Transcripts
1. Introduction: Hi, everyone. I'm ash, and I welcome you to the class on advanced landscape painting. This class is perfect for
painters who already know the basics and are ready to take their landscapes
to next level. We'll focus on creating
depth, texture, and realism in three
powerful elements, trees, dense forests,
and water reflections. I'll walk you through each
scene with step by step demos, teaching you advanced techniques
for layering foliage, capturing light and
shadow in trees, and creating believable
reflections in lakes and rivers. You learn how to use
color, brushwork, and composition to bring
your landscapes to life with greater
detail and atmosphere. If you're looking to refine
your painting skills and push your creativity further,
this class is for you. Let's chime in and
start painting.
2. Landscape Painting for Beginners - Reflections in Water: Hi, and welcome
back. In this video, I'll be demonstrating
how to paint water. We're taking some white,
tinted with blue cobalt blue. And let's come
right over here at the top and drop
in the highlights. Pretty straightforward painting, and we don't want
this to look flat. Add more blue this time. Skip some spots, do
it very randomly. Print it all the way
across to there. So now I just introduce some black to that
same pile of paint. Drop it in right
over there and make sure that these strokes
are not straight. Make sure that they're tilted. Make them very
uneven, irregular. Don't follow any patterns. Very uneven. Make
them very random. Something we there too. We right here also,
skip some spots. And as we come towards the
bottom, it'll get darker. And I want this corner to be
slightly darker in color. And some over here, too, just dropping it in as of now, very random, super loose, but still have the overall idea. Now I'll take in my
number two fan brush. You could take an
e brush for this. But I took the fan
brush because it will make the process quick. I'll take in some
blue and some black. And just a touch of
white. Just a touch. Okay? Yeah, satisfied
with that color on the palette itself before
placing it on the paper. Let's come over here
and throw in that. And as you're gonna come
outwards, they'll get lighter. I'll show you that in a moment. Okay? Just like that. Create all sorts of
pockets and stuff. Go all that breaks and stuff,
very interesting, huh? And let's go back to the
top. Let's do it like that. And make sure that this white is showing each time we cover
it with the black color. Here, I want this to be darker
and denser right there at the corner so that that tensine stays in the
middle of the painting. But just follow the
angles, the way they came. Some are thick, some are thin. Just in the interior part
of it, I'm darkening it. Just in the interior part,
not the whole thing. It might look I'm redoing
it with a darker color. I do like that. Okay. And another line. Okay. Now, I've just taken some ochre into that
same pile of paint. And I bring this out a
bit. Something like that. Just to show it to the
manipulated flat brush. Look at that. It gives
you clean ridges. Something like that it
goes all the way to there. Just grouping them.
That is that easy. Painting realistic
water is that easy. And just refining the
edges in the back. Now, I just introduce some white into that
same pile of paint. And just look at that. Just to pull over there, too. Don't want them to
be too drastic. We want smooth transitions
in our painting. Oh, yeah. Look at that. Now, at a lot of white. Let's convert over there and
just drop in that color. Just go into that color
where the dark was there to make it uneven. And less is more. Here, less is more. Something like that. And
something over there, too. And let's come over here and
just give you connections. Yeah. Look at that. Let's take in another stroke. Comes off right there. Just like a branch. So now I've taken in a lot
of white paint, and I'll come right here
into this one and drop in that color. Just like that. Go back to that mid tone color. And you should like that. The main motive is not to follow patterns and just create lots and lots of eration
and make them look random. Now, as we come to
the foreground, the most important thing, what we should know is that
these reflections get bigger. Just like that. Now, I'll take in black,
it right over there. A bit. Look at that, that
white part shown. And something comes off
right over there, too. And maybe another one comes
off right over there. Look at that. I'm
following the angles. Okay, they're going to get
thicker. Remember that? And something comes off to have another
one. No over here. Make sure that
they're not sharp. But these edges are not
sharp, they're curved. And I'll just come over here
and find these edges a bit. Smaller the brush, the more
detail you're going to get. But if you feel that
something's generic in your painting and need
to cover up that space, you can use a bigger brush. I flattened my number two
rigger brush for this. I need to go lighter. And something so
