Painting Scenic Gouache Landscapes in Sketchbook for 7 Days

1. Welcome to the Class: I remember the first time I bought a set of quash beads, clueless about the wonderful properties. And Todd, I just recently heard about them on the art community on Instagram. I had to hop on the trend and try it out for myself. I tried a very simple landscape for the first time and the y was not really happy with the way my art was back then. I was instantly love with the medium. I think the creamy texture and the velvety matte finish is what really attracted me to wash. It eventually became my comfort zone because it was so much fun to just let loose and do whatever I want it to do. It was very different from the other mediums that had tried earlier. Hello everyone. Welcome to my 11 Skillshare class. My name is biased. I'm an artist and an art educator based in battery and originally from India. I take classes online and teach students offline to help them grow in their art journey. I also sell a few of my handmade products online at this Instagram handle, you can check that out. I go by the name, that's simply aesthetic. And I shared a lot about my day-to-day life there. For anything in this world, practice is very important. If you want to get better at something you have to practice and practice and practice. Because practicing makes a huge difference, brings in a lot of improvement. And that is what I did with my gouache landscapes as well. I kept practicing and over the course of yours and months, my art went from this to this. Though there's still a huge room for improvement. I'm very happy with how far I've come along in my gosh, journey. In this class, I'm bringing to you as 70 sketchbooks challenge. Have you been seven gorgeous landscapes over the course of 14 days? This challenge will not only help you start a new sketch book and get rid of the first paging psyche that we all feel. It also helps you muster gouache better and it will definitely see a huge change in your artworks. After the seven days are over, I guarantee you that you will be so tempted to add in more landscape paintings in your sketch book and complete the entire book. This loss is designed in a way that you can join in at whatever level you are in your art journey. I'll just walk you through everything that you need to know about. Wash before we go ahead and start painting in our sketch book, I'll talk about the right materials that you need. And we'll brush over some beautiful, gorgeous tips and tricks and techniques with wash and using our basic knowledge will learn how to paint seven gorgeous landscapes. These landscapes around about 30 to 40 minutes long. And you can split them half and half and take two days to complete one class projects. So if this is something that you find interesting and you want to learn and grow with me in your course journey, then join me in this class and let's get started. See you inside. 2. Gouache Overview: Walsh has the goodness of both acrylics and watercolors. Many people refer to gouache is an opaque watercolor. Let me give you a quick overview of what gouache is. Gouache is an opaque media made up of a combination of natural or synthetic pigment and gum Arabic. It is a meeting between watercolors and acrylics, combining a goodness of both of them. It has the leading capabilities of extra legs where you can lay a lighter color over a darker color, and reversibility of watercolors where you can reactivate the paint once it's dry. Wash is water-based medium, and adding more water will make quash lose its opacity. That makes gouache a very versatile medium because it can be used invaders different consistency. You can use a thick consistency to get a more acrylic look and more oil finish. And you can also add a lot of water into the medium to get the nice light washes of watercolors. You may find gouache in the market in many different forms. It comes in tubes, jars, and even these cute jelly tabs. Either way, all of these gouache is going to give you the same result. The only thing that you have to keep in mind that is to use fresh paint to achieve the velvet matte finish. It is important that you use freshly squeezed paint, because if you're going to reactivate the paint, the quash may lose its opacity, the beautiful matte finish that it's famous for. The opaqueness and gouache comes from the white pigment or chalk that is added along with the pigment and binder. When you're painting with gouache to get the lighter tone color, instead of adding water like watercolors, we add white. I will talk more about this in the techniques lesson. One of my favorite things about washes, how it dries so quickly, which means it has very less drying time. I don't need to wait for a longer period of time between the layers and I can complete an entire painting in one setting. Another thing that I absolutely love about gouache is how it gets to this beautiful velvet matte finish and it does not reflect any light once it's dry. This is why a lot of artists who do illustrations prefer this over acrylics, as it's very easy to make prints out of them. One thing that really attracted me to this medium was how you could easily cover up your mistakes. If you don't like how your painting is turning out, you can read that the paint, move them around and even cover up and start over. In this class, over the course of 14 days, we are going to explore the beauty of gouache in detail. So now that we know what gouache is, let us discuss all the materials that we need for the class. 3. Art Materials You'll Need: Let's talk about all the art supplies that we need for today's class. Since it is a sketch book series, the first thing that you need is a sketchbook. Now, it's not important for you to have a sketchbook. But like I said, we're doing a sketch book series, so it'd be good if you start in a new sketchbook. I'm using the one from fairy tales out. It's called the sketchbook. It's valid in India and they do ship worldwide as well. I really like the texture of the sketch work. It's really rough and it helps me achieve a lot of different our textures and looks into my paintings without really having to try hard for it. But you're free to choose the size of the sketchbook and the sketchbook that you want. It's very easy to use gouache on any kind of a sketch book. So just pick the one that you have available with hue. It does not matter what the GSM is, but preferably more than one ET. Next thing that we're going to talk about are the paint. So we're done with our sketch book. Like I said, do remember, you can choose any size that you want. You don't have to stick to the size that I'm doing. Next, let's talk about the colors. I'm going to be using these gouache tubes from Winsor and Newton and Titanium White from Bruce stroke. Now you can use to quash Jelly Gouache, Gouache from jars. Absolutely. Any gouache that you have with you doesn't matter. We're going to use very limited color palette for our painting. So I'm just going to quickly mention all the shapes that I'm going to use. Here. I have cadmium yellow and cadmium orange. So these two are going to be the yellow orange color that I use. Next, I have two blues with me. One is primary blue and one is Prussian blue. I absolutely love Prussian blue and end up using for all my skies. So Prussian blue is what you'd majorly watch me use in this class. These are the two blues that I'm using. Next I have sap green, as you can see, I use these paints are a lot. That is why they're almost over. I'm going to use only one green for the painting that is sap green. Next, I have lamp black. And just to make more warmer tones, I'm going to use a primary red. These are the base colors that I'm using wherever I use anything new, I will make sure that I mentioned it to you as well. Next, let's talk about the brushes. Now with quash, you can use any synthetic brush. They are not very picky like watercolors. So any brush, paper, anything works, you just need to know the right techniques to get beautiful paintings. Too. Flat brushes to round brushes. These are bigger sized round brushes. They're 86 or four, yeah. 84. Next I have another round brush, long-run brush that I absolutely like. It's this long round brush by Princeton, its size six, but you can see it comes to Jolie find dependents gorgeous when it comes to making bigger strokes and even thinner detail strokes. Then I'm also going to keep a bunch of few tinier or smaller sized brushes size to size one, size 0. These brushes are going to be used for adding those extremely fine details into a painting. So just go ahead and keep a bunch of different sizes of brushes that you have available with you and you'll be good to go for the painting. Next, I have two jars of water, as you can see, one is dirty, so I'll be using one to clean my brushes. And the other one is going to be a fresh supply of water. So whenever I need clean water, I'll dip my brush into that jar. Next you have a mixing palette. I'm using the ceramic tray or plate, whatever you want to call it. I'm going to be using this for my mixing palette. I really like using ceramic palettes over plastic ones because they don't form those bubbles. So again, free, feel free to use any palette that you have with you. You're not limited to the art supplies that I'm mentioning. You're free to choose your art supplies. Next, I have the steep to get those crisp edges. If you don't want crisp edges, you can totally skip this. You need scale pencil eraser, all our basic stuff to sketch out the base. And next I have a cloth rag. You can use tissues, anything just to clean up, brush and get rid of any excess paint that we might have. And that is it. These are all the art supplies that we need. So that is quickly learn some techniques. 4. Gouache Techniques & Tricks: Let me walk you through some really cool techniques and tricks when it comes to painting with gouache. I'm sure a lot of you are about them, but it's going to be a really quick exercise lesson as well. I use the squash tube paints from Winsor and Newton, designers gouache. And I absolutely loved creamy consistency, the beautiful matte finish that these speeds gifts. But you can use any paint from any brand as well. I've taken primary red on my palette, and this is directly from the tube. You can see how thick the consistency is, right? It's nice and creamy, but at the same time it's really thick. I will be using this paint to show you what the thickest consistency of paint looks like when it's directly from the tube. It's very teeny. It's a really thick. As you can see. This consistency of paint can be useful when you're trying to achieve some texture play into your work. But when I paint with gouache, or even it's advisable to add a little bit of water. Since gouache is a water-based medium, when you add water to it, it slowly starts to lose its obesity and starts behaving like watercolors. As you can see, the second stroke that I made is still opaque, but each time I add more water into the make strides, I'm just actually dipping my brush and loading it up with more water each time as I go. And you can see it started acting like watercolors. You can see the paper beneath it and this is how close to us to lose its obesity. Let us try another exercise. Well, for Europe, added a little bit of white onto my palette, and I'm going to mix my white to the primary red color that I already have. As you can see immediately, the color gets toned down as compared to our color directly from the tube. It's still slightly lighter. And each time when I add more white into it, the color becomes lighter. So when you're painting with gouache, you want to make sure that when you want to achieve a lighter version of a color, you