Painting Gouache Postcards - Winter Impressionism

1. What's this Class about?: Welcome to the first class in the painting gouache postcard series. In this class, we're going to create a winter impressionism. We're going to do that obviously with washing me. I really love painting with gouache and I would love to share that joy of creating rough brush with you and show you how you can create beautiful landscape with a wash. Gouache can be used for all kinds of subject. We're going to stick to the landscape in this, in this class. I'm going to show you just the first step in. I want to show you a little bit the difference between watercolor and gouache and how you can use squash. This class has an interesting aspect. Where are we going to limit our color palettes, but actually only going to use two colors, yellow and blue, with the addition of black and white to create some tones and shades. I want to show you how to do all of that in this class. You don't need much for this class then just some brushes, some water, and some paint. But that will be explained in the first lesson where I'm going to take me all the possible materials. If you never have faded before, who washed is a great medium to start with pink. If you already have a background in watercolor, all different kinds of paint, I'd be a great addition to your toolbox as an artist, gouache is often overlooked medium, but this is really a joy to paint with and it's actually pretty easy to get into. In the coming lessons. I'm going to show you all about gouache. So let's start painting this winter impression together. 2. What you can use for this Class?: In this first video, we're going to look at what we're going to need to create the squash postcards. Now officially we're going to need some gouache, some paper, some brushes, some water. But I'm going to take you through all of these materials and what you can possibly use for this class. Well, let's start with the papers, since that is already on my desk. But what I'm going to use is actually not on my desk. What I'm going to use some simple watercolor paper. This is really cheap watercolor paper, a little bit of texture on it. I want to use this for the postcards. You could get a different block like this. This is totally glued on four sides with a little bit more texture, doesn't really matter. Or get one of these ready-mades, postcard packs like this. You could use that to watercolor paper. So I'm going to use mainly watercolor paper. So whatever watercolor paper you have laying around and if you don't have any watercolor paper and go out and buy some inexpensive ones. Now you can use the expensive brands like here to scaling Britannia, whatever. But to be honest for gouache, I'm not sure if I even want to use these really expensive ones because they don't add anything to the paper, because mainly the gouache goes on top of it instead of watercolor, which really goes into the paper. But if you have that paper, you don't need to get anything else you could use it to. And this is by the way, hot pressed. I'm going to use cold pressed. Alternatively, you could use something like this. The paint on motor technique, mixed media paper. This is with a green, with a texture which is nice, you could use, this is more smooth. You can use that too as an alternative. I think that's about it yet some people do actually use pastel paper. So you could give it a try too. Now if you really don't want to go out and buy watercolor paper or mixed media paper, you could just use some card stock, some white. Even a gray tone card stock would work pretty well, would use a different color than that. Preferably white. You have a little bit of a gray, light gray color that will do well to, alright, but that's not always need. We're going to need some brushes too. Let's look at them now. The brushes, what I'm going to use some simple brushes. I'm going to use a brush five, a brush 12th, and a brush, fled brush 12th. So these are a flat brush 12th, round brush 12th and round brush five. Something around these sizes is totally fine if you don't have a 12, when you have a ten or 14, doesn't really matter. You don't need large brushes since we're going to work on a small paper like this, you don't need huge brushes. These are good. If you have smaller than a five or four would do to six might work as well. So a little bit of arranged would that would fit the paper. So don't go working with brushes like these. Really huge because she can imagine, although goes really quick, you really can't get any details on it. Now that we're gonna do many details because we're going to do some impressionism. So we don't want many details, but still we need brushes that fit the paper. Then the next thing you see here already is a glass plate. What we're going to use a class played for, I'm going to mix my paint on a glass plate. But if you don't have a glass page and you have a palette like this that would find or plastic one. Or if any of that than just a regular plate would do to mix the pips, paint on something, to mix the paint on plastic pellets, metal pellets, tear-off pellets would work too. And I'm using a glass plate, just cut your food and that works great too. Now if you don't want to paint right away a sketch first, you need of course, a pencil and I've provided the sketch. I want to show you that. Here's the sketch I've provided. We're going to work from this sketch. You can, this is attached. If you need to sketch, then you can transfer this to your paper. And we're actually going to work on this photograph painting, impressionism of this painting. Alright, good. And then of course, let's see the last thing we're going to need. Now what I'm going to use two, before we move to the last thing, I'm going to use some masking tape to, basically because I'm using a large sheet of paper, I'm going to tape off the edges so that I get the right size. But if you have a paper cut to size, you don't need it. Of course, you may need some kitchen towel if you're going to make a mess, but hopefully we're not going to make a mess. Now the next thing you're going to need is some water. I've got two bowls of water. One I'm using to clean my brush, the other one to mix in with my paint. You can use a cup, two, jar, whatever you want as long as you've got two of them and fill them with water. And the last thing, of course, you're going to need some paint. Let me get the painful of it. And there we go. Now, don't worry, you're not going to need all of that pain, so don't run away. We're only going to need actually four tubes of paint. But why do I have a lot of paint? Just to show you, you can use any of these paints for this class, whatever gouache paint you have, you can use. Now you could technically use this. In pens, but the process is slightly different from using tubes I'm going to use for this class, but I'm pretty sure one day I'm going to do a set with the pen stew, but for now I'm going to stick to the tubes. But if you have pens, of course do use them. The colors, what we're going to use is we're going to use a black and white. I think these are the same brands. And we're going to use a yellow and a blue. Now, I do realize there's a lot of variation in yellows and blues, black and white, not, not much blackest black or sold. Some call them night black, iron black out all kinds of titles. You just need a black and white. And if you don't have regular white, titanium white is fine too. So white and black, That's what you're going to need. Whatever set you have, you should have a black and white. And we're going to use this to mixing some colors, but also use it for our snow, especially now, you see quite a number of brands here. I've got a few brands on here. You saw the Qur'an dash pens, they're gone. This is Santa Fe, this is artist quality. Then here we have Royal Thailand extra fine quality. This is a designer paints. And then I've got here, the cheap paints are chooses. Philosophy or Prima marketing. I think it's called a set like this with 18 colors. Whatever gouache paint you have, use it. I'm going to demonstrate that with these relatively inexpensive paint, you can create a beautiful painting if you want to move up a notch than something like royal times, Winsor Newton is great. And if you really want to splash out and spend all your money, something like this would work fine too. This is an artist quality. But if that's going to improve your painting and experience, highly doubtful. I actually, if you're going to start out, I would not