right over there. Just creating a soft
elements in the painting. Okay, something like that. And I'll take plaque
on my rigger brush, and I'll just go
with it like that. Another one, create all
sorts of variations. So now I've taken
in more of cre. I just come right over
here and drop in. Because see, the reflections will not be of the same color. So in order to make
some difference, I've added some yellow ochre
into the same pile of paint. Now, this will help us to
make it look realistic. We'll leave a lot of
gaps in that small gaps. So now, I'll take in
some black America brush and just do it like that. Creating some interest, which will automatically make
it look realistic. Something right there too. Make sure that each stroke is smooth and not have sharp edges. Maybe another one's gonna
come off right over there. And we'll have another
one there too. For the angles. And make sure that they're not
in one single color. You should have lots
and lots of variations. You can make use
of this technique. Something soft right
over there, too. Or take in some white
without cleaning your brush. Let's come out of here
and just lighten them up. Taking in more of white,
lighting them up. Light on this side,
dark on the other side. Something comes off
right there, too. Always have a reference picture. That'll be great help when you go ahead
with your painting. And we need to bring a
logical end for this edge. And let's create a shape. It comes off like that. And
this one also goes off there. And let's drops like that. Glad you can lift your brush. Snow made a soft
charcoal gray color. And let's come right over
here and drop in this one. I'm not loaded much paint. Just doing it with
very little paint. Here something soft
right over there, and this goes all
the way till there. Make sure that you leave some
brightness on either side. I'm not covering up everything. Let's come to wish you too. I had a bit of water.
Create all sorts of shapes, angles,
different directions. They'll be very useful. Now we've added more of black. That's one lady here. Just drop in and make them
and make them blended. If you're doing oil paints,
use the blender brush. Add some water. Flat with the
edge of the angular brush, the top edge of
the angular brush. Thanks for watching, and
I'll see you next time.
3. Landscape Painting for Beginners - Misty Pine Trees: Mash, today, let's paint
trees in the mist, followed by some trees
with crisp detailings. So as you can see, I've
got some sap green, cobalt blue, and some black. And I added white
into my paa just now. That's okay. And so now
let's take in some blue. I've added some water
to this because I'm painting an acrylic
stray and some green. Yeah, and some black
and some white. Mostly blue and black. Look at that, that gives
you a charcoal gray color. More of white? Yeah. And amusing, the
number two fan brush fillers I also let me mark where my let me mark where my foreground
trees will be there. That is without the mist.
Not much of mist in that. I'll reload the brush
and add in some water. And as we come over here, I'll add in just
a touch of green. No in more paint. Grab in some white because the miss generally starts
off from the bottom. Now, without cleaning the brush and taking some sap green, just a touch of blue
and some black. And just a touch of white and more of black looking
for a mid tone color. Blue and black will
neutralize that color. Okay? Take in some
water. That's too dark. There we go. Okay. Turn the brush. You never know which side
of the brush is loaded. So just turn the brush. We'll take that tar or colour and just twist it in
right over there. Take in more of sap cream. Sap cream is a very warm
cream, so you can use that. Now, I'll take in some sap cream and just drop it in
right over there. Without cleaning the brush. That's the grassland
out of there. And now let's reflect
them in the water. Grab in some white. Look at that. That smoothness
makes it look like water. And to paint water, I've added some
water onto my brush. Grab in some white, I
find more of sky there. So just drop that colour. Fair enough. I'll just blend it, make it
look very smooth and soft. Decide it'll be
relatively darker. And now let's take in some white on that same
number two fan brush. Till now I've used only
my number two fan brush. Let's drop in the water line, barely touching the surface
and some over here, too. Fair enough. Just
here and there. Because this is in the mist, I'll take in a very light
colour mixed with white, sap green, and lime. I'm putting this into focus, and let's come right
over here and start dropping in some more
of that highlights. Brighten that color a bit. That works. And creating
some irregular shapes. Don't follow any patterns. And another trick for this is I'm barely touching the
surface. Look at that? Holding your brush very loose. And let's come over here and just drop in some more
of that you don't want a whole lot of contrast
when you're painting this because this is in the mist
and it indicates distance. Skip some spots.
