Learn to Paint Expressive Daisy Field with Gouache

1. Welcome to the New Class: It is something about disease that the attract me the most. Recently on my trip, I just happened to witness these beautiful disease and couldn't stop staring at them. It's something about them that always wants me to keep painting them. Hello everyone. My sheet the patio. A chartered accountant and an artist based in India. I won't majorly with gouache and water follows, with watercolors being my most favorite medium. And occasionally exploring acrylics as well as gouache. You can find instagram under the handle, creating from the heart where I share all of my other works and my creative journey. In this finance short class, we are going to be painting in this beautiful sunset view DC field. I will be guiding you through each of the steps for painting in the sky, the clouds, the grass, and then the disease. Before beginning, I will be guiding you through all the materials that we will be using for this class projects so that you can grab them and keep them ready. I will also be guiding you through the taping down off the class project paper. How we are going to begin in taping down. We will even be discussing in the different angles of the disease in this class, how you can add them in different views into your field. In fact, you can follow this for any other floral field that you wish to paint. I'm sure by the end of this class you would get a little more clear perspective about adding in the florals with different angles. So come join me into this fun class and let's paint this beautiful daisy field together. See you guys into the next lesson of this class. 2. Materials Required: Let me quickly walk you through the materials I'm going to be using in this book on paper, which is approximately five inch by eight inch in size, I'm going to be using in this hot press paper. This has a smooth surface and it's perfect for gouache and acrylic gouache colors sliding smoothly on such hot press top surface paper. Next you would be needing in gouache paints. You can go ahead with any set that is availability or n you would be needing in a mixing palette as well. I will be guiding you through the colors that we will be using it and mixing in the colors if you do not have the exact same shapes. Next, or I will be mixing the colors onto the palette, and I will be using it a ceramic palette. And you need some dark tissues and new jars of clean water. For the white gouache. I'm going to be using in a separate palette because we will be needing a lot of it. I would be using the masking tape to tape down my paper for the class project. Apart from this, you will be needing in a few brushes and going to be using in these synthetic flat and round brushes. I will be guiding you through each of the brush that I will be using in. These are all the materials that you would be needing for this class. Go grab them and I will see you guys into the next lesson where we begin painting in her class project for this class. 3. Taping the Paper: Let's begin with the taping down off the paper first. I'm first going to be using in and taping down all the foresight. And then at the bottom of the paper, I'm going to be using in a smallest size masking tape and taping down four blocks. Make sure you tape down the masking tape well on the edges and leaving equals pieces. So first you will see that I'm taping down the bottom edge has been we will be creating in the bottom blocks later on after taping down all the four edges, you can go ahead with NSAIDs after masking tape that is available with you. I'm Dan taping down all the four edges and now I'm going to be creating in these four blocks at the bottom space out here. For that first-time, going to be taking down the same masking tape and tape it down from a little below of the center space. So approximately or whatever space you are looking for, for creating in those bottom blocks, you can add in, in that much space. Now next, using in this smallest size masking, if I'm going to be creating in the smaller blocks out your first, I'm taping it down in the center, more space. And then on both the sides I will be creating into blocks. Each you can go ahead and create for the smallest size boxes or you can even skip this, But, but just to make it a little different, I'm going to head with this blocking method. That does it. We are ready with the taping down. 4. Daisy Field - Part 1 - Painting the Sky: Let's begin with the class project. Now. I'm going to first show you the colors that I'm going to be using. So for this guy, I will be using in the city in blue color. Then I will be using in the rose madder lake, the violet color, and the yellow color. These are the colors that I will be using in for the sky. And I will be guiding you through one-by-one each of the colors that we will be using in. I'm going to first quickly removing a little of four of these colors onto my palette and keep them ready. You need very little of the basic colors as we are going to be adding in white gouache to these and creating in photo pastel colors. You can see I'm removing in very little of the fallow for us to settle in blue color. Next was the rows modality. Now I have removed in the yellow light color. And lastly, I'm going to remove a little of the red violet color. It's removing a little of the violet color and getting it ready on my palette because I will be adding in little highlights with the violet color as well. So these are the five basic colors that I'm going to be using in for the sky. Also, I would be using in a little of the orange color. So you can go ahead and use a yellow, orange color, scarlet color, home million colors. Or you can even mix in a little off the red and the yellow to get an orange color who did not have the direct orange color. And next you would be needing in the white gouache. So I have the colors ready. Now let's begin in with the pencil sketch for the class project. I'm going to begin by marking out the horizon line. This is going to be my mountain range and below that I'm adding in the horizon line. So I'll just define the mountain range a little now because I'm going to try and leave these pieces blank while adding in the colors as much as possible. So we have two horizon line and almost the center of the paper and a small mountain range on top of it. We are going to begin in painting in the sky. First, I'm going to begin preparing the colors one-by-one. I'm using a size eat blender brush. You can go ahead and use in any flat brush that is available with you and post mixing in a lot of white to the civilian blue color. Now using the space to do color, I'm going to begin in from the top species, adding two to three stools. Then I'm going to use invite gouache and for the lighting up this color directly on the paper without mixing it on the ballot. And then closer to the mountain range, I'm going to be adding in the yellow color to given the highlight of the sunset view just from behind the mountain range. Adding in the white, you can see I am trying to blend in both of the colors and I've gotten a little lighter blue color out there. Now I'm going to be shifting into the yellow color. I'm going to begin adding this onto my horizon line. But before that I'm mixing in a little bit of white as well to the yellow color your as well. Now you can see I've tried to define the mountain range well and try to maintain the edge of the mountain area so that I can add it the colors they're easily now just blending it well with the white color. This is just a BCR of the sky. And onto this we are going to be adding in the Cloud details. Now I'm going to add a little paint highlights into the sky. So I've mixed in the rows meter color with a little bit of white to get into the color pink tone your, and I'm going to begin adding in very light strokes over to the yellow color using in the same flat brush. You can see I've just need literate off the color closer to the mountain range and just adding in little strokes from the edges and blending it away till the top blue color so as to get in the perfect storm. If you do not have the rows middle color, you can go ahead and use the crimson color or any other pink tone adding in little white to create the pace to look. Now we need to wait for a little of the sky to set an in. Till then, I'm just going to begin preparing in the colors. So the first color that I'm going to be picking up is this red violet color. And then it'll tint of the violet color. If you do not have the red violet color, you can simply directly using the violet color and adding a little of the crimson or any or pink color tone that is available in your palette. To this, I've added in a little bit of the white color. Next I'm going to be adding in a little bit off the black color as well for creating in the cloud color. So basically my cloud of the layer that I'm going to be adding in is going to be full color mix. First, the red violet color, the violet fellow black and the white color. I'm just going to pick up little of these colors out. You're onto a separate space. I'm going to mix them again. I picked just a red violet color. Now to this I'm going to add in little of the whitewash and then a little of the violet and the black color from the palette. The violet and the black are going to be very minimum, so make sure you do not add a lot of them. I'm going to swatch this color in the bottom false blocks that we have created in. I'll quickly mix in this color and then swatch and show you, though, you don't muted kind of a violet color tone