Learn how to paint advance Landscape with basic watercolor techniques

1. Introduction: Let's jump right in basic watercolor techniques while working with watercolors. The one which I remember is the wet on wet wash. I will ever struggling painting wet on wet. And you ended up getting Niger rooms on the faith. But anyway, just not able to control water than paint on the paper because something went wrong. Or have you ever struggled with getting the right kind of value while e-learning? And you ended up getting the flat wash, the doubting dimension on your painting. If yes, then this class is for you. Bid of basic word Gaia painting, ordinary lives were the kind of thinking you need to know all the basic techniques before you want to painting with watercolors in this class. Moving on, all of those techniques Powderly, step-by-step. By the end of the class, we will be painting for many landscape in the collage form. In all of those for me, landscape really put into practice all of the techniques which we have node don't want to muddy if you auto-complete thickness. I will walk you through each and every step throughout the class. Like always, we're going to talk about the materials that we believe in this class. We'll talk about the basic tab is wanting it into practice in that class project and then moving more on to non-ionic and mixed One Carlos with the basic primaries that you will have in your palate. Then we will move on to sketching and painting. Each of our four ninths give one by one. By the end of the class, we will have one beautiful painting, but you can frame it and put it on your board. I hope you're excited for this class. By the end of the class, you'll be so confident with the basic techniques that you will be able to pay any type of subject with everyone. I am a full-time artist and educator. I'm a YouTuber from India. You can check out all of my progresses, all of my favorite games, all of my announcements, and all of my daily practices on Instagram under the landed elite artistry over them. You can also check out my produced which I've put every week on YouTube to follow me there. Alright, that's it for now. I'm really looking forward to see you all in the class. 2. Materials required : Hello, hello. Firstly, thank you for joining the class and thank you for taking the time to join my class. I promised it would be worth it. Alright, so before we start, let's talk about the materials in this video. Like you can see, we'll be creating for many landscape in an A5 size watercolor paper. And each of these painting would take you less than 20 min to paint. We'll talk about techniques and everything in each individual class project. So don't worry about that. First in this class, Let's talk about the materials that we will need. First, let's talk about the Wei. Wei important thing when you work with watercolor is the people you are. I'll be using 100% cotton, 300 GSM cold pressed watercolor paper. Now let me. 3. Basic Watercolor Techniques you should know : So before we move on to painting each of our class project, Let's first learn a few of the techniques which we'll be using a lot throughout our individual class progenitor, which are very basic and important to master. Then you work with watercolors. Alright, so let's first study though color value to color value is basically how light or dark the color is. The light value is a pale and obey transparent color. And a dark value is something which is very rich, deep, and opaque. And we get the value in watercolors by just adding more and less of water. You don't add any white color to make your color lighter. You just have to add water to your color to make it lighter and to make it darker, you just have to add less and less of water. Alright, so let's just do an experiment. So here I'm taking one color, this is turquoise blue color and I will take away St. of this color. So I am taking that color on my palette. You can see it has less of water because it is more of a buttery consistency. That's how you know, it has less of Bordeaux. And your, I will do a swatch of that column first. Then I will keep on adding or dropped or drop to drop. So portal with each swatch and you will get lighter and lighter shade of the same color. Like your let's add a little bit of water. So I just took a water on my brush. I mixed it on the same color. And I will swatch just below that. With each swatch, we will add a drop of water to the same mix. You will see how the color will get lighter and lighter. I'll be using this term a lot in wiping thing. So I'll just say like I'm using the lighter value of two green or I'm using a lighter value of porpoise. And then next time or maybe I would say I'm using a darker value. So basically that is the water and paint proportions that you have to understand. It's very simple. To make your color lighter. You have to add water and to make your color darker. Or you want to increase the intensity of the color, you just have to subtract the water or you have to add less of water. That's all. It's very simple. You can see with each layer I'm, as I'm adding more and more water to the paint, it's getting lighter and lighter. And that's how you can get a different range of the same color simply by adding water. Isn't it? So good? I mean, I love this about watercolors. You just have to play with your water to create different values and different colors. Alright, so I'm just writing it down. That is, if you want to make your candlelight to add water, if you want to make your color darker, add lots of water. And I would suggest you to do this exercise with at least two to three colors. And you will see how many different range of colors you can get. So you'll see I've used the same technique and this first project where we will create a different range of mountains using the different values of the same thing I have used in either two class projects. As you can see the way you, as well as I would highly recommend you to try at least three to four colors and see how many values you can get and that you will also understand how much water you need to add. Yeah, so do experiment before we start with our class project. Now next let's learn how to control water and paint, especially when you are working with watercolors. I understand a lot of beginners struggle with none. One is, you are not using the right kind of people. If you're using the right kind of people, it would be a lot more easier, like I said before. Second is maybe you are applying a lot of water to your people. You see I've applied a way even layer of water on my paper. Next is, let's study how you can control the paint on the paper. Now, you see I loaded my brush with a lot of paint and the brush has lot of water and paint on it. You can see that. Now what I'll do is I will apply that color on the paper and you will see it will create a bloom and you would definitely won't be able to control that. So whatever the consistency of the paint, it doesn't matter. You just load your brush with paint, remove all the excess on the edge of the palate. Then again remove the excess on the tissue and then apply it on the paper. And you will see that the colors won't spread a lot on to your people. And it would be much more easier for you to control. Now what I'll do is, I'll repeat the same thing for you. That is, load your brush with paint, then remove the excess on the edge of the eyelid as well as on the tissue and then apply it on people. You can use a synthetic brush for doing this wet on wet technique. It would be best because anyways, that brush doesn't load a lot of paint on it rather than using a natural hair brush. So it's very simple. First three things which you have to keep in mind is forced apply even coat of water on the paper. Second is whenever you load your brush with paint, remove the excess on the edge of the palate as well as on the tissue and then apply it on the paper. Is using the right kind of people because that would help you a lot. Not anything. Alright. So easy. Tried to experimented and tried to do it on a rough paper before you move on to the final painting. Alright, now, the next thing which we'll be learning is using the minimum brush strokes to create your work. Remember when your job bill brush a lot on the paper, when you try mixing a color, the colors get muddy, patchy and it just loses its intensity and the freshness. So yeah, let's see how you can do it. So you will be using wet on wet technique. You'll see I read it though people with even layer of water and then I applied yellow color on it by just three to four strokes. Next I will take the sap green color on my brush. Again, I will do the same thing that is, I will apply that color and few strokes and I will leave it at their eyes, my color and painters, and the paper is wet. It will blend with each other, creating a beautiful effect. And I want her up my brush to blend it with each other. Same thing I will repeat. I will take even more darker green color and apply it on top and inhibit NADH dropping my brush As well as touching a lot of my brush, but the brush on the people next, taking the blue color and I just feel the same upper part with two to three strokes. That's all. Now, let's see what happens when you rub your brush a lot on the April. So I will show you that as well so that you can see the difference between the two paintings. Alright, so let's repeat the same step. Let's first with the people with even layer of water. Once you have applied the water onto the paper, I will take the same colors so that you can see the difference. So here I'm taking yellow, orange color and I've applied it on the bottom part and you see I'm rubbing my brush making new color even. And then I will take the sap green color and again, I will blend the colors together. Next I will take the darker green color. And again, I will mix it. You see the whole of the yellow color which you had applied earlier has almost gone. The sap green color which you applied earlier is also gone because you mix a darker green color on top of it. And the painting, or that portion looks a lot darker. And the best part about