Anyway, acrylics tend to try a shade
dull generally. So I'm just making it a
bit light than I want. Just a bit light. Could
that brighten some spots, sparkle some of the spots. And we'll not have
much of it there. Okay, and something comes
off over here, too. And another way
is to just create some parts, subparts on this. He would have more of that I'm using a mild clad brush pills. You want it to be very regular. And also, you don't want
whole lot of detailings. But you want this to be in mist. So color plays a very
important role in this because the
lighter color you use, that is that is having less contrast with the
backdrop, that'll help. Something comes off right
to Skip some spots. That's very important.
Adding more of white and less of flamel.
That's equally important. Less of flam and more of
white so that color gets bright and more of there is less contrast with this,
that is the backdrop. Look at that. And now let's go ahead and brighten
some of those spots. For that, I've taken in more white with du
cleaning the brush. And let's come right
over there and just drop on some of that. And I'm painting this on the
outer part of each block. Look at that, I'm
just concentrating on the outer edge of
each of these blocks. Not everywhere. Just
here and there. And as we come
towards the bottom, that is near over here, it look like it's bottom, but in reality, it'll be near. So I'll just take some
more of that sap green. Just drop it in there. Of course, the mist starts
off from the bottom, and it goes all the way
towards the top, depends. And let's do some more over here without that bright color. So now let's switch gates to a tree with crisp detailings. Let's go over here at
the top, turn the brush. Yeah, this seems to work. And just dropping it
in right over there. You're also creating
some blocks. Let's come right over
here at the bottom. Look at that. The manipulated
ness of this brush helps. When something comes
off over here too. I don't want to follow
any perfect sheets. I want them to be as
irregular as possible. And let's come over
here at the top, on this side. Look at that. This looks like one tree, and that looks like another tree. You don't want them to
be separated exactly. So just sort of connecting them. And let's come over here.
I'll skip some of that spots, which is very important. Look at that. Turn the brush. Fair enough. And let's come over here, too, and drop it in. Now, I'll take my number
two fan brush and just drop in some grass. So grass action. Now I've taken some white
with dark lay in the brush. Let's come right over here. Drop in connect
that with the mist. Look at that. And same
thing over here, too. What that will do is that'll help things to fit
together in the painting. All the elements
will fit together. Take it more towards
the lime loo. With that, it's that easy. I've just used two
brushes in this painting. The number two fan brush, and the manipulated flat brush. And let's indicate
some over here, too, so that it fits together. Maybe the miss just continued all the way down till there. And now let's go ahead and drop in another distant mountain. Make it as light as we can. Hmm. With this, I come to the
end of this painting. I hope you've enjoyed it,
and thanks for watching. I
4. Landscape Painting for Beginners - Pine Trees(Part - 1): So in this lesson, I'll be teaching you how to
paint pine trees, where to apply the pressure, what are the colors you need, and what is the
color combination? Which are the colors
you need to mix and where to apply the pressure
and how to go about. Alright, let's get started. Hi, and then we'll come
back to engine lesson. In this lesson, I'll
be showing you how to paint realistic pine trees. To begin with, we start off
with the blocking in part. For the blocking in
part, I'll take in some lamo and I'll
show you what it is. This color is acrylics. I'm using camel company
