Lush Greens: Paint Fresh Spring Fields and Greenery with Watercolor

1. Welcome to Class!: One of the best sites for our eyes is the lush and rich greenery we can only find in the countryside. There is something relaxing and inspiring in those endless greenfields that makes me want to take out my paints. Hello, friends. My name is [inaudible], and in this class I'm going to show you how to paint beautiful and rich greenfields and greenery. Painting this with watercolors can be a real challenge. Green colors taken straight from the tube or pan often look unrealistic. In addition to that, plain fields often look boring when painted with watercolor. They miss dimension and detailing. We all know that painting convincing and expressive greenery requires natural looking, spontaneous shapes, which is hard to achieve, especially for beginners. In this class, I'm going to help you solve these problems. I'll show you how mixing our own greens can be easy, fun and can bring your landscape to a whole new level. You will learn how to transform boring greenfields and give them life with easy and quick techniques. We'll also have a look at specialty brushes and maybe even try to make our own. All these to help us get these natural looking and expressive greenery effortlessly. Finally, we'll paint together fresh and colorful scenery with lots of greens. My inspiration for this class came after a trip to the countryside. I love to paint the beauty around me, but I've also tried and failed so many times to recreate it. I know now that for a painting to be captivating and convincing, it's not necessary to paint every single blade of grass, but to use the right colors and to give a hint of the texture with the brush movement and the effects we can create. These class is for you if you want to learn how to mix some greens and use them accordingly. After taking the class, you will feel much more confident when painting landscapes and greenfields. You will know how to mix the exact green shade that will be perfect for your painting and you will spend way less time trying to make foliage look natural. Are you ready to step up your landscape game? Meet me in the next video where I will tell you more about the class and the final project. 2. Class + Project Overview: [MUSIC] For the final project in this class, we are going to paint beautiful and fresh landscape with lots of greens. Don't worry if this sounds too complicated for you, we are going to start from the very basics. First, we'll explore the different greens in our palettes and we'll mix our own greens. This will help you in all your future painting as greens from the tube often look unnatural. Next, I will show you how to make plain green fields interesting and diverse. We'll also explore different specialty brushes that will help us paint out these trees and bushes with less effort. Finally, we'll paint our fresh green landscape combining all the tips and everything that you have learnt in the class. After taking the class, you will feel much more confident while painting natural landscapes and green fields. You will know how to mix the green shade that will be perfect for your project. You'll spend way less time trying to make foliage look natural. If that sounds good for you, meet me in the next video where I will tell you more about the materials that you're going to need in order to complete the class. 3. Materials: [MUSIC] In this video, I will tell you more about the materials that you're going to need in order to complete the class. We'll start with the paints. I will use these tubes by Art Philosophy. What I did is I took all the yellows and oranges as well as all the blues from my set, and I will try and mix all the different combinations that come with these colors. I will show you all the mixes that these colors can do. This is actually a very nice exercise that you can do with your paints. All you need is to have all your yellows and all your blues from your palette so that you can test your own mixes and to see what your palate can do. The reason I took yellows and blues is because when we mix yellow and blue, we have green. I have also prepared the greens that come with the set, and I have this permanent brown here too. You just need to prepare whatever palette you'll use mostly for your landscape, and we will test the different combinations between yellows and greens. Here, I have a palette where I have squeezed all the tubes. Sometimes when I need a smaller quantity of paint, I will just go and take it from this palette, instead of squeezing out from the tube. For paper, I will use this Hahnemuhle watercolor. It's 300 GSM, 100 percent cotton paper. It has a rough texture and I love to use rough texture for landscapes, especially when I paint green fields. You can see the texture of this paper. It's really nice and beautiful, especially for landscapes. You don't need to use a rough paper if you don't have it. But it's nice to have a cotton paper because otherwise some of the techniques will not work. I will test my colors and mixes on a Fabriano Artistico. It's again, 100 percent, 300 GSM cotton paper. For brushes, I will use my big hake brush to water the paper. You don't need to have it, you just use your biggest brush