watercolor is the lightness and the light fastness, which you can get by just using less and less of brush strokes and just leaving the color and paint to do their own magic. That's all right, so you can totally see the difference between the two. And this is the fun thing which will be applying on lot while doing all of our class projects. That is using the minimum brushstrokes. I know it would be very tempting to mix your colors and do it. But believe me, we all gonna add to that and we're going to use less and less of brush strokes while doing it. Alright. Next, let's learn the dry brush technique. This technique we'll be using to create a little bit of texture onto our painting. I'll take the right color on my brush. And then I will remove all the x's on my tissue. And I will just drag my brush onto the paper. And you will see that it will create this texture on the paper too. Now. This lecture is much more easier when you are using cold press paper because already your paper have a little bit of texture. And remember to use vein dry paint that is doing a lot of water to your paint. Load your brush with color, remove all the excess owned or tissue and then simply just add, though, simply just rub your brush on the paper. So your brush on the paper boat has to be dry while doing this technique. That's all. It's a very easy technique. Just try it on a rough paper and I think it would be able to achieve it very easy. Now, next, let's learn how to blend the edges. When you are working with wet on dry technique. So first I will draw or tiny little mountain. And what I'll do is you'll see that the edge is looking very sharp and it doesn't look pleasing more almost all of the time. So let's blend this. So I'm cleaning off my brush with water and dabbing off the excess water on the tissue. And you see my brush is a little bit damp and I'm dropping my brush, **** brush on the edges of that mountain. And that's all. You're going to repeat this step by cleaning off your brush, removing the excess water from the brush onto the tissue paper and redoing it. But make sure that you are doing it way softly and very gently. So let me repeat the step one more time so that, you know, I first applied color onto the paper. Now I've cleaned my brush, remove the excess water from my brush onto the tissue and gently rubbing it on the edges of the mountain and you see it is way easily getting blended. Make sure that you do it faster. The color has to be wet if it dries off than it would be impossible for you to do that. So all you have to do is while the paper is still wet, just use the damp brush along the edges and you would be able to achieve the softer edge. Alright, so knees are important techniques which you will need to study before you move on to the class project. They started to techniques which we will directly do it and learn while we do our class projects. But make sure you experiment and you practice these techniques Powderly to get the best of the best results. When you are working with oil for class projects. If you have any doubts regarding anything or any technique, feel free to drop a question on the discussion section of the class. I would be happy to help you. So basically we learned five techniques. First one was the color value. Second one was how to control your paint and water onto the paper. And we will be using this technique to paint the sky for two of our class project. The first one and the third one, like you see the weaker. So make sure to practice this because this isn't easy as it sounds. It would be a little bit tricky when you do it, right? And yeah, so that's all with all the techniques. I will see you guys in the next class where we will study how to create our own pink purple color. 4. How to mix your own pink purple color : Alright, so before we move on to those sketching and painting part, let's study how you can mix your own color. So there is one color that is the cosmic pink color, which I'll be using in all of our four mini landscape. I want it to select one color, which I'll be using in all four of our paintings to make it look like a collage. When you use one color or you create a little bit of similarity between the, each painting, it to look a lot more complete and beautiful. That's the reason I wanted a color harmony happening in all of our collage. And this is the color which I'll be using throughout the painting. I understand not everyone would have this color on the palette. So let's study how you can mix this color with the basic colors. This color I've already squeezed out alerted on my palette. Let me just move my water a little bit and put the palate ends so that you know what I'm doing. Now I'm just taking one random brush and I will swatch this Carlo forced for you on. When you swatch, you will see that it is a very pink purple color. It isn't hard thing. It is not even proper. It is in-between that, but it is a little bit duller. And you know a basic rule when you want to create a dipole fill color, you will have to use two warm colors. That is warm red and warm blue, right? So for this part, swatch, what I'll do is I will take a warm red which is there on my palette. This is permanent, drew it. But if you don't have this, you can use vermilion, red bar low read any bright warm color, and did the same mix. I will add ultramarine violet color, which I already have in my palette. I always watch it down for you. When I switched, I think it is more on the side. So I will dig a little bit of more permanent red to the same mix and adjust that color a little bit. And I was watching it side-by-side. And you will see that you will get most similar looking color. Don't you think? You would obviously have to adjust the pallor auditable? You will have to swatch the color and see what that color leans more towards. Like, why? Like we forced March, it was more to the purple side. But once we added a little bit of red to it, we got the similar looking. But now, let's suppose you don't have ultramarine violet in your palette. So what to do? So let's mix it with ultramarine. Boil it. I'm taking this same Permanent red color and instead of ultramarine violet, we'll just use ultramarine blue color to it and use your I'm just adjusting the color again, the blue cord a little bit more. So I'm adding a little bit of red and blue to it. And now I will swatch that color for you. You will see it looking so **** similar. Right? So this is how you can mix your own cosmic pink color. And as you are adding a little bit of ultramarine to it, it will granulate and it, and it will give you a beautiful effect. Anyways, they'll cosmic thing, original color is also granulating Godot. And you can create your own granulating color by mixing a little bit of ultramarine to your permanent red. You can use permanent red mixed with your ultramarine violet. Just do things which you have to keep in mind is you have to take to warms color, that is the warm blue and a warm red to create these kind of. Now, I just wanted to individual and color that is the right color which I use. This is the permanent red. Like I said, you can use vermilion or low red, scarlet lake. Any warm red color if you don't have this red in your path. I'll just show you the close up next time is watching ultramarine violet. This is also a warm purple color. And lastly, I will swatch ultramarine blue in case you don't have ultramarine blue, you can use cobalt blue to mix your own cosmic bank column. Alright. So this was all about mixing your own cosmic pink color. In the next video, we will start sketching our four landscapes. And then we will move on to painting. Each one individually in the coming class, right? Yeah, that's about it for this video and I'll see you in the next class. 5. Sketching of all 4 landscapes: Alright, so let's get started. So before we move on to sketching each of our landscape, we were forced to apply the masking tape on all four sides of the paper. And we will divide the paper into four equal parts. As you know, we are ending on an A5 size people so forth. We will apply masking tape on all the edges. Then we will use those smaller masking tape to divide it into four equal parts. Each part we will paint the front and landscape. Alright? So this is what I've done in the past. I really like the idea of creating the collage and then just framing this into your theme. But if you want to create a small four paintings, then you can always cut the paper into four parts. And then you can paint, or you can paint all four into one page, like you can see it. So it's all up to you. And if you are not able to decide what to do, what you can do is just painted on a one page and then you always have an option of cutting it into four parts with Jocelyn Zoe's, but you won't have an option to join it. So yeah. Alright, so that is what we will be doing. Now, let's start by applying masking tape on all four sides. Remember to use the right kind of people so that whenever you pull off your masking tape, it doesn't tear off? I have I've been asked so many times like why doesn't your paper tear off? Why you remove your masking tape? And this doesn't happen with me. That there are many reasons for that, but one of the most frequent reason is that they don't use the right kind of people. Like if you use the printable paper or any local watercolor paper or the drawing book people which are available in the market, there are high chances that when you remove the masking tape, it will tear off. Raising. The second is the masking tape which you are using has a very high amount of blue. So what you can do is you can apply the masking tape on a piece of cloth or a table once, remove it, reapply it on the table and then remove it and then apply it onto the paper. That way, you will loosen up the glue. And when you are removing the masking pain, it would be a lot more easier. The third thing which you can do is you can use a hairdryer to remove the masking tape so that the glue melts a little and it would be a lot easier. Alright, so these are the tips, but the masking game. Now what I've done is I've applied the masking tape on all four sides. And