that we have achieved in by mixing in these four colors. You're in this swatch, you can see the new deadline of the tone that we have achieved in by mixing in this formula, we are going to create a lighter tone of this as well for adding in the highlights in the Cloud. So first I have added in the tube of the white gouache to this again so as to get the lighter tone first for adding in those highlights to the Cloud. So I'm just mixing a little of the colors again to get in the lighter tone. Now using in the smallest size flat brush, I'm just going to begin adding in the clouds from the top space suggests basically I'm going to be adding in very simple cloud ships coming in from the edges, creating in very draft Edge Cloud details. You can see how slowly just using the tip of my brush, I'm pulling out these clouds strokes from the edges and giving him the Cloud detail in-between you can see I'm making sure that the blue color is still visible in the center space. So it's very important that you maintain the center look colors or the peace Leo colors that we have added in. Now in-between, you will notice I'm just using in very fine lines using the tip of the brush, creating in smaller plots as I'm moving towards the bottom of the sky area. That is because as I'm reaching in the yellow color, I'm going to be adding in the clouds using in the other colors. Hence just giving it a little detail with the violet color clouds that we have created in. Now picking up the white gouache, I'm again mixing it with a little bit of the rules, muddled colors, getting enough pink color again. And using this pastel pinkish red tone, I'm going to follow the begin adding clouds at the bottom of this guys is majorly closer towards the mountain range and onto the yellow sky part we are going to be adding in these clouds. Now you're, I'm using a round brush and just creating a random Crowd shapes, moving my brush in circular motions. You can add the same using an a flat brush just as we were adding at the top area. So again, I just wanted to show you the two ways, how you can add the clouds are step-by-step together. Now using in this color, I'm going to add in little lighter highlight cloud onto the violet color clouds that we have already added in. Now to some of the blending I'm just going to use in a damp brush and quickly blend both of the colors beliefs that they have the perfect blending effect. You can see how I'm adding in the pink color now and add pleases just using the damp brush, I'm blending both of them together so as to get into soft edge in-between the colors and two that you do not have or you know, the sharp edges of the clouds everywhere. So this is how using a damp brush, you can simply blend in the colors of the Cloud as well. Adding them, Leo, Leo. Now next I'm adding in the orange color to the red color onto my palette. I'm going to add in little orange color Cloud highlights at the bottom space. Now again, is going to be in such a way that the pink color clouds are still visible at the bottom layer relative. Now next I'm just going to be adding in little of the yellow cloud highlight mixed in gouache and the yellow color. And I've added more of the white gouache then I added for the base layer and just adding in little bright yellow cloud, just about the orange clouds. And I'm going to In both of these, well as bell. So basically these clouds will act as the glowing clouds in-between these guys piece in this class project, the sky as well as a very detailed part. Hence, it's going to take in a little time, but the end result is going to be quite beautiful. And that is the reason I've kept this class short and sweet with just one project so as to give you bought it in learning, of course, walking layers on layers. Now I've just picked up a more posts based on color of the orange color and added in little highlights. Now I'm just kidding in the darker color of the popular and the red violet mix that I have shown you at the bottom space. And using in this darker color, I'm just going to begin adding in little highlights onto these violet Cloud SAP. I've added it onto the false beard of the clouds, just going to add in the darker highlights using in the darker version of the color that we have created it. Now, these darker clouds will be covering the little of the pink clouds again, as we have added them over to the pink clouds. So do not worry about that. This will make your painting look more natural when Leo's on, Leos are built using in the different palette tools. Using in this darker color at the bottom space, I've just added Nitin highlights and those will be majorly covered up with the Ganges that we will be adding in there. So I'm just going to blend the space quickly using in a **** brush now that I do not have any sharp edges in between the sky and the clouds space at the bottom area here. Again, it's onto you if you want to leave some of your Cloud shop and prominent and standing or differently, you can do that or if you want to create in perfect blend, you can simply using a damp brush. And as I'm trying to blend in and create soft edge everywhere, you can also create in the soft edge. So it depends onto your life and your creativity, how you wish to go ahead with this. I have shown you both the methods keeping it without those soft edge. And then now I'm using the damp brush creating in the soft edge and blending in the fellows into each other. Now before letting the sky will dry, I'm just going to add in further strokes with the different tones of the violet color. So I'm using the same mix of the red, violet, violet, white and less indifferent colour can't sustain sees that's adjusting in the white color component in it and creating in different tonal values and using them to adding in highlights. Now you can see on my palette I'm adding in more off the whitewash, creating in a very light pastel color and just going to add in some highlights using in this lighter tone as well. So just by altering in the white color consistency in your color weeks, you can create in different tonal values and keep adding in little highlights into your sky space. That is it for the sky. Now I'm going to paint in the mountain range as well because since we are working with gouache, meaning not wait for one space to dry completely until unless you have to add a layer over it after it has dried completely. Using it, the black color I'm going to be painting in the mountain range first, suggest going to go ahead and define the top edge of the mountain range and give it a very perfect shape so that you have that uneven edge making it look more natural. Now make sure you define the horizon line bailout. You're not run out of space because the bottom space is going to be the field area. And with gouache, it's quite, it easy to correct any mistake, but still going very carefully and slowly and cover up this entire mountain range with the black color forest. After this, in the next section, we are going to begin painting in the base year for the film. And then move ahead and begin adding in the further details. Let's move into the next section and see how we are going to paint in the field area. I'm done adding in the first year for the mountain range and now I will see you guys into the next section. 5. Daisy Field - Part 2 - Base Layer for the Field: Now let us begin painting in the field space. So I'm going to go in with the color blocking method first for the field area. So I'm going to be using in the duct sap green color along with a little bit of the black color. I'm going to quickly remove in this tax or pink color out on my palette knife, you do not have the dark sap green color. You can go ahead with any medium tone of the green color or a dark green color which is available in our palette and use this color, you can do the same when it comes to really propose to colors as well and using whichever color is available in your palette. Now using in the sap green color, I'm going to begin closer to the horizon line. And in-between I'm going to follow the doctrine of discovery using the black color. This is just the base Neo for the field area. Onto this we are going to be adding in a lot of the brass DTL and then the DCD days. And then we are going to be adding in little pine cheese or crossing the mountain range as well. Hence, I'm not wedded much about how the colonial we'll be looping right now. It just the color blocking enough, picked up the yellow color that was on my palette to make it a little lighter green incentives piece. And at the bottom I'm going to be mixing in black as well. Later on. You will notice that these lines, I'm not worried about how street or clean. Dr. again, I'm repeating this is just the color blocking that we're doing. That on top of this when we add the glass tubes, the bottom area is completely clean covered. And in-between the grass strokes, again, you will just be able to see in the green field area. Now till the first MMWR sentences, I'm just going to paint the second lockout. You're at the bottom space in that I'm just going to mix in the white. And this rule has been done color space that pink color that we have used in the clouds. I'm going to add it in the second block out. You're now again in the blocks, whichever color you have used in your entire painting, you can go ahead and add in any of those colors of your choice. They need not be the exact same as mine are the exact same of placement as mine. You can again, go ahead with your own creativity and add these blocks and colors according to your choice. Now next, till