Monsoon Fields | Step by Step Watercolor painting

1. Introduction: With each monsoon, the fields come alive, reflecting the sky's color as the rain nourishes the land. The wet Earth, lush greenery, and shimmering water creates a serene, ever changing canvas. In this class, we will paint the quiet beauty of the monsoon fields, capturing the magic of this season and its connection to the nature. Hello, I'm Shannon Suman. I'm an engineer, turned artist, residing in Bangalore, India. I love painting landscapes. You can check out my artworks inspired by nature on my Instagram feet. I go by the handle water curls. I have several classes on Skillshare that focuses on painting landscape. You can check them out. Welcome to my Skillshare class on painting monsoon fields. In this class, we are going to paint a lovely monsoon scene. This class is designed for someone who has already been painting with watercolors or is familiar with the watercolor techniques so that it is easy to paint along with me. If you're a beginner and new to watercolors, then I would recommend you check out my older classes, which covers a lot of watercolor techniques. However, we have a brief section to quickly brush up on the techniques needed for the class. I'll share my tips and tricks to simplify the process, and I'll also talk about all the colors that would be used in the class. I'll be teaching this class in a step by step manner, providing clear instructions and careful explanations to ensure you can easily follow along with me. Without any further delay, let's get started with the class. 2. Art supplies: Before we begin, let me walk you through all the art supplies needed for the class. You can use any similar alternative supplies that's already available with you. Here are the art supplies I'll be using for this class. Let's start with brushes. For paper washes are covering larger area. I'm using silver ata size 240 brush. This is quite large and you don't need to have this exact same brush. Any larger size brush will work just fine. Next, I have Princeton Nepsun size six mom brush, which I'll be using for bigger brush rokes. Since I'm working on a larger paper, we would need a larger brush. Additionally, I have a similar sized brush, which is silver ato size 80. These two are similar sized brushes, and I might switch between the two depending on what feels more convenient at the time. Next, we have size 12 round brush by silver black velvet. This is for the regular brushok. Next, I have silver black velvet, size eight round brush with a pointed tip. I'll be using this for smaller brush strokes, and it is perfect for making precise marks with the pointed tip. Lastly, I have size two round brush for fine lining and detailing work. Next, let us talk about the colors. I'm using artist grade colors stored in the airtight container or the palette. This palette has 24 wells, which is great for storing a variety of shades. I have a separate chapter dedicated to listing all the colors I will be using in this class. Additionally, there are wells in the palette that allow me to easily mix colors as needed. If you don't have any space to mix the colors, you could use a glass or a ceramic plate for color mixing. Next, let us talk about the papers. Here, I am using Bohng 300 GSM, 100% cotton paper, and it is of a coal pressed texture, which is slightly textured. This paper being 100% cotton, absorbs good amount of water and remains wet for a longer duration. The size of this paper is 14 by 12 ". Next, we will need two jars of water. Here I'm using one jar and one tub. The jar is for maintaining clean water while the other one is for rinsing off dirty paints. When I'm working on larger paper, I find a tub more convenient because it allows me to clean my brushes easily and speeds up the painting process. Additionally, I have one more jar of water just in case I need clean water. We will also need a water spray bottle, which is useful for spreading and blending the colors, as well as reactivating dried paints. Next, we will need some napkins and a tissue paper. These will be handy for wiping off excess paints and cleaning the brushes after every use. We would need a head dryer to speed up the drying time during the painting process. It's okay if you do not have a head dryer. You could naturally let it dry. Since I'm going to paint on a larger paper, I need something to support it. I'll be using a piece of plywood as my base. I'm going to place the wet paper on this, which allows me to easily rotate and move the paper during the painting process. Also, avoid sticking the paper directly onto the paper as that can restrict the flow and movement of the watercolors. Using a movable surface like this will give you more flexibility and control while painting. All right. That's about the supplies. Let us move on to our next chapter. 