acrylics for this. I'll take in some green. This green color is from watercolors. Okay,
I'll just show you. It in some green and some limelloT is also
from camel Company. We see a little black
because you're not going for highly very
brightest of the colors. We're looking for a mid tonish slightly towards the shade. You will take this yellow, some green, and some black. That's red color almost. Of course, it depends
on the environment. Now let's go just lock in. Locking in is easiest part because you just put
an overall color, an overall feel of the painting. Let's train this and I would
recommend you to go slightly brighter at the top
and mid tone here in the middle and
dark at the bottom. That's the way you go for a professional and
realistic painting for painting pine trees. So you can pretty much
fit this into any of your landscape paintings
like let's say you're going to paint a
landscape and you can fit this into any of landscape paintings and
it'll look beautiful. It will look very beautiful. By the way, I'm
using a flat brush, but if you look at
it from this angle, it's not flat because I
trimmed it and by usage, it has become thick. As you can see the
bristles are opened up. And that's the reason
it looks like that. Okay, let's take
some more of that lime mellow and just sort
of. Let's come right here. Yeah, cool. This looks cool. And keep the blocking in
part as rough as possible. Don't blend too much because we're looking for
all little effects. Yeah, this looks good for
the blocking in part. And I'll just some
green and black, just a bit of green
and black. That's it. Okay, let's draw up
it right away here. If you want, you can
add in some water, but still I'm avoiding
adding some water because the vibrancy and the saturation will go away
if you had too much water, especially if you're painting on watercolor paper like this. I'm not using water, but yeah, you can translate this
even to oil paintings. But when you're painting oils, I recommend you to
go with acrylic or a watercolor blogging in, and then you can just go ahead
with the detailings from the leaves of the tree trunks of the treetop with oil paints. So this I'm using all the
acrylics and watercolors. Okay, so this is done. The block in pad is done
for most part of it. And I'll take in.
I show you here. And I'll just take
in some black. Not directly go to dip
into this, just like that. Look like when you
dip into that, you got a lot of
black, not like that. So let's this is a blob
of paint on your palette. Just go from the corner
edge of that and take very little paint in order
to take very little paint, you need to take
it from the tip, not directly into
the color itself. Futi That's a bonus tip. M brush. Let's come right up here and just drop in I'm using a pretty much
brush as you can see, let's drop in some textures
so that it's going to add it will contribute to the realisticness
of the painting. Now I'm going to add
too much of this just a bit bit over here and there to get that
realistic effect using the same old brush. Okay. And just tapping it. Let me show you what happens
with that two heart. Let me pick a spot. For example, I'll take this
spot. Look at that. Look at this and that
looks like a solid piece. Whereas this looks like foliage gives that
realistic effect. So let's come right
here and Anyway, this is going to be
in the shadow region, so I'll paint this black itself. Okay. And taping very
lightly and another trick would be just take very little paint so that even if you're going
to tap a bit hard, it'll kind of balance the thing. If you take too much paint
and you tap too hard, you get this to avoid that. I'm not saying this is
wrong because we're looking for textures, basically. I believe that
textures is what's going to make the
painting look realistic, whether it's a rock or a tree or some ripples in the
water in some river. Yeah. Gonna take some more.
