Misty Green Woods-Using Watercolours

1. Welcome to the Misty Woods: Have you ever wanted to capture the serene beauty of a misty forest, those soft layers of trees fading into the distance, the quiet mood of morning fog wrapped in the shades of green. Hello, everyone. I'm Isiah, a watercolor artist with a love for nature and atmospheric landscapes. And in this class, we are going to paint something truly magical, the misty green woods. This class is perfect for beginners and intermediate watercolist. We'll start with the basics choosing the right greens, mixing the moody tones, and creating the mist. Then we'll explore key techniques like wet on wet layering for the soft, dreamy background, negative space paintings to make the trees emerge from the fog, depth and perspective using value and color. Whether you're painting for relaxation or growing your skills, this class will help you slow down, observe the nature more closely, and let watercolor do its magic. So grab your brushes, set the mood, get all your favorite greens, and let's walk into the misty green woods. See you in the class. 2. Art Supplies: All right, so let us take a look at the art supplies that you will need for this particular class. So first is the watercolor paper, and I'm using 100% cotton watercolor paper, which is of 300 GSM and minimum thickness of 140 LB. So this paper is from the brand Saunders Water food, but you can go with any paper of your choice. But make sure it is 100% cotton, okay? Now, let us take a look at the brushes that you will need for this particular class. So first is a larger sized Haque brush, basically to apply the larger washes. This is from the brand silver black velvet, but you can go with any larger sized flat brush that you have got. Next is this mob brush from Princeton, and these are the basic brushes from Silver black velvet, which is of size 12, eight, and six. So I would suggest you can grab your brushes of different sizes and keep it ready so that it'll be easy for you while you're painting. And for the colors, I will be going with Shin in and White Knights. So you can go with any brand of colors that you have got. And for a detailed list of all the colors that you will be needing for this particular painting is being elaborately explained in the colors section of this particular class. So you can go there and have a look at that section. The next up is the palette. So I'm going with a ceramic palette like this, but you can go with any of your normal palette or you can grab your dinner plate as well. Then you'll need two jars of water, one, which has to stay always clean, and the ther is to wash off all the dirty paint from your brush. Next up, you will need a masking tape to tape down your paper onto the board so that it can be firmly fixed. And next up you will need is the cloth to wipe off the excess amount of paint or water that is being collected onto the edges of your paper, and you will need a board like this to fix the paper onto the board, or you can go with a hard book cover as well. So anything that's available with you. And you'll also need a pencil and an eraser to make the pencil sketch, and that's it. These are the art supplies. Go grab them, and I'll see you soon in the next section. 3. Let's take a look at the Colours: All right, so let us take a look at the colors that you will need for this particular painting. So we need very minimal colors, and let's take a look at them. So these colors are basically a mix of white knights and shin hen. But you can go with any of your watercolor tubes or pants or cakes and any brand. Doesn't matter, right? Okay. So the first color is I think this is the green from white knights. And if you don't have this, you can go with any of your darker shade of green. And if you don't have that, take your light green, add a little bit of paints gray to it, and you can create the shade. But I believe dark green or sap green or just green is available in all the sets. Alright? Yeah. So the next color is, this is the Cerlean blue from the brand white knights. Sorry, this is from the brand Shinn. So we want to use this blue. So you can go with your seran blue or you can go with any of your light blue. So we are not going to use this color more, but we are just going to add a tint of this onto our mix of green and create a nice variation of cooler green. The next color is sepia. You can go with sepia. If you don't have that, mix a little bit of brown with your pinks gray and create this dark brown shape. Okay, and next, you will also need some olive green, so to add different tonal values onto the bottom. As I said, bring out all the greens from your palette, and you can go with any of those. Just try to mix them and then create your own magic. Alright, so to create the pathway, I am using red ochre, and this is from the brand shin hin again. So it's a nice, you know, nice, rusty brown kind of shade. And if you don't have this, you can go with your normal brown as well. It's absolutely fine. Okay? Unless and until it looks like a pathway, that's absolutely fine. Next, you will also need a little bit of black. I actually recommend you to use Pains Grey. I was running out of Pains gray, and hence I had to go with black because there was no other option. Okay, so if you don't have Pains gray, absolutely fine, you can join me and use black. All right. So these are pretty much the colors that you will need. So go, get them ready, and let's dive right into the next section. 