Transcripts
1. Introduction: Hello, everyone, and welcome
to the Skillshare class. I'm yeses, and I'm
excited to have you here. In this class, we'll paint a stunning landscape inspired by the beautiful colors
of sunrise and sunset. Together, we'll break the entire painting
process into simple, easy to follow steps from
sketching the composition to blending colors and adding the final details that make
the artwork come alive. Whether you're picking
up a paint brush for the first time or looking to improve
your painting skills, this class is designed
to help you to create a landscape
you'll be proud of. So grab your art supplies, and let's begin the
creative journey together. I'll see you in
the first lesson.
2. Sky Painting: Okay, so let's begin. Let's take in some titanium
white on the hog hair brush. So I'm loading teas
in amount of paint, and let's sort of come
here on the canvas and place that color,
spread it evenly. Make sure you're going
to spread it evenly, and that is the important thing. That's a starting
point for the sky. Usually, we begin with the sky. And now let's go into some
lemonlo with that same brush. The white is still
there. I'm mixing some white so that it gets lightened. And let's sort of
take in that lemon lo and let's come right over here on the canvas
and let's place that beautiful color
lemon yellow over here. Now, if you observe, I'm not applying
it just like that. I'm tapping it very
lightly, very, very minimal pressure,
almost no pressure. So that is the way you do it. And look at that. You get that glow automatically, and that white beneath
that yellow is complementing the brightness of that yellow color. Look at that. You may take in some more white, and let's place it
right over there. The reason I use the hog
hair brush for this, I usually use this
for foliage as well. I use this brush because it's going to give you a
beautiful texture, and that texture will help
it look even more realistic. And that is a trick to paint landscapes,
photorealistic landscapes. And it'll give you
a cloud texture. So this is the brightest cloud, if I can put it
in the right way. And now on my palette,
as you can see, I've loaded some orange color. Let's go into some previous
colors and now some orange. And let's lighten that. Don't go too bright
with that orange. Don't want that orange
to be too concentrated. Why? Because it is still there near the light
source, near the sun. So that white color what we
applied at the beginning of this tutorial is
acting like the sun. And look at that
reload the brush. Now you're able to see
the difference why the hog hair brush is
being used. At that. It's going to give
you a cloud texture, beautiful cloud texture,
and it's super valuable, super effective. Look at that. Just by tapping it, you
get a lot of variations. And that's the way I
usually paint my clouds. And you can also do that. So just playing with
a color this time, and the textures
going to be the same. Apply the same
amount of pressure, but now the differences
in the color. With that. Now, from
the lightest yellow, we have transitioned into
a soft orange color, and soon we'll be transitioning into a very warm,
bright orange color. And this is a sunset painting
or sunrise painting, depends on the perspective. So look at that. Just sort of place with
that beautiful color here. You can go with some randomness. What do you mean by
randomness here? You can take in
some lemon ello and some orange mix in different proportions and
place it on that white paint. Before the white paint dries, you have to do this because
the white paint will enable you to get that
smoothness. You can blend colors. To blend any color,
you need two colors. So you can't blend one color, so that's not going to happen. So you need two colors.
So look at that. Just placing it around the sun. I'm not getting
that orange color near the sun. Look at that. It's around that
yellow light yellow. There's that lemon allow. So you create a boundary of the sun with the lemon lolow and then go with a soft orange. And look at that. That works.
Tack in some more orange. Come over here. And as we
move away from the sun, it's going to get
darker. Look at that. Look at that beautiful
transition happening. And let's say you have taken
some orange on your brush, and you want to go
back near the sun, add in some lemon low. That's going to
do the trick, but wipe off your brush before that and take in some
lemon ello. See that? And that's the way it's
going to create some warmth. It's going to create
realisticness. It'll enhance the painting. You can see a lot
of vivid, bright, warm colors, and it look
beautiful eventually. So look at that, just
sort of tapping it. And I'm looking for the cloud texture as well as the color. Don't want to bring
the darkest color or the warmest color in the sun. It's got to be light. And look at that.
Just tapping it. Literally tapping makes
a lot of difference. Okay, so in the next video, let's go ahead and
see how to paint in some more clouds and a
stormy cloud on the right. And let's go ahead
and do that now.