even touched it. I would start with a designer quality or with niche inexpensive brands, but not the really cheap, cheap brands, but the better brands like our teaser and art philosophy. Now to call us, you need a yellow and a blue. Yellow and a blue. I've got a lot of blues here on the Yoda, lot of yellows. And the problem is every brand in his, in the basic set, because you only need basically a basic set for this. Has a different columnar center, has, I think I'm going to get them out. Get the blue. This is the basic set artist quality paint. And what that has for Carlos is a just a cadmium yellow and a I think it's a civilian blue. Yes, a serene blue row. Thailand's on the other hand, if you get the standard set, you're gonna get a regular yellow and you're gonna get an ultramarine deep. If you buy the art philosophy set e.g. you have a little bit more choice, then you can get an ultra marine. But there's also a thrilling blue in it. And you have choice of yellows, you get a lemon yellow. And there is a dark yellow, but don't use a really dark yellow. Don't go beyond regular yellow. It's either lemon yellow or regularly yellow. I wouldn't go beyond that. Not darker than you can. Issues creating a nice, nice light. Our teaser, e.g. what does that have? I have no clue. Here's the black and white. Let's get rid of that. Artesia has a lemon yellow, I think. Yes, a lemon, lemon yellow and Archie's or has a surrealism, ultramarine blue, also a civilian blue, sky blue that you could use. So we have some options here. I think for this one, really in blue and that, so what I would recommend is either if possible and ultramarine or a surrealism blue. But if you don't have that C and a light cyan would work too. Or sky blue. What did we have? But preferably ultramarine or a surrealism. Now I'm just going to show you the difference, really blew. The difference between the two. Before we're going to start painting with, of course, I made a few already of this. These are two of them. Can I get them in the camera? Yes. There we go. Now, you already probably right away. Not a huge difference between the two. This one is a lot darker, colder tone, while this one has a brighter, warmer tone, this is done with lemon yellow and with D, surrealism blue. This is done with the ultramarine blue and regularly yellow. And you can see the differences. This is the center of the artist and what I've done, I've styled with a layer of blue, then put yellow on top of it. And you can see here that it starts to come, green starts to come through. While at this site, the royal talents designer, gouache, what you see, you hardly see that because discovers a lot stronger than that. And that is probably what you're going to notice with your gouache. It either covers really well or it is not completely opaque. Still a little bit transparent. And that just means that you might need a few more layers to get the wanted results. So if I wanted to get rid of all that green, the yellow and the blue, mixing the green, I had to add a few more layers of yellow, but I left in the green a little bit with here. That was a lot less work. So this might depend on the gouache you have. You may need a few more layers to get a nice strong color. And the advantage of using lemon yellow, civilian blue is that you can start really light. While if you use the ultramarine and the regular yellow, you already start a quite a little bit darker. Though. For this scene, you get a nice atmosphere. The code, this is called atmosphere. This is a bit more war. Well, I think we've got it all coffee. So you need some gouache, some paper, some brushes, some water, something to mix them. If you need to draw a pencil, if you don't want to draw paint right away like I'm going to do. You don't need anything else. Alright, let's move to the next section. What I'm going to show you a little bit different between gouache and watercolor. See you in next video. 3. Gouache vs Watercolor: In this lesson, we're going to look at the difference between watercolor and gouache. Not above great mediums to work with the pretty close, but they do work with different, because they do look different. We can approach it differently. Of course, if you used to watercolor and never done go wash, that this will be very interesting because she gets some options you don't have. Now if you've never done any of them before, then go wash might be your first experience even in painting. Still want to show the difference. But you might want to skip the video and start painting right away. But if you're interested in a difference than I would say come along with me in this video. Alright, for that, I'm going to need a scrap piece of paper. Usually going to need some watercolor paints here or a tin of inexpensive watercolor paints. And I'm going to need some of that paint I'm going to use. Actually, yeah, we're gonna, we're gonna use the art philosophy is really in blue. I'm going to use the Yemeni yellow. These two, I'm going to demonstrate, alright, The main difference, let me get just a brush with it. There's a pet, these are pens of course, and these are tubes, but you can get watercolor in twos. But what I'm going to demonstrate first of all, which protocol colored the normal ways to just start with a light color. So I'm going to paint some light color here. And as you can see, that is quite wet. And this will now go a little bit into the paper and will take quite awhile to dry. So I need to wait for it to dry. And while I'm waiting and just take some of this and get a plate with it. Little pellet with it up here. Squeeze out a little bit for this demonstration. There you go. So while the watercolor is dry, now, this, you can mix with water as much as you want. You can do with pure, you can do it with water. And let me put the same and it's actually the same color, the same yellow. But you can see the color difference right away. I think, how much stronger the gouache is in comparison to the watercolor paints. Now the watercolor paint is still drying. What I'm going to do next with the watercolor paint, I'm gonna put down a really dark color. And I don't, there's probably an ultramarine color. Prussian blue, one of the two. I think it's close to an ultramarine. I would say. I'm going to leave that here. And I'm gonna get this really in blue. And I might just want demonstrate and the difference between the civilian blue, the ultramarine blue, and I think I haven't ultramarine blue to go a little bit, please. Because it's only for a demonstration. I'm going to wet my brush a little bit. This is the cerulean blue. Nice. Still a cold color balance is a warm, warm, nice warm tone. And probably you can see already the difference, even though this is a lighter blue, it's way stronger than that color. I need to clean my brush and I'm gonna get that ultramarine color. And you can see that this just gives a lot colder Degas. Now, we're going to leave this to dry. And the time it takes for your paint to dry, it really depends on the brand. Some brands really dry very quickly. Other brands take a lot longer to dry, but also your papers of influence. The more your paper takes into paint, the quicker it will actually in dry. So I get a different experience. Your painting session might go a lot quicker than mine or take a lot longer. That all depends on some variables. Alright, let's take a look at the paint. Let's see if it's dry now, the watercolor is pretty much dry. This is almost dry. This is almost dry. What I'm going to do next is I want to lighten this column. And so I need some yellow mix, some yellow in here, as you would do normally. And put that on top of this. Now, there you go. As you can see, you get this idea, you get a green color, but you believe it might not be a lot lighter than it is. And that is why with watercolor, you actually work the other way around. Because if I now take, let's say, a nice orange on top of the yellow, I get a nice strongly Yellow Sea and I can blend this in with the other color. And this works well. This doesn't work that well, but you get a nice mix of colors. Now, I want to do the same with this. I'm going to take this blue. I should have that somewhere. And now this depends a lot on your gouache. But this should cover, if I put this over the yellow, I should get a nice blue color that covers really an all your yellow is almost gone depending on how wet and dry you do. And now the other way around. Let's see if that works. Do this depends a lot on the brand to mix this a little bit