4. Pencil Sketch: Hello, and welcome back. All right. So let us start with the pencil sketch. I'm really excited to start this painting journey along with you guys, and I hope you are equally excited, as well. So the pencil sketch is going to be really easy. We're just going to sketch out the trees so that it'll be easier for us to paint it once we have the background in place. All right. So now positioning of the trees is absolutely dependent upon how you want to do it. But if you want to follow along with me, then you can just wait for me to completely finish the pencil sketch, and then you can add it for yourself. So now I'm starting towards the left. I'm adding a large tree trunk. And, you know, I'll be adding multiple trees. So in this process, if I feel like a tree is not proper, I may go ahead and erase a little bit. So excuse me for that. And that's the reason I'm saying just wait for me to completely finish adding the pencil sketch, and then you can add it for yourself. All right, so see. This is a large tree trunk towards the right hand side, and I'll be having a couple of trees in different places and of different shapes and sizes. Why different shapes and sizes? Because we want to get the perspective of far and near. Okay? So the trees which are nearer to us will be taller, thicker and nicer. And the trees that are far away from us will be very thin and, you know, to depict it as far away, it's going to be thin. But actually, when you go closer to that tree, it's going to look thicker. So that's the rule of perspective that we are going to bring in over here. And yes, so you need not add more number of trees. The reason why I'm saying this is because when you add a lot of trees, then your background gets covered. Your background will not be, you know, I'll just go out of focus. We don't want that to happen. This painting is all about misty forest. So we want to get that misty forest glow along with the trees in the foreground. Okay, so there should be a proper balance between your background and your foreground. Alright, so I will go ahead and continue with my pencil sketch. It's really simple. There's nothing rocket science. You have to just organically move your hands, create nice shapes for your trees, and then you can pause the video, or you can follow along with me. It's up to you. The way you are comfortable, you can just go ahead with that. Alright, so yeah. Right. So this is the final pencil sketch, and, you know, if you want to do any adjustments, you can do it at this point of time, and I will see you soon in the next section. But 5. Wetting the paper: All right, so let us start our painting. So the first step is to wet the paper nicely. Since we are going to work on the wet on wet, we want the paper to, you know, remain wet for a longer duration of time. This way, we will have enough amount of time to paint our background nicely and calmly. Alright. So make sure you're going with any kind of 300 GSM, minimum 100% cotton watercolor paper. And this way, you will have, you know, nice amount of time to work on your wet on wet technique. Okay, so the details of the paper and the paper that I'm using, everything has been explained in the material section, so you can go ahead and watch that. Alright, so you can see I am using my larger sized hake brush. This is from silver black velvet, but it's not necessary. You should also go with the same brush. You can just go with any flat brush that you have got any larger sized round brush as well. You know, those quill mop brushes, right, you can go ahead and use that. So the reason why we use larger sized brush is we can cover a maximum surface area of the paper in a less amount of time. So if you go with a smaller brush, every time you need to pick the water, and, you know, again, when you come back, one side of the paper is already dry. So we don't want to have all these issues when we are painting. We just want to get relaxed and paint calmly. And that's why using the right tools is really important when you start painting. So usually, you know, sometimes we get frustrated when we are painting. It's not because we are not correct or our skills are not right. Sometimes it's the tool. It's the paper, it's the paint or it's the brush that's causing the problem. So you need to, you know, find out the root cause, what is the problem actually, and then you can begin your painting. I'm just going to go ahead, take my own sweet time and wet the paper. Meanwhile, you can also go ahead and prep your paper. All right. So now that our paper is nicely wet, we are ready to start our painting. So let us start by creating a nice mix of color that we will be using. So first, on my palette, I am mixing a green from white knights. You can go with any green that you have got. Make sure it has to be a little darker and not light green. Now to this green, I am going to add little amounts of sepia and little amounts of Cerlean blue. Now, you may ask why blue forest does not be blue, right? But we're going to create an enchanting misty forest here. So we want to have that little nice