3. Sky Painting With Cloud: In this video, we'll see how to paint in
some more clouds. For that, I've loaded
some orange and some lemonlo on that
same hog hair brush which you saw me do previously. Just a slight change
in the shade. It's warmer now,
slightly warmer. And let's kind of come
right over there and get the topmost cloud
getting into action. Look at that. That's beautiful. And just tapping it makes
the cloud fluffier. That is the reason
I use this brush. And as I told you before, this brush works seamlessly for clouds and for textures. Okay? Sort of tapping it with
that same color now, but changing the angle. Not every cloud will
be in the same shape, same angle, and be more precise. Not all the clouds will be in
the same fluffiness, yeah. And you can leave in some gap. You see some pockets
in the cloud, that'll indicate the sunlight, and that will take
care on its own. That'll give so much of explanation when the
viewer sees your painting. Okay? So load in some
more of that color. And it should not
be too different. This is a sky with
slight transitions. Definitely, you'll
have very dark clouds and that beautiful
sun light yellow sun, but you have to do that in a
transitional manner, okay? That is going to happen
gradually as you're seeing here. So that is the way you do it. And tapping helps you
to get that effect. So I'm just trying to come away from the sun and I'm
just trying to tap it. Now I'm tapping a bit hard because I don't
want it to be that soft. So how does it work? When you use a color, especially an evening sky
or a sunset or sunrise sky, you use a dark color, a very bright vivid color. And that vivid color
shouldn't be too soft. It has to be slightly rough. And that is the reason
I'm using this technique. Okay. And above
above that cloud. The topmost cloud, you can
add in some brightness. You can add in
some vivid colors. You can add in some more
warmth and definitely the warmth goes down as you move away from the
sun. That's citric. That is the thing which
has to be noted here. And I'm working with
three colors, basically. Actually, I have in some white that I used previously
on the brush. I've not explicitly
added some white. I'm taking warmer colors like orange and lemonlo.
Look at that. With just these two colors, you can paint in a beautiful
stormy cloud on the right, as you're seeing
me do here. Okay? That is going to be very helpful to get that
contrast in the sky, a dark, stormy cloud and a
bright yellow, sunny sky. And that'll work seamlessly. And it'll create
a lot of effects. It's going to create
depth in your painting. You'll get a lot of depth. And now, let me
introduce a red color. This is a bright red, and when this gets mixed
with warmer colors like lemonello and
orange, look at that. That's going to give you a soft, bright, warm, vivid color. That is what we want
here. So this color will be used for the clouds
away from the sun. And it's kind of a good
practice to use this. Use this technique,
in particular, okay? And it's kind of taking its own transition
as you're seeing there. The technique is the
same, but the choice the color choice is
what's going to matter. The choice of color is
what's going to matter, so you have to use that. And slightly, you have to
bring in a difference. Not every cloud away from the
sky will be the same color. Okay? So if you do these changes as you
are seeing me do now, follow me and you will get
your paintings look realistic. You'll add depth, you'll add in contrast. You'll
get in variation. And that variation is
what's going to make your painting look very
beautiful and realistic. Let's go and paint in
the stomach Cloud next.
4. Cloud Painting: In this video, let's go ahead and paint in the stormy cloud. Before that, let's make some
adjustments in the sky. For that, let's take some red orange lemonlo
and let's come over here at the left top and paint
in the remaining clouds. Now, what this will do is, if you add in darker clouds, that will indirectly compliment the lighter part of the sky. So if you're thinking,
if you're feeling, if you're observing that sky, the sun is a bit too dull. Try to add darker clouds. So that will try
to make the sky, the sun part of the sky
look much brighter. And that's a super
effective way. And now, let's take
in some color, interesting colors, and let's
go and add in some black. I'm going to introduce
some black to my palette. I'm not loading all the colors at once because
they're gonna dry. I'm using them only when needed. If you're using all paints, you can definitely load all the paints in
the right quantity. Okay, coming back to this, let's take in some
black and some red. The reason I'm taking red is that plaque mixes
with the yellow, the lemon low, especially with that lemon low, it turns green. No, don't want to happen that. So let's sort of place
in that color over here. So this is a semi shadowy part. This is not exactly
the shadowy part. And at the outermost
part of the Sammy cloud, I'm adding in some black, okay? And I'm going in as you saw me, I'm going in some
circular manner. Now I'm going in some curves. Okay, see the movement
of the brush. And let's go in some red
and some lemon ellow. Look at that. It's
a muddy color, and that is what we want. The nearest part of the stormy cloud near the sun is going to
be the brightest. So we can't just have
a brightest color. So for that, we go
from transition to transition, and look at that. We see that transition
happening here. First, we went with
the darkish part, now slightly warmer. Yes. Also it'll be warm now I've introduced some more
lemonello onto my palette. Let's take in some of that
lemonello and some red. I've cleaned my brush. In fact, I've taken a new brush, and
let's stick in that color. It's also a hog hair brush. It's a slightly smaller version. So mixing that same cloud color, sprint to fit everything
