Paint a Spring Inspired Landscape using Gouache: A Step-by-Step Guide

1. Welcome to the class: Spring is the season of new beginnings, which means we're stepping out from the winter and stepping into a new seasonal cycle, we are going to be seeing different shades of greens and colors altogether. The sun is going to shine bright and the flowers are going to bloom, and our landscapes are going to get their color back. I love springs so much and to celebrate the season, I'm here with a really fun class that is going to help you elevate your mood and get into this vibrant, colorful spring mode. Hello everyone. Welcome to the class. My name is Phael I'm an artist and an art educator based in Bahrain, originally from India. I go by the name thesimplyaesthetic on Instagram, but I'm constantly sharing the artworks that I'm working on. Talking about the upcoming workshops happening online and offline and sharing my love for art with you all in general. In this class, we will be exploring the medium gouache together and painting this beautiful spring landscape. Don't worry if you're new to the medium or have no prior knowledge about it. Because I've designed this class in a way that we'll be covering everything that we need to know about gouache before we dive into our class project. We'll start off by discussing the right type of art supplies that you need to pick when it comes to painting with gouache. Then dive right into a little overview about the medium, where I'll be sharing some of my tips and tricks with you all. We're also going to be diving deeper into some gouache techniques that are not only going to help you in the class project, but your own paintings as well. I've also included two practice lessons in this class where we are exploring sky, clouds, grassland, and flowers using a combination of the gouache techniques that we have explored. This is going to help you practice and gain a little bit of confidence before we dive right into the final painting. Using a combination of the practice lessons and the gouache techniques, we are going to be painting this gorgeous spring landscape together. I've also broken down the class project into smaller lessons so that it's easier for you to understand and follow along. If you want to paint this beautiful spring landscape with me and just enjoy the process of painting and learn a little bit more about the medium gouache, then join me in this class and let's paint together. 2. Art Materials Used: Awesome. Now that you've decided to join me in this class, let us talk about all the art supplies that you need to get ready with you before you begin. Starting off with the gouache paints. I am going to be using these gouache paints from Winsor & Newton. These are the designer gouache. I absolutely love this course specifically so much because it has that velvet touch to it and it's just so creamy and I feel like the experience that I've had with painting with this gouache is the best so I tend to use this. But again, you can use any gouache paints that you have with you. Let's talk about the colors that we need. The first shade I'm using is cadmium yellow. The next one that I'm going to have on my palette is cadmium orange. You can have a little bit of yellow and orange color. We don't need a lot of it, but just a little bit. Next that I have on my palette is sap green. This is the shade that I'm using, this is sap green. Next I have burnt umber. We've got four shades now. Next, I have prussian blue. Now this blue I'll be using for the sky but feel free to use cobalt blue or ultramarine blue, whatever blue you have with you. Lastly, I have a jet black from the Winsor & Newton. These are the colors that I use from Winsor & Newton. Further white, I actually use this one from Brustro. This is the titanium white. It's a large tube as you can see because we tend to use a lot of the white when it comes to painting with gouache. I couldn't find the one from Winsor & Newton here so I had to substitute it for the [inaudible] one. But this is also a very nice squash. I like the consistency and the texture of it, and it works out really well. This is it for your paints. These are the only colors that I will be using and all the shades that I will make during the class project or during the practice sessions will be done using the sheets itself. If you have similar colors on your palette, you are good to go. Next on the list is your paper. I am actually going to be using this academy watercolor paper from Baohong. I'm sorry if I'm portraying the name. I really like this paper worked out really well for watercolors and it worked out really well for gouache as well. It is cold press paper, so it has this nice texture on it. But it doesn't have a lot of texture, so it works out really well. When you're working with gouache you want to make sure that you are picking paper with a little texture. Rough green would make learning process difficult for you but if you're not looking to do a lot of blending, then it works out well. This is the paper that I'm going with, but gouache is very versatile in that manner so you can use any paper and you are good to go. We're not very picky with their papers when it comes to painting with gouache. Now the next thing that I have are these brushes. I have a combination of my flat, round, and a liner brush. This is what I'll be using. This one is a size 18 flat brush. Obviously this covers a lot of area and makes the blending for the sky or the lines of the background layer a lot easier because it's able to cover a lot of surface area. Similar to that I have another one which is a [inaudible] flat brush. I use these two. Any flat brush is okay you don't have to stick to this particular size. It all depends on the size that you're working with. I have flat brushes. Next I have these two round brush. Now as you can see, this one is a round brush where you can tell that the tip is very rounded like that. This one is a pointed round brush. If I were to use this brush I can get really fine details using the single brush itself. That's exactly what I'll be doing. I'll be getting all my finer details with this which is a size four brush. You can imagine the size four brush will give you a size zero effect as well. Keep a long round brush with you which comes to a really fine tip. If you don't have that, then you can switch to your normal brush. Just you'll have to vary the sizes depending on the brush strokes that we make. Then this one works really well for clouds. If you don't have this brush then just use this brush for the clouds it's completely okay. These are the two round brushes that I have. Next on my list is this liner brush. This works really well for the detailing of the flower. If you don't have it again, you can use your normal round brush itself. This is it for our main three that is our paints, people, and brushes, that's all the extras that we need. This is the mixing palette that I tend to use. It's a ceramic plate which is leaflet. I really like how it works for mixing colors. As you can see, it's nice and opaque. It's smooth so your blending and mixing is a lot better here, which works out perfectly for me. You can choose any mixing palette that you would like. Next, I have two jars of water. This is very important. You need to have two jars of water with you when it comes to painting with gouache because one, can be dirty, it will become dirty as you rinse your brush. The other one can be your final rinse or to top up with some clean supply of water. Make sure you have two jars of water with you at all times. Next on my list is tape. This is just to tape my edges. If you don't want to tape your edges feel free to avoid or not have this tape, not have this material with you. I like to tape my edges for that clean border, so I'm using tape. Not lastly. This one second last item on the list is a pencil. You need a pencil [inaudible] obviously we're going to be doing a very basic sketch. Keep a pencil and an eraser with you. Lastly, we have tissue. You need tissue or cloth or rag, whatever on which we can wipe our brushes. That is it. These are all the materials that you need for painting with gouache. Let us go ahead and actually explore what the medium is about in the next lesson. 3. Gouache Overview & Tips: [MUSIC] Let's talk a little bit about the medium gouache. Now, gouache is a medium between acrylics and watercolors. What it means by that is that it shares properties similar to both these mediums. It has the revertibility like watercolors. In case your layer is dry, you can go back and revert the surface in case you want to change anything or you want a different effect on it. But at the same time it has the leering capabilities of acrylics, which means you can lay opaque layers one over the other without showing the previous layer. Let me share a few tips and properties of gouache that is going to help you understand the medium better. First, we want to ensure that we're always using fresh paint because this ensures we get that creamy matte finish that gouache is so famous for. Next, we want to ensure that we're adding a little bit of water to thin down the consistency of the paint and make it blendable and workable. Thing that we have to keep in mind is that when you're working on different layers, we want to ensure that the base layer is thinner than the layer that you will add over it. We will talk more about the details and how it works in the next lesson where we are discussing layering and the different gouache techniques in detail. In gouache, when we want to get a lighter color, we tend to add white instead of water. When you want a lighter shade of blue, purple, pink, whatever that may be, you add white and that is going to give you a lighter shade of color, unlike watercolors where you add water. In gouache, if you add water, you will get a really pin down consistency and your paint is going to start behaving like watercolors. Gouache is a very versatile medium, which means it works on any surface like acrylics. I tend to use them on this cold pressed paper. This is because it has that smooth texture. It's not too textured, and it's not too smooth as well, and it just works perfectly for my landscape paintings. This is something that I tend to use most of the times. Mix with gouache, I ensure that I'm using synthetic hair brushes because if you're using natural hair brushes, there is a tendency for it to get ruined and I'm too scared to ruin mine. So I stick with these synthetic hair brushes. Lastly, I always make sure that I keep two jars of water with me. One is to completely rinse my brush and get rid of any paint, and the second is for when I want to give it a final rinse or when I want to top up on some fresh clean water for my mixes. That is pretty much it for the squash overview. I hope you've got an idea about the medium, and in the next lesson we will be discussing some gouache techniques. 4. Brushing Over Gouache Techniques: [MUSIC] Let us brush over some gouache techniques that are going to help us understand the medium better. It's also going to help you in your final painting. The first four techniques are the main four techniques that we want to talk about is consistency, layering, blending, and dry brush techniques. In our final artwork, we'll be using a combination of these four techniques. It's also going to help you in your future projects as well. Gouache honestly just consists of these four main techniques. If you know these four techniques, you will be able to create any landscape. Because I have more experience with landscape, I would say can create any landscape, just using a combination of these four techniques. The first thing that we're going to talk about is consistency. Now what is consistency? It is the water-to-paint ratio. With gouache, the more water you add, the more it starts to behave like watercolors. I'll show you exactly how that goes. Gouache comes in this space like consistency directly from the tube. If I don't wet my brush, my brush is completely dry. If I were to mix this, you can see how thick the paint is. Can you see how thick this is? This one is not very useful when it comes to painting. It's mostly because since it's too thick you will have problems in blending. You can use this technique, use this texture for dry brush technique. I'll show you how that works. But if you see, if I brush over, it's really dry and it's not very feasible when it comes to your blending. Now, to the same mix I'm going to add a little bit of water, so I'm just going to load up a little bit of the paint actually and move it here. You can see how the consistency is slightly thinner at this point. It's almost like a gel, I would say. This is a very gel-like consistency. You can see it's nice and opaque, evenly spread. A lot more blendable I would say. This works for all the stuff that you want to add on your base layer because it's going to be nice and opaque. Also it will show up a lot more as a second layer. Whenever we are painting the base layer, we want to go for a thinner consistency, which is almost like tea. You'll add a little bit more water into your mix and here. Here we go. This is the consistency that we use for painting the background layer, painting the sky or the base layer. You can also go a little bit thinner than that. It's completely okay to be slightly more towards the thinner side of this consistency itself. Like this, it'll still give you a very nice result. But if