the time the field area dries in, I'm going to add a little of the pine trees on top of the mountain date. So I'm mixing a little of the dark SAP BW with the yellow on my palette. You can go ahead and use a lighter skin tone directly. And I'm going to be adding in little fine teeth on the horizon line, crossing a little bit of the mountain veins and running into the sky spaces in between. I'm going to read you the heights of these buttons as well. Study the TAs as well. And I'm going to be adding in these teeth vary randomly and roughly. I'm not going to go ahead with a lot detail. Bandura suggests very simple pine trees. If you want, you can go ahead with any other TAs welding not be the pine trees are the exact same teasers. Might I just want to add in little foil it, adding in unmoving to this Christ peace. Giving him more detail look to the field area that we are going to paint it. You can see how I have VD, the heights of the pine trees that I've added on the right side. Now in the center space, I'm just going to add in very simple or just some foliage details or some, you know, far looking DDD to just adding in simple lines closer to each other to depict as a little lock the foliage in this Alternate going to read in-between, that is in-between. I'm going to give him some smaller heights and Sandiego height. And then on the left side of the painting, we are going to be adding in a few more pine trees, larger ones as compared to the ones that we added on the right side. You can see I'm adding in the pine trees which are much bigger than in height as compared to the ones on the right side that we had added in. But when it comes to the file HD them, you can see I'm just simply moving in my brush on left-to-right, adding the foliage detail. I'm not adding in much of the detail look because the main focus of my painting is this guy and the DCP and area. This is just a little bit of the detail looked at. I'm trying to add in giving in more detail out. Now on the left side, as I told you, the pine trees are going to be bigger and bigger and height. You can see the pine tree next I'm adding on the left side is bigger than the first one that we added on the left side. And they are reaching a little of the Cloud spaces. But in between the pine trees, I'm still making sure that the yellow color cloud lines are still visible or the yellow palace tripod is still visible at places. So now from the edge LTR, I'm adding in one pine tree which is half visible to our site. So for this, I mixed in white gouache and I'm using in the lighter tone first, and then I will add in little darker highlights. Once this Jason, I'll settles in. This is how you can even create in further details by adding into different tones of the same fellow to give in more detail to this area or the foil each detail as well. Now again, using in the darker pink color, I'm just going to add in little foil it onto this light impinging that we have added on the left-hand side. Now using in the lighter green color, I'm going to be adding in little highlights onto rest of the pine trees that we have added in, that we have in little more detail look to these, the pine trees or the bean field areas that we have added in. Now next, using the black color, I'm going to add in one pine TL TR, almost in the center speed from behind these green details. So again, you will see that these g's are reaching a lot of the sky area, almost the center of this pie. On the left side, as I told you, we're having more often long Gs as compared to the ones on the right side. Now my field is also completely dried and I'm going to begin in with the photosphere of the grasses to my darker pink color as just 16 whitewash. And I'm just going to begin adding in simple glass tubes moving towards the right side. So I'll let him towards tilted towards the right side, as you can see in-between, I'm going to add enough new tilted towards the left side as well to ask to give it the perfect loop. Now again, remember this is just a falsely obvious, still going to add in much more layer of the buses, giving in much more detail and depth loop to this class field area. Now also, if you notice these grasses are crossing the mountain and on the binaries that we have added on the mountains int. And that's exactly how we want it to be asked to show that our main focus is the field. And then that is the reason behind the field area. A little of the mountain and the pine trees are hidden. And then at the top cities we have this guy. This is the third line of glasses that I'm adding it. So I began from the top line and then moved on to the second one. The second one was overlapping the first one at places, and now the third one is overlapping the second one at places so as to give them the faucet depth to the grasses. And I'm going to be adding in one more line at the bottom space yet with the same color. Now the bottom-most plus area is going to be the tallest one has that discloses to our view. So you can see these drugs blocks are much because compared to the first three lines. And they are more prominent and more tilted and more closer to each other, giving it the more closer view effect to these glass torques. Now just filling in the process out, you are at the bottom most line. Then this will be done for the false. Then we will read for the first layer to dry completely and then begin adding in the second layer of gases and then the third layer and then move on to adding in the disease. So make sure you add these grasses enough. Now you can see in between the classes, the bottom when palate is acting as the climate piece for these grasses because of the color blocking that we have given in. If you would have directly gone in with just adding in the past as it would be very difficult to cover the entire space and yet get the class. So it's very important to give them the color blocking in the bottom with the darker tone of the team tones that you are going to be using in for adding in the detail. 6. Daisy Field - Part 3 - Adding the Grasses: Now let's begin in with the next layer of process. My first layer of classes is completely dry to the green color that's already on my palette. I'm just adding in a little bit of the yellow color to get a yellowish green color. Now I directly have a yellow green color in my palette, but I'm mixing in the colors so that the green color on my palette can be used and it does not go wasted. To this. I've added in a little bit of the white quash as well to get in a little of the yellow green tone in the pastel color. So again, if you have the yellow, green, or light green color directly, you can directly use in this color and you do not have to mix in both of the colors. Your I'm swatching out this color in the code. Block out your. If I didn't give up, you do not have this color. You can mix in SAP clean, yellow and white to get this yellow green color. Now using in the point at the brush again, I'm beginning to add in the second layer of the classes using in this yellowish green color. Now if you see this secondary of classes is going to be very randomly and it's going to be less as compared to the false near of the process that we have added in so that we have two layers of the glasses visibility with two different tonal values. So it's very important that you make sure that you add the classes in such a way that the false Neapolitan of the process is also still visible. Now again, you will see that these grasses are majorly tilted towards the right side that I'm adding in, unless towards the left side, but still a little of them are crisscross to each other. And again, I'm going on in the line method to add it first in the first line, then moving on to the second line which are overlapping, the false flying and so forth, I will move ahead towards the bottom space. I have almost reached the bottom line and you can see we are almost done with the second layer of the grasses. And now with the second layer, the grass field area looks in so much more detail and filled up. But still you're left to add in much more detail into the grass area. With the grass is itself another layer and some detail with the yellow ocher color as Belle. First, I'm going to pick up a little of the dark sap green color again. I'm going to begin adding in more detail. So now with the dark sap green color, I'm just going to define a little of these pine trees that have added it. Because I feel a little of the detail out here is ruined because of some bigger foliage detail. I'm just connecting in by adding in little most mollify leash detail out your and giving some highlights to these pine trees because if you see the forest looks a little dull on the black color. So this is how we'd quash. You can just correct any detail anytime adding in another layer if you feel that the layer is in perfect enough or isn't given in the perfect highlight. That's the best thing about gouache. You can redo or revisit any of the space we correct or add-in for the details as per your convenience. Now next, I'm going to pick up a little of the yellow ocher color. And using in this yellow ocher color, I'm going to add in little highlights onto the grasses. I'm using in my mini liner brush, which has a pointed tip. So it's the long mini liner brush. Now using this yellow ocher color, I'm going to add in little of the grasses out here on the top right side with this yellow ocher colors. Who asked to give a little detail look to this field area in this piece where I'm adding in more of the yellow ocher color. I'm going to add in very little daisies out you're trying to show in that the grasses out your have dried and completely because of fish, there are less disease in this piece, and hence the grass is of this yellow ocher color almost, you know, the grass in a dying stage for detail. So this is how you can further keep adding in little detail in between to give it the natural loop, very randomly, I'm going to add in a few more of the yellow ocher grasses so as to show some dead grasses in between or the dried grass detail in-between this greenfield space? That is it for the grass detail of the field area. Now I'm going to begin adding in the bases in the next section. Let's begin adding in the daisies into this space, and let's move on to the next section of this class project. 