for that. I will also use my silver black velvet size 8. It's my medium-sized brush. For bigger areas, I will use this Da Vinci Casaneo size 4. For the specialty brushes, I will show you how I use these different brushes. First one is this Chinese calligraphy brush. It has soft hair, and you can rough it up a bit, and then it makes a really nice marks on the paper. I will show you. Next is this rigger or a liner brush by Schimoni Art, it's size 8, it is very pointy and long. Finally, these Deerfoot Stippler by Jackson's. I will show you what we can do with this specialty brushes and how you can use them to make your process easier, but you definitely don't need to have it. You can just watch the videos first and then decide if maybe you want to get one or not. For pencil, I will use my mechanical pencil. You will also need an eraser. Maybe some White Gouache for details, cotton towel, or paper towel. I will use this spray to activate the paint in my pens. Two jars of water. One I will use to rinse off my brush and the other has to stay clean for when we need clean water. This is everything you will need in order to complete the class. Meet me in the next video, where I will talk more about the different greens that you can buy from the stores and what you can paint with them. See you there. 4. Green Colors: [MUSIC] In this video, I will show you the different greens that I have, and I will tell you more about what you can paint with them, and which are worth to have, and which are not particularly useful for when you're painting landscapes. First is this Azo Green by Van Gogh. It is yellowish-green or greenish-yellow, and it has this slightly neon shade which is very beautiful for when you're painting fresh green fields. Next is Leaf Green by PWC. It is again yellowish green. It is a bit opaque. You can use opaque colors to add details even on top of darker ones. Next is this Olive Green by White Nights. I really love it. It's very warm green, and when you delete it, it gets yellowish. Yellow greens are perfect for when you're painting the highlights of the green fields, and greenery. This one is Yellowish Green by Art Philosophy. Again, it's a really nice greenish-yellow or yellowish-green, very bright. Yellow greens are perfect for the highlights of the trees or as a base color for fresh green fields, and this is exactly how we're going to use them in our final project. If you don't have similar greens, you can then use lemon yellow or add yellow to your green to make it more bright. Next, we will continue with more earthy greens so this is Yellow Green by Roman Szmal. This one has light granulation so it's very beautiful to use it when you're painting green fields because it has this nice texture to it. This one is again by Roman Szmal. It's called Aquarius Green, and it's very beautiful, dark, and warm green. I use it again when painting green fields, and greenery, especially for when you want to add that warmth into your paintings. [MUSIC] Next, this is Green Earth by White Nights. It's slightly opaque. [MUSIC] This one is called just Green by White Nights. It's one of my favorite greens. It is really dark, but when you dilute it, it becomes lighter, and very beautiful enrich shade. I always use it when I want to paint the shadows of the greeneries or the green fields. Next is Sap Green by Van Gogh. It has this nice fresh tone to it. Lighter, and more fresh greens like this one can be used when painting spring landscapes while if you're painting more moody or autumn scene, it's better to choose a warmer green like the first three on this sheet of paper. [MUSIC] Next, I will show more unusual color so this is May Green by White Nights. It looks really unnatural sometimes but I've seen some artists are using it when they paint some more greeneries. Next is Yellow Green by White Nights. It is really a natural green color so I rarely use it. This one is Hooker's Green by Art Philosophy. It is beautiful shape but again, I mostly use it when I mix it with some other color to mute it down. Next is Viridian Hue by Art Philosophy, and honestly, this is one of the most unusual greens for greenery. Mostly I use it for when I paint seascapes. Same with this Emerald Green by White Nights so you're really seeing the nature, a green fields or greenery that has this color. Lastly, on this page is Blue Green by White Nights. It's again a beautiful green, but I use it mostly for when I paint seascapes in water. If you happen to have any of these greens, and want to make it look more natural, you can try to add some orange or red to them. This will take down some of their intensity. Next, I will show you some granulating greens. I love to use them when I paint green fields because they add a little bit of texture, and make the fields more interesting. First one is this Dusk Green by Van Gogh. It is very dark green, and you can mix it with other greens, and again, it will keep it's granulation. Next is this Forest Brown by Schmincke. It has these brown particles that separate from the green. It adds a lot of interests to your works if you use it. Next, this is Tundra Green. Again, by Schmincke. It is warmer color than the previous one, and again it separates to green, and brown. You can