One Photo Three Landscapes : Landscape Painting In Gouache

1. Introduction: Hi, I am under Marathi and welcome to one photo three landscapes class. This is a beginner friendly class that teaches you how to take one reference photo and create many different paintings based on it. Using reference photos for paintings is something almost all artists do. So it's important that you learn this skill properly. Many artists tried to copy the photo as it is, and that results in bad paintings. Learning this skill will empower you to create original works of art from your reference photos without being a slave to the photos. In this class, I'll show you how I use one photo as a starting point and create three different paintings from it. The class begins with creating multiple different compositions from one photo. These compositions will be in three different formats. Square, horizontal rectangle or landscape mode, and vertical rectangle or the portrait mode. Along the, we will discuss some guidelines about good composition, how to add or remove things to make the composition more interesting and captivating. Then you will see me paint three different landscape paintings from start to finish based on the compositions we created. I'll be using watercolor and gouache wash, but you can use whichever medium you are comfortable with. During these painting demos, I'll use a limited number of colors and show you how I mix every other color that the painting needs. This will help you gain confidence in color mixing and give you a structured way to complete your paintings. In addition to the reference photo that I'm used in this class, I have included two more photos for you to work from. Your project or assignment for this class will be to make different compositions from one of these photos and paint one or more landscapes based on that. Once you are done with this class, you will never worry about lack of reference material and have the tools to turn any reference photo in attractive and impactful paintings. You will have many different ideas to work on and your paintings will reflect your creative vision and personality. I'm very happy to have you in this class. And so let's get started. 2. Composition: Welcome to this video. I have this photograph on my bad year, and as you can see, it's not nicely taken photograph. I actually click this from running bus from the window of the bus. And that's why it's not taken with the intention or with the preparation of composition and so on. But I just wanted to collect some visual information based on which I can. I paint a few landscapes and that's what we're going to do today. I'm going to show you multiple compositions which can be composed or created from this photon, this one photograph. And then we can go ahead and paint them. But in this particular video, I'm going to show you how I composed of different gammas make different competition based on this photograph. So I have this on my iPad and I'm going to crop it so that I get to see whether a competition makes sense, It looks good, or I need to change the aspect ratio or things like that. So let's start by cropping it. I'm going to try and make three different compositions. One will be a horizontal landscape for one B&B or vertical landscape. And third will be square landscape. So let's start doing that. So obviously this part of the photograph is not very interesting. And this is a kind of squarish composition that seems interesting. So this could be one. So let me quickly redraw it here in a very, very small thumbnail sketch. In this case the lines, this line is somewhere here. And then small bushes here. This is one of the trees, tall ones, this one. And maybe this one also, and need to maybe rearrange these trees. But right now what I'm doing is mostly concentrating on getting the view of this. As it is. This is going to be this massive tree on the right-hand side. And then there are these two mountains which are seen here and so on. You can see that what I've done is in this, if you compare this photograph with this composition, you can see this sky ADR has reduced. And that's because I've drawn the mountains larger than what they need to be made right to correct that. So in this mountain will be slightly darker because it's closer and these trees will meet even darker. I'm not painting this to be a value sketch, but I just wanted to get an idea of how the painting will look like. There are some, these bushes switch kind of help in competition. And because it prevents the viewer's attention from going out from this corner. And so on. So this becomes my first composition. Let me zoom in to show you what I'm drawn. Now let's get back to second composition, which we can think of. Let's say, if I have to keep the square composition and then try one more version of it based on a high horizon. So let's see if I even cut this and make the painting like this. I can go even up. I don't want this line to be in the center of the painting. So let me push this even further or I can actually bring it out so that this line travels up. When I am cropping, you can see that this is a grid and as compared to this as the center of the painting. So this line has shifted upwards, and that's what I wanted. So I can think of this as one version. Let me make a thumbnail sketch. Here. This line of the edge of the farm goes like this because this is the center of the painting. So this is like this. I want to keep it slightly slanted and not perfectly horizontal because then it will divide the painting into two halves. And then this is though these are some of the bushes and 13 and analytically is even going out of the ground. And it's not always necessary to capture the whole tree within your scene. As long as you are seeing is good enough. You can crop the trees also. So something like this. And then the grass. And then there are the farm, It's actually body. And it has this golden yellow color because it's ready to be harvested. And this is the bush here on the side. And then again, give it a slight shading. Maybe this is one composition and LinkedIn bring it. I'll bring it closer and everything. Yeah, and now let's try a few more competition. And this time let's try for a landscape version of it. You can see that this already becomes an interesting composition. Maybe I can capture some more of the sky and reduce this. So knowing can have rectangle and this line or edge of the farm. That is this tree. And screens which are getting crop. And then it has this bush. I'm drawing these things and some small brushes. While painting. I may not even look at the original photograph because then I want, I will create my own version of the landscape. And that's quite interesting. I don't want this line to be here. And putting it here, because I don't want it to intersect this line of the mountain where this tree also, because that would attract a lot of attention. So the bunk asean is something like this. And here I won't add this bush. Or maybe and just add a few dark objects so that the attention is not taken out from the painting. So this will be the darkest shape, these trees, something like this. So this becomes another composition. Now let's see what else we can do. Let's try one would equal one. Let's go back to the whole formula. And let's see how this works. This is kind of interesting. What the sky is, blue lodge. That's putting it down. Yeah, this looks interesting. Let's draw this out with the foam. That is this tree here, which goes almost done with this. And then I don't want to glean exactly in the center. I want to change this. This doesn't look quite. So. Let me clean. This