amount of bluish, cooler tones to our forest. Okay? We are not creating a warmer forest, we are creating a cooler forest. So blue is a cooler color, and hence we are using that. All right, so it is not going to be too much blue. The blue is a little hint of blue. It's very tiny amount. Okay? So before you start your main painting, I thoroughly insist you to swatch your colors onto a scrap piece of paper, and then you can go ahead and start your main painting. So prepping colors is really important. So prep a nice amount of color so that you can, straightaway, go ahead and use it onto your wet on wet background. So if you run out of colors in between, then there are chances your paper might dry. So I don't want that to happen to you. So you can prep your colors well in advance and then you can start your painting. All right. So now you can see a little paper has started drying already. So with my brush, I'm just going ahead and adding a little bit of water. Basically, I am trying to rewet my paper. So you need to carefully look at your paper, whether your paper has already started drying, whether it needs to be rewetted, all these things you need to keep in mind before you start your painting. 6. Background - Part 1: All right, so now let us start painting. So first, I am going with olive green. This is the base color, and this is the first color that we will be adding onto our forest. So make sure go with a very light tonal value. We need to start with lighter color values, and then as we progress, we are going to build the layers. Alright? So do not go with higher or, you know, darker tonal values. All right. So now you can see, I am just randomly going ahead and dropping this olive green. There is no particular space, but usually I am focusing on the center and towards the edges. So we want to have the sunlight depicting in the center. So it means that the center portion has to be retained. It has to be white and light, right, and the edges have to be darker so that, you know, it creates a nice depth. So this is a very easy step. You have to just let go of all the pressure, all the fear and just allow your colors to blend freely on the paper. So let your colors create a magic. Let it flow with the water that is present on the paper. Do not try to control anything and make sure you do not have lots of water onto your brush. The paper is nicely already wet, so you should have a little amount of water and paint. So while picking up paint as well, just take it onto your tip of your brush, and then you can slowly go ahead and release the paint on the paper. So do not have a lot of amount of paint or water. Alright, I am just repeating these steps again and again so that you should not make any mistake once you start your painting. So you can just wait for me to finish painting the background, and then you can paint it for yourself. I'm just trying to create a rough background where we have some large pine trees in the background, and I'm just trying to create a leafy structure so that once the background is nicely dry, and when you add the foreground trees, so once the final painting is finished, it will appear as though there are some trees far away in the background, and on top of that, you have some foreground trees. Alright, so now you can see I have just created a base layer, you can see. Now it's time to add a little bit of color onto the bottom. Basically onto the bottom, that is the land. We are going to have a pathway in between and onto the sides where the tree trunks are present, we need to have a ground, the ground is covered with the grass. So we are just going to create so again, for that purpose, I'm using my green. It is green from, you know, I think this is olive green. And I'm trying to mix different greens from my palate. So I like to do this because I don't want to use a single color. It should be a combination of different greens from your palate, right? Alright, so now in the center, we will be adding the pathway. So the pathway is basically I'm going with a nice red ochre. This is a nice muddy tonal value that I usually like to use for painting that pathway or basically for the ground. But if you don't have this, you can go with any brown from your palette, and, you know, you can add a little bit of red or you can add a little bit of orange. I think red makes it much more good and brighter. So you can add a little bit of red to your brown and create this nice bright red ochre. So if you have red ochre in your palette, then you can directly go ahead with that. So again, for this red ochre, that is the base, but I want to create a nice brownish shade for this. So again, I'm adding a little bit of sepia to this red ochre and creating a nice dark brown shade. So it's all about how you create you mix your colors onto the paper. That will create that magic. So if you just go ahead with one color, like I said, if you just go ahead with green for that grass, it's really going to look flat. And if you just go ahead with brown for your ground or the pathway, again, it's going to look flat, but if you want to bring that depth, if you want to get that perspective, then you have to mix different tonal values, try out different colors on your paper, and then you can go ahead with your painting. All right. So now you