want to tone down version of a color. You add white goulash to it instead of adding water. Let me show you a few swatches of my mixes with white. So each time I add, add white, you can see the color becomes more like a baby pastel pink shade. And when I add more water to this, it becomes lighter and loses its opacity and start acting like watercolors. So as you can see, we've got a really light variation of the pink and this is how you work with the consistency of gouache. Next, let us take some yellow, oranges and blues on our palate. And we are going to start off by creating the first section of our painting. So I've taped on my paper on all four sides. And I'm going to show you two little section, two little blends. So when you work with gouache, if you figured out how to blend your colors, you've figured out how to work with gouache. And I'm seeing this outdoor experience because I didn't know how to blend initially and I was having a lot of trouble trying to get that perfect the transition between the colors. But once I figured it out, That's pretty much it actually to learn about gouache. Other than that, everything is just about layering and putting it there based on the idea that you're going for. I'm going with a darker, deeper tone, let's call a deeper tone of the Prussian blue at the top. And each time that I moved down, I am going to slowly add a little bit of white and add a little bit of white, just like what we did in the consistency bit, that each time we want to make the color lighter, we add white and not water. Over here you can see the consistency of my paint is slightly thin. I'm loading up my brush with a good amount of water to make the blending process easier. I like to blend my base colors into Laos. And that is only because the first letter I apply is very thin and I like to add because it just helps me understand the placement of things rather than just going with the thick layer, adds the base layer. What I am saying that is because if your paint, they said it's too thick, then it's going to start to get reactivated once it's dry. And that is why I start off with a very nice light consistency of the paint. As you can see for the blending process, I just use the paint later, all the colors and I'm just using water to move into left and right to and fro motion from one direction to the other in a horizontal manner. So I'm not changing the direction in which my brush moves in one single direction. And we're going to blend. One single direction you get a beautiful blend. Other thing to keep in mind is to try and use a bigger flat brush. When you use a bigger flat brush, the blending process becomes much more easier and you get those beautiful transitions that you need. So I'm just going to stop right here. I like to blend in the sky as you can see, it's a really nice light color. And now I've mixed yellow and white on my palette and we're going to make a transition or a blend between three colors. I'm starting off with this nice light yellow color as the base. So I want to make a sunset sky. So I'm starting off with yellow as the base. Later yellow color in like almost 1 third of the alien, not even 1 third actually just a little tiny bit. And then do my same yellow mix, yellow and orange here. Of mixing these three colors, added a good amount of water, made the consistency, consistency of my paint almost like water-like. I wouldn't call it water because water is too thin. There's almost like between water and ink. So I'm just going to use that consistency of paint and go in this to and fro motion and blend them together. You're blending the yellow and the orange to cut off. Right above the orange, I'm loading my brush with just white paint. Again, moving in the to and fro motion to blend the white with the orange with the yellow to get that nice transition. I'm doing this because the middle section where the orange is going to blend with the blue, I don't want to create any muddy brown or gray is in that transition phase. I want there to be a smooth transition from the yellow to the orange to the blue. You can achieve that smooth transition if you want to use white in that middle section and I'll show you exactly what I mean. So started off with a darker tone of the blue at the top. And as I come down, I'm slowly going to start adding a little bit of white and then again moving in the store for motion to blend the colors together. So as you can see, each time I come down, the light, the color gets lighter. And now I come to a point where I want to blend the white and blue together. I've left a little space loading my brush with a little bit of white, moving into to and fro motion. And as you can see, there's a very light orange like extremely light orange, extremely light blue color. And that is how the transition between the two colors becomes smooth when you use white. So as you can see, if you can try it out for yourself. If I were to blend orange and blue together, it would just turn out muddy in the middle. But to make them beautiful transition when you use white to get that nice smooth color transition from yellow, orange to the blue. And I'm so happy with the way this looks. Still, the, the finish of the paper is really light, right? You can still see the paper. It's not, it's the Guassian iconic, matte finished look yet. So I go ahead and code this section again with another layer. So I go ahead and just repeat the process all over again and wait for the paper to completely dry before I go ahead and do anything else. I'm going to increase the speed right here because I'm just repeating the step and making the paint slightly open. So that was pretty much it about our blending process. As you can see, the paints look much more opaque right now the layer has gotten its nice matte finish, the iconic quash finish. So now I'm going to start with the layering technique, which is basically what it means is layering one thing over the other, as simple as that, right? So good to lay one thing over the other, so one leg over the other layer. So with quash, when you want to get nice, look into your painting, you want to work in layers, especially for landscapes. You end up adding a lot of layers of Green, lot of layers of blue spoke with whatever you're painting depends on that, but you end up using a lot of layers. Right now I'm using my size eight round brush and I'm quickly going to show you how I make my clouds. They are very simple to make. It's not as complicated as it might seem. But you can definitely try this exercise out for yourself and see what works for you. So I load my size eight round brush with white, thick consistency of white. Like I said, I use thick consistency of paint because that works really well for me for painting the clouds. And I'm going to start by making the surf round motion. I go into the circular motion when I want to get that slightly fluffy cloud, look, I'm going to want just textures and just the clouds spread out in the sky. I go for these linear motion. So again, my clouds mostly you will find finally making them in that linear form. Even if they look slightly fluffy, I am yet to figure out exactly how you can get the perfect fluffy cotton candy clouds. But until that, I am just showing you what I do fit the sky section. I go into circular motion in sections where I want to advocate clouds and then go in this linear stroke in the left and right very, very minute to and fro motion you will watch me do with my hands. And this is just like an involuntary movement when it comes to clouds for me. Because without even thinking like in my sleep, I could paint a sky. That probably comes because I end up painting a lot of skies aren't, end up adding a lot of clouds. I think with practices just comes to you but in voluntary to and fro motion or that, that little vibration in my brush is something that gets me to make these beautiful textured clouds. Start off by just laying out the bigger clouds wherever I feel like adding them. I made sure that I add them from the left and right side and then add tinier ones at the bottom section and then move my way through it. I think this is how I figured out. I come in from the left, I come in from the right, and then I just sort of like try to blend them all together in the middle with tiny, tiny floating clouds. So this is how you create The Florida clouds. The whole section, what I'm trying to say is you've got the bigger class, the fluffy ones. And wherever you want to make these clouds which are more scattered, you end up just using a thick consistency of paint in a slightly brushing over to do. Since like I generally tend to use rough grain or even cold press paper because of the texture on the paper. Using the dry brush technique creates that beautiful, uneven, broken clouds that are scattered in the sky. That really, really works out for me. Now I'm quickly decided to add in a little bit of highlights to the clouds. And I'm just doing that by lifting my brush with some white and going over the layer that I've already laid. When you let the first layer of titanium white, it dries out to be slightly lighter. So you can use this to your benefit because when that layer completely dry, so I can lay over that with another layer of white paint and that makes it more opaque and acts as the highlight in the class projects. I'll show you exactly how you do that when we're painting that they can achieve beautiful fluffy cloud effects by just layering paint one over the other. As you can see over here, I've added, you can count the fluffier ones are the clouds with proper of that circular shape. And everything else is just Florida clouds and textures adding infectious into your sky. And that is pretty much how I ended up painting my clouds. So this is almost like a cloud in the clear sky. But if you were to make this cloud in a sunset or sunrise sky, the process for slightly remain the same. The only thing that would change would be the colors. So, yeah, this is pretty much it for this section. And in the next one we will be adding the clouds in the sunset one. Alright, moving on to my sunset sky, the first thing that I want to do is add a sun. So for that, I'm going to load my size six round brush and make a little circular shape in the center of my Skype. Not center, but really that transitional phase between where the orange is more, that's where I want to lay my son. So as you can see, the sun currently has these really sharp edges, right? Because it's laid over a dry layer. So to get that soft glow around the sun, I clean my brush completely. As you can see, there's no paint on my brush. This just a tiny bit of water or you can just say the wet brush. I use the wet brush to just sort of blend out the entries so I reactivate the paint slightly, just guide the paint to blend out even more. And that creates that beautiful glow around the sun. That this can be done many ways. This can not only be done for the sums, can be done for the moon as well. This can be done for a star as well. So you can use the same, same effect where you want something to glow. You can reactivate the paint and use the same white to create a soft glow around it and then layer over again just to make the sun more defined. So now moving on to the clouds, I'm going to mix this orange color with a tiny bit of white, tiny bit of white, and a tiny, tiny bit of blue. So as you can see, some yellow ocher color over here. I'm doing this because I want to show you how I make my linear clouds. Now, you are free to choose type of clouds that you like and you are comfortable with. You can practice both of them because you end up using both of these in your class projects and even in landscapes in general, you'll see these