you go anywhere thinner than this, now I'm just going to add some more water and I'll show you what happens, if you go anywhere thinner than that, your paint starts behaving like watercolors. See? This is how gouache is very similar to watercolors because the more water you add, you're able to depict the exact look of watercolors. The only difference will be that this will dry up a little bit more towards the matte side, not as transparent. But it does behave like watercolors. From this what we learn is that when we want to get a lighter shade in gouache, if you add water unlike watercolors, you will get a very thin consistency, but you will not get a lighter shade. It is a lighter shade, but it's not feasible for us to use in our gouache paintings. Whenever you want to work on a lighter shade, what you have to do is add white into your mix. Let's say I'm working with this consistency right now. This is my darkest shade of blue. That is my Prussian blue. In this, I will add a little bit of white. Just a little bit of white we will go and see how the transition works. You can see how it's gotten a little bit lighter just immediately with that little amount of white itself. I'm going to add in some more white into this. It gets lighter. I'm going to add in some more white into this a little bit more maybe. It's gotten lighter. I am maintaining the consistency here. The only thing that I'm doing is adding a white, but the consistency is the same. Now to get an even lighter color, I will add some more white into the mix. You can see how the color has gotten lighter. What we learn from this is that as you add more white into your paint, you get a lighter shade of blue be it any color. You have to just add more white into it and maintain the consistency. That's very important. Now I can keep lightening this a lot until I get a very, very light shade of blue. But here you get the gist of it. Instead of adding water, unlike watercolors, if you add water into it, it will become like watercolors. Over here, to lighten the color for gouache, if you want to get a lighter shade, you want to add white into the mix and maintain the consistency. Whatever consistency you're working will be this one or this one or this one. You just want to make sure that you're maintaining the consistency and just adding white into it. Now if you can see here, like I was telling you, it will dry up to be matte. A little bit less transparent as compared to watercolors. But still, it is very transparent where you can see the paper. Over here, it's still a lot more towards the opaque side, even though it's a lighter shade of blue. Here we understand a little bit of consistency. Next, let us talk about layering. When it comes to layering, there are few things that you have to keep in mind. When you're working with gouache, you want to make sure that your background layer is towards a thinner side. This one that I showed you, it has to be more like a tea-like consistency because when you are layering you don't want to reactivate the paint. Gouache, unlike acrylics, which dries to be like something that's final. You cannot reactivate the paint. But with gouache, you can reactivate the paint. You have to be careful when you are layering because if your layer is too thick at the bottom, when you add a second layer over it, it will reactivate the paint and if you're adding white specifically, it will turn light blue because you'll have the background color mixing with it. I'm just going to show you how that works. First I'm going to start off with a very, very thick paint. I'm just going to add in a little bit more blue so that we get an exact version of it. Here I have a very, very thick consistency of our blue and I'm just going to apply it here. You can see how it's dark and the consistency is thick, so I'm having trouble making the layer even. This is our first block. This is really thick. The next block that I want to do, I want to do it slightly thinner and work with my tea-like consistency. You can see how this is lighter. I'm just going to make the layer even because I have OCD, I'm having trouble maintaining the same size. I'm just going to fix it slightly, but you don't have to do that. This is just for our understanding. I think these two are enough. What we're going to do is let them dry and then I'll show you what I was talking about earlier. These two blocks of mine have dried up completely. Another thing to keep in mind when you're working with gouache is to make sure that your layer is completely dry before you go ahead and start adding a second layer. If it's wet, it's almost going to act like the wet-on-wet techniques. If you work with watercolors, you know what I'm talking about. Now it won't be exactly like the wet-on-wet, but the edges will smudge out because of the water. If you want really sharp edges in your second layer, you want to make sure that your base layer has completely dried. Now I'm going to go ahead and show you how that works. How the thick side will show up a little bit of the blue as I move my paint. I'm going to go ahead with a slightly gel-like consistency. I'm not going for a very thin consistency. I'll just show you what it looks like. This is the consistency that I'm going with. I've added a little bit of blue to it. It's fine. When I brush over this, can you see how it's reactivating and it's getting more blue? Now this isn't the shade that I'm using. I think it will make more sense if I do it with white itself. Let me just load up some white on a clean side of my plate. Now if I move this white paint over, you can see I'll reactivate the blue. Can you see how the blue comes out? That's not something that I want for my final piece. If I don't apply a lot of pressure, I think I'll still be able to get away with it but once the white layer will dry, it will still show a little bit of the light blue on it. Now, I'll show you how it works on this side. This time again, loading up a little bit of white, just clean white and let's see how it goes. I'm going to apply a similar pressure. What I'm going to do is, I am going to apply a similar kind of pressure. It does pick up a little bit of blue because it's white, but it isn't as bad as this. Whenever you're working with white specifically on your second layer, you'll have to work into coats because it will dry up a little bit lighter than it is supposed to look. But you get the point. In this one I'll still have more workable time as compared to that because that looks a lot more blue than this one. That's right. But either way, what I'm trying to say is whenever you're working on layers, make sure that your background layer is lighter and thinner and as you build up on it, you are going to go with thicker layers. That's pretty much it about layering. Layering is very simple, as the name suggests you're just layering over one layer, and you have to keep in mind that your background layer needs to be completely dry before you go ahead and add anything over it, and this is pretty much it. Now, let's talk about blending. Now blending is a very important technique when it comes to painting with gouache especially when you're working with landscapes, because you need a nice blend in your sky, you have to make sure that you are mastering this little technique. If you want clear skies or clear blends in your painting, of course, if that's not something that you're looking for, then feel free to go about it that way. But if you want nice clean edges, you have to work a little bit on it. Now, I will show you a lot more about blending in the next lesson when we are practicing the sky blends and the clouds and foliage section as well, that'll give you a better clearer idea of how to practice it in your daily paintings. But right now I'm just going to roughly brush over what blending is. Let's say you want to blend two colors together, or let's say a single color together, I want to blend dark blue. Again, I'll show you the consistencies as well as we go. It's a nice tea like consistency I'm going with. I want to blend this with a lighter blue color. Let's say I'm starting like this. I have this on this side, I'm going to load up a little bit of the lighter blue color and apply it here. Now if you look very carefully when I was saying when the paint is wet, it will blend in but not as clear. You can see this line, to get rid of the line, you'll have to brush over that area a couple of times, then let's say I want to add a lighter blue to this. First, I'm just going to get all the blues in, all the shades of blue that I want. Let's say a lighter blue here, and just almost very close to white blue here. Now when I have everything laid out, you can still see that you're able to tell the transition between them. You can see the lines clearly. Whenever you have something like that, you want to just make sure that you are cleaning your brush entirely. You clean your brush, then load up a little bit of just water or paint if you'd like, and go in this left and right motion. Here we're going up and down, so let's say if I were to flip it like this, it'll make more sense. I'm just going to keep going like this in this motion, to and fro motion, and this way, I'm able to blend. Now sometimes, what will happen is you will feel like the white is moving too much upwards, or the dark is gone, so you can just clean your brush and put in the dark colors. Then this time we'll start from the top so you'll start going downwards in your blend in this left and right motion and start bringing it downwards like this. If you ever feel like you're loading up a lot of paint or your paint is just moving a lot, all you need to do is clean your brush, tap it on the tissue like this, and using a damp brush, get rid of that line that you're seeing. This is how you'll be able to create that seamless line. You don't always have to work with paint, sometimes you can just work with your damp brush and just move the colors that are already on the layer, you just have to move it around. Look at that, you will have a nice even blend transitioning from the darker side on the left, moving towards lighter color on the right. This is what I love to try, as you can see I'm able to see the transition and if you were to add clouds on this layer it would look really nice. Now, this is one type of blending where you're working on a similar shade and just working with different dull values of the same color, so it's a lot easier to blend. Now, the next type of blending that I want to show you is not very important for what we're going to paint today, but it will still give you an idea of how to work on, let's say you're working on a grassland or if you're working on an autumn painting, for example. You have a lot of different shades of reds and oranges and greens or browns in your painting, and if you were to mix all of them together, how it would look. It's almost like learning the wet-on-wet technique but for gouache. Over here, what you do is, unlike your wet-on-wet technique for watercolors, what you do here is you just use your damp brush. You start off with a particular color, let's say I'm starting off with orange, I'm just going to apply the orange on this side and just move it around like that. I'm going to load up a little bit of yellow, and I'm just going to add the yellow immediately while the paint is still wet. Let's say I want to add some green, so I'll just load up some green and move it while the paint is still wet. If you can see very carefully, the paints just merge into one another, like watercolors and they mix with one another. Now obviously this isn't as exact as watercolors, because obviously watercolors have a lot of water in them as the name suggests, but you can also add a little bit of water to move the paint around to make it easier for you. But pretty much like watercolors, you can work on a similar technique to achieve the look that you are going for. If you look very carefully here, I've incorporated a little bit of brown and yellows and greens in my painting. Let's say I have this sharp line here, my paint has dried here, what I'll do is just clean my brush, load up some water, and just add it in, just like wet-on-wet technique. It's just doing the wet-on-wet technique, but with gouache. I think this is a really fun thing to apply in certain areas as well. We're not going to be applying this in our painting today. My camera decided to mess up in-between, but as I was saying, just like how you would for watercolor techniques, all you have to do is add in a little bit of water and if you feel like your layer has dried, all you have to do is just use a wet brush, add it in and just reactivate the paint so that it gives you a little bit of working time, and then you can add in the colors that you want. It's very similar to wet-on-wet technique in watercolors, but for your gouache paints. I really like this technique, we're not going to be using it today entirely. This is not a technique that we'll be trying in the class projects for today's class, but I really wanted to show you so that you get a little bit of an idea of how things work around with gouache. Maybe if you'd like to use them for anything that you're painting on your own, please feel free to try it out as well. It's almost like painting with watercolors, but your outcome is going to be a little bit more mapped I would say, as compared to working with watercolors directly. Anyway this is it about blending, let us go ahead