because it's still slightly oily. Not oily, but some of the binder came LOS. And there you go. Now you see the difference between these and these already. And I gotta get some good yellow here. There you go. Student on top of this two. And if I do a couple of layers of this, leave that to dry. I could actually bring back yellow completely with this. I'm never gonna get yellow, yellow, yellow, Always the blue is going to come through. But with this, as you can see that the difference between these and these, how different they mix and how much stronger all of this gets and also how much better that covers. So I'll leave this to dry. Now, this is done. The cheap brand. Let me get the more expensive brands too, and let me get a light, really in blue. This is done the Royal Thailand designer gouache. Clean brush. This is the first. From this. Let me get a little bit more of this. On their day you go get rid of that. First. This, this this tube hasn't been used before. So that's why I get the wrong color basically, see, that is the good color. And now we're going to get some of this designer gouache. I'm going to leave this to dry to, you. Probably going to notice that this might dry a lot quicker. Let's see. How does this still wet? Yeah, that's still wet while we're waiting, this should be dry again. So let's add another year yellow layer on top of it. And as you can see, the blue is still coming through because what actually happens, these colors, soon as you add water are really starting to mix again, see you can blend them in nicely. I'm never going to get more yellow. Even if I put more on top of it, just keeps on mixing. I don't think these are dry yet, so I'm not going to do yellow. That's the choice you have with gouache. You can put, if you want to mix your color, you just go on it while it is still wet. If you don't want to mix your color, then you wait till it's dry, and then you are able to layer. Now how well your gouache layers depends basically on your brand that is determined by the brand. Some brands really still mixed. Once they get wet again, they mix while other brands stay bit more resistant against water and we'll keep that layer on the written nicely so that will depend on your brand and that's why the sum of them, you might need some more leaves on it than the other ones. Alright, let's continue. Safety is pretty much dry now, still quite wet. That one I should be okay. Let me kept some yellow with the Royal Thailand's yellow. Let me add a little bit. There. You go. Clean the brush, get a little bit of water with it. I think that is now dry. Let me put that on top of it. And you go and you probably see the difference between these two right away. How much stronger does yellow right away is? Alright, there we go. Now, if this is really dry, well, I don't think that is still dry yet. Where is that? Yellow? Here it is. There we go. As you can see now, I'm gonna get a lot thicker paint. And what I'm gonna do, I'm gonna add that on top of it. And as you can see, they go if I would leave this to dry, really well, I'm basically we'll be able to bring back my yellow. And you can see the difference between these in this one is now already drying and blending in. So the more yellow I'm going to add there, it's not going to do anything. The only thing what will happen is my paint will definitely in the end disappear. And that is the difference between this and that. And if you really leave this to dry well, you can add more layers and more layers, contain the color and not mixed with like here, blend away everything. That is a huge difference between the watercolor. With watercolor, you want to work from light to dark. With the gouache. It really doesn't matter once everything is really dry, you can just add another layer. If you continue to go with your layers. Eventually, if it's nice and dry, you're gonna get a nice yellow back like this one here. See, there you go. That is nice and dry and I can just add the layer of yellow on top of this and basically pretty much get my yellow back. I think that is it for this demonstration. Let's see, is the royal talents dry? It's getting dry. Dry, pretty much. Clean brush. No, no. Let me add a little bit on top of this two. And there you go. Now you already can see not totally dry, but how strong pigment and this is compared to that. And I almost cut my yellow back again. So that is the main difference between gouache and watercolor. Now of course, you can work from light to dark with gouache, the same as with watercolor. You could build it up the same way, but you could also work the other way around, stuck with some darker tones, bring in some lighter tones. In the end. With watercolor, you can't do that and that's a great advantage of gouache. If you want to, you can actually use gouache exactly like watercolor Omega. It really wet as you've seen already on the demonstration a little bit. If you're going to add a lot of water, it's just going to react exactly like watercolor paint. If you do it more dry at less water, it's going to react more like acrylic paint. But with the difference, when acrylic paint is dry, it is actually sealed. There's not gonna be any mixing anymore. And with watercolor, sorry, with gouache paint. If you add some water again, then you could actually mix the paints again. And they're not totally waterproof as acrylics are. But they're also not as eager to take on the water as watercolors are. Alright, well, that's a bit of a difference. Enough talking. Let's go painting. 4. The first Layers: Now I'm not cold and I'm not going to suddenly switch classes, do something with hairdressing or whatever. Although I didn't have an hairdryer. Why do I have a hairdryer? I forgot to mention this in the materials one where we went through the materials. You could use a hairdryer to speed up the drying. So you may see me do this once and awhile. Otherwise may take a long time, but you can use a hairdryer. Don't put it on this end. It's most powerful. You can do that. Don't put it knows how to get a middle like this one is to want to use that middle choice. The middle heat to dry, the paint will just speed up drying off the page or you can use a hairdryer for that. Don't want to wait too long. You want to speed up the drying even more than it does already with some of the wash dries pretty quickly. You can use a hairdryer. If you use a hairdryer, make sure you don't go over your palate with it where the paint is on, otherwise that's going to dry pretty quick too. Well, let's start painting. In this session we're going to paint. Now if you need that sketch, I wanted now's the time to sketch that on the paper you're going to use. And then we can start painting. I'm not going to sketch, I'm just going to use the photo as a rough reference and just do the impression of it. Let's start. Alright, I've got my paper here. I've got the photograph. There it is. I'm going to put the photograph sides so that I can still see it and follow it. And you're going to follow it very roughly as you've seen in the examples. We're gonna get something close to this. I've kept my palette, I've got my water. You just can't see the water moving them a little bit closer there. Both with water. The first thing I'm gonna do is I'm going to use the tape. And we'll use this paper actually where I've painted on the right size. Now what you're going to need is a ten by 15 paper or a four by six inch, I think in the US, if you have a large paper like that and measure it, or just use a different card to just tape it so that you will stay inside the right size for a postcard. Because we're going to do a postcard, we're not gonna do a huge painting. So what we wanna do first is I'm on tape off the bottom. This is a sensitive tape, by the way, masking tape, but a sensitive masking tape. I can't get that off the hippo. And the next thing I'm going to just do a piece right here along the edge. And who use this as my guide? I'm going to put that on here. Then I get roughly ten by 15. And this would be the other side's Diego. And I just only needs to top should turn this around so that I can actually see better what I'm doing. A little bit closer. And I should have attended by 50. So this will be my frame. And by doing it like this, if you use the larger paper, you're going to get a nice edge like this. If you don't want an edge like that. And what you can do is just draw a frame and paint over it a little bit of colorful. Cut it off later if you do that too. Alright, I've got a ten by 15 size. The