Painting Morning Landscapes in Oil Colors

1. Introduction to the class: Good morning and welcome to this course on painting morning landscapes. In this course, you will learn how to capture the beauty and tranquility of the morning arms in your paintings will cover techniques for depicting light and shadow, as well as how to create the sense of depth and atmosphere in your work. I'll be demonstrating the process of painting three different mornings scenes in oil colors so that you can see firsthand how to apply the techniques they talk about. I'll be using all the colors, but you can also use wash or I can links and get similar results and follow the M3 method of painting while painting these landscapes. So that it simplifies the painting process and almost guarantees or go to jail. For each painting, I will premix the colors, do the block and using these colors and then add the details to finish the painting. Even though we'll be painting only mornings scenes in this course, the skills you learn here can be directly used for painting any other subjects that you desire. Whether you're a beginner or an experience painter, I'm confident that you will find something new and valuable in this boats. As a project for this course, you can paint a mourning scene based on your own photographs or use runoff. The reference photo is given to you along with this course. So let's get started. I can't wait to see what you will create in this course. 2. Inspiration and Sketch - Morning At Khorli: Welcome to this video. In this video we're going to paint this landscape in oil colors. But before we get into the painting, I want to explain the source for this painting, which is this photograph which I clicked when I was driving on a small lane in Goa, near Karmali or Khorli. And then I came back and painted this sketch in watercolor and gouache. I've been following the M3 method of painting. And in the first video, I'll be mixing the colors and making the drawing. In the second video, Ailene the colors to block in all the shapes with appropriate colors. And in the third video, I will add the details to complete the venting. So now let's get started with the first video. 3. Drawing and pre-mixing the colors - Morning At Khorli: Welcome to this video. I'm going to paint on this setup, which is linen canvas. And I'll be using oil colors, the colors which I'm using, ultramarine blue. So Julian blue, yellow, ocher, chrome, yellow, and burnt umber. What I'll be doing first thing is to premix the colors so that the painting process becomes easy. And I don't have to think about what color to mix once I actually start the painting process. But before I get into mixing the colors, I want to all these broad shapes or big shapes post so that I can get an idea of how much color, how much of each color I'm going to need. So with that in mind, let me start drawing the shapes using some linseed oil and this burnt umber. Now horizon line is somewhere here. And the road goes something like this. I don't want this to cut exactly at the center of the painting because that wouldn't be composition and the not so good thing to do. Then the next biggest shape is the tree in the foreground, which is either there'll be some grass or ground here and it will be something like this. Then the next thing is the distant three months, which would be something like this. And I will correct some of this if required. While painting. I'm not strictly going to follow this drawing. A fit. I find that later on in doesn't work. And then distant mountain is like this. And the bushes and grass on this side is like this. Then there is going to be one or two trees, coconut palm trees, and their shadows like this. One more. I'm also not following the sketch exactly. I might get a similar thing, but I don't want to follow it as it is. And I'm also don't want to, I also don't want to divide it this into two exact shapes. So I will have a shadow going across like this. And Bush in the foreground. I want to downplay this. I don't want it to attract too much attention. Or I'll take the row like this might look better. So I want to eat was here earlier and this is the center of this horizontal. So I wanted to take it beyond that so that I can reduce the size of this thing. And if you can see, I don't want to divide on Don Juan. This tree also do divide this thing into two-halves. So I might have it come, or maybe this tree will protrude and that should be it. So that gives me the rough shape drawing. And now let me mix the colors. The first color that I need is a dark greens and start with marine blue and unwanted dark. So I will add instead of this yellow and I have added some yellow ocher. And I will also add some burnt umber to make it even darker. That's my first color. Now I need a secondary or a lighter color, lighter version of this. And I want a lighter version of this. Let me add chrome yellow color has dried a bit. So this is the second value of, I won't say value exactly because I have not added white in it. But then it's a lighter version, more yellowish version of that color. And I will need another one, which I won't mix because I can directly use this color when I have both these colors laid in. To know, let me mix the color for the grass. I want these colors to be slightly different than these greens. So what I do is I will take combination of these two blues and add because the grass is on the ground or it's on a horizontal plane. So to say, it will be much more brighter. And I also wanted it to look slightly different and green. So this might be the darker side of the grass. And I add a bit of white. The lighter side of the grass. So as always, this may not be the final colors, but this should give me the 80 per cent of correctness and also the variety. What I need. The next colors that I need is the color from the road. So the node color, pink and blue, this using burnt umber. And I want to warm this up slightly so I'll entertain your crimson and also make it light. Adding some way, not so much. This is too reddish now. So I'd have to add a bit of yellow ocher to it. Kind of looks right. I will apply this on the road and then see what kind of correction it means. When I think I can do that more precisely, when I'm actually painting. That's done. Then the next color remaining is distant blue for the mountain. And I need one more for the, for the field here, which will be a lighter version of, let's say this. Yeah, Because I want to bring out the, or, the main idea is the bright morning light. I want to have this color very bright. Because the form of farm is a horizontal surface. It's going to catch a lot more light than vertical or slanting surfaces. Now the color for the distant mountain, I wanted to make it lighter. And also this other, sometimes the ultramarine as it is, becomes too overwhelming or overpowering. I like to tone it down with other colors. So that should be the color for the mountain. And then I need two colors