line. And mountain goes down like this. This mountain comes in at this. And maybe I didn't reduce the street to evilness, smaller, broke bush, and not have a large shape here. I don't want this distance to me equal and amp to do something about it. So let's try and, and then word is. And so you can see that I'm thinking as I'm drawing is not something that one composition which I think of making is going to make, make sense. So I'm improvising. Let me draw the mountains first. This mountain goes up like this. And this moment comes with this. Then there is this three. And even simplify this dream more than what it is right now, is for the sake of completion. And then it is smaller. We're going to start with the Bush. Had more credit curve of this. This, I think this should be enough. This line looks interesting to me. Though there is no load here. We can come up with things which do not exist in the scene, but we can invent them as long as we can make them or bring them with believably. So that is also an interesting login of painting. And now what else can we do? Let's come back at the scene. And that's fine. Yeah. Let's see if I can make this doesn't look so interesting. Interesting looking. But there is some, some metadata. If I add some details here, then this painting can look nice. But let's try something else. This is also nice. I just make this, this is very, very similar to this one. What I can see more of it. This is very similar to what I've done here, is that this line is instead of horizontal, Let's have given slump. So that's it. And, and I made the mountains shorter in height. And there are $3. So that's this. And let's see what else can we do? One more horizontal one I want to do that. Let's see if we can get more out of this folder. Let's first fixed aspect ratio, and this is similar to what we've done here. So this looks interesting. And just reduce the size of these bushes. And then I should have an interesting composition. Because these seem very close to when we are standing. So there are multiple layers of these bushes and trees, large ones. So that is one here. You can see that in this photograph and goes up to almost, almost at this point, I want to reduce that. Meet the trees smaller. And there are some January 40 faint minute is this just change the shape of this tree to make it more? Doll looked on and then few more cautious here. Until these bushes are not something which the focal area of the painting or interest area. I'm creating. Distance between these two. This is closer to us, so it is at this level. And these trees are a slightly far, far from land we are. So they are an add-on different level. And then there is this mountain. And on this to touch that's allowed to decide whether I want to make it larger or smaller. I can make it smaller. And I don't have any ETAs are at hand, so I'll live with it. Make this darker. And then this moment, I don't want this dip or this lower point of this mountain to be in the center of the painting. So change the shape and make it like this and have the dip here. And also not made these two long-term lines meet at the edge of the painting. I'm want to keep them separate. Something like this. So this also makes an interesting shape and painting, interesting composition. So I mean draw nice alkaline. And as you can see now, we have how many? 12345. I consider these two as nice ones for Cloud. So 1, 2, 3, 4, and 5. So that's how I would go ahead and use one photograph and try to take out as many compositions as possible from it so that I get more material to paint. And I also don't mind changing the shape of the objects. And then moving objects here and they're changing even the shapes of the mountains and so on. So that's how I do it and I'll be posting this photograph in the class so that with this video, so that you can take it and you can drive your own compositions based on that. And in the next videos, I'm going to paint a few of these. Let's see how it goes. So see you in the next video. 3. Painting 1 Block In: Welcome to this video. In the last video, we sketched these compositions and thumbnails. And based on that, in this video, I'm going to paint a scene or a landscape based on this origin. So it's going to be a square, square composition. So let me approximately draw a squared here. I'm not using any ruler. Eyeball and use this may be the spin silk to see if this is wider than taller. So I might need this. This is the height, then I need to reduce the width. This point. Something like this. This is going to be the plane or the frame. And now let me quickly sketch the shapes. I want to keep this sketch because I'm going to paint the ordered shapes here. Large tree. And I need to pay more attention to the shape of the tree when I paint. Right now I'm just, I'll reduce this. The shape on the right-hand side. I'll reduce it to a smaller version. Because I want the edge of the form to be seen like this. And this is true dominant in this composition. So I want to get rid of that. So I'm making this. So what I'm going to have is actually the farm is going to be of this shape. And anyway, the farm is not the fopen lady. Other focal area is these trees against the backdrop of these mountains. So the mountains are, there is a dip here in this mountain. Goes, Oh great, This goes up like this. Then there is this momentum which has, I should I putting it up here or no? This is fine. And I also don't want these two peaks to be of the same height. So I have deduced that this is smaller peak and then goes up like this and goes down with this and the sky. I might keep it very simple or I might add something. Let's see. If we decide that later on. Now I'm going to use minimal brushes, maybe just this one and this one for some finer details towards the end of the painting. But majority will be, majority of painting. We'll be done with this brush. It's, it's almost less than one. I think it's three quarters of an inch. And I have these watercolors, but I want to paint this in a more opaque style. So I have this white here. I can take off some more white. And the colors which I'm not being, you want to paint this very bright. So I'll be using for yellow, I'll be using gamboge or chrome yellow. And the red is going to be my burnt sienna. So let me take out some burnt sienna here and load that is no, not much red port say in the painting. I'll need it to make dark colors, dark in some places. And for the blue, I'm going to use Prussian blue. It's very intense blue. I already have a pile of Prussian blue here. And I have a container of water to wash my brushes. And it's time to start. So I'm going to start from the darkest shape, which are these trees, and then go towards lighter and lighter. We generally opaque paintings are painted. So let me start with the trees. So for mixing the green, I'm taking burns in a sorry, this blue portion, and I want to take out some fresh yellow. This is gamboge. If you don't have gamboge, you can use chrome yellow, which is yellow or which is warmer than lemon yellow. It's a warm yellow. One would take some of that to make this into a green. And I don't want this green to be so fresh, I want to make it slightly reddish and some more dark. So burnt sienna, chrome yellow and Prussian blue. So that's my dark green. So I'll start with, though I said I will start with their dogs. The way I want to paint this tree is going to, it's going to have so many sky holds or the holes through which I can see the mountain and this guy. So it would be wiser and easier to paint the mountains first and then the trees. So I'll keep this brush like this just for instead of