two being the most easiest ways in which you can add clouds and sky. Over here, you'll see that my brush movement is more just in that horizontal to and fro motion. We've done that same at the top as well. But since we had some slightly fluffier clouds in there, so the movement was not entirely in that linear form. Over here, my brush movement is entirely denier. Then you can almost see that I'm scribbling over here. But that is one of the ways in which I add linear clouds, painted this just leaner clouds, just different colors. You can play around with a lot of different colors as well. Over here I've added a tiny bit of orange right around the area that you think receives the direct sunlight. And like I said in the sunset sky is you end up mixing a bunch of different colors to create the highlights clouds into your sky. So as you can see, adding in that orange really makes the clouds pop out even more. They look much different, much more realistic if I were to call it. And that is pretty much it. How I add the clouds elderly, but everything else is, like I said, border lines crippling, especially for the detectors, but support line scribbling. Scribbling in a little bit of a direction where you just going horizontal. But as you can see, you can also vary the sizes. I wanted to mention that you can vary the size as where the side ones are bigger and as you come closer at the bottom, you increase or decrease the size of your strokes so you can add in the variations. Again, you'd watch me moving from the left and right side and sort of blend everything together in the center of my painting. Now over here, I said that once that sun dries, you can lay over it. And as you can see, there's a really nice soft glow around the sun. And then you have your sun in the middle of a volt to take a little bit of yellow and add that and also brushed over little bit of white in the area that is the closest to the sun, just to bring in some radiations. That is pretty much it. Look how Chloe sun sun effect is in the clouds. Looks so nice. And I'm so happy with the way this has turned out. Just good practice before you go ahead and start with your class projects. Now, I could keep decided to add a silhouette on both my paintings. So I started off with the silhouette of almost like a mountain for the first one and the second one is just some bushes and trees. I'm just going to add a silhouette. You can do that. And so well, if you wish to have two more mini paintings with you before you start your class project. One thing that I wanted to bring your attention to was how you can use the wet paste layer to add another layer of depth. So as you can see, the black that I lead earlier, I've just gone ahead and Lido For some white over it and immediately turned three because the base layer was still wet. So we'll be using this to get in that nice effect in our class projects. So we want two different colors to blend with one another, but at the same time we don't want to lead over a dark like a dried-up layer. While the paint is still wet, you can always go ahead and add another color and just make them blend together. For this little silhouette, I went with black being at the base and right in the center where the sunlight directly fonts in that section. I went ahead with the orange color and blend it out with the black again so that when it dries, it creates that beautiful glow effect in the middle of my silhouette. This is it. I've peeled off the tape and as you can see, we learn four different techniques and also learn how to apply them into our painting to create these two beautiful many landscapes. Before we go ahead to our first class project, I hope you learned a lot about consistency, blending and layering, and also how to use the dry brush technique and create that effect into your paintings. And that's pretty much it for this section. In the next lesson, we are going to learn a little bit about our class projects. 5. Class Projects: Let me give you a quick brief about our class projects and how you can incorporate these beautiful techniques that we learned. So we'll be using a combination of these basic techniques that I just showed you in the previous lesson to create some beautiful paintings. As you can see here, we've got a beautiful sunset Lake going to use a combination of the blending technique that I showed you along with cloud to be adding in some clouds. We're going to use the layering technique layer over different sections. Again here we are going to use a bunch of different layers for the foliage. The grass sky is a beautiful blend, just like I showed you in the technique lesson. This one is slightly different. We have one gradient sky. Then we've got a bunch of different layers for the foliage. And even in the foreground, we've got beautiful, beautiful flowers that we'll be working on with different layers. The consistency section that I showed you is going to be used to learn how to create those beautiful different things. Again, here in this class project we'll be using the linear drying method for the clouds, then adding in the dry brush technique for the textures that you see on our little hills. Next, again, here we have a nice, cute gradient sky and a lot of different textures in our hills, for the clouds, the water, lots of different textures. Here we have a nice gradient sky and we're going to use the same cloud method to click to create those beautiful fluffy clouds. And then a lot of different layers for the foreground. Here. And again, we have a nice gradient sky. And then we're going to use those fluffy clouds and adding textures in our grass using that. A lot of different techniques are going to be incorporated in R7 class projects that we're going to feed. It's all just a bunch of different combinations. Once you figured out how to blend, like I said, you figured everything out already. So I'm so excited to take you on the seventh day journey with me. I hope you're as excited as I am. And that is start with our first-class project in the next lesson. 6. Day 1 Part 1 : Sunset Lake: Let us paint our first-class project, which is this beautiful sunset leak. The colors that I'm using are going to be cadmium yellow, cadmium orange, primary red, Prussian blue, sap green, titanium, white, and black. So I've taped down my paper on all four sides using the tape and taking the colors out, as I mentioned earlier on my palate. So we have the yellow, blue, red, green, black, and white all on the palate. And we're going to start off by creating our base sketch. Using your pencil and you're scared you're going to divide the paper in this, our 2 third, 1 third. As you can see, this guy is bigger as compared to the lake bed, right? So we're going to divide your paper like that, draw the horizon line. Right above the horizon line. You're going to sketch out some mountains. Now they're not very large. Remember to have the shape slightly smaller so that it gives that view of the distance. Next in the right corner, I'm going to have a tree. So I'm not really sketching out all the details of my tree, but I'm just lightly placing it roughly on the paper so that I get an idea of what it's going to look like, right? So I have added some branches on the left side, most adding those little ground space on the lake, right? You've got the ground and then you've got those little rocks in the league as well. So I'm going to sketch out the details of those sections roughly before I go ahead and lay it out. So again, it does not have to be a perfect sketch even if you think you've messed up here, don't worry. When we paint over this sketch is going to go. And in this step, basically creating that base sketches gives us an idea to understand where our objects are going to be. Right above the horizon line in the sky and somewhat in the middle of the paper. I'm going to also make a small circles. I'll serve as the sun. Now that I'm happy with the base sketch that is start painting. First. I'm creating a mix of orange and white. So I get this slightly lighter pastel color of the orange or a slightly tone down version of the orange. And I'm going to start that, start applying that using my flat brush. So use any size of the flood brush that you have and start going over in the center of the painting. Next, I'm going to mix my cadmium yellow along with, as you can see, it's a lighter tone down version of the yellow. And applying this yellow all around the orange that I laid out. So I've got orange in the section where the sun is going to be all around. It is going to be this yellow color that I'm going to leave. I'm just moving my brush in one direction. That is in this left-hand rights stroke in a horizontal way. I'm just going to go ahead and keep blending the colors together. If you feel like your brush is getting drier, then you can just load your brush with a little bit of water. Resume you're blending process right above this yellow, orange mix on the top, I'm going to load my brush with them clean, white, just white with a bit of water. I'm going to go in this left and right stroked slightly blend it out. Next. I'm doing this because we are going to blend the blue and the yellow together using this color. So I'm going to add a little bit of Prussian blue into my white mix. As you can see, it's a really light color. And I'm going to apply that right above the white that I laid down earlier. So right above that I'm going to have this light blue shade. And you're going to go again in that left and right motion. As we reach almost the end of the paper, I'm going to add a little more blue into the mix that is of the white and the blue that we had before. And I'm going to lay down a slightly darker version of the blue at the top. Now usually I go ahead with a really thin consistency of the paint as the base. And then as I, once this layer is actually dried, then I go ahead with another layer just to make it more opaque being done, the first color just sort of helps me understand where I want each of these individual colors to be and how they're going to look when we have the more opaque layer over it. So right now, I'm going to repeat the entire process that we did earlier. Again. You have to slightly wait for your paper to dry. You can use a hairdryer to speed up the process and then repeat the step again just to make the sky more opaque. Now, if you're comfortable with it, you don't have to do it in two ways. This is just a method that I follow for my sky. Layer it two times so that I get a nice opaque base color. And initially I always start out with the lighter consistency. Like I said, a lot of artists start with a thicker consistency itself, but I find it easier for me, just start off with a lighter consistency because when I go ahead and add clouds, I don't activate the base layer. So that's again a personal choice. Yeah, right here. I am just repeating the process and creating the same blends as we did earlier. So go ahead and repeat the process again. Alright, now that my base layer is completely dry, I'm going to create a gray color, but not using our normal black and white mix. I'm going to mix my Prussian blue with white, orange and a little bit of red. As you can see, I'm adding a tiny bit of red to make the gray slightly warmer. And I'll use this gray to add the clouds. Now, you can lighten this gray color by just adding white to this. And using direct black and white, the gray clouds don't really add to the effect that you're going for. Using the colors that you're actually using in the sky, really mix the three pop up even more. So now using a round brush, so I'm going to use my size eight round brush here. I'm going to go ahead and add the clouds. Now, my personal preference and the