already see the granulation. Next, this is not a green color but I decided that I can at least show it to you because it's very beautiful, and interesting. It's called Glacier Brown by Schmincke, and same with this Tundra Violet. Again, by Schmincke. You can mix these colors with greens or with other colors, and you will get very interesting combinations, and you will still keep a part of the granulation so you'll get a nice effect of the granulation provides. Finally, this is Ocean Blue by Roman Szmal. It separates to blue, green, and brown particles so again, it's really useful for when you're painting seascapes in waves. These are the different greens that I have in my palette. I hope that it was useful for you to see the swatches, and maybe decide if you want to add some colors to your palette or not. I will see you in the next video where we'll explore the greens that we can mix with the colors that we already have in our palettes. 5. Mixing Greens: This video will make very useful and quick exercise in which we will mix all the yellows from our palette with all the blues. This way we will test all the different combinations between them and we'll know our colors better. I will also keep my palette here, I will spray the paints to activate them. I will remove the tubes to have a little bit more space, then I will place my palette like that so you can see it better. I have prepared this sheet of paper. I suggest then that you keep your swatch list for future references when you're painting, especially if you want to make the best use of your colors. So let's get started. I have put the names of all the yellows on the top and all the blues are here on the right side, and I will start with lemon yellow. So I'm taking some lemon yellow from the pen, into that I will add the first blue color that is on the right and this is cobalt blue. I will place it here on my palette. Now I will mix them, I will add a little bit of blue to the yellow. Let's see what we have here. So we get this blue-green color. I'm adding more yellow to the mix and now we have this bright fresh green. Adding some more blue to see the different variations we can get by mixing these two colors. You see that the blue is kind of dominating the lemon yellow. One more variation with this mix, and we are ready to go to the next one. So I'm taking some fresh lemon yellow, this time I will mix it with ultramarine blue. I'm placing some here on my palette, and I start to mix, I will add just a little bit of blue to the yellow as a start. We're getting these nice fresh green, I will swatch it here. Adding some more blue. We're getting a deeper shade, more darker one. I'm adding more intense colors to the mix. I'm just playing with the different variations that I can get there is no right or wrong here. Just play with your colors. You can add more water or less water. Adding more yellow now and I get this really beautiful fresh green color, and I will continue doing the same with all the different colors that I have. I will try four variations for each mix. I strongly suggest that you do the same with your paints because it really helps you to get to know your colors better. This way you will know the mixes that you can get with the paints that you already have. It will be much more easier for you to know which color to mix when you're painting your future landscapes. As you can see with the permanent yellow deep, we're getting more olive green shade, while with the lemon yellow, we got these very light and fresh like aqua green colors, and with the yellow ocher now I get really muted colors, and with perm yellow-orange. We're getting very earthy greens, sometimes even browns, because when we mix orange and blue, we usually get brown. So these are my variations. We have some really nice colors. Here we have some granulations. I hope that you can see. It's really nice to make this exercise really useful for you. Here is also a very interesting color that we got. So do this with your colors. Keep the swatch sheet for future references and you'll see how easy it is to make the perfect green shade that you need in order for your landscape to be fresh, convincing, and nicely looking. 6. Tips for Painting Fields: [MUSIC] In this video, I will show you how you can make plain greenfields more interesting. You can actually use those techniques every time you have a bigger plain area in your paintings. Let's get started. I have six boxes here and I will show you in each one, a different technique that you can use. Let's say this is my foreground, and I have a greenfield right here. If you have a greenfield in the background, it's better to have it just one color and at least details. But if it's in the foreground, you definitely need to add something more to it. One of my favorite techniques is very simple. I'm just using some darker color. Indigo, for example. I add some random brush strokes here and there, more thick on the bottom. Then I blend some of the color, paint some blades of grass. This is it. Let's go to the second one. Another option is to change the intensity of the color. For example, here I added more water. This way, I don't have a simple wash. I have places with more intense color and places where the color is