3. Colors list: In this chapter, we will go over the colors needed for this class. I'll demonstrate both the darker tones and the diluted ones, so you can get a better understanding of the colors and you can select the ones that you already have with you. The first color is pines gray. Then we have sepia. You could also mix burn timber and ultramarine blue. It will result in a similar darker brown shade. Next, we have ultramarine blue. This is a primary color and cannot be achieved by mixing any other two shades. Next, we need indigo. You could add some brown to the blue color. Next is violet. You could get this by mixing cool red and cool blue. Next, we have a warmer green color. The name of this color is yellow green, but I tend to call it as olive green. Because it is very easy to remember. Next, I'll take forest green. This is a very cool green color. You could get this similar shade by mixing cool blue and a cool yellow. Next, we have a shadow green. This could be achieved by mixing brown, paints gray, and a little bit of green. Then we have yellow cer. If you don't have this color, you could mix yellow and a little bit of brown. Next, we have Indian red color. You could also mix red with the burn Cana or burned timber to achieve this color. Next is burned timber, and I have poured the color on the side of the palette because I don't have any other space left. Then we would need raw umber. If you don't have this color, you could mix burnt umber or any brown color with a yellow color. Next, any yellow color. You could use Cadmum yellow, permanent yellow, and then lastly, Cobi blue. This is again a primary color. That's all about the colors. 4. Techniques: In this chapter, we will quickly go over some key watercolor techniques. First, we have wet on wet, where wet paint is applied to a wet surface. This creates soft and diffused effects. Next, we have wet on dry where wet paint is applied on a dry surface. This results in a sharper and more defined brush strokes. Next is dry brush effect or dry on dry technique. Here, we remove excess paint from the brush using a tissue or a napkin. Then when we apply the paints, it creates a textured look. This is a very important technique for this class to create textured effects. Next, let us talk about swift brush strokes or swift brush movements. In this technique, we need to move our brush quickly to create dynamic flowing effects in the element. Watch how I move the brush rapidly to achieve these swift and smooth effects in the areas we want to emphasize. I'll be using this in the fields to create swift movements in the elements we want to paint. We have to move the brush so fast that it creates a nice texture defect. Oh. Moving on, let's talk about adding details on the damp paper. In watercolor, we often build multiple layers while the paper is still damp. Since the drying process takes time, we can go back and forth adding details as we work. For example, I'll paint a simple mountain. This is just for demonstration purpose. There's no mountain in the actual class. But this will help us illustrate the technique. Below this area, I'll paint another example, which is a simple field. An After applying the base layer, as the paper starts to dry and becomes damp, we'll go back and add details. When you apply the paints on a damp area, the colors will tend to appear diffused, but you will still be able to add the details you want. This is the same approach we will use in our actual painting where we are revisiting areas to redefine them as needed. After waiting for some more time, I have added some more details here. Similarly, I'll repeat the same for the field as well. The paper is damp. I'm going to add some details defining the shape. Next, I'll show you the difference between single brastrok and repeated brates. In your painting, try to use single brakes and avoid going over the same area multiple times. I'll a greenish color quickly and a simple as an example. In the first example, I will use one or two quick rushtrokes, creating a seamless light and airy watercolor effect. In the second example, I'll apply repeated brush strokes and you will notice that it looks overlap. That's why we are using bruh. Try to avoid these repeated brush strokes in your painting for a cleaner finish. Now compare the two and you will clearly see the difference. Which style would you prefer to paint? Initially, it might feel challenging, but with practice, you will get the hang of it. Even I am still trying to follow this method, though sometimes I slip back into my old painting habits. 