for the sky. And start with with this cerulean. And a lot of white and add some oil dirt, they should be the colored near the horizon. And as I go up on more budding and portraits. So someone off Silurian, obviously I'm going to need more of this color than this. So I don't mind taking this, pulling this in this. So overall, I think this color mixing is done as always, if I require modifications in these colors or if I need more or different colors and I'll mix them on the goat are, and I think I can start painting now. 4. Blocking in main colors - Morning At Khorli: Following the M3 method of painting in which the first one posted is of composition and drawing is already done. And the second stage is blocking. And for blocking, I've already mixed the colors, and now it's time to apply these colors in almost a flat manner. I won't go into modulation of these colors as far as possible, and that should cover every part of the canvas. And then in the next stage we will go into details painting the details of these wherever it's necessary to complete the painting. So now let me start from the darker shapes. When that's going to be this idea. I'm using a very cheap bristle brush size, one flat brush, and I'm going to apply this color in a flat manner. I don't want to modulate it to any extent right now. And as I go up, I'm going to bring in this color because this area of the ramus is going to catch more light. Not even cleaning the brush because these colors are anyway, suppose to blend into each other or not blend into each other as we go on and paint. The next shape is this or that. Also, I will start with this color. And the color here is going to be much more lighter. And as I have already applied this, I can modify this color itself to this or use here. What I'll do is add some chrome yellow here and green. And I want it to be different than this and lighter than this. So more of chrome yellow. I might clean my brush because it has that dark green in it. This is where it's catching more light. And I will also have on few markings here just to kind of make it slightly more interesting and not have a blob of dark shade, darker color. I will modify this later in the next stage with some details to bring it out. But that should be rather I would do is right now, to the extent possible, right now it's self. Okay? Now, the next stage or next step, next shape to be painted is this grass here and here. Here, I will start with a rather, if I paint this road of first and I can pull some of that here. So I will do that first. I'm just wipe my brush clean and let's see if this looks correct thing I need more white in it. Now I'll paint the whole rode with this color and add the shadows glitter on. And to help it compositionally, I will make the lighter here so that our attention is pulled towards that rather than towards the base of the painting. I think I need to modify this area a bit, but I'll do that later. Now again, come to this green and see if it works here. Yes, I will make sure that it doesn't form any hard edges here. And use some bit of yellow ocher. And now coming to the darker side of the grass on this side. And I will continue to use this on this tree here or bush. I don't want this to be as dark as this because this is the focal area. So I use this at least majority of the shape. And piu. Groups of darker color just to modulate or create form. And as the light is coming in from this side, this side of the tree or the bush will be darker. And I'm going use this fellow on the light, which is the top portion of the bush, which is catching some light. To some extent. I'm going beyond the blocking, which is trying to finish, finish this shape and this stage itself. And that's what you are supposed to know if you are working on La Prima, which is working in I've completing the painting in one pass, one sitting k. Now, let's paint the arm on the flag ground. I think I need to add some white in it will reduce the chroma because it is at a distance. It will cool it a bit. Adding some blue firm here and some more work. And a few in the grass seen tool, this tool, the old foliage. Now, let's paint cutting. I need to switch the brush because now I'm going to, going into blues color, blue colors of the mountain and later the sky mountain. Let's see how this looks. In the spool dark. We take some of this. Yeah, I think that Sarah, and also use this column will paint a few bushes and the base of the mountain. Some stainless just so that it doesn't look like a flattened should be. Okay. And then we come to the Stein, the sky when star at a base, this color is very light. And I want the edge, this edge to be soft, softened. Now. I'm just pulling the brush over it softens the edge. Now I'm going into a transition color of these two colors and mixing them together and theater mixture of these two. And using that instead of individual color. Having this color can be a bit light here and can be darker as we go into the top corner. Maybe a hint of this canal. Let's see how it looks. Okay. And now that I've blocked the major shape, I'll come in and paint the white areas. Because otherwise that would have carried the green color into the sky. Adl. Wipe the brush often so that the green doesn't Sprint. Anyway, they will miss few. Sky holds here and there. I think that completes the blocking. Let me see this painting from a distance. I think they can go lighter here and slightly dark, but you will get the attention back into the painting. Because in the next stage I will print the coconut palms here. And then I won't get any opportunity to correct the color, we find it. So I need to do that right now. Yes. I think that completes the second stage of the painting process, which is the blocking. And in the next stage, I will come in and add the details to complete the painting. See you there. 5. Adding details and finishing - Morning At Khorli: Welcome back. We have completed two stages of making this painting, which is the composition, drying and blocking. And now let's go into painting the details. So now at this stage, I will probably take more time to think about what the painting needs and go on adding it. So Let's look at the where do we need to start first? I think I will work on this area first because I need that finished before I can add the palms. So let's, I'm using now a smaller brush that I wanted to paint the details of this. And the underside of these tree branches will have darker color as compared to the top because the top portion will get more light. Comes to lighter version color. These branches will also have their underside slightly darker. Thinking as far as these branches are concerned, and I am done. Now, let's look at this one to indicate slightly lighter tree trunks are. Let's see how this color looks. Anything I don't want to state this. That's enough. Wanted to break that block of dark color. And then let's come to this idea where we might have some leaves catching bright