Master Gouache Landscapes - 8 Day Challenge

1. Introduction: Discover the magic of gouache painting with this bagina friendly workshop. Hi, everyone. I and mother. I am an artist, surface pattern designer, as well as an author. I started painting when I was really young, and I dove into gouache just a few years back. I really enjoyed the medium, and as soon as I started painting, I fell in love with it instantaneously. In this workshop, we are going to be exploring various gouache paintings. I will teach you everything you need to know from materials, techniques so that you can create breath taking landscapes. With eight different paintings to choose from, you'll have plenty of chances to practice and perfect your skills. I'm sure you're excited to get started. Let's begin with materials. 2. Materials: L et's materials. The first thing we're going to get started with is our watercolor paper. This is coal press 300 GSM. The details are mentioned in the above section, so you can have a look at that. Now we are dividing our A sheet into different rectangles that we are then going to use for our paintings. We need eight of them for our final set. Get them ready before you get started with the paintings. Now that we have our eight sheets, we can dive into the next set of materials. The next thing we would need is our masking tape. A white masking tape is because it works really well and you can tape it down to the edges of the sheet, so you end up with a nice crisp backdrop. Next, we have our gouache paints. I'm using the brand ime, but you can use other brands as well. We're going to need our base colors, which is green, blue, white, red, and yellow. If you have dark brown, that's great. Just a variety of colors for painting. With the guage paint, make sure that it's mixed up and ready to use. With ime, for example, the paints do end up drying up. Make sure that you spray them at water, mix them with your tool so that it is ready and moist and then creamy in texture for you to then start. The next thing that we would need is our brushes. Starting off with our flat brush of size six. This is going to be create for our background and covering up larger spaces. You'll need a smaller flat brush, which is maybe a size two, and this is going to be created for the smaller sections, and then finally a round brush size zero. Something that is a detailer brush for those details and leaves. Along with these materials, you will also need the basics such as pencil, eraser, scale, or ruler, and so on. Keep your materials ready so we can just diver in once we have our table set up. 3. Gouache - Tips and Tricks: Now that we've discussed materials, let's dive into gouache and understanding the medium. This is a very important step. Even if you know gouache, I would suggest you go over again because we are going to cover some important points that we would then later on use for our projects and paintings. So, starting off gouache is beautiful medium. You get it in different forms, as I mentioned. So I'm using mi gouache. And what we're going to do is start off with mixing, and I want to start with the bare basics. So taking a little bit of paint on your palette. Let's take a dry brush and just take a little bit of the paint and start painting. Automatically, you can see that it is extremely dry. You can see the texture of the paper, and this is a good idea for you to know that, right? Now, What the ideal way you want your guage to be is creamy, where it's moist, where it's moving around, it's flowing around. And that's exactly what we need. So not too much of water. Keep adding a little bit of water at a time and mix around your paint. Now, you should get something as smooth as this where you can't see the back of the paper. It's a nice opaque wash. And it spreads evenly and very smooth, and that is your ideal guage opacity. L et's now take a little bit of that guage and a lot of water. So now you can see the transparency come through, you can see the paper beneath, and it's starting to act more like water colors, where you can see that. Now, this is two water, depending on what effect you're going for, it's great. But for our projects, we're going to try to keep it at the second smooth creamy texture. So in case you add a lot of water, you can see how light it becomes and how actually looks like water colors. And this is completely to watery. Again, depends on what you're painting and what effect you're going for. But for our projects, this is too much of water. So we want to avoid the three options and make sure that we have our garage at creamy throughout the process. So let's mix around our paint, and then we're going to go into a couple of blending techniques. Time to get a couple of colors in. So we're going to do white and a little bit of blue. So our first blend is going to be pink to white, a one blend. Start with your medium or small size brush, that's your size two flat brush. Let's do a little bit of that pink on top. Get enough of pink so that when you blend, it's not completely gone. So at least three lines would be great. Then wash your brush completely dry it because we don't want to add water to our already mixed layer. So take that creamy texture and start from below and gently move up. Now, when I get to upwards, I'm actually pressing down my brush even more. That way, I'm lifting up the color from the pink so that it blends much better. Go all the way to the top so we get a very nice blend through. At this point, I'm going to wash my brush again, dry it and pick up that creamy texture. The creamy white and then start again going upwards. And you can see how now the blend is getting much better. It looks more evenly spread out, not just in one section. And then you can go all the way to the top if required or just stay in the middle portion depending. As you go higher, you're lifting up your brush more, so it's not as pushed down. Going to see it from the side, so you understand how I'm using my brush. I felt like this is very important for you to understand when painting because it's all about your brush movement when it comes to blending. So I'm starting off with blue this time, and we're going to do a blue to pink blend. So let's take our blue, make sure you create that creamy texture. Add more water, if required, if you feel like it's very dry let's do a couple of layers of blue. Now, wash your brush, and let's take pink, and then start from below, and we can move gently upwards. You can see as I go to that middle point, I'm pressing down my brush even more and trying to blend those colors together. And you can see how it's giving you this beautiful purple hue. Go back and forth, you get this really nice blend. And then you can go up a bit more, so it blends again into the blue. At this point, you might have to take a b of pink in case you lifted up too much of color, or you might have to take ale bit of blue. So this is a process. Sometimes, you would need to go back and forth. It really depends on how you paint. So just make sure that you have that middle mix of purple and the blend comes through. All this while, we've been doing straight line blends. Now we're going to do something that's a little bit more rough. So starting off, I'm taking a little bit of that pink, and I'm just doing small dashes with that pink. And then I'm going to use white and to blend that out. This is great for skies. It gives a nice texture and looks very relaxed. So wash your brush or using the same brush. Let's take a bit of white, and you can see alterity in the brush, it's mixing into a pink, which is. Go all the way to the top trying to mix more of that pink from below. And you can see how that's coming through. At this point, wash your brush. Let's take more white and start from down and move upward again. So you can see how I'm actually losing a little bit of my pink. So let's try using the pink and going from up to down wash your brush, and let's start with white again and move upward. Gently again, start with white and then move upwards and. So you can see how this blend was. It's more rough, I would call it, I don't know what term you could use, but it just explains it. Now, the next thing we're going to talk about are mountains. I just wanted to go through it, just so you understand what's happening. So Mountains are conical in shape their triangles, right? So exactly like the pyramids, that's exactly how you can imagine a mountain. So if the light is hitting the left side, then the right side becomes automatically dark. On the opposite se, if the light hits the right side, then the left side becomes automatically dark. It's in the shadow. So this is how you kind of do your basic mountain. Now, mountains are not just