and talk about our last and final technique, that is a dry brush technique. Now as the name suggests, dry brush technique, that is, you're using your dry brush to create some texture in your painting. Now a lot of times when you will come across a grassland and you want to achieve that look of some things really far away, but you don't want to work on all the details that you're seeing. At that time, you can just add in a little bit of texture and get a similar effect in your painting. Before doing the dry brush technique, you almost have to work with this consistency, so it's a really nice and thick consistency. Let's try it out with the green shade. As you can see, I'm working with a thick consistency here, I'll just add a little bit of water, but still the paint is towards the thicker side. You're going to just mix it, twist your brush so that you don't have a lot of paint loaded up, and as I apply it here you can see how I get gorgeous texture. This will work out really well if you're working on cold press paper because the texture is going to show up a lot better. But if you don't have a cold press paper, then you can just try it out on your normal paper as well. On that you will just press on a little bit lighter to get good texture. I just tried it out a couple more times with my brush, but this is what your dry brush technique is about. It works really well when you're trying to add in texture into your painting. Like I said, when you don't want to add a lot of details, this works perfectly fine. I'll show you how to use this technique in our class project and in our practice lesson as well. But this is it about the four techniques, let's have a closer look at them. In this lesson, we have covered consistency where we learned how you can use different consistencies with gouache and how to get a lighter color for gouache paints instead of using water, you add white. Next thing that we covered was layering. As you can see, this is what it looks like with a thicker base and a thinner base. This is our blending, this is what we're going to be using, and this is something that I just wanted to show you for your reference, and of course lastly, a dry brush technique. This is what it looks like, I hope you understood a lot about gouache techniques and the medium itself. In the next lesson, I will be talking about how to apply them in a few practice sessions before we go ahead and start with our final painting. 5. Practise : Sky & Clouds: Now that we've learned our basic gouache techniques, let us practice how to create certain things that will be helpful for our final class project. This is what we are going to be painting together. But before we go ahead and start the process of painting this, I want you guys to take a moment to practice a few things so that you are confident enough to start on your bigger picture. The first thing that I'm going to show you is how you can create this gradient wash in the sky using your blending method and add in these clouds using the layering technique. Similar to that, we also have a gradient in the greens on the land here, and along with that, we have layering, which are these stems and the grass details and of course, the flowers. I just want us to take a moment to practice this out first before we go ahead and start our final painting. The first thing that we're going to do is paint the sky. What I've done here is I have taped down my paper on all four sides like this, and somewhere around less than half of the paper, I have applied another tape like this so that I have a landscape area to work in. I also have Prussian blue and white on my palette. Take that out and let us dive into creating the gradient wash. To create a gradient wash, we're going to start from the top here and then move it down to the lighter shade. For the darker shade, I'm going to use Prussian blue and add a bit of white in it and mix them together like this. Make sure that your mix is nice and even. Once you have that shade, here's a swatch of the color that we have. Using the shade, you are going to apply it at the top. Now, a lot of times people also prefer to go from the lighter shade to the darker shade. This is all about preference. I like to go from the darker to the lighter when I'm making single-color gradation like a graded wash like this. But again, it's a personal choice. If you are more comfortable with going from a lighter shade to a darker shade, please, feel free to do that. Now that I have the darker color, I'm going to clean my brush and I'm going to add in a little bit of white in the same mix. What it does is it creates a lighter shade of blue. Now, this lighter shade of blue is going to work as a color that's slightly lighter than the one you've applied. Now we are going to go and blend it in with the previous shade, like this. I'm just going to do some here, then clean my brush because I am actually happy with the way this looks. You can also use a damp brush to just add in some more blue at the top in case you feel like it's gotten lighter. You always have the liberty to move it around if you don't like it. Now the next thing would be to get an even lighter shade of blue. Into my same mix, I will add in a little bit more white. Let's say this is the color that I'm using. I'm going to apply that and start blending it in. Again, same method, you can see how I'm going left to right directly without having any other motion in my brush. It's just to and fro motion. Once I have this lighter shade in, I'm going to clean my brush again, and then add in more white to get a really, really light blue color. It'll be a very light blue color. Using the shade, I will apply all the way at the bottom. Make sure that you are blending the shades. What I mean is you shouldn't see a line directly on your paper. You should see a nice, even blend. In case that happens, you can load up a little bit more paint in that area, apply it and just blend it in. That sometimes happen, the line appears mostly because you have thinned down the consistency of the paint and that is why it gets lighter. To avoid that, you can always add in a little bit more paint into your brush and just blend it. One another trick to blending is using your damp brush. Clean your brush completely. Just use a little bit of water and just move up and down. This will reactivate the paint that is at the base already, and it will help you in the blending process. If it doesn't work, you can always make the same mix that you used in that particular area and just go up and down to blend everything together. I'm really happy with the way this blend looks right now. I'm going to let this dry completely and then we'll add the clouds on them. This is the color of the sky, it is obviously a little bit darker than what I've done here, but you get the gist of it. You are creating a gradient wash, where you have a slightly lighter color, lighter blue at the base, and then obviously you have a darker one. Now, the next thing that we have to focus on is the placement of the clouds. If you look very carefully at this artwork, you will notice that the clouds are flowing like this. This is the motion for the clouds. Obviously, you have some like this, but it's still in this motion. If you were to go outside and observe the sky when it's filled with clouds, you will notice that because of the curvature of the Earth's surface, the clouds will have a little flow in it. Especially if you're looking straight and slightly upwards, it will never be straight like this. The ones near the horizon line might appear straight, but the others will have a little bit of motion in them. Whenever you're painting clouds, you want to make sure that you have that essence of motion. You're bringing that motion into your clouds so that it's not just flat like this. Let's go ahead and start understanding how to make these clouds. Now the process of making these clouds, I have shown you guys in a lot of my previous class projects as well, I mean, previous classes, not class projects, previous classes as well where we've painted clouds. I've tried to break this down in the most simplest way that I can. Obviously, you can do this with a lot more detailing, with a lot more shadow work and highlight work. But I like to keep things simple when it comes to painting something like this, where I get the essence of the clouds, I get the fluffiness of the clouds with probably fraction of the time and effort. What I like to do is take white paint directly. I like to use a round brush like this. If you were to notice this brush, it does not come to a fine tip. It's fairly round as compared to, let's say, this brush. This one comes to a really fine tip, but this one is rounded. You can use a filbert brush as well in case you don't have a brush that's round. Filbert brushes do the same type of job and if nothing works out, then you can just use your normal brush as well. I like to use my color, which is white, directly. You can add in a tiny hint of blue. if you look at it, it's very, very light blue. You can skip this or you can add it. My white already contain a little bit of blue because while lifting the white for making my blue mix, I added in a little bit of blue in it. But that's okay. This is the first shade. Now, I want you to hold your brush in a way that is obviously most comfortable for you. I'm going to explain what works for me. I like to hold it like this. Here, this is where my brush lies and my middle finger is the finger that provide most of the movement. This is for control, and obviously this is for movement, and obviously this area is for movement as well. What I like to do is go ahead and start making little shapes like this. Over here, the rounded brushes play a very important role because you get really round strokes with them. Remember, when you make your brush strokes like this, you get a more linear finish. If you make it like this, you might not have a lot of control over the shape, but you will get a really fluffy effect. This again plays a very important role in the type of clouds that you're making. If you're making really fluffy clouds, you want to move like this. If you want thinner clouds, you'd want to move like that. As you can see how I've worked with the shape. I have a thinner edge, but I have something fluffy here. Fluffy and thinner ends. Now make sure that you're making these clouds as random as possible. What do I mean by as random as possible? Make sure that you are not making similar shapes on all your clouds. The more variation you add in the shape, the more natural your clouds are going to look. Now, again, what is the motion that I'm following with my brush? What is the movement? How am I getting these brush strokes? First thing that I like to work on is little distances. I work on very small areas, and then move ahead back and forth, whatever you'd like to call it. I work in smaller areas. Then one another thing that I like to do is connect my clouds with one another. Now, why does that work? Even if it's with small lines and small, little clouds, if you connect them, they look a lot more natural. Now I'm not saying connect all your clouds. Obviously, that's not going to look natural, but you want to flow in that way. I like that elongated motion. Let's assume this was my horizon line. The clouds here will still have a straighter look to it as compared to the ones I'll make now because this in terms of the eye level will appear like it's flowing in a straight line with a little bit of curvature, but still a pretty straight line. You can also add in some clouds here just at the bottom as well. If you notice, as the color is drying, as the paint is drying, it's drying a little bit lighter and it looks like I've used a light blue color. That's completely okay. We're going to use this to our advantage to make our clouds look fluffy. If they dry out lighter, that means you are on the right track. I've got something done up till here. I'm going to top up on some white, and then we are going to do the other clouds. Same. We want to add some more clouds. Again another thing to keep in mind is the consistency of the paint. You want to use a slightly thicker paint so that your white looks opaque. Now let's say I want to add some clouds coming from here. Now, I'm bringing in that effect even more. Just going to move this aside so that I have space to work on it. You can see how I'm playing with the shape of the clouds. I'm making it appear fluffy. You can make that appeal fluffy as well, or you can make it like this in a linear format like that. I like to keep the tops fluffy so that when I'm adding the highlights to it it looks really nice. Along with these clouds, I will be adding in some small floating clouds as well around that coming from it breaking into smaller fragments. Maybe apply a little bit more color at the bottom, so it looks like a bigger cloud. Now I want to add in some more clouds here. [MUSIC] Just practice this. Practice the brush movement even though if the shape is not entirely right. Because the more you practice these clouds, the better you will get at making them. Obviously, you will get more confidence for making them in your final painting because sometimes I feel like you'll do all the hard work and if you don't like something, you will get really disappointed. It's good to practice at once before you go ahead and do it on your final painting. I'm just going to make some fluffy ends to this because I feel