How to Paint Sunflower Landscape using Acrylics : A Step by Step Guide

1. Welcome to the Class: Sunflowers are a symbol of happiness, honesty and peace. They're my favorite flowers as they always remind me to rise and shine and hold my head high. I've also been super obsessed with painting sunflower landscapes. Because each time I sit down and paint them, I can immediately feel the positive energy radiating through them. And that brings me so much joy. And in today's class, I'm excited to bring you a similar experience. Hello everyone. My name is I'm an artist and art educator based in Bahrain, originally from India. You can find me on all social media platforms by the name this simply aesthetic, but I'm constantly active and sharing my love for art and nature. If you wish to know more about me, you can head over to the About Me section on Skillshare. I'm excited about this class because I'm going to take you on a wonderful journey to painting these beautiful sunflower fields along with me. Don't worry if you're a complete beginner because I'm going to guide you through each and every step that you need to know when it comes to painting with acrylics and combine all of them to paint a beautiful class project. We'll start off by knowing the art supplies. So paints, brushes, canvas, all of that. It's going to be covered. We'll then move on and learn a little bit about color mixing. And this is going to help you a lot. We'll also learn these beautiful brush strokes that you can make using your flat filbert and round brushes. And then we'll learn how to use a brush to paint these beautiful clouds that we'll use in our class project. After gathering all our knowledge from an exercise lessons, we're going to use them in our final class project, which is off this beautiful sunflower field. It is filled with so many beautiful warm colors and a lot of positive energy. So if you're someone who's always wanted to learn how to paint such landscapes using acrylics and want to experience the positive energy that I'm talking about. Then join me in this class and let us go on a wonderful journey together. See you inside. 2. Art Materials Needed: Let us talk about all the art supplies that you need. The first thing that we're going to talk about is the canvas. I'm going to use this ten by 12 triple prime chest. So Canvas, it's a single thing can whisper, which I really wanted to test out. This is from the brand Campbell, as you can see, it has this beautiful little texture on it as well. And this is what our final artwork is. So we're going to paint on this canvas. The next thing that I want to talk to you guys about is the paints. I'm going to use these collegial acrylic paints from Winsor and Newton will discuss all the details about the sheets that I'll use and the different color mixes that I'm going to use in the next lesson. So you can tap in there to know more about your colors that you need for the class project. The next thing that we are going to talk about, the brushes. I'm going to use very limited brushes here. I'm going to use a size 12 flat brush for all the background washes. I'm going to be using. The flat brush for blocking in the color is majorly so you can use different sizes of flat brush. This is a half an inch flat brush. You can use whatever flat brush is available with you specifically slightly bigger because that helps you cover the surface a lot more. Next I have this filbert brush that I'll be using for the clouds. It works amazingly for the cloud. And I'll teach you all about how to use that in our exercises. The next, I have a round brush which is of size two and double 0 for adding in the details of the sunflowers and leaves, none of that. So I'm just going to be using on four to five brushes at max for this class. You don't need any fancy brushes. You're just a flat brush or filbert brush, Amazon brush. The next thing on my list Are these palatine nerves. I'm going to use a size one pallet knife, the one with the pointed edge for adding and textures and details on our foreground bit. So that works really well because you're able to add in different strokes using the palette knife, are able to get these rounded some flowers that you see as well. And I've just used my palette knife for that and it works perfect for the textures. So make sure that you have a pallet knife. And even if you don't have a palette knife, you can sort of get the same effect using your brush. But having a palette knife will cut the time by a lot. Next I have this mixing palette is somewhat wouldn't mixing palette. I haven't actually build off the plastic off of it because I'm going to use the ballot with the plastic, so it's easy to just peel off and throw it on. Next, I have Oh, jar of water. As you can see, the condition of this jar is very messy. That's because this is specifically for painting with acrylics. So yeah, that is why it looks like that, but makes sure that you have a jar of photo with you. Next, I have a pencil for a very basic sketch. Nothing fancy, just a pencil and a cloth rag makes sure that you have a cloth rag with you and stop tissues because it helps in getting rid of all the pain that might stick on your brushes and tissues, you just end up using a lot of tissues for the chronic. So make sure that you have any drag, right, that is it. In the next lesson we are going to be talking about color mixing. So see you there. 3. Exercise : Colour Mixing: Let us talk about all the colors that we need for the class. I'm also going to show you all the shapes that you can make using these basic colors. First, you need to have titanium white and a Payne's gray. If you don't have Payne's gray, you can use black itself. You don't need to have Payne's gray. But I wanted to go with Payne's gray instead of lamp black. And I have taken titanium white. Next we have two warm colors. We have our yellow, that is cadmium yellow and cadmium orange shade, which I'm going to use for the sunflowers. Next I have sap green and hookers green. I'm going to use a combination of these colors for the leaves and all the background washes in the field of sunflower fields. And lastly, I have a brown shade which is burnt sienna. So these are going to be all the colors that we'll be using for our sunflower fields. And right now I'm just going to show you how you can make many different colors using just this to be your base color. For that, I've taken yellow, orange to greens and browns on my palette. And on the right side, on the top side I've taken white and my Payne's gray. I will be mixing different combinations of yellow with white. So I'll add a little bit of what I'm just going to show you exactly what I'm talking about. So it makes a little more sense than it does right now. Here's a clear swatch of paint directly from the tube. So you can see this is what the original color looks like. Right? Next, I'm going to add a little bit of white to the paint, to my yellow. I've just added a little bit of white. And as you can see, the color is tone down from its natural color, which was from the tube. And if I add a little more white to the mix, right? If I'm adding, increasing actually the quantity of white you can see it gets lighter. So each time you add more white, the color gets lighter. Let me show you what happens when you mix yellow with the Payne's gray. So I'm going to mix a little bit of Payne's gray first and see just a little amount of Payne's gray and more yellow. You can see it has completely changed the color. It looks more of a greenish mix, right? So it looks more brown or greenish, green rather. If I add more gray to paint gray to it, it has gotten even more olive green to the colors gotten darker. So as you can see, there's like a huge difference comes in when you're adding your white and green together. Even black, Let's say. Now to get a more neutral color, you will mix yellow, white, and gray. And when you mix these three colors together, you will get something that looks more toned down, right? More neutral. So you can use these colors in a lot of places where you want neutral tones. So you can see this is a combination of yellow, white, and Payne's gray. Now I'm going to repeat the process with all my colors. That is going to be my orange green. So let me just show you what it looks like when you take orange. So this is our cadmium orange directly from the tube. You can see this is the shade it makes. And when I add a little bit of white to the orange, just gotten tone down immediately. You can see the shift in the color. Next, I'm adding a little more white to it. So this gets to look more pastel orange shade as you can see, it looks more peachy. And this is width wide. So you're going to practice this color mixing each time with the shades that you have and you add a little bit of the white and then you increase the quantity of white. And you do the same thing with the Payne's gray or black color that you need to use. As you can see when I add Payne's gray to my orange shade, it gives me that beautiful dark brown shade. As you can see, I've got a nice dark brown color by just using orange and gray together. So even if you don't have browns in your color palette, you can always make these proteins using your primary colors. Secondary colors. You can see the last row is more of a neutral tint that regards it has that brownish light brownish, grayish tone to it. Now I'm going to repeat the process and I'm going to slightly speed up the process. You're going to do this with all the colors and find out many different colors that you can make along the way. Now, it isn't that only these two different shades