if you see I've used almost more or less the same thickness of the Let him asking gave which will be applying in the middle of the people. I've used the same amount of thickness around the edges of the people that they're equal amount of white gaps or their own yard. I'm just eyeballing it, the measurement. But if you want, you can always use your scans to measure and then apply the masking tape and the murder. One thing you have to keep in mind is you have to totally press down your masking so that there's no gap between the people and the masking Lin. Alright, so that's what I've done. Now, let's move on to the sketching part. So the sketching of all for landscape is based and force. What I'll do is for this landscape, I will divide the paper into two part by creating the horizon line, and I will start painting the small, small mountains on the top. Lastly, I will draw one more line, just below the horizon line and fuel grasses in the foreground. That's all I think we will be doing, everything else but our colors. And remember to draw everything like that. Tell Mark doesn't show up when you paint. I'm drawing it a little bit darker so that you all can see. But I would suggest you to use a weigh like pond or very light pencil to do your sketching. Alright, so that's all with the sketching part for the first one. Now, let's move on to the second one. You can always pause your video. Once I'm done sketching and you can sketch out one-by-one. But while I'm sketching, please don't sketch. Otherwise you will end up making the mistake, right? So yeah, I like always we will first draw the horizon line. And then we will start painting the top and the bottom. So I'm redrawing the horizon line because I felt that it wasn't the street. Like I wanted it to be. The best thing is you can always erase and redraw a word. Like me as an artist who left and working, sends a lot of yours, even I'm income mistake and erasing and redoing it as not ashamed. So never be guilty of doing anything multiple times. The more you do, the more you will learn. And that's what is the most important thing. When you are drawing it lighter, you can always erase it off. And doing that though, people would also not be damaged. So once I've drawn the horizon line, I choose three tiny little houses. And then I am drawing a little bushes below the houses and few trees on the top. Now in this one we will be drawing one point perspective to draw our lavender field. So I will create one point on just below the largest how's that we painted? And joining that point, we will draw all the lines in the foreground, but like you see you. So if you will connect all those lines, it will meet at that point. And that is the whole point of one-point perspective. That's how you paint the lavender field, right? It's way simple. You can use your skills to draw the lines, but as we're painting on a base, more people doing it freehand, it won't be an issue. Okay. That's all but the sketching. Now, let's move on to the third one. In this one we will draw a tiny little house just above the league. In the background, we will draw multiple layers of mountain. So like always, let's divide people into du by dy, by drawing the horizon line. Once you have drawn the horizon line, we will start sketching the mountains. You can roughly do it even if you don't want to do it, that's also totally fine. You can always do it with your paint if you are more confident doing that, but I will draw it so that you get an idea of what it would look like. Alright? So then we will draw a round and a kind of an oval shape that would be a lake. And then we will draw a tiny little house on top of falling. In this landscape. We will learn how to paint those reflection of the sky onto the leg. Along with that, we will learn how to create Leo's of mountains in the background. All right, so get excited. I've drawn two tiny houses. And on the top of that I will draw a huge tree behind that. And surrounding the houses would be the fences. I think I'm almost done. I'm just darkening it a little so that you'll know what I've done. Now. Let's move on to the last landscape. So in this landscape we will focus more on the line area and let's go in the sky. So we will divide the paper in a way where we are leaving only one-third part for this guy and two-thirds for the land. Once we have divided the line or the paper into two parts, Let's move on to adding the details. So first I will draw one tiny little mountain on the horizon line. Then I will draw a slant line in the foreground part. This would be the road leading. Woods though, left-hand side, and land which is on the right-hand side of the road, would be covered with this tiny, tiny agriculture fields. So I will divide those lines into unequal parts by just drawing the lines around the lines I redraw or tiny little bushes. That's all. The sketching is very simple. Like I said, you can always pause the video and do it. In the lastly, in the foreground part, I will add tall, tall version so that we will get the perspective from where we are watching on landscape. Right? So that's all with the all four landscapes. Now, one-by-one, we will start painting in coming videos, right? Yeah, grab all your colors, two jars of water and brushes. And let's move on to the painting part in the next video. I'll see you there. 6. Moody Sky Painting: Alright, so let's start with our wafers landscape. We have already sketched out the landscape now it's time to paint them. So as always, we will start from top and then we will move our way downwards. So before we start, we will be doing wet on wet technique. So let's first apply even layer of clean water onto the sky, even if the color flows a little bit down towards the mountain, that is fine because we'll be painting the mountains with the same Carlo. Alright, so once we have added the idea, let the whole world is talking. And while that is happening, let's prepare our colors. You are, I'll be using my chromic thing color to paint the sky. If you don't know how to paint or how to make this color, you can always watch the earlier video where I've taught you how you can mix your own cosmic pink color. Alright? I'm diluting the color a lot. And I'm using a very light value to paint the sky and I'm applying an even worse off that color. You'll see I'm just rubbing my brush left and right, and I'm slowly moving my brush downwards. Once I've applied the lighter value, I darken it by adding a little more pigment and using the same color on the top to make the top darker. And as you move downwards it will get lighter. And that is the gradient effect that we created. Now, I'm mixing a little bit of ultramarine blue to my same cosmic pink color to make it a little darker, switching onto my smaller brush. And I'm loading my brush with that dark purple color, like I said before, tap off the excess color on the tissue and then start painting the clouds. You see the clouds would be larger on those sites. And as they come towards the horizon line, it will get smaller and smaller. And that is what we will be painting. Right? So hold your brush way far away from the tip so that you would get as loose strokes as you can. And that would look much more natural, right? So I'm just painting the clouds as we are painting wet-on-wet. That is, the sky is completely well. Remember, like we thought or like we studied in our techniques section, that is remove the excess paint on the tissue and then started applying it on paper so that you have full control on the paint. Next, I added a little bit of more ultramarine blue to the same mix to make it even taco. And I, applying that paint just at the bottom of all the clouds to create a little bit of shadow. Now I'm taking the cosmic pink color and I just darkened stopped because I felt like the color just lost its vibrancy. Right? Yeah. Now I'm taking the same ultramarine blue and cosmic pink color to create the darker purple color. And applying those same color just below the clouds to make a little bit mood darker. Now once it has completely dry, Let's move on to painting the mountains, which are on the horizon line. So first we will start with the way light value of again, cosmic thing, color. To paint our first mountain. I'm diluting the color by adding a little bit of water. And I will paint the first mountain. With that. I will apply evenly or all throughout the mountain area. And then I would clean off my brush completely dab off the excess. And I will blend few edges of the mountains to make it look like those edges are blended with the sky and to create the effect of soft, foggy sky. Once we have the first layer of mountain, we will dry that off with the hairdryer. And I will paint the second layer of mountain using the same cosmic thing. But this time I will add less of water to it, and I will paint the second layer of the mountain. Now if you are not sure how low color swatch, you can always watch that color on the roof sheet of paper. That way you will get an idea if the color is darker from the foods clear. I have been paintings into long time. So looking at the consistency of the paint, I can easily figure out the value. But I'm sure that you won't be able to do it if Cuba working with watercolor is pretty recently than I would highly suggest you to swatch with each layer so that you don't end up making the mistake. The bike, there will be no difference between the Leo's of mountain and you would be able to see just one plane mountain. Okay, now let's move on to the third mountains. This time, I added a little bit more of ultramarine blue to the same cosmic pink color. And we will be painting another layer of mountain using that same color. Now it's time to dry off all the lilies and being the last layer of mountain. And to make the color darker, I will again add a little bit of mood, ultramarine blue to my same cosmic thank Carlos. And teal color is ready. Let's paint the way last layer of the mountain. Remember to paint each mountain a little bit lower to the earlier mountain so that you can see all the four different views of mountain once they are all dried off. Alright. So