diluted, so it recreates the play of light and shadows. [MUSIC] Let's go over to the next one. This is a very favorite technique of mine. I'm just taking some water and I splatter on top of it. The drops of water are pushing some of the pigment and create these lighter spots. For a better result, we need to wait for that to dry a little bit because now the water just mixes with the rest of the paint that I already have on the paper. Let's go to the next one. This one is very similar to the previous one, but instead of clean water, you can use a different color. It can be a darker color like indigo. Make sure they mix well with the color that you chose for your green fields. This way, we added some texture to the field. You can use this technique to quickly paint some flowers too. If you use a different color than green or blue, for example, you can use red. [MUSIC] This is how we quickly painted a pop field. You can use yellow or pink or any other color that mixes well with greens. See how loose and expressive this looks. Finally, another favorite technique of mine is to use granulating color for the greenfields in the foreground. With this technique, you don't need to do anything else, but you can add some darker colors tool or use any of the techniques that I already showed you. But the granulating colors are beautiful enough by their own. Now, I will splatter some water again here. So in order for this technique to work, you need to have not too much water on the paper, but it must be still wet. These are the techniques that I use when I paint greenfields. I honestly use them in all of my foregrounds, they add a lot of interest in my paintings, and there are fun, quick, and easy to make. In the next video, I will give you some tips on how to paint greenery. See you there. 7. Tips for Painting Greenery: [MUSIC] In this video, I'll give you my tips for painting greenery quick and easy and I will show you what I did to make them look natural. First, I will show you the Chinese calligraphy brushes that I have and what we can do with them when we're painting greenery. They usually look like that when they're dry, messy, which is exactly what we need. But it's also nice that when they are wet, their tip is pretty sharp, so you can use it for finer details. When we're painting bushes, for example, we want to make random brushstrokes and this brush really helps with that because the hairs are soft, long, and messy at the tip. If you take out the excess moisture by dabbing your brush on a paper towel, then it gets really easy to get these if forth list natural looking bushes. See how different this looks and you can use the same technique for when you're painting trees. This is the ground of my tree and I will just add some darker color to it. You should always have a lighter and darker color when you're painting greenery bushes, trees, whatever. Let's paint the trunk of the tree. I will add a darker color on one side and I'll paint some branches. I will also add some highlights with lemon yellow. This is usually how I paint greenery. I have a base color, which was the hookers green then I added some shadows with indigo. Finally I added some highlights with the lemon yellow. The next brush I wanted to show you is these there foot tips by Jackson's it has these very particular shape and its bristles are very hard. Again, I use it to paint bushes and trees. Let me show you how this works. I take some paint straight from the pan, and I make this brush marks on the paper. If I add more water again, I get a totally different result. I will add some indigo for the shadows, some clean water to blend them better and finally, some lemon yellow for the highlight. Usually you will have one side which is lighter and one side which darker. A nice photo reference always helps to get to know your subjects better. Usually I don't paint without photo references because they show me where the highlights and the shadows are. Next, I will show you this rigger brush by use money art. It is very long and pointy and it's perfect for painting such long blades of grass. It also holds a lot of water so I can make multiple brushstrokes with it. Another thing that I love about it is that it makes a very nice tiny splatters. Another way to paint such natural looking brushes like this, if you don't have specialty brush, is to hold your regular brush at the end like that. This way you will make more random strokes because you'll have less control. Finally, what I wanted to do in this video is I will try to make myself a specialty brush for painting grass. Let's see if this will work out. This is a flat brush, it's half-inch. I got it for acrylics back then, but I don't paint with acrylics anymore. I will try to make myself a specialty brush using these nail scissors. Basically what they want to do is I will try to get the hairs of the brush here and there. Hopefully this will make for a nice brushed paint grass. Let's see I will try to cut some of the hairs. It's actually harder than I thought. Basically, I want to have three or four longer bundles of hair so I'm cutting the hair in-between. I'm almost done with the first one. I think I'm ready with this one, so I will try to make one or two more like that. Doesn't look very nice, but let's see what we can paint with it. I'm taking my practice sheet, I'm thinking some color or actually this is not looking bad at all. I like how natural is grass looking. I am some darker color and I can flip it on the sides too. I will add more water to it. This is actually nice, I will definitely use it in my future paintings. If you have an old brush like that, you can definitely try and repeat my experiment. Let me now how these wines for you. I will see you in the next video where we'll finally start to paint our final project. 