way I add clouds is slightly using a thick consistency of and using the texture on the paper to add in the rough textures or the rough edges around the clouds. Now this works really well when you're trying to create clouds that have more spread out edges, what I mean by that is they're not those fluffy, fluffy clouds. The more of the scattered clouds in the sky, they don't show, the more in a linear formula. Watch me create clouds, mostly in the linear form because I'm still really scared of trying the extremely fluffy clouds, but I will get there one day. Still practicing that. Over here, I just load my brush, make sure that the consistency of the paint is fake. My brush does not have a lot of water. In case it does, you can always use a tissue to dab out the excess paint. And using this, I just rub over my paper. So just go over with the brush with a very light handed brush movement. I go ahead and create these clouds. Now, if you ever feel confused where the clouds are and where do I place them, you can always look at the reference picture. I tend to look at the reference picture for ones. And then I get really lost along the way because I just want to add clouds in my own way. But you can always follow the reference picture, what the clouds look like. For me, it's all about understanding the colors that are being used in the reference picture, the placement of the elements. And then I just go ahead and wing everything that I see on my own. Again, it's a personal choice. You can follow along in whatever way you want. The only thing that I'm going to keep in mind is that the clouds that are closer to the horizon line. I want them to be smaller in size. I want them to be more spread out like linearly. And the clouds that are on the top are going to be more about a largest size because we want to give the illusion that they are more closer to the observer. Also, you'll watch me only the clouds on the left and right side. I haven't added any clouds are in the center where the sun is going to be. And that is because as we get closer to the sun, you'll have more different colors in the sky and the clouds. Actually. We'll work on that in the next step. So I've got clouds on the left and I've got clouds and write, and write at the top, I am going to have some clouds coming downwards, downwards, not all the way downwards. And makes sure that you're not bringing it to the center of the paper downwards, but rather give it a detection, give it a slightly left or the right movement. Right? Another thing that you'll notice is when you are using this thick consistency of paint, you'll notice that your paint on the palette is drying quicker. What do you do when that happens? It's just load a little gentle touch into the water and add that in and dry your brush and start over again. So yeah, that is one of the ways in which you can just make sure that your paint is completely dry because there are high chances that they will start drying up and you wouldn't get the thing, the victims assistance, he becomes way too thick for you to rub on your paper. So we don't want an extremely thick consistency of paint as well. And really thin consistency of the beam because then you're not able to get the textures that we're looking for in our painting. Anyway. A lot of conversation about the consistency of the paint. Right here. You'll see that the gray has slightly changed. And that is because I added way too much orange and my mix. And the Greek gods slightly more warmer, but once it dried up, it didn't look as odd as I thought it was going to look when the paint is wet. And of course, we're going to add a lot of different colors for the highlights in the clouds. So everything gets covered up. When we add in those highlights slightly here I'm just sort of playing around with the shape of the cloud. Really not following particular structure. Like I mentioned, I don't like to follow the exact structure, just like to play around in this section. And that's what I'm doing. I'm making those bigger clouds slightly, adding some tiny ones around it as well. Once you're happy with this, you're going to wait for this layer to dry. And then we'll move on to the layer in which we add more highlights. Alright, once this layer is dry, we're going to add the highlights for that. I am going to use this grayish color. This is going to be the second color that I'm going to use to add in my clouds. And I got this color by actually just using the same mix that we used earlier, but this time I've added more red into the mix. You get the warm or the brownish color and use that. I will be adding the highlights nice. You can see I'm adding it on the right side for the clouds that on the left of the paper, that'll be adding it on the left side. On the clouds are on coming from the right side of the paper. And the clouds at the top are going to be at the bottom. I'm going to make sense when you watch me do it. When I say it, it's almost like a tongue twister, but it will make sense when you watch me do it. This color comes in, in this direction because the sun is in the center, right? So it's going to have the light's falling all around it. So whatever clouds are closer to it or whatever side of the curve, Let's put it like that in simple terms, whatever side of the cloud is closer to the sun is going to receive this color. The left two months that are coming from the left side that the right section, the ends of that cloud is going to receive that color. Likewise, all that section that are closer to the Sun will receive that color. Again. You might see that there are really harsh edges when I lead a scalar, but don't worry, we're going to blend it with the Cloud. It's all going to look like one single fluffy, different colored clouds once we blend all the colors in. So don't worry, It's okay to have harsh edges right now. You're going to fix it. We're just laying down our colors before we go ahead and do anything about it. So yeah. So now that I'm done laying out all the colors and the different sides around the sun. You're going to wait for this to dry again. We use a thick consistency of paint like you can see so that you get in those little textures that we need. And once this is, once you're done with this step, you're going to wait for this to completely dry and then we'll go ahead and add in our lightest color, rounded, and then go ahead and blend everything out. Alright, so before you go ahead and add in, I like the colors. I wanted to blend this one that we already had. I'm going to use my same round brush and this time loaded with a little bit of water. Just clean layer of water. Nothing else. Nope, ain't nothing. And using this clean brush, I'm going to reactivate the edges and blend them out with the grader was already at the bottom. So like I said, only clean water in case you feel like you're lifting off a lot of paint from your layer. Then just clean up, brush again, slightly dry it, and then use the clean brush to blend the edges out. And that is it that you will see how it looks very different, slightly more blended into the same mix, the same color that we were using. You're going to add more orange into the mix and then use the slightly brownish color to add in some float clouds with this lighter shade around the sun. Then again, add this at the outermost edges that you see. You can add in some more clouds in the sky using the same color. I'm adding the highlights. So again, it's kind of like repeating the same steps as we did earlier. But the only difference would be is that this time we're using this lighter color on. We're doing that because around the sun when it was smaller clouds so that you're able to receive a different sort of light, right? So there are chances that the entire cloud is going to be off that single color. And that's exactly what we're doing here. Adding in the highlights, adding in some tiny clouds. So you don't have to, again, follow the exact thing that I'm doing. It feel free to add in as many Florida clouds as you want. Add in more textures around your clouds if you'd like. Make them look fluffier if you'd like. So there are endless possibilities of what you can do with your, with your same thing with your clouds. But the basic idea is to have a three, then a lighter color, the middle color, and then the lightest color for the sections that are actually closer to the sun. To make the area around the sun slightly more vibrant, I went ahead and added just orange in the outermost edges of the clouds. And then I'll be only using a scholar, like I said. And the outermost section maybe add in a few float clouds if I want a defect. And again, use the clean brush to just blend out the edges or the harsh edges that are on the Cloud so that they look as one single entity, one single cloud, right? So stressed about this because I understand creating these clouds can be slightly tricky. So the only thing that I want you guys to remember is to not get stressed about it. And that is why this class is divided in different, but it's also divided. You also have like two days to finish off the project so that the process of creating art is not stressful for you. Because a lot of times, a lot of people don't have the same amount of time that maybe I have for creating an artwork. So that is why you can split this half and half and paint along with whatever is comfortable for you. You can do the Skype it, you can do the base layer for the league maybe today, and then add in all the details in the foreground at the trees and all of those details maybe tomorrow. So you can just go ahead and do it at your own pace. Do it when you are comfortable to add in these paintings into your sketchbook. As you can see, I've just added a few more floated clouds around the bigger clouds. And when you look at it now you're really see the major difference that has come when we added the orange shade. The clouds that are going to be around the sun look much more vibrant than they did earlier. And that is how you play with these colors. And if you also notice, I haven't used a single colour that is outside my color palette that I mentioned. So what if a Browns are crazy? Neutrals, whatever you're creating is going to be using the colors in your palette. You can have lighter colors, darker colors can have variations of colors with a very limited color palette. And that's how you learn and grow even more. So that when you grow up, you realize your art journey. When you go, you realize that you don't need a lot of colors to create beautiful shades is just neat, very limited basic talus. And it can get amazing, gorgeous shades just out of those. So this is going to be the clouds in to our painting. If you feel like there's something you want to change, go ahead do that. Sure, that when you're done with this section, you are happy with how your clouds look. Even if they're not perfect, it should make you happy. All right, I'm happy with how these clouds look right now. And in the next lesson we are going to add details into our foliage and then paint our lake. So see you there. 