What if you add some green juice? Okay. This is the step two. Step
one is the blocking in part, and the step two is
just go ahead and give it a textures,
make it realistic. Of course, when
given the textures, make sure that you
change the pressure. Like for example, here
it looks dense and here it looks not
that extraized, which is totally fine because you want to get
that realistic effect. Yeah. And I'm going to pretty much st this
for the entire thing. I'll show you from scratch. Just tapping it and I'm using the same brush,
I'm repeating it. I shouldn't be repetitive, but still it's very
important for me to repeat it because this brush
can do wonders. With a single brush, you can do most of the things, especially in
landscape paintings. Okay, something like that. And let's go here at the top. Okay, cool. I'm purposefully not reloading the brush because I know here when I was
working in this part, I went back and
reloaded the brush. But when I came towards the top, I took care that
the less paint on the brush will help me
to get this texture. If you want very little texture, subtle texture, use very little paint and
very little pressure. That's a trick. Okay,
so we're done with this and now we need to add
some three trucks. For that, I'll take in some
white from camel company. Hope you can see that
here. Camel company. This is alex. By the way,
let me just show you. The melo and white both are acrylics and all of the colors are
from watercolors. Doesn't really matter that much they have some
white here show you. Yeah, it doesn't really matter because both are
water based colors. Of course, you can have
a mixed media painting. That's not an issue. Sting
some black from here. Taking some black from
there and taking a lot of white and then just a bit of a blue color just
to get that effect. Just to blue white. Yeah, that's the color
I wanted to have. My we can lighten this. Yeah. So I'll take my
modified flat brush. That is a brush which I
used to paint the boking in part and the textures. Okay. Now, let's load in
that color into this. And when I'm tapping, I'm tapping it and slightly
pushing it forward. Okay? As you're seeing
me do here. Just tap it. Okay. And let's come right
up in here, okay? Sort of making in a tree trunk.
5. Landscape Painting for Beginners - Pine Trees(Part - 2): You is going to make
it pre trunk here. This is very easy
process, to be honest. It's pretty straightforward. Let's drop in some leaves and foliage to make
it look realistic. Yeah. I'm very desired
to show you result. Look at that. That itself is
looking really realistic. Just the initial things and automatically everything
will fit together. First I'm just trying to
draw a line, basic line. You can do that with the
lineup brush as well. And I pretty much the way I give the black colored texture
on that green backdrop. So let's come up in here too. I don't have to be symmetrical. I shouldn't be symmetrical
at all at any cost. I'm going to bring that into
the greenish side a bit. Okay. Let's sort of another one here don't want to
be too symmetric. Don't follow any patterns here because this is a landscape
painting, nature, the scenic beauty. Yeah, that's enough. It's pretty much same thing here I'm applying
very little pressure. I mean, I'm applying
very little pressure, literally, very
little. Not much. Just a bit because you
don't just to get too busy that it looks unnatural. Yeah. So yes you can extend
this one a bit. Okay. Reload the grass
because Watercolor water based colors, right? So acrylics and watercolors
are water based paints. So they dry very quick. You can have a bottle. You
can have a spray bottle, and you can constantly
go ahead and miss that. Go ahead and spray
on your paint, and it will be wet
and ready to go. Et's come a little bit here and this is going to be
the tallest of them all. Have some stories when
you're going to paint, but it'll encourage you and you can get beautiful things
out of these paintings. By the way, for this color, what you're seeing here, I
use some white, of course, decent amount of white and some black to magnify it just bring it to a neutral
color. And some blue. Any blue will do the
work, but main thing is, it should be gray almost
towards the middle bit tone, gray color, and it will
help you to the work. Here also let's have another I know I'm not going to load the same color
over and over again. I'm just going to
try out and look for different colors on my palette. Okay. Yeah, cool. This looks good. So you're going to take different colours, it's going to look
realistic, natural. It's not going to look
like a solid one piece. Yeah. Okay. That's mouthful. And now, let me bring in this brush. Just wiping off should help
because I'm being repetitive, but it's water based colors and you can have a lot of
flexibility in this medium. Yeah. Now, I'll just take in
this color and same thing, tap it so that you get some
hump or a bump over here. Like for example,
I'm not going to take like this and to
go ahead and paint. Going to tap it,
open the bristles, and that will help
you to do wonders. If you want to add
a Biello ocher, that's okay as well. Don't go and don't go the brightest color
that's available, go with midton or if possible, go with a slightly darker color because you can always go
back and add some highlights. Okay. Now let's
come over here to this little trees
drop in sometime. Maybe we should write color
a bit and add some white. I think this should help. Yeah. Should some more white. Now I'm loading a little bit
more paint on the brush. But of course, when I
apply the pressure, the pressure is more. I'm going to focus on each
individual trees here. For example, I'm considering
this as a tree for the time being, by the way, we can take this and
some tree drums, which will interest in painting. This one here, this one, and it can be a bit
flexible with this. It's that easy. Okay. It's come here. I'm using watercolor paper
today for this tutorial. Maybe we should add
that's the thing. We need to experiment
with colors and stuff. We just go with bright shade for this and the backdrop
is almost, right? Let me show palette today. This is not the
palette I use usually, but still for the time
being, it should be fine. Look at that I'm using white?