7. Daisy Field - Part 4 - Understanding Daisies: Before moving ahead, I'm just going to show you the different types angle of the disease that we are going to be using in this first and the simplest one is the front angle view, suggest very simple floral from the front view. After that, the second one is going to be from a little different angle. So in this angle, you will notice that the bud is little on the top side and you have the bigger leaves at the bottom side, and you have the smaller leaves at the top side. So this is kind of the horizontal view for the floral that we want. And add the top you have two smaller petals and at the bottom you have the bigger petals out your, this is the second angle that we are going to be adding in. The third and the fourth angle are going to be the left and the right angle. In the third one, again, the Daisy is going to be the side view, but this is going to be from the left side view. So the bud is going to be on the right side and we are going to have in very smaller petals on the right side and on the left side we are going to have in the bigger petals to this fluorine. Now just to reverse replica of the third style that we are going to be using in is going to be this quote style where the bud is going to be on the left side and we are going to have in the smaller petals on the left side and towards the right side we are going to have in the bigger petals. This is when you view the Florida from a side view wedding, the bigger petals are much closer to your view. Now the fifth triangle is going to be where you can see half of the DZ that is bloomed right now. So the body is going to be at the top and you're just going to have in simple petals at the bottom side. Now in the same way you can even have the sixth one that is wherein the petals are just towards the top side and the bird is at the bottom side. So that's going to be a replica of the fifth one. Now in the next lesson, let's begin painting the daisies. 8. Daisy Field - Part 5 - Adding the Daisies: Now let's begin adding in the Daisy. So we've seen all the five to six different angle of the disease that we are going to be using in your, so I'm going to add in the disease using in the whitewash to directly make sure you use the white version, a thick consistency so that you have an opaque look. Also, while adding in the daisies, make sure you do not add in a lot of pressure on your brush. Otherwise, the basically your color will get activated. Hence, because this is water based gouache that we are using it. So first I'm going to be using in the smallest size down brush, and I'm just going to begin adding in some simple daisy starts the first style, the front view daisies. I'm going to add a lot of these scattered. Make sure you add in the disease far from each other at this point because we are going to add in different angles, daisies in-between these, you have to try to strike a balance between the different kinds of daisies. Do not add one kind of the daisies just closer to each other and the other one closer to each other. That will not make your field look natural. So it's very important to keep them scattered and have all the styles closer to each other and mixed into each other. Well, beginning in with the four simple style which I'm going to be adding in the most of them. You can notice I'm not adding in much of these daisies closer to the horizon line at the moment, because closer to the horizon line I'm just going to be dabbing in a lot of simple white petals using the tip of my round brush so as to give them the foliage detail which is far away from our view and fill in that space quickly. Now, I'm going to begin adding in the DVs in the second angle and the third, fourth the angle as well. Now I'm going to add in a mix of the next three styles. That's the side view, the left side view, and the right side view. Alright, so first adding in the second style. So at the bottom you can see the bigger petals that I've added and add the top side I've added in the smaller petals. Now next I'm going to add in the DZ from the left side view. So on the right side I've added in very small patches. On the left side, I added in the bigger petals in the same way I'm going to add in the fourth style as well. This is how you're going to strike a balance between the different style of daisies I'm going to use in the fifth and the sixth style as well. Now make sure you add these daisies scatter and fill in the gaps in-between. We are going to add in a lot of disease outcome. While adding in these daisies, make sure you go in very slowly. Keep filling in the gaps and little by little, do not overdo any one style or one angle of the disease all closer to each other. Now at the top speeds, as I told you, I'm just going to be dabbing in some white patches close to each other. So this basically depicts as these daisies are a little far from our view, hence not visible in March of the detail angle in-between, I'm just going to be adding in one or two of the detailed floral does Bell and some mini flowers as well. And our few of the daisies you can see I'm trying to show them overlapping onto the mountain range and those little pine trees. Because if you notice, we have added in the glasses crossing in those mountain range and the buying cheese to give him the perfect view that the fields are the most closest to us. Now remember across the yellow ocher grasses do not add much of these daisies because we are trying to show that these classes are already dried in. Hence we have in very less disease out there. You will notice that across the yellow space I'm adding in or leaving in the space much blank so as to depict in that dryness of the grasses out there. Now at the bottom space, wherever I feel the need, I'm just going to be adding in little of the foliage that is just adding in some dabbing technique to fill in the space in-between these bigger flowers as well. And at some places I'm going to add in the further detail Flora Lucas better wherever I feel that I need to add in some more flowers. Now next I'm just going to create a very peaceful pink color. I'm adding in a lot of white gouache to the rose madder color that's already on my palette. And using in this baby pink color, I'm going to add in a few of the daisies in-between using in this pink color to give it a little color. Dazhao. If you want, you can directly add in all of the disease with the white color and skip adding them with the pink color. But I just wanted to give him little of the sky color effect into the field areas where hence I'm adding in these ping daisies in-between the spaces that I've lived in. I'm even going to be adding in the middle of the foliage detail, add the top area near to the horizon line with the pain pallor. Now with the pink color as well, you can see I'm adding in the disease in different angles out your so as to give it the perfect you under natural view to this field area. Now just using the combination of the pink and the white colors I filled in little gap at the bottom space of the field as Ben giving in the detailed view to the field area. Now let's begin adding in the further details. I'm shifting it into a size two round brush and using the yellow ocher color, I'm going to add in the bots to the white colored flowers, to the pink colored flowers I will be adding in bed with the white color for now. Just depending on the angle of the duties that you have kept in, you have to keep adding in the buds, basically to the front view flowers you will be adding in the bud in the center space to the side view flowers, depending on the right side, you will be adding in the bud closer to the smaller petals of the flower as you can see your, alright, so you can also create this rough diagram with the pencil out your and understand the placement of the buds that you have to. I'm done adding in the buds to the white flowers. Now I'm going to add in the buds to the pink color flowers to do the things colored flowers I'm going to add in the Bible with the white color. So I'm going to simply using the white gouache. The reason of using white gouache for the pink flowers is because the yellow color, yellow ocher color would not stand out, right? So I just added a little tinge of the yellow ocher as well as you can see, a very peaceful yellowish color that is false. Now just going to quickly add in the buds to all of the pink flowers as well. Now next, using the black color, I'm just going to begin adding in a few of the stem to the bigger flowers that we have added in. Very simple, just black gas lines to depict as this tempt to these flowers, not going to add to each of the flowers. I believe some of them. You can see I'm just adding in these terms vary randomly moving across at different angles. You can simply add is very little urine there. Now to