show you how it looks a little later. I want this to completely dry off. The doors are pretty wet. I'm done. I'm going to write on both the gods and show you how this looks. 58. Card Message and Packaging: Okay, So here are the two final greetings cards, and I think they look absolutely excellent with just a little bit of words. I did not want to put a huge message on the front of the painting and just give a couple of positive words. So the reason I wrote, joy and calm because I want to wish Joy and come to the person. I am giving this to. Inhale and exhale because this is just a reminder to live in the present moment to the person that I am giving this to. I hope you enjoyed creating these beautiful cards along with me. And you created something very beautiful, if maybe not the same one that I taught you here. Maybe something different, something from your own imagination, or maybe something we learned in this class earlier. You can just pick whatever you want and create something that you can gift to your loved ones. Now, one last thing that I want to tell you before finishing off the card is instead of writing your message inside in this paper, I am going to show you a very easy trick of writing. So that is something you will need to change the message or something you made a mistake. You can easily do it. Take out a paper from any of your sketch book or journal that you have at home and then cut it according to the size of your card. Okay. So here are the two small papers that I have cut out from my journal. And now what I'm going to do is just add this inside with a little washi tape like this, whatever you have at home. So I had a few of these. So this just makes it look very pretty. All you're going to do is just sit here like this. And for the blue one, I will use this blue washi tape. Okay, and our final card is ready. Look at them how pretty it looks perfect for writing any message that you want to hear. And if there is any mistake, you can always change it, replace it, maybe I'm going to take it if the main washed it is not very strong glue, so I might stick it with a favicon once I have finalized the message, but this is how it looks. And finally, you can put them in a beautiful envelope if you have them at home. I don't have any pretty envelope, but I have these plastic covers. So I'm going to put them inside. This. Here is one. They look very nice, store-bought with a plastic cover like this. It looks very classy, very elegant, like as if you're just bought it from the store. And yet you have these beautiful cards ready, all done by yourselves sitting at home, learning how to paint a snowy pine trees and you can use them for gifting your friends and surprise your friends with your creativity. So I hope you'll enjoy this entire class. And you learned a lot of things. We've covered a lot actually in this class. Thank you so much for joining me. 59. Thank you!: If you're watching this video, I am assuming that you've already done everything that I have taught you in this class and you are here. So first of all, kudos to you, give yourself a huge pat on the back for coming here and for completing everything that I've taught you so far in this class. Before wrapping up, I just wanted to go over all the things that we have learned. We have covered a lot of things in this class. You have learned a lot in this class. And if you can carry it forward and Pakistan in your buildings and create more winter landscapes or width. By practicing all these different types of pine trees, you are going to be really good at painting snowy pine trees. I hope you're already feeling by now that you are painting better trees than before, right? So let's go over all the things that we learned and do a quick recap. First, we started off with learning the two very basic trees or with flat brush technique, where I showed you the six individual steps for creating us know buying tree. Then we repeated the same thing with the filbert brush in the first three. And then the second tree, we tweak the structure of the tree little bit with the tip of the brush. And we created a very gorgeous looking kind of different for tree. And then with the fan brush, I start to use these two types of trees, which are more like the secondary of the filbert brush. It's kind of like a little complicated with a very beautiful structure of the Christmas tree. And then finally, I taught you how to paint the snowy pine trees with the round brush with a three different techniques. I feel this is a technique that mostly we are going to use in most Chapel paintings. Then finally, I told you with the round brush how you can create different types of snow pine trees. The small ones that you do in a distance like a misty pine trees or chief forest at a distance. So that's all about the techniques that I taught you. And after that, we learned creating these two beautiful paintings that you can create on a huge canvas and add as one piece. Or you can even gifted these two paintings by basically done to show you how you can use these trees that we learned in the techniques and put them in your paintings. So this is the one which is done with a flat brush technique. This is the one with the filbert brush technique. And in the distance we use the round brush technique. So now I want you to try out one painting with a fan brush, because I haven't done any of that here. And after that, we learn to create these four coasters. I feel very easy and you can create so many more cost us out of this snow pine tree class that you have learned. And then finally, we learned to create these still greetings card. I hope you have created them and you are going to use them to give to your friends this window. And that's all, that's all we learned in this class. I hope you had a good time, good experiencing, learning everything that you learned here. Before wrapping up, I just wanted to tell you that if you have any question, please write it to meet this class. I don't consider this class as a complete class because I might add more things to eat based on your feedback. So if there is anything that you don't understand, if there is anything more that you want me to teach these or write it to me so that I can curate this content. I can edit this content. I can add more to it depending on your feedback. So if you have any feedback for me at all, please write it to me. And if you have any question that also you can ask me if you've created any of this from this class and if you're sharing it on your social media, please tag me because I would love to see what you've done. You can also post them in my Facebook group if you want to, or you can share it on your social media and tag me. Thank you so much for joining me in this class. And I wish you a very happy winter season full of lots of snow, pine tree painting.