Yeah, that's the color. Okay. It's all about angles, it's about the way you paint, which will make it look
extremely realistic. With that, as soon as I
lighten the color paint, look at the magic. Look at that. And slightly at the top. And as you come towards the top, just decrease the
pressure a bit. It looks natural. Daping gently, very lightly out of patience. There's a tree in the middle. So this requires more attention
and more brightness Yeah. Look there. Let's come over here and
let's drop it here too. Pretty much the same technique,
not much difference. Skip some spots, not everywhere. It's not going to be everywhere. Just skip some
spots. That's okay. Look there. And something over here. Here, it won't be that dull. Here stand out because it's a dark backdrop over
here in this region. Again, tapping in very lightly that it's that easy. Built over here and there will help definitely it will help. Okay. I'll take some green
slightly darker shade. So reduce brightness,
in other words. Look. Just one single brush, you can achieve a lot
of these effects. And with the tetunk you
can skip some spots. You can make the tree
trunk to be visible.
6. Landscape Painting for Beginners - Pine Trees(Part - 3): Okay. I loaded a lot of paint and tapping
it extremely light. The more paint you
have on the brush, the lighter you have to
tap to get the textures, the tree textures, the foliage. Is very interesting. It's very curb
technique. About that. Yeah. And let's have
something over here too, just to add mentter not
to leave these things blank. That's good. That's good. I like it. And just
blow here too. But the main thing
is you should have the right tools to
paint like this. So go ahead with a
flat brush, cut it, and it will become blunt
and then as with usage, it will become a
modified flat brush which will help you
to get textures, as I said before on rocks, on trees, on foliage. Just like the. Let me show you the C. It looks
realistic in itself. And it's handled that area. And pretty much the
same technique. And we'll have some bushes here and you can skip
some of these spots. Skipping some of these spots will help you maintain
the contrast. You don't want this to
be a flat painting. You want it to be
full of variations, lights, stars,
midtones, all that. So yeah. That's it. That's cool. That's
cool. I like it. Okay. And now, I just
wipe off my brush. And it's taken some
very little black, black, and I wiped off brush. I'm not clean my brush. I just wipe off my
impression and then some black, very little black. I'll come over here
at the bottom. That's sort of adding some
separation between the trees. Yeah. Slightly over here to
just more of a textures. Yeah. That's cool. Especially
when you're doing this, extremely light pressure
is required, not too much. And squat lo very little
paint on the brush. Yeah. Just square a lone very
little paint on the brush. Okay, have a look from
distance and satisfy. Yeah, that's good. I hope you guys like it. Just just tap in it. Yeah, Alvado here too. Yeah. We're almost done,
so you have done. So look at this
just focus this fw. Okay. Just look at this. This looks realistic and you can translate this into any of
the landscape paintings. And yeah it'll be interesting. I'll be cool and this
is a fun technique to apply and within
half an hour, you can get all this done, as you have seen in this video. So I hope you've
like this lesson. It's been helpful for you
to learn how to paint, how to mix colors, how
to get the textures, how to paint the foliage,
where to apply the pressure, where not to apply the pressure
and how to paint this. And I hope I added some
value to your knowledge. Thanks for watching. See
you next lesson. Bye.
Yash GM