light. Then also emphasize the dark somewhere. Some negative painting or the base of this tree. Want some dark color at the base. Somewhat determining and this color and give me that. And this will cast a shadow like this. Actually, I wanted to paint the shadow later on. But since I have this color on my brush right now, Let's get it done. Now. Let's use this same color, hue, maybe in the center of the known, just to make it have some texture. That's enough. Let's get this some variation in here. And let's use this color. Now few places where it is catching direct light on this side and these leaves will be darker, middle there any shadow? Now let's come to the palms. The bombs were first paint the first paint the leaves, and then paint the trunks. A nice dark color. Again. Let's start with this. And let me first indicate an A-bomb three, which is behind this. And I don't want to be too literal about these VMs. And now I won't paint the bomb, which we'll see here. I will paint it in such a way that it is crossing the plane of the painting. And just wanted an indication of those bombs. Now let me paint the bounds for that. I need a color similar to this, but much more grayish. But I think let me start with this. Then goes slightly more bluish and a bit of white. And I want to do this with as much clarity, I will say, for lack of a better word, we don't want to redo this. Let's make it slightly darker. And let's paint like this. Modifying our brush stroke is always stuff. I mean, just run my brush over this side and leave this side like this. Because anyway, that Saturday is catching more light. One mode, Kabul. And I don't want them to be parallel. So let's start from here and go like this. And one which goes up blenders, just an indication of more bombs being there. And it goes beyond this trees. We won't see it. Some things. I need a state to stabilize my hand so then I can at least make the right side of the left side of this tree slightly darker. If you do this first row, very inner calculated manner, then you don't get, there is less chance, I would say to get it right. It looks labeled. So think I'm happy with the way the bumps look. I add the dark color in a few places. And I want this color to merge into the trunk, becomes slightly wider at the bottom. So I can move it like this. And now coming back to the leaves, very dark color for the areas which don't catch any light on, very less like. And I will add green at the top. I need to clarify whether this tree is in front or this bomb is in front. And I did that by painting these two brushstrokes, because this leaf belongs to this tree which is closer to us than the bumps. And now it's time for the shadow of the bombs on the road. There'll be a similar color, slightly more reddish color of the road. And he goes something like this or it can go like this one. And this one may not. But I don't want this. I don't like the way this looks because it's subdividing. I might get rid of this. No, I think I need to think more about it. This shadow belongs, this shadow belongs to this tree. This shadow belongs to this tree. And this one belongs to this. But I don't want them to be equally distant because that is making things monotonous. So what I'll do is I will push this three slightly far away by adding more green here. So then I can paint the shadow, the shadow of this tree. Now they're kind of in line with each other. So I will apply the road color again. I'm going get rid of this shadow and nodes. This one, I'll think about it in a bit more to do. Okay, Now coming back to the channel of the three, B's something. Again, I don't want the shadows on. So to weave pattern. Make some things not dark enough. Hi and use a different brush. So the negative cleaner line that looks like this tree will also have a shadow. Your downplay that emphasize the light between the shadows. I think the shadows can be darker and they look better if they are darker. I'm mixing a darker color again and Yeah. And even this shadow I will make darker than what it is. And this doesn't complete the shadow part. We now have to paint the shadow where it's falling on the grass. So it will be a darker green. So it can be stomach thing like this. Let's say I need to add this, this is not perfect. And we'll make it look realistic. I need to put some grass in front of it. Current be a straight line. Looks good. I think I can get rid of this on, I shouldn't get rid of it because it's then necessitates the shadow and then it will not blue. Alright, so that three is gone. Now. Nobody knows if that was a three here. Now, let's look at some fine tuning. The road can be lighter at few places like yard. And the shadow can without growth on the road. I mean, so that the attention goes back into the painting. And the dark shadow goes here on too. And I think we are approaching close to the end of the painting. Let me see here rank and bring it in line. Sometimes around, but actually works much better than flat brush than this area is not seen as a flat ground. Might help to lighten it up. I think that's enough. Now let me step back and look at this painting from a distance. Also, I will allow this to marinate on the canvas as well as in my mind and come to it after he's half an ounce so that I can get a fresh perspective and see if it needs any tuning. I had a look at this painting from distance. And I think what it needs is some punch, which means I need to increase the contrast. So I will increase the contrast in areas where it needs to be. Rather make the darker areas darker in at least a few places so that the overall contrast goes up. And use some of this here also. This area which is in shadow. I'm obliging almost blue directly. But because that is green already there, it turns dark green. Now moment I increase roughness of this shadow, the light become lighter because of the contrast. And that's what I want. Also use. It's laid down over here. And one thing which I had earlier but had not properly more than making the shadows darker on the road and do that one smooth. Because the road color is also wet, it kind of becomes light. Whenever I apply this balance, I have to always pick up fresh color and start applying it. Now for this, I need round brush, I need some more conduct because the shadows are darker towards the object, which is costing that shadow. But it can be always dark on this side on the road. And I need the dark green here on Sue. And I think I'm coming very much knows to finish point. I think I can sign it all. That's too hard. Yeah. I think that looks good. So now it's time to remove the tape and see the painting. Just like this framed. The white end gives it a nice definition. Because of the hand glows at stuff with the data. So that's the wine and ready painting. I think it's rolling because of the bend in the Canvas. It's said. But I hope you enjoyed this demo and you saw how we started with the drawing, the composition, and then the color mixing, which is very important. You can mix the colors on the goal, but then it becomes slightly more difficult. So if you are, if you wanted to simplify that process, then pretty mixing the colors is a good thing to do. So give it a try. Paint your version. 