5. Part 1 - Sketching : I'm starting by placing the paper on a plywood sheet, which is resting on a slanted easel. This setup allows me to easily rotate the paper and control the direction of the pain flow as I work. As I mentioned earlier, the paper size is 15 by 12 ". Now I'm going to wet the back side of the paper and once it is thoroughly wet, I'll stick it onto the plywood sheet. The brush that I'm using here is silver golden tacklin quill brush. This is of the size 240. It is such a huge brush for watercolor paintings. I'm really impressed by the amount of water it holds. Simply amazing for large watercolor artworks. All right. Now that the paper is secured with water. Next, I'm going to start sketching the composition for the landscape. I will begin by making the line where the sky meets the land or water. I'll place this line in the upper half of the paper. Now around the horizon area, I'll sketch a few distant houses. You can keep it simple as well and just add one or two houses. It's entirely up to you. Next, I will mark the area for the field. Pay close attention to the angles between the lines as this will make it easier to replicate. Fields are often divided by boundaries which he store water during monsoon season and are later used for agriculture purpose. T. In the background, I'll add some bushes and coconut trees as well. I have a nice connection with the coconut trees and fields. I grew up in a coastal village in Carnatica, where coconut trees surrounded our homes and fields were nearby. I remember sitting and watching buffaloes plowing the fields during monsoon season. It's truly nostalgic to recreate such familiar scenes. Next, I'm going to draw the guiding lines in the field. These lines, pull the viewer's eye towards the background, creating a sense of perspective and adding depth to the painting. I'll mark a few slant lines in the next field as well. This is not very important one because it is in the midground area. Our main focus is on in the foreground area. We have two heaps of grasses in the painting. One is on the right, and other one on the left. In this painting, the light is coming from the left side, which means that the shadows will fall to the right. That's why I'm adding pencil shading to the right side of the objects like the heap of the grass and these houses to make them appear more dimensional and grounded in the scene. Now on the right most side, I'm drawing a giant tree. This will be a bare tree. Next, I'm going to draw the women working in the field. I want to capture the movement and show that they're planting the grasses, but I'm not best at drawing people or portraits, but that's okay. I still want to include a focal point in my painting. I'm giving it a try anyway. If you'd rather not add the figures, feel free to skip this part. It's totally fine. You can follow along with me or maybe you can pause the video and watch the reference image and draw it yourself. It's up to you. First, we'll draw the actual shapes, and then we'll move on to the reflection part. Also draw the bundle of these grasses. That is it for the sketching. Now let us move on to the painting part. I'll be using a quill brush to wet the paper, but it will be only on the area above the horizon for now. We'll start with the horizon area since it is a larger part of the composition, giving us more time to work on it properly. Also make sure the backside is so that it doesn't curl up during the painting process. 6. Part 2 - Sky & Background : The top part of the paper is wet and we will paint the sky. You can choose any bluish color for this, ideally a darker blue color. I'm mixing paints gray with a touch of cobalt blue. Now take a larger brush and swiftly apply the paints to the sky. This technique will help us create soft and airy clouds giving the sky a light and open feel. While applying the paints, do make sure to leave some blank spaces as it will suggest the white color in the sky. Once the colors are placed, I'll tail the paper in different direction to create nice soft effect. This will also help avoid any unwanted brush strokes and hairy texture in the cloud. Next, let us paint the background trees. I'll be using paints gray for this as it is a darker bluish tone, which is perfect for creating hazy and distant effect in the painting. As per the aerial perspective, objects that are farther from the viewpoint tend to appear cooler or bluish in color, which helps enhance the sense of distance in the painting. Just dab the brush lightly and apply the paint to block in the background. Once that is done, you can go back and add the details like palm trees or any other elements you would like to include. The area above the horizon is completely wet, including the section where we had drawn our houses. Since the houses are also wet, it pulls in colors from the gray section, making it a bit messy. I'm going to use a clean and damp brush, acre napkin, and lift off all the excess paints from the roof area of the houses. Additionally, I'll tilt the paper with the sky on the lower side, which will help control the flow of the paint. Next letter is paint the area around the horizon. I'm using forest green. If you don't have this specific shade, you can opt for any cooler green that you already have, or you could mix ultramarine or cobal blue into your green to cool in down. Adding a touch of paint gray or indigo will create a darker cooler green. Once this color is mixed, we'll apply this along the horizon line. Next, I'll take darker paints gray to define the shape of the background trees. Since we initially painted the trees on a wet surface, they lost some of their form and shape. Now I'm going back to refine and sharpen their shapes. Use the pointed tip of the brush to paint the palm needles or palm leaves. If you notice the colors are slowly creeping back to the roof area of the house. This time, I'll use a tissue to absorb more of the paint and lift it off with a damp brush. You could also dab the tissue directly on the roof, but I don't want to risk lifting paints from other areas. I'll stick to using my brush. 