give him the last touches, wherever I feel that there is a little more requirement of the flowers to be added in. I'm just using the white color and adding in a few more of these flowers. And do these, I will be adding in the budget as bell. So depending on the color that you wish to use, either the pink, other white, or any other color combination that you have gone ahead with. You can add the flowers if needed or if you feel that your field area has enough of the flavus, you need not add this step out. You're now then adding in the flowers, just adding in the stems to them as very, very bad. I feel the need to, you can see the stems are connected to each other, off the top flowers connected to the bottom flowers and then reaching the bottom most based off the field area, very randomly. I'm just adding in a few of the stem at the top or area as bad where we added in both mini flowers from the distant view. Now this last box I'm going to fill it with In lieu, follow up quickly and then we are ready with this class project has been your is our final painting. Now let's remove the masking p, one by one. You have to remove the masking tape which you added in last. First removing the masking tape out. You are at the bottom boxes and now I'm beginning in to remove the masking tape, which I've laid down last into this sheet out to be very careful while you're moving in the masking tape. Remove it against the paper so that you do not turn off the edges and you do not lift up the colors from the paper as well. So very carefully, I'm almost under moving in the masking. Just three more slides left in is our final painting. You can have a closer view. You can see how pretty the sky is looking with those lovely different colored clouds and the perfect fields pace. I hope you enjoyed painting this beautiful daisy field with me today. I will see you guys soon into my next class. Thank you so much for joining me. 9. End of class Project 1: Thank you so much to each one of you for joining me into this short and sweet glass. If you liked this class, makes sure to drop a review into the review section. And if you have painted along with us, make sure to upload your class project into the project section. I would love to see your class project out there. Thank you so much once again for joining me into this class. 10. Bonus Lesson - Country Side Field - Part 1 - Painting the Sky: Let's begin with the bonus class project for this DZ field class, we are going to begin in with the pencil sketch first. So today we are going to be painting in a DC field by the countryside. So first I'm marking out the horizon line almost in the center of the top space. And on top of that, I'm just starting in a small mountain range. We are going to be having an a simple, pretty blue sky and a Greenfield area at the bottom space. And then we are going to be adding in alert the pine tree details or some greenery details on the left side that we've marked in. And on the right side we are going to be adding in a huge G with a lot of PMDD is moving into this guy, this now into the countryside area out you're at the bottom and feeding of any small pathway just around which the G is moving in and you're at the bottom space, we are going to have in a smaller fence detail moving into this garden area. So basically all of these pencil sketch will not actually be visible once we begin to paint in the base neighbors budget. So as to give you a rough idea of what we will be adding at what pleases. I'm giving in this pencil sketch detail that you have a little view in your mind as to what we will be adding at the places. Everywhere else you are, it's all going to be grass and the disease areas are not adding in much detail. Just enough pencil sketch for you to understand the layout now from this tree as where we are going to be having a lot of branches and simple greenery moving into the sky space. So that is about the basic pencil sketch. Now let's begin picking up the colors one by one. The first method I'm picking up is the sitting in new philosophy painting in the sky. I'm going to be adding in a lot of white wash hands. I'm just removing in very little of the color. Make sure even you do not remove much of the base colors because it's divided course that we will be using it a lot for creating it or the piston and the perfect tones for the sky. You can see I'm adding in a lot of white. I'm still going to be adding in little more white because the color seems still a little more dark as what I need for the sky space. Make sure you use in a sky blue color. So it either if you have a piece of blue color or a sky blue color already in your palette. You can even directly use that or simply you can mix in, in blue with white. Make sure you do not add lots of water because we do not want to lose the consistency of the forces and get an opaque look for the gouache colors that we're using in. Now. I have added in little of the blue fallow. Now I'm going to shift into the white color more and just going to add in very new to touch of the Bloom's even less than the previous one. Now, you can see how I have created in different tonal variations of the blue in the sky. This is the base layer. Now using in much more different tonal variations, the blue color, I'm just going to be adding in little cloud effect into the sky as well. We're not going to be adding in much detail in this guy this time because of we will be adding in March of the other details. That is the fence detail, the 3D days. Hence, I kept the sky for this class project, very simple and uneasy one. Now I'm just going to lift up little white color and this going to keep adding in little strokes randomly and in-between randomly going to pick up little darker tonal variation of the blue column mixed in with white. Just going to pull out little cloud strokes that I had literally from the edges. You can see on the right side I've added in the darker stroke with a blue color. Now I'm shifting into a smaller size blender brush you can use in a smallest size flat brush. And using whitewash, I'm this window full-out little cloud strokes from the left side moving until the center, blending it with the darker blue tones. Now on the right side, I know that medial part is going to get covered up with the greenery space of the three that we will be adding in pens, I'm creating in the cloud effect majorly in the center and on the left side, that these still be visible. Hence, on the right side you will notice I'm not giving him much of the details for the sky area. Now just using a little darker tint, I'm going to add in little darker highlight through these ice clouds that we've painted. And I'm going to blend it quickly using in this flat blender brush itself. So I just apply the color and just drag my brush very gently so as to make it blended and look saddled with the background colors. Now, this I did a little wet on wet, hence the colors have blended and have a soft edge to all of it. Now just going to pick up little more of the white gouache and I'm going to add in little more white cloud detail on the left side. Again, you will see I'm creating more of the cloudy effect on the left side and just add in lifting from the top right corner because there, there will be little less of the grass details or the bush detail of the G. Hence, you want little sky as well to be visible. You will notice this time there is no specific pattern for painting. Just a mix of the blue and the white color in different tones, creating in the different cloud effect into the sky space and pleading in that abstract kind of a cloudy sky this time, you can simply just blending the colors as well randomly and just add defense strokes of different blue color and cleared this abstract looking cloudy sky. So now in the next lesson we will begin painting further into this painting. 11. Country Side Field - Part 2 - Base Layer of Field: Now moving further, I'm going to add in this mountain range out here for that I'm using in the shade of burnt sienna. You can go ahead and use any brown shade that is available in your palate. It need not be the exact same shade as mine. You can also alter the color of the sky if you wish to. You can go ahead with a mixed of the yellow and the blue color, creating analytics and the sky, or adding in little pink strokes into the sky as well. Now using a smaller size flat brush or a round brush, you can simply just add in the base layer for the mountain range out here. So under this layer, I'm still going to be adding in little more detail with the darker tones pens. I'm going ahead in the mid-range tone off the ground, color out your father basically. Now you will notice even on the mountain range, I'm not giving a perfect blended look because I wanted to give it that natural look to the mountains as well. Hence, let me give you a closer view and show you how my mountain ranges, looking at how roughly I have added in the color of giving in the rough strokes make it look more natural and giving it the nutshell look. Now next I am just going to mark out a few lines into the field area so as to let you know the darker and the lighter sheets that we will be used him to distinguish these feelings spaces. So we are going to be having in like three to four shades of green that we will be using to fill in these spaces to give him the differentiation in the field space. The set that I'm using in has almost seven to eight shades of green color, but I'm just going to be using in three sheets of the green color. That's a light pink color or medium green color and a