can just watch and then I'll explain the further process. All right. So now, since we have created a nice base layer for our forest, let us start building the layers by adding more colors. So now, again, it's a repetitive process. We are going to go ahead with the exact same colors that we used earlier. Now I'm going with my green mixture with that sepia and blue, and I'm trying to add this onto the edges. So now it's going to be a slightly darker shade compared to the first shade of color that we added. So right now, your background may be looking a little scary or you may feel like, Oh, my God, what is happening? But trust me and trust the process. As you progress further, it's going to get a lot better, and you will fall in love with your painting. So now you can see I grabbed a little bit of more color, and, you know, I'm running out of my paint, so I'm just keeping the paint prepped already so that, you know, later on, I can just calmly go ahead and paint. So nicely mix your colors onto the palette, and then you can add it onto your paper. So make sure you are mixing it nicely onto your palette. Otherwise, you're going to create large spots onto your paper, which we do want to happen. Now you can see I am dropping the paint onto the paper randomly. That is the first point, but I'm also trying to create some leafy structures. You might have seen those larger pine trees which have those nice bushes or branches, whatever you want to call, those large Christmas tree trees. So I'm just trying to create those leafy structure in the background so that once my paper dries, those leafy structures or those leafy patterns will depict as though there are trees in the background. All right? This is a very simple process. You can just watch me and then paint it for yourself. All right. So now, let us start by adding deeper tonal values onto the base. So you can go ahead with darker tonal value of that same olive green that you used earlier, or you can mix a little bit of olive green with your dark green and add it. Now it's all about creating those deeper values. So first, we went with very light values, then we went with medium tone values. Now we are creating that deeper layer of color. So make sure are not just making a flat wash. You have to just drop your paints organically and randomly and try to create those leafy patterns. Do not forget this. This is very important. Try to add those leafy patterns onto those tree trunks where you have positioned them, or you can just go ahead and randomly do it. But make sure you retain that paper white in the middle because we want to depict the sunlight over there. So now it's barely going to be the repetitive same process. I'm just going to keep ahead and go on building the layers, and you can follow along with me. All right. So now you can see how the painting is slowly taking its shape. You can see that we have added so many layers, and there's a lot more to go. So really, you need to have a lot of patience to do this. And, you know, calmly, you're just going to finish the painting. So now you can see that, you know, the colors may feel like it's going to be lighter, so we need to keep on adding more and more layers. So you can see the pathway that we added earlier. It's kind of losing its shape. So I'm going ahead and, you know, defining the pathway again. So with a clean brush, I'm just creating, you know, cleaning that mid of the pathway. We want to depict a nice trail onto the forest. Okay? So these are all these small little things that will make your painting look really natural and realistic. Okay? All right. So again, it's going to be barely the same process. We are going to keep on adding more and more layers. Now, whatever you can see on the painting, you will feel like it is dark at this moment. But once it's going to dry, it's going to look really flat and, you know, light. So we don't want that to happen. While our paper is still wet, we are going to make use of this time and paint the beautiful background. So now, with even more darker tonal value of that same green mixture that we created earlier, I'm defining leaves onto those spaces that are present. So basically, wherever you have positioned your trees, you can go ahead and add on either side of those tree trunks these kind of leaves. So instead of randomly adding them, just try to look at your paper, try to search for the pencil sketch that you have added and try to create those leaves kind of structure on either side of those tree trunks. Again, it is very easy and it is a random process. It's not like you are, you know, going to define the leaves in a detailed manner. This is just to depict that there are some leaves in the background. All right. So you can just watch and then create it for yourself. All right, so this is the first layer of background that we have created. Now that the paper is still wet, we're going to add few more layers and then we'll go ahead with the background. I'll see you soon in the next section. 