7. Part 3 - Base layers: Moving on, we'll start painting the mid ground element. In this step, we will gradually transition from cooler green to warmer greens, following the rule of perspective, which is colors in the farther distance appear cooler while areas closer to the viewer show their t and warm tones. Let's make a green and also have a larger brush ready for this section. I have mixed a warmer green using olive green and yellow cer, and I've loaded my brush with this paint. Swiftly apply the paints from the sides towards the middle area. You can see how I'm doing it here. Also, remember to leave some tiny white spaces to create a dry brush effect. Now, with this existing green, we'll add the cobal blue and make it a neutral green color. Now, apply this on the empty section around the horizon area. Leave a tiny gap in between. I will avoid mixing these two sections for now as it could cause the colors to blend and ruin that separation we want. We'll focus on that later. I'll be blending the same color to the remaining sections around the horizon area. I'm merging these two layers in some areas while still leaving a few white spaces in between for some added texture and contrast. Next, I'll go back to the warm green area and partially apply another stroke of green to enhance the sense of. Next, I'll move on to painting the next field. For this section, I'll use a mix of sepia and a touch of violet, mixing it in lighter consistency. I'll apply this stone across the area. U Moving on, we'll paint the main foreground element, which is the field in the front area. Take a larger brush and apply water in diagonal strokes, starting from the midground and working towards the foreground part. I'm following the guiding line, so it can create a dry brush effect in some areas so that we can embrace the texture that it gives. I'm not completely covering the area with water beforehand. Slowly and gently apply water using these diagonal lines. We have wet the paper. Next, let us prepare the colors for this section. First, I'll take raw umber and diluted consistency and apply it on the corner of this field. Remember, we had the board tilted earlier. Now I'm reversing the tilt so that the sky is at the top and the ground is on the lower side, which is the field side. I'll go back to the houses and lift off any excess color once again using a damp brush and tissue paper. All right. Now let us resume painting the fields. I'm taking a bit of gray and coballu, and applying in the front section of the field. Apply diagonal swift brush strokes towards the termit ground area. Do not completely cover this area, leave some blank spaces as well. This will help deepen the reflection of the sky in the collected water. This is just the first layer. We'll add multiple layers going forward. Now I'll take olive green color. It's more of warm green. Now, apply this color starting from the midground towards the foreground area. These rows of green grass represent the crops that have already been planted. You can also see the women working in the field where they are halfway through planting with the rest of the area yet to be completed. Next time I'm going to apply green to the section that's only partially completed. So applying the green color will serve as the base layer for the already planted grasses. We'll return to this area later to add more details and refine it. Next, let's paint the boundaries of the fields using a diluted brown color. I'm using sepia. You could use any brown of your choice. Now apply some swift brush ropes from the midground towards the foreground area. This will help in suggesting the grasses planted in straight rows. Next, I'm painting the lines shorter to suggest a partially covered planted area in the field. As I paint the next field, notice the direction of the lines. I'm using darker colors to paint the boundaries of the field. Now take green color and mix it with the brown mix that we already have. We will get a very darker green color. I'll use this color mix to paint the grassy bushes around the house and the midground area. So as you are painting along with me, it doesn't have to look exactly like mine or match my results. It's perfectly fine if yours turn out a little different. Next, going back to the field on the left side, I'm applying some slant lines, suggesting the direction in which the field extends. On the left side of the painting frame, there is a small white grap. To cover that up, I'm using the spray bottle. Next, to add a sense of drama to the painting. I'm sprinkling some water by my hand. This will create a blooming or cauliflower effect, leaving a natural texture in the painting. 