three triangles. There's a lot of layers of these triangles on top of each other. So when you get into your actual painting, unlike the top version, you're going to get something like this. I'd like you to just practice this a bit just so you understand it before we dive into our projects. Because in our projects, I'm not going to go into the pencil line. I'm going to directly start painting. So imagine that this one mountain has all these triangles coming through or projections and things like that. Doing that same three fourth line, imagining that the light is coming from the top right, which is where the fun is. Your shadow would be at the bottom, and also along the fold. You can read about this more or if you're going into drawing, it's gonna help you understand it more. I don't want to dive too much into this. I just want you to understand the basic, and that's more than enough. L et's use a little bit of blue, and just paint this so you can see how this looks overall. And this is going to come through and create a realistic version. The other thing to notice is that straight line that I drew the three fourth line, is it going to be straight when it comes to mountains? Again, naturally, it's not going to be straight, it's going to have a little bit of a zigzag. So keep that in mind as well when you get into painting. And there you go. You can see how this looks, very sal, and this is how the light would work. So it's basically like inverted triangles that are formed with the shadow, depending on where the light sources. And this is something we'll go into as we go into different projects. The next thing we're going to dive into is different type of plants, just for you to again understand how to hold your brush. The first one we're going to do is pine trees. So starting with a thin line for the branch. You can do a very broken branch. We don't want a straight line. Is connected. So keep a little bit of gap. Start from the top with small dots, and we're creating a triangle shape. So as you get lower, you can go extend the width even more. All the way to, I would say three quarter or even half of the tree. As you get lower, start pressing down your brush even more to fill up the space in the middle. What you can then do is just the edges. You can make them thin, so it looks like those leaves were poking out. Let's try this again for the next one. So start small on top with small dots. And then as you go three fourth way down or even halfway down, press down your brush more so you can cover more asia in the middle of the trunk. And the edge of the plant, you can just use dots so that it looks like the leaves are separated at that point. Moving on, the next one we're going to do is our basic plant. This is going to be the one that is very visible, especially if you're going to do leaves that are standing out. So start with a stem. O stem always needs to be curved because it co look more natural than having straight stems. It also breaks a from all the other elements that are straight. And when we go into the leaves, you can have them small, big, falling. And this is again, going to look very, very natural because leaves are not just stiff and standing, right? So we want to create that effect. We're using the thin brush for this, so keep that in mind and really pressing down the brush. So you create these beautiful leaves. The final element we're going to practice is our bushes or forests. So for the bushes and forests, let's start with our blue, and we're going to do a bushy finish. Now, this again can represent forest, can represent bushes. Use your thin brush and press it down so you cover more space. Because as we get to the next layers, we're going to make it even more smaller. You can see how I'm doing gentle circles to create the edge. Now, we're going to let this dry before we go on to the next layer. Now that it's dry, let's go into a green and to the next layer. So you can see how this doesn't reach all the way to the edge in some places, and we're just doing a portion of it. So we're going to do mainly the left where the light is hitting the bush. You can do a little bit on the inside as well to show that that area maybe was pushed out or is more in the light. Again, let this dry before you move on. Now that it's dry, we're going to take our lighter grain, so make sure you mix a lot of white to it. It's much more lighter in color. And in this part, we're going to make it very, very small dots. So we're being very intentional. And this is actually going to make it look more realistic, right? Cause you won't be able to see all the details, but you can see those lights coming. So make sure that you keep your brush perpendicular and gently just tap in. We're going to just do it in the small portion in the middle, maybe a little bit at the inside as well. Depending on the painting, we can stop here, otherwise, we would go on to adding a depth as well. We would add shadow by using brown. I. With the brown, we are going to be adding it right below the light green layer. The middle green layer, so not completely the light one, but the middle one. Again, clump it up, so it's not just a straight line. For a more natural effect. Continue the brown on the right side to show that that entire section is in dark, is in the shadow. With all the practice exercises in hand, we're now ready to start with our projects. Let's get started with the first painting. 4. Misty Mountains: L et's now begin with our first painting, the misty mountains. This is a great first piece because it's going to be monotone, and that is going to be a good way for us to get started with goulash. Starting off, let's use our pencil and draw out a line, so we know exactly where our mountains are going to be. When you're doing your mountains, just layer them up, as you can see me do. L et's start by mixing our color. So I'm going to take a bit of the blue. And I would say two dabs of blue and a little bit of black. Just a little bit because black is quite a strong color, so even a bit mixed in will really darken up the color. Next, we're going to take a lot more white to add in. Now, add in drops of water to the mix, and then using your thin brush. You can go ahead and mix the colors. If you'd prefer, you can also use your spatula to mi or an old brush that way you don't damage the brush. As you can see, we already have a dark blue gray mix that's come in. So let's add more white to it so we can lighten it down and make a perfect background perfect sky. For this piece, I'm starting off with the size two flat brush and using the bluish gray at the bottom of the mountain. We're actually going to paint out the entire top mountain and then later on come back and add in some depth to it. So go ahead, paint that base. Wh out your brush completely and make sure that it is dried up. And then we're going to take some white and paint the remaining of the sky. You can see how I'm just going back and forth, gently mixing it in and as I mix in with the white. Automatically the shades get lighter, and you end up with a really beautiful gray tone. Make sure you go all the way to the bottom so that way it's more uniform, and we don't have areas that are, you know, muddy. Do. Now, wash your brush and using the same brush, let's mix in a little bit more of the blue so we get a darker mix to continue into our next mountain. Fill up the entire space. And every time you feel like your guage is becoming dry, add a dab of water, and that is going to activate the paint again. Now, adding in more of the blue that we have. Let's do the next mountain deer, and this should be even darker than what we did before. You can even go directly into the blue gray. So you get a much more darker shade. Wah out your brush, add a little bit more of the blue and make going even darker for the slower mountain. Sure you end up with a creamy mixture as we discussed. This is very important because if you're going to end up with something dry, it's not going to paint as well. And if it's too watery, that it's going to look more watercolor and act like watercolor, which is not what we want. Just keep that balance between the two. Now, I really enjoy switching over to my smaller brush and going directly in with that blue green color, that greyish toe, and adding some texture to the top of the mountain. Doing the same thing on the other side. And for the other side, we just going directly in with the color, no adding white, so it's quite intense. Add a little bit of black and we're going even darker. So you can see how that shade comes really, really pretty. And the piece is al giving some dimension to it. Go back to the top mountain. I'm just doing a thin line, and then taking in some gray that we already have mixed in, just trying to bet out the remaining of the top mountain. What we're trying to do is make it very, very light, so you can keep adding in white to make sure that we end up with a very light mix. Something that almost merges into the sky. Let's do the same for the previous mountain, just adding a little darker color along the edge. Now that we've completed the top section, we can move into the bottom where there's water. So we're going into the same bluish gray that we had at the top for the sky. And we're going to do the two ends the right and the left coming from the edge of the paper, and then connecting as we go lower. You can even go darker in color as we move away from the mountain. Just go back and forth so you end up with a very nice mix of colors, a beautiful blend in swift flat lines. In case you have any flat lines, just go ahead and take more of the cree and go over it all the way from top to bottom. L et the painting dry a bit before proceeding. Once it is dry, let's take our thin brush, and we're going to add in a mountain on like an island mountain in the water. Using our dark gray color, just paint out that mountain. We can add some cute trees to this mountain. We are now going to add some reflection for the mountains onto the water. So mix a little bit of white or gray to our color. And you're going to add some quick lines in the opposite direction of the mountain. So following the same height. Once we have that ready, we're going to add a little bit more depth to the piece. Depth can be added by adding black or shadows to what we've painted. So let's take black directly from our paint, add a little bit of water and just paint out the start of the island. So we're not doing it all the way through just t middle. And covering the bottom of the island to show that the shadow is much more stronger there. Wash out your brush and now using white. We're going to add the light reflection onto the water. So this is going to be at the middle of where the mountains connect, and you're going to do quick lines with the white. Try to make them as thin as possible as they move dos. It really helps to use a thin brush, so that way you end up with a thinner line. Using cray, continue adding reflections to the water by using some quick lines. As I mentioned, we are doing the same height as the mountain at the bottom. If the height of the mountain is about 1 " on top, you're going to do the reflection all the way 1 " below. If you can, the closer you can get to the shape of the mountain, the more alistic it looks. T. Once we've completed that, let's use the same gray color and paint out the bottom of tion. This is much further away from the light, and so it's going to be darker in color. Blend it out by going back and forth. You can add more water to the mix, so it evens out. Gently also go a little bit in between our existing white lines. This gives those lines a little shadow, which is really pretty. The bottom section still feels a little incomplete. Using light gray, we're just going to go back and forth in that area. So it blends out better. We're almost done with the piece. But looking at it, I felt like it needed a little bit more depth. So Using the black. Let's just add a little bit depth to the bottom of the mountain. So just a thin line along the bottom. And this is our first painting. Make sure you remove out your masking tape to reveal our finished artwork. 5. Greenary: Are you ready for our second painting? So get your paper prepared with your masking tape on all four sides, and we can get started with mixing. So I'm starting with blue. We're going to take a little bit of blue, and then we're going to mix a variety of colors. It's easier to mix colors on a palette or a disposable sheet. So I'm taking a lot of white for the next mix. And more blue. And this time, we can take ale bit of green, so we get a blue green shade. And then finally a green. Let's add a bit of yellow on the side so that when we mix, we have that color ready to use. Finally, let's get some white on its own along the side. Again, it's just going to be easier for us to mix the colors on the palette. Now I'm going to switch to either an old brush or a basically anything that's going to make it easier to mi. Add some drops of water to activate the paint. Mixing our white and a little bit of the blue, so we get a nice shade for our sky. We can go to the layer on top, which is mainly the blue, and it has a little bit of white in the brush, so we're going to get a nice creamy mix of a slightly warm blue, which is exactly what we want. I'm going ahead with the same brah mixing in my green and blue mix, and this should give you a blue green color. Again, a very, very pretty color. Gently move around your paint, so you really get the mix going. If you need to add more paint, go ahead, Gage can always be reactivated when you add water. But remember to have enough of paint because when you get into mixing, we want to be able to paint, you know, quickly and with enough of paint. If you don't have enough, then sometimes your painting will dry and you're not going to get the look that you want. So you can see what I did there. I added a little bit of the yellow to the green. So we have three shades of green that's going on. I can add a little bit more white to this. So it becomes even more lighter, and we've got this mix of colors. As we paint, we're going to explore more. Now, with a pencil, I'm just planning out how I want the mountains to look. Just getting a base idea. So we've got about one, two, three, four, five mountains layered, beginning with the sky. So I've switched to my flat brush, and I'm going in with the dark blue color and just painting the top of the sheet. Making sure I go all the way to the edge so that I don't leave any gaps. Now we can go with the litle blue. Gently mixing it in, going all the way to the top. We want to avoid any brush marks. So try not to do any fixed vertical or horizontal lines. You can see how I'm just layering them on top of each other, so it's a much more gentle blend. Doing the edge of the mountain and adding in white as I go lower because I really want the mountain to shine to look obvious. I don't want it to be taken away by the sky. Added in a little bit of green. You can see that bluish green that's come through and just adding that color. Using white to mix together the colors. It's much easier to do this with a flat brush because we can cover more space. Now, I'm washing my brush, and then just taking a little bit more of that dark blue and going over the section. Just go over the entire area again. What we want to make sure is the paint is still wet so that it blends naturally. If it dries up, you would need to paint that section again. Now, going to the next mountain, unlike what we did in the previous painting, we're going to go in with our blue directly. And this is going to be a much darker blue because previously for the sky, we ended up lightening it out. So this is perfect. We want that bright blue color coming in, especially around the top of the mountain. As we go lower, you can light it out by using the light blue ls. Make sure you use the edge of the brush so you get a crisp finish. Now that we've completed this. Let's go into the next mountain. Here I'm using green. But mixed in with blue. So I didn't wash my brush with that blue that was already in the brush, I continued with the mountain. And so you end up with this bluish green mix. Now, as I get to the center, I'm going to add little darker green, and you can see how that darkens it up. Makes it look like it's in shadow. Moving on to the next mountain, making it even more green, adding a little bit of blue to give a mix of colors, and I've switched to my thin brush so I can get that grass like effect along the mountain. For the next mountain, we're going to start off with this light green that we had mixed along the side edge, as well as the next mountain, again, doing that edge. Now continuing with a green, painting the remaining area of the mountain. Just be careful when you're blending. We don't want to blend it out too much. We still want that yellow color to come through. If your paint is feeling a little dry, make sure to add in water because as we keep painting, water evaporates, and so we might end up with a much more dry mix than what we initially started. So just make sure to add in a drop of water every time that happens. And we've caught our next mountain. Let's do even the base. Similar process we, light yellow, and then using green to complete that area. Next, we're going to do some bushes. No bushes. Sorry. Branches of trees along the edge of the painting. So I'm just making an assumption that we have a tree that's peaking in. And so we have this green color leaves that are just showing through the edge. So using our mild green color, we're going to just paint out just a very happy thought. You can see I'm making sure that there's a little bit of texture, so I'm not going back and forth. I'm kind of just trying to get more of a on and off look by swishing around my brush, as we get to the edge of that section, making it even more textured by adding more smaller dots. Now, let's add a little bit of black to this green. Or you can use a brown. I feel like the brown is a little bit better. Black tends to darken up the paint a lot more. You can use this dark green, and we're going to add depth to the piece. So I'm starting with the top of the mountain, just adding this dark green to show the trees that are there in that using the light green to continue on with the trees. Doing the neck, doing the same technique for the below mounted. L et's also do the section that is right next to the base with the screen. Going to our other mountain, adding that dark crane just in lumps of cloud lumps. Basically, it shows that there are shadows in those areas and it's ge is completely flat and gives it more texture. Using the dark green, we're also going to add a layer for the branches. You can see this layer is much smaller and doesn't go all the way to the end like our previous light green layer. Now let's take some dark brown and we're going to do our branch. So doing a thin line with dark brown and some branches and stems. He seeing black, we're just going to add some depth. We just stride below those sections of trees that we added in a little bit along the base. We can also add in some trees, and this black is going to lift the entire painting. It's the area that is in the shadow, so it's truly important and it gives the entire piece more depth. Finally, I love how the pas turned out, but I wanted to add in a couple of birds. So birds are very easy to do. You just do a circle, very small circle for the body, and in curves in the shape of a or inverted W for the wings. The sizes to get different sized birds. And as simple as that, stick to three. I think that looks good. I ended up doing more, which I did regret ly drawn, and I could have removed it by just adding another layer of garage. But I thought it kind of worked, so I let it go. Once you're happy, the piece is completely dry. Remove out your tip. And we have completed our second stunning painting from the series. 6. In the Shadows: This is a really fun painting that we're going to dive right into in the shadows. So let's start with our pencil sketch of planning out our details. So we're just going to have three mountains in this one. I wanted to pick a color that was a little bit different from what we've been going for. It's rare to find more of purple shades. So I thought it would be very interesting to kind of create something in that. You can get purple by mixing blue and crimson with a little bit of white should give you the shade of purple that we're going for. So let's take a little bit of purple, and then we're going to take a lot of white to get a very light pastel sheet. Now, using clear water, to add a drop to the mix, and then with an old brush, just move around the paint to mix through the color to get a very light. I would say a lilac color. Lavender, it's more lavender than purple, and that's the color we're going for. Using a per, let's just check the color before we proceed. I wanted to make sure it's a light shade because sometimes when mixing the colors look different, and then when they dry, they turn out darker. So once we have the shade that we're happy with, let's go ahead and paint our sky. Continue painting with white. So we gently blending in the white to lighten up the color as we move upwards. In this painting, I'm just going back and forth with the white so we get a clean line instead of what we did before. Now, using the whe, let's add in some clouds. Clouds, it's all about the shape. You want to go for an oval shape, and that's perfect to get your clouds. We're not focusing too much on the clouds, it's just to give a little bit of mist to the piece. Continue with the white as we go higher and higher all the way to the top. Now at the top, we are going to continue with a little bit more purple just at the edge. Blend it all, make sure that it's very nice and clear for we move on to painting some clouds. Time to paint our mountains. So going in with the same purple add a little bit of the darker lavender color and continue painting the topmost mountains. So this is going to be a very shaped difference, too. Keep it very, very light. Yeah. L et us add more lavender to the mix so it becomes slightly and paint in the next mountain. Moving lower. So we're going to again add a little bit more lavender. And here, we're going to try to mix in the shade, so it's not just toe or a flat color, so we're going to play around with that a b. So as we go down, we're going to go into a lighter shade. By adding in that light mix and completing the entire mountain. On the other side, we're going to keep the dark color at the top. You can see this is very, very dark compared to what we've been doing. And then as we go lower, just adding in the lander and filling up the space. This gives it a little bit more and more details. We're almost done with the backdrop, Let's use a little bit of white and just extend the cloud the mountain. So that way it looks like the mist is come, and that's going to just really add to the painting. Now, for the bottom section, let's add black and green to paint out the base of the landscape. Start with black towards one edge and then add more green as you get to the center. Time to switch to our thin brush, and we're going to add in trees. We are going to be doing the trees in the d to your lines, and I'm clumping together. Two, three sets together and then keeping a space. Had in the trees like we practiced in our practice exercise. So start small and then as you move your way down, create the conical shape. After completing the trees, we're now going into the foreground. So let's use a little bit of white to this green mix to get a lighter shade of green. We're now going to add this as bushes in the foreground. Start by gently dabbing the brush to create multiple dots next to each other. We're doing this in clumps, so it's not all over. It's not like an outline. You can see how I'm clumping together sections in a very random asymmetrical way. When I'm happy with the result, I'm going to add a little bit more white to this, so it lightened down given and we're going to add highlights to the bushes. So the highlight will come just along where the sun would hit the bushes. Highlights are generally even, so we're going even smaller. You can see how the details are tinier. The dots are much smaller, and we're just doing it along the top. Not as a straight line, again, we don't want to look too symmetrical, but just in clumps. Follow what I'm doing, so it's easier for you. After completing our background, we're going to add a couple of obvious leaves, and this is going to highlight the piece. So just following again, the practice exercise we did before and painting out some simple leaves. Remember that the curve of the stem is very important. It gives movement to the piece. Since we have our trees being very straight, this curve movement really really makes a difference. So make sure that you create a beautiful curved stem and then the leaves. And we're done now. If you want you can use a lighter shade of the green to go over the top, remove the marking tape along the edges once the pieces come to reveal our painting from the series. 7. Focus Mountain: Let's dive into a new painting. Prepare your sheet in advance and we can get started with our pencil drawing. This one is going to be fairly simple in terms of layout. We have our mountain in the middle and a couple of smaller crener mountains at the bottom. So in a way, our main focus is going to be on the mountain that is right there. So beginning, let's mix our colors. The first color we're going to mix is a skin tone, a pale yellow color. So add in a little bit of red yellow and white. Your proportions might need to change a bit as you keep mixing, so don't worry about it. It's a process. The next color is black and white. This is going to be mainly for the mountain. And then we're going to go into shades of green. So let's pick up some green as well as yellow for a more warm green tone. Mm. And then a little bit of just yellow that we can then mix in with green to give a lighter shade. Once you have the colors ready, just add a drop of water to the mix and we can get started. So mixing out our pale yellow color with a small bruh, the small flat brush, we're going to begin painting the sky. So start from the bottom. And gently just paint out the entire bottom half. L et's now take white in our brush and lighten down the color as it moves upwards. You can see how I need to go back and forth sometimes just to make sure that the color blends slowly. Now that we've got a very subtle backdrop that doesn't really uplift or take away from the painting, we can add a little bit of black to that mi and paint out our mountains, so it's the same shades of pale yellow. L et's start with our greens. We're going to start with light green, and then we are going to do the bottom part. Once that is done, we can move into a deeper green color and paint the remaining. Add in some white so that you can easily showcase the different layers because right now, as you can see, it's all merging into one. Adding that white is just going to balance it out. Along the bottom, we're going to use a darker green to add depth. That start painting the next mountain. Again, starting with a medium green and then going ahead with a deeper green as we finish it up. For the final mountain, we're going to start with a lighter shade of green. So add some to that mix and then continue with the blending. This part is one of the most tricky parts of the mountain because we're adding in the snow. So you need to pay attention a little bit. So wash me painted before you attempt. What I'm trying to do is create basically reshape lines to show that the snow has kind of pulled into certain areas. You know, if you look at a mountain, it's not flat, and that's where the snow kind of stays. So it's a little bit of a tricky um detail. So just have a look at what I'm doing. I'm trying to just create some areas that have inverted triangles where the snow has kind of sat, and then a couple of lines where the snow has trickled down. The top of the mountain peak, you can just add in white lines. And that would be simple enough. So just have a look at what I'm doing. I'm starting off with doing a little bit to the side. I'm doing one area at a time. For the top, I'm just painting out the white and then letting the snow trickle down. On the right side, since there's so much, you can just paint out the white area for the snow again, forming an inverted shape. Try to get as close to what I've done. It's okay if it's not right completely. And the next step, we're going to add shadow, and that's going to make it more realistic. So add in a couple of white spots where maybe the snowed and didn't flow. And what we also want to do is make sure it's a bright white, so it doesn't fade into the background. So the next part is really important, but very tricky. So we want a shade darker than what we already used for the base of the mountain, but not too dark. So if you need to test it out, just that it's a little bit, but not too. So you can see on the side I'm just checking how this color is going to turn out. And we're going to add the shadows to the mountain. And this is really going to help the entire mountain just balance out and look more realistic and three dimensional. So we're adding that gray to the sections that are below. Do you see how I'm just doing the bottom area? I'm not doing the top. Now, it really depends on our light source. In this case, I've aimed for the light source to be on top, and so the shadow is going to come at the bottom, unlike what we did previously, where it was either right or left. So do the bottom section and you can see how that automatically creates a three dimensional feel. We now step into the forest. So using our darker green, let's add layers of forest coming from our mountains. You can do this thin line, so it actually looks like it's not as dense, and then as it goes higher, it's dese. So that's a really nice view. L et's move into the next mountain, again, start with the darker green, again start small and then go up go darker. Now for the edge. More bushes. Let's continue that on the left side mountain as well. Let's mix in some white and add some stems to the bottom of and you know, bottom of the painting. So just quick lines. What we're doing is as a, we do smaller lines, and then the closer ones are longer. So this gives the of depth perspective. Let's go even more lighter. This is rarely seen, so add a little bit more white and go over that again. So smaller away and then longer ones as you get closer. Use the thin brush, so we get the thin line, and it's easier to control. We're now going to use black to add depth. So start with the sections that are moving downward to show show. So those are going to be. We're going to do that on both sides. And once we're done with that, we can do a little bit along the grass as well. And finally, let's use white to add some white flowers. So as it's far away, you go smaller and then closer, you do big white spots. So this again, brings together the piece. The white also balances out what we did above and the mountains, and the whole thing comes together. M. Let's add a couple of these white dots along the mountains as well to show that that maybe there's floss there or since it's far away, maybe it's just white that is seen through, maybe it's houses. Make sure the piece is completely, and then you can remove out your tape. And this is our final painting. I love the colors. Beautiful. 8. Rocky Mountains: Let's now move on to rocky mountains. Starting with our a six sheet. Let's get into mixing some paint. So this piece is going to be mainly focused on blues and pinks. Start with a lot of white. We're going to add a little bit of blue. To this blue. We're gonna add a little bit of green. So in the final look, I felt like the green didn't show, so it's okay if you skip it. And then we're going to go into our pink. Now, if you have pink, you can use it, otherwise, makes a little bit of red, just a little bit to the white, and you would get your pink. With the pencil, we're going to just plan out our drawing. So it's going to be a background of fountain, and then a foreground of another small island with very obvious trees that are going to be the focal point. So for the mountain, make sure that you go for a rugged shape. We're trying to avoid any curves. So just kind of keep it as pointed as possible and following the same thing downward, the same shape to show the reflection of the mountain. Once we have that ready, let's mix around our paint. So I'm adding a drop of water to our paint mixes, and then using the big brush, I'm going to go into the sky. Now, it's actually better to use the big brush because we can cover more space, and it's actually going to look better than using the small brush. So adding more white because I want a much more lighter shade. With guage, notice the colors tend to be more darker when they try. So keep that in mind when you paint. So adding two lines of blue. Let's wash out the brush completely. Continue blue for the sea, which is a reflection of the sky. Tw, let's take some white as is and continue with the blending downs. I'm trying to do quick strokes back and forth all the way from edge to edge. To way I get a nice blend across. We're going to try to get a little bit in between the mountains. Time to mix in our pink at the bottom of our sky. So take a little bit of that pink or crimson red color and start to paint the bottom of the sky. I had ale bit of blue in my brush, which is why you get this purple, muddy shade that's coming. At this point, wash the brush completely and then add in white to gently blend in the sky. It's okay if you end up painting a little bit of that mountain It's just for me to keep the shape of it, which is why I didn't paint it. Using the same thing. Let's paint the bottom of the water. Here we're not going to use a lot of. It's going to just merge with the blue. Just going back and forth all the way to the top. So we get a very nice length. Add in a little bit of white to lighten down the colors a bit more. Trying to dive into our mountain. So I'm going to be taking blue, and then adding a little bit of pink. Just a little bit, so it gives a nice shade. And that's the color I'm going to use to paint out the mountain. Using a thinner bruh, a thin flat brush might be easier as well. I was just holding this in hand, so I just continued using it, but you can switch brushes. Use quick lines by holding your brush vertical, and sorry horizontal and just add in lines as we decided before, following the same pattern as the mountain above. This is the reflection of the mountain. Now, let's take white and we're going to blend a darker shade for the shadows for the mountain. So add a little bit of cree or black to this. And we're going to start painting out the mountain. So follow along as I do this. What I'm doing is painting out sections of diamonds in a way. That's the best way to describe it. So assuming that there's a line going through, and that is where the mountain is coming, I'm going to just connect it to with a section. So this takes a little bit of understanding of how a mountain is and how the shadows would come through. But you can have a look at what I'm doing, and that is going to be a good base for you. We are mainly painting the left side of the mountain so that the right side is where the light is shining. So you can see how when I do the lines as well, they're much more jagged or they're much more harsh lines. They're not curves. And we have gaps between them in the form of like triangles that also make it look like those sections are not hit by the shadow. Adding another triangle. From the bottom, this one is much more obvious and just gently curving it. Now to show that some of the sections are much more smaller and unobvious at a couple of lines with the gray in the angle of the mountain. So this is our base mountain. It's our background, and now we're going to go into some of the details that are going to fill up the space. Adding a little bit of green to our mix, let's paint out our foreground island. And you can see how I'm making the edge a little bit even on top and very clear and crisp at the bottom because the bottom is in water. So we're just going to make sure that that is neat. And then it's time to add in some trees. So as you guys know from the practice exercises, we went through basics of trees. So just add a few of them along the bed of the mountains. So now go into adding some black detail to the island that we've got, and this is going to add some shadow and details. We're trying to avoid flat spaces just because this is going to look more natural. I love painting mountains, and especially I feel like this time. Uh, I've just been very inspired by them. It feels like I'm getting away from my daily city life to just imagining a completely different view. And it's been so great to transport myself just through these paintings. So we're going to go into adding in our trees. And you can see how I'm doing shorter trees, and now I'm going to add some long ones that are going to be the focal point of our Phillip Intra one at a time. Using the same grave, we're going to add some reflection. These are going to be darker because it's much more closer. Keeping a small gap for the island itself, we just going to do thin lines keeping a small space all the way to the bottom of the paper. Adding some more small trees along the bed of the mountains. These are basically the same height as what we had done before. But we're going to just lump them together, and this is again going to add to the background. We are almost at the end of the painting, so let's add white to our mi. We're just going to add more texture to the island, the cross there. I don't know if this is called an island because it's so small of a space. But it's really, really cute. I love how this looks. And it's coming together so pretty. The final thing we have is we're going to use white and using a thin brush, we just going to add in lines. And this is actually going to break through what we had done before and add to the effect of water. So you can see how I stop right on top, and then I'm just doing the bottom lines. Again, not all over, this is not a pale line effect, which is doing it in some areas. Now, you can remove your tape and we have a final paint. 9. Into the Mist: This is one of my favorite pieces. Painting mists. I think it just goes so hand in hand with mountains and the light shade of mist coming through. It just feels refreshing. And yeah, it feels like I'm there when I painted this piece. So starting off, let's just pencil in our mountain just so we have an idea of where everything goes. For the mountain, I'm doing a very jagged line because it's very lush. There's a lot of greenery on there. And so we're going to add that to the effect. And we also need enough space in between to add in our lists. Let's dive into some color mixing. We're going to start with Siena burnt sienna, which is a warm yellow color and green. So we're basically just working on shades of green because this painting just has a lot of different shades of green. So you can mix your own green with blue and yellow if you don't have add a little bit of brown to get a darker green. Or you can use just green and blue to get a bluish green, but try to get a variety of greens going that we can use for our pins. Now we're going to drop in white to lighten up the sheets and create a beautiful hue of colors. Now, using our brush, let's drop in some water droplets to activate the paint and get mixing. So for this painting, I'm diving right into the mountain. I'm starting off with a yellow And what's going to happen is we're assuming where the sunlight is going to be. The sunlight is going to be coming from the left side. And so we're going to dupe clumps of yellow as if it's hitting those longer bushes or trees, and it's highlighting it and it has been covered by the yellow. While it's still wet, let's add some brown in the middle. So those are sections that are in the dark. They are not getting enough sunlight, so they're going to be much more duller, I shade, they're in shadow. And then we can add in some green. So again, mix out your colors, use water to activate your paint and continue painting the remaining of the mountain. Doesn't have to be really perfect because in the next steps, we're going to go more into detail, but we want an overall mix of colors where you have your yellows on top. You have your brown on the left, and then you have your green to the right. When you have something that looks like this, let's go right into the mist. For the mist, I'm washing out my brush, taking white, and I'm going to start painting out. Now, I have a little bit of green in my paint brush. And as you're mixing, you are going to get a little bit of green, and that's okay. So mist is generally opaque. But some sections are more translucent, where you can see beneath. Right? Or you can see behind the mist. So it's not going to be full completely white in color, even though it looks that way, it's actually going to be the colors reflected from the surroundings. So we want something green. You can do a little bit of a mist up, as well. We still need to do the sky. So don't worry too much about it. We can do the sky and come back to the mist portion. We're going to keep the sky extremely simple, just so the highlight is the mountain itself. Keeping that in mind. I'm going to use by brush that has that little bit of green and paint out the entire sky. For a slight shade of sunlight, we can add a little bit of yellow. You can see how little those colors are. Even though it looks like I'm taking a lot, it actually isn't. It's so soft. And that's when you have just a very gentle color coming in. Don't worry if right now your piece doesn't look perfect, we're going to continue painting the bottom of the mountain and the foreground of our painting with a bright green. Mixing in some brown for the base and then painting out the bottom e than the above green layer. And you can see how I'm doing that. And this looks much darker and we wanted to be in that shade of colors. So this is where I tell my students to trust the process. Looks like a mess. No idea what's happening. We're going to switch to our small brush, our thinner brush, and we're going to go into details, right? So, calm down. We're going to take it one step at a time, and it's going to look beautiful at the end. So this is a process, I would say, take your time with because it's so important. It's the details that matter. So I'm taking yellow, and I'm adding it to those areas that have more of the yellow around the base. As I said, this is where the sunlight is hitting the painting, the bushes. And that's why you have these clumps of yellow that are showing through. Right below that, we can take some green and paint just simple dots or dashes. I prefer dots because it looks more realistic because we think of branches and leaves. When you see them from far away, they look like dabs of paint. So we're going for just more of dots. Again, clumping them together. As we get closer to the yellow sections, adding more of the deeper green. Continue to repeat the process. So we've got our bright green next to the yellow, and then we've got our brown or dark green color in in the middle, so lesser in Asia. And you can see how that's all coming together. We're moving on to the back of the mountain, and this section is going to be completely in brown because it's not getting the light. It's in the shadow, so it's going to have more depth, and so we're going to just add our darker to that area. Okay. So now let's go into our foreground. We're going to do the trees that are right in front of the mist. So taking our dark green color. Theyg in painting the trees in the middle. So these are going to be in green color. They're not in black. They're not the darkest color and follow the tree painting that we practiced earlier. M Now that we've got all this going, time to fix our mist. So what I'm going to do is add a lot of water to my white, and I'm just going over certain areas. So basically just the top or between sections. So I'm not painting the entire thing because I want that greenish white to also be seen because that was also beautiful, and as I said, the mist isn't purely white. You can see through it. So we're just getting that little bit of brighter white to make it more obvious that this is the mist and also fixing some of the edges. Just swish around your brush to get those effects. Right? So we're not just using the tip, we're pressing down our brush. We can do this for the top of the mountain as well. So it looks like the mist is all over the mountain. It's not just in that middle section randomly. Time to move into our remaining trees, so we're going to take a darker brown color. If you need to add more brown, go ahead and do that. These trees are going to be slightly taller or much more taller to what we painted before. Paint out your tree and fill up that space. Now we switch to black. So we're going full on. These are going to be the most focal point trees, they're going to be in the background, and not focal point actually. That's not the right word. They're going to be the trees that complete, right? Because they are in shadow. So you've got the layers going on, and it's actually going to create the background. So go ahead with black and then just paint out the tree. We don't need to many of these, but just enough that you can see the colors behind, and you can see with this black, it's automatically just lifted up the entire painting. We're almost done, we have the bottom section of the base and you can start with a little bit of black. We're going to add some greens and whites to it, just to give it a beautiful green landscape. Drop in some yellow to balance out the yellow from above. And you can see how that looks so nice. Once you filled up the entire space, let's take some white and add in a couple of floors basically along this bed of grass. You can see how I'm clumping up the whites to bring them together. So this is going to look a lot more. Now, with black, this is just an additional step. I felt like it needed it just because there's not much of a difference between the back trees to the front cross. So just using black, I added a couple of bushes that are much more in shadow. And I felt like this created a nice barrier between the two and also a short perspective. So the front trees are taller and the back trees are shorter, and that just completes the. So this is our final painting. You can add a couple of stones, if you'd like, or any other detail. You can go ahead and even add the birds from previous. I think that would add on for sure. And once you've done, once you allow your painting to completely dry, go ahead and remove out your tape gently, making sure that you don't tear your paper, and this is our completed painting. 10. Morning Light: Are you ready to dive into another stunning painting? So morning light is all about exploring how the sun hits mountains and the beautiful landscape that we're painting today. So using a pencil, let's start with the beast where we're going to have our tree coming through on the left side. So make sure when you do your mountains, they're away from that point. So that way, they're still seen? The peak, especially is still seen through the trees. Once we have the base and beautiful and we're happy with the placement. We can start with mixing out our colors. Let's start with a little bit of yellow and a lot of white, and that's going to be for our sky as well as some other details. T The next color we are going to mix is green with yellow, so it's a much more subtle greenish yellow color. We always have to add in some blue, so let's go ahead and add our blue to the mixing with again white. And then we go into green with a little bit of white. Now, add some drops of water, and we just couldn't mix out our colors. Activate the paints and get them ready for us to start painting. So I'm using my medium size brush to the size too. And I'm starting with a yellow and adding a lot of white, so it's a very subtle light color. Begin adding yellow to the bottom of the sky following the path of the mountains. As we go higher, I'm going to wash my brush and take white to fade out this yellow. Automatically, you can see how the color is becoming more. Mae churches to go a little bit back and forth, so it blends really well. Always keep in mind that the mix needs to be creamy for it to blend well. If it's too watery or too dry, you're not going to get a really nice blend. Now, adding in some blue with white. Very subtle. Very light shade. Let's add that to the top of the painting to complete the sky. Now you can wash your brush and gently move around the paint so that it blends better. We now move on to our mountains, Let's mi a bit more of the blue with the white, so it's deeper in color, and we're going to do the mountain. Following that, let's add even more and continue with the second mountain. This time, we're going to paint just half of the mountain. And then we're going to add a darker layer for the other half. So it shows that the darker layer is in shadow, and the left side of the mountain is towards the sun. This is going to form a really nice space for our mountain. Now, when we do this edge, make sure it's not just straight. You can see how I'm making it a bit crooked. For the final mountain, we're going to go more with blue. L et's keep our base green. So mix up the green with the blue and continue painting out the base. As we move along to the right, add more of the green so stands out, and we can also add yellow at the top along the middle to show that that area has yellow along with it. L et us now use green to add in more greenery to the mountain. So you can see how I'm just doing very quick jobs for quick lines and dashes, adding more of the yellow Aspeco io to show that the light is reflecting in that area and then going towards the bottom. And as we move away from the edge, as we go, or more away, go more and more darker in color to show that that area is more in the shadow. For the next mountain, we are going to use our middle green colors, so not to b, not too dark, and we're going to start adding in just small dashes to show the greenery on the mountain. After painting out the right side, let's add a couple of these along an angle 45 degree angle on the left side as well because the greenery is on both sides. Deepen the color by adding a dark green along just the area that is directly folded. You can see how this piece now looks more t dimensional. And as I discussed in the practice excises, mountains are triangular in shape, so it's important to show that in the painting. Wh out your brush, and let's use our thin brush for the details as we continue forward. Using dark green. Let's start by adding in more details. What I'm trying to do is the area that is behind is darker in color. So make sure that it is in green because it's behind, so the shadow of the front mountain would fall on it. Time to add in brown. Now, with brown, we're making it a little darker the green, and this is going to be in create for us. Mix well, and this is going to be used to highlight, as well as draw out a tree. So start by doing the tree, add in water if it's becoming too thick and continue all the way from top to bottom. You can take a little bit of white and add it to the tree trunk. Again, giving it a little bit more dimension. Remember that white would come on the left side and not the right. Continue by adding in some branches and stems. Make sure to branch out your main tree trunk. You can see how I'm doing this with V shapes. It's now time to add in some trees, and we're going to do this with our dark brown along the bottom of the mountains. Mix more green for the tree branches. We're using our smaller brush for this so that we can get more detail and make it look very interesting. You can take more of the greens. You get a nice shade of color and start by painting on top of the stems. Continue by adding a little bit more dark green along the branches. Mixing that little green with white. We've lightened down the color, and this is going to be our next layer as well as some yellow to show that it is in sunlight. Now, using yellow, let's add in some blades of grass along the tree trunk as well as any other detail that we want to add to our painting. Along with the tree blades. Sorry, the blade of grass, I thought it would be nice to also add in some proper leaves like we did before. Using the yellow on the top leaf can continue do more greenish. Again, it looks like the top leaf hit the sunlight, which is really really n. And just few of these is more than enough. Now we have just two more steps. So wash your brush using yellow. Let's brighten out the mountain section that has the sunlight hitting it. And we're going to darken some of the areas creating more contrast in the painting. With black, let's deepen the color between the mountains to show that it's more and shadow. We're doing this by adding gentle dots. So not pressing the brush too much. That way it creates more depth. We can do this for some of the mountain sections to show that those areas may be behind or folded, just to again give more texture and make it realistic. Once you love the piece to try, remove out your tape, and this is our final painting. We just have one more to complete the series. I hope you're enjoying it and really playing with the details. The final one is actually my favorite painting. 11. Daises: This is my favorite painting from the entire series, it's actually what got me started to even think about exploring and expanding this. I love mountains and living in a country that is quite flat land and in a city. I miss nature so much. And while I do get a chance to travel and see it. Sometimes it's not enough. And that's why I started painting mountains. It felt like I was stepping into this world, exactly what I was looking for, and it was just so calming. And to have it displayed on my wall, it felt like it was part of me. And I hope that's what it does for you as well. We've got in this far. This is our final painting. I'm so excited to get started. We're going into mixes of green. We've got green with white, just green, green with yellow, and then mainly yellow. And so after all these shades, we're also going to add in different. This is the most say complex painting compared to the rest. And I'm sure after going through all those projects, this could be very easy. So let's just die right in. We've got our pencil drawing, so a nice space with enough space for daisies at the bottom. We've got our two mountains on the side, and then two longer mountains. Now, we've all the curved it on the edge, so you can see it's al de played out. So we know where the light is going to hit, which is going to be on the left side, and so the right side is going to be darker in color. So let's dive right in mixing up our blue. Starting with our smaller brush because it's a much smaller ia. Can add a little bit of green to that blue cause I really like that bluish teal color. And we paint out the top of our sky. I'll just do a bit, not too much. And then we're going to use as is and continue painting out the remaining of the sky. So that way, you've got a gentle blend that's coming down and the portion that's right next to the mountains is much more subtle. This is actually what is going to make the mountains also become highlighted and just really stand out. Let's continue mixing the remaining colors. So starting at the top, let's mix out the green with a little bit of water. Wh out your brush, mix the green and yellow, so you get a much more brighter green. And then finally the yellow with a little bit of the green to give you a lighter color. Once you have all the three shades of green, we can start with our painting. Began by using yellow at the top of the meadow. So it comes right on top along the middle. Then switch to the other green and continue painting the remaining Part. Now, you can see my brush is dry, so I'm going to add more paint, as well as also drip in a little bit of water. So it becomes a lot more moist and creamy for it to move around. Let's take more of the darker green. So that we continue with darkening up the pieces. As we go lower, add more and more of the darker green. Almost mid bay. And then as B go down, I'm actually just going to move switch to black. So it gets even more darker in color. Right? So along the edge, almost, we've got a dark black shade that we've added in. Add a little bit of water to make sure that it's creamy and easy to mix along. Can add a little bit more of black just in bunches or lines along the meadow. As you can see the base looks really flat, so let's add some of that deeper green, and just paint a little bit of that, so it's not so dark. You can see how that looks much better. Don't worry if it's not perfect, we're going to go ahead and move to the next mountain. So we're following the same idea of greens. Let's add a little bit of a lighter shade of green and just paint out the section. Switch to darker green along the bottom. It shows that it's behind this meadow that we just painted, and blended surely well, so we get a nice mix. After we complete that, let's go ahead and paint out the next mountain. We're doing the opposite side, again, starting with dark green along the bottom. And then as we go up, adding in light green. And blend it. The mountain in the back can be lighter in shade, so use a lighter green, add in some water, so it's much more creamy. And then use the dark green and this shows that it's behind the previous lantern. L et's use a little yellow along the edge just to give a little sunshine to those actions. Now, use this blue mixed with a little bit of green to paint the right side of the mountain. As I mentioned earlier, the left is where the light is, so your right side is going to be in the dark, it's going to be shadow. So we're going to make it darker in blue. And continue with the next mountain as well. Just painting that edge as well as a couple of lines that shows that maybe some areas are inside. And then again, painting out the right side of the mountain. So I didn't paint it all the way to the bottom because I wanted to add white to blend out the mountain. So it's not one shade. It starts on top and then becomes lighter as we go downwards. You can use this in the behind mountain as well. So mountains are quite complex. There's different phases. And if you really try to understand, as I mentioned, there's like triangles, and so you kind of want to get as much as the complexity in the painting, without making it too complicated, you know? So we've got here. It looks really n, and we can move on to our other details. The first thing we're gonna start off is adding trees along the edge of the mountains. Let's now move on to adding in our white daisies. So wash your brush take white, and we're starting with small dots as we are away from, you know, the viewer point. So just small dots. And then as we get and, we're going to make bigger dots, bigger sections, as well as full daisies. You can see how I'm doing this, just pay attention. Couple of them further away, then more closer. Then along the bottom, we're going to paint individual petals and actually paint out our dies. And love how that looks. You have different sizes, add a little bit of yellow to white, and then we're going to do the center of the daisies. Let's also use yellow dots to soca other flowers that are along the bed that maybe we can't see the details for. Having done that, let's white with green, and we're going to paint out our stem for the di. So we left the last part to the end where we're going to add snow to our mountain. So we've already done the left side. Now for the right, using white, let's add some snow. This is how I'm doing this. It is planted in a way. We're doing the same kind of triangle shapes, and then lines moving downward. Continue adding the stone to the other mountain as well. We are now going to use white with a little bit of cree. And this time we're going to add shadow to our snow. So use a lot of water and just add in the layer right below. Met the paste completely dry, and then you can remove out your taped edges for our finished painting. 12. Conclusion: Hi, everyone. I hope you enjoy this workshop, and I hope you have these beautiful eight pieces that you can then display on your wall or give to your friends as a gift. I am so excited that we finish this. We have these beautiful paintings that we can now learn and grow form. Please follow me on Skillshare to get updates on my new workshops that are coming up. I have a lot that's planned ahead, and also do leave your review below. Thank you so much.