7. Day 1 Part 2 : Sunset Lake: Alright, now that we're done with all the details and our clouds in our sky are going to meet the sun. So then I'm loading my brush with white paint. I don't have any other color mixing is just pure white. And remember the technique lesson, we sort of blended out the edges of our Sun. That's exactly what we are going to do here. We're going to create the circle. And once I've filled in the circle that I drew before, you can redraw it by the way, again in case it's gone. And once you're done with that, you're going to clean your brush and then just use the clean water to blend out the edges and smoothing out the harsh edges. This also creates that nice little glow around your sun. So as you can see the harsh edges you are gone. And now while that dries, you can go ahead and add the foliage near the horizon line. For that, I've mixed my sap green with a little bit of black and orange to get that olive green shade, as you can see, it's like this deep olive green color. This is the color that we will be using for all the foliage that's going to be right above the horizon line. Going to use your brush and make these uneven movements in the brush, right? So make sure that you're not making a straight diagonal line or whatever you want to give the variation. This shows the different sizes and heights of the foliage that is, in case you don't want to do the normal vertical method, you can also tap your brush vertically and the bristles will just spread out. And when that spreads out, it creates a little bit of texture. So you're gonna use your brush to create that bush extra, right? So right from the left and the right side of my painting, I'm going to be using this olive green channel green color. In the middle section where the lightest directly falling on that foliage section, it will be slightly lighter. The first thing that you'll do is just make these folds right and the left and the right side of your painting. And as you come closer, we'll add in the colors. So like I said, you can either make it vertically like I'm doing right now, as you can see, it's making these vertical strokes. Or if you want to add in more texture, you can just dab your brush vertically, which I'll do in add that texture in for that look. Right now, I'm just focusing majorly on filling in this space. As you can see, I've come all the way till the center to the either right below the sun and a filled in all the other area, made sure that I got and all the caps. And I was really careful around the horizon line as well. So once they reach the center bit, I'm going to make a larger amount of orange and a tiny bit of red into the same pre mixture that we just using. So right around the corner you can add that. This is a nice brown, burnt sienna color. I wouldn't say it's exactly burnt sienna, but it's still on that brown spectrum. I'm going to add this fright below the area that is below the sun and then blend it out with the greens that were already there. In case in green is dry, right? So there are high chances that your green would have dried by now, but that's okay. You can always use a little bit of water to reactivate the paint in that section and blended out and make it look nice. And even as you can see, doing this creates that nice blended effect. Where you have the orange brownish color right below the horizon line and then you have the deep green color going in. And remember how I showed you that I'll be adding the texture using my brush vertically upwards and just using the bristles to create that action. And that's exactly what I'm doing hymns carefully, making sure that I have a good grip on my brush and I'm going to dab it vertically to the paper to print the next row. I'm not sure what the texture is going to look like with your brush. You can always try it on a scrap piece of paper first. And once you're comfortable tapping your brush like that, you can go ahead and do it on your main painting. Because I am stand when you're starting a new sketch book, it's you you have that first page anxiety where like No, everything needs to be perfect. And I know this because I feel that we do not spend a lot of time just looking at a blank sheet of paper to get that perfect painting for the first page. But here we are to get rid of that. So, um, I've got you covered. So in case you ever feel like you're not there yet, you feel like you're not comfortable enough to start off with a second page or the third page two, it's come it's your sketch books that you are free to choose. Whatever page you want to start on it as an august have to be the first page. So as you can see, I've created that texture using my brush on the left and right side. I really like the way this looks right now. We've got a beautiful brown right under the sun. And then you've got the deeper, darker foliage from the left and the right side. Now I'm also going to create the same sort of texture in the area that was under the sun as well. Make sure that you're using the brown shade for that, that you don't end up using a green over there and then it just really looks out of place once it's dry, it would not look out of place when it's still wet. But in case because once it dries changes, it gets lighter. So there are chances that it might look out of place. So make sure that you're using the same shape that you used for that brown section. And that is it for our fullest section. We're not going to add any more details to this. And I'm so happy with the way this looks. With texture with the brush. Looks amazing. I'm so happy with the width at passed on out. So this is pretty much it for this bit. Now, while this dries, we're going to go ahead and paint our league. You're going to start off with the orange color. The lighter version of the orange, slightly toned-down version of the orange, which is just cadmium orange and white mixed together. I'm using my flat brush here, right? And I'm going in this vertical, horizontal strokes, but I'm holding my brush really vertical to the paper, like perpendicular to the paper. That is the orange color that I made. And the next color that I've made is using black, Prussian blue, and white. So when you add in a little bit of a lag, it brings out the color that we need. I'm going to start applying that color from the left and the right sides, sort of stopping in that area where the orange is. Now you can overlay the oranges. Well, bringing some strokes sideways to that is completely fine. But make sure that you're not completely covering the orange color because then the blue is going to overpower that section and it's not going to give that glow effect that we need for our lake. So I'm going to apply it from the left and right side. As you can see, I'm still leaving a little bit of the orange space right there. Because when I'm going to go ahead and blend it all in, I'll be reactivating that orange section again. And I'm going to be adding that blended in the blue as well. Right now, it looks crazy. It looks all over the place. And you might think that, oh my God, I've messed up, but nobody leaving yourself. You've got this, right. So over here I've overlaid with the orange. So this was me slightly blending in the orange as well so that I have the glowy look but not completely. And then I'm going to repeat the process again. Like I told you, I do it in two layers because I like to have a slight bit of the watercolor effect to it. And not completely the velvet finish off the gouache. I really liked that look where it's mad, but it's not completely like watercolors. And anyways, so I'm getting very deviated in the properties of gouache. I've laid out the blue, as you can see, I've left some space in the middle. Again. That is where the orange section is going to be, but that is why I left that little section dry. And when I laid the orange over it, it's going to pop out even more as it did before. So you're going to go ahead again, hold your brush perpendicular to the paper. Use the flat pinpoint of the brush. So you have a flat side and then you have a thin side as well. When you hold your brush slightly and use the thin part of the brush, the flat brush. I'm going to be using thin part for all the wave details that I need to add in that section. And as you can see, sort of blended the orange with the blue. I'm going to try not to overdo this section and just stop right here. And once this is completely dry, we're going to add the glow or like the sun shining on our lake. For that, I'm going to mix white and orange together to get an even lighter orange color as compared to the previous one. I'm going to go ahead and make these lines, these vertical lines, but they're also broken lines. They're not fully straight lines. Now because the orange was drying out to be slightly as the same color as the previous layer. Added a little bit of yellow to it as well to make the glue happen, even more. Orange mixed with yellow and white. Now, as you can see, I'm making these little broken lines starting from the area right below the horizon line coming all the way down. So you're going to do the same thing. You're going to have the broken lines coming all the way from the area below the horizon line, coming all the way till the end way you fleet the paint, as you can see, I've left a little bit of section empty, white. You can go over it as well in case you've gone over it, it's not a problem. This is just a section where we'll be adding all the other foliage and plants and flowers and all of that. And that is why I left it empty because it didn't make sense for me to lead again and then look over it. It's fine that it's white. So again, good properties of quash. You can always overlay on your mistakes are. Your mistakes really well. So meet those broken lines. Right in the center bit. Sort of tried to get the each broken lines to be uneven. But I mean by that is if line a, line B is not the same size as line eight, so that adds to the variations that you are adding. So make sure that they're not all of the same size. There is a little bit of variation in the distance between them. That is pretty much it I really liked the way this looks, and we still have a few little things to tweak and about the league because it looks really flat right now. I want to add in a little bit of texture into Lake without having to add in a lot of details. So once you're done with the white bit like I am, I've added all the little glowy things that I want to add into the water. You're going to wait for it to dry. And then we'll move on to the next step. Alright, now that this section is dry, I'm going to add in a little bit of shadow for the area right under the horizon line. For that I'm using same brown color, but I've added a lot of photo ahead and tapped in the excess water on my brush, my brush on my tissue. So tabbed in the excess water and as you can see, it's a very light consistency of pain. So what I'm basically doing here is using that light brownish, grayish tone of color. I'm going to use it to add a text shows on the left and the right side of the painting, we can bring some of the strokes all the way into the middle as well. But right now I'm focusing more than just adding in a little bit of texture. And I felt like sexual overpowering are lots of went ahead with the same blue that I used earlier and pushed it slightly upward. The major idea is to have the shadow bit off the horizon line of the foliage that's above the horizon line. You need to add in a little bit of the shadow. So carefully go about in that line and just use your thin strokes to blend it down not all the way, just slightly, very, very fine. Blending downwards. And this is while that dries a little bit odd right now because the paper is still wet. Like I mentioned, once it's dry, it's going to dry out a little bit lighter. So there are chances when you are trying to add in another layer, it might, even on blending the whole thing, it might look really odd, but when it dries, it looks really nice. Right now. I'm just going to go ahead with my plain white color. I'm using a smaller size of my round brush properly size two round brush here. And then I'm just going to make more lines. Those broken line sustains smaller, not all the way to the yellow that we already leap at the back is going to be slightly smaller. This is just to show the extremely sparkling white bits into our painting. That is pretty much it. Once you're done with this, you are going to wait for your lake layer, the base layer to completely dry before you go ahead and add in anymore details. So I'm really happy with the way this looks right now. I know it looks really on it, but trust me, once it's dry, it's going to look really nice. And in the next lesson we will be adding the details to our rods and our foreground. 