8. Part 4 - Foreground Reflection: While the fields in the foreground are still damp. I'm going to paint the base color for the foreground elements. Adding some colors for the reflection part of the woman working in the field. I'm using bluish violet and red color for the reflection. Next, I'll add bundles of grasses placed in the field. These represent the bundles from which the grasses will be planted in the field. Axe green and mix it with a little bit of brown to create a darker green shade. This color, I'll apply as the shadow on the bundle of grasses. I'll also use the same color mix to paint the grasses in the field. We'll paint the lines starting from the midground towards the foreground. This technique helps us establish clear guidelines for perspective and a strong sense of depth in the painting. Now start flickering your brush to achieve a grassy effect. I'll repeat the same step with a darker green color to add depth and dimension to the field. Here I've taken sap green and mixed a little bit of sepia and violet to get darker green. A painting feels more complete when it has a nice balance of tones, which is lighter tones, mid tones, and darker tones. Next, take any brown color. I'm using diluted tone of sepia. Apply this color in the form of dots along the same guidelines to suggest the visible soil lumps in the field. Vary the pressure on the brush to get thin and thicker brush ropes. Before moving on to the next part, I will go back to the houses and lift off any color that has seeped into the roof area. Next I'm going to apply diluted tone of raw umber on the heap of grasses. This is the base layer. We'll apply darker shadows in the next layer. Next, you can use any brown color and apply some dots on the field area. Moving on, let us lift off some paint between the rows in the field. For that, I'm using tissue and a damp brush. Apply pressure and lift the excess paint. This will create a sense of separation between the grasses and also add a touch of highlight. All right. Moving on to the foreground area. We are going to work on enhancing the reflection part. Now, I know we have already painted the reflection earlier, but this step will help us bring more depth and intensity to it. I'll start by adding a few bluish diluted tones, especially in the front area towards the bottom. As we build up the layers, I'm going to mix in some darker shades of blue to really make the reflection pop. Don't worry if your strokes aren't perfect. It's all about playing with layers and tones to ache that natural reflective effect. Just take your time and enjoy the process. 9. Part 5 - Second layer: Next, I'm adding another layer of trees to the background using a bluish gray color. The previous layer has blurred and lost its form. Now we will define some palm tree shapes. The base is already bluish, so there is no need to paint the entire thing. While it is not crucial to have highly detailed work in the background, it's still important to give the impression of something distinct. Otherwise, it might end up looking like a plain surface. For the next layer, I'll be mixing blue with green to create a bluish green shade, which we will use for the area around the house. I will apply the paint around the roof of the house, which will create two distinct layers. One will be darker green trees in the midground area, and other will be a set of trees in the distance near the horizon. This is to create a sense of aerial perspective. Uh If you observe, there is a sharp and hard edge over here. To blend it smoothly, I'm moving the brush in back and forth motion to get a seamless transition. Next, we would need a brown color. I'm taking burnt umber in midtone consistency. I'll apply this partially on the heap of grasses. This step is to create a light and shadow effect in the heap of grass with this brown acting as the midtone color. I'll come back later and add the darkest tone. Next, let us move on to painting the roof of the houses. Here I'm using Indian red, but you could use any similar red color. Apply it in a diluted tone on the roof for achieving softer effect. Note that I'm not applying this red color on all the roofs. Next, I'll make a diluted version of raw umber and paints gray to get a darker grayish color. I'll use this to paint some of the walls for the shadow effect on the house. O. Al mix boil it with this red color to create a darker shade. Use this color mix to the last roof in the frame. It is okay if the color spreads a bit, as this is just the base layer. We can always fix it later. Once this base color is applied, we'll let it dry before returning it and adding further details. In the meantime, I'll paint the