mixture is insane. The few of the camera and the rest I can put away. I'm gonna get my paints. I said, I'm going to work with de Philosophie soda. Inexpensive one, but not cheap ones. These are not cheap ones. These are decent quality. I don't want to get my brushes with it that we are my brushes. You can see probably one. We're going to start with the background. We're going to start with blue. I'm going to paint this whole thing blew. So what I'm gonna do, first of all, I want to just add some water. You don't want to hit top of here. Fingers moving around, come on, stay where you want to make sure everything is likely. Get some blue. And I'm going to use debt like scholars. So I've got a civilian blue now, use the light cyan or you could use the ultra marine too. I'm going to wet my brush and I want to make a nice wet pool of paint here. So even if you have very pigment and strong pain, you want to paint, you want to make a nice wet pool. This is our first layer. We want that to go on reasonably light. Diego. What I'm gonna do, I'm going to just paint it in like this, some strokes. And when I run out of paint, I'm just going to add some new color. Basically, we're going to add these colors all the way. Now, unless you have done what to call it before, you already noticed the difference probably is blends nicely, but you're running out of paint quickly. What's the difference? Why should we see me wearing my brush? Make sure I have enough paint to go all the way. And let this blend and this is kinda blends quite evenly. And that will basically be my first layer of paints. Now got my background ready. So now if you have that ultimately color, it's gonna be of course, slightly darker. So what you wanna do then, let me show you that. Well, let me first finish this. If you have ultramarine That is very strong on that. I picked up the pure paint and I didn't want that. So what I'm going to do is I'm going to add some water so that I can pick up this pace as long as this is dry, sorry, wet. It can move it around pretty nicely. And move it a little bit up and add some water on my brush so that I can pick this up. Shouldn't have done that, but I'm okay with this. Alright, I'm gonna do these edges a little bit. Better. Pick up this paint there too. If you feel it's running out of paint to paint, so it's getting dry. Pick up some more paint. Or in this case, since I need to spread this paint with better, pick up some water. Now there we go. Alright, that is the background. Now, if you have a darker color, what you're gonna do with a debt, let me pick a darker color than we find that. Here it is. Extra fine. This is two. This is the style that I want, that dark color. I've got them here. Yeah, there you go. Ultramarine. Now that ultimately you're going to do instead, pick that color. And as you can see, that is very dark. Even if you've got a wet this, this will stay very dark and I'm going to demonstrate it on top of here. I'm going to clean my brush. Alright, I'm going to pick up this ultra marine. Where did they go? See that there's a very dark color that is too dark. Because now you're going to get into trouble with working if you want to get this lighter. So what you're gonna do is the next thing. What you're gonna do is you're going to take some white, little bit of white somewhere with your brush. Preferably use a clean brush for this, but I've done this already. Mixed this. And as you can see, you get a nice tone to go until you get the tongue you like. Like this is pretty nice. Then start wetting this. So I'm mixing it, non-stop, wedding it. And if I put this down, see you get a very nice sky color. Way better than the dark color. And you can work a lot easier with this color. And especially if there's dry ice, that should be nice color. So that's what you're gonna do with deaths. And now I got these columns I don't want, but that's okay. Alright, good. By wetting this stuff, I should be able to mix. That's the main difference. So don't use the pure ultramarine, mix it with some white until you get a tone you like that. By now, this should be pretty dry and I'm going to fill that. But normally don't do that. If this is not dry, what you're going to end up with is a finger mark in it and you don't want that. So it was pretty dry. And if you really want to make sure it is dry, now as set, you're going to get that height hairdryer. Alright, switch these turnarounds. Got to get that one there. This is where I clean my brush in. And if this is really getting dirty, you could have, of course, cleaning the brush is pretty much fine. Let me get the hairdryer. If I want to make Like this. So don't do too hot and dry already. Good. There we go. We can continue now with the painting. We've got our sky. Now the next thing we're going to need is we're going to need that, those mountains, the mountains in the back. The stuff. We're going to get the horizon line, which is around a third, a quarter. And I'm going to put it around the third, putting this mountain here, pulling this trees there. And I'm not gonna do anything hard for that, pretty easy with that same brush. Make sure I clean it. What I'm gonna do, I'm going to mix some colors now. I don't want a black black. I'm going to reserve the black, the darkest color for the trees that are upfront. So these are going to be the darkest. These I want a lighter. So normally you could use a gray, but a grey is too light already. So what I'm gonna do, I'm gonna take a black. Here. She has solved that binary, which comes out with a bit of that oily. Then you need some more paints. And the next thing you're going to go and get is that yellow. And I need more black than yellow. And what I'm going to use these two, I'm basically going to mix them together and you get a bit of a greenish black tint now and not a total black black tenth later on we're going to use the dark, dark black. But this I like slightly different, different tone. So not as black but bit of black. I might actually use more yellow ones. Just a tint. You can see that? Yes, a tint lighter. When he gets some water on it. Not too much with this one. Just a little bit of water. I wet my brush, put it in. And what I'm gonna do first now I'm going to go for that horizon line. So I'm keeping my brush straight and I'm going to just draw a line like this. And about a third of my paper. And there we go. Now it says, is this, this is an impressionism. I don't care if this is really straight line or not. The next thing is what I'm gonna do. I'm gonna add those streets around here. So there are my trees. They go for now, That's good. The next thing I'm going to add, that mountain, the mountain is around here and might bring it slightly higher up. There you go. Paint that into Anish. You can see gouache goes along way of, kind of way too much there, but I can use that later on again for the trees. Hey, go and now I'm going to just get this a little bit nicer and add some tree tops. And as you can see, I'm going to go straight into this. And around here, a little bit structured there. Make sure I've got some tree tops there too. Alright, good. That is my background. I want this one to be slightly higher. Will leave this to dry and that should dry nicely. Alright, we'll put this brush aside for now. I'm going to take that small brush. What I'm going to do next is what that small brush, a little pick up that leg pains. And now carefully, I'm going to actually draw in this river. Now, if you have done a drawing, you just follow the river. If you haven't done a drawing, then we need to paint it in and everything middle. And since this is an impressionism, doesn't really matter much where it is. I'm just going to put a very fine line of the river, the river bank basically. They go and the other bands is around here, slightly up there. And we're going to add that. That's gonna be my refresh and I've got my main things in. And what I can do now if this small brush. Improve my horizon line just a little bit, but I'm okay with it is alright. That's that we need this to dry. But while this is drying, I could add a little bit of grayish snow tone here. So what I'm going to need this, I'm going to need some white. Let me first of all, clean this brush. Now I've cleaned it in the jar. Pick up some white. I'm going to mix that here with the black and move away from the black and get a nice grayish tone. And that grayish tone, I'm going to add in as that snow received. Yeah, that is right here. That Snowden. I snow. Right. That is nice. So I'm