washing that make an exception and make use of wider brush, this is one inch and I'll paint the mountains first. This mountain is going to be more blue, green, and dark. This is going to be lighter as it's far away. So I'll start and I'll keep this brush aside. Let's start with again Christian blue. And I want it to be slightly greenish and some yellow and more brown. And then also add some white to it. Because I want to make it change the value of it. And pick up white with this doting brush. And you can see that this is more green than blue. So I'll add a tinge of more blue to it. And the way I paint is not mixing one color and using it all over that shape. I go on varying the color so that there is a natural radiation which we get. So I might add burnt sienna and some more open CNI In some places, more blue in some places. But the color kind of remains in that range. So let me start painting with this and let's see if this is too dark. It is too dark. So I'm going to add some more white. And this seems cool. I'm painting opaque. Am going to paint even over these what these trees, because the trees are going to be darker than the mountain, made the color even lighter. And I don't want this edge of the mountain to be too precise. Now I'm going to add some variation in color somewhere. I want it to be more blue. And as you can see again, I'm actually painting over these trees. If you want, you can apply tape around the painting here, one on four sides. I like to, I used to do that, but now I prefer working without the tape. I just have to take care not to go too much out of this border. And it makes my life simpler. I can add a few more light and light blue exons. In some places. Is to create some interest area. You can see that I'm using the colors here, which are very kind of in the same range. But there is some variation. So that kind of creates interest, visual interest without making it shoud. Okay, now I'll go and go ahead and paint this. So for this I'll make a wash the brush. I can use this same color, but not do that because it's easier and cleaner to mix a separate color as long as we keep the ingredient colors the same. So again, I'm starting with white. Could it now I'm starting with white because I want to make this a lite version. So white and some of this blue. But you can see that this becomes too bright and too saturated. So I'm going to add some of this color just to make it slightly muddy and slightly grayed down. And I might add, I didn't plan to have alizarin in my palette, but I think I should add a bit of Alizarin, which I have in my palette here, just to add some variation in the color. Let's see how this looks. I might add a bit more also. Yeah, this looks interesting. Kind of lavender color. Added white, good. And that's why I'm able to create that edge here. Keeping this edge not very sharp might even increase the shape of the mountain here. Now let's go to the next shape. You can see that that is radiation in this color also because of strokes. And that's what I wanted to do is not something. I might even try some more blue in some like this. So it's like this. What I'm doing is actually changing the color without changing the value. So that looks interesting. I might have to lighten up this molten later on. That's the feeling I'm getting wet. Let's see. Now let me come back for the trees and the foreground. Since I have this color already made, let me start with the greens. And I could have painted the sky also first because there is some tree which is, I think I'll do that. And even paint that because there is, the trees have so many details. So for the sky, I'm going to start with again white. And I'm going to add blue and red only as and when required. I don't want to meet the sky very detailed. I'm going to pick up some of this just to make it not. So light is. And as I go, I'm going to add some more blue. And you can see that I'm not making any. Gradations. Now I'm okay with making some differentiation like this, because that adds some interest. Again, without shouting. As I go up, I'm adding more and more blue. And I kind of like right now. And maybe m can add some white some way. Just to indicate a few vlogs. Something like this. So it doesn't look too flat also. And it's not attracting a lot of attention also. And because I had already some blue on my brush, It's quite easy to paint the sky like this. Now I can come back to the trees where I wanted to start. Now, I'm going to use this base of the tree is going to be here. So look at the composition to please. I've reduced the size of this. So let me paint post this so that I get some reference. Using corner of the brush. And these trees I wanted to be something like this. Let me start from here. And now I am at a stage where I'm not looking at the photograph, but I'm going to paint what the painting needs because there's already so much information on the paper already. It's human tendency to make things symmetric, which I'm avoiding that I had no. So instead of painting completely, giving it an angle that is here also at the top. Then we can make it less symmetric also. And now I'm going to paint these bushes. I'm not sure whether I wanted to paint this smaller tree. If I paint first the bushes and then decide whether it makes sense to paint them or not. So when these bushes, what I'm going to do is these bushes are going to be slightly lighter than these trees. So I'm going to add some of this color to this color. So then I get some of this lighter color. So then I get the light green line. So here I'm printing actually though before the, before the foreground. And because of that, I might have to adjust a few things later on. Even more bluish. So I'll use this color, add more blue to it. And let's see how this, this is too uniform. I want to add more blue. So why doesn't look promising? But at least it would create an impression of some trees being there. In the distance. You can see that I'm painting over this is fine, I guess. As long as I can pull it down. Roughly at least quaint for any field. So let me clean my palette so that I can get a place to mix the yellow color. I'm going to start with yellow, make it slightly one by adding brown to make it slightly opaque, some white. And I don't know if I need go ahead and you do. That's fine. Yeah. This looks good. And I don't want the edge of the obvious are eye-catching. So what I'm going to do is pull this color in some other place also. Instead of making one flat area bounded by this edge of the firm, I made it into a foreign which extends beyond this edge and kind of creates a field that there is, there are some bushes around this in this form. And that's kind of creating some more interest than a then the original composition was looking. So now let me allow this. I'm going to allow this to dry and then come back to it. For the finer details. I also want to paint something which is darker like this here, just for the sake of balance. But I'll do that in the next video. See you there. 