woman working in the fields. So I'll use three different color to add variation to their dresses. The second color I'm using is violet, and the last one is blue. Next, I'll take a darker green color and paint some grasses and bushes along the midground area. All you need to do here is use the brush to create the impression of grasses and bushes. There's no need for a fixed shape or size. Just da the brush and that would be it. Using clean brush to soften the hard edges. The area beside the heap of grasses feels a bit empty. I'm applying some diluted colors to fill in the space. Next, a darker brown color and we'll paint the boundaries of the field. For the slant lines, I'm using swift brush movements so that we get nice textured effect. Now, on the left side, I'll paint some grass bushes. I'm going to paint the next field. This field resembles the lumps of soil scattered across the ground. Here, let's assume that it is being plowed and it's ready to be sown. That's why there is no reflection in this. We painted in brown. Next, I'll return to the tree area to further define the shape of the palm trees. The background layer has partially dried, which helps to hold the shape we are aiming to create. All right, we'll let the paints. You could either it to naturally for about 10 minutes or to speed up the drying process. You could use a dryer. Oh. 10. Part 6 - Defining background shapes : I. All right, the paints have completely dried. Now let's move on to adding the detail to the houses. Here I'm mixing Indian red and burned timber. This will result in a brownish red color. I'm applying this on the rightmost part of the roof. You can watch this and follow along with me. I'm painting simple lines, depicting some texture in the roof. Tiny dots and lines, suggesting the tile on the roof. Next, we'll make two colors. One is paints gray and ultramarine blue. Another color is slightly brownish purple. Have these two colors ready in your palette and we'll be painting the shadow colors. I'm dropping both the colors simultaneously so that it creates a nice shadow effect. Leave the adjacent wall unpainted to create a high light effect, and then we will apply shadow to the house that is in the back. Apply darker bluish color under the roof to create a shadow suggestion. Here, I leave tiny gap and then paint a shadow line. This will create a realistic look in the house. Apply some slant shadows. Add some tiny windows as well. Next, take darker brown color. Here I've mixed all the colors existing on the palette. Apply this darker brown color as the deal value of the heap of grasses. I'll use this darker brown color to paint some grasses in front of the houses. This will enhance the white highlight effect. Next, I'll define the boundaries by adding darker colors. Use some simple dots and lines. You don't have to apply the paints entirely. If you have applied too much color, you could use your fingertip to gently smudge and blend the excess colors. Next, take a darker green color and apply some quick zig zag lines around the midground area. This will create a sense of definition and depth around the midground area. Suppose it doesn't turn out as per your expectation. Then you can smudge that off using your fingertips. Next, I'll go back to the field with the soil lumps and I'm going to add more details there. Using the tip of the brush, dab the brush and create some dot like textures. I have applied the dots along the guiding lines, which will help create a sense of perspective as we discussed earlier. H 11. Part 7 - Defining Foreground shapes: In this chapter, we will define the shape of the foreground field. First, I'll start by painting the woman working in the field. I've mixed a darker red color by adding some sepia to red. Painting humans, even in simple shapes, feels so challenging to me. Maybe it's all in my mind. For some reason, I've started to believe it's not possible for me and now that the camera is on, the pressure feels even more intense. I'm a little nervous about painting these tiny humans, but I don't want to hesitate. Even if it doesn't turn out right, nothing bad will happen. It's okay. I'll find the courage to forgive myself if it goes bad. I have painted the actual shape and the reflection with red and violet. Before I move on to the last one, I'm going to add the hands and legs and also the reflection. I have a very diluted brown color for the hands and legs. Now, let's paint the last human. Now, with the help of Black, I'm adding the head Next, let's add some details to these bundle of grasses. Moving on, I'm going to paint the grass by applying some angular brush strokes to depict the blades of grasses. Here I'm using the tip of the brush. I'll repeat this step on all the grasses in the foreground field. Paint these grass blades in an irregular manner. They shouldn't look like one uniform shape. Add a bit of asymmetry to make them appear more organic. Also, vary the shades and tonal values in different areas. You could use lighter green in some spots and darker green in others. This will enhance the overall appearance and add more depth to the grasses. Around the area where the women are working. I'll add some grasses using a very diluted color to keep it subtle. I'll introduce some new grass bundles to add a visual interest. 