8. Final Project: Sketch: [MUSIC] It's finally time to start with our final project. [MUSIC] We'll start with a simple sketch. I will draw the horizon line. It goes like that and here I have some mountains. Here, I will have a road, it goes like that. I will make this darker so that you can see. I'm trying not to press too hard with my pencil because the pencil marks will be visible afterwards. You keep that in mind too. Here, I will have some greeneries. I'm tracing the distance. This is it. We are ready with the sketch. I will just take some of that excess graphite with my eraser. This is it. We are ready with the pencil sketch. In the next video, we'll start painting with watercolors. 9. Painting the Sky: [MUSIC] I put my paper tape like that, so that's my paper is at an angle. This way the water and the paint will flow down and I water the entire sheet of paper. Don't rush this step, we'll paint almost the entire landscape using wet-in-wet technique. We need our paper to be really well moistened. I am taking some cobble blue. I prepare my palette here. I take my paper towel so that I'll have it handy when I need it. With my silver brush, size 8, I will start to paint the sky. I'm just taking some of the cobble blue. I'm not adding too much water to it. I will just paint this sky by making some lines. I will leave some white gaps, which will be our clouds. I'm holding my brush high so that I can make more spontaneous movement. By going down, I'm not adding too much color because this sky is getting lighter towards the horizon line. Also the white spaces that I'm leaving are getting smaller and smaller because those are the clouds that are in the distance so we see them smaller. I will add some color here in this bigger cloud. I'm adding some color on the top. This is where the sky should be darker. I'm adding some more color here. I'm blending it. This makes for a really nice perspective when this sky is darker at the top and lighter at the bottom. Of course, the size of the clouds matters too. I don't want to spend too much time with this sky, so I will leave it like that. I will just tilt my paper so that the water in the paint mix better. I really like this technique for painting effortless skies. I'm tilting my board in different directions. This way the water and the paint mix very nicely on the paper. Here I have some white spots. I will just try to move the paint there with my brush and our sky is ready. Head over to the next video without leaving your paper to dry. 10. Painting the Mountains and Trees in the Distance: [MUSIC] In this video, we'll paint the mountains and the trees in the distance. I'm watering again the bottom side of my paper because it has dried a bit. Now, I will choose and mix the colors for the distant mountains. I will use my swatch sheet. In my case, the sky is cobalt blue and I really like the mixes between cobalt blue and permanent yellow deep. Keeping your color palette limited is a nice way to make your landscape look more balanced, so I won't be adding other blues here. I'll squeeze some permanent yellow deep here. Now, I will add to this some cobalt blue, I'm preparing a puddle with my color. I want to have a brighter version too, so here I will add more permanent yellow deep. You'll see the pretty color that we're getting. It's almost like glowing. If you have another favorite from your mixes, you can definitely use that too. But I just love yellow-green, so I'll go with that. Here, I'll add some permanent brown to the mix. It gives me this earthy green. Some more blue to go back to the green side. This will be the color that I will use for the mountains in the distance. I'm dabbing my brush on a paper towel to take some of the excess moisture. While the sky is still wet, I will paint the mountains. I'm taking some of this mix of cobalt blue, permanent yellow deep, and permanent brown and I will just paint some color spots here. I always start at the edge of the painting because I just want to see how the colors will flow. If they flow too much, I will wait a little bit more. But in my case, I'm happy with how wet is my paper so I will continue with the mountain. I'm just adding different colors to the same photo because I want to have a nice variation in the mountain. I don't want it to be a single color. It's much more interesting this way. So I'm adding more brown and more blue and I'm just making some color spots on my paper. I'm not following any specific pattern, just some color spots. Here, I have more blue-ish color. Now, I will just take some of that color with a clean damp brush because it was too intensive. After all, this is a mountain that is in the distance, so it