like it looks very broken. Going to add in some fluffy ends like that. As you can see, that flow of the clouds is coming in. If I were to go beyond this point, if I were to go more up, I could do that. But I think I will just stop here. I'll add some clouds here in the middle just so that it appears fuller, and I will stop. Again I'm giving it that curved motion. Probably bring it in from the top. [MUSIC] I'm really happy with the shape of this right now. Obviously, when it dries, it's going to become a single color and not going to be able to see a lot of highlights and things like that. But that's okay. We will let it dry and then add the highlights on our own in the next bit. I'm going to stop right here. I like the clouds. I'm not going to overwork it and make an entire painting of its own. I'm going to stop right here and let this dry and we will add the highlights. Now that this section has completely dried up, it's time for us to add in the highlights. Before we go ahead and place our highlights, let's discuss where the light is falling from. I'm going to assume that the light is going to fall somewhere from like this, which is very similar to the one that we're doing in our reference picture as well. Let's assume the sun is on the opposite side. The light falls like this. All of these top regions, where you want things to look fluffy you will make that white. At the top, some can be at the bottom as well. But it's mostly to make the clouds appear three-dimensional. Now I'm going to load up some white and just white this time. Make sure you don't have any hint of contamination of white here. Using my same brush, I'm going to load up a thicker consistency of the white and I'm going to start applying it at the top of the shapes that I already made. Now it doesn't have to be all of them. It just has to be some of them just to make it appear fuller. You can see how I'm just adding it at the top. Be very careful. You can change the shape slightly if you think that'll look good. Please feel free to go and do that. That's okay. But make sure that you are not adding a lot of difference in the shape and changing the shape entirely of the clouds because you've worked really hard up to now to work on the shape, correct? Make sure that you're not changing it entirely. But in case if you like, certain places require that, please feel free to do that. Here I'm going to add it at the top. I'm also going to add it here so that it looks like there are different volumes of the same cloud. Something is more closer, something is still at the back, and that's how you're able to create the highlights in your clouds. I'm going to do this to all of them. This will just ensure that these regions appear a little bit more opaque and a little bit more white as compared to the whole layer as is. That's how you're able to create this effect in your clouds without having to do a lot of work. Obviously, when you are painting sunsets, the shades will change entirely because you'll have different colors in your clouds. Not a clear sky. A clear sky would not have clouds. But for a daytime sky, you can use these type of clouds and it'll work out really well. In case you feel like the second layer didn't do a lot, then you can add another layer. But I don't want to do that because in this painting that you are going to make today, it does not matter because a lot of importance is not given to the clouds, and the major area for the painting is the land. The clouds are just a bonus point there. This is how it looks. As you can see, that area appears a little bit more of opaque and the rest of it is still slightly light blue. This is how you can create clouds. Obviously, you can make different shapes for them. You can add in some floater clouds as well. You can also add in some texture. There's a lot of stuff that you can do with the clouds. You can add texture using the dry brush method. You can add in just texture for the clouds as well. Obviously, when you look at a reference picture, you'll be able to judge if it's a textured cloud or if it's a fluffy cloud, and what is the approach that you have to take. If you don't want to follow the exact clouds in the reference image, that's completely fine as well. You can make up your own type of clouds and add them. Obviously, when you are painting from a reference picture, you have the full liberty to change things and make them your own. This is how it is right now. I'm going to let this dry and then we will paint the grass bit. But for the clouds and sky, this is it. Let us have a closer look at our clouds. Here we have it. As you can see, the top area is more opaque. This one still shows a little bit of light blue. The top is more opaque. But again, this is how it's done. Practice this maybe once or twice until you are confident with the final outcome and the shape of the clouds, and then you can be more free and enjoy the process of painting your final class project a little bit more because you would not be stressed about the shape of your clouds. Now, let us paint the grassland and understand how to create layers and gradients in them. [MUSIC] 6. Practise : Green Field & Flowers: Now the next thing for us to practice is going to be this little portion. I want to show you how you can create that gradient background wash first and how you are going to add layers on it to get this effect of darker greens, lighter greens, the stem, and the flowers, all of it. Let's practice that once before we go ahead and paint this. For that, I have actually used this different section because I'm just going to start off with a lighter shade of green at the top, bring it down and just show you how it goes. Let's keep this for example right here. I have green, this is sap green. This is burnt umber, yellow, black, orange, and white on my palette. Take those out and you're going to start off with the flat brush first. This is my flat brush that I'm using. You can use any flat brush really, but this is what I'm going to go with. Whenever we have to create a section like this, we have to show the gradient view of the whole section. When you're looking at a grassland where there are a lot of flowers, a lot of just greenery, luscious greenery around you. How are you going to distinguish between what's closer to you and what's further away? For that, you will start off with the lighter one, which is away from the observer. As you come closer, it will get darker. The first shade that I use is actually a mix of green, a little bit of brown, a little bit of yellow, and white. That's the first shade that I generally tend to use. It's something like this. This is the color. I'll just go ahead and apply it at the top. It can be a little bit lighter than this as well. If you'd like again, it all depends on the reference image as well. But I like to go ahead with this and add in some green and brown just to add different variation of the color. It's very important to have different variations as we go as well. This is somewhat the area that is furthest away from us. Now, as you come down, obviously it's going to get darker. Here into my same mix that I used earlier, I will add a little bit more green so that this section appears more green like this. I want to start bringing in the color like this. The consistency is nice and thick. One more thing that I like to do is move like this, adding some texture like that as I go. Now to this, I will add a little bit of black to the same mix and obviously green. I'm going to go for a color that's like this. This is the shade of the color. Then add it in, in the same manner, this way, all the way at the bottom. Another thing that I like to do here is move my brush like this, vertically, like this, so that I get these darker lines that you can see. It will help us a lot when we are layering. Now again, I'm going to add in a little bit more black into that, and a little bit more green into that to get a really dark green shade. That is going to be the color that I add everywhere at the bottom. You can also deepen the shade with a little bit more black. We are going for a very dark green color, as you can tell. You're going to fill this entire section with this color. Again, if the consistency is thin, it's completely okay. Another thing that you can do here is again, go with that vertical motion like I showed you earlier. This just adds variation in your brushstrokes and it doesn't look very flat. I do that here as well. I also take a little bit of a darker green color, which is very close to black like this. Using that shade, I like to add some more lines like that, like this. You can see how there is a background color to what I'm supposed to achieve. This is what it looks like. We've got a light green here, which is away from the observer. As it comes closer, it gets darker. Now, what we're going to do is actually we're going to let this dry. Then we're going to start layering and doing all the other details to this. Now that this section has dried up, it's time for us to start adding layers. Now, the area that's very far away from the observer, the furthest, most away from the observer that is the area that's slightly below the horizon line is going to see the flowers as texture because you're not going to be seeing the exact details of it. For that, I tend to use a very light mix of white and maybe I can add a little bit of brown in it. I add a tiny hint of brown in it as well. It got too brown. Wait, hold on. Something like a very light mix of a color, light greenish as well, I would say. That's the color that we go with. Using the dry brush method, you can just add it as texture like that. See like this. This area actually sees the flowers and all the other details in that area as textures because it's far away from the observer, is not able to see exactly what's happening in that area. That's how you're able to achieve that look. You can also add in a little bit of green into the mix just to add variations into the color. This is how it looks. You can also add in some darker shades just to show that those are the leaves and the darker bits of that area. But this is how you'll do it. Just adding textures. Once you're done with that, you will switch to a brush that gives you a fine tip. Now is where the main work against that is to add in your extras into your painting. You start off with a slightly dark green first, because you want to add some darker greens in this area. Over here, you actually make really small strokes like this. I'll just show you how it's done. You can either make it like this from top you can bring it down, or you can go from bottom to top like that. Both ways are correct. The effect and the look is different. Over here, it doesn't have a fine edge as you remove it. Here it does look more like grass here, it looks more like stems. See what you want to do. If you want to create more stems, you can go from top to bottom. If you want grass, you can go from bottom to top. I'm going to use this color and start making some stems like that in this area. At first, I'm going to go ahead with this bit in this area. Now, this section takes a lot of time, but I'm just going to quickly show you how it's done. Now that you have this area covered with stems, it's time for us to actually make a lighter mix that will show up on this. For that, you will be mixing somehow green color with your black color and add in a little bit of white on that this time. You get a shade which is very close to this. This will show up on this. As you can see, I'm making some grass shapes like that. First-time making the grass, then I will go ahead and make the stems later. I'm going to add it everywhere, like this. I'm going to add it everywhere. Even here, I will make some brushstrokes here as well. [MUSIC] Once you are done with this color, it's time for us to move on to a lighter shade. Right now what we're doing is working in layers. We're going to work on a darker color, which is this, we'll go even lighter and then lighter and then lighter until we are happy with the way our grass looks. Now to this I will add in a little bit of yellow into my green and use this color next. I guess you can see, now it's become a very warm green shade. So now this I'm going to add some more grass and stems here. As you can see I'm doing that. I'm adding it in all directions using this method. Everywhere it goes, I'm just adding it in. [MUSIC] So I've added that everywhere now. Going for a lighter color, I will add a little bit of white into that just to lighten it up. You can also add a little bit of yellow to warm the color. This is what it looks like. Now I'm going to add just a few brush strokes with this, very few. Also go up to down so that, that acts as stems for the flowers that I want. Then obviously some will be top to bottom, really easy. So I'm just going to add variations in that brush movement. I'm just adding it here, randomly just making a few brushstrokes, not that many. You can also add some here. Just some. So I'm happy with this. Now what I'm going to do is actually make leaves. For the leaves, I just like to make structures like that. Just random structures like that. Like this. What it ensures is that everything is not just straight lines in different directions, but there's a different variation in the shapes that you're making. So I'm just going to add that in, roughly placing them everywhere, especially at the ones that are in the front. So here's what it looks like