going to add that in right away. While I'm painting this in. I'm letting that dry so that once that is dry, I can work up there. You go. A little bit down there too. Alright, good. That a bit more rough than it is. There you go. I'm going to leave that to dry. I'm gonna go to the round brush, the thicker round brush or use to five. Now I'm going to get the figure round brush and that same color I have that grayish tone I'm going to bring into my sky. I'm going to add some of those clouds that I'm just going to do. Very, very random. I'm going to need some more paints. Definitely add some black to it and add some water to it so that it's a little bit wet. Mozart and distribute slightly wetter than it. No one touched it. Black, Yes. And what I'm gonna do next is I'm going to go back to my blue points, some points, little blue of him in it to get a nicer mics, see you get a nice tone. As you can see, this is, this is just very random. Rather I like, I just want to get a nice looking Skype and impression of a sky that is slightly getting dark already. But not totally Diego, I like that. Then once you'd like something, I would say leave it except for the corner here. You can see I'm not paint dabbing and painting a little bit and it's getting dry now that is perfectly one that I'm going to get a little bit of gray with the same brush. And to decide if the snow, I'm going to add a little bit of a gray and pick some up, put some up there too. With that same gray. I'm going to actually draw in painting, in this case, Dakpo. This bank here, which goes up a little bit. We're going to add white later on. But I want to know where everything goes so that they have an idea. I'm going to paint in everything. So now I've got my major parts except for the street of course, but the trees we're gonna do at the ends. Nice guy. We've got, we just need the yellow with it. Now, the tricky part comes, we need this to be really dry or wise, this is going to go mixing with the yellow really quick. So I needed to be dry. While I'm waiting what I can do already, I can get some yellow. I'm gonna get some of that lemon yellow. Team my brush. And it's reasonably wet, not work, but reasonably wet. And what we're gonna do in the river, I'm already going to add some yellow where I want the sum to be later on so that I can get some layers because I know this paint isn't as strong as the designer one. So I'm going to wait for that to dry. And it's already a little bit of layers of yellow. As you can see, what I'm doing now is under the horizon line, adding a line of yellow. There you go. I want to get some interesting sounds like this. And at this stage, it doesn't really matter. Where it is or if it is exact. I just want some yellow in it. There you go as a base. Alright. I think we're up there. We should be pretty dry, so I'm picking up a little bit more paint. I want this to be stronger. Nice, strong color. I'm going to add my yellow right there at the bottom. Brush. So this is thinner. This is a bit thicker. What I have down here at nice color of yellow here. And now in the sky. Day go down there a little bit. We've got that nice yellow color. Alright, bringing in some in the sky to go. Now I'm going to dry my brush so that I can pick this up a little bit better with a dry brush. There you go. Good. Now I want some paint back. Won't that? A little bit around here? Bit stronger than I have. It's alright, Good. Okay. Clean my brush. Pick up some of that blue again, and add debt right there where I've put that yellow in mind as well. Some of that grade back, I'm gonna do that once it is dry. I've got some tones sung in my sky. Want to leave this to dry? I've got some underwater. I've kept this and we're going to finish it. Finish it, we're going to finish the lesson. We're almost going to finish the lesson right here. What I'm going to do this, just once this is dry, we're going to add a little bit of a layer, pick up some of that white and black and create a lighter tone gray. And we're going to basically put that on top of it and let that blend in. This creates a slightly lighter layer on top of it. That shoe blend in a little bit and just bring it to a slightly lighter tone down. Alright, now I'm going to get small brush. Pick up some white, create a light gray again. Just some streets like that. Bit random. And do that here too. There we go. Okay. I've got some Payne's. Yeah. Let's get that slightly stronger here. Answered, There we go. One thing I don't like is down here, this is pickups, the brush with a little bit of water and mix this in just a little bit so that, that slightly too bright blue blends. A little bit of a constant is a little bit of a transition. I'm just using a wet brush to do this thing where we're leaving this to dry. So we've got our first layers down now, we've got basically the whole scene except for a treat. We're going to do that in a later lesson, in the next lesson, once this is dry, we're going to add to this, we're going to add our snow, but we're going to improve that sky little bit. Add some snow, and then finally also do industries. Alright, so I'll see you in the next lesson. Once you're painting is dry to then join me again in the next lesson. 5. Improving the Landscape: We already got a rough idea of where everything goes. We already kind of quite rough painting a setup which already looks a little bit like painting. You can paint relatively quickly with gouache. That's the nice thing about it. Now if you're painting is dry, you can join me in this session what we're going to improve, what we have quite a lot. Alright, let's do this before we can add our focus, the attention to detail where everything goes. Those trees, we need to make sure that everything else is pretty much ready. Work on this a little bit more. I want to bring back some of that blue in the sky. So I'm picking up some of this water mixing in a little bit of color. Here you go. There we go. Actually do this like that. Now I want to get rid of that paint. Dry brush. You could actually also drive and lift the dry brush. I want to make these strokes. And since everything else is dry, that should not react. Now I get some interesting things on my canvas, so I'm just adding the blobs to it. And then I'm just with a really dry brush. I'm going to add these colors until there's nothing more to move. And I think that's pretty much now. Again, a nice, interesting sky like this. My new this again, at some of those some of that paint. We're there to try that brush. It's pretty much dry. And do the same. This roughly dry brushing this in. There we go now I think I might have pretty much the sky I do like, so there's various techniques you could do. Now, if your brush is still a little bit wet, if you pick up some of this paint That should work or pick it from the palette. Moving back a little bit of the grid at some points. And I'm working with a fairly dry brush or whatever. It's still wet on my palette will come. Okay, I think this is a pretty interesting background. Let's get just a little bit of wet hands off the black. Careful this is probably going to be some brush strokes here and there. Let that dry. Okay. That's my background. I think I'm pretty okay with debt's going to bring back in a little bit more yellow to get a stronger here. Might do that with that small brush. Make sure it is clean. I've got yellow here still. With a wet brush. I'm not adding a lot of water to pick up some of that Payne's right at the bottom. And definitely some yellow. Some nice strong Tom's. Debian as you can see. More action painting. Good. Now that isn't nice and strong. Alright, the next thing which you need, I need to define this part here. And of course, now everything is basically dark blue sky, that's fine, but I don't want this to be all blue, so we're going to need that work, that wet wet brush. I'm going to need them whites that is here. And what's the wetter brush? We're going to start bringing in our snow. And with the small brush five, I've got for this. And I'm going to just add the snow like this on top of everything. I'm wetting the brush a little, pick up my paint and push it as far as I can go to. Stuck in my, on my paper. So William Rush, very little bit picking up some paint and doing the same here too. So that gives me a very light layer of white, but not any lines or streaks. Or adding It's very strongly, but letting it blend in a little bit with that background, we're gonna do the same here. Some more water. Pressing my brush into the paper so that