4. Painting 1 Details: Welcome back. Now, I'm going to use mostly this brush, which is rigor, which has a fine point and long bristles. And I'm going to add details to this painting now I'm going to pay more attention to the details only and modify only what is required. Okay, So as I said, I need to paint our darker shape here. So I'm going to start with this color and then let's spin a small degree here, which is not as dark as this, but I think this is doing the job of creating that visual balance. It's not poo at imbalanced right now. This color is still slightly wet. That's why it's not getting the darkness. Let me mix a darker version. Sometimes I think this color is still wet. That's why when I apply this dark color over it, it's kind of beading of that white from the background. That's enough, I guess. Let me come back to it later and add a few exceptions here and there. Let me mix this more. So I'm adding the blue or the brown and some yellow to make a dark green. Yeah, that's good. Some slightly lighter version here. So this painting now is looking not very similar to the reference which are used and which I'm okay with because this is something which is created by me. It's not something which I've copied. So that's the point in making a painting and not taking a photograph. So here still I have not indicated the strong lights. I'll do that in a moment. And I have to now work on these few more details. But before that, let me add some darks to the edge of this painting so that the attention of the viewer does not go out. So just some meeting this morning, a warmer color. Yeah, that's fine. That's a brown kind of color, brownish. And let me add a few strokes like this. Not something which is, which I want to make very obvious, but I just want to make sure that there is something which is keeping the attention within the painting and not allowing it to go out. So maybe that is, these are some cross breed, some grass which are seen coming up and just creating some texture. No, Let me I don't want this edge to be so sharp. So I think this was this is a similar color to that. What I have on this mountain somewhere like this. Let's see. Yeah, it should be okay. And, um, kind of creating an edge with some details. Let me run a finger over it. If it's not if it's damn, then it creates that effect. So it's not necessary that you always paint with a brush. You can paint with your fingers also. And that makes it impossible to copy for someone. That's what I'm doing and making. Let me add a few brush strokes just to break this up. What I'm doing is I'm, I need a color which is within that value range and not worry too much about the color policy. This more worried about are more concerned about the value part of it. As long as it creates some interests and breaks the monotony, that's enough for me. With this brush, you can create a lot of interesting texture. I'm using it almost horizontally and not using at this point. So now let me see what I can do about this edge. Because that's also very, very, very hard. And taking too much of attention. So I want to use a wider brush for that and mix a color similar to this. Some blue, some white. And some of this, this color. Clemson. And let's see what I can do and think this needs to be needs to be to take to make this soft. So I'm pulling my finger over it. I think the color needs to be more pink and light, more blue. Let's see how this looks. Should be, okay, not, not perfect, but I think this will also create some interest. And the same dynamic and make the edge because my finger is not as pointed as the brush getting these marks. And I want to indicate the light coming in from here. So I'm going to make this side of the mountain lighter. Though it's not very bright light. There is a direction to this slide. Now let me add some lighter tones to the trees. For that, I'm going to start with this yellow and mix it with this muddy green which I already had. And as the light is coming from this side of the tree will be in, will catch more light. Make it more opaque. I'm using my finger to even spread the color. So as long as you get the effect which you want, any tool is allowed. So all the trees and bushes will catch light from the right hand side. And now let me add. I could have used the same color or even the foreground to lighten things up a bit. In some areas, don't want to do it everywhere. So I'm using a very, very dry brush which has tick pigment on it. Let me come back to the darks. Some darks. So finer details here. And I think then we'll be done. You should also know where to stop. If you keep on working, then the painting starts going downhill. Just not good. And what else can I do? I can add some punch by making this mountain slightly lighter here. So I'm going to add some white here. And this two. And I can make it slightly more warm by adding a burnt sienna. Yeah, that's interesting. You can see that the value is almost the same of the column, where it's that color which is changing slightly. And we're just creating that interesting effect of warmth. Yeah, I think I like what I've got now. It's time to paint or draw the board or the other not. So in. Draw a border on this line itself, which ahead made by mistake. Zoom out a bit so you can see it clearly. And that's it. That's it for this painting. I'm happy with what I've got, though I went added too many details. It kind of creates that mood which I was looking at, looking for. And as you know, we started from the photograph and then we did this value sketch and thumbnail sketch. And then we painted this. So I hope you enjoyed it and see you in the next video where we'll paint another version or another composition based on the same photograph. So thank you and see you in the next video. 5. Painting 2 Block In: Welcome back. In the last video, we composed of different scenes or made different compositions based on one single photograph. And these are four or five which I've done. And then next video we did a painting based on this composition. And in today's video, or this video, I'm going to make a painting based on another composition, which is based on the same photograph. And I've chosen out of these two, I've chosen this one or this painting. So I'll quickly draw it on the paper here. And then we can start the painting process. I'm taking a rectangle. If you want, you can attach tape here so that the painting looks. Or you can remove the tape once the painting is done and it looks nice. But I'm just sticking with just the outline. I'm not going to apply any deep. Okay, so now if I look at me, zoom out a bit, and if I look at this Composition and I'll be drawing it here so that you can see what I'm doing. So instead of this one huge mass of trees, I'm going to break it up into multiple files. So the base of these trees will be here. And maybe there's one tree which is here, and another bunch, something like that here. And then there is mid ground where this tree is sitting. And I'll of course change the shape of that a bit. And then there'll be this 10 trees which are near the base of the mountain and which are small, or they seem to be smaller. Then these trees because of the distance. So I'll add some tree branches here which are poking out. Just to add some variety. Then this is the Mountain which is closer. And then this is the mountain in the background. So that's the rough idea or the rough sketch. And now I'll be using watercolors and quash. Quash is only this white tube which I'll be using for Bosch. And all other colors are these watercolors. This will be the darkest shape, then this will be light or light or light or even lighter. And then the sky and land will be the lightest. So I'll start from this and let's see which colors we can use. Chrome, yellow, cobalt blue, burnt sienna, and white. Let me also take out some more burnt sienna. And heat required. I'll add Crimson for this guy, but I'll decide that later. So let me start with a dark. What these trees so Burns cobalt blue. And this gamboge or chrome yellow you can use. And to make it dark, I'll add a bit of brown. And let me see how this looks in terms of its darkness and also the color. So I'm using this, I think this is 3 fourth of a quarter inch brush. And whenever we paint