little darker skin tone. Now if you do not have the exact same sheet, you need not worry. You can simply using one sap green color and create the different tones. So say if you have a medium tone of the green color, you can make it the one shade lighter and clear the yellowish-green color by adding in a little tent off the yellow color to your green color. And to create one darker tone, you can simply add in a little tent of round to your green or a little dent of black to create a darker tone. You're amusing in the yellow green color, the sap green color, and the bamboo green color mixing in all these three randomly creating in three different tones. So again, as I told you, you can simply create the tones depending on the fellows that are available in your palette. In beginning in with this light yellow, green color. Now I'm filling in the spaces that we have marked in for the bushy area on the left side as well. Because I'm that we are going to be adding in the leaf effect with the darker color. Hence, in the base layer, we're going to fill all of these. On the left side, just added one block with the lighter green door. Now on the right side, I'm using the same color, that's the yellow green color. But to this I'm just going to add in little darker tint by using in the bamboo vin color just on the edges. I'm going to blend in this bamboo green color with the light pink color and show it a little different from the left patch that we added in. Now the bigger field space at the bottom media I just make stint a little bit of the sap green with the yellow Bian color to get a medium green tone. Because my sap green color is a very dark tone and I do not want to use such a dark tone now. I'm just going to mix them both the sap green and the yellow green color create a medium green tone and fill the entire bottom space out here with this medium green tone. Now, as I told you, when I begin adding in the colors in the base layer, the pencil sketch of all of these fans and the tree will begin to get a hit because of the opacity of these gouache paints. Hence now we will have to add in those details after these colors dry in. Also, you will notice I'm leaving the tree bark empty and not adding in the green color there. So as much as possible, avoid adding in the color out there because there we can directly add in the brown color later on. Now even in the rightmost side, I'm going to fill it with this medium tone of green color. At the bottom you will see a small factory space that I've left by because I will be painting it with a muddy color tone out there using in the shades of brown. Now the brown color that I already have on my palette, I'm just going to lift up this color. I'm going to add it and do that part we adapt. We have left at the bottom right corner. Now next I'm going to paint the tree bark out there. So I'm going to be using in this dark shade of brown, It's the Van **** brown from this set. Now do not worry if you do not have the Venn diagram follow if you have a CPFR or you can just mix in a little bit of a light brown colors to get a little darker tint and not equal to a black pen. Make sure you do not add a completely or blackish brown color our tour because on the tree bark as well, we're going to add in details with the black color later on. Now you can see when I'm painting the tree bark also, I'm not taking in the perfect blended school, just going ahead and adding in very random strokes so as to give it the nacelle look of that rough textures on the tree bark and also on the edges you will see I'm simply pulling out little of those bugs, very smaller box out from the bigger box so as to give it all a natural look. Now at the top space you are, I'm going to pull up the branches out from this box piece. So I'm taking the buck, a little toddler and from this now using the same brown color, I'm just going to add in a few of the branches for this G. Now again, you will notice this entire painting is quite different from the first painting that we have done in. In the first painting, we've gone in far more realistic kind of a view. Whereas for this one we are going in for more of the nostril and rough view of without giving it the perfect blend. I'm giving it a very dark picture while painting itself and adding in very rough stroke beginning from the sky to the tree as Ben, even for the grass EDI in this painting, we are going to go ahead with very rough strokes in the next lesson. Let's quickly just add in a few of the branches out your. And then we will move on to the next lesson and begin adding in furthermore details into this painting. Now. 12. Country Side Field - Part 3 - Adding Grass Details: Now onto the green space I'm going to be adding in very simple brass didn't quick one I'm going to be using in this hake brush, you can use a fan brush, hake brush, comb brush, or you can simply use in your round brush. This hake brush. You can see when they didn't water, the bristles flipped and create those comb like effect tends using this brush, it's quite easier to add in the grass details quickly when you do not want the grass details to be much detailed one. Now I've picked up on the pin color, which is one layer dark, 12b1 darker than the base layer. And I'm just adding in very simple brushstrokes out there. And I'm going to make sure to keep the partitions between the classes as well. And hence, I will leave that very little line at the bottom space. Now using inlet of the brown color, I'm just going to add in little brown effect as well onto the grass pieces. Make sure when you use a Hake brush, you do not have excess water on your brush who otherwise, it will be very difficult to achieve these grass strokes easily. You ready? I didn't patches of the color and bigger strokes. You can see on the right side I added in the grass TO using analytical darker green tint than the VCF. Now lastly, at the bottom space I'm going to mix in again the yellow-green and the sap green color, but one tone darker than the base. Theo, I'm just going to begin adding in very simple, just truth. Rather I'm just adding post a few grass groups with the lighter tone as well. Then I will add little with the darker tone as well. Since the basically of grass is a little darker tone, I'm adding in little lighter grass effect by mixing in white with the green color, giving in some lighter details as well. Now you can see as I'm moved towards the bottom space, I've increased the tonal value of the color and taken up a darker tone, adding in some darker glass tint out. Now you will notice that I've added in very rough and not much detailed look to the grass piece. If you want to add in much of the detail, look through the grass. You can keep adding in one stroke at a time using in our detailer brush. But my main focus is going to be the fence area and the disease that we will be adding at the bottom space. Hence, I'm not wedded much about these background grasses and adding them quickly in a less detailed view. Now next let's add the foliage to the tree using in this coiled round brush, I'm just going to pick up the dark sap green color. The doubt adding in much of the water and just holding my brush perpendicular, I'm going to be adding in very simple pilot detail, which will make them look as a cluster of leaves out together onto this cheese paste. You can see using in his quiet round brush how quickly you can add in this foliage detail, just holding the brush perpendicular. The PR is again that your brush should not have excess of water and the paint also shouldn't be bit. It's kind of a dry brush kind of a technique that we use in your PR adding in this detail using this quite round brush, the presenters quiet and they do not come together tens because of this, you can simply use them and add the greenery details quite quickly into your paintings. You can see how quickly I've added in the green detail onto these branches and how beautiful it is looking and it makes it look more natural rather than adding in one leaf at a time, we're still going to be adding in a few of the prominent leaf shapes as well. Now, I'm just going to pick up a little of the black color and I'm going to add in the darker details onto the teabag as I told you in the beginning. Now all of these I'm doing wet on dry, so my t back is completely dried. And onto that I'm adding in these dashboards basically just very random strokes on the feedback you've given, the darker details. I'm making sure the base Theo Van **** brown color is also visible in-between and not pop it up completely. Using the Van **** brown color. I'm just adding little dry brush detail onto the mountain range as well to give it little more depth, the very little detail, Not much, just very simple dry brush technique that I'm adding on the mountain range. Again, this is also a veteran dry. You're also you have to make sure that you do not have excess water or an excessive wet paint. Otherwise you will not get these dry brush effect is rather you would just get in patches off the darker color that you are trying to add in. Now last week, just at the bottom field space, I'm going to add a little more of the grass effect and then onto the next lesson we will begin adding in the folder details into this painting. We will keep building this painting step-by-step and the bottom four blocks, I will fill them completely at the end of the painting that we do not have to body of the sheets that we are adding in this. Let's move to the next lesson now. 13. Country Side Field - Part 4 - Adding the Daisies: Now if my painting is completely