now. What I'm going to do is actually let this dry. While this is drying, let us practice the shape of our flower. What is the shape of our flower? How are you going to get that effect in? So let's just practice that while this is drying. So for creating the flowers, I like to move to a liner brush. But mostly you're looking for a brush that allows you to get a rounded tip rather than very sharp ones. Let's say I'm going to be using this white. Actually for our reference here, I'll use a little bit of yellow in it so that you're able to see the shape that I'm making. The structure is mostly like, I don't think it's showing up that much on the white paper, but I did add a little bit of color, so I think you should be able to see it slightly. So the actual goal is, let me just draw it and show it to you. You want to create petals like this first around a circular path like this. I'm going to leave this empty. Then later you will add this circle in for the center part of our flower. Now this can be done in different directions as well. This can be one of them. The other one can be like this and small petals at the bottom so that it gives a different angular view to that. So you can play around with the shape and the direction of your flower. That is completely your preference. So let's see over here, 1,2,3 like that. Then some on the bottom and for the center bit you will use a mix of yellow and orange. Just add it in like this. So it will show up better on this than it does here. But I hope you've got a little idea about how it's done. Let me treat you with a light yellow color. So you have leaf, leaf, like petals, petals, petals everywhere around your main circle. Then in the center you will put in the center part of your flower like this. So let's apply this method here and see how it goes like. So now I'm just going to load up some white on the side. Just white, nothing else. So I'm going to start off with the bigger flowers first, or rather start off with the smaller flowers actually. So I'm going to switch to a round brush here, that gives me a rounded tip. I'm going to start off with the white color. I'm going to start making small dots like this. Now what do these dots represent? That these flowers are very far away from the observer so he's not able to see the exact details of the flowers, what they look like, what the shape is. But you still see that there are so many flowers in this area. So you're going to just start making these dots like this and try making them in different sizes. Try to maintain the size actually, but the shape can be different. But make some small, some slightly bigger, some round, some a little bit more linear, just play around with that shape. As you come down, I want you to just slightly increase the size of the dots that you're making. So here, you will make slightly bigger dots. [MUSIC] [MUSIC] Continue making some smaller dots. But comparatively, it's bigger than the one that we did at the top here. Now, when you come to this point, you want to make sure that your flowers are bigger. Still slightly bigger, but you're not able to see the exact shape and the exact petals. But you can also use your liner brush to add in some details like that, rough details, still not exact details of the petals, correct? You're just going to add it in like that. Like this. While this is drying, I can also add in some texture here because I felt like it dried. I'm just adding in some texture, like this. Now that this has happened, I'm going to load up some more white on my palette because it's over and we need nice, thick consistency of the white color. Switching to my liner brush, making sure that the consistency is even. This is the consistency that I'm working with. Now what I'm going to do is start making my flower heads, so 1, 2, 3, 4, 5, 6, 7, 8, 9, 10. You can add as many petals as you'd like. This isn't like only these many petals you're supposed to add or anything like that. Add as many as you want to add in your flower. But you can see how I've left the center area empty. That's exactly what you have to do. Leave the center area empty, so that you have space to add in your center part of your flower, which holds all these petals together. I'm just going to add a couple of them so that you're not adding too many details and making a whole painting here, but still able to understand and practice what it looks like. I'm just going to add some, like these smaller ones here and there. Now, while this is drying, what we can do is we can move ahead to our long, round brush to make the stems. What I'm going to do is drop up a little bit of white and yellow and green into my mix and get a very, very light mix of green, which is very warm as well. Attach that to all the petals that you made. You can add in a little bit more white. But attach that to all the flowers that you have made. Roughly, especially to the ones that are closer to us, others, you don't have to do that much. But especially to the ones that are closer to us, add that in, and again, make that shape of the leaves just to add variation in the way it looks. Like this. Now that this is drying, again, switching back to my round brush, actually this is good enough. Making a mix of the yellow color with orange. You can also add a bit of white in it, but more yellow. Then that is going to be the center of my flower. I'm just going to add it in like this and see, adding that makes your flower looks so pretty. Now that we've covered all the flowers that are closest to us, to the observer, you're also going to add in some more dots like this to the ones that are further away. Not on all of them, just some of them, like this. See, like this. Just some of them, Now that I'm actually happy with this, the last step would be to add in some splatters of white. I'm just going to use my white paint. It gotten a little bit of orange, but that's okay. I just want you to understand the way in which the splatters are made. I'm just going to bring in a paper to cover my sky and then loading up a little bit of the white paint over here. The consistency is medium, it's not too thick and not too thin. I'm just going to tap it like this. [NOISE] This just makes your painting look a lot better, a lot more whimsical. The last thing that you can do is actually use the same color to make some more dots, bigger ones, so that it looks like budding flowers that are to come up. But just some of them, not a lot. But yeah, this is pretty much it for the grass. Then let's let it dry and let's peel the tape off and see how it looks. Now that my section has dried up, let's go ahead and peel the tape and see what it looks like. See. Here we go. I'm going to peel the tape off carefully. Next is this one. As the tape comes off, everything starts to look a lot better. This one has to be peeled off carefully, I don't want to tear my paper. Here we go. This is what it looks like. Let's have a closer look at it. Let's see this. This is what it looks like. Let's focus on it. As you can see, we've captured the effect of the flowers being far away and then slowly coming closer to us. This is what it looks like. These is other brush strokes that you have to do in different shades basically, but the effect remains the same, the brush movement remains the same. But yeah, this is how it is. Now that you have learned how to create the sky, how to create the grassland. Let's combine them and start with our class project. 7. Project Part 1 : Basic Sketch & Sky Gradient: Let's begin the painting process. I've taped down my paper on all four sides using my masking tape and I've left a little bit of space, as you can see, so it's nice and bordered. We're going to get clean edges when we are done with the entire painting. I've got all the colors on my palette as well that I would need. I've got sap green, this one is jet-black. This one's burnt umber. We have cadmium orange and the yellow, white, and this is Prussian blue. These are all the shades that we will be using for the project today and then we'll be mixing our own sheets. I'll show you how that works as we go. Now that we have almost analyzed the painting, the next thing that we're going to do when we start painting is to actually create our basic sketch. Now for landscape paintings, at least for the ones that we are aiming to do today, it's not that complicated because the entire process of creating a basic sketch is very simple. You don't have a lot of elements to sketch out you just need to know the placements of them. The first thing that we do is find where the horizon line is, that is where your sky and your land gets separated. In the reference image, you can clearly see that we've got more of the land bit so we're covering more of the meadow and the flowers and all of that. Then almost one-third of the entire painting is your sky. I'm just going to eyeball it and see where that line might be so you can see this area is more and I am just going to draw a line like this. I'm going to do it free-hand because we don't need an exact straight line. Freehand is good enough so I'm just going to draw this line. This line divides my sky with the land bit. Now that this is done, we are going to switch to all the elements that are above our horizon line. If you look very carefully at the reference image, we've got a mountain here or a hill here. It's really far, so it's really small, like this. On this side we've got a bunch of different trees. I'm not going to place them exactly I'm just trying to understand the placement of the trees, how they look so something like this. This area gets covered and obviously you'll have smaller trees right above the horizon line so it's something like this. Obviously above this we've got a lot of the sky and the clouds that we'll work on. Below this is all our flowers that we'll have to place. We'll have a lot of bigger flowers here and as we go closer to the horizon line that our flowers will be smaller. Like I said earlier, the sketch is very simple not a lot is happening and this is pretty much it so we're going to directly move on to the painting bit. We're going to start with the sky first. I'm switching to a nice flat brush. This is the size 18 flat brush and we're going to start off with mixing our color mix that is a light blue shade. I am going to be using Prussian blue here some loading up a little bit of Prussian blue on my palette and adding white in it. As soon as I do that, it becomes a really nice lighter shade of blue. You can start off with a little bit of white and then lighten it as you go as well. I am okay with this shade of blue let me just quickly swatch and show it to you. This shade of blue being at the top and then as we come down, I will lighten it. That's the shade of blue that I'm using I'm going to keep it here for reference and then I'm going to start applying it like that. Now the consistency of your paint does not need to be so thick because we are going with the background layer, it's okay if the consistency is thin as well. Now, obviously it shouldn't be really thin because then it'll start behaving like water colors, but again, we are not going with a thick consistency and a thick consistency will make it difficult to blend. Now, I'm going to go ahead and add a little bit of white into the same mix, and the color becomes lighter as you can see, this is the lighter shade. As you add white into this, the shade becomes lighter so that's the only thing that you have to keep in mind. I'm going to apply this shade and make sure that it blends with the previous darker blue color that we had. Make sure that you are blending in as you go and then I'm adding a little bit more white to get a very light blue color and that is going to be the blue that's at the bottom. Now, sometimes we have to keep in mind that your color is going to dry lighter than it looks, especially the darker colors when they are wet, they appear to be darker and as it dries and gouache, it becomes lighter. That is something that you actually understand with practice the more you work with gouache, the more you get a hang of these shades as you make different artworks and see which color dries darker or lighter. This is our blend for this color as you can see, it's still a little bit dark, but as it dries, it will become lighter. What I'm going to do is I'm going to leave it to dry completely, and then we will move on and add our clouds. 