of mixes you can make with white are only two different mixes you can make with grape. You can get various mixes depending on the quantity of three and the gray or the white that you are adding. And you get a lot of different colors. So instead of freely holding onto all the colors in these mixes, you can get your basic colors and mix the colors that you need for a painting. Mixing these colors on your own really just makes the painting look even. And it doesn't look odd when you try to get an separate colors from tubes that are not from the same mix. Mixing your own colors really bring out a lot of difference in the painting. So what I'm gonna do now is keep quiet so you can follow this step. And see how the mix a lobbying firm that all the colors I've mentioned earlier. Alright, so as you can see here, all the sheets that have made with the colors that I need for the sunflower field. I also wanted to show you the shapes that he can make using ultramarine blue, that is the color that you're going to use for the sky. So I'm going to mix my ultramarine blue. As you can see, this is what the color looks like directly from the tube. It's a nice deep, warm blue color. Next, when I add in a little bit of white, you can see immediately the color is toned down. It is completely different from what it looks directly from the tube. And when I add in more white, you can see there's a huge shift in the college looks more like a baby powder blue shade. This, these are all the two colors that you can make using a mix of ultramarine blue and the white shade. And then I'm going to show you exactly what happens when I add in Payne's gray into the mixture. So I'm just going to mix blue and Payne's gray together. So I'm going to start off with just a tiny bit of Payne's gray. As you can see, the colors immediately more darker, right? It's even darker than its original color. I'm going to increase the quantity of Payne's gray. The color gets darker skinned and it's a more deep, rich, deep, deep blue color. So this is the fun bit about color mixing. You get to know all these beautiful different sheets that you can make with your normal chase that you get in your tubes. And I absolutely love doing this exercise before I'm painting, so I just know what the sheets are and what quantity of paint I need to mix. And then when you do it on your own, you get a good practice of the thing as well. So here are all the shapes that we have mixed. As you can see, we've gotten so many more colors from our basic colors that I mentioned earlier encoding these beautiful mixes with white paints, gray, and the neutral colors. So now this exercise is gonna give you a clear idea of how you can mix different colors when we are painting our sunflower field. So I hope you enjoyed this color mixing bit to this color mixing chart with you because it's gonna be really helpful. And in the next lesson we are going to practice some brushstrokes. 4. Exercise : Brush Strokes: Okay, let us learn all the different brush strokes that we can get using the brushes that we're going to use in this class project. So for the first few brushes that I told you, we're flat brushes, filbert brushes and to run flashes. So let us learn the different brushstrokes that you can make using your flat brush. If I just want to hold the base of my brush and use it in the horizontal way. I would get this huge stroke if I just turn it 90 degrees and just done it by 90 degrees, this is the stroke that I can get. And if I vote to use it perpendicular to the paper, I would get thinner strokes. With your flat brush, you can get three different widths of brushstrokes. You get the thickest one, the medium one, and the thinnest one, by using it perpendicular to the paper. They can just pay attention to the way I'm holding the brush and the way I'm turning the brush, right? So the first one was flat, the second one was twisted 90 degrees. The other one was directly perpendicular to the paper. Next, I'm going to show you how you can make different brushstrokes using your filbert brush. Now the difference between the filbert brush and the round brush is that silver brush is more rounded as compared to your flood brush. So the ends and other starting width of your stroke is going to be more rounded. So you can repeat the same process with the filbert brush in the same way that we did for the flat brush. And one other good thing that I like to use my filbert brush for is making the clouds because it has that beautiful round edge. I can make these circular strokes. I'm using that circular stroke. I can paint a lot of different Clouds. So if I were to make the strokes like this I can give my clouds are really fluffy. Love using this brush without having to work on the shape a lot. Now, if you don't have a foot bud brush, you can go ahead and use a round brush as well. That's fine. You can try it out with your own brushes too. For me, for the brushes work best for painting clouds. Next, let me show you what strokes you can make using a round brush. I'm using a size two round brush with maximum pressure. This is a brushstroke that I get. This is my maximum pressure that I'm applying on my brush. And as I slightly released the pressure on my brush, I get a lighter stroke. As you can see, the thickness is reduced. And with the lightest pressure where I'm basically just touching the surface with my brush. I get these really beautiful thin strokes. And that is how you can use these brushes to your advantage. And how you can do that is when you are making petals and leaves and all that. You can start off by just touching your brush on the surface and then dragging it and then you release it. You get these beautiful thinner stroke. So the variation in which the brush moves can be changed with the amount of pressure that you are applying on it. So go ahead and just try your, try different brush strokes using your round brush with different pressure. For the petals. What I like to do is touch, apply the pressure and release. And I'm just going to try this out in different directions so that I get a little bit of a practice before I go ahead and make the class projects. But this is not really important, but getting to know your brushes really changes everything because you know exactly how to use them and how the brush strokes can be Soviet, I'm just tapping in some strokes in different directions to see how my leaf strokes word luck or what stroke would look with the different pressures and different directions in which I'm dragging it, what it's gonna look like. It's just a good practice to understand your size two round brush and make so I'm going to repeat the process again with the size double 0 brush. Now this is almost like a detailer brush, but you can't really cover large areas using that brush. And this brush is generally used only for adding in finer details in your sections. And just get going ahead for all your final details. I'm just going to repeat the same step like I did earlier with my size two round brush. And as you can see, the brushstrokes are much thinner as compared to the previous one. Even applying a lot of pressure does not changes or make a major difference in the brushstrokes because the brush is very fine. It's double 0 brush. It's a really fine brush. So I'm just repeating a few brush strokes using the same brush to get a good grip on it basically, and just get to, get used to the movement of my brush. Alright, so I've titled all of them so that you can see sides are flat, size six, round size two, round doubles 0, what the strokes look like. And you can just try these out with your brushes as well. Just to, you know, it's like a good warm-up exercise before we go ahead and paint on me artwork. In the next lesson, we will be practicing a few clouds. So see you there. 5. Exercise : Clouds: Let us learn how to paint clouds. I'm going to show you some of the artworks in which I've added clouds using my favorite method. And you can see a lot of the times you're able to capture in the little shadow bed and a lot of the highlighted bits, the clouds. So this is kind of like my favorite way in which add clouds, but I'm not really focused on the clouds. As you can see most of the subjects. There's a lot happening in the foreground. But I still want beautiful clouds in the sky where I don't have to put in a lot of extra work. In this lesson. I'm just going to show you how you can get that fluffy look into your sky without actually working really hard for it. So let us quickly, quickly get started in practicing a little exercise with the clouds. So I've taped on my paper on all four sides is just using an extra paper. You can use Canvas April as well. I'm going to use my titanium white and ultramarine blue. And I've put it on my canvas, not, not on my canvas. I'm sorry. I've put it on my palette and I'm just going to mix blue. So we're going to start off with the ultramarine blue at the top and then slowly transition to a lighter blue. So you remember where we added a little bit of white to the blue and we've got a lighter blue color. And then we added more white to the blue and we got an even lighter blue color. We're just going to repeat that step. That same sort of mixing startup, starting off with the blue directly from the tube, then adding in a little bit of white into it, and then adding a little bit more white into it and then creating a graded wash with our acrylic paints for the base. Now, right now as you can see, you'd be able to see the paper or the Canvas, whatever you're painting on, you'll be able to see it. That's okay. This is our base layer. We're just blocking