8. Day 1 Part 3 : Sunset Lake: Alright, now let us start making all the rocks and the foreground elements so that you can either sketch out these rocks first and then go ahead and lay them or you can just wing it like I am right now. I mean, I'm not totally bringing it. I do have a basic idea of where they're supposed to be, so I'm just going to follow that. I'm using my round brush here and I'm making an uneven bulgy shape at the top and at the base. I'm trying to make it look flat. Not completely flat, but yes, sort of flat because I want to add in the shadows to add later that look like it's submerged in the water. So that is why that piece is going to be flat. But the top of it is going to have some even bulgy shape really. I don't have an exact shape to give you right here is just a random shape. The only thing that I'm keeping in mind is that, let's say the rocks that I, let's call them rocks. The rocks that are made in the beginning. Writers really small because they are slightly more away from the observer and the ones that are more forward. They are slightly bigger. And they can be small in size, like the area that is going to be visible to the observer, can be slightly small as well, but you can see I've added the bigger one as well to the Asia that's closer right above them. I'm going with the brown mix and I'm adding that at the top just to give it that dual color, right? It has to have that little shiny color from the sunlight falling on it directly as well. As for the color for the rocks that I chose was the same as the foliage color that we made in the base, which is a mix of orange, sap, green, Black, Knight. It's that nice color. And what I'm doing right now is using a deeper green color. And I'm just going to add in a few little vertical strokes that can be called a cross on these drugs as well. So just, just a little bit of unevenness, a little bit more texture play. You can skip that step completely. But I just didn't want to leave it at that bulgy shape and add in a little bit of details to it. And that is exactly what I'm doing here. Just a tiny, tiny details that all that goes into this little section. You can see adding in the textures really make them look uneven and add in a lot of variations in their shapes the way they appear to the observer. Now using my round brush, I'm going to go ahead and make the ground that is at the end of the paper. Again, following the same rules, make sure that you're covering the whitespace in case you missed it, like me or just thought if you don't not covering it up, make sure you cover it up right now. Then use a variation of colors. Now over here, I'm just mixing some lighter greens, some darker greens, even some browns, and just sort of playing around with a deep colors in my palette right now that I just mixed earlier. Doing that just like I said, brings out the different, different colors in. It doesn't look flat. It doesn't look with the black since they're dark colors. When they dry, they're going to dry out to be darker, right? They're going to be drying out to be slightly closer to black, but they're not completely black. This is just using the colors from our previous color palettes. We've got orange and you've got to clean all the colors that we need in our painting are being used as compared to just direct black. So I've just connected those rocks that I made earlier just to bring in that nice fluid connectivity. And as you can see, it looks really nice right now. We have a lot of texture play to put into our painting in the league. For now, this is what it is. And then I'm going to mix, actually first load up your tiny round brush like this size two. And I am just going to mix more black into the paint this time making a color that's slightly closer to black. I'm going to start giving same class look, the texture that I made on the rocks. So to the area that is on that left and right edges where it ends and making smaller strokes as you can see. Then in the ether that's at the bottom, making them slightly bigger. And just with the size, you can add in a lot of variations. You can make them appear further away. You can make them appear closer to you. So it's all about the way in which you meet the size of these elements. If they're going to be larger, they're going to be closer to us. They're going to be smaller, they are going to be away from us. So that's the only thing you have to keep in mind. Just make these grass shapes with this deep, dark, almost black color all over in the bottom ground place that we just added. Don't think too much. Don't try to make it look perfect. Don't run after that because that's not fair here for we're here for having fun. So just do that, right? Just enjoy the process of adding these cross-shaped, where ever you want some giving you the freedom to just have fun in this little bit. Now, I am going to use the same color, the brown, green color that we use, and adding a little bit of water into it to make it nice and r10. And using this consistency, I will be adding in that reflection of rocks in the water. She just carefully in case you think that it's too runny, you can always dab off the excess water and then just use a slightly dry brush with this texture. Portrait of a year. I think I have a perfect amount that I'm looking for. As you can see, it creates that nice shadow effect. It's going to be at the bottom of these elements. That is why I said to make that thing flat, right? So when you add in the shadows, it looks really nice and I'm so happy with the way this is turning out right now. So just carefully add in your shadows right below. You can also look at the shape of the drug that you've added, where the bulge is more, the shadow is going to be slightly bigger. And where the challenge is lesser, the shadow is going to be less and so well. And make sure that it is really close to the rocks, right? So this should be slightly connected, so make sure that you are adding that in. And that's pretty much it as you can see, we've added beautiful, beautiful shadows right under our little land spaces that we have. And it looks so nice this way. Once you're done with this, wait for this to completely dry and then we'll move on to the next step. Alright, now I'm going to load my size 0 brush for fine details. I'm going back to adding those grass shapes as we were before. I did this because I forgot to add in the shadows and if I would lay the grass over, it'll be difficult for me to add the shadow that is where to stop with. We go back to adding the shadows first and then go ahead with the cross shape. But yeah, go ahead and add the grass wherever you want. Plural noun in this section until you are happy to give any Your Land little bit of variations with different sizes of foliage. I also went ahead and added some more tinier rocks in the middle of the painting, just tiny one so that it looks like this little section is further away from the observer. So like I said, smaller means they are V and phago means they are closer to the observer. I also added the shadow to it as well using seem small brush. Either you can go back to loading up that greenish yellow that we used, or you can just wet your brush slightly and bring the color down and blend it up. Either way is correct. So I've just added that in and I'm just fixing up a little more of the shadows that we added earlier, giving it a little bit of radiation, little bit of texture so that they don't look really flat. We want to show that these slight movement in the league, it's not. Fully dry or it's like not fully flat and still, there has to be some movement in it. And we can add that move from rent by just adding little bit of variations and the shadow as well, just put that unevenness. And we're now back again to adding in some cross shapes. We're not going to overdo this. We're not going to have it everywhere. We're just adding a little bit of details into our foreground elements. So just tiny tweaks of the scratch sheep and we are good to go. Alright, so I'm really happy with the way this looks right now. So I'm not going to overdo this and I'm just going to stop right here. I'm loading my brush with a little bit of white. Of course, clean your brush before you do that. I'm loading my brush with a little bit of white and I'm going to make the sun again just redefine the section because you remember we had slightly blended out the edges. So this time we want to have a more defined sun shapes. I'm just layering open it and making the shape look more prominent and more opaque. I'm really happy with how that's going to start out. It looks so cute and the sky and that you can really see it now. And I'm going to go ahead and add in tiny, tiny lines using my really thin size 0 brush. Just to make the glue pop up a slightly bit more, just a little bit more, and then try it where the horizon line is. I am going to lay over that section with my white paint. Now doesn't have to be a straight line as you can see, it's slightly broken, thick consistency of paint. So there's that x show play that's happening. It's not a your white line just going across the page. Right? So cute little bit careful in that section, too much. White can look a little bit odd. So slightly be careful around that section at them that you're good to go. Now we're just going to use our bigger round brush and using a slightly deeper gray color. This time adding a little bit more black to the blue and white mix, I'm going to add in some texture. Now, this can be using a light consistency of the paint or a thick consistency of the beam. Either way, what you have to see is that your brush needs to be dry. Using the dry brush technique. As you can see, my paint is really dry. I'm just loading up a little bit kind of like an essence of the paint. I've just used that essence to add an action. As you can see, this brings out the mood of the league and it looks like this, a little bit of movement in the water. And that's pretty much it for this section. In the next bit will be adding the trees branches that are the closest to the observer in the foreground. 