6. Inspiration and Sketch - Morning Light Karmali: Welcome to this video on the screen. What you see right now is the painting which we're going to do in this series of videos. It's based on a photograph which I click in Goa at a place called Guarneri, a mourning scene wherein the light is shining or the sun is shining directly in my face and I'm looking against the light. So to bring out that quality of light in the painting, I'll have to use a high contrast. I'd be following the M3 method of painting to paint the scene. In the first video, I will mix the colors and make the drawing. In the second video, I'll be applying the colors are the major colors in all the shapes, which is called the blocking stage. And in the third stage, I'll be finishing the painting by adding the details. So let's get started with the first part. 7. Drawing and Pre-mixing the colors - Morning Light Karmali: Welcome to this video. What do you see in front of you right now on the screen is a photograph which I clicked while I was in Goa. It was early morning, sun was directly shining in front of me. And so this tree, which you see on the right-hand side is against the light. And I decided to do a sketch there while sitting in my car because the sun was too harsh and I wanted a place to sit. So I sat down inside my car and painted this sketch, which you see right now. And based on that, now I'm going to paint a painting on this setup using oil colors. So what I have here is a linen canvas and I have a few colors here, ultramarine blue, cerulean blue, yellow, ocher, chrome yellow, and burnt umber. And this is titanium white. And I'll be mixing the colors before I get into the drawing and painting of this landscape, Let's start by mixing the colors. So the first color I would like to mix, the blue, distant blue, it will have a lot of white in it because of the distance. But I will not make it completely gray. I want it to have more saturation then what you see in the photograph because it was like that photograph kind of fools us because it sees colored differently. I want slightly make it today, but not much. Just a touch of this burnt umber. And I need some more blue in it to get that punch. Add some linseed oil in it so that the color is easy to reply. And I'll have to create different variations of this based on where I'm applying for the distant mountain which you see, this will have to be diluted with white color, but I'll do that while painting. Now I need to mix different greens and browns or the foreground and midground. So I'll do that first by mixing blue and yellow ocher. But this gives me a green. I will add more of this cure and I will add some white also in it. So I have three variations in the same color family and decide which one to use where. And I also need a very dark color. Or the tree. It's against the light and hence it's almost black. Now the challenge in this painting is that first thing is against the light. And when you see up here in the photograph, there are lot many branches to the tree. And because I'm using oils, when, if I paint the sky first, it will be difficult to paint those thin lines with a painted wet in wet, which, which is the process I'm following. And if I paint the tree first, then it will be a challenge to paint the sky between the, between the branches. So it's a kind of problematic situation or challenging situation, I would say from both the side, just so I have to pick the best approach or least problematic approach. And I think I will go ahead post by painting the sky and then painting the three on top of it. I need a slightly reddish color or this guy. And that's the reason let me bring out this crimson here. And I'll use just a tiny bit of that in the sky, so that the sky is representing the colors of the sunrise. And for that, I will have to start with this and need only very, very tiny amount. This plus some blue. There is a band of color in the sky which is slightly yellowish in color. But I can't make ClO in this because it will turn gray or blue depending on what is the moment there is two yellow. It's like modify that. This should be okay. And some linseed oil to make it easy and easy to apply, I will need lots more quantity of this color because the foreground, midground is all covered by this color. I think I will mix those colors as and when required because I don t know which color will be required more depending on the whole painting. Let's see. I'll keep that for actual painting process. So I will start now applying the color. And before that I need to get the drawing right. So let me start by having some linseed oil and some blue. Just to make the model that I can see the drawing. The horizon line is somewhere here. And the small tree line is here. Then there is this larger area of RAD, of larger trees here. And there's this mountain. And the tree is kind of start here. Then if in the photograph at least it's near the halfway mark. So what I'll do is if I divide this into two halves, then I want to start slightly above that, but I don't want to divide it. And then three will be some taming. This will not be as large as we tend to see. Some tingling. And then this will be pulled off. But then what I fear is that if there is no large mass here, then it might not look good. So I think that should be enough of a drawing. It's not a large tree. 8. Blocking in main colors - Monrning Light Karmali: Okay, now I haven't started actually applying a load. I'm going to start with the data that's obviously the three is the darkest, but I won't paint the whole of it right now. This should be enough to give me an idea. I think I need more of this. And this. And then start applying the dogs randomly. Everything has to lead up to this. So I'm placing these dark marks not very randomly. I want to take the viewer from this to this, end to this, and then back. That's how I want to design the globe. We're seeing all this dark because of the grass being against the light. So now I will come in with it. Here. They become smaller and smaller because of the distance. Now use this skin color, which is more of the yellow coordinate. And let's see how it will clear thing its use some of this here. So then I get a lighter version. And I'm intentionally making these vertical marks because I want to create that effect of grass. I will keep doing this till I reach here. Because only thing which will vary is unchanged is the length of these brushstrokes. As I come towards the base of the painting, the brush strokes will be more and more longer. Here I will apply this in a few places. Whenever we want to avoid over mixing the colors. Now, I'm slowly shifting my brush from this to this so that I get smaller brush marks with