in the colors first. When you're making the wash, it doesn't, it's not important to cover all of it at once because once this layer dries, we are going to repeat the process. And when you do that, you will see how magically opaque everything gets off the bat. So right now, just focus on laying the colors and once you're done with that, you're going to let it dry completely before moving on to the next step. Alright, so my paper is completely dry now, I'm gonna, I'm gonna do is start the process again. Start off with a blue shade at the top. Transition to a lighter blue in the middle and then the lightest blue at the base. As you can see when I'm applying this layer, everything is much better, much more seamless, much more opaque. You cannot see the paper at the back. That is why, especially for the basis if you're walking into layers, it just fixes everything. So go ahead and create the second base. Alright, now that my paper is completely dry, it is time for us to paint the clouds. Remember, I told you that I use filbert brush. Now's the time to whip out your favorite brush and start painting clouds. For that, I make sure that I have not added any water on my brush and I'm just using dry brush and thick consistency of paint with no water, nothing just paint directly from the tube. And again, one another thing to keep in mind is if you have titanium white, it would be the best because it's more opaque and it's much more like it stands, right? It's much more opaque. It's much more deeper and richer instead of being light. So titanium white box crate. So I'm going to start off by adding these clouds and these tiny, tiny float or clouds in the sky as well. You can see the movement of my brush. It's much more than that circular motion. As I want to release the shape of the cloud, I just go in this left and right brushstroke, but I just released in the base strokes without having those sharp edges further top bit of the clouds. But I want it to be fluffy. I have the circular brush stroke, as you can see, when I want to transition to the base, but I want to stop the shape of the cloud. I just go in this left and right motion to slightly relieve adding textures in that area without having it really just left there in the sky, just floating around. Since we're using a dry brush and there's really thick consistency of paint, the brush will just add in the textures for you. This works really well, actually on the Canvas, since we're using paper, the effect is much different as compared to what it would be on the Canvas since the cameras has more texture, the texture that the brush leaves on Canvas, It's beautiful. You'll see the difference. When we paint the main artwork on the canvas as well, on paper. It's slightly different, but let's just go with it. So I'm just going to go ahead and add some clouds. Now I don't want to confine you into one particular way in which you add the clouds. I just go with what comes into my mind mostly. Or if I'm looking at a reference picture that I just tried to recreate the shapes that I'm seeing in the reference picture, but the method remains the same. For now I'm just focusing on the clouds at the base in the lower part of the painting to be more smaller as compared to the clouds that are at the top, right? So they are going to be much more bigger because I want to give that illusion that it's closer to the observer and the sky is above you, where the clouds are bigger. The clouds at the base are going to be smaller and the clouds are going to be bigger. So just go ahead and add in the shapes. Remember, this does not need to be perfect. We're just trying to practice clouds and just understand our filbert brush better. Alright, now that I'm done actually adding the base of my clouds, I'm going to go ahead and start adding the highlights. For that. I start with the same filbert brush, the same motion. But this time I'm only covering the top of my clouds because that's what I want to show the highlighted section two, for it to appear much more fluffy. And as you can see, I'm only covering the top sections like brushing it in the inward direction towards the base as well. That there's a seamless blend in the clouds. And another thing that I like to do is add in these tiny float clouds along with the bigger ones so that there's a bit of texture and movement and all of that going on in my accounts and stuff, it just fluffy individual shapes. So adding in a little bit of texture and the slow the clouds really help. So go ahead and add this second layer at the top bed of your clouds. Now that I'm done with the second layer, I'm going to add another layer over it just to make the highlights pop out even more. So I'm just going to go ahead and do repeat the same process, the swap this time covering even lesser area. And you can also make new all clouds. Add in more textures wherever you feel is necessary. Again, remember I told you what your mind tells you. Imagine a sky and just think of the clouds floating around and see what you can add. Always remember, you can have fun in this section, this is not your final painting. I don't want to confine you into something in a particular shape and anything of that sort. So I want you to just enjoy this process. Just understand what working with a filbert brush is like. Understand its movement, understand the capabilities because that's more important. So go ahead and highlight your clouds, give it more of these highlights. Now remember, I showed you and told you that there's gonna be a little bit of a difference when you're painting on paper, as compared to painting on canvas with acrylics. Because on Canvas you have the texture, rough green surface, and on that your brush strokes and a lot different as compared to paper. But remember that we're here, let's just understand offer but brush and just practice some clouds before we go ahead and make the final one. So just enjoy the process. I'm really happy with the way this is actually turning out. And I just thought that I should add in a little more texture around these bigger floating clouds because I felt I the missing something. So I'm just going to use my brush and add in a little bit of texture in this left and right strokes. And since it already we're using the dry brush method. Your paint is thick, so as you glide your brush over, it's going to just create this beautiful texture. So go ahead and add in the textures where you feel like it, enjoy the process. And once you're done with that, let it completely dry and then carefully be the tape off. Alright, so here's what the exercise paper looks like. As you can see, it's got these beautiful fluffy clouds. You remember how I mentioned earlier that the texture of the canvas works really well for this technique. So you can see there's a huge difference between the two. Again, now, I wouldn't say extremely huge difference. But the texture of the canvas really works well when you're trying to add in those float clouds and they look much better on the canvas. And I hope this exercise really helped you understand the movement with your filbert brush. And I can work on the shapes and adding the highlighted bits. So now that we have everything figured out, that is quickly learn the composition of our painting and get started with our class project. 6. Understanding the Composition : Before we move on to painting our main class project, I wanted to walk you through how I decide the composition of the painting. Here I have a beautiful sunflower field landscape. As you can see. This has divided into blue beds. If you've got a beautiful blue sky and all the yellows and greens at the bottom. Usually I take a combination of two or three images, but let me show you how I'm going to work everything down over here for this painting that we're going to paint, I've taken the inspiration of the sunflowers from this section. So here you can see we've got the sunflowers right below the horizon line that are really tiny, almost like getting textures and you cannot see them clearly. You can just see them as little yellow freckles into the area. And in that section, then you move into this middle section of the bottom part where you have medium-size sunflowers, you're going to see little more petals, a few more details. And then in the final section you have larger sunflowers, but you're able to see more petals and more details into it. So here you see, we're going to use three different types of sunflowers sections. Then you have the horizon line that divides the painting into two-halves. You've got beautiful sky and the sun flower bed. For this painting, I'm going to take inspiration of this movement, this movement of the sunflowers. One more thing I wanted to bring to your attention is the details of the leaves. Over here you can see the leaves, the stems at which the subtle flowers are on. You can see them in detail. But right at the back in the middle section, you can just see a few leaves. You cannot see the exact detail. And that is what we will be putting an art painting as well. Again, we're not getting into the details of everything. We just sort of taking inspiration of what the sunflower field looks like, how the sunflowers Look when they are closer, when they're in the middle section and what they're going to look like far away. The young you've got the larger sunflowers, you can see the stems and the leaves that we've added. And in the middle section, smallest sunflowers. And lastly in the last section we have more textures. So here we've got quick idea of what everything is going to look like. Now, like I said, I'll usually combine two or three reference images to make my own painting. And I'm going to show you how I do that. So like I told you, we're going to take inspiration of what are some flowers look like in that painting. But we're going to paint the orange or the sunflowers and the colors we're going to get inspired from this one, where it's more yellow and there are these orange bits. I got inspired by this image to add in the orange and the sky is going to be somewhat from this reference image. So like I said, we're going to use a combination of different reference images to make our own painting where understanding the elements from one, the colors from one, and shapes and all of that from different images and combining all of them to make our own. So let us quickly start painting, and I'll see you in the next lesson where we are going to paint the base for our sky. 7. Project Part 1 : Sketch & Sky background : Alright, let's us start painting our 12 self peptide Canvas. This is a triple prime, just so Canvas, so it's completely fine for me to start painting. I have my colors by mixing palette, all my supplies ready with me. So let us quickly get started with our basic sketch first. So the first thing that you are going to do is take your scale and divide your surface into two halves. So the line divides, it's going to look like the horizon line. And the top portion is going to be your sky and the bottom is going to be where our sunflower field is going to be. So once you have the horizon line, you're going to have these far off trees at a distance which I'm not really going to sketch out properly because it's all going to get covered with our acrylic paint. So it's completely okay to just stop right here with a basic sketch and quickly start blocking in the base colors for our sky. I'm going to start off by mixing my ultramarine blue with a little bit of white paint to get a lighter version of my ultramarine blue and not just deep ultramarine blue color. So here's a swatch of the shape that I am going to use. Now to my mix. I'm going to add a little bit of water so that the consistency is slightly then down. And then I'm going to start painting right from the top. Here. The idea is to create a gradient sky. We're going to start off with the darker colors at the top and then slowly come down to the lighter color. Now, don't worry about getting the perfect brushstroke, are getting good color spread out evenly on the canvas because we are going to lay this again. When we do that, the opacity is going to stand out even more. And you're going to have those even brushstrokes. Don't worry about it in the face there, but just try to block in colors for now. So as you can see, as I move down each time I'm adding little more white to the beat. This way you have single color toning down towards lighter version. The latest version of the ultramarine blue is going to be right above the horizon line. So as you can see, this is the third section in which I'm adding the paint and this one is lighter as compared to the color that is. All right, so go ahead and create this nice gradient in your Skype. Now you can go back and forth and blend them together. Again. Don't worry about the perfection because once this dries, we're going to go ahead and layer it again. That is when we will worry more about blending the colors together. Well, here we're just trying to transition between the darkest color or the medium bluish color and the lightest blue color. So now here's the basic blend of the colors. I'm going to wait for this section to completely dry and then go over and code it again. Alright, now the canvas is completely dry. We can go ahead and add another layer. Remember that your paint needs to be dry. You can speed up the process by using a hairdryer. That's completely okay, but makes sure that it's evenly dry. Otherwise you're going to mess up your blend. Now I'm going to start off by laying down the darker color at the top and then slowly create the same gradient. Remember, you can add a little bit of water to your paint to thin down the consistency so that it's not too thick. And that makes the planning process easier. Now when you see it, when I'm laying the colors down, it's more opaque. You cannot see the canvas. Now sometimes two layers don't work. You need to work in the third layer as well. So it just all depends on the quality of your acrylics as well. Since I'm using a good-quality of acrylic paints for me to do two layers is just good enough. One can be when I just block in the colors. And the third one, sorry, the second layer is going to be the layer where I work on more perfecting the blends and adding in that obesity comes out. So the second layer can be for that. As you can see, these are the two shades majorly I'm going to use, and the color in the middle is just going to be a blend between that little dark blue and the lightest blue. So each time we move down, make sure that you're adding a little bit of white and then knows a time we're going to go ahead and sort of blend everything together so that we're happy with the way our sky gradually goes from the Docker Hub to slightly darker blue color to the lightest blue right above the horizon line. I'm pretty happy with the way the blend looks. So I'm just going to wait for this to dry. And in the next lesson, we'll be adding the clouds. 8. Project Part 2 : Painting the Clouds: Alright, now that the base layer is completely dry, we can go ahead and start painting the clouds. For that, I'm going to use my size three filbert brush, as you can see, it has that beautiful rounded edge, which works really well for getting into pictures of clouds and the shape. I'm just going to directly use the white paint from the tube. Now, you don't need to add water in this mix because it's just going to thin down the consistency. And we want that thick consistency because it works really well when you are trying to add in textures. By Texas, I mean, you see the strokes that are making. It has these really rough edges, right? It does not have those sharp edges, but I go ahead and blend it out, just mixes with the background and it doesn't look too harsh that you can achieve by just using paint directly from the tube or from the bottle or whatever you're using, right. Without any water content is what I'm just trying to say. When you use that directly in that thick form, you get that beautiful dry brushstroke. Now, I've been talking a lot about these methods in which you can add textures in your clouds and almost all my classes, I always talk about using the dry brush technique, especially when it comes to painting flowers, because it gives us that nice rough edge and it's not too harsh and it's very easy to build up colors as well. Now, let me talk about how I'm laying down the clouds. I've started off with thinner strokes at the base. So the area that is right slightly above the horizon line is going to have these clouds that are added distance. And that is why they appear smaller. And as you can see on the right side, we have a bigger fluffier Cloud. And that is because I want to give that illusion that baptismal section is closer to the observer. So all these sections right above the horizon line is all smaller. It's not very detailed. They're more like textures and these open flowing clouds in the background. Then the more fluffier ones or you want to actually add that fluffy look. We're gonna go ahead and go that circular motion so that we get in that nice rounded shape in. And then at the base was sort of just brush over with a brush sort of drag actually. And that way it blends with the background. Now, this entire process of painting the clouds, like we've practiced before is going to happen in layers, are going to have the base layer. Then you're going to work in probably three to four extra layers on the top just to block in the more highlighted bits in your clouds. This is one of the easiest ways in which you can add clouds, where we're not really trying to go into the depth of painting. Clouds died. We just want the clouds to be there in that, in that form where it has those little darker bits to it and the highlighted bits to it. You can achieve, achieve that by just working on with layers. The first layer is always going to be slightly lighter even with titanium white, because it's the base layer. A little bit of the blue is going to be shown. And when you work over it with another layer and blocking those highlighted bits, you can go ahead and make the cloud appear more fluffy. So as you can see in the base layer, I'm just going to work with adding in the textures where I want the shapes to be. Don't ever think that this is going to be your final shape. Each time we add a layer, you end up fixing things, adding a little more textures around the clouds. As always, there's always room for you to sort of improvise on the shape of your Cloud with each layer that you add in. It doesn't have to be that this is the final layer. Just go ahead and have fun. In this section, you can follow me along and see how I'm adding the clouds. Just remember that you have the fluffier clouds at the top. Then at the base are going to have slightly smaller clouds. So you just have to kind of work in that size comparison as you can see, like I'm doing, right? You just have to work on the side, compassion and everything. Other than that, it's just about having fun and adding the clouds. Add in textures. You can add in clouds that are more flowy. If you want to add clouds that are sort of not fluffy and constraining that little shape. You know what I mean? Like the one that I'm adding on the right side corner is a more flowy clouds is just x shows and the sky. And when you brush with dry brush and dry paint, dry pain, but whatever consistency of the thickest paint is going to be, you brush over with that consistency, you get that dry brush stroke that I always talk about that I really, really like. And as you can see that, that lecture on the clouds, without trying to work really hard to achieve them. So go ahead and enjoy the process of adding the clouds. Feel free to go with your imagination, right? If you want. You can also look at a reference picture and sort of Bringing those clouds into your frame as well. It doesn't have to be just this way. It's set up so you can always improvise and have fun. So go ahead and add in your base layers for the class. Alright, so I'm really happy with how the base layer looks right now. So I'm going to stop here and then wait for it to slightly dry and are working on the sections that I think is dry. The left section has sort of dry it especially the one near the horizon line. So I can go ahead and start adding the second layer over it to block in the more highlighted. But I want the top portion of the clouds to be highlighted and be fluffier. I'm going to start applying a second layer over it. Now, as you can see, each time I start applying the second layer, it gets slightly more opaque. And this is when I said you need to work in layers to bring up the opacity in your clouds. So the second layer really makes it more opaque. And in that section number actually adding by almost all over the surface. But when I come to those more fluffier clouds, I'm only going to add in that second layer on the outermost section of the clouds and slowly just blended in words as well. So that just doesn't look like it's standing on top as a second layer, but it's slightly blended to our base layer as well. So I'm going to go ahead and repeat the process on almost all the base layers that I've added. So go ahead and add in those clouds of the second layer on the outer edge of the fluffy clouds. This is the time where you can actually fix things as well, right? So you can add more textures where you think it's necessary. Work on the shape if you want to make it appear slightly different, slightly bigger, or have a little bit of more spread out version. This is the die where you can fix it, fix it, but make it more appealing to the eyes. So that is going to be what you're going to be a second layer. And that is going to be the process of the secondary. As you can see, it's really adding in the highlighted bits of the cloud. Like I mentioned earlier, this is one of the easiest ways in which you can add clouds where you're not really working in different colors. And this works really well for Brad. Bright skies. I've taught the same method in gouache as well. So even if you don't, you don't, you don't want to use acrylic paints. You can use gouache paints and sort of paint along with me in the same process. But instead of acrylics, you can use squash beans. But the process is going to remain same. Throughout art painting. Yeah, go ahead and add in your second year. And once that is done, you're slightly going to wait for about two to three minutes until the base layer dries again. And then you can go ahead with your third page, which is going to bring out the highlights even more. See, I always tend to add in a little more clouds and more textures work on the shape every time that I add another layer because it really adds to the entire composition of the sky. As you can see, I'm done with the second day and now is the perfect time to wait for a minute or two and start with our third layer, which is going to bring out the highlighted bits even more. Load your brush with some paint, and then you can start of highlighting the section even more. This time you need to work only on the outermost edge and sort of blended in. Even fewer strokes are involved. You don't have to cover the entire surface as well. Just sort of little sections where you want the color to be highlighted even more. Once you're done with that, we're going to stop. As you can see, when I added the third layer, it's bringing up the obesity of the outermost section of the clouds even more. And then again, you can always go ahead and add in more textures around your fluffy clouds so that they sort of like a transition between the clouds are more spread out into the sky and the clouds that are more clustered together to bring out those cotton candy sky image, right? Yeah, go ahead. As you can see, the step got over really fast because you're just sort of highlighting the bits. Once you're done with that, I'm actually really happy with the way this is stalled out and I'm not going to overwork this area, so I'm going to stop right here. And in the next lesson we shall adding the cheese at the horizon line. 9. Project Part 3 : Trees at Horizon: Alright, now that my base layer and the clouds and everything is dry, I'm going to take my size two brush and make a mix of my hookers green along with a little bit of Payne's gray to get an a deep dark theme sheet that I'm going to use as the trees in the background. What I'm going to go for your is have a more bigger bush. If that's how you can cut it on a bush actually, but like almost like a bigger forest with easily clustered together on the right side. And as you move towards the left side, you'll have more like an uneven Hill. Probably can add in like a hill and then add in some trees in the background. You're going to start off with making these soft like work because uneven strokes and once you have the base shape, but you can always fill in the colors using your plush. Not don't worry about getting into perfect. Look for the tree because it's not necessarily right now. Working on filling in the base layer is more important in this section. So I've got that little hill which is filled with trees on the right side. And as we moved towards the left side, we're going to have another set of hills more further away from the observer that is going to be using the same color. So you can start off playing in this irregular shape from the left side and then bring it all the way towards right side, just sort of connected. Now since these are really at a distance, we don't have to work a lot. Also, bringing in the lighter colors, in the darker colors. And we can just leave in these far off sections with the dark color. And we'll just add a little more green towards the right section. So as you can see, this little hill, I'm just adding these irregular shapes. I'm not really working on perfection over here. Just go ahead and add in this irregular shape. I was done with that. We will add further details. So bring it all the way towards the right side. Alright, that's what I'm done with this section. I'm going to switch to my size double 0 brush, which is this nice, very thin small brush. Using this brush, I'm going to add in the details for some cheese in that little section, which is on the left and the center bit of my painting, these trees don't have to be in perfect shape, right? You're just trying to bring in the illusion of a tree, right? It'll have to work a lot in detail. So I'm just making these vertical lines and tapping in some strokes around them, trying to make sure that they're not all the seats size. You want to work in variations. You want to make some of them taller, some of them smaller, so that there's an unevenness in the trees that you see. Now, I'm also going to make in some smaller strokes that are really just slightly up from the hill shape that we laid out. And this is just going to add an element of texture onto the section and just make it more uneven rather than have those smooth edges that we laid out first. Both newborn uneven. They were still sort of like gradually going up and down and they were really big. Event. In simple words, I had to say they were more even. And when I add in these little vertical strokes above them, I'm adding a lot of details and variations and the trees that are in that section. So go ahead and add in these trees all the way towards the right side. Then when you come towards the right side, you can also sort off, fix the shape of the trees that you laid out so that you can add in a little more details just to make the trees more taller, more defined. Standing right next to each other. I'm really happy with the way this section trust on out right under that bright blue sky with those beautiful clouds. It looks so nice in this little section. And I'm really happy with the way there's a stone doubt, as you can see, all the little imperfections in the clouds right above the horizon line has been hidden, not able to see anything that you messed up in that section, which is a very good thing. And I'm really happy with how the trees look in the right section. Once you're done with this, you're going to wait for this to completely dry. And then you're just going to add in some light green towards the hill and the trees and the right section. Alright, so let me just show you the shade that I'm going to mix, which is just my hookers green mixed with a little bit of white. So there's very, very small amount of white. Add a small amount of black in the same mix. Some more like a neutral green color that we mixed earlier. You're going to use one of those shades to stop it in this little section unevenly and you can even use your fingers to sort of blend it out. Just trying to add a little bit of extra in that section. That is, it, just to add in a little lighter variation of the tree, it doesn't have to be in the proper tree shape or anything of that sort. It's just to add another bit of texture in case you feel that the green that you made it slightly darker as compared to what looks right now, you can always just wait for it to dry and cover it with the darker green or even the base color and then start over. We don't want the color to be too light. Remember otherwise I look really off going to have a lot of light cream color variations happening in the foreground. So we don't want this little section to be too green, right? Remember that it's just supposed to be slightly lighter or slightly greener as compared to the base color, which was a mix of this nice Payne's gray. So that is the only thing you have to keep in mind. And I'm actually really happy with how it looks now. So I'm not going to overwork in this section and wait for it to completely dry. And in the next lesson, we'll be adding our foreground layer. 10. Project Part 4 : Blocking the Foreground Base: All right, Now that we're done with all the stuff that is above the horizon line. We can start painting section that's below the horizon line. I'm using my flat brush and I've loaded my brush with my cadmium yellow directly from the tube. Not really working with any water bits in this section and just using the acrylic paint directly. Let's start off by laying the yellow right below the horizon line very carefully. Next, I'm going to load my brush with my hookers green without cleaning my brush. It's okay to have the yellow on your brush. It's fine. Just load your brush with some Hooker's green and apply it right under the yellow. And then you're just going to load your hookers green and again, start blending. This time, once you get rid of a little more yellow, you get a darker hookers green mix. Now, I'm going to load my hookers green with a little bit of the Payne's gray. When I just load them together, I get this deep green, almost black color. It's not really black. I would say it's a duly deep green color. So you get this color and that is perfect for background Porsche. Again, the one to body about the perfect blending. In this section, we've sort of just blocking in the colors. Now, once we have that, we're going to wait for this to dry and then lead over again. And that is Ben, we will worry about fixing everything. Alright, right now we're just blocking in the colors. As you can see, we have the yellow at the top. Then we have slight mix between the yellow and the Hooker's green. And then we have the hookers green in its natural form. And the last color that we have is our deep green shade. It's a nice transition between these for different shapes that we need. And this is a section where we're just going to add in sort of blended out. Not having to really work on the perfection and the brushstrokes, but just getting in the car was ready, having it all placed and blogged in before we go ahead with our second layer. So I thought like the yellow was really are getting hidden. So I went ahead and added a little more yellow at that top section. And then I'm just going to not overwork this section and wait for it to dry before I go ahead and add in the second layer. Now, as you can see, my section, my base that is completely dry. Remember it has to be fully dry before you go ahead and start adding in the second layer. And once it's completely dry, I'm going to repeat the process that you just did. Again. Starting off with the yellow at the top, then I'm just loading a little bit of Hooker's green with your yellow brush, going to have that mix. And then you have your hooker screen and then hookers green plus Payne's gray. So a dark green sheet. That's all we need. So go ahead and repeat the process again to make this section more of it. So as you can see, the second layer, GOD makes everything more opaque. You can't really see the base of the canvas and you have that beautiful blend between the colors that I mentioned. So I'm not going to overwork this section. I'm really happy the way it looks. And I'm going to stop right here and wait for it to completely dry. The next lesson we'll be working on adding a lot of texture. So I'll see you then. 11. Project Part 5 : Adding Texture in Foreground : Alright, now that the base layer is completely dry, I'm going to take our size one pallet knife or any small palette knives that has nice at the top. Then you're going to use that and make them mix of our focus, cream, white, and a little bit of black, just a tiny little bit of black we're going to add into our mix. This is what the shade is going to look like. I'm going to quickly swatch it for you guys. So you can see the color that I'm talking about is gonna be a lighter color. So that when we lay it at the top of our base layer is going to stand out, right? So we want it to be lighter as compared to the base layer that already is. You're going to load your palette knife and you're going to start making these regular shapes and strokes, adding in the pictures. Now, don't worry about perfection here, because we are not running after that. We are just running after adding in these shapes which are very random. I'm just loading my brush and it's making these vertical strokes in different directions. This is going to act as a texture in the background. Over this, we're going to add our leaves and all of that in a much better way in a much proper structure. Right now we're just focusing on adding textures in the middle layer. So go ahead, make that mix and just add in these bigger strokes. Now, the only thing that you have to pay attention here is that the ones right at the bottom, they are going to be slightly bigger. And as we move towards the middle section, the strokes are gonna be smaller. And right at the top, I'll show you how to get in all the colors. But right now in this little width of area, I'm going to go ahead and add in textures and strokes. So go ahead and add that, right? So not done with this section as I move upward, strokes, going to be smaller, as you can see, they're not proper. They are just these little strokes that are making smaller size as compared to the base ones. So again, don't worry about perfection. Adding smallest strokes in this section all the way. In this little width. It's like a small inch of width, right? So just use little strokes in that section. And once that is done, I will walk you through the steps. Right here is just smaller strokes. Again, don't worry about perfection, just worry about adding in the pictures because that's the only thing you want to do here. Adding textures in the background so that it looks follow when we add more details in the foreground, more details of our leaves for details of steps. This is just to add an irregular shapes in the base. So right in this area that slowly merges into the yellow, I'm going to go ahead and hold my palette knife horizontally, if I were to call it. And then I'm just tapping in the Greek, just trying to tap in the dream. Make sure that you are tapping because that way you're able to add extras and illusion that this little section is further away from the observer. We want tap in and not collide like we did for the other strokes. We can see here, I'm just tapping it in rather than gliding and creating that stroke that we did earlier. I'm just slowly trying to bring it down and tap while bringing it down so that the smallest strokes or merge with the horizontal dragged layer that we have. So just trying to merge this together, trying to add delusion that, that's more follow-up. In a sexual way. You can see the darker background that's like four closer to the observer. Since it's only green at the top, you are not able to see the depth or the ground. Right at the top, I'm just going to load my brush with some yellow paint and start tapping it in this section where we painted the base yellow layer. Right now, all you have to focus on is just loading your brush with some yellow and sort of just tapping it in. The yellow zone. Focused on that. Just tap, tap, tap. That's only thing you need to know. Don't worry if it goes out the r of the line, we can always fix that. Right now. Just focus on damping and merging these two colors together. So as you can see, I have captain add texture. And this is going to be the section where sunflowers are going be really further away from the observer. If you think the green is overbearing or the yellow is overpowering, can always go ahead and load more of the color that's getting under-powered if that's a word and sort of added in to add in more textures. So write down really happy with the way this looks. So I'm just going to wait for this to dry. And once this is dry, we'll go ahead and follow the next step. Make sure that the base layer completely tries before that. Alright, So my phone sort of missed and WIC to be on regarding this process. But let me just walk you through what I did here. I used a mix of cadmium yellow with white, and that is why the color is lighter. And I've just added a lot of textures by just tapping my brush in that area. Especially right under the horizon line section where it's sort of met with the yellow and green together. I tabbed in these like I loaded my brush with some paint and just dab that in this circular form as you can see at the base, right? You can see they look more like circles to make sure that you're tapping it and more like circular form right in that line. Because when you do that, you can give them the center part of the sunflower. So step in these circular forms like I'm doing right here with your brush, with your palette knife. And how you do that is just load the tip of your palette knife with paint and just tap it in. Don't drag it, don't move it. Just tap it with the paint. And when you do that, you create that beautiful circular doesn't have to be a perfect circle, but it looks sort of circular. And that is how you can add in the textures for the flowers in the background. Now, once that is dry or even drying, and I'm going to move all the way up to there. We're going to go ahead and create a mix of Hooker's green and white together. And this time I'm going to make vertical lines and then add in our leaves, not flowers. Always getting confused between the two words. You're going to add entities. As you can see, I'm making these vertical strokes of different sizes. So some of them are taller, some of them are slightly smaller. And then I'm making this leaf strokes very roughly around it. As you can see, it's very rough. It's not perfect at all. I'm saying that because we don't have to make it perfect, we are going to layer over this again and a lot of layering and things like that happen. So perfection is really not something that you have to run after, especially for painting or sunflower field. So just go ahead and create these vertical lines and these leaves strokes. Now all your strokes don't need to have a stem to rest on. Some of them at the base can just be leaves as well. And it can be leaves around a particular stem that you created. So again, just enjoy the process of adding in the stems. Now, why are we adding in that stance when you add them as stamps, it kind of gives you an idea of where sunflowers are supposed to be. You can just place them in section where you want to send flowers to be at. Now, the stems that I created right in the bottom section are going to be the sunflowers that are really close to the observer. That is why you can see the entire stem in that way. You can see more details as compared to the fictions that's really further away. Now in that middle section, as you can see between the yellow and the green deep API data, I'm going to lay out some more strokes for the lease. That is by just tapping and dragging my brush in different directions. But this time you make them smaller. Can you see the size difference between the leaves strokes that I made at the base and the deep stroke that I'm making in this middle section, you have to make sure that they are smaller because if you don't burn out into the depth of your painting. Now, I know a lot of times whenever I'm teaching sunflower fields, people find really complicated. But it's really not because a lot of times people are running after the perfection, getting the perfect painting, getting the perfect strokes. But painting such artworks and not about that. These artworks are more about enjoying the process and just clearing out the colors and leering out the strokes. If you get into size correctly, it doesn't really matter if your leaves look perfect or not. What matters is, you've captured the depth in your sunflower fields, you've captured the sky, you've captured the sections above the horizon line. So capturing the essence of the painting is more important than getting it to look perfect. As you can see, my leaf strokes are not perfect. They are just random dots clustered together, especially in the middle section. I'm just focusing more on adding the textures, adding in these leaves that will probably get covered mostly with my sunflower heads. So it doesn't really matter if I pick, are trying to perfect them, right? Because in the end they are going to get covered. And that is why just enjoy the process of adding in these fields. I'm really happy with the way this has turned out. I'm just going to add some stems wherever necessary. And in the next lesson we'll be painting our sunflowers. 12. Project Part 6 : Painting the Sunflowers: Alright, so now I'm going to use the same mix of color, that is my cadmium yellow with a little bit of white. To get a lighter yellow color. I'm going to use that and load it up with my size two round brush. I'm going to start making these small some flower shapes. I'm just actually tapping in petals in the circuit of getting those uneven patterns. Now when you tap that N, you'll also notice that it dries out to be slightly less opaque and you can see, still see the green behind it. Don't worry, we'll layer this over at least two to three times so that it's very nice and opaque. Now the alternative to this is to lay out a white base first and then add in your yellow on top of it in case you don't want to work in multiple layers. But I didn't mind going ahead and let it go for this two to three times and then adding in the colors, because when I do that, I end up making extra petals around it. So that really adds to the details and my flowers rather than it being really flat. Which would happen if I were to just lay down a whitespace and then add yellow on top. I'm going to start off with smaller flowers in this section where we added some smaller leaves, right? So when I add in these smaller flowers, you can clearly see a transition between the flowers that are really further away. So that's almost like circles. Then it transitions to these flowers that are slightly in the middle of my field. And then as I come closer Where we made stems will have bigger sunflower sheets. So currently we're just going over and creating smallest one flower shapes and then that middle section of our field. And then we will proceed further. So go ahead and add in these flowers. Feel free to add them wherever you want in a very irregular shapes that don't follow a line. I don't make a line form and try to make them move around so that it looks nice and uneven. Now, I'm really happy with the way this looks. I'm not going to bring the flowers all the way till the bottom. But right now I'm just going to make sort of like a circle around the circle. I'm going to tap in the leaves, the leaves, the petals. So as you can see, I'm tapping in the petals. I'm just creating these brushstrokes around the circle. Now adding in the circle just gives you a more structured log for your sunflowers. So as you can see, that little circle that I created is going to be the middle part, which holds all the petals together of my sunflower. I'm just randomly adding in the petals, as you can see, not thinking it through a lot to get the perfect petal shape or anything of that sort. I'm just creating those brush strokes that we've learned earlier. Tapping and dragging, that is it. You create that circle and just stop around it. Tap and drag your brush around it to create that nice brushstroke for the petals. Now, you can also make the sunflowers slightly tilted with what I mean, instead of creating a circle, you can create an oval like I just did here. That will give the illusion that the sunflowers like you blend a bending in another direction and moving with the wind, or just adds a lot of little variations and the flowers, It's always fun to experiment with different sizes, different shapes. So for now, just go ahead and create a bunch of large sized flowers in the foreground. And then once you're done with the extremely bigger ones, you can add in some smaller ones in-between. Wherever you feel like the space looks empty. The idea is to just fill in the space with a bunch of flowers. Make sure that they're not covering the entire space. They are not able to see the leaves that we added as we want the leaves to be visible as well. So make sure that you're not covering it all the way, but at the same time you have enough. That it looks nice and dense. So that is the idea that we're going for over here from the reference picture, we have just caught the basic idea. And then we're just interpreting it in our own way, not really thinking a lot. We're just having fun with the deference picture. You look at an image, you gotta get an idea what you want it to be, and then play around and have fun. So that is exactly what we're doing here. So right now we're creating the base layer, as you can see, can still see the green in the background there. So we're just going to add all the, all our flowers in and then wait for this to dry. Alright, now that my base layer is completely dry, I'm just going to go ahead and Leo over our shape again with the same color to make it nice and opaque. So go over and carefully make the same brushstrokes over the base layer that you already laid out. This is just a process to make the flowers more opaque and make it stand out even more. So you really need to do that. I've had, you know, your flowers don't look transparent, but rather they stand out. So just go ahead and layer all your flowers all over again with our second layer of paint. So I'm really happy with the way it looks now, you can see the painting is really coming altogether and not looking crazy all over the place. So I'm really happy with the flowers. They look very nice and opaque. So once I'm done with this layer, I'm going to let it dry before we move on to adding further details to it. Alright, now that the base layer is completely dry, I've created a mix of my burnt sienna, a little bit of orange and beans create together to get this nice deep brown shade. I'm going to load my size two brush with the paint and carefully tap in silk goes in the texture that we created using a palette knife. Now, it doesn't have to be perfect. Remember, these flowers are at a distance. So the middle portion of the sunflower is going to be really tiny. We don't have to do it on all of the flowers are all of the shapes of the textures that we added. You're going to do that. Do this dot in the middle of our circle, in the ones that we made circles using a palette knife. So just carefully add these tiny dots depending on the size of the circuit. If they are larger, you're going to have the dot to be slightly larger. And if they're really small, then you just need to have tiny, tiny. But as you can see, you can see the variation. So the circles that are bigger have slightly bigger middle section. And I'm not doing it all the way to the horizon line is just on those circles that we tapped in using a palette knife. So that is the only flowers I will get this middle section of the seats section of my sunflower. Alright? So once you're done adding all the dots in that little section, you're going to go ahead and create the circles using the same color and all the flowers that you have in the foreground as well. Again, I'm going to tap in the circus. If you notice very carefully, I'm not making perfect circles. I'm making circles. And if in a sunflower I think I've given it a direction to slightly move sideways. I'm adding in these ovals as well. This just adds into the variation of our flowers. So make sure that you're not adding perfect circles but slightly giving them a little oval shape or a little, or pick a random shape which almost depicts a circle. It doesn't have to be a perfect cylinder, especially for the sunflowers in the middle, which we drew with the brush. Those sections are going to have tinier dots. Then when you come to the sunflowers that are larger and bigger, they are going to have slightly bigger Brown, so-called CVS section of our sunflowers. Alright? So you're just going to fill in the circle that you draw initially and then just fill the entire thing with the brown paint. So I've added in the middle section of my sunflower, as you can see, that really looks like a sunflower. And I'm going to let it dry. And in the next lesson we'll be adding more details to add some flowers and leaves. 13. Project Part 7 : Adding Final Details: Alright, let us add some more details to our sunflowers to make them look more frail. Alright, so I'm going to start off with some orange color on my size two brush. And I've added a lot of water in this. So what happens when you add a lot of water is your paint is really thin down and do this because it's very thin down. You'll be able to see the background as it's almost like glazing technique. Going to glaze over another color, over the background color that you have without really completely blocking the base color. Because you want to be able to see that little bit of the yellow in the back, right? So because of that, you want to make sure that you're adding a good amount of water so that your paint is really thin, almost like water consistency, so that there's only a little bit of pain. Just we just need the hint of color. And that is we don't want it to be really thick so that it blocks out the yellow completely. And you can see as soon as they brush over with this consistency of paint, I'm going to be able to add in the orange in the middle. And it's not really overpowering or like blocking in the yellow. And that's exactly what we want just to add in a little bit of variation in the color. So go ahead and add this orange color on all your sunflower, especially the ones that are in the middle and the bigger ones in the intersection that's closest to the observer. So you want to make sure that you're adding in this orange so that there's a difference in the color as well. It's a little bit of yellow. There's lot of yellow and isn't going to be a little bit of orange in the center. You're also going to add a little bit of orange in the sunflowers where you added the center bit in, In back section. You're going to add a little bit of orange in that area as well, just so that he can show the radiations. For this section in the back. I'm just using my round brush. It's set to tap in a little bit of orange to add in the variations. It's not perfect. It's almost like adding a texture, just tapping over. So we just want to add in a little bit of orange in that section. So go ahead and add it in. Once I'm done with the orange bed, I have to go ahead and add in the browns again because a little bit of the brown had the orange color that I didn't want. So I went ahead and added in the browser. This time of making sure that I'm making a circle even more uneven as compared to before. So I'm just adding a little bit of variations and the deals in there, which is just adding what sort of line strokes. And that's sort of mix of center but not look sharp edge. It has that uneven bumpiness, right? So go ahead and do that, especially to the ones that are closer because you're gonna be seeing more details in that section. And for the rest of it in the background, you can just stop in like you did earlier. Alright, now that I'm done with all the brown section, I'm going to mix a little bit of white into the same brown and dab it in my sunflower section in the middle to show the lighter highlighted colors in my seed. And it doesn't have to be perfect with just adding in a little bit of texture to make it pop even more. Starting slide details. And that is it. It doesn't have to be perfect. And you're gonna do this on the sunflower, especially to the ones that are closer to the ones in the back. You can just make smaller dots somewhere along the line just to show that highlighted. Alright, so I'm really happy with the details of a yard. And the next thing that I'm going to do is add in some more lighter colors in the leaves. So repeating the process like we did earlier, this time, adding fewer leaves strokes and making the stem pop out a little bit more by adding using the green color that we used earlier, but this time we just have a little more white so that it stands out even more. So as you can see, I'm making fewer strokes over here and making sure that the stem at which these flowers rest upon are more highlighted. This way. You know what stem is the one where the sunflower is basically, you're going to add them, these strokes just like we did earlier, even to the ones in the middle. Again, doesn't have to be perfect, doesn't have to have exact shapes. But just adding in some little shapes in this section, in the middle. That section, you don't have to worry about at all. When you come to the ones in the foreground, you're just going to make sure that you meet them proper and just adding in some leaves around it. I'm really happy with the way that says stand out. As you can see you, you're able to see more highlighted details into your leaves. I want it done with this section. You're going to wait for it to completely dry before we go ahead and add in our final details. So we just want to add a few more layers to the leaf bed so that they get highlighted a little bit more as compared to right now. And you're going to wait for this to completely dry. Alright, now that this section is fully dry, I'm going to go ahead and mix a little bit of white in my green. So there's more white. And I've changed my brush to my size double 0 brush. And I'm just adding in highlights into my leaves. As you can see, they're very thin strokes. I'm just trying to make those stem bit pop out a little bit more and just add in a few highlighted details to my leaves. It doesn't have to be perfect. They're going to do this only for the sections that's closer to the observer. And that is why adding in this lightest green color helps. So as you can see, adding in this very light cream color has made the leaves pop out even more. It's having those beautiful details in the leaf section as well. And you already have a lot of details into your sunflowers and it looks so nice and happy. The variations of the green and the orange and yellow is really making painting pop up a lot more. Once you're done adding in the final details, you can stop right here and take a step back and admire your painting. I'm so happy with the way this has stoned out and I love the colors in this painting. I hope you enjoyed painting along with me. See you in the conclusion but of this class. 14. Conclusion, See You in the Next Class: This is it you guys, we've reached the end of the class. I hope you enjoyed painting along with me and learned a lot about the concepts and the techniques that goes behind painting the sunflower landscapes. Let me give you a closer look. As you can see, we've got beautiful textures in the sun, flowers and leaves. And I also ended up painting the sides of my canvas black so that we don't have any messy sites in the Canvas, but we just have the beautiful painting in the front. I love the colors of the sky by the way, I love how vomitus and the beautiful yellows and oranges is just bringing out so much positivity right now. I don't know if you can feel it, but I almost feel like I'm standing in that picture smelling the crisp fresh air. Here are some of the other paintings that I've painted along with this one that we did in this class. I've painted many more which got sold. So in case you're interested in buying my artworks, you can definitely reach out to me here or an Instagram, and I do Chef Paul bytes. So you can have an art piece of mind wherever you are in this world. I would love to see your creations, so don't forget to upload them under the project section. And you can also download the reference images I use from under them. You can also reach out to me on Instagram at the simply aesthetic in case you're interested in my walk or just want to talk about art in Ginger, do hit me up. I would love to get in touch with you. And that is that this is my cue to sign out. Now, I hope you had fun and I'll see you in the next class. Bye bye.