dried and we're going to begin adding in the further details. The details that were left to add in is the bush details on the left, the disease and the fence TDL and little more foliage details. So first we are going to begin adding in the fence detail. So far the fence I'm just mixing in a little bit off the ground with the lighter tone on my palette. In a medium tone of brown, I'm going to begin adding in the fence out. You're closer to the t on the left side. Now on the left side it's going to be the poll. Sorry, on the right side, you're going to be the pole of the fence. Now as I move towards the left side for the fence area, I'm just going to add in the details, but on the left side, I will keep it a little hidden because in front of it, I'm going to show in the bush detail. So I know it may be a little confusing for you right now, but as we move ahead and you see me adding the details, you will get a clear picture of what I'm trying to tell you. So on the left side, do not add any pole or closing to this fence area for now, let's just begin adding in the grid details in the center of this fence that we're adding in. I just added it to vertical lines, divided it into three equal parts and adding in Porto five of the horizontal lines. Now according to your size of paper, size of fence, this will 3D and you can adjust accordingly. Now using in the dark sap green color that's already on my palette and mixing in the little lighter green tone into it and using the round brush, I'm just going to begin adding in simple leaf detail at the bottom of the T out your and on the right side of the gene. In the same way I'm going to add in little of the detail leap on the left side as Ben. You can see how simply you can add in simple leaves using the round brush. So just press the belly of the brush and once you're satisfied with the size of the list, you can just lift it up now into this pathway, this piece just adding in little brown detail from grass detail as bell. At the bottom, we're going to add in little detailed glass snoop also plated on before painting the disease. Now I've mixed in a little bit of the yellow green color with a lot of white, wash out your and using a smallest size detailer brush, I'm going to add in some detail grass top from the bottom space. Now, make sure that you add the fence post and then begin adding in these grass tedious because we want these glass to be overlapping the fence because we want to sue the fence is behind this glass piece basically. Hence, we want this overlapping onto the fence area. Simply just using in the detailer brush. You can see I've just added in fine, just using in the lighter tone. Now on top of this, I'm just going to add a little detail just with some darker tone and spell. But it's going to be a little less as compared to the lighter tone gases that we have added it. But these also will be overlapping the fence atria out at the top space. Now for adding in the leaves on the left side, I'm just going to pick up a little more of the sap green color and mix it with the remaining greens on my palette. Again, I will repeat, you can go ahead with any different shades of green that is available in your palette or create your own sheets of theme by mixing it with yellow, brown, or black color depending on the shape that you have in your palate. Plus on the left side moving from a little of this thigh space just about the mountain lead. I'm going to begin adding in the deep end of grass loop. You remember that triangle that we had marked with the pencils get Sanborn to be following that of the pencil sketches, no longer visible, but we already know it in mind how we did that. So again, you're also just using the smallest size down. You will notice I'm adding in very simple leaf detail, just dabbing my brush at places and leaving some pilot instead by just filling in and on the edges I'm giving in the detailed leaf look effect. Now as I move towards the bottom, these needs are going to be overlapping the fence space as well on the left edge. That is the reason why I did not add in the left side ending of the fence area because it's going to be a completely hidden one with these leaves that we are adding in now. I'm going to take these leaves completely till the bottom space out. Now on the edge of this bush area that we have added in, I'm just going to add a little of the detailed leaf effect popping out from these spaces. The anything in listen more detail, look just on the edges. So on the left side your, you will see that I've filled it completely very quickly. But now on the right side of this book, just giving in the detail look towards the edge site using again different tones of greens. Now next knee just going to add in little detail leaf effect to this G out your short little of the branches swapping out from the top sky as well. And just going to add in little detail to this gene vary randomly. So far I think in the nice detail you're also, you can see I'm very simply just pressing the belly of my brush and lifting up once I'm satisfied with the size of the leaf. Now again, you are also, you will notice I'm using indifferent owner variations of the green color so as to make it look more natural. In the base layer, we use the very defiled mean for adding in the bush on the free space. And now I'm adding in these detailed leaf I'm just using in one liter so as to give it a little more detail view with different tonal variations of the green using in the darker green color. I'm just going to add a little of the detailed brush stroke out. You are at the bottom spill. I was waiting for the lighter vein to the dry completely and then add in little of these darker Beanstalk. But little on the right side you can see I'm just leaving those light of installs. Fevers will now saying there I'm going to pick up the lighter green color. I'm going to add in little brass didn't just at the end of the feedback at the bottom space out your to give it a little more detail and distinctive view. Now mixing in the dark sap green color with the white color, I'm going to create our very best to kind of be in color or dark green color. And using this color for adding in the second layer of leaves details onto the bushes on the left side. So again, you know, it is a tedious task building in the ozone layers with gouache. But at the end of the painting looks much more natural and beautiful when you keep adding in videos are step-by-step layer on layer. Now next, in the center of the fields, please, I want to a little of the shadow of the bush deep into the field space. So the bushes out to her and I wanted to show the deflection out. You're just cruising through this fence space. I'm going to use in a little darker tint of the Sapien colors, not much dark, just one your darker than the BCL green of the field space and going to be adding in little detail A2A. Now this is just again, the first Leo for the shadow. I'm going to blend it later on using in a lighter tone with the edges because I don't want much prominent shadow visible in-between the fence blocks also, I'm just going to add a lifted off this darker green to act as the shadow. Do not worry, the fence is not yet complete. We are still left to add in much more details to the fence as well. This is all just the base knows that we are building in for adding in the final details into this painting. Now I'm going to mix in a little bit of the white to the burnt sienna palette out. And I'm just going to add in this nighters, troops onto the fence detail giving him those liabilities. I'm going to add in this lighter brown stroke in such a way that add the morpheme of the stroke, you still have little of the dark brown stuff that we added previously visible. In the same way, I'm just going to add this thin line on top of all of the darker brown lines that we have added in. You can see how carefully you have added in the lighter brown stroke onto these darker brown stroke is giving it that light effect onto this fence area as well. Now next I'm just going to add in very small trees and Bush detail on the mountain. I'm going to pick up a mix of the dot sap green color with a little tinge of the lighter tones outward on my palette, I'm going to add in little bush details onto the mountain. You can see I'm using the darker green color for the base year, and then using the lighter green color, I'm adding the highlight onto these bushes. Now disputing little bushes back on the horizon line, but smaller than the mountain range ADR. Now using the smallest sized round brush and using the whitewash in a thick consistency, I'm going to begin adding in the disease into the field area. We are going to be having in the DVs misogyny at the bottom side of this painting. Now, I had already discussed with you all the dependent angles of the disease that you can use an added. So I'm going to quickly be adding in the disease in all of those angles and different format. So I'm going to use in a mix of all of them and keep adding them quickly. On the right side you will notice that I've added in Betty's smaller disease, make sure you do not add much bigger ones of them. Now on the bottom left side as bad, I'm going to begin adding the disease. Now these daisies at places are going to be overlapping the fence area again and overlapping the grass details that we have added in. Make sure to use a blend of all of the different kinds of disease that we have launched in indifferent angle and perspective view that will add to the natural beauty of your painting and make it look more natural. Now