in opaque style, the the darks can be slightly thinner, thinner consistency. And the lights have to be thick because they need to reflect a lot of light. So I'm using this in a fairly thin consistency. I might overlap this width. Other color later on, just to add variety, am adding more brown to this bunch now. And slightly more yellow. Or the tree here. And I'll paint the tree trunks later on. I will keep this, this way and proceed with the next. So for this, I have to make it slightly more bluish and slightly more lighter version of it. So I'll add some white to it. So to make it slightly more bluish L and more cobalt and some white and you'll take out some fresh white here. Yeah. Looks good. Let's try this out here. Yeah. You can make it slightly more yellowish. This seems good. And instead of making it just one, because it seems very central to the composition. So I'll add one more tree here. Something like this. I'll, of course, I can adjust it once I paint this and maybe bunch here. These are the midground, mid ground trees. And now I want to paint the last ones for the add and add a lot of blue, more wide. And let's see how this looks. This is still more, still waiting, greenish washing my brush so then I can add some of the blue. And so more weight should be okay. Now, let's see. I can of course adjust this later on. I think I'll have to adjust this. The thing to be noted here is the baseline of these trees is here. This tree is baseline is here, which is slightly above this. And these trees have their baseline still above, above that line. So that is what gives that impression of being at a distance. And of course, as the trees are far and far and far away, we should be painting less and less details in those. So I'm keeping the brush strokes fairly simple. Now I'll continue with this brush and I'm going to paint this mountain. And for that, what I'll do is it has to be lighter than this one. So I'll just use this same color. I'll add more white. And let's see how this looks. This is same color, same value. I have to make it slightly more. Lighter. Should be okay. And then paint around these trees. Let me zoom in. And because these trees at the bottom of the mountain and this mountain are fairly at the similar distance, not, not much of a distance between them. So their values can be very close to each other. And you can notice that there are some brush marks which are coming here. It's slightly more dark here, it's lighter. And I'm keeping that purposely that we, because it creates an impression of some details which I didn't have to paint intentionally. But then they do give an impression of something detail being there, which I like. And these are some sky holes I can oppose coming in and just them later. Then see that here, this color is very thick. And as I said, I have to paint darks in a lighter consist thinner consistency. And when I paint the darks, they have to be in slightly thicker consistency. Now again, this is looking very much pale or kind of uniform. There is no punch there, so I will add some light green towards the top of the. Mountain, that's too bright. And just did it because the top of the mountain is obviously going to catch more light. You can see that there is no value difference in the sense in terms of darkness of the color. It's the same, but there is a color change which adds some interest to the area. So that's what I'm done. Now I am to paint this mountain. And for this, I'll start with a fresh file of color because I don't want any yellow from this mix to get into that. So in start again with cobalt blue and white. And I have to make it slightly more or slightly less saturated. So instead of adding a brown or let me add some brown to it, that will do the job. I could have dragged some of this color in it, but maybe I can do it still. So that it's not very far away from the mountain in the foreground in terms of color. So let's see, In terms of lightness of the color, how far is it? It can be lighter. So needs more wide. This wide dries very fast. And once it dries, even if I wet it later on, it doesn't have the same consistency, buttery consistency that is nice to work with. So I tend to take out only small quantities as and when required. Let's see what is the difference. Yeah, this seems too okay. You can see how thick this color is. I'll add a tinge of what is this color? Magenta or crimson. Pertains not much. And then paint this mountain. So I don't want this edge to be very, very crisp, so I'll drag my finger over it once it is, once I apply the color. So then I get kind of hazy line. That's what I get caught now. So this trick is commonly used in oils. And when we did this squash is similar to Oyin. That's the reason I'm doing this and I'm able to do this. So it will paint this side of the mountain. I can always paint these three foliage later again. So I'm not too worried about the accuracy of my brushstrokes right now. And just making sure that there is no white area lived. And there's one thing which I don't like here, which is this mountain ends, just end the top of this tree. So I'll drag that mountain down here. So that, that line comes down and doesn't end in the tree. Which was attracting too much of attention. Now, just to create some variation in this color, I'm taken some more white on my brush and then drag it like this so that you can see some variation in the in the color of the mountain, also. Something like this. So it doesn't look like it's a flat cutout. Now let's paint the land. And I want this to be a bright green patch. And if you look at the original photo, it's not bright green. But I just want to make it that we make it. So I've started with this chrome yellow or gamboge and added a tinge of cobalt and some white to make it opaque and some brown. Let's see how this looks. Yeah, looks good. Let me apply it. And even in this column, I need to add variations. So either I can do that while I'm painting this layer or I can do it later. Let's see how it winning going to do that. And never paint this unless it's very far up like this. Never paint the edge of the edge of the grass and the base of the trees very straight. Because then it you're not painting the details of the scene. Or rather it looks as if then there are two cut all cutouts. Instead of that paint, some bin that line zigzag, or at least some variation in it. So that it looks as if that some of the grass growing here is making that line a bit jagged. As I come down, I'll add maybe some more yellow to it in some more white. And there is no, not much logic behind this. I'm just making sure that it is not one uniform color applied all over the place. So here I'm making some brush strokes like this. Just to create this impression of this grass growing up and obscuring the edge of the baseline of these trees. As I come towards the bottom of the painting, I'll make this color slightly dark. So more brown. That's too brown. And lets me add it in your blue. Yeah. Let's see how this looks. Yeah. Okay. So that it's not taking away the attention away from the painting. Some more yellow or more blue. Right here. I can use rest strokes sometimes. This to me. When delegation easy. And I want to apply the brush strokes vertically most of the times to create that variety. And you can see that I made this color slightly more dark. And I'm using some strokes of this color to make it add some variety to the otherwise. Let grass. And I think I will add some variety here later on once this is dry enough. Now the last thing to be painted is this guy. And for that I modify this color and add more blue to it. And more of the why it is