8. Project Part 2 : Painting the Clouds: [MUSIC] As you can see, our layer has completely dried, which means we are free to add our clouds now. For my clouds, I'm actually going to switch to a round brush. Now, this one's straight round, which means it is not as pointed. It's a nice just round like that. If I were to use this brush, for example, this is more like pointed as you can see, it comes to a really fine tip. I like to use a very rounded edge for this because I feel like it gives me enough rounded brush strokes. It's as simple as that. The edges are not really sharp or the starting point is not really sharp. Whenever I want to make clouds, I would either use this or use a filbert brush because I think it works out really well. For this, we are actually going to use white paint. So I'm just going to top up on my white paint because it's gone from my palette. I'm just going to top up, that's a more whiter. For our clouds, I generally tend to use titanium white because I feel like that white is really opaque, other whites are not that opaque but again, this is a personal preference. You are free to use the white that you have or want to explore honestly with art, with painting, it's more about your personal experience and experiments more than somebody else's. You should always take some time to explore it by yourself first before you get there at one particular point, which is the color that you need to use or which is the brand that you need to use. You should always experiment a little bit. Moving back to our clouds here, I'm going to go ahead and load up my white on my cloud brush. If you look very carefully, the consistency is nice and thick, it's not that thin. I'm using thick consistencies is because it gives me the option to create a little bit of texture along with the clouds. I'm just going to show you how that goes. For the clouds, I'll start off with clouds coming like this. I want this sense of flow in my clouds, like this little curved flow. I'm going to start off like this. I'm just going to roughly bring this down. Like I was saying, these kind of brushes ensures that I get that rounded edge. But at the same time it gives me the option to move around with the shape as well. I'm just going to bring in clouds like that and get thinner strokes as well. I'm just going to play around with the shape really. Somewhere I'll make bigger ones, somewhere I'll make smaller ones and try to bring in a continuity into my clouds. right, that curved sense that I was talking about, that is something that I need. Now, with titanium white or with white in general, when you're working on a surface which is dark at the base, as you can see, even though it's a lighter blue color, it's still a color in the background. You're white sometimes might not be that opaque and that's all right. You'll just have to work in two layers to make it stand out even more. I generally actually [LAUGHTER] like to use that to my benefit, because what I tend to do is add the first layer and that you will notice once this color dries, is that it will take the hint of the background colors, will become slightly blue as well, or gray, whatever the background color is. I use that to show that that's a shadow of the clouds and when I add more white into the cloud shape, that acts as a highlight. I really don't have to do a lot of shadow work with the clouds. There might be a chance that I will become completely quiet now, because I'm just going with the flow, like I said. With the simple brush movements, I'm not following something particular, but I'll tell you what works for me and that is holding my brush like this. It's in between my fingers and this is where the movement comes from. Like this becomes a support for the brush and the way in which I move the brush is just tap and release. I do small movements with my brush. Very small movements, rough movements and just all over the place. That is something that works for me when it comes to creating clouds. Obviously, like I said, I try to bring in a continuity for my clouds as well so that it all looks like it's flowing together. The R1 part of the family. You can also release some clouds like that because it's going like that. It's not going to be just straight. If you want to show clouds that are in forms of texture, you can just use a thicker consistency and just brush over like that and that will show the clouds to be textured like this, see. Just broken and textured, so you can get these kind of clouds as well, along with your normal shaped ones. The goal is to complete this entire section for the first layer. One more thing to keep in mind when you're making these clouds is the ones over here will be slightly smaller and you'll have smaller, thinner strokes as compared to the ones that will [NOISE] probably be above. Again, I'm releasing from this side and then bringing it in. You can see, I'm playing around with the shape of the cloud really. All these clouds are a different shape and that is very important. You have to make sure that the clouds are not all similar looking. Try to give them a different shape, try to give them a different thickness, probably, it'll all workout. I'm almost done with this bit. I generally tend to go quiet when I'm painting these clouds, it's because it's such a therapeutic process. Just adding these clouds and just playing around with the shape, really. We're done with the clouds up in here. Now I'm just going to add the clouds at the top as well. So there are some clouds coming like this as well. I'm just going to add those now. We add some here. This is similar to the one that we have learned earlier in our practice session. It's just a different shape of it. You can do it how it comes in your mind or follow me along, or look at the reference picture and do that. The way in which I've approached the clouds here is a little bit different than in the reference image. Because in the reference image, the shades are slightly different and I didn't want to go with those exact shades, so I'm going with a color palette similar to that but the ways in which I'm approaching those elements is slightly different. But feel free to explore your creative side as well and come here for learning the techniques. Once you have figured out the techniques, obviously you can play around with the colors, play around with the shapes, and just add your own little touch into the painting. I'm going to add in some more clouds to show that these are some small, tiny clouds in the sky. Just some small floating ones just to show that there is some cloud here at the top. We're done with this, almost. I say that we're done [LAUGHTER] with it and then I continue to add some more because I feel like this will look good here, this will look good there, and then it just goes on. Anyway, I think I should stop now. This is it. We're going to let this dry completely, and then we will move on to adding the next layer on top. Now our clouds are completely dry. Remember how I told you that it will reflect or come into the color of the background. As you can see, it's gotten a little bit lighter, it's not that opaque and it looks a little much like light blue. Now what we're going to do is actually add in some highlights into the clouds and placing the light source. Now, where is the light coming from in our painting? We've got to decide that. What I'm thinking is, I'm assuming that the light is going to be falling like this. What's going to happen? Let's say this is the sky, but the sun is on the other side of our picture. It's coming like this. So what's going to happen, I'm just going to go ahead and add the highlights on more of the bottom front portion. I mean, I have to try to make it sense, but all the areas that are in the bottom and towards the left and right, we will be adding some highlights into it. You can put some at the top as well because the light source is falling from the opposite side, you are just going to place it to show the fluffiness of the clouds in all directions. I'm just going to add it like that. Some at the top, some at the bottom. Just wherever you'd like for your clouds to look fluffy really. This is just to add in a little bit more of opacity into your clouds. It's not going to make a huge difference because the approach in which you are making the clouds is a much more simpler version of how you would make clouds. Clouds are a very vast topic of its own, so let's not worry so much about getting perfect clouds, we are just going to do what works for us. I'm just going to go ahead and add it in certain places. Again, I'm keeping in mind that I'm not going over the whole cloud, and when you are doing that, when you're not going over the whole cloud, you add a sense of highlight and a sense of shadow in your cloud as well. Certain areas will appear more opaque. That shows that it's receiving the light. The darker areas obviously show that they are not. It works out really well. If your paint mix is getting too dry, which means it's not very easily moving on the clouds, then you can just add a little bit of water but still keep the consistency on the more paste-like or cream-like consistency. Now here I'm going to add at the bottom. Again here, I want to add at the bottom, here as well, and then here as well. I'm just adding that at all the areas that are at the bottom really. I have added that and got only this section to complete. You can add that or leave it because it's more textured. This is pretty much it in the way in which you make the clouds. Now, in case you want to add a little bit of texture, let's say you want to add a little bit of these textured clouds, you can do that again by drying off your brush on the masking tape like that, and then just rub it across. Just rub it across. Because of the texture of the paper, especially if you're using cold press paper, it will do the job for you. The texture will form very easily. I'm really happy with the way the clouds look. I'm going to just let this dry now completely, and then we will add the other details. 9. Project Part 3 : Painting the Hill & Foliage: [MUSIC] Now that the sky is dry, you can see the clouds. There's a little section that is more opaque. Like this is more opaque and then at the background it's lighter. That's exactly how you are able to achieve these clouds in the sky using very simple brush movements. Now, we're going to start off by painting all the other elements that are above the horizon line. The first thing that we're going to do is create the mix for the hill. I'm going to mix my Prussian blue with a tiny hint of black. You can add in a little bit of green as well. Then obviously add some white in it. Then I think it needs a little bit more black. You can add a little bit more black as you go. I think I like the shade. Could use a little bit of white, but yeah. Let me just swatch it for you. It looks something like this. Now, we're going to go ahead and apply this color all the way like this. You've sketched it out. If you're not able to see your sketch, please feel free to redraw the shape and go over it again. It's completely okay to go over this shape again or redraw your structure because gouache is opaque, it will take away your sketch. There's no denying that. Now I'm going to go ahead and just cover this entire section. Now I have more freedom to move my brush however I'd like. I'm really happy with the way this looks right now. Obviously we're going to let this dry and then add in our trees and all the other elements. Now that the section has dried, we're going to go ahead and move on to the trees and all the other little shrubs and foliage basically in that region. Now, I'm going to mix a lot of green into the same mix that we were using for the mountains. Just add in a lot of green into it, sap green, and add in some black as well. You're going to get a very dark shade of green, and that's exactly what we want. Here's a swatch. You can see it's very dark. You're going to start off with this color. Start off with this area here. Now it will not show up that much because of the background color that we already have. But that's okay. I'm just going to shift it like this so that you're able to see the brush movements, and you're going to make small strokes here. Very small, uneven strokes. It doesn't matter if it's not exactly like the way I'm doing. The shapes of your trees can be all over the place. Now remember, this is the first layer that we are adding so it's okay if it's not showing up that much. We're just trying to make the darker parts of this lesion show up a little bit more before we go ahead and add in the highlights to that. You're going to just play around with the shape. When I come here, I guess you'll be able to see the shape a lot more clearer. I'm just moving like this. Let me just show it to you. Unevenly like this. This is exactly how a brush move, and obviously this one's going to be more straight at the horizon, but it's like this. This is my movement. I'm going all over that area, just covering it up. Now as I come here, I'm going to start increasing the size of my trees because I want to add in some more variation in my trees. Here let's say we have our dollar tree, dollar shrub. I wouldn't call it a shrub because shrub is not going to be that tall at the horizon line. But yeah, like a tall tree, like a big tree. Sometimes when I'm painting, I get so involved in the moment as anyone would. It's very normal for that to happen. I forget words and I feel like I can't think anymore and I'm just so engrossed in the moment, I am just not making sense to people sometimes. But I guess that's how we're. Our brain functions that way. When we are doing something that we like, we just want to be involved in the moment. Over here I'm just making these vertical strokes. I'm just covering up the entire surface with this color now. Obviously, carefully around the horizon line. It's okay if you go below that as well. But be a little bit careful. But don't be scared if you move the horizon line, that's okay as well. If you go beyond the horizon line, it's okay. Don't be stressed because gouache is very forgiving that way. You don't have to worry about perfection. Now that we're done with this shade, we're done with the darker color, we're going to move to our green. I'm going to take sap green directly. This is sap green directly. It's a very nice shade to work with. We're going to start building highlights to this line. I'm going to start off with here. I'm just going to add it at the top. Like I said, the color is falling like this, the light is falling like that. I'm just going to add it at the topmost. You can add some at the bottom as well, because again, light is falling like that, and then we'll add another layer to show more highlights in our area. Again, very random brush movements. Very unintentional strokes. I would like to call them unintentional because I'm not really thinking where and what. I know that it's going to be at the top and some at the bottom, so I'm just going to add that and go with it. Your artwork is going to look very nice in the end. The more you stress about it, the more you would not like the outcome. The more you let go of that fear of like oh, it's supposed to be here, it's supposed to be there, it looks like that in the reference image, it's going to be a stressful process rather than relaxing one, and we're here to relax and have fun and learn something new. I always tell that to my students, my one-on-one students as well, that let go of that fear, let go of the need for perfection. But it takes time, it takes a lot of doing. I think the more you do, the more confidence you gain that you trust yourself to make something that will look good. You're going to add them here as well on all the smaller trees at that horizon line. Now as you can see, it's showing up and you're able to see it. Let me just check in the camera if you can see it. Honestly, I don't want to mess this step up. Sometimes it happens that I'm filming and it won't show up. But yeah, I think you can see it in the video as well. It's happening. We're adding the highlights here. We're done with this set. This set right here is done. Now for the next highlight, I'm just going to add in a little bit of yellow to the same color, to my sap green, just a little bit of yellow, and obviously the sap green also. Now the yellow is going to lighten it up a little bit and make it appear a little bit more warmer. As you can see this is the color, it's towards the yellow side. Now I'm just going to add some more highlights. Make sure that you're not covering your previous layer and just adding a little bit less brushstrokes as compared to the one that you've done before. When you're working with places in areas where you want to show highlights, suppose the background layer is dark like we did, the second layer, you will be covering, let's say 70 percent of the area. Then in the next highlight, what you will be adding only, let's say 50 or 40 percent only those brushstrokes, only necessary one. When you see the whole picture altogether, you will really see that it makes a difference, because you're still able to see that other green, you're able to see the background, darker green, you're able to see the light green obviously because it's the last layer. But it works best like that. This is what it looks like. I'm going to add some here as well. Let me just do it this way so that you're able to see my brush movements. Small, tiny, tiny strokes right here. Just to add in some highlights in this area. We are done here with this. What I'm going to do is actually let this dry completely, and then we will start making the background for our foliage in the land, our floral middle, whatever you'd like to call it. Let this dry, and then we'll start working on this. 10. Project Part 4 : Foreground Layer & Detiails: [MUSIC] Now we're going to go ahead and paint the background layer for this. Now, when you're painting this section, there is a lot of layers and wall actually. The first layer is just placing in the darker, the medium, and the light tones. Then in the next layer we're actually making the strokes for the stems of the flowers that you see. Then, again, when we move on to that, we add in some highlights to those rest strokes. There's just really works in a lot of process. Right now what you're going to do is just create the background layer. Now if you look very carefully at the reference image, you realize that this area is like a tone of light green. Then as you move down, the green gets darker, obviously, and then we have the darkest green and almost black shade at the bottom. We're going to be working in that exact way. The first color is going to be your green mixed with a hint of yellow. You're going to be adding yellow into that and adding a little bit of brown and adding a little bit of white. I hope you've gotten the shade we have mixed. I'll repeat it again. Brown, green, yellow, and white. You get this really light tone of, what color would we call it? It's a shade of green obviously, but it has that brown olive undertone to it. You're going to start off with this color here. Right here, carefully add it in. You have to be slightly careful around the horizon line, please. Once you are done with the horizon line, actually you can be a lot more free with your brush movements. As you can see, I was going very carefully over the horizon area. Now that we are done with the horizon area, we're going to start bringing this down. You can also add a little more of green here, just to add variation in your brushstrokes in the color , and I'm moving like this. You can see how I'm holding my brush, and then you're going to be moving like that. Now once you reach here, what I want you to do is with another brush, just do this with another flat brush. Just make these vertical strokes like that. This ensures that there's a little bit of texture play happening in your background layer itself and the color is not staying flat there. Now that we're done again with our flat brush, the other flat brush that we're actually using, we will mix a little bit more of the green and actually add a little bit of your Prussian blue in this, actually and black. Prussian blue and black is what you're adding here. Then you're going to start adding it at the bottom like this. Start blending it in. Blending it in. Again, switching to your flat brush and adding this texture so that it doesn't stay flat, that layer doesn't look flat. Now, again, switching to your green and black, so deeper green. Again, I should have actually showed you a swatch of it. This is the deeper green we're using now. Then you are going to add it here like that. [MUSIC] Here you can just use your normal brush, your flat brush itself to add in textures like that. I'm just using the thin part of my brush to add it like this. Can you see how I've made those vertical strokes? You can just use a normal brush for that as well. Again, switching to your green and black. Now a very dark green, almost black shade. This is the color that we're using. You are going to cover this entire area. Make more of that because we have a lot of surface to cover now. As you can see, the consistency of my paint is really thin. It's okay because we'll be working in multiple layers. It's okay to start with a thin consistency. [MUSIC] Again, when you come here, now that I've covered this entire section, again, with my brush, I'll just randomly make these strokes in different directions so that there is a little bit of variation in the way the brush movements is in. Just acts as the background layer for all the other strokes that we'll be adding. I just don't want it to be flat, basically. It shouldn't be flat. Now that we are done with the background layer, let this completely dry and then we'll add all the textures and flowers and the leaves together. Now that this layer has completely dried, we can add in some textures and work on the other elements. For the far of area, which is this region right the horizon line, I am actually going to make a mix of white with a bit of yellow and green. It's going to be a very light shade of the green and yellow mix. Maybe on that I'll add in a little bit of brown, but it's just a very light color. Make sure that you're adding more of the white color in it. It's a shade that looks very similar to this. Now, I'm using a very thick consistency. As you can see, the consistency is very thick. This is going to help me add the textures in that area. You're going to just brush over like that. Just would assure. [MUSIC] You can make certain areas more opaque if you'd like and then some can just be textures like this. Now, what are these textures that I'm adding? This is to show the flowers and the elements that are really far away from the observer, which is us in the painting, and they're not able to see the details of these flowers, but they know that there is something in the distance and there's a bit of flour or just something. Just basically something at a distance that is able to receive the same color of the flowers that we will make later on. This way it helps us to add a little bit of that essence in your painting without really having to do a lot of the work. Now that we have added the texture, we are going to move on and start painting all the little stems here. We're going to be making stem, so you'll have all the smaller flowers at that area, and as you come down the size of these flowers and obviously the size of the stems will also increase. I'm really happy with the way this looks. You can add in a little bit of the darker green as well if you'd like in certain areas just to show that there's a bit of green textures as well. You can add some green as well if you'd like. I'm just adding it in certain areas, not everywhere. Just a mix of green and white. Now, let's move on to the next bit. For the stems here, I am going to use a mix of my green shade and add in a little bit of white in it so I get something that is similar to this color. I'm going to just make these lines like that. You're going to start off like that way. Just make some lines. The size is small. It's not too big, so make sure that you are working on it same size and add it all over this region. You can give them different directions as well if you'd like. You can come from top to bottom, bringing it in like that, or you can go and drag it upwards as well, whatever works both for you. You can use a combination of them as well if you'd like. Just enjoy the process here. From now on the process is going to be very repetitive. You're going to be using the same brush strokes and you're going to be doing that for a long time because we are just adding similar brush movements everywhere now. I've added some strokes here. I'm just going to darken this a little bit, add in some more green and a little bit of brown to that, and add in just some more of the same movement. Actually you can add in a little bit of black too and just add it in some more of the brush movements like this. [MUSIC] We're not really going to focus on the flowers right now. We are focusing more on the stems and the shape of the stems before we go ahead and actually add the flowers. We are done with this area up until where you can see the green. Now we'll actually have to do the bits where you can see the darker color, which is your black. Now over here, we are going to be using a mix of our green, so load up a lot of green, load up a little bit of black in it, and a little bit of brown in it. This is going to be the color that you're using. Now, you're going to make a lot of these stems like this. Give them different directions. Play around with the shape and just have fun. This is your first layer for this area, especially in the foreground, which is this region. See how I'm giving it different directions and start working in section. Don't make them all in the same direction. Work in smaller sections, so it adds to the look of your foliage here. You can see I'm making another section here, leaving in. See how it's all randomly placed. Nature is very random. There are structures, there are a lot of places where you have poor fixed structures, and there are places where you don't have structures, so make sure that you have a little bit of both. I'm just playing around here, getting in some more of the paint mix actually because mine seems to get over really fast. Now, one thing that you will notice here is, as the color is drying, it's getting darker but when I apply it, it looks light. This is something I mentioned earlier as well with gouache, with practice, you'll be able to pick on that. It's a little bit confusing. Sometimes the lighter colors will dry darker and the darker colors will dry lighter. Again, with practice, you'll be able to pick up on that a lot better. Right now just working on the foliage, creating many of these random leaves, stem strokes, just going all over the place and just enjoying the process. Don't think about the placements really, just let go of that thought, where you're like, oh, I have to do it here or I've to put it there. Just let go of that. Do it however, maybe if you don't do it right this time, at least you know next time where what's lacking and you will make an even better painting. Just enjoy the process of painting these little stem leaves. Stem leaves, that's a funny word. I'm almost done with this area. As you can see, I've added many stems here. You can see how they are in structures, but they are very randomly placed. Correct. Now, we are going to move to an even lighter color. I'm going to mix my sap green, add in a little bit of yellow into that mix, and also add a little bit of black. I'll get a color which is very close to this shade and that's going to be the next color that you add. You don't have to do it in this area because it's very similar to the shade you've used there. It might not show up that much. But you can add a few strokes here and there if you'd like. I just want to add some strokes like that. It's okay to add in some. We're focusing more here. Now when you add in this little lighter color, make sure that you are making fewer strokes as compared to before. Why is that? It's because, like I said, we're now adding the highlights, if black is your 100 percent, then when you add in the next color, you will do maybe 70, as you go lighter, you will do 50, 40, 30. Just few strokes because these are highlights. A whole structure together, all of these layers together will make your foliage section here appear fuller. You have to work in layers and you have to work in different colors, and obviously make fewer as you go up in layers because you should be able to see the black. You should be able to see the previous color that you laid out. It should always work in that manner. As you can see, I've added it in. We'll do one more layer and then we'll move on to the flowers and then we will add in more details. Now we're done with this. Now the next color that I'll be mixing is the same concept. That is your sap green, a little bit of brown and yellow. But this time we will add in a little bit of white in it as well. This will just lighten the color. Then you get a shade very close to this. Using white is important to lighten the color. Now here I will just carefully place it, and one thing that I want you to see is how I'm making the stroke. I'm doing a little bit more careful variation of it because this is somewhere where I want my flower's head to be, so I'm doing it a little bit carefully. Placing it carefully, and obviously not all of them will have the flower heads, but this will just give me a better idea of where I want it to be placed. You can place them in whatever way you want. Don't worry about the placements that much. Once you are done with that, I want you to do this new thing, new movement. That is just brush over some of them like that so that it also looks like just randomly placed leaves. It's a very random structure, I really don't know how to, it's like this. Just randomly brushing over the structure like this. I've showed this to you before, but just in case you want a little brush up over that. It's just randomly placed acts like leaves and different structure variations rather than just being lines so that it looks good also overall. I've added that. Now it looks something like this again. Now we can add in some here as well, just some more highlights you can place here. Then we are just going to let this dry completely and then we will move on to adding the flowers. I'm really happy with the way this looks. Let us let this dry, and then we will add in all the other details for the flowers. 11. Project Part 5 : Painting the Flowers: [MUSIC] Now that this has completely dried, I'm actually switching to a size 2 round brush. As you can see, it doesn't come to a really fine tip and that's exactly what I'm looking for. A round brush that does not come to a really fine tip. Surprising, but yeah, that's the look that we are going for. To this you can add in a little bit of yellow. That's all right to add in a little bit of yellow, but still keeping mostly the color towards white is what we need. This is the shade. Let me just show it to you quickly. As you can see, it's still towards white, but it's a very, very light hint of yellow is still there in the color. Now using this brush, I am just going to start making these little dots. Now why I'm making these dots? Is because these flowers are at a distance and you're not going to be able to see them that clearly. You're going to start off with these really tiny, tiny strokes. Almost like this region that we made were still flowers but at an extreme distance right near the horizon line so you are not able to see those dots as well. But as you transition here, you're able to see that they are flowers. You can see the shape of them, but still not clearly. You can see them as individual strokes but really close towards one another. I'm just going to add them. This is going to take a lot of time so just get your tea, get in this environment where you are just ready to make repetitive strokes and not get stressed about it. Sometimes I feel repetitive motions and steps get to people and they don't like it. But also sometimes these repetitive motions can be so relaxing because once you've picked up on the pace, you really don't have to think so much. You really have to just go with the flow. I like these repetitive motions because honestly my brain just goes shut and I'm not thinking about anything and I'm just enjoying the process of adding these flowers. Just enjoying being there in the moment and it's just an amazing thing for me. I just like doing these repetitive motions. If you think that it's getting too much for you, please feel free to take a break, take a walk, and then come back to the painting. If you don't want to do it today, you can just shut this off, come back to it tomorrow, and complete the flowers because you've done so much up to now. Sometimes it can be a lot. Don't worry, you can always take a break and then come back to it with a fresh pair of eyes. As you can see I am maintaining the size of the little dots that I'm making, trying to make them as small as possible. This looks good. We are done with this area. Now, as we come down, the size is obviously going to increase. Now when you make these dots, just make them slightly bigger. In the size that you make it, it will be slightly bigger. Can you see how I'm just changing the size of it? Just by a little bit, not by a lot because you still want a good transition between them so slightly bigger. Like I mentioned earlier, my brain just tends to shut when I'm making these repetitive motions but I hope you're able to pick up on what we're doing here. Just making the same sort of dots, making sure that we're not going on a proper straight line. We're moving in that straight motion, but make sure that you're not making very structured dots. Give them different sizes and place them differently. Now we're coming to the third part of it. Now as we move down, the size of the flowers will again increase by a bit. This time it's a little bit more spread out. I'm going to switch my brush to this or you can switch to a long round brush or a liner brush as well. This one gives me more control over the shape so I can just go with that. Or you can switch to a normal long round brush as well, that gives you thinner strokes basically, and gives you more control over the shape. These flowers are still at a distance so you're not able to see the exact placement of the leaf. We've finished up until the smaller areas that we were supposed to cover and this is what it looks like. What I'm going to do is I'm going to let this dry here. While that's drying, we will create another mix for the white, because on my palette it's over, but if you have, please feel free to continue with that itself. But right now we're just going to let this dry a bit before we start painting all the flowers here. Let us begin with our flowers in the foreground, which are bigger. We're going to start off with, let say I want to place one here so 1, 2, 3, 4, 5, 6, 7, 8, 9, 10. You can just add the number of petals that you'd like. Go with as many as you can. I'm switching to my linear brush and I'm leaving this circular space because that's where I'll be adding the center part of my flower. You can also give them different directions where it's slightly bent or not bent or just fully circular. I've shown this to you in our practice lesson. In case you have missed that, please watch that. But again, if you have followed me there, then I'm pretty sure you know how to give a different direction and go ahead and add these flowers everywhere you like. You can leave center spaces in some of them, and if you don't want to leave them in some of them, it's completely fine as well. As you can see I have left in some of them, I'm not leaving in some of them. Just doing anything that I want honestly, adding flowers wherever I'd like. I'm just going to go quiet here honestly because I'm so engrossed in the moment of adding these flowers. Feel free to put on some music along with this video and just enjoy the process. You are going to randomly place them overall in different directions and places. You can also place them on the ones that we had left before. You remember the stems that we were talking about? You can place them on that or you can even place them in the air because we will be making the stems a little bit more lighter as we go. I think I'm going to stop with the flowers now. I think we have enough flowers. Or maybe just a couple more here and there. By painting this, I really feel like it feels so nice. It feels like spring. You can tell it's spring, isn't it? Spring is approaching. I think this one is going to be my last one, I need to be stopped here. Now I'm going to let this dry and then we'll add in all the middle part for our flowers and then all the stems, and add in our final details. 12. Project Part 6 : Adding the Final Details: [MUSIC] Now that this has dried, it's time for us to move on to add in our center bit for the flowers. I'm going to go with a mix of yellow and orange and adding a bit of white in it. It's going to pick up some more on the yellow. I'm going to go with a color that's very similar to this. I have my round brush. This is the brush that I'm using. It's going to add in the middle carefully [MUSIC] so now I've added everywhere in the center of my flowers. Now that we're done with our main flowers. I'm going to go ahead and switch to a smaller brush, which comes to a pointed tip, and just go ahead and add it in the center here as well. It's going to be almost everywhere. [MUSIC] Obviously the ones that are further away, you are not going to be able to see them clearly. You don't have to add in on all of them. [MUSIC] This is what it looks like right now. I really like this, one one that we have to work on are these stems. You're going to switch to white and your sap green and your yellow color. It's a shade that's really nice and light, light the shade. You are going to bring it right under these leaves of the flowers. You can also make some leaves around it just to bring in some natural effect in it. We are trying to place the leaves, the stems first. [MUSIC] Now that you're done with that, you are just going to mix and just add the leaves like that. Just randomly placing leaves everywhere. Adding a different stroke into your painting helps a lot. Now another thing that you can do is actually make these dots. These will depict the buds that are yet to flourish and become flowers. You can add them everywhere. This is what it looks like. [NOISE] One more thing that you can do is add in some small strokes here at the bottom so that it doesn't look too flat. You can also add a little bit of the white color. Randomly place it same smaller strokes. Now the last step that we are going to do is to add in some splatters. I'm just going to cover the sky bit add up a little bit of white on my brush. I'm just going to carefully splatter [NOISE] some color like that. It makes your painting very whimsical, which I really like, I'm just going to add it. That's pretty much it. We are done with our painting. Now we're just going to let this whole thing dry, and then we will peel off the tape. Now that this has dried, it's time for us to peel the tape. I'm going to start off with this one because I think I applied this at the top, or maybe it's this one. Just going to go in sections actually. Look at that. When the edges come off, things start to look a lot better. Just going to move this from here. [NOISE] I'm just going to take this off from the block and I'll show you the final outcome, and here is our final artwork number 4, we have a closer look at it. You're going to take a white pen or white acrylic marker or your white quash itself and sign your work. You've done all the hard work for creating this. Let's sign it and make it uniquely ours. Let's have a closer look at our final painting. I absolutely honestly love the outcome of this one. The sky, the way the clouds are flowing in the sky. The area above the horizon line, the hill, the foliage, the grass, the flowers, the greens everything about this painting is just so beautiful and I feel so much happier now that I've painted this. I really hope that you enjoyed painting along with me as well. That is it. I'll see you in the next bit. 13. Final Thoughts : That is it, you guys. Thank you so much for joining me in this class. If you enjoyed the class, please leave a review down for me because I find it so motivating and it also helps the class reach a wider audience. If you've painted along with me, don't forget to upload your projects under the Project and Resources section of this class. I love seeing your artworks and it's such a wonderful feeling to really see what you create from something that I teach. I don't know how to explain that, but it's just such a beautiful feeling altogether. If you're posting your work on Instagram, tag me at thesimplyaesthetic because I would love to see them there and share that with my followers as well. If you have any questions about the medium, the painting, or art in general, you can reach out to me here or on Instagram. I would love to talk with you, discuss and help you guys out. That is it for me in this class. I shall see you in the next one. Bye.