12. Part 8 - Details on Mid ground area: Next, take a darker green color and dap of extra paints on tissue paper. Now glidio brush creating a dry brush effect on this field. Applying a few more lines with darker green color to enhance the texture. This adds a nice effect, and also darkening the area in front of the house helps to further emphasize the highlighted walls. I'm painting some red grasses and bushes. Next, mix a darker color, almost like a black or a very dark brown color. I'll use this color to paint the darkest shadow in the house, which is underneath the roof. Next, add this darker color on the heap of grasses. Here, we are adding all the final details to further enhance the painting. Next, I'll paint the bare dry tree. Use the tip of the brush to create the branches. Make sure to paint them irregularly for a more organic look. The trunk parts should be comparatively thicker. Next, I'm going to introduce some new palm trees. I'll be painting them loosely one next to the other. Painting these palm trees are quite simple. Just create a star like shape with brush strokes extending outward from a central point. You can practice on a rough piece of paper if needed. Here I am using size eight round brush, but if you're not comfortable, feel free to switch to a fine liner or a pointed brush. Next, adding some darker colored bushes around the house. I'll focus on this piece of grass on the left side. I'm simply applying some random brass strokes suggesting the grass blades. Next, apply some darker green for the shadow effect in the grasses. 13. Part 9 - Final Details: Next, using a very dark color, I'm adding subtle details and scattered elements around the field like bits of debris or some tiny dots to create visual interest. I'll apply the darkest tone to the woman in the field. For the blue dress, I'll use a deep indigo. For violet, I'll go with a darker volet or black and For the red, I'm going to use a blackish red color. This will enhance the contrast and balance the composition. Next, I'm taking sepia intron consistency. With this mix, I'll paint the darkest tone on the soil lumps in the field. Use the perspective guidelines to add the darkest areas. You don't need to fill the entire space, add some random dots for the texture. Around the boundary area, I'll add the shadow and reflection of the grass in the water. Try to vary the pressure as you dab the brush. This will help you create bits and pieces in different size for a more natural effect. I'll go back to the midground area and add some details on the trees and around the grasses. O Now I'm going to splatter some paint across the foreground area. This will add texture and create a sense of movement and visual interest in the ground. Next, darker green color and we'll add the de toe on the bundle of grasses. Add a swift dry brush effect around the corners of the field to enhance texture and depth. Now, I'll go back to the green grass and add the darkest tones to the grasses. Currently, there are only lighter and mid tones in this area. Adding darker green will help balance it out. All right. Let's go back to the houses and add some final touches. So I'll start by adding small window and door. Then I'll use darker shade to give definition to the shadows underneath the roof. Next, I'll move to the roof part and use a darker red color. The idea here is to partially apply this color and create a shadow and light effect, giving the roof more definition and realistic. It creates the illusion of shadows and light hitting the surface from different angles. Finally, to complete the composition, I'll add some birds freely flying in the sky. These birds not only enhance the overall mood, but also creates a sense of movement and life in the scene. And that's all my friends. We have completed the painting, balancing light shadows and creating a harmonious and visually appealing artwork. I hope you have enjoyed painting this with me, and I'm sure you've done a fantastic job. But if you're not entirely happy with your artwork, don't worry. It's completely fine. You can always give it another shot. And this time, you'll approach it with more confidence and experience. And there you go. This is the final look of the artwork. 14. Thank you!: Hello Again. Thank you so much for joining my class. I hope you enjoyed it and had a fun learning session with me. If you have painted along, then please do share your class projects under the projects, Galore. I request you to please share your review or feedback for the same. Your support and encouragement means a lot to me. All right then, I will see you in my next class. Until then, bye bye.