I can get this interesting effects. Wedding it a little bit, picking up some of that paint around the edge x2. So now we don't have really, we don't have white, white since we just picking up only a little bit of the paint. But we're getting a layer at the bottom, which we can work with in a minute. We've got that part's pretty much done. Okay, for right now, this should be dry pretty quickly. The next thing which I'm gonna do, I'm gonna get some of the pure white on that small brush. And on the back there, little bit of a line. And if it's not flowing enough, you can wet the brush a little bit. But don't read it too much. Because then it becomes watercolor again. And now I want it to be more like wash. Here we go. A little bit. That's good. Now I'm going to bring in some stromatolites, bring in some lines, create that impression of snow. I can paint on my brush. There we go. That's down here. Some stronger pains. So more pure. And that looks interesting. I would definitely be getting the idea that there is snow. I'm gonna do the same on this, create the impression of snow, although most of this will later on pretty much be gone because there's a lot of black going on top of death around here. There won't be much black. So I want to really get this a lot. Wait a minute is to create that impression of snow. Good. Let's see. Carefully a little bit around this edge. Blends. Think I might have some left, which I'm painting on top of everything. And there we go. Now I need a little bit whiter again, sorry, little bit wetter again so that it flows nicely. What we're gonna do next on the river, just under the black. I'm going to add a little white line to create idea of water off a little bit of water. Shorelines see some more there. Now in the water itself. Bringing here and there. Just a little bit of white brush in depth, a little bit Degas. And now this starts to look more like. A reserve bank already done it was alright. Me doing it around there too, a little bit random and some whites create the idea of water. There we go. Let's see. We want some yellow cleaning. My brush. Got plenty of yellow in here. Strongly yellow. We go down wet so that's mixing softer, more yellow. Little bit line there too again. There you go. Hello, leave it at that. Let's create another layer of yellow from here. Just mix this in a little bit nicer. I don't have all these blocks even around the bottom for us should be wet enough. To create that. A little bit more interesting than it is at that looks a lot better. Now I've wet at this black little bit, so I need to be careful into the yellow. Make sure I'm not going with my hands in whatever I've cut down there. Alright, I'm going to leave this to dry. Paint, brush. Good. Now this part needs to dry. Let's see. There's, there's still too much color on this side. So if reasonably dry brushes are just getting rid of the water, picking up their white. Bringing that into this a lot better here too, because I don't want that much color in my painting. I definitely do want some color in my painting. But at this moment, just too much color. Somewhat here to activate. There we go. Okay. Rid of some of that blue around there. Around there too too much. I think my wife might be pretty much gone and it's all white, whereas the whites here is the white, Titanium White. Got some pure white. Now, I'm going to add that to my painting that we did show here. There we go. Now we got a little bit of interest here. We've got our reserve. There are definitely some more whites around here, but we're gonna do, first of all, it's bringing those trees. And then we're going to basically get this going. Now I ruined this a little bit. So let's add some thicker white here. Good. Need to bring back that little bit of wetting my brush just a little bit so that I can spread this a little bit better than it is now. Yeah. Good. I think I'm okay with this. Clean my brush really well. While it gets some of this black, I need to bring back my shoreline little bit up a little bit, makes it slightly into my water. We'll have a darker tone. And that really thick black line, very little bit of black again. That Sean back a little bit and now we've got it. Good. That's good. What I'm gonna do next is I want to just let this dry verizon here. And once this is dry again, we're going to add our trees. That will be the next one. Alright, but that's for the next lesson. In the next lesson we're going to do the trees. Then play a little bit with those streets and see how that works out. Then we'll pretty much close to the end. Alright, well, if you haven't done this, I would say paint this and do the colors you like awesome in the sky. Make it like you want. If you want to put some at some white here and there to the sky, you could do it at some more yellow to it. You can do that too. You can play with as much as you like. Well, I'm moving to the next lesson, so I'll see you there. 6. Painting the Trees: Welcome to the next lesson. While you may hear a little bit of a difference in sounds because I didn't have my microphone on. It was hanging somewhere around there. I'm not even sure if we can see the live video. I want to add later on, see if that's there or not. But we'll see it. We're gonna continue. We're going to add the trees. We've caught up basically most of the scene already. We're going to add the trees, do some final details on this painting is ready. Alright, now, if you have drawn your trees in the probably come by now. So if this is totally dry, you can take a pencil and draw them in again, or just follow me free hands. Okay, let's start. Now you probably see that this is not totally dry, but the rest should be dry. What I've done is now I'm going to use the same paint. So if yours is dry, just pick up some water and activate the paint again. And I'm using the brush 12th, the large round brush. And I'm going to bring in those trees. Now, again, I'm not going to follow exactly the photo, but just pretty much as close as I can. I'm going to add that foreground tree first. I'm going to just go in and add it. And since this should be black and now we should have, see that clearly. Here. We can see that clearly. My first street will basically go here, picking up some of that water. The second tree is gonna go here. And then I'm gonna do a further three, which basically starts here. And then bends a little bit there. We're going to make them thicker. I'm just want to have a direction. And then the last tree is going to go here. And I'm going to bend that tree bit more than it is in the photograph. So you could go now straight, keep it going straight like that. And then create bands like deaths among, just think I'm going to leave it like this, that's good. Alright, now let's continue with these trees. On, of course. Make this a nice fig tree. Fig tree, but a thicker tree. Here you go. Make sure creating it a bit nicer here. And definitely a lot thicker too, and I'm going to bring it almost to the bottom. There you go. Secondary, need some water again, probably for this second tree and it needs to be thicker too, but basically not as thick. Definitely not as thick as the other one, but still a nice thick trunk. Thicker down there. There you go. The next tree is more behind it, a bit thinner. But then again, not too thin. There you go. Let's add the trunks a little bit there. And the next one picking up slightly a little bit of water. I'm going to add that last tree. And that needs to be a little thicker there. Hey go. I've kept my three, so I think I like I like this, That's good. If you like something, you're going to keep it. Only want this one to be thicker. There you go. Around. There. Just one little bit thicker. Now that's looking a lot better. Now, a new stroke in front of it for that tree. Behind here, I'm going to paint just one tree. Let's say it's going to come in an angle. And you could paint in another tree here are just as I'm doing here, probably create this one under an angle here. And something like this. Let that disappeared. Nice fig tree behind the other one. I'm gonna do it like this. This is the front three, so making sure keeping that in front of the other one. I might go with this. Nice, Good. I like that. Alright. Well, next thing is we've got these main branches. We're going to need some of these other branches. Let's see. We're going to add a branch here. There you go. I'm going to add a branch. There you go home. We're going to pay attention to these branches, of course in a minute. I'm going to carefully