7. Background - Part 2: All right. So now that we have some time left, the paper is still a little wet. So I'm going to quickly go ahead and add a second layer of the background. So if at all, your paper has completely dried and if you wish to add another layer of the background, then you need to wait for the paper to completely dry, and then you need to rewet the paper and then begin this process. Alright. Since my paper is still slightly wet, I have still some more time, so I'm going to go ahead and paint the second layer. So for the second layer, I'm just going to create those leaves as we did it in the previous section. And this time, I'm going to go ahead with a darker tone. Okay? So you can see, I'm just trying to define those leaves on top of the previously added leaves, right. It's going to be repetitive process. So on either side of the branches, we are just going to go ahead and add these leaves. And if you feel like there are some empty areas in your painting, then you can go ahead and cover up those areas by adding these leaves. And try not to add a lot of these leaves because otherwise, you know, you will have no space left. So we want every layout of the painting to be visible nicely, right? So just try to be minimalistic. Okay, so I'll just quickly go ahead and add this. So first, you can watch me and then you can paint it for yourself. All right. So now you can see, I am just trying to add those leafy patterns onto the top as well. It is very simple. I'm just pressing the tip of my brush onto the paper and just trying to create this random dot like patterns, just to depict there are some leaves. But this time for the second layer, we are going with a higher intensity of the color. Okay? So just make sure you follow these tips and tricks and, you know, make your painting stand out. All right. So you can just go on with this process, and if you're already satisfied with the way it has turned out, then you can pause or you can stop and you can go ahead with the next section. So I'm just trying to create some effects of these leaves onto the edges as well. So since I have the paper wet, I am still going ahead with this process, but if your paper is already dried, then you can stop and go with the next section. All right. So then I'll see you soon in the next section. 8. Painting the Trees: Do All right, so the background has beautifully dried. So now we can start painting the foreground. So you can paint the trees based upon the pencil sketch that you have added earlier, and if the pencil sketch is not visible, then no worries, you can follow along with me and position the trees. Alright, so for painting the trees, I will be using the lamp black, and this lamp black is from the brand in, but you will also find it in the white knights or any other set. So you can go with any black that you have and if you would like, you would also go with a little bit of sepia and paints gray and create a nice shade. And you can go ahead with that as well. So it's all about experimenting with the colors, right? So I thought black would make the painting stand out, and, you know, it would make the trees look more, you know, brighter and nicer. So I'm just going with this color. So you can see this is the first tree that we had sketched and it is closer to the viewer. And hence, it's going to be bright, bold and thick and tall, right. So this is just going to be the simple process in the entire painting because you need not apply a lot of brains or, you know, you just need not focus much because you're just going to fill out the color onto the shape of the tree that you have already added. And at this point of time, if you want to adjust the shape of the tree, like if you want to make it a little thicker or if you want to make it a little thinner or, you know, a little bit crooked, then this is the time you can do it with the help of your paint. So there's nothing much to explain here. It's just, you know, you enjoying the process and having a lot of patients to paint the trees and, you know, just enjoy the process. That's what I would like to see. And one more thing we are going to take care here is all the trees are not going to be painted with the same color. It's going to be a little different. You remember the rule of perspective. So the trees that are far away from the viewer, they are going to appear lighter and thinner. That means you're going to paint them using a different color and a lighter tonal value. So now you can see the second tree that I have added just now, I did not go with black color. I just went ahead with the color that we used for the background, and I added a lot of water to that paint, made it a little lighter tonal value, and then I added this on top of the background. So this kind of gives the rule of perspective. Now, if you look at the painting, the tree that we added earlier, that is the black one, it is appearing closer to the viewer. And the tree that I have painted just now, that is behind the tree trunk that we painted earlier. So I hope you're getting this rule of perspective. So this is what we are trying to achieve in this painting. So if you go ahead and paint all the trees with the same size, same shape, same color, then it's not going to make any difference. It is just going to look very flat, but we want to bring in this rule of perspective we want to bring that natural essence of the forest. And that's the reason we have to go ahead and play with different tonal values, different shapes, different size, different positioning of the trees. Everything makes the painting