Martino. And to clean that. Let me take out some white over here itself because I don't want any yellow to get into the sky color. Let's see how this looks. Looks interesting. Needs more white. And the sky is dark towards the top and light towards the horizon. Even though the horizon is high up here. I'll have to show some variation towards the base on maybe known Betsy here also, I don't want the edge to be very sharp. This is too dark, needs more wide. And I'll keep the radiation in the color. This guy like this only. It does create an impression of some light Cloud being there. Without me making a lot of and the double of the Mandant enemy can slightly more blue. You can see how this does work because I'm using a thicker and I'm okay with having this kind of radiations in shades in the amount in the sky because it's creating that ambition of some light clouds to be there. And I, again, I think I will clean the brush and use some clean white to create some more clouds. So pure white. And maybe drag it over. I don't intend to make any special shapes and such. What I want to clearly show this top of the mountains, I'll add more bright white around it so that because of the contrast, you can see the top of the mountain. Men also drag my finger over it so that it's not Chris page. And in some places I can add details to this mountain to make it slightly darker. So this completes the second stage of the painting, which is first one was composition and drawing. The second is this one which is called blocking. And in the next video we'll add some details to finish this painting. So see you in the next video. 6. Painting 2 Details: Welcome back to this video. In the last video we painted till this point. And now it's time to add details wherever they're needed. And this being the focal area, maximum, maximum amount of details will be in this area. And in other places there'll be not much though. And I'll start with this round brush. Because there are lot many places where I have to add details here. To some extent, at least not very obvious details. And finally, I will paint the details with this rigger brush. So this round brush, which is, I think what number is this? I've been using it for so long that the numbers are gone, but this is maybe five or six number. Brush. Start with details for this. And in this that I'll have to add darks and the high legs because this is going to be the mid-tone. So I'll start with the darks. So to mix our dark color and start with cobalt blue and brown to it and get a fairly dark color. And not adding any yellow to it because anyway, it's going to be a dark green. So it's looks good. I'm assuming here that the light is coming in from this side. So this side of the trees will be in shade or shadow. So I'm using this to differentiate these two bunches of trees. And the same time I'll use this cylinder also to add details here. So I'm using two brushes simultaneously. What I'm doing here is I'm pulling down this dark colored in some places. So it creates an impression as if there's grass is growing and piercing this shape here. Visually. And use this color to add details to this. And you don't need to paint all the trees with the same green color because in nature they are not like that anyway. So I'm open to changing some colors here and they're adding some darks. Obviously, this is the direction of light, so the darks will be towards the base of this shape. And I'll also use the same dark color to add the drunks in that center. Let me add some light green color on this. Also. I'm using the side of the brush now. So as you saw just now, what I'm doing is there was a color already in the second stage, what we painted, that was the mid-tone. Then I added this dark color here, that's the dark tone. And what I'm applying now is the highlight color of that shape. So that creates, gives the shape of a three dimensional quality. Otherwise, your trees might look very flat if you don't use the three values. I need a bright yellow now, which needs to be opaque. So I'm adding more white. And use this on this tree. And the top. And maybe a touch here. Yeah. Now the highlights and add details to this tree also. Toward the base, the trees will be dark because they catch less amount of light. And the highlights on these will not be as bright. As the highlights on these, because they are at a distance. But there is that value change and multiple values are required so that I'm allowed to add a few dark accents. On this side. I think that's enough. Now, the trees in the distance will be much more darker or a much more blue. So let's see it create the color here. I want it to be a dark blue, so some more brown, but I want it predominantly blue and I'll add few strokes of color here. But I won't paint too many details because they are at such a distance, you won't see them anyway. Yeah. Now, let me add a few details in the grass or that I'd use this dark color itself. And maybe you and I'll spread the bristles of this brush like this. And I will try to see how this what kind of market yeah, it does create that marks like this suggestion of some grass being there. And now I'll add some details to these mountains and that should be it. And use this round brush, large one. And I don't want to make any major value changes, but slight color changes. I'll have to make this slightly more than three-ish. So let's see how this color looks. Yeah, this is good enough. It's not making a big impact, but it is giving a subtle suggestion of value change. Our color change rather not much of a value change. And this will also help me because the light is coming in from here. This part of the mountain will be slightly darker. That's what this color is doing. Initially, I didn't indent to make it applied so broadly. I think it was needed. So now, all of a sudden this looks like the lit side of the mountain and this is the darker side, which is what was my intention. Now, let's add some change in value in this mountain. Let's see how this looks, this periodic. Then use a thinner brush. Can be slightly darker, so some more brown goes into it. You can see how I'm repurposing or reusing the same color which is mixed onto the ballot. Which is, which is a good way to create color harmony automatically. Don't always mix each and every color a bit. Starting from scratch. That way you get to the current color harmony, which is more believable and without much work. And now I'll add you light. To this green. So for that I need some white. I'll dig it directly from the tube, mix it into this yellow, which was their yellow green, and then use it. In some places like this. Slightly more yellow, more than an overall color. I'm using it as a variation in the amount of light. Here. That's looking good. I can make this slightly more bright. And also make this slightly more blue that didn't add some more contrast. So to make it lighter, I am use this same color. And this will become thinner and less impactful when it dries because it's not thick. Dragging my finger over it so that it doesn't remain a lump of color. Left corner, blue in this color. And let's see how this looks. The moment I make this dark, the light color of these clouds becomes even, even lighter. It up us more light. And then use the same color. And use pure white from the tube. And I'm, in some places, I don't want to make the clouds so attractive than the take away attention from the photographs to make it interesting, but not beyond that. Bluish NES in some places. And some more white here. And I think I need to make this even brighter at some places just to add some punch. So and take out some white in it. From here, use it in the yellow. And let's see how this looks better. And reducing the amount of detail which was being seen beyond, beyond this tree. And what does this mean? Maybe this painting make border so that the painting looks finished. So this way, we have painted the second painting based on one photograph. Now it's your turn to take out your colors and your art material and paint this landscape. And then come back for the third painting, which I do, which I do based on the same photograph. So the limitation one, some connection here. That's it, I guess. Hope you enjoyed this video and you will try to paint the scene yourself. So we started with this, and we have painted this see now, based on this composition. So now it's your time and see you in the next video. 