lesser width. And I want to increase the greenish ness. If that's a word, I will add some of this color now. So we just weren't Saudi ultramarine blue and chrome yellow. And I'm on to add that to the greens. I'm nearing the bottom of this painting, so I want to be more careful because this is the ADR which will be more closely seen or it's closer to the viewer. So it will have to be more precise, so to say. So let me add more of this and I will now have a rich have lat. Adrian. I'm using a horizontal brushstrokes and not vertical. So this is some open area between the bunch, so grasses. This is kind of the block in which I was expecting and is done now almost I will read fine few of these grasses, bunches of grasses later on. But I want to do as much as possible right now without getting into the details. Because I want an overall feeling and I'm not interested in painting photo-realistic image. I want this green somewhere here on show, so some more. So it's not an area of dead grass is just that it's against the light, is not completely dead and the grass is still having a lot of green in it. Is that just because it is seen against the light, that is less of alerts scene and more of. Darks on scene here. Okay, So now let me go to the distant ADLs can start with this. I think this really need some amount of dark value in it. And this smaller trees. And now I'll come in with a lighter version. So now we can painting mix more white than this. And let's print the mountain. And if you see the photograph closely, the mountain looks lighter and the base and darker near the top edge. So 11 could do that by using more white towards the base of the mountain. Consensus that hairiness or haze or whatever that is and similar color will be used. Or this road, they're not kinda one. And it will be merged into this, soften this edge. And now for the guy, this guy has this yellow and light reddish tinge here. And this edge will not be as sharp. Define that and soften it a bit. And then anvil top option when it's not washed my brush but underneath all that, now, I want the sky to be lighter here. I'll do that in a bit. And I think the mountain and this portion, this bunch of trees is looking at the same height. And that's not creating a very nice feeling. So I will have to reduce the height of these trees. Yes. Now, what needs to be done is, I love to be very sure about the sky before I add this tree, because there is no way I can adjust the sky after I paint those tiny branches. So home in first. So this completes the blocking stage of the painting. It's not I haven't painted the three yet, but that's part of the detail. So you can see that what I've done here is I've pre-mixed the colors. This blue is for this area. This set of green and yellow ocher combination is for this area, which is the foreground and the mid ground. This color which is ultramarine and burnt umber, excuse me, the dark for the 3.4, the base of the grass. And we used it there. And these two colors, this one has some amount of crimson, blue, and white to get this top portion of this guy and this some yellow and white for the bottom portion of the sky. So that completes the setup or the blocking stage. And in the next stage of painting, which is the stage where we paint the details. I will paint the details of this tree and some refinement of these good, auspicious. 9. Adding details and finishing - Morning Light Karmali: Now let's get started with the details stage. And this is a crucial stage because this is where we pulled everything together. And so I had a look at this painting from a few feet away and realized few things which I need to correct. The first thing what I'll do is I will make this resection darker at the top and lighter and the bottom similar to the mountain. So maybe I'll start with the mountain itself. We make it lighter and the bottom. So I'm using now a smaller brush. And this where this mountain ends and this green line starts, it's almost in the center, which is not something which I like. So I will bring back this green line here. So that before that I need to use some of this color so that it merges with this. Now, I think this line is sharper than one. As the mountain is far away, we won't see the details of the edge now coming to darker color for the trees. And make it clinically more saturated. And I will make it lighter. Towards the bottom. These trees can go even dotted curve and motor saturated. And the top thing that tick, I need horizontal dotted line. This this is on the details which I'm talking about. This is what I need so that it defines the various areas. But hopefully, now let me use some of this to even make it lighter here. See that I'm not mixing the colors, are not dragging the color. Urine there. I'm just making the stroke and leaving it alone because I want it both shimmer and shine and not become a flat color. Adding the docs will make the other areas ballpark and mix this color for the three, but this color will be same for all the ideas that are incomplete or almost no light or shadow means delay. So I can safely use it for the base of these bushes. When you sell to Mamie violet paint, a few highlights thing that's a bit too much. But I can reduce that. Even if I drag the thing like this, I can create a fuel. Glossy highlights. I need to get rid of this. Blue bright highlights. Now it's time again to step back and look at the painting from a distance. Because the sun is shining from a low angle, there are these sharp shadows which have formed. And now it's time to paint the brief. So I'm using a round brush for this and I'll use this color. And let's see how it goes. I need to paint this way. And I need to clean my brush very often because it picks up the color from the endless. What I'm doing is I'm also a rotating the brush as I paint it. Because that way, the color which I have in my brush gets deposited on the Canvas easily. If I keep on dragging it straight line, then after a while it becomes saturated with the color from the canvas. Whereas when I turn it, that is more fresh color on the brush which gets deposited. So, so which I'm using for painting wet into wet, I need more of this color. So again, blue and brown. If you don't have a very steady hand, you can use something like modeled stick, which is kind of a simplistic, but you can upload your hand on that. So that can be used. There are only a few leaves on the tree. Let me try using the knife directly. What I don't want to make two big marks. And it's easier to read. The brush is burnt umber, which I have is very thick, so I need to use a knife to mix it quickly. The tip of the brush color from the canvas and becomes light. To almost after every two or three strokes I need to clean my brush, wipe my brush, and then pick up the dark color again. There are some wines hanging from the P. One will create that effect. And in general, there is some shrubbery under the tree. Okay, Now I need to mark of fuel, electricity