beautiful and realistic. So you need to keep all these factors in the mind before you begin the painting. And that's the reason I said, pencil sketch is really important here because later once you start the painting, there should not be a moment, you know, like where I need to position my trees. Oh, my. This pressure should not be there. So in order to, you know, remove that pressure, I just told you to position the trees so that later on when you start the painting, you can just straightaway go ahead and just fill in the shapes. All right. So I think I've explained a lot. Now, you can just wait for me to finish, and then you can follow along with me. Alright. So yeah. Alright, so I have added few trees. Now, you remember I told you that the center portion is reserved for the sunlight, so I am creating that right away. So, you know, with the help of clean brush, you're just going to lift off some of that black paint from the tree and try to create the sun. So the sun is right behind that tree. So half of the sun is behind that tree and half is in the space. So we are just trying to create that bright sunlight that is hitting the tree and the rays are passing through the tree trunk. Okay? So from there, you are just going to lift off the paint. So make sure while lifting off the paint, each time you lift off the paint, you need to clean your brush before you go with the next lifting off. Okay? If you do not clean your brush, you are going to ruin the painting. I'm just reminding you this. Please make sure you're going with a nice clean brush each time you lift off the paint. So now you can see we have created nice sun behind that tree, and, you know, everything is looking beautiful. So so now, this is the reason I told you why the center portion has to be white. And if you want, you could go ahead and create some strokes. But please make sure you lift off the paint, you dip it in the water, clean the brush, and then go ahead with the next one. All right. So yeah, you can just watch me and then do it for yourself. Alright, so now we have finished adding the trees. So the next step is to add some twigs or some branches onto these trees. So these are very delicate, and I suggest you to go ahead with your smaller sized brush. And if you have a rigor brush, that is absolutely good because the rigor brush has a nice thin pointed tip, and it allows you to add these thin delicate lines or branches. But if you don't have, that's completely fine, you can go with any of your other round brush like size number zero or size number one. So you can see, I am adding these little teeny, tiny branches onto either side of the tree trunk. So now there is no particular position where you need to place them. It's completely organic, so you can just go ahead and place them anywhere that you would like. And again, you need to keep one thing in mind. They are not all of the same size and same shape. So the size is going to be the same. It is going to remain thin, but it's not going to be in the same place or it's not going to be of the same length. That is what I am trying to tell here. So it's going to be a repetitive process, and we are not going to add this onto every tree, but if you would like to, then if you have so much of patience to do that. Then you can go ahead and, you know, add it. Basically, it is really therapeutic. I really enjoy painting trees and, you know, I just get lost when I'm painting them. So it's absolutely up to you. You can turn on some nice music, or if you are a podcast person, then you can turn on a nice podcast and then dive into this painting and, you know, paint those branches. All right, so we have finished adding those thin delicate branches, and I'm absolutely loving the painting. And yeah, there's a lot more to go, so I'll see you soon in the next section. 9. Painting the grass: Do All right. So now that the foreground is also completely dried, now we can finally go ahead and add the details. So for the details, I thought that the ground is looking really flat. So I thought of adding few textures or some grassy patterns onto the ground. So to add these grassy patterns, it's really simple. Go with any of your smaller sized brush to get those nice thin, fine lines. And, you know, you can go with green on your palette, which is already pre mixed for your different backgrounds that you have used earlier. So you can go ahead with that. And, you know, if you want to add a little darker tone of this green shade, then you can mix a little bit of sepia or wendy c brown or even paints gray and, you know, make it look a little darker. So it's very easy. I'm just moving my hand in a particular direction, and, you know, it's not like you need to add the grasses of the same shape or size or anything. It's just random. Based on your intuition, you can just go ahead and place these grassy patterns. Okay? And the more the grasses are closer to you, it should be very thick and, you know, it should be in depth. So those grasses should appear a little dark. The compare to the grasses that are towards the tree trunks, I mean, further away. Okay. So again, to maintain the rule of perspective, you need to bring in this depth in your painting. So I'm just going to go ahead and paint these grasses on either side. So the procedure