together and get that warm color and do that circular motion as
I'm doing there, okay? That circular motion will create that fluffiness in your cloud, and that is what we
want to have here. So make it brighter. Don't make it the brightest
because the silver lining, the most important thing
that is a silver lining should be the brightest
part of that stormy cloud. And that silver
lining, in this case, as far as I've seen this
and I'm doing this, can add in some silver lining. The color of the silver lining
has to be that of the sun, the yellow around the sun. Then it look very good. Now we'll take in some
more warmer colors, and let's create a
beautiful transition. Take off the excess pain of
the brush, and look at that. That yellow, that
brightness is coming into the dark part of
the stormy cloud. So don't turn green,
so add in some red. That red will eat
that potential green, and it's a super effective
way to get rid of green in your clouds and sky because there is no
green in the sky. Only foliage, grass,
mountains can be green. In the next video,
let's go and paint in the silver lining and
complete the stormy cloud.
5. Cloud Silver Lining: Okay. So let's
tick in some black to create the shadowy
part of the stormy cloud. I'm just going into some black. And if you're noticing, the previous colors or
the previous paint that are used are getting
dried on the canvas, and you can see
rough brush marks of this black color there. Let's go ahead and
fix that. So let's sort of blend this color. If you're facing the same issue, you can sprinkle some
water through a spray. And now let's go
with some red color, warmer red, and let's
create that transition. Look at that. Now,
the black is gone. Now we are left with
a dark red color. Dark red, why I'm saying dark red is because
as you can see, the black is getting mixed with red and it's creating
sort of maroon color. Bring things into perspective, let's take in some white and
some laminleV little amount of laminlo and mix it together. Now the brush I've taken
is the rigor brush. It's very similar to
the script liner brush, but the number of bristles
are going to be more, and it's a thicker
bristled brush compared to the
scrip liner brush. And you can use a script
liner brush as well, but this holds more paint, so you can get thicker and appropriate thickness
of silver lining. And look at that. I'm trying to jump here and there
around that stormy cloud. We don't want this
highlight that is a silver lining to come in one single stroke. You have
to create some breaks. Look at that. The breaks is what's going to make the silver
lining look like a cloud. And you don't want
your stomach cloud to look like a huge
mountain. Rocky mountain. No, you don't want
that to happen. So add in the silver lining
in such a way it looks soft. And the way you can
make it look soft is not through a single stroke. The next video, let's
go and see how to paint in some trees and
bushes in the background.
6. Background Bushes Blocking in: In this video, let's
go and see how to paint in some background
bushes and trees. For that, I'll take
in some lemon low. We're going to work
with warm colors. So since this is a sunset
painting or a sunrise painting, let's take in some lemon low. And let's take in the color
on the hog hair brush itself. This is a slightly smaller
brush so that, you know, I use this brush so that, you know, it's going to
give me a lot of control. And let's sort of play
around with this color. And look at that. There we go. We cut that stomy
cloud into half. Not exactly, but yeah, we don't want the stomy cloud to be too much coming
into the foreground. So let's take in that
color and spread it. See that? I've left some
gap below the sun for this bush and the foliage
out there in the background. Why? I'll let you know
just in a moment. So as you can see, the sky has the brightest
part there is the sun, and anything within that
sun's proximity will be warm. That is the reason I've
taken some bright red. I'm not going to clean my brush. Taking the slightest
amount of that red. Mix sure with the previous
color that yellows and things. And see that, you
can get that warm. You can add in some
white if you're feeling that that warm color is not
fitting into the painting. But usually, let's go at the
bottom with that warm color. And at the top, let's go with some more lemonla
as you're seeing here. Load brush with some lemonello
and the topmost part of the brightest part
of the foliage is going to be the
brightest at the top. And as you're seeing
at the bottom, it gets much warmer
and slightly darker. These things are very now let's take in some
green, sap green. I've also added some sap green. Let's come to the
leftmost part of the foliage and
create some textures. Okay? For that, I've loaded some relatively dark color,
not gone into black. Notice, I've not gone
into black directly. I'm creating that gradualness
in this painting. So this is just to create some textures and some
interest on the background. Done lot of details in
the background, okay? Because you have to reserve some of the detailins
to the foreground. If your background,
foreground, midground, all of these things will have the same amount
of detailings, same amount of textures, color, and warmth, it's
not going to look good. The depth will never be
seen in the painting. So for that, you had to retain or reserve detail
links to the foreground. And in the midground, I'll
just show you after this. After this video, we'll
just be seeing how to paint in the bush
in the midground. But before that,
let's do this one. So just tapping it, just changing the
color as we come to the part below the sky. Below the sun, you
can see that there is some warmth and the
highlights are getting glass. Alright, let's continue this in the next video, and
I'll see you there.