9. Day 1 Part 4 : Sunset Lake: All right, so now this section is going to be the last bit of our first-class project. Or for your, as you can see, I'm using a sheet that's very close to back. It's almost black raid. And using the scatter, I will be adding all the details in the foreground elements. So we have in some branches and some leaves. And all of those details are going to be using that color. I'm going to use my size six round brush, but you're free to use any smaller size brush. Maybe a size two or maybe a size for whatever helps you achieve thin strokes. I'm going to use that and start making these branches coming in from the top left corner all the way down and tap and just thoughts around it to make the leaves. Now, I'm saying this because if you've been following me for a while on my Skillshare, you'll have noted how I make these leaves. Obviously, if you've watched a few of my classes, exactly how I do it and I've taught it so many times in my previous classes. But over here, I didn't want to put you in this box where I tell you that this is how you do it. I don't want to confine you into that box. That is why feel free to add in the branches and leaves and what way you feel is right? I'm pretty sure you trying this class, even if you're a beginner, you are pretty much familiar with brushstrokes, right? Even as a beginner, you, I'm pretty sure you're here because you've been painting a little bit. So I'm sure you know how to move your brush, even if you don't, don't worry. This is not just a section where I tell you that people who have practiced before can do it. Even if you've not done it before, you can definitely do this. You're going to start off by making some main branches. So you start off by making one line connecting some sub branches to it. Then around that, you make these little dots, almost dots, lines to give it a variation. Make some of them clustered together. Make some of them slightly away from one another. And that eventually adds to the texture and the variations of your leaves and end up really looking nice. So that is pretty much what we're doing here, giving our photon elements a little bit of details with the branches and the leaves. So the process here is very repetitive. And I don't want to keep talking because there's nothing much really to save. It's just that we are repeating the process over and over. From the left side. In the left side we'll have just branches and leaves. And in the right side will have almost like a full tree, which I'll show you how you do. And yeah, that's pretty much it. So this little section is just recitative. You're adding branches and then adding enter. Alright, so I'm really happy with the way the left bit off the foreground elements. So let us move on to the right side. Like I said, we'll have a full tree, so you'll have the triangle, have the branches. Now you can draw this out in case you are not very comfortable with just going with the brush straight away, you can try it out. Please send those elements placing the branch how you'd want them to look and then move ahead with the branches. Over here, I'm starting off with more pressure at the base and as I move upwards and he's releasing the pressure. And that's how I get those nice variations in the lines. So you can just use one single brush, move it upwards, release the pressure and you have thinner lines at the top. That's exactly what I'm doing. I'm creating a bunch of different tranches. So I'm going to have main tree, I'm going to have some branches coming out of it from the left side, some branches coming out of it from the right side. Once you're done with this, I'm going to switch to a smaller size brush and add in some more branches. This time these branches are slightly thinner, as you can see. You can achieve this by using a smaller size brush as well. So we're going to make some more sub branches and some connecting branches. The ones that we already laid out earlier. Once you have the base of these branches laid out, you're going to stop right there and start adding in the leaves. So I'm really happy with how the branches sort of look right now. So I'm just gonna go ahead and start adding dots on these branches to depict the foliate. So just make clustered dots at the ends of branches that will just lead out. And very light handedly, don't overthink this. You're just going to have fun in this little section. That is one way to do it. The second way is just using a spoiled brush. I'm just going to use a brush that is really old and the prisons are all over the place. I'm going to use that for adding in the texture. But don't worry if you don't have this brush. If in case you don't have an old brush, you can just use your normal new brush and just create the dots as the clusters that I showed you. Or if you have a spoiled brush can use it for your benefit right now by just loading your brush with some paint and just tapping it vertically on the paper, vertically perpendicular to the paper to create an action that really adds to the bushy effect. And using a small brush for this is really beneficial. So I'm just going to use my small brush and create that pushy effect on almost all the branches that I just drew. And in case you want to add in some more than you can just make it floating for the time being, and then go ahead and connect it with some branches. Again, the process here is very repetitive. And we're just playing around really having fun, not thinking it through. And we're just trying to make our tree appear in a way that it has a bunch of different names attached to it. Alright, now that I'm done with the base bushy look, I'm going to go ahead and switch to a size 0 brush and use that to add in mood branches. Add in more details. This time we're making sub-branches, making tiny branches coming out of the bush, bushy, clustered leafy look that we went for. And then you can also add some more branches and tap and using same small-sized brush to add in more details to this. This process is again very interpretative, so I'm going to keep quiet and let you have fun and explore this little section. Alright, so I'm really happy with the way the tree has turned out. Now I'm just going to make the flow right under the sun a little more defined. Just adding in a few little tweaks things that I see currently that I want to fix and make it look better, but overdraw that. I'm really happy with the way this turned out. Once everything dries, you can carefully the tape off to get your suit little crispy edges. And I'm so happy with the way this has turned out. Here's a closer look at our painting. Fifth got beautiful clouds that look really odd in the beginning, but turned out so amazing. You can see all the shapes that I've used on the left side of the paper. And overall, gorgeous, gorgeous painting, love the clouds, loved the lake. The branches also looks really nice. I'm really happy with the way this turned out, and I hope you enjoyed watching the one. Here's a sneak peek of what's coming on day two. So see you there. 10. Day 2 Part 1 : Into the Meadows: Hi there, welcome to project, to the class project for today is titled into the meadows and the colors that we're going to use, our cadmium yellow, cadmium orange, primary red, primary blue, sap green, titanium white, and lamp black. I have taped down my paper on all four sides using the masking tape. And I've taken the colors out on my palette as we discussed. So in case you don't have either of these colors, you can always go for shapes that are closer to it, which means if you don't have primary blue, you can still use ultramarine blue or Prussian blue in place of that, if you don't have primarily red, you can use cadmium red as well. So that's completely okay. Now I'm going to start off by creating a basic sketch. I am going to divide my paper in half roughly. I don't need to use a scale because I really want that rough line and I don't want it to be exactly straight. So next I'm going to make a bunch of bushes and trees, basically a lot of foliage in the area that's above the horizon line. Now, not as clear. So in case you want to look at the reference picture and see how I'm getting inspired and placing these elements. Feel free to do that. But right over here, I have just created a bunch of foliate with bigger sections and the left and right side. And in the middle I've left a little bit of space and I'm going to make these far off hills and mountains with my paint later on. So this is just a very simple, basic sketch that I've made. Very light, very faint, and very rough. You don't have to worry about perfection because in case you don't like your sketch, you can always cover it up and go about your day with that. Anyway. So let's start painting our sky. For that, I'm going to create a nice mix of the yellow and orange and the titanium white. As you can see, it's a nice pastel, light tone down version of this yellow color. And as I mentioned before, to make a shade lighter instead of adding water, you add white. So even in case there's a situation where you want to tone down the color, you add a lot of white into the mix. So I'm going to have this nice transition in my sheets from yellow to orange. And blue is very similar to our exercise lesson, right? So you remember how we created that second bit where we went when done with the transition of the yellow, orange, and blue. That's exactly what we're doing with nice pastel yellow at the base and then slightly orange, slight orange shade above it. Then we have to blow at the top, and that will transition to the orange color using just two white. So I've taken my primary blue, like I mentioned earlier, you can use any blue. You can use Prussian blue. You can always tone down Prussian blue by adding white. You can also do that by just using ultramarine blue as well. And I've mixed a little bit of red to make the blue mode Obama. And that is why I've added red. So whenever I'm making a, wherever, I want to go with a more warm shade of blue. Instead of just using ultramarine blue, I end up mixing primary blue and Prussian blue together. This is almost the same effect because ultramarine blue is also slight warm blue. You're going to have this warm blue at the top. And you're going to use the same horizontal, left and right motion to blend these colors out. So just keep using your brush and moving in one direction to blend the orange and the blue together for a smooth transition between them. In case you feel like your brushes trying, all you have to do is slide the dip your brush in water like just the tip of it so that you take in a little bit of water and you can go ahead and use that wet brush to blend everything out. Now I've created a base layer over here. I'm going to wait for this to dry and then we'll repeat the same process again right over here. Once my layer has completely dried, I have gone ahead and created the same layer all over again. I do this because I really like starting off with a light layer of paint so that in case I don't end up liking something once it's dry, I always have the liberty to coat it with a much thicker consistency of paint and make it opaque. But starting off with a light tone really gives me the liberty to move things around and just understand the placements of the colors in the sky. So all I'm doing is just repeating the same step, going from yellow to orange to the blue transition using our blending with white method where we are blending the orange and the blue together using white in the middle. Alright, so I'm really happy with how the blend looks right now the paper looks nice and opaque. So I'm just going to stop right here and wait for the people to completely dry before we move on with the next step. Now that my paper is completely dry, I'm going to go ahead and make some far off clouds. For that. I've switched to my size six round brush and load it up with a mix of orange and white where the quantity of orange is more, the amount of orange color is more. And that is why it's this nice deep orange shade. And I'm going to use that to make these far off clouds. Now, I'm not going to really focus on the shape of the clouds are very more about how many clouds are supposed to be there. I actually want just a small slide into these clouds in the sky at a distance and only add almost in that era, which is a, which consists of the yellow and the orange color. So I'm not going to use this shade, this particular orange shade to make clouds in the blue color. Because as we'll transition up, if I were to make clouds in the blue section, I would have to make them slightly gray for the yellow orange shade because of the sunset, the clouds are going to appear to be slightly orange in color. So I've just added a few little tweaks, just using my dry brush technique that I taught you earlier, but just focusing more on adding the texture. As you can see, these are all linear clouds than