is going to remain the same. So you can just wait and watch for me to complete this, and then you can add it. Or if you're comfortable, you can just go ahead and, you know paint along with me. All right. So now you can see the grasses have been added on either side, but, you know, I feel like watercolor dries lighter. You know, it starts appearing to get a little lighter when it starts getting dried. So I'm just going with the second layer of green. And I'm focusing more on to the edges and towards the bottom, because I want that depth to be achieved. So you're not going to go ahead and paint in a single tonal value. It is again going to make your painting look really flat. So if you want to bring that realism in your painting, then you need to vary the tonal values. Keep in mind the perspectives, and, you know, all these things altogether put they make the painting look more beautiful than you even think. So even the simple subjects like painting a forest or, you know, simple green landscape, if you add a lot of details and realmism, right, the painting will come to its life so it's not the complexity of the subjects, but even the simpler things may start looking beautiful when you take care of these small little things. All right. So having said that, I'm really satisfied with the way the painting has already taken its shape, and I absolutely loved the background, the misty background. And now by adding these lush, green, grassy patterns, it's making the painting look even more, you know, lively. So I think we are left with some few final details, and I'll see you soon in the next section. 10. Painting the pathway: Alright, so we are onto the last and the final stage of the painting. So we are going to, you know, add that pathway, which we have already added earlier, but after drying up, it has become a little lighter. So we are going to repaint it. Alright. So I'm just going ahead with the same colors. So it is red ochre, and I'm using that color. But if you don't have this, you can go ahead with your burnt sienna. And if you don't even have burnt sienna, then you can take a little bit of red. You can mix a little bit of Wendi ke brown and create your own sheet. Alright? So, yes. So you can see I started with a darker tonal value onto the edges of the pathway, and I'm just trying to pull and push the paint towards the center, and, you know, I'm trying to create a smooth and soft blend. So again, if you just go ahead and paint the pathway in a thick, bold color, it's not going to look realistic. It's really going to look very flat, but we don't want that. We want to achieve that depth. We want to bring that realistic look for our painting, and because of that, we are going to add a little different strokes. So now you can see on the left and on the right side of the pathway, the color is going to be really dark. And on the middle, it's as though, you know, someone has walked over that pathway, and that gets a little lighter. So I hope you have seen those pathways, right? So it's like a small trail that is passing through the jungle or through the enchanting woods. Alright. So one more thing I would like to share with you guys is when I'm painting such kind of landscapes, right, basically these kind of greenery, misty landscapes, I totally get lost. And whenever I'm preparing the voiceover and when I'm trying to explain the painting process, right? I really get lost, and I really feel like I'm a mist the landscape, and I'm sitting there, you know, and trying to bring back those memories of painting. So yeah, I really thoroughly enjoy the process, and I hope you guys are enjoying the process and your painting as well. All right, so I'm just going to go ahead and add finish all these details. But if you are already happy with your painting, then you can completely stop. You can sit back and relax and watch me painting. Alright? Okay. All right. So this is how the pathway is looking. So just with a nice clean, damp brush, I'm just trying to lift off the paint from the middle to make it look more natural and realistic. All right. So if you have already painted your pathway, and if you're already happy with the way your painting has taken its shape, we'll see you soon in the next section where I will be revealing you the final painting. 11. Thank You: All right. So the painting is completely dried, and we can go ahead and peel off the masking tape. Alright, so I completely loved the painting process, and I'm in love with the painting that we have created. And I hope you are in love with your painting, as well. I highly encourage you to post your beautiful creations in the class project section of this particular class, and I also encourage you to leave a constructive review or a feedback so that it will help me to improve my future classes. And you can also provide me some suggestions. And if you want to post this on Instagram, do tag me using my Instagram handle my pain story, and I would be sharing your beautiful creations with everyone else out there on the platform. Alright, so that's it for this particular class. I just entirely love this class, and I have nothing else to say apart from staring this beautiful painting. Alright, so see you soon in the upcoming classes. Until then, bye bye. Take care and happy painting.