7. Background Details: In this video, let's
go and work on the background,
bushes and foliage. So in the previous video, you'd have seen me
paint the left part of the foliage with a relatively lighter
color, not too dark. But here on the rightmost side, I'm using black color. As you can see, and I'm using the hog
hair brush for this. And I'll let you know if
I'm changing the brush. And look at it sort of
tapping in very lightly. And this tapping is not the same tapping as that of the cloud, which
I did before. Let me tell you the difference. Here we're looking for fine
textures in the foliage, whereas in the clouds, we
were looking for softness, very soft fluffiness
in the clouds. Even the foliage has to be soft, but they have to be detailed. But also, remember, this
is in the background, so no need to add too
much of detailings. Anyway, that'll be
covered by some bushes. So let's sort of apply
very little pressure. Whenever I use this brush, I insist my students to apply very little
pressure. Look at that. You got the fine textures that in itself is
looking like foliage, and it's looking realistic
as well. That's a bonus. Look at that sort of
tapping it gently, lightly. Every time you reload the brush, go ahead and tap it very
lightly. And look at that. Slightly lighter this time. The color that I've
taken on the brush is slightly lighter, if you notice, because
it's nearing the sunlight. So as you go near the
sun, things get warmer, things get brighter and
contrast goes down. That's a trick. Look at that. It's almost on the color
that I used on the left, but it's not too dark now. Look at that. See
the difference. If you view it from
the rightmost side, from the right to the left, I'm talking about the bush, the tree, whatever
I'm doing now, if you look at it
from right to left, you'll notice that the
contrast of the foliage goes down from right to
left. Look at that. That's beautiful. And let's sort of add in some more paint. I've loaded some lemonlo
onto my palette, and I can just give you
some tips and tricks. And this will work in almost every evening or
sunset or sunrise landscapes. So it's kind of helpful. This is what I've learned through my experience
in painting. And now, gotten
some white as well, if you notice on my palette, and let's sort of
mix those two colors together on the same
hog hair brush. It's a smaller version. And let's sort of come
here, make some planning, proper planning, and you
have to create the textures. The foliage below the sun
has to be the brightest. So you have to make it more texturized because that should
get the maximum detailing, not that the other
parts should not be detailed. It's like this. The sun rays will not
travel everywhere. And also, remember,
there is a stormy cloud, so we have to balance that. We can't have brightness of foliage under that stormy cloud. It doesn't look good. It
doesn't look natural. It doesn't look realistic. But you can do this by applying that same color underneath
the sun. Look at that. The brightest part
of the foliage, it's shining below the sun. It should be the topmost. That is the topmost part
of that part should be the brightest and it
should be the sun's color. There should not be
much distinction between the sun and foliage. There should be slight
variation. That's it. And you can sort
of blend that into the rest of your foliage.
And look at that. It's sort of trying
to build itself, and there we go this hog hair brush has been helping a lot
in this painting, if you observe. Look at that. The bottom is slightly brighter.
Make those variations. But as you move away
from the light, the variations come down,
the contrast increases. So the next video, let's go
and paint in the bushes.
8. Mid Ground Foliage: In this video, let's go out
and paint in the bushes. For that, I'm loading in some
lemonilla and sap cream. Not much different scene. So let's add in some more
white, and look at that. We should add in some
white, and there we go. Look at that. The difference. Look at that shine that distinguishes itself
from the background. And this is a midground bush. So you have to be careful
not to apply too much of detailings and not to apply
very less detailings. Then the bush in the background and the bush in the foreground. Both are foliage,
but look at that. The positions are different. One is in background
and ones in midground, so it's kind of a
different thing to do. So let's sort reload the brush. And I'm using the same
hog hair brush for this. And let's sort of take that
small hog hair brush and create the bush middle
ground bush from there. Yeah, there we go, we get
it slightly brighter. And you can slowly
increase the brightness. Don't go too bright
because you never know what would
be the next step. But yes, I'm going a bit
brighter, relatively brighter. And look at that. Sort of placing that beautiful
little thing, the topmost part
of those bushes. Take off the excess
paint, reload the brush, and this time, load in some
teas and amount of paint, and let's come there. Look at that. That
gives you soft foliage. That's interesting, huh? It
gives you very soft foliage. Keep on tapping, but you
don't lose on the texture. Texture is what's
going to make it look realistic in this context. So let's play around with
the textures and the shades, shape, color, so we're going to do all
of that in this painting. And let's continue
that all the way on the right. And look at that. Previously, we had painted that considering it as
the background bush. Now, that's helping us to
build this midground bushes, the foliage in the midground. Look at that. Doesn't
that look realisting? Now, as you can see, I've loaded some titanium wine on my
palette so that we can go ahead and paint in the brightest part of this
little bush in the midground. The analysis should
be in this manner, background, midground,
and the foreground. So you have to plan accordingly, and you'll be mastering
it after this tutorial. So let's sort of get in that
brightest part of that. And the tapping is the same, the same way we
apply the foliage. The tapping is the same, but the color and the
shade is different. This time we're taking
a brighter color. How do you take a
brighter color? If it's a foliage, take in some sap green, lemonlo and some white,
preferably titanium white. And look at that. As you see this mid crown push
going from left to right, I'm talking about the
mid crown bush that I'm working on now that you've see me work on now is look
at it from left to right. Leftmost part is the
nearest one to the sun. So obviously, that'll be the brightest,
as you're seeing here. Let me reload my brush, and on the rightmost part, the brightness decreases,
and not only because the sun rays are less on the right side in this
context or in this painting. It is also because there is
a stormy cloud just above. In the next video, let's go ahead and see how
to paint grass.
9. Grass Painting: Welcome to the last
video of this tutorial. In this tutorial, let's
see how to paint grass. Very simple technique.
I'll show you. Just take in some lemonlo clean
lemonlo on a clean brush. This is the same hog
hair brush I'm using. I cleaned it, and I'm using
this lemonlo with that. So you can consider this
as a blocking in part. And let's sort of
bring that down and don't have to worry about
the depth at this point. This is a very easy technique. Let's sort of take in some more lemonlo and come
on the other part of this landscape painting
and place in the grass. So you can consider this
as a mid tonish kind of a mid tonish shade because
it's not too bright. Now it's looking
right, but later on, it'll become dull
after it dries. So you have to be careful
while choosing the color. You should take a
shade brighter so that when it dries a shade lower, you can sort of get that approximately that same
amount of brightness. Now, as you can see,
I've taken a fan brush. This is a different brush. This is a fan brush, and I've loaded some
black on that fan brush. Not too much of paint, overall loaded some paint on
the brush. And look at that. You can just sort of
tap it slightly harder, slightly, not too much. So it's all about getting
the textures right. The black and lemonlo might not look as if it's going together,
but also look at that. I'm going on bushes
midground bushes. And now coming
back to the grass, tap it kind of hardly, as I said before,
and look at that. As we go further, don't reload
the brush. Look at that. As the paint on the
brush gets lesser, we can see the underpainting. We can see that
lemo as we go by, whereas if you
look at the grass, I'm talking about the
grass part of it. Look at the bottomost part of this painting or the
bottomost part of this grass, where I've painted black. You can hardly see the underpainting that is
that limelo. Look at that. As we slowly reload the
brush on the other side, make the corners dark
so the attention of the viewer goes towards the
middle of the painting. And as we run out of
paint on the brush, you can see they kind of
tend to become transparent. And that's the advantage of
what we're going to take now. So don't reload the brush. If you reload the
brush, the paint on the brush gets even more. And when you go and
apply this pressure, you can't see the underpainting. Just tapping it L that. Just sort of just give
a touch and a flick. Very little pressure
as you go towards the light source as you're
seeing there. That's it. Tap it very lightly near the sun and tap it harder at the bottom. Yeah. Okay, so with this, I come to the end
of this tutorial. I hope you've enjoyed
it. Thank you so much for being till the end. Thank you so much, once again, and I'll see you next time.
Yashas G, Paint With Yash