poles. So let's see how it was. Very thin lines. If I use a palette knife to do this, might create very sharp and sharp line which I weren't like. Brush is the answer. Okay, now what I'll do is I'll walk away from this painting and take a look at it from a distance. It's always good to do that because it gives you complete a different view. You can also see the painting in the middle, or you can even invert it and see there are, these are things which upset the pattern. And then your brain can see more things. If you keep looking at the painting from the same, same angle, then after a while, it cannot pick up the mistakes, get used to it. So let me step back. I've killed, I think. I mean, some of that dark color. Again. One domain, sure that the return is pretty dark. Also, there are a few leaves here. If you are painting with oils for the first time, you might find this kind of work difficult because the underlying layer of color is also wet and painting wet on wet. Audience without allowing the colors to mix is tough. Or you will have to stay with the practice and then you'll be able to do it fairly, reasonably because I'm also not getting the contrast which I want, which would have been much easier if the underlying layers and dried. But because I'm painting in the Alla prima way, which is painting, completing a painting in one sitting. This is bound to happen. The colors don't dry. So we have to work with the limitations. And now I use this brush to indicate a few highlights here and there, where the light is hitting the blades of grass and creating that shimmering effect, shining effect. And I don't want to overdo this. And I think this needs some more of this dark color so that the other colors become lighter or are seen as lighter. All I'm doing is fine tuning here and there. So it's a matter of taste. How much you want to develop this into detail, or you wanted to leave it very rough stage and just look for the impression than description. So as the distance increases, the colors become more and more muted. Grayish, bluish. I think that's enough. I think I've captured the feeling to a certain extent alone too far smarter about it. So it's time to sign the painting and let me know. We'll remove the tape and see how it looks there. You can see how we started with the sketch and the photograph. Then we mix the colors, then we drew the outline and then blocked in the colors. And in the final stage of details, we add in all the details which are needed. And you can see that there are no details here because it's so far away. And I might do this sprinting some good If I add more white here. And kind of dissolving the edge of the, of the mountain. We indicate bright light. And now let's remove the tape. I use the gloves just to make sure that my hands are clean. All the colors which I which I use are non-toxic. But I just wanted to reduce the effort of cleaning up and I can freely use the brush and cleaning cloth that way without worrying about making my hands dirty. Retain this tape so that I can keep the painting there. I further looked at this painting from distance and found that the area here was cool light and the overall contrast in this area was low. So what I did was I made this area darker. So what I did was I made these shapes darker by playing this color, more of this color. And wherever I had that open light green color, I made sure that I also applied some of the darker green so that overall value of this idea goes down. So it has become now much more darker than previous state. And I added few flicks of lighter color here and adjusted the electricity pole and things like that. So overall, I feel this painting now has come to a much better stage and that is what I call marinating. I'm painting. So when you first paint the painting, It's, you might feel that it's good, but if you allow it to settle for some time, you look at it after a break of say, 1 h one day, whatever permits, whatever you are shedding permits and then come back and see it with fresh eyes, then you will realize that things can be improved and you should improve those. That is what I did. I took a break of about an hour and then came back and then made these changes. And I feel this is much better representation of what I saw on that day. And I hope you enjoyed this demonstration. And you will make an attempt to paint the same scene, and I will see you in the next video. Thank you. 10. Drawing and Pre-mixing the colors - Morning Light, Kankumbi: Welcome to this video. In this video, let's paint this painting which you see on the screen right now. And the source for this painting is this photo which I clicked while going to go. I liked the photo but then I did not want the road to be there and I want it to replace it with something else. And when I browse through other photographs, which I clicked maybe 5 min here and there in the same area while I was driving. And then I found this photograph which has the crop pattern which you see here. So I decided to use this crop pattern and replace the road with that. And then I came up with this kid. In the final painting. I've also moved the tree or the bush, which you see on the right-hand side towards the right. And that we have made more area for the crop pattern. Now with that compositional sketch done, let's get started with the next phase, which involves mixing the colors required for the painting and making the drawing on the canvas. I'll explain now what I have here on my palette. This is titanium white, ultramarine blue. So Julian blue. I might take out some yellow ocher. This is chrome yellow and this is burnt umber. And I'll now be remixing the colors which are needed mostly for this painting. If any, color is still yet to be mixed and I need it, then I'll mix it while painting. But pretty mixing the colors kind of simplifies the painting process because you don't have to think about what do I need to mix every time you need to mix a new color, because the color that work is already done. At least it, it covers 80 to 90% of the color mixing and the remaining ten per cent can be done while you are painting. So let's get started with mixing the colors. First, I will need a dark green. So I'll start with this blue. Mostly I'll be needing two versions of the same color. One will be dark and wonder when will be light. Sudden start with this ultramarine blue for the dark green. Mix, a bit of this to make it into green and add some of this to even make it darker. I think I'll have this. Alright, let's test this somewhere here. Looks okay to me. Now I need a lighter version of this. So I will start again. And in this I will add more chrome yellow. And my guess is that I will need more or even a lighter version of this, but I'll not mix it right now, because if I try to mix, it might get money already or get dark already. So I will leave that for the actual painting process and I'll mix it then. Now I need color, which is slight variation of this. So I