even at the bottom left side, your, I'm going to add in a few of the DDS overlapping bushy area as well. Again, you can notice I have been using in a blend of all the different kind of disease. Now in-between, I'm just going to dab the tip of my brush and adding very simple foliage details. Filling up the steps in between to soar Some of the minute or smaller disease which are not much closer who have Woo. Now I'm just a little bit unsatisfied with the shadow that we added for the bushy area, I'm going to quickly be connecting that using in the lighter green tone of the BCR that we had used in. I'm using in the same yellow, green color mixed in with a little tint of the sap green on my palette. I'm going to fill this space with these colors. With gouache. You can see how simply you can connect anything if you are not satisfied. And we do again without worrying about the, uh, you know, having in the wrong medians or anything. And it's quite easier with wash to connect in your details. And you will overdo the Leo's with a darker or lighter tone. Again, that this deal was a darker tone. And now you can see I'm predicting it with a lighter tone of the green color, mixing it with a little bit of the white. Just be very careful near to the fence area because we do not want to lose the fence detail. It may be a little tricky to fill in this color in-between the fence. But if you are satisfied with the shadow that you have added in, you need not follow this step and leave it as it is because I was a little unsatisfied. I'm doing the head and going on with the CEO. Now very carefully, I'm going to fill these boxes as well in-between the fence with a little lighter in tone and blend them quickly. Now you can see the fence is looking a little covered and hidden because of the green layer that I added. Now, I'm going to quickly using the same brown color that I used for the base layer. And again, we're going to add an offense diesel. I know my walks increased a little bit because it's adding in that one layer, but it's better to add and rather than, you know, be unsatisfied with the painting at the end. It's just in two minutes tasks more for adding the details again, allele or over it, very wide fields hidden. Now I didn't see you into the next lesson, adding in the final details. 14. Country Side Field - Part 5 - Final Details and Thank You: Now let's begin adding in the final Lee builds into this DZ field since we added in the darker brown tone again in the last lesson, I'm going to add and lived in light white stroke again onto this, giving him that detail onto the fence piece. Again, when I add in the white color, I will add it in such a way that the modern new bound Balance tool is still visible. So I'm just going to add either on the neck order ID, just giving in highlights with the white color and not poverty in the friends completely. You can see I'm just using the PIP and adding in very fine white lines. Now we're going to add in a few of the disease or LinkedIn highlighted out your uncovering and beating little off the top peel space. So very little, not much. The major disease are going to be at the bottom that we've already added. A few of the disease. We are going to add them in a way as if they are entangled into the fence and moving out from the fence eight yarn and a few of them from behind the fence space. So those are the ones that we are going to be showing in from behind the fence space. We're not going to be adding in much detail look to them. So it's just going to be very simple, dabbing off them as well. I added in a few of the D1 disease. Now, just using the dabbing technique, I'm going to show some Philips pieces filling up the gaps in between time he saw some disease farther away from a view to just using the tip of the brush, dabbing in the white paint. Nietzsche, you already changed on your hands. Do not add in a lot of pressure, otherwise, the base green color Leo, will be activated again since we are using in water-based squash. And then your white will turn into a light pink tone. Instead of standing out, opaque white daisies out, you're now on the fence piece. You can see I've just started very few disease, major disease are behind the fence peas and in front of the pens piece. Now wherever I am feeling the neat to just adding a few more of these daisies before we move on to the next step of this building, I'm adding in the disease. Now I'm going to pick up a little of the yellow ocher color for adding in the buds to these daisies. It, very little of it suggest to move a very small thing that you do not miss the colors and they do not dry out onto your palate. It says using in this yellow ocher color and using a smaller size down virus which has a pointed tip. And this one to begin adding in the center but spaces to all of the daisies that we have added in. Now, depending on the angle perspective of the disease is rare to add in these yellow bars to sort of profit angle of the disease as Ben, I'm almost done adding in the or bots to all of the daisies, just a few of them I left. You can see I have made sure that I add the yellow bar, or depending on the angle of the daisies that I've added an apartment giving them much more of a natural view. Now next to a few of the disease I'm going to be adding in the stem, the denoising in the black color. So after we are done adding in these buds with the yellow ocher color, just using it, a pointed tip brush. We're going to begin adding in the stem of you offer daisies, trying to show them connected to the bottom space, time shifting to a pointed tip detailer brush, which is a size 0 brush so that I get those very thin strokes. You can add these drugs using in all fine liner pen if you do not want to add it using it as well as ice brush. You can see how simply I'm adding in these towards making each of the DZs mousse build the bottom space. Now off of this talk you will see I'm just adding in empty strokes as well. So as to show that the flowers I get to bloom onto these branches. Although you will notice that the disease that are at the top space of the friends, I'm making those branches or those stems meet the bottom ones out, you're unsure them crisscross to each other, giving it more of the natural and then tangled view. I'm adding in this temple, each of these daisies. Now next I'm going to shift into my smallest sized round brush again and using indifferent tones of greens, I'm just going to add a little leaf effect. I'm going to be in the green colors in such a way that they are visible on the basis of bean colors. So accordingly, depending on the type of green colors, all the sheets of film fellows that you have been using so far, you can adjust the bean tool so that these needs are visible to just going to add in a few more often deep effect popping God from the bushy area, Asbell And middle of the leaf effect popping out from these disease or understanding of the babies as FIN. Now adding in a few often leave it that using in a very lighter green tone as Ben, We are almost done with this painting. We just have to fill in the bottom four blocks Asbell of this painting using in the different tones that we used in art painting. And then removal of the masking tape has been to just adding in the last needs before seeing if we are ready with tapping. I just wanted to add in little more of the light of the NDP thoughts. You're at the top as well. Or babies appeal the toughening of looking, lifting dollars compared to the bright Skype, suggest adding little light green leafy things out. So you can see the daphne neared is also still visible. I have made sure that both of others be visible. Now just adding little dark cookie in effect on this slide z so as to sort of perfect blended view out here. That is it. Now let's begin painting in these blocks. So the first color that I'm going to add to the block is going to be the sky blue color that we used in for the sky. Just going to quickly fill in the false block. For the second block, I'm using Indian yellow, green color today without adding in any other Carlo. For the third block out your I'm using in the dark green color, you can see how dark my sap green color is, and I did not use much of the tasks have been colored detective without adding in other fellows, I only use the dark sap green color for adding in little darker details of the VNET into this painting. In the last book, I'm just going to add in our mix up the brown colors that we have used in just a little darker in the almost off the mountain range color that I have added in your daddy and done with our bonus class project for this daisy field painting. Let's begin removing the masking tape one by one. Make sure to remove the masking tape that you added last post is locked at the end. I'm going to begin removing them one by one, and then move on to the masking tape onto the edges as well. Make sure to remove the masking tape against your paper so that you do not tear off the edges. Also makes sure that your edges are completely died so that the colors from the edges do not fall onto the white edges that you have it or added in. Your final painting for the boom is clef reject for this class, I hope you guys enjoyed painting this different kind of a daisy pill with much more abstract and roughly deal instead of the perfect blending that we use for the first one, I just added a little more detail to the t out here. You can see I added listen lighter color green leaves as you can also add them as well. Thank you so much for joining me into this bonus lesson. I hope you enjoyed it.