7. Painting 3 Block In: Welcome to this video. In this video we'll paint a vertical composition based on the same photograph which we use to compose these paintings or these compositions. And in the previous two videos, we painted this and this painting. And now we will do this painting in this video. So the first thing what I'll do is I'll copy this drawing onto my paper here. So for that, this is a vertical composition. So I'm first making vertical rectangle for it. Not using any ruler, just looking at the paper edges and then trying to get a fairly nice rectangle. I think that looks good. Now I will add the additional thing which is there in this painting as compared to these two, is I'm trying to show a pathway here, path which is formed when people walk on this metal. So it'll be something which will go from the left-hand side, the right-hand side, and there'll be these vertical trees here. So that will be something like this. I don't want to paint it very straight line. So I'm trying to paint it like this. And then the trees, the tree line will be here somewhere. Bunch of trees near the base of the mountain. There'll be this large tree which will go up till here. Just drawing a very simple shape, a simple outline, nothing much. See, I just want to not make it a complete one. Cut out like drawing or cut out like three. Just want to show some branches poking through the foliage. And maybe there is another one which is in this year and which will be cut by the border of the painting. So there are multiple trees. It's here. Let's see. And then these are the bunch of trees near the bottom of the mountain. And the mountain is like this. This mountain range. It goes like this. I don't want to touch this line here, so I'll bring it closer. And also I don't want this line to this point to be in the exact center. So let me bring it here that will be safer, I guess. And then maybe some clouds here or something there. And that's the drawing pretty much which I need. This time. I will be using different blue, different yellow. Then what we used in the earlier paintings. This time I'll be using ultramarine blue. And then instead of gamboge, I'll be using lemon yellow. Burnt sienna stays the same, and white stays the same. So here also I will start with the darks. So the dark of this tree, for that I will start with ultramarine. You could use French ultramarine or automatic blue, whichever you have. And for that matter, you can paint this painting with different blues also like cobalt Prussian and maybe someone, something else also. So to make this dark, I'm going to add some brown to it, burnt sienna, and to make it greenish and use some lemon yellow in it. So the greens, which we get using these two different blue and yellows will be different. So that's the color. And start with, again, I am, I want to decide which way the light is coming. I'll keep it again, some of the same direction. I'm assuming the light is coming from this direction. And so there are the shadows will fall on this side of the road. So let me start from here. And I want to keep ample amount of sky holes. Even though these are multiple different, leaves, them as one right now, at least for this color. Later on, I can differentiate them into multiple trees. So that's my first layer of color. Then the darkest shape would be these trees. So this will be similar colors, slightly lighter. So I'm mixing that green, dark green again, will be slightly more bluish and there'll be more white in it. Need to bring out some fresh white. Some white goes in. And this is the color of the distant trees and not so far away. Again add a green or yellow, greenish. And these bunch of Clay's will be seen here also. So I'm painting them. And I don't want this line and this baseline to meet at the corner or the edge of the paintings, I'll have to do something more than that. Then I'll come to this mountain, which will be a version of this with some more white and some more blue in it. Some more. Some more blue and some more white. I'm just filling in the shape of the mountain. Can be slightly lighter in some places. And now I need a color for this. Start with the blue again. And I need to make it slightly more grayish, greenish, as green as this one. Let's see how this looks. I can throw in some crimson. Looks nice. I can add the details later on. And then I can use the same color to the sky. And now I need to paint the sky. For that again, I'll wash my brush. But before that let me paint the road and the meadow on the grassland. So for the road, I will use row or the pathway and you just burnt sienna and some white and just lay it in right now. So I just want to make sure it doesn't go into that corner. Certainly. Bring it up to this. Maybe in some places it's dark because it's a muddy road. But obviously it has to be thicker here and thinner here because this place is closer to us where we are standing as a viewer. Now this meadow, I am. Let's see what kind of color and we add to it, obviously it will be green version of green bird. Let's start with this yellow and add a bit of this remaining color to it. And let's see how it turns out green. Now I'm applying this green. Again, add yellow in some places and onto throw in some brown some cases, some places. And found the foreground. I'll make it even lighter. And towards the base of the painting, I'll make it slightly darker. And I'll apply these strokes vertically. Need some water on the brush. Some brown and blue and boards this idea and make it lighter. You don't need to see the bar 3 all the way across can disappear into the grass in some places. Taken some white on the brush. And, and so I'm dragging some green on the road so that it's not as if you can see the road all over the place or all throughout the painting. And in some places it does get behind the grass. Now let's quickly add color to the sky. To complete our blocking. For the sky and start with white again. Squeeze out the white here itself. Mostly in the white with this, whatever blue is there. And then as I go up, I will add more blue to it. So some more blue. Sky with some more blue. This is really intense blue. Some white in some places, and some crimson. Generally I've seen students mix one color and then applied to the old leads to flat looking painting without any suggestions of details. And I always tell them to vary your brushstrokes with but different colored. So once you mix some color here, every time you take a new scoop from this place, you can add either a blue or a white or a magenta in so that it looks slightly different than the earlier scoop which you took from the palette. That will automatically add some interest to the shape which are painting. Because in nature, there is no one flat color. Any shape. The color looks different is that we have to look at it keenly. I'll have to make this light here. So for that I need some more white. And I'm not mixing in too much because they get mixed with that and then make the white, white guy. Now this completes the second stage of painting, which the block in. So we have color all over the painting in all the shapes. And in the next video we'll paint the details to complete the painting. So see you there. 