think I need the yellow ocher. I'm taking out some yellow ocher. And let me put this here. And in modifying this color slightly by adding, taking some of this and adding this yellow ocher in it. You can see that this is looking much more most like color. And I might add a bit of white into this later on, but I don't want to pull that right now. I might need a more yellowish version of this. Oh, I mean, more of this. And the highlight of this. I will of course need it for the last minute. K. No, What else do I need? I need a very light green. So for that, I wouldn't start. This is for the board crop, whatever is there on the field. So I started with this cerulean blue and add in chrome yellow into it to see how bright this wideness. And I think I need 1 mol version of this, which is lighter, but I will not mix that right now. And of course I need the sky color. So for that, I will start with white and blue that here, some green on this. And I take some of say, boolean. And then I'll have one version which is slightly more darker, which is by adding ultramarine. And I'm thinking I need a bit of a footnote of white in it when I can. And just this in both of these, because this one was looking to high chroma. So I will need two versions of this now. One which is this, and one which will be lighter and if needed and add more blue and make it into a darker version. But I think most of the colors are now mixed. 11. Blocking in main colors - Morning Light, Kankumbi: And can now start painting or painting, I will start by drawing the things are the big shapes. So what I want is I want to take some of this Lindsey Roy and bit of this and let's see if this works. If needed. I have to add more oil into it. And I don't think this is enough to give me an idea. Here is the shadow. This may not be very familiar to you because I'm drawing very light. And this is the horizon line. And if you see the photograph, that is a tree or a bush, larger bush here, I want to move it towards this side so that the field here gets more space. And there are these lines will break this. And here the shadow will go like this and like this and this. And that is a bunch of trees here. And there is no mountain in the background in the photograph. On the reference photo, I might just add one. Let's see if I need if needed, I added here. Okay, So when that as the rough drawing, I'll start applying these colors now and start from dark and go towards light. Started with this, and start by applying here. I'm digging in some lindsay doin so that the application becomes easy. And I don't want to apply these colors too thick, but I want to leave the darks for the end. Here, I might modify the color a bit, make it even darker here. So what I'm doing right now is applying the large masses and blocking in the colors. It's not, I'm not concerned about any details. I'm following the M3 method of painting. Very wary of application of color. And maybe I did not mention it in the beginning. This is a linen canvas and I've taped it to the board so that I get a clean energy later on. Now I need a dark color for this, which is going to be slightly modify this to make it more bluish. And I will optimize the lighter side even now, right now, because I have the color ready. Anyway, these two colors I want to merge or graded rather, not much. And that is this smaller bush, which is on bushes near the base thing that kind of companies that. Now let's go to the, I need one more color or dark color for this, which is going to be much more bluish. Mix it here and it's going to have white. Also. Add a bit of yellow Omega it green. And then we'll pair of white. And I wanted even bluish. And let's test this color here and where it needs to be bluish and even lighter. Seems okay, right now, may not be the final color. Let me add some more white to make it lighter here so that this Keith, I know he's brought to go underground, at least to some extent ahead, not foreground color. Now, let's paint the, the crop here. I think I will start with the light and then add the dark, what somebody is, and I feel that that's going to be better. So let's just taking an idea of how things will look. And once I get the confidence, I will make it point. And then B1 here. Yeah, Now let's use this color and paint the shadow side. If I need more quantity of this color and mix it now, led to mixed. I've wet this blue and yellow. If you remember, I started with a reference photograph which was showing a road here. And then I modified, write different versions of it and then made it into this farm scene. So the point I want to make is that the point I want to make is that you should not be this be a slave to the reference photo. You can use that only as a jumping point, jumping off point. Then decide what do you want to do with intake Modi wanted to show what is it that inspired you to paint the scene and then accordingly emphasize that feeling? And then paint. It should not be an exact copy. Nobody's going to see the exact reference photo that you used. So use your artistic license and make use of that for making paintings which you like. And you're not merely documenting the scene at that place. This is still the blocking stage. I have not yet made this into or I'm not painted the details yet, which I will do in the next stage. Right now I'm getting a feeling that this is still too dark. I want do I need to modify that? Now I'll use this color. I need a lighter yellow color to show some graphs here, which is on the side of the graph. Now, let me being the, being the mountain so far that I'll take some of this blue and use it here. Don't mix a darker version of this and just lists a few hints of amalgam to share. Yeah, I think that's enough of a hint. Or the sky. Paint the sky near the horizon with a lighter version of this color, which is going to be this. If you can notice it in the video, I'm using a thick version of this color and paint some sky whole Chairman there. That just that. In the next stage, you need some organs. And let's paint the upper portion of this guy. And just because you're painting the sky, you need not use perfectly flat color there. You can use different types of strokes that actually add some character called the sky area. Otherwise it looks cutout. There are variation in the color, which you will see only when you observe keenly. Otherwise, the sky might look very flat for you. But generally in nature there are no plant areas. There are variations, even though they are very subtle. As an artist, you should look at them, pick them up and use them in your painting. Compositionally on the corner should be darker so that the viewers attention doesn't go off from that area. Now be put in some scaffolds. I might do that once again when I finalize this, but for now, at least a hint should be fine. Yes. I think that completes the blocking stage of this painting. In the next stage and add the details and finish the painting. See you there. 