doesn't have to be too much saturated. Now, I will continue with the mountain on this side. Usually, with landscapes, the objects that are in the distance are more blue. We can depict this way that this side of the mountain is going further and further away from us. Some random spots here. I'm fixing the edge here and there because the paint has spread too much. I'm taking some permanent brown and I'll add it here. This is a mountain that is closer to us, so I use warmer colors to paint it. You see how well it pops out against the blue mountain that is in the distance. Now, it's time to paint the greenery in the distance. We'll do that while the mountain is still wet. I'm taking some indigo and I'm making a puddle here. Some hookers green too. I'm taking some of the color that I prepared earlier to mute it down a bit. Some indigo to make it darker. Here's some permanent yellow deep to mute it even further. Some indigo again. I'm taking again the excess moisture from my brush and I place it this way. I'm starting again to make some random strokes with my brush. I will water again the bottom side of my paper, I don't want it to dry entirely. Now, I will just vary those colors again. Some green, some blue, some darker green, some warmer green with more permanent yellow deep in it. So by switching between colors, we get this realistic look of the mountain. The color is blending nicely. Now, I'm preparing a really dark mix with more pigment and less water and now we use that to paint some trees. For that, I'll use just the marks that my brush is making while it touches the paper. Some are taller than others, some random brushstrokes. I'm washing my brush. I will use this puddle here with some green and cobalt blue. We want it to be transparent and I'll just use it to paint the horizon line here in the distance. Again, here the trees are getting smaller and smaller because they're disappearing in the distance. Now, with the damp brush, I will blend this part. I will splatter some clean water here. It makes for a very nice effect. If you want, you can cover your sky to protect it while you do that. I will again fix the edge of the mountain here with a clean damp brush. I'm blending the colors here and there. These are all small things that can sometimes make a big difference. This is it for the distant objects. In the next video, we'll paint the green fields, head over to it without leaving your paper to dry. 11. Painting the Fields: [MUSIC] In this video, we'll paint the foreground. For the green fields,I will use these greenish-yellow straight from the pan. You see how beautiful it is. It is almost a yellow color, but don't worry. We'll add some greens to it so it will look more natural and blending it with the trees that are in the distance and because my paper is still wet, this happens very naturally and beautifully. If you don't have it, you can use any other warm green or lemon yellow. You can also check your swatch list from our mixing exercise and choose a mix that you like [MUSIC] I won't color the road so I'm going around it. [MUSIC] Adding some permanent brown to the foreground. Some dots in the distance. With the mixes that I already have here on my palette, I will just add some green lines in green brush marks here and there. The way with this individual that I showed you the techniques that I use when painting green fields. Now with a darker green mixed with brown, I will outline the road and I will be very careful in the distance to make this line very thin and barely visible. It will get thicker and thicker when it comes closer to the foreground. I will blend it with the rest of the greenfield so it doesn't look cut out. With dark green, I will go again here where the trees in the distance are and I will make their line more dark so it's not like they're floating in the air, but they have shadows on the ground. [MUSIC] Some more brush marks here and there. [MUSIC] Some dots with permanent brown. [MUSIC] You see how this greenfield is slowly coming to life. [MUSIC] Some dots and lines with indigo too. [MUSIC] Here I will have some trees so I'm painting their shadow beforehand while the paper is still wet so it blends more naturally with the rest of the greenfield. Now I will cover the sky and I will make some splatters with permanent brown. I think a very intense color and I splatter it carefully here on the foreground [MUSIC] Now I will repeat the same with some green. [MUSIC] I'm trying not to go too much into the background because these are details that can be seen only if we're close. Some last touches to this part of the painting and now I can remove the paper. I will again repeat the line of the road because it disappeared into the rest of the paint. I will make some cobalt blue with permanent yellow-orange. [MUSIC] I'm trying to get a grayer color, I add a lot of water to it and I will use that to paint the road. My brush marks follow the direction of the road. I will blend it with the rest of the color that I already have here on my paper and I add more color in the foreground again. I will just drag this color up. I'm not adding more color in the distance because remember the objects there are more lighter. I will use again some brown to emphasize the edge