yeah, fun. Stone Mountain is dry. Let's move on to the bottom part. So I'm taking though Indian yellow or the dark cadmium yellow color, which will be there in your palette. There's a warm yellow color. I will think that color dilute it by adding a little bit of water. And I will paint and evenly or off that color onto the foreground part. Once I've applied the evenly or I will take the same color and I will add a little bit of that color urine there to create a little bit of dimension to our painting. Otherwise, the whole area would look flat. I'm taking the same color and I'm applying it on top as well as you can use yellow ocher as well if you don't have this column, but I'm sure you will have a warm yellow color in your palette. Now when that layer is drying, let's prepare our green. So I'm taking the sap green color and to the same mix, I will add the yellow which we used earlier. You will see that the color would look very bright. I want to tell the color under the bed so we will use the contrasting color that is too red or orange. I will take a little bit of the permanent red colored chest alerted. And I will blend it with the green, which when mixed. But you'll see that these saturated the color a lot. So I will again add a little bit of sap green to the same mix. And I will also add a little bit of yellow to make it a little lighter because right now it's looking way too dark. I'm pretty happy with how How beautiful than olive green color has done note, we will start painting using the same color. So then almost a yellow would have dried out. If not, then please use the hairdryer or wait for that layer to dry before you move on to painting the green. So I just applied those straight line on the top. Then I cleaned off my brush completely. And I'm just using the little bit of water and the damp brush to pull that color down because I want the top to be a little darker. And as you move downward to get it lighter, lighter. Alright. Once you have applied the green color, let it completely dry. While that is drying, we will move on to adding more details on the yellow part. So I will switch to the smaller brush that is size zero, size one, whichever you have. And I will take the yellow ocher color on my brush, and I will start drawing those lines which we have painted earlier using that color. So I added a little bit of yellow as well to my yellow ocher diluted a little bit by adding more dark. And I'm painting those lines using that color. But my smallest brush tasty. As we want those lines to be tunnel, you will be using those smallest size you have. Then I will switch to my size two brush. And we will start painting the tiny, tiny little bushes. But before we do that, we will change our green and make it little darker by adding a little bit of portion fluid. So you're going to add potion to, you can add indigo, you can add a little bit of ultramarine. All. You can also add a little bit of sap green to the same mix to make the color more darker. I will draw a tiny little line on the line, the area. Then I will use the damp brush to blend all the harsh edges to our background. Then we will start painting though tiny little bushes with the same color. Painting Bush's is very simple. All you have to do is tap, tap, tap motion. Switch to your smaller brush if you want being smaller bushes. And if you want to be in larger brushes, switch to your bigger brush to get those smaller and larger strokes. I'm using those smaller brush size tool to paint those tiny little bushes with the same color that we mixed earlier. So this is just the first layer of push that via painting. Once we have painted the first video, we will let it dry and then we will paint on top of it with a little bit of darker color to create a little bit of depth in our bushes, right? So to make the color darker, I just use a little bit of more blue to it. And then I will paint another layer on those same bushes with the same brush. Again. Remember when you are doing the layering technique not to cover the underneath layer completely advice There's no point in there then. As you cannot see the different Leo's. Now we will be repeating those same steps, but this time we will draw bigger brushes in the foreground part. And I'll be using the same brush, but this time I will create more larger strokes and I'm using the same green color to create those wishes. Once we have applied the first layer of pushes, it will add a little bit more bushing due to the same green mix and add that darker green color on top of those pushes. These are all the small, small techniques of layering which will add a lot of depth and beauty do your landscape. So don't skip on these steps. Now what we do is we will take the permanent red color directly on our brush and start adding that color just at the top of our bushes. And if you feel like the color is not blending, then you can use your fingers to blend. Like I'm doing right here. Next we'll paint this one, small bushes on the yellow part, but as though that area is get Luby won't use the green color, we will use the yellow. I believe I used that color by adding a little bit of water and paint to tiny little bushes. Bushes are way far away from all viewpoints. So all you have to do is create small, small dots that would make it look like there are some kinds of trees or bushes on that. Yeah. That's all. No, I actually wanted to add one more layer of mountain in the background. So you would already know where you have to do if you wanted to add one more mountain that is create one more darker shade of purple. So you're like We take a mold of ultramarine blue and less of cosmic pain. And I will paint one more layer of mountains using my smaller brush because now we have to eat away small mountain. So make sure that you choose smaller brush to do that. Now we will draw a few lines in the foreground part, like we did earlier. Lastly, let's add few birds in the sky. So I'm taking a waterproof smaller nib pen and we will paint a few birds in the sky. So painting boards is very simple. You just have to draw a V shape and draw a tiny little.in the middle. Now change the size of the V-shape and little bit of shape of the beak. And that way you will get different shapes of the book. And that's all with this landscape. We learned a lot of techniques. I hope you enjoy it and now it's time for you to paint this one. And I'll see you guys in the next video where we will start painting the second lines. Q. 7. Lavender Field Painting : So let's start with a second landscape. In the last video, we studied how to paint the sky using wet on wet technique. How to paint the clouds using wet on wet technique for the mountains, we did wet on dry. So in this video or in this landscape, we will study how to paint the sky using the wet on wet technique, as well as how to paint the background mountains using the same but on wet technique. So in short, we will be painting the sky and the mountain together. Now, let's see how we can achieve that and how we can differentiate the sky from the mountain. Alright, so I'm hoping you're excited. So let's get started as all things, we will start from the top and we will move it, move away downwards. So we'll be using ultramarine blue to paint the sky. But if you don't have ultramarine blue in your palette, you can use cobalt blue or even a Chrome blue, any bright blue color, but I'm sure you will have ultramarine in your palette. You can even use civilian blue in case you don't have ultramarine. Alright? So changing the colors a little bit, urine there wouldn't matter. Because we are painting a landscape we own or thinking something realistic. That is totally fine. Okay, so now lets the area like the sky and the mountain leaving the houses on Dutch and apply even layer of water on that part. Then I will take a value of ultramarine blue. On my brush. I will add a little bit of water because I don't want the sky to be weighed dog. I want it to be the lighter. And as we paint the mountains on the top, we will paint them a little darker. So I will apply even wash of ultramarine blue onto the sky. Don't worry, encase the color goes into the houses but be careful that it doesn't increase. It does just dig or clean tissue paper and dab it off. And you will see while the colour is wet, it will be easier for you to lift off that paint. Now, I will take the same ultramarine blue. But this time I will take it in a darker value that is less of water. And I will paint the mountain. Again. Remember to control though, water and paint onto the wet paper. What do you have to do is take your brush, load your brush with paint, dab off the excess on the issue. I remove the excess on the palette and then apply it on the paper that we use C, I can literally see the shape of the mountain forming and those colors are not blending with the sky. Alright, so that is why you have to dab off the excess paint from the brush and then do it. And remember your paper has to be evenly wet and there shouldn't be puddles forming onto the, alright, so I'm repeating the same steps. But this time I will take even dark ultramarine blue and I will paint that on the top of that mountain. You see the color looks bright right now, but once it dries, it would get a lot lighter. That's the reason I'm painting one more mountain with the same ultramarine blue, but using a darker value. And that's all. Be careful around the houses in case you end up getting the color on the house, just take the team tissue and Albert off. Alright. So that's how you paint mountains or any subject wet on, wet. So why is the sky is drying? Let's move on to painting though lavender. So we will be again using the same wet on wet technique to paint the lavender really because we want obeyed loose floral field, corner landscape. So again, I just took the clean water and applied even layer of clean water on the flower field area. Now, I'm taking those same cosmic pink color on my brush. You remember I told you that I'll be using this color at least once in all of my landscape to play it a little bit of color harmony in hello for, for landscape. And obviously it is a pink purple color. So that is the best way to use this color is to use it. Right? So I took away light value of cosmic pink color and I applied an even layer of that color on my paper. Now I will take the same color and I will start drawing the lines which we have already drawn with the pencil. So I will take a darker value of the scene Carlo, switch to those smaller brush, and I will start applying that pink on those lines. I will also add a little bit of ultramarine to make it a little darker. And I will take away thick consistency of paint and you will see that the classes. Consistency of Maine would spread a little less on the people. But remember to always dab off the excess from the brush onto the tissue paper or onto your palette. But if you are pretty confident that it wouldn't spread or if you're confident that you would be able to control in case if the colors flows everywhere, then you can do that. Then you can avoid dabbing off the excess paint, but don't be a little overconfident. Either use a synthetic brush or use a smaller brush that would anyways, we'll look less paint onto the brush. And that way you'll be able to control the paint and water onto the paper. Because I'm telling you to not to be over-confident is because you cannot really do anything in watercolors. Once it is done, it is done. It is very difficult to rectify all of those mistakes and why you're putting a lot of efforts in painting. Why just to spoil doing something which you already know would end up making a lot of mess. So go with the techniques which are being told. All of those are being experimented. And I've learned all of those techniques doing a lot of mistakes in the past. And these techniques are all being tested and try it. So believe me, follow what I'm saying and you will get the best of the best results hundred. Okay? Now it's time to add plateaus, but before we add these plateaus, it's time to cover the other parts of our painting. Otherwise, you will end up getting florals, plateaus everywhere. And this time we are doing is plateaus wet on wet. That is the base of our painting. Brett. And I am taking the mix of cosmic pink and purple color, which was on my palette. And I'm taking a smaller brush size to loading my brush with paint, dabbing off with the unimodal hand. But you can use either a brush or a pencil, anything to dab the brush. And you will see that though, drops of colors boiled all onto the paper and it will start to blue monitors because the underneath color is still wet. And that is the exact effect which we want. You will get the softer edges of older droplets on the edges and it would spread onto though people. So I'm doing the same thing with different colors. Either I'll add a little bit of more pulpal or mode of ultramarine blue to make it darker. Or I'll add a little bit of more water to dilute the color. And we will add a lot of splatters using all these different shades of purple to create a little bit of more contrast and depth in our lavender field. Alright, now while that pushing is drying, let's move on to painting the foreground part or the horizon line part. Now, first we will start painting the bushes around the houses. So we will start with the lighter colors. So you are, I'm digging Hansa yellow or cadmium yellow, funny warm yellow. And I will start painting the bushes with the smaller brush. You already know how to paint the bush. You just have to do that app, that blood motion with your brush and that soil. So I started with a lighter color, that is the yellow because I wanted to lay those same with the darker color on top. But first I will apply the color that is the yellow, and then I will start applying the green color on top of it. You are, I'm digging those sap green color directly from my pen and I will use the same color on our trees as well as the bushes. As the underneath color already has a little bit of yellow. Sap Green would automatically be diluted when we paint on top of it. So there's no need to add anything to us that green. Right? Next, I'm digging permanent orange and I'm mixing a little bit of buoyancy and undo it. And we will start painting the roof of our house using that color. I'm mixing a little bit of permanent orange because I want those moves to be a little bit more brighter. But if you want, you can directly use the Tiana or you can use the permanent orange directly. All right, So that's okay. You can paint the roof of the house with any of those colors. Next time thinking though, sap green color and I'll add a little bit of blue to red to make it a little darker. And then I will start painting one more layer on the bush with the darker green. Hello. I'd also add a few more bushes behind the house. That way it can be differentiated from the mountain and the roof of the house would be more to your right. Now I will add a little bit of more blue into my scene, sap green color to make it even darker. We will start painting the trees using dark green value. To make your landscape more interesting. What you can do this, you can change the size of the trees which you are painting. Like. You can make some trees some more thicker and some more thinner. Why? Some shorter? That way it will create a lot of dimension in your painting, making it look much more natural, uninteresting. Alright? So we are done with the horizon line. All you have to do with paint or add a little bit of more details to the house. So I took the permanent orange color and I started painting fuel lines on those rules because the color which we applied earlier was looking way too light. Now I'm making no purple color, which is already there on my ballot. In case you don't have to fill color, you can mix your red and blue in equal proportions to get the opaque shade. And I'm diluting it way by adding Laura photos. So it hardly has 10% of paint and 90% is all water. I just painted a way that you did color of purple on my house. Next, let's paint a few dry brush strokes are not allowing 2 ft. So I'm taking the cosmic being color on my palette, dabbing off the excess on the tissue. My foreground part, that is the lavender field part, has already dried. So once I load my brush with bean, remove the excess on the tissue and I'm just rubbing the brush on the dry paper. And you will see that it will create a beautiful texture on the people. Now it's time to paint a huge Bruce bushes and no full-grown bond that will go, go from the right and as you go towards the left, it will go thinner and thinner and smaller. So I'm taking the sap green and I'm painting the bushes first layer using that color. You can totally skip this step if you don't want to paint the bush in the foreground and if you want to hold off the ground to be filled with love Windows mean, that is also fine that it was already looking down beautifully, but engaging. Want to add one more element, then you can do that. But it is completely optional and I would leave that up to you. Trade. Once the sap green layer was done, I reapplied the darker green color on top of it. Now what I'll do is I'll take a brush back and you see it's way pointer. And I will start painting few strokes on cheese which we have been paid on the back. And you will see in the area where we applied that stroke, the color would lift off, creating the highlights on the people. This will only happen when your paper is semi red. If it has completely dried, then you won't be able to get this effect. You can use your Credit card. You can use a scale or a palette knife, anything, or even all Carter to do this technique. Wondering, now I'm taking the orange yellow color. I will apply it, it on the top of the bush and I will blend it with my finger. You remember we did the red color of permanent red color in our last video. The same thing they will be doing this time, but this time we'll be using yellow, orange color. To do that. You don't have this color. You can add a little bit of permanent rate to your warm yellow and you will get the similar shade. Next, I'm taking the pines gray color. You can use black or any downhill Carlo on my smaller brush and I will start adding the dose and the Windows using this column. You can also use ultramarine blue or blue or even cobalt blue to add a little doors and windows. It will look beautiful as well. So we are almost done with our lavender field, many landscape painting. It's time to add some final things. So let's add the trunk of the tree using the blend sienna color. Yeah, you just have to draw the lines to create the trunk of the tree. It's looking so beautiful. The only thing is missing is a little bit of highlight, which we can later add with our Jelly Roll white pen, or even ordered a bit of white gouache device. The landscape is looking so beautiful and we learn so many techniques throughout this mini landscape. We learn how to paint those background glory mountains using the wet on wet technique. We learned how to create a loose kind of light lavender field in the foreground. We also learned how beautiful effect we get when we paint those plateaus using the wet on wet technique. Next, we also learn how to paint those bushes using the different layering technique. Now what I'm doing right here is the yellow which we painted has almost gone invisible. So I'm taking the yellow orange color which is there on my palette, and I added a little bit of that on top of the green. Remember when you are adding a lighter value on top of the darker, you will have to use a very thick consistency of paint that is almost 90 to 95% of pigment and just five per cent of vaudeville. And that way you will be able to paint on top of it. Alright. Now I'm just redoing those same dry brush strokes using the dark black color, but I've added a little bit of purple to it to make it a dark purple color. Right now I'm taking my hairdryer and drying off completely. Next, I will take the white Jelly Roll pen and I will start adding few highlight where the bushes is meeting though lavender field. That way we'll be able to differentiate. Otherwise, the whole area is looking very dark and I will add few more lines and highlights urine there. That's all we are done with this one. I hope you enjoyed and I hope you'll learn the Lord. Remember you won't be able to know how much you learn until you put it into practice. You will have to paint all of these landscape to understand how much you have grown. So please, please, please do all of the class projects. Whenever you get the time you see this painting, hardly the extra minutes to paint. So yeah, do it and do share it in the project section of the class. I would be happy to help you in case if you have any inquiries or anything. Yeah, that's all with this one. Let it completely dry and then we will move on to the third one. I'll see you in the next class. 