12. Adding details and finishing - Morning Light, Kankumbi: Welcome to the video where we'll be adding details to this painting. I will start from the farthest idea and come close step-by-step to the darkest area here, or which happens to be the nearest object. So for that, I will now start, I don't have any color on this and just use the existing color to kind of create some details. I don't need too many here. Use some more blue here to show some distance here and here. And some dark accents here. Okay, Now let's come to this tree IN enzyme said in the stage where we mix the colors, we are going to need a lighter version of this color, which is going to be this. And a bit of this green here. The light is coming in from this side. And that's why this side of the tree is in shadow. Some audit alone need to add any more details. Or I think I have some depth here by connecting more dark. Yes, that should be enough. Okay, Now let's come to this. I need three versions of green and the standard width mixing. Start by mixing some blue here, select green, and this will be my darkest green. Here. I need to make sure the lines are green. This is the shadow side of the photo. Then B1 shadow side here on. So use this color again to paint the details in this photo. The color will have to be slightly lighter here. I think I love to use even smaller brush to bring those details. Now let's concentrate on what this brush can do. Now, this tree shadow is falling here. So that's the reason I'm going to mix one more dark green. And be like this, the shadows, we'll follow the contour of the bottle's shadow obviously is more darker near the three witches casting that. Okay, So that gives more dimension to these photos. And I think they are looking for. That's fine. Okay, Now it's time to paint the details on this. So again, I need a dark which I mixed here. So for that bill and is born downward, and that is some green here which I can use. And start with the darks first. And then want to keep this very tough. Let me indicate the texture. And most of this tree is in shadow obviously. But there will be some areas where it will catch some light. And I'll do that by using this color. It's kind of a rim lighting effect. Okay, so now I need to fine tune this a bit. So when we use this color, which is similar to this color, which I had some holes in the shadow pattern. That looks very systematic, which is not the way it should be, should look natural. I need to go at this and make the shadows darker here by adding some burnt umber. And let's see how this looks. I think I really use of wine brush and paint a few lines here. This is a round brush. And it's better to paint a few lines here which are thinner than what flat brush can give me. I'm just making sure that I don't have any hard edges here, even in the shadows. Now I'll add some highlights. This green, light green. I need some, some vertical lines. And then I think and use some fence posts, even though they were no fence posts. Actually, if you see, I have composed this painting. So it's not a true representation of what the scene was. So I can modify the way I want to make it more impactful. That's what I think I will do. So to add a fence posts, I need this color. And where do we add it? Add them here. They have to be darker than the background. I don't need too many of them. Some indication it need not be technically correct. And these also will cast a shadow. Make this at least for the first one I can show the shadow. Yeah, I think it's now, let me look at this painting for a while and then see if it needs anything. Or I can add a few leaves here. And maybe these fence posts have a lighter side. Yeah, I think that's enough known to first of all, those I think I will have a look at this. Wonder why you need which kind of Maddie needs the painting in, on Canvas and also in my mind. And then I can decide whether it needs some thing ends or it's good to be signed off. So I looked at this painting from a distance for a few minutes and realize that there are some things which I need to adjust or change. One thing is you can see these light marks here, 123, they are too repetitive. What I want to do is reduce or get rid of that repetition. Then I need to enlarge the area of this mountain. Because otherwise from a distance, these trees and this mountain is kind of getting merged. So that's the second thing. Third thing what I want to do is add some more green to this tree because I want to make this not into one, but I can show that as a bunch of trees here, not a single tree. So let's get started with that. So I want to use this color and mix it again in this place. Some say Julian, we'll make it lighter. And let's let's go dark. Added some way, didn't make it lighter. Now I want to darken this shadow idea. And the dark should not be black. They should have color in them. Or them to look rich and look like shadows, otherwise, they kind of look unnatural. So that one part is done now is add a hint of some brown. Just something here. May not be too light. Just a hint is enough. Now, I need to increase the idea of the mountain. For the iodine, use, the brush which I use to paint the sky. But in a way I would reduce the height of these trees here. And I'm also making sure that I'm not making them units of uniform height. Yeah, So from a distance on, so I can see some idea of the mountain or let me add some more blue here. And I need to add some green here. So I can use this same green. It won't be as green as this. Regard it so differently. And I noticed that this edge has become too sharp, need to soften that so that the mountain goes into the distance. It's not very close to us. Yeah, I think that's important. Now let me again step back. You will feed and look at the painting again. I don't want this foliage to end at the halfway mark or in the center of the painting. That's why I'm trying to bring it more towards this side. No. I think I can safely remove the tape and then have a look at the painting again. But before that, I think I can go ahead and sign it. It's time to remove stuff. Tape. Yes. And now I can see the painting much more cleanly because there is no collateral of the brushwork around. And I think that's it. I'm happy with what I have here as a painting which I did based on a scene which had a road here. And this bunch of trees were here. It was completely, or at least 80 per cent different. So this area is completely imaginary. But I can say that there is a photograph which I clicked few minutes earlier while I was traveling, which had these kind of crop in furrows. So when I merge these two photographs, I can get landscape looking like this. So I hope you enjoyed looking at this painting process and also that you will make an attempt to paint your own version of this painting, as well as you will try to compose your own composition, make your own compositions and paint those. So let me know if you have any questions and see you in the next video.