at a branch there. Let that branch out to give some, pay some attention to this branch. Let's see what are we gonna do this? I'm gonna go one up, one down like that, That's good. And later on we're going to pick a smaller brush. And what we're gonna do, and there's some more branches around here at the bottom, e.g. I'm going to paint that in. I need some water to activate this paint. And I'm actually going to do a branch right there. Now you can't see it, but don't worry that will get that will make sure it's going to stand out from the background that will, will fix that. And this one, what we're gonna do with this one back here. It's gonna get a branch like that. Good. Well let's fork this branch then two again. Now it's looking good. Alright, I think we've got quite some nice branches now. Now there's another photo. There's a lot more branches. As you can see, I'm switching brushes to the small brush. You can add as many, as many brushes. You can add as many branches as you want. So if I wanted a little bit of a branch day, you can do that. I see I made a mess, so I got to correct that a little bit. Brian, slightly thicker. There you go. And you can add branches wherever you like. I'm not going to add a branch right there, but I'm going to make this trunk I think slightly straighter. There you go. Okay. Good. Let's see. Do I want more branches? I want this branch to be more like a branch. Don't want to go. Okay, good. There's a little blob, so take care of that blob. There you go. Good. Alright, let's see this branch here. A little bit off the bottom. Good. Um, I need some water, not too much. Otherwise, I'm going to get this problem here where everything spills, where I don't want it. I want to have a nice thin brush. Then allows me to add some nice thin strokes, not like that. I don't tell them too much. Alright. Let's see this one. A bit disconnected. One, it's a bit nicer. And I'm think I'm pretty much okay with this. Alright, good. Dry. Let's see. The next thing is there's some bushes right here. So I'm going to bring those in. And just with thin strokes, I'm not pressing the paper. I'm just making very short thin strokes. And I want to add some very thin strokes up there too. And behind here. I want to do the same. I think I'm okay. And around here, while I have this brush, I'm going to add a little bit of an edge right there. And with dose I think I'm pretty much okay. I might just. Add some spots here and there. And with the water there is of course a reflection of these branches, grasses, whatever they are, ego. And we're going to just add some down here. Get an idea of a reflection in the water pool that a little bit, That's good. Alright, now, if this branch a little bit more body needs some more black paints. Water, wedding this and I think I'm pretty much getting there. Oh, my brushes to dry. There you go. Now we've got a nice one. There you go. Good. Alright. Well, I think I'm pretty much done with these. Sue you. This good. Some strokes extra. And that could get a few strokes extra and the rest, I'm okay with. I like it like this. Good. Clean my brush. Let's check. Let's see what do I want? I've got that yellow. I've cut that some yellow, I've cut this yellow. And now this is looking a lot nicer suddenly because there is something in front of it. I'm just keeping it like this. Yes, that's good. Let's see. Do I want to do anything about the snow? I make clean this brush really well. And I've still got that white. So I might just add a little bit more white. You go, that's better. Even spread it a little bit more. Back there. Definitely. In-between there. Okay. Not too much there. Let's see. What do I do want to do? Get rid of most of this white, but still one adds a little bit in the water. A little bit of the idea of some reflection going on. There you go. Spread this a little bit. And I want a little line there. So I may need a little bit of water, get that wide and add a little bit of shoreline. Right there. I'm gonna do that. Again right there. Some white there. Pick up some more white. Dude, adhere to create debt shoreline. There you go. That's nice. In here. Just some streaks of whites. Bit stronger. There you go. Good. I think I might leave it like this. No, that's it. What you could do is I could add a little bit more gray in the sky. I might actually do that. Clean this large brush. The large round, not that wet. Pick up some of that black and white. Create that gray brushing. Some more gray hair and there, yes, that is better. Now careful with my branches. Bit more controlled. I would say around here. We can fix, of course whatever goes wrong. Right? I like that a lot better. Spread this out slightly. At a hint of gray in it. The ego that is good. And then we're going to get that small brush back again. That has widened, going to wet it, get rid of most of that. Get that black on it. Make sure I keep my nice point on it. Let's see. And what disappeared Here it is. That's back. Figure of a branch there. And the rest, I think I'm pretty much okay with that. There you go. Good. Well, let's leave it like this and let it dry. While I'm not totally done with the painting yet, There's one thing. I'm going to add, some snow and sunlight effect on the trees, but that will be for the final lesson. See you in the final lesson then. 7. Improving the Trees: Welcome to the final lesson. I said in the previous lesson, we're gonna do one more thing. I'm going to add a little bit of a light effect to the trees to distinguish between the trees themselves, which to me is what tree, a little bit of a better distance from D. Let us, let us come out a little bit better from the background. And then finally, we're going to add some snow to the branches, and then we're pretty much done. Well, let's do this last bit, right, for that, I'm going to only use this small brush and we're going to pick up some yellow. I got to move a little bit closer myself. This probably is going to need some water to be activated again. And if you need new paint, of course, then go ahead and get some new paints, but they should still be okay. Now I want to make sure I'm having a nice point on my brush. What I'm gonna do is I'm going to create a light effect, will show you that in this painting on the trees. And by doing that, they distinguished themselves. We better from the background and amongst each other too. So we're going to add some, first of all, the yellow and then later on we're going to add the snow. We're starting with the yellow. So I'm starting with the main tree here. And then making sure everything is dry so that I'm not resting on something that is wet and I'm getting it on me and spraying it everywhere. So let's start with the first one. That large tree. Let's see, I'm going to start it right there. And it's not moving as I want it to move. So I'm going to make this slightly wetter so that it stays in a point. And I can make sure I'm going to move this one up. We can still see that. Yes. I have some room to move on because I can't get too close to it. But I'm going to get as close to it as I can. The ego, that's the first line. Definitely add more to Tunis so that I can get a nice sharp. Russia might need a few lines for this. Let's see, the next tree is there. And I'm going to just paint that in. And whatever I paint now, defined right away. Obviously, there are three different now and I'm over the right tree. They go. And now probably there's a huge difference between quality of paint, which one covers more, on which one covers less. Let's see, There's this tree here. I want to get to bottom branch. And then there's this one here. And now by doing this, you probably noticed right away. Now you can see actually the tree and which before it was a black line. And as soon as we do that here too, It's gonna distinguish itself definitely from the backgrounds. You know, it looks good. I'll just paint this giving me some problems. It's slightly too thick. I don't want to wet it too much. Then it's not strong enough. Probably. Well, see if I can get a final line or I should get very small brush. But I don't want to go to a very small brush because I figured not everyone might have very small, small brushes. Alright, let's see. We're going to have this tree. This tree is in front of that tree. So I'm going to bring in this tree-like debts. Now belongs to that tree. And now you get that sense of evening. She beautiful me. How does it work so nicely? Little bit there. Kathleen, little bit debt. This we definitely need to spread a little bit. And if it's too much, it's not a huge issue as it little bit more on here. Get a little bit there. Good. We've got a dare. We need some on this tree. There you go. Distinguished at three from the background. Not there of course. But on this branch, we're going to add it to. There you go. It looks good, doesn't it? And in the grass here or the whatever is back here. And here too, we're going to just add a little of yellow to make it interesting. There you go. Good. And while we're having the yellow, let's bring back some yellow in the back. They go and we want some definite yellow in here. And definitely there too. Here we go. Good. I like it. Let's see this one. Carefully. A little bit of yellow under it. And I think I'm pretty much okay with that tree. This is now a broken tree or make it into a broken tree? Yes. And that's that's that. Let's see. What do we need now? We need to snow. I think I'm okay with all the yellow for the snow. We're going to need nice clean brush. We're going to pick up that white that is here. I'm going to activate that again. And for this, I'm not going to add lines, but I'm going to carefully depth some snow onto it. I want to make sure I've got a little bit of a point. There you go. Making this wetter two. Then I get a nice straight point. Just imagine there's some snow on the branches. And how that would look like. There we go. Okay. This and we're gonna do a little bit like that because it's slightly too thick. Here we go. Good. Now, if you have a really thin brush, you could use that for this if you wanted to. I'm going to keep my self-harm by starting at the wrong side, should have started at this bag. I'm definitely going to add some snow on there. And some snow. Alright, there you go. That looks good. Let's see what we want some snow on here. Yes, we do. The hago. Makes it just a little bit more interesting. Now around, Let's see. Definitely going to need some snow on their on their definite. Now I forgot a yellow line there. Top of here. There is snow. Snow there. Alright, I think I'm doing okay with this. I'm going to add some snow on there. And definitely some snow. There, although it's kind of hard to see, we need some more here. Not too much. Alright, that's ads in-between these two. Just a little bit of snow and let's do it adhere to. They go make it more interesting. I think there's snow there. I forgot some yellow there. Let's see. Do I got I got everything. Let's make sure this time. And a little bit of snow extra there. And on there a little bit. I think I'm okay. It's here now these trees stand out nicely from the background. Perhaps not the back here. Not as much should we could add another branch there to really give that impression? Or do I wanna do that? I don't want to think, I don't wanna do it. You could do that like, let's see, on this painting here, where there's another branch going actually behind there. If you add that, you get the sense of more tree. But what are we gonna do with this one? Get rid of most of them. White paint. And a very light line here. Line. My brush is pretty much almost flat. And by adding a very thin line like this, I'm okay with that, That's better. I'm gonna do the same here to make it stand out a little bit better than what it does. Stare a little bit of snow on there. That looks good too. Okay. Good. I think I'm okay. Except for that line there. Yeah. I wanted to really lead wet brush. Get some yellow. And let's add finally hello there. Good. So let's extend this one a little bit. So cleaning my brush and pick up some of that black. You go correct this a little bit. And I want to correct that a little bit too. Right? That was slightly too fake breasts, I don't mind, but that was really thick. And touch up here a little bit. Go him might bring in there a little bit more of the yellow. That's better. Okay, and now there's yellow gone here. Let's try and add a little bit there. Maybe bring back slightly, little bit. Black back. Again. There you go. That's better than the muscle. Too much of that yellow in it. Now this is quite dark. Well, we could do is we could bring it just a hint of snow. Clean the brush. Kenneth White, making sure it has a nice tip. And just add some spots here and there. I'm looking at taking up the photograph with it. You can see that around here are some white in there, so we're just going to bring in. Just a little bit of white. And once this dries, this should be pretty okay. Right. It got some left, so one had a little bit back there as well. I'm headed bit stronger snow here. That's two blue hair to some white. That is the nice thing about gouache. You can add just another layer on top of what you have and then get a tone you prefer. From what you had previously. Might have a little bit. Snow around this bottom, definitely. Dabbing that on its here to get rid of that. Gray. And here, we're definitely going to add That's tricky. They go on a little snow too. There we go. Good. Clean the brush. Get some black. That's too wet. Well, let's leave that to dry them and take some wet on black. Right. And move it right in there. Good. I like that better. That's good. All right. We'll leave that to dry that up slightly. I think I'm pretty okay with this. Except for now that water and that is tomorrow. So let's pick up some gray and basically brush this in a little bit. Now, that is good. I like that. Up here too. Can be some gray in it, but that was too some blue in it. That was too much now I think that is a lot better. I think I'm going to leave it like this. Except for take a wet brush, pushing those white spots a little bit, that's a two white. Still want them to completely disappear. Go but I don't want them to be as wide as they are. Good. I think that is a lot better. Then I can add some of that gray to it. Create an illusion of something going on back there. Alright, I want to leave this to dry and then I'm going to show you the final result in a minute. So I've removed the masking tape and there is the final result of this little painting, the postcard. Now I could just cut it out on that size, send it to somebody. And you got a nice, lovely postcards to give away. Now before I leave you, now we have all these dirty brushes. What you can do best now is to clean them with cold water. Don't use warm water because we use warm water. The pigments of the pains are going to stick to your brush, rinse them well with cold water. And then if you can't get them clean that way, what you can do, you can take a bar of soap. Let's imagine this is a bar of soap and water running, making it nice and wet. You can push it into the soap and just clean it that way and then rinse it with your fingers and repeat the process until you don't see any to paint anymore on the soap. Regular bar of soap work fine for that awesome dishwasher detergent you can use to. But regular soap works fine. So that's for the cleaning. Now the glass plate and these both you can of course, clean with warm water, That's not a problem, but the brushes, cold water. Then we have our winter squash postcard, an impression of it, more impressionism. Then really going realistic. We give an impression of this photo, what it looks like in this gouache painting. Alright, well, next up is the project. See you there. 8. The Challenge: Now that our first postcard is ready, I would really love to see the result of it. That is not your project, but please do post it. Also, please do leave a review because other students are really helped to find this class. If you leave a review, then Skillshare as giving a little bit more attention to this class. And it's easier for others to find. Now the project. For the project, I've added a second photo to this class of a different winter landscape. And the project is that with the techniques we've now done, you just paint debt postcards, create that photo into a postcard to and post it for all to enjoy us, for all of us to enjoy. That will be your project, creating another painting from that extra photograph I've added to this class. And I'm really looking forward to what you will create. Thank you for being with me in this class. And of course, this is just the first of a series of postcards will be doing so. In future, there will be more postcards. So I would say follow me to that. You get that notification when the next class is ready. Or if you can't wait that long, There's other classes I have. You can pick up some other skills. Don't forget to post your results. And I hope to see you in a different class.