8. Cottage by the Lake Painting : Let's start with our third lines game. I'm so happy that you all reach tenure and you are still learning and excited to learn. In this video, we'll learn how to paint or different kinds of clouds in the sky using the same wet on wet technique. And we will also learn how you can create the reflection of the sky on the link. All right, let's not waste any time and let's get started. So I started by applying even layer of water on the sky, but once we have applied the even layer of auto, I'll take them suddenly and blue color on my brush. Again, if you don't have several into color in your palette, you can use Chrome blue color. It is a way light, bright blue color, which I'm sure you will have in your palette in case you don't have this, you can use ultramarine or even cobalt blue to paint the sky. So we'll paint the sky with even layer of blue column. Next, I don't want this guy to be off to seem. So. What I'll do is I'm lifting off some of the colors with my damp brush. Once I've lifted off the color, I'm using the cosmic pink colored just at the bottom of my sky. So I took those same color, diluted a little by adding a lot of Bordeaux, and I applied it just at the bottom, and I blended all of those too close together. Next I'm taking the same cosmic pink color, but this time I'm taking a darker value. I'm adding a little bit of permanent red, same cosmic pink color. And then we will start painting clouds on this guy. Won't obey, lose kind of clouds. I will hold my brush a little far away from the tip and start painting the lines on our sky. I replay this Purdue from the top angle as well so that you know what I've done. Another note I wanted to share with you something. So when you observe how I'm doing or how I'm holding my brush, how I'm moving my brush. As my paint consistency, you would be learning so much, especially in this art. Believe me, or all of things are being logged by just and just observing. I'm telling you this because I have watched so many tutorials, which are not even in English, which are in some way different language. I don't understand what they're speaking. But by just observing or like, how are they doing? What are they doing? I was able to easily paint those subject which they were painting. By observing and by watching. You can learn so much, right? So, yeah, let's get back to the painting. I added a little bit of ultramarine to those same Manx and urine are adding few darker shadows onto our clouds like we did earlier. I didn't repeat those steps, But remember whenever you're working with multiple, who's the excess paint on the tissue and then start painting the clouds. Alright, I'm pretty happy with how my sky is looking. Now, let's paint the background mountains using those same wet on wet technique. So I took the ultramarine color on my brush and I will start painting on the horizon line. I'm pretty happy with how my top portion is looking now I will let it completely dry. Then we will move on to pain. Adding those different use of mountain while that is drying, let's paint a reflection of the sky on the lake. Will again be using wet-on-wet technique. I will wet the area with even layer of water and I will apply a flat wash off suddenly and blue on the lake. So we'll be using the exact same colors that we used on this guy to paint the lake area. Because it is the reflection. We don't have to change a lot of colors. So I added the cell in blue color. Now I am adding the reflection of the clouds using the purple, pink color that we used. You would all have to be very specific as we are painting on a very small surface. You don't have to paint the whole structure of the clouds. Just add a little bit alone or just below the house area. That will also create a little bit of shadow as well as though it will give you the effect of the clouds. Right now. Use the hairdryer to dry off, dry off the whole landscape completely. Then let's move on to painting though Laozi of those mountains. Again, I'm taking the ultramarine blue color and I'm painting the mountain using that failure. I believe the middle portion empty because we'll be. Painting huge tree behind that so you don't have to paint the blue because we will be using the greens which won't go on top of the blue. So that's where you will have to not paint on that data. So while the mountain area is drying, let's move on to the foreground part and I will start applying away light wash of a mix of yellow ocher and I'll start painting. So you'll see the area of the mountain was still wet and I started painting. So be careful when you are walking around that area, see that the brush doesn't touches the blue? No, if you want, you can just dry off that layer and then start painting to avoid doing that. So that Toby woke with watercolor is when one part of the painting is drawing me. Move on to add the part so that we don't waste time and we keep on painting. Once they even layer of yellow ocher has been applied onto the paper, IBD Kobe diluted, burnt sienna. And I will start, start adding a little bit of that color around our 92 by the color is still wet. Then we will use the hairdryer to dry off our painting completely. Check before jewelry paint on top of it to make sure that the painting has been completely dried. Alright, now I'm taking the same ultramarine blue on my brush and we will start painting another layer of mountain using the thicker consistency of ultramarine blue. Now we're going to add one more layer of mountain, and this time to make the color even more darker, I will take ultramarine blue and I will add a little bit of blue to my same money view and Buwei feigned 1 mol monk and choosing the mix of that Kylo. The smaller brush while you are painting the smallest object on your painting, that decision for yourself. Don't wait for me to switch your switch to your smaller brush or switch to a larger brush. Whenever you are working with now a small area or detail. Work like when you're working on details of your painting, switch to your smaller brush. And when you are painting on a larger subject, that is the sky or the foreground, or just a flat wash, then use your large brush. So don't wait for me to tell you that. Just take that decision for yourself. Right now. The bonds here now color and I applied it on the area where the land is touching the lake. And you will see that the line is on the top and do lake is just below the land area. Using the same color. Near the horizon line adds, Oh, I completely forgot when we painted the shadow and below the League ADL IQs to go. **** brush blending techniques are applied to burnt sienna color. Then I'm completely washed my brush, remove the excess powder and I just use the damp brush along the edges just to make those edges look softer. Now, let's move on to painting the trees which is behind the mountain. So you are, I'm mixing my sap green with a little bit of warm yellow to make my color lighter, lighter. And we will start painting the trees behind the houses using those same Gallo. Like always. We will start with the light TO value of green or a lighter color of green color. And David, I'd only use darker green on top of it. Once we have completed painting trees, we will start with painting the body of the house. So your, I'll take the permanent orange color. I will paint the bottom of your house using that bright orange. If you feel like your oranges way too bright and you can add a little bit of burnt sienna to dilute or two D saturate. My audience is not so bright. So I give it that. Now I'm taking a darker green color simply by adding a little bit of pushing, you would do it. I will add few more strokes of darker green color onto our background trees. And I'm taking a thick consistency and also adding few more dry brush strokes to create a bit of texture. Now it's time to add details in the ground, but I'm thinking of light value of burnt sienna and I will start adding small, small brush sizes using my blush. So to get the strokes, hold your brush at almost 80 to 90 degree angle that we were just using the tip of your brush to create those strokes and you will get another looping strokes. Same page. I am. Just don't I didn't do seem kind of strokes using different color. That is, I diluted my yellow, orange color and add a bit of burnt sienna to dilute down. And adding few of those strokes using those same blush. I'll be repeating those same steps of adding those tiny little crosses, but different shades of brown. So sometimes I'll use plenty. I know. Sometimes I will use a lighter value. That is by either adding a yellow ocher or a little bit of permanent orange or yellow orange. So just play with your colors which you have. Just make sure that you are using your color a little because we don't want those dark colors on our program part. Next, I'm just using my burnt sienna to draw the trunk of the tree. Next time taking the darker brown color which I already have on my palette. But in case you don't have dark brown color, you can always makes for a little bit of paints gray or black to your buoyancy and not to make your brown or legend darker. So I'm just reapplying that paint where we have already applied. So just below the lake. And once I've applied that color, I will just to use the leftover color to create a dry brush strokes. Now, I'm taking the black color or you can say pines gray calendar on my smallest brush and start adding door doors and the windows of our house. I'm with the same color. I will start adding those fences, which we have already sketched out earlier. And if not, if you cannot see those lines of your Penzias, it's simple. You just have to draw a tiny little lines. Make sure that you are using your smaller brush to do that. So I'm just drawing field lines and then I'm just connecting all of them at the same brush. I'm pretty happy with how this has turned out. You know, with aging. And by adding each element, you can just see how if you're painting is coming altogether. By just adding those tiny little fences, it just looked so beautiful, right? So yeah, let's add some few more details onto a painting before we completed. So I took the dark blue color. I added few dry brush strokes on the lake area, specially just below the house. So that way it will create a little bit of shadow of tools house and the trees onto the lake. I'm using that same color to paint one more layer of tiny little mountain on the left-hand side of our painting. Now to create a little bit more highlights on the tree, I'm thinking though yellow color on my brush. And I'm adding that color just on the top of our trees. Don't blend colored other day because if fuel blend it, it will lose its saturation and you won't be able to see those highlights. So just apply it on the top and leave it there. Now I will add few more classes and few more textures of small, small hind and the foreground part, using those same yellow ocher color. By just changing the values of the values you can create the whole painting. You would have learned about monochrome painting. That is, a painting done using just one color. And the whole painting is done by just changing the values of Gallo. Yeah, that's what we have done in the foreground, but you'll see it all of those grasses and extras which we have added. That is simply by changing a little bit of color and changing a little bit of value of the same kind of hard, right? So don't worry if you don't have these many shades of brown, you can always change a little bit of value of your brown and paint them. Lastly, let's add a few highlights with Jelly Roll white pen. And I am just adding a few white strokes on the lake area as well as a little bit on our truth. Again, if you don't have the white gel pen, then you can always use white watercolor or right course to do that. But make sure that you don't add a lot of water to your wide thing and use the thicker consistency of being to do that. Okay. Yeah, We are almost done with the painting. I'm just going to eating few more highlights near the horizon line using those same pen. I'll also draw a few highlights around the doors and the windows of our house. And instantly you will see that it will lift off the windows and you'll be able to see that. That's all with this one. Let's just revise what we learned. We learned how to paint a different looking clouds and sky will learn how to leverage those mountains. We also learned how to create the reflection of this guy on the lake. And lastly, we learn how we can, simply by changing the values of those browns, we can create a beautiful texture in the foreground, right? I hope you enjoy it and I'll see you in the next class. 9. Green Grassland Field Painting : Alright, so let's move on to weight loss landscape. Then. Remove the masking being fancy or of how our collage has still not. Get excited. In this plan, we will be focusing more on the foreground part and less on the sky. The sky and the mountain part would be very easy for you because we have done this for almost three times in our class project. So yeah, let's do it all over again. But this time we will create a gradient wash of the blue. What I did is I took those saturated blue and I've applied to strokes of that color on the top. And then I just clean my brush, dab off the excess lung tissue and I'm just using the damp brush and I'm blending the color. But the paper, and you will see that the top is darker and as you move downwards, it gets lighter and lighter. Now while this guy area is drying, let's move on to painting the fulcrum part and not waste any time. Figure. Again, we'll be using wet on wet technique because that is a huge portion angle first, apply the first layer using the wet on wet wash. Your I'm taking no yellow color and I'm heading away to pay rate tiny bit of sap green because I wanted it to be it looks like a wave, bright green color. Add more of yellow, endless of sap green. And we will start applying that color onto our foreground part. We will cover the whole of that line, alien leaving the road using those same color. Once you have applied though even wash or that light green color with it, start adding a little bit of Taco green urine there. So I'm using my same brush and I'm leaking dose sap green color directly from my band and I'm starting to apply that color. I will also create some background for our bushes using the same dark green color. And I'll also add yellow ocher to the land. Then we will switch to the smaller brush, and I'm using the darker green color. This color I've already have in my palette because we have used it in our earlier class project. But in case you don't have it simply don't mix of blue or indigo with the sap green you would already know. And I'm starting to add some grasses in the full round while the color is still wet. So we'll be adding this layer of wet on wet. And I'm using my smaller brush to do that. Then I will take those off my brush and we will start adding few strokes on wishes area. And you will see that it will create a dent and a beautiful texture on the paper. Remember this technique was only apply if the underneath layer is semi wet. So I'm repeating the same step of adding few more classes using more of the dark green color. Holding my brush at most 80 to 90 degree angles so that I'm just using the pointy tip of my brush to paint thinner looking masses in the foreground. Next, I will be taking the cosmic pink color. And this is actually a mix of cosmic pink and a little bit of ultramarine blue. And once I've mixed those two colors, we will start painting mountains and no backbone by the time those Kai would already be dry. But in case you're sky's not try it. Check it before you paint the mountain not to talk. Now I will add few chances in the foreground, and you will see that the strokes get more and more declined because the paper is you trying with each level. Alright, so it will spread less than, less. Once that is done, I am mixing my light green column by digging a little bit of sap green and a little bit of gallows. And we will start adding those lines which we had drawn earlier that is dividing all of our agricultural land in the foreground. But once you have drawn two lines, all you have to do is paint those tiny, tiny little bushes around those lines as well as in the foreground. And in some area, I will also add few smaller lines, making it look like there are rice beans or rice grains are being grown in that area. So yeah. Imagination is, unless you can imagine as much as you want and you can pin as much as you want. But those dining teens would add a lot of details and a lot of drama and a lot of interests to your painting. And that landscape would stand out from other ordinary landscape, right? So you already know how we paint the Busch Gardens. Adding the forest Leo bit lighter green color and then on the top, but we'll start adding the darker green color one-by-one. So I know these tiny little steps takes a lot of time and a lot of patients because we have to do with slowly and steadily. But if you enjoyed the process of painting than these steps are so therapeutic because you don't have to think a lot of, you don't have to pay a lot of attention while doing it. You just have to enjoy the strokes and enjoy the process of painting. And believe me, you would enjoy it. Do it at your own speed and just enjoy the process because that is the most important thing while you paint on right? Now I'm digging the same cosmic pink color and I'm adding a little bit of black to my pink. And I will start adding the fences. Pitch is there on the right-hand side of our road. So you already know how to draw the fence. You just have to draw a line and then I will connect those lines. But the same. But if you don't want to, you can avoid this step. Because any ways though fences on alone, it's looking complete and beautiful. But it's all up to you. And if you're not comfortable hiding those lines with your brush, then you can always switch to the pen and do the same step. Okay, Now, let's move on to painting the bushes. Again. I will keep on changing though. Shades of green. That is, sometimes I will paint it with lighter green and sometimes I will paint it with darker. Sometimes I will just dilute the color by adding a lot of water to make it lighter. And sometimes I will add little bit of yellow to make it lighter. Same way when we are working with, when we want to work with dark green. I will add little bit of more sap green to make it darker. And just reducing the ratio of yellow, I will add a little bit of blue to my green to make it little darker. So you already know how you have to change the ratio of the water, the yellow and the blue color to make all of your greens lighter and darker. It's very simple. And one more day in which we have to keep in mind whenever you are adding bushes or anything, the wishes which are near the horizon line or which are far away from our viewpoint would be smaller. Whereas the bushes which are near the fence on your viewpoint would be a little bit larger. So before we end the session and I forget, I really wanted to tell you that if you are still watching the class and if you are enjoying it or if you have any kind of review about this glass, then do consider posting it in the review section of this class. That would help me understand if you have enjoyed watching the class or it will help me improve in making other classes in the future. So make sure that you do it without fail before you leave though. Alright, and I'm really thankful for that if you do it. Okay. Yeah, we got still painting small, small pushes