8. Painting 3 Details: Welcome back. In this video, we'll be painting the details for all these shapes in our painting. Mostly I'll be using this rigger brush and continue using similar, same colors for mixing the colors that we need. So I see that the majority of details will be in this shape. So I'll start by mixing. And since it's a fairly large area, which has a lot of light-colored still there. I'll use a larger brush to first apply the darks and then come with the smaller brush. I'm starting with ultramarine and burnt sienna and some yellow. Make it dark green. So let me apply this. And as I said, two or three different trees here in this bunch and differentiate between them. So I've added the dark accents now. And I'll also paint the tree trunks with slightly brownish color. It's the same mix of colored is the percentage of Brown is slightly more here. And never paint the trunk of a tree exactly like leg in electric voltage is uniform all over most of the times. So don't bring in other news. This smaller brush. Brush. And all these trees are on the other side of the work we do when you want to call it. Oh, that should be enough to suggest the tree trunk. The larger the painting, more details you need to paint. This is not a very big size painting, so I'm I don't need to paint many, many details. Okay, now, I'll have to mix a lighter color and then apply that here. Because those are the trees in the background, which is slightly lighter color. Now you can see that they seem like two different to these now, without being descriptive. Now let me add details to DSpace. Again, the left-hand side of these trees will be in shadow. So I'm using this, multiplying this color with slightly more blue in it. And being in dark accents. And I love to paint light green and this yellow. Green on this site because it's getting light. I think this color will become more transparent as it dries, but they do come back and add one more layer of it. But for now I'll keep it this way. And then I'll use this same color to add some slightly make it this color. Because the highlights on this cannot be as bright as this. Our highlights on these cannot be as bright as these headings. So I have to make it, make that Guineans likely done. And some darks which got lost. And maybe a line. And again, use the same dark color to suggest some grass here. Without it looking very predictable. So I'm blurring that grass in some places, some places I'm leaving it crisp. So something like this. And I think I will have to add the next details here in this mountain. So for that again, and use the same brush. And let's see if I can use the same color because it is so blueish, bluish, greenish origin as the light is coming in from here. Some ideas, this is too dark. Some light, some white will go in. So more white and some more blue. And let's see how this looks. Some more white because I don't want these two values same. This is good. I'm using on the leftover color. Because right now what I'm more concerned about is the value and not the color policy. And have to adjust this. Before that, let me add some details here. Which will be a blue-green color, again, dry. Now what I want to do is indicate the shadows of these trees. For that, this brush and the grass. The shadow on the grass will be our dark green. To start with this leftover color and add some more blue and slightly more good. And I will paint the shadows with this. Again, make it slightly more, slightly darker. Even more near the source of the shadow, which is three. And over. Again. That should be enough to indicate the shadows. And now I need to make this as light as this. Yellow in this corner becomes slightly green. Light here. This area is too bright. Shadow. The shadow doesn't look like the same color again. But this time I'll painted slightly brighter. That's enough to suggest that there is a road lines near the edge of that order. Then it is. And I need to paint the tree trunks again. So for that I need blue and brown again. Really dark mix. You have to ensure that all look different from each other. Otherwise, artificially. Constructed or drawn or things like that. So I'm just making sure that they're not identical looking. That's enough to create an impression of things which I need. Now I'll have to manage just the shadow part of shadow side of this mountain, which will be a version of this color. And you just have to control the value property. Yeah, that's right. And some of this blue, I need a very, very small quantity, not much. Yeah, This is good. I think that's also not very nice color though. I thought it's good enough. Add a bit of magenta. And let's see how this looks. Yeah, it says what? Has that greenish tinge. And more white men. The lit side of the mountain again. So with gouache, you can go over and over again. You're not happy with the color earlier. And you can paint it again till you are satisfied. I think now the amount and it looks interesting enough. But I think it's going too close to the end of the tree, so I'll have to this I think I'm nearing the end of the branding process. I'm just making this too. And just as a counterweight for this. I think I need, I don't know if I need something here and make this slightly larger so that it goes above the mountain line. And that acts as a counterweight. Otherwise, the right-hand side was looking too heavy and some light side of that. So the tree is now connecting these two shapes vertically and holding them together and also acting as a counterweight for this. So I think, I think I'm done painting this trees and the whole painting. So let me, let me draw the outline. And very carefully drawing this kind of frame for this painting. Because that makes the painting more presentable. And that's it. So now it's your turn to take out your colors, art material, and paint your version of this landscape. 9. Conclusion: So if I now have to continue, then you can see that we started with this photograph. Then we composed various compositions based on that same photograph. And then we painted three paintings. This is, this is one we painted just now. And there are two more which we painted earlier. This is still wet, so L naught completely closed the image, close the book. And this is the second one, which we painted it. And let's see, where is the first one? This is the first one. So this is a square. This is a landscape format and this portrait format. So three different formats, three different paintings, three different sets of colors from the same photograph. I hope you enjoyed this class and you will now feel more empowered to create more compositions based on one source photograph. So you don't have to feel that because you are not able to go out as much as you want, you have less material to paint from. You can use the same photographs and tried to compose different compositions and add variety by changing the color theme, color scheme, using different colors and so on. If you want to learn more about how to make nice compositions and what is involved in making a good composition which holds the viewer's attention for more amount of time, then you should have a look at my course on composing painting or mastering visual composition for artists. Happy painting. And see you in the next class.