between the road and the grass. [MUSIC] When I add indigo to our permanent brown, I get these very dark gray so I use that here in the foreground. Now I will continue on the other side. Again. I'm taking some yellowish-green straight from the pan and I will cover the entire area here on the left side with that color. [MUSIC] Adding some green to blend it better with the background, and now I will just blend those two colors. [MUSIC] Now again, I'll add more interest to this side of the painting by adding some color variations, some lines and dots with different colors and the same that we did on the other side [MUSIC] I'm taking the excess water from my brush whenever I need to work an error that is wet already because otherwise, the color will spread too much. I'm blending some of the color. [MUSIC] Now I'll clean this edge a little bit with a clean, damp brush. [MUSIC] Some splatters. [MUSIC] Some brush marks with green. [MUSIC] I'm splattering some clean water over the road too. I really like the effect that I got. I'm cleaning this edge again because the color has flown too much. My brush is clean and damp. [MUSIC] Splattering some water here too. We are ready with the fields. You can leave your paper to dry now. In the next video, we'll paint the trees in the middle of the painting. 12. Painting the Trees: Now, I will paint the trees that are here in the middle of the green field. I will use my Chinese calligraphy brush for that. I'm taking very concentrated lemon yellow and yellowish-green and I mix them together, [MUSIC] adding some permanent yellow-orange, some cobalt blue. This will be the base color for the trees. I'm washing my brush and with some pure lemon yellow, I will start with the highlights. I'm just touching my brush to the paper, I'm leaving some marks with the lemon yellow. [MUSIC] It is a bright color, so it covers some of the layers that we have already on the paper. Now, I'm going in with my base color. Finally, some indigo for the shadows. This is a group of trees, so we are not painting each tree separately. We just paint them together. [MUSIC] Some more shadows to make them bold. I'm blending some of the color. Now, with my rigger brush, I will paint the tree trunks. So I'm just using permanent brown and I just paint some very thin lines that connect the trees that I just painted with the shadows that we painted when we worked wet-on-wet. [MUSIC] I'm preparing the mix with the darker green. I add some water to it so it's transparent and I will reinforce the shadow. I'm not painting a straight line, but there I lift my brush here and there, making some random brush marks. I will smudge some of the color. It doesn't have to be too distinctive because it's in the distance. [MUSIC] I will fix some of the tree trunks. Next, with a clean damp brush, I will just blend this. [MUSIC] Now when everything is dry, I will use my [inaudible] to add some highlights with lemon yellow. I'm taking straight from the pan, so it's very thick. I don't have too much water on my brush because I want to leave these very tiny little spots. You see the nice effect we're getting with this brush. [MUSIC] Now, I will repeat the same with my base green color for the trees. Lastly, with the indigo for the shadows. [MUSIC] You see how this makes the trees looking really three-dimensional. [MUSIC] Some last stitches. This is for the trees. In the next video, I will show you a quick trick that you can use if you don't have lemon yellow for the highlights, which is also helpful in many other situations. Then our final project will be ready. 13. Bonus Lesson: [MUSIC] If you don't have lemon yellow or in your pink yellow that you can use for the highlights, here's something that you can do. Prepare thick mix of the green or the yellow that you want to use for highlights, and you can add some white gouache to it. This will make the color opaque. Keep in mind that it will also make the color look more like a pastel color so this way you can add some opaque highlights and details to your trees. The white gouache is going to make it more opaque and strong, and you can use this trick with whichever color. It's a nice little trick to know and you need to cover something or to make some highlights with a brighter color. [MUSIC] Some details on the ground. This is it, guys. Congratulations if you made it this far. I know that it was a challenging project, but each time we challenge ourselves, we are getting closer and closer to the next step in our journey. I am happy that you took the step with me. I will see you in the next video for our final words. 14. Wrapping up the Class!: [MUSIC] Congratulations on completing the class. I know it was challenging, but only through challenging ourselves, we grow and improve. We managed to cover some basic principles that you can use in any future landscape painting of yours and I can't wait to see your future creations. Don't forget to post your project in the project section of the class. I can't wait to see what you'll create. If you post your project on Instagram, don't forget to tag me. If you have question for me, just post it in the discussion section of the class and I'll get back to you as soon as I can. Until the next class, guys, happy painting.