in the background. The fun part is still remaining. That is going to be painting a pure full set of flowers in the foreground part. But let's first finish the tiny little details in the background. And once we're done doing it, maybe we'll start painting the flowers in the foreground. Now let's add one more layer of mountain. You are. I'll be adding little bit of more blue to my already mixed fopen to make it even darker. And we will add one more layer of mountain because that single use morphine isn't looking pleasing, so we draw it. I'm adding one more layer of mountain using their darker. Open dialogue came by and then move in and start painting the flowers in the foreground. But alright, so once that is done, Let's move on to painting the flowers in the foreground. So take the cosmic Benkler and add a little bit of minds grade to make it little donkey Blanche, switch to your smaller brush size two or size one, and start adding those tiny little dots in the foreground. So create a dog like three dots or five dots in the foreground part to make it look like there's a flower change though. Size and directions of those dots to make it look like the flower is moving. Or us saying some other sides of the flower. That's all. It's very simple. Sometimes draw three petals, sometimes draw for, sometimes just make bigger strokes of those flower to make it look like the flower is bigger. And that's it. Now you can draw as many as you want and you can stop it right here. But I really want it to fill the whole of the area with lava and making it look like a beautiful flower. Middle of all the wild flowers. I'll be adding few more. And as you go towards the root or towards the horizon line, you see that I will end those smaller flowers over there. And as we come near to the foreground, I will paint the larger flowers. That way it will make it look like those powers are newer and some are way far away. Once you are done painting the flowers with the same brush take a mid value of dark green color and start painting though defined strokes that will look like stems of those flowers. And once you have painted this time, you don't need to paint a stem for all the flowers. Just paint for few of them with the same pain dancing brush. I will start painting fuel use in the foreground as well. Next, let's paint the center of the flower. I want it to make a contrasting color and the contrast in color to the purple. I do the dark pink or yellow. So I'll be using a weighted consistency of yellow ocher color. And I will start painting the center of those flowers. They're using that color. So take away thick consistency. Don't add a lot of water to your paint. That way it will act more faith. And yeah, if you don't have this color, you can use cadmium yellow as well. Hello would get lighter once it dries because as it is the nature of what colors. So don't worry about that. We will layer it with a little bit of white in the end. So all you have to do right now is paying the center using cadmium, yellow or yellow ocher or any kind of Gallo. Just don't use lemon yellow because it won't look very appealing. Use a warm yellow color. Okay, So it could be cadmium yellow, yellow ocher or Hansa Yellow Deep. Any of that? All right. Next, I'm taking though Cosmic bank and ultramarine blue mix. I will draw one more layer of mountain on the horizon line. Now you see the yellow ocher, which we applied it in the same way, too light and it is hardly being seen. So what I'll do is I reapplied. But this time I will use yellow, orange color which is there on my palette. This color is a little bit opaque and that being you'll be able to see the dog. So I'm taking away thick consistency of paint again, and I will start painting the center of the flower using that column. Again, we would be sharing it with a little bit of white later on, but you create a little bit of highlight in the same dorm. And that's all we are almost done with this painting. I will paint those eye level using the yellow, orange color. And then we will move on to painting our tiny, tiny details on the bushes background part. And we will be done with all of our four paintings. I hope you enjoyed along with me and you learned a lot. I have tried to explain each and everything in details. We have used all the basic techniques that we use on a daily basis while working with watercolors. That is the wet on wet technique, layering technique, don't dry brush technique. So I've tried to explain all those basic techniques in detail. And I've also those techniques into all of our paintings so that you get part of it. Did you all to get a little bit of practice of all those techniques. So, yeah, I really hope that you enjoy it and you'll learn a lot about watercolors. And I really hope that I made working with watercolor is a little bit easier and simpler for you because I understand what working with watercolors is no joke. Sometimes it could be really frustrating. Not because there's medium as bad it is because this medium is unforgiving sometimes. And that is the fun part about this medium. I love this medium. It gives you so many surprises when you work with it. I hope you enjoyed and I hope I made you fall in love with watercolors little bit. So don't stop working with watercolors. I know it's a little bit tricky, but once you get the hang of it, believe me, you will not enjoy any other medium than watercolors. Entree say, Yeah, I'm almost done with this painting. I will see you guys in the next class where we will put all the highlights and all of our paintings. 10. Adding highlights: Alright, so let's start adding those things before we removed the masking. So you can do at least skip this step. But I feel like my adding these tiny little highlight. The painting looks even more refined and fresh. So what we'll do is, I will take the white wash. This is from Winsor and Newton. In case you don't have a white gouache, you can use white watercolor, you can use Chinese white. Just in case you don't have anything. I would allow you to use white acrylic paint as well, but only use it if you have no other option. Alright, so yeah, I will take my smallest brush that is the size. And I will dig a little bit of white colored directly from the tube. I won't add any water to it. And I will start adding a few highlights. Urine that on my painting. Like you see, I added a little bit on the top of the roof. I added a bit on the horizon line. I added on the date and that toy. Now we will move on to the next painting where I will add the white highlighted on the center of the flower. Like I said in class before, we will add a little bit of white to the center of the flower and you'll see instantly it lifts the painting up, right? You can also use white gel pen, but you won't get the exact same brightening effect. So that's the reason I'm using the white indirectly. So I will add a little bit around the bushes as well. Alright, now let's move on to thinking some highlights on our lavender field. So again, I will start by painting a little bit of highlight under the roof area of our house. This technique of adding little bit of white highlight or white paint on top of our painting when it is completely done, is very useful when you forget to leave those white gaps in your painting. And when you are working on small, small area of people leaving those tiny little white. April is very difficult. This wife Carlo comes to our rescue and it gives you all more or less the same effect. So yeah, I think this tiny bite eyelid lifts off your painting completely. We have done the lavender field one. Now let's add a little highlight on the first one. I will add a little bit on a bush area, which is in the foreground. And sometimes if you feel like the white is looking way too bright, you can always use your finger and tap it on top of it and it will instantly that lid. And that way it would look much more natural. Lastly, I will add one or two lines on your phone, lavender. That's it. I'm done with all of our food, beautiful landscape painting. All of our painting would have been all moisturized. So it's time to do the fun part that is removing the masking D. Yeah, let's do that. So it's very safe to remove the masking tape. Anyways, we go painting the highlights so that all of those highlights are not on the edges of the masking game. You can totally remove the tape. So what do you have to keep in mind is when you are removing the masking tape is to pull, lift off at an angle so that you don't end up getting the people, especially the middle ones. You won't be able to pull it off at any angle because they are right in the middle. What you can do is pull it off very slowly so that you don't end up paying the paper. And for all the other for masking tapes which are on the edges, pull it off away from the paper and do it slowly. I'm repeating this multiple times because I don't want you all to air the people. Why you are pulling off the masking tape? Because I know you have put a lot of efforts in painting all of your food landscapes. So yeah, please do it carefully and slowly so that you get a beautiful we're looking edge without tearing the paper. Alright? So yeah, this is how it is looking. And again, I'll see you in the last and the finance laws. 11. Thank you: Thank you for taking all the time. I'm watching my class. I'm so glad that you enjoyed watching. I'm going from me. And I hope that I made with watercolors a little bit easier for you. If you watch the class and the earth and do consider posting on view in the review section of this class. If you guys have any doubt regarding the materials, the technique, or the painting, then do posted in the discussion section of this class. And I would be happy to help you out. Now, I'm really looking forward to see all of your fuel. Prefer that if you paint them to post it in the project section of this class so that everyone can see an invalid age from your work. If you happen to post it on Instagram and tag me, my handle is Adelaide artistry over that and I would be happy to live or die. That's it for now. I hope you enjoyed and I will see you in the next video. Bye.