not fluffy. So it's one of the simplest ways in which you can add clouds and adding the texture without really worrying about making it look perfect. Alright, now that's been done with acute clouds or distance. Let us make those hills that we drew earlier in case your hills or mountains have completely covered up except the gouache, you can always catch it out again just to place them properly. They're going to be very small and tiny. So in case you have, don't have a sketch, you can totally wing it. I've got the faith in you. So I've mixed a shade of the red color and blue color, which is this primary red and primary flow together. And I'm using that to just randomly make an uneven, bumpy stroke. Let's put it like that. And I'm not bringing it all the way down because it's not necessary. There gonna be a lot of elements in the foreground are in the middle ground rather. And it's gonna get covered up. So I'm not going to spend a lot of time trying to bring the shade down all the way to the horizon line. So I've just covered up the section as you can see using this nice purple shade. But as it goes over the yellow and orange, It's slightly becomes that nice, muddy, gray purple that it adds to the look of the spins really, really far away from the observer. So here's a swatch of the shape that I just use in case you wanted for your reference, it's just a nice purple shade. Next, I've added a little bit of black to my blue and red. I'm going to use that to make a set of mountains right below the ones that we made. And this is why I was saying that there's no point in bringing them all the way down because they eventually going to get covered up. And as you can see, you've got two sets of mountains that they do look really odd because blue is still wet and the previous layer has dried. So as you can see, it looks really odd. Now while this is drying, I've added more black and a little bit of white into the mix. And I'm just going to lay that over almost making the same shade that we used earlier. And I'm going to lay over it again just to give it that nice, opaque look. He was a swatch of the shade just in case you want for your reference. As you can see, this nice deep blue, almost like a Prussian blue, indigo. Hello. Alright, now that this layer is completely dry, we're going to go ahead and start making the foliage section that's in the middle ground. For that, I'm going to use my round brush and I'm using a mix of black as the base with a tiny bit of orange, just a tiny, tiny hint of orange. And I'm going to use that shade to apply in as the base layer. Now I'm doing this because I will be building up that entire section in a lot of lot of different colors, lots of different shades of green actually. And we'll bring in that nice, bright vibrant look that you saw in the final painting. So for that, I am just going to start applying it randomly. And at the tip I'm just taking see, making these vertical strokes just to get them unevenness in the Asia, I don't want it to be flat. And that is why I keep making these uneven vertical strokes where each stroke is different from one another. It's almost like a rhythm that you pick up. Once you keep painting a lot, you end up picking up this rhythm where you can do this without really thinking about it. Honestly, if I were to explain it to you, the only thing that I'm doing is just moving up and down with my brush and making these uneven strokes. There's almost close to no thought behind my brain at this point because I'm just like making that strokes. The only thing that I know is what the size is going to be. And by that, I mean, you remember how I told you that the middle section is slightly lower to give the illusion that that section is really far away and it's like a V, It's like a valley. As they reach the area that's more towards the right side, as you can see, I'm increasing the size of it. I'm increasing the size, making it slightly bigger so that, that gives the illusion and me add in the many, many layers and the future on this section, it gives the illusion that the rightmost section is closer to us. Even the leftmost section is going to be closer to us. It gives us that nice illusion that we need and not painting. Once I get all the shapes that I want to make, that uneven shape that I was talking about once I have the outer layer of a treaty, I just go ahead and fill the entire section with that shade. So as you can see, I'm just randomly filling this end. We just want that to be as a base layer for our future. There's a quick swatch of the shade that I just used. This nice deep, almost close to black color, but it's not entirely black. So I don't tend to use black directly in my paintings. I always mix it with another shade just to give it that nice tonal mixed feel like it's connected to all the other colors in my paintings. I always end up mixing a little bit of some of the colors that I'm using. So it's either green or the blue, or sometimes it's orange. Just select the black fields connected and not completely out of place and just black in your face, black. Now that we're done with this layer, we're going to let it completely dry. And in the next lesson we'll be adding all the details to our foliage. 11. Day 2 Part 2 : Into the Meadows: Awesome. Now that we have our base steady, that is, go ahead and add layers over it. So the first makes that I've created as of the sap, green and black, as you can see, it's a very deep green color. It's not black, it's way lighter than black. And that is why laying this light color over our black will create an effect of the darker greens. And as we go ahead, we'll see even lighter greens that will put on top cell creates that nice variation in our foliage. So for now, I've loaded my round brush with some of the paint and I'm just brushing over making these vertical dots and lines and just random stroke. I think a lot in this section just, you're just going to make a bunch of different lines, dots and vaguely verb the shapes covering the entire section. So now, now the only thing that you have to keep in mind here is that you're going to want to try and cover almost, let's say if the black was 100% of the area that we have covered, now you want to cover around 75 to 80 per cent. So you want to make sure that you are able to see some of the black, but at the same time you are adding the green over red. You want the green to be honest, spent spread out in a larger area. Over here. I'm just making a bunch of different brushstrokes trying to cover that section. So the process here is very a potato, right? I'm just doing the same thing over and over until I cover the entire section, especially for the lower part of the foliage and not the tree that you see on that right side. Over there, the strokes will be more at an angle that I've made a brush strokes in. So I'll be following that angle right over here. I'm just making those straight lines. I'm also going to use my size two round brush and make a tree. Lot of tree that I will make will be somewhere in the middle of the bigotry that is already dead and the lower 48 section that you have. So as you can see, I've almost cover the lower part of the foliage that I was talking about in these random strokes just going all over the place in different directions. Just trying to get in our deep green color over as a male. Now, I'm just going to load my size two round brush with some of the same paint that I was using, the deep green color. And just carefully make a few different branches and add in some dots around it to make the tree just to give it that nice full lux. I've just made a vertical line. I've added a few branches on the left and right side and a bunch of different dots similar to what we did in the previous class project, but a much smaller and much tinier version of it. So you have made a single tree, as you can see, very minimal details. I'm not really going into the depth of the tree should actually look like just, I'm trying to create some trees that are even further away from this little fully at section that we have in the middle ground. This tree is probably behind that area. And I'm going to make a similar one next to it. This time. I'm sort of varying size of it by a little. I'm going to make it slightly shorter than the one that I made on the left side. So it's a little bit smaller than that. But the process in which I've made them remains the same. Just switched up a little bit. So choppy brushstrokes just a tiny bit so that they don't look completely the toe of one another. There's a little bit of difference in math, and now we're back again using a round brush to create those random strokes. I'm pretty sure you can't really make the difference out a lot. In the video, you can see a little bit of that clear glow when I'm laying in the green paint and it really shines over the black at the base. But I'm sure you can see there's a huge difference once the paint is dried, the left side, you can see once it's dry, it looks much more interesting than it does when you actually lay it on the black paint. Over this will be building it up in many layers so you can really see the difference and the effect it pulls out once you have a bunch of different layers together. Now we're back to the tree on the right side. As you can see, I told you I will be varying the brushstrokes that I make in this section. Try to make it alongside the tree shape that I have. I've also added a few tiny branches just to make the tree have that nice, pretty shape that you have in a pine tree, let's call it, kinda gives that image of a pine tree, right? Let's just assume it's a pine tree and you have those nice little upward moving leaves and stems. And that is exactly what I've made on that top section. And the bottom are not really thinking it so much. I'm making the same brush strokes that I did in the middle part. And then I'm just making this at an angle so that it gives that illusion of this section having an upward movement. And that is it. Once you're done with this, you're going to wait for it to completely dry. And then we'll move on to the next step, which is adding the next layer over it. Alright, now that the previous layer is completely dry, I'm going to use sap green in its natural form, which means I have not added any black or yellow to red. I've just taken sap green and I'm going to start making the same strokes all over again. One thing that I really wanted to add in this little section was that in the middle, middle are fully at section. I wanted to add lighter green, blue strokes. As you can see, I'm making them a little clusters just to give it that nice shot of bush in front of the bigger foliage that's behind it. So most of the times I really just overnight take inspiration from a landscape image. Actually, I just look around what I see once I have the basic shape of the elements and the basic location of the elements is just go ahead and play around with what comes into my mind. I don't really think it should think it through properly. Go ahead with what comes into your head right now I just said It's like creating these smaller bush structures in front of the bigger foliage that was behind it in the middle ground. That's what I'm doing. I'm making these clusters almost like a dome shape. So that is a shape that I'm going with. The left side. The strokes are moving in the slightly slanting upwards movement. And the right side is very similar to that, slightly slanting towards the write up. That way I get these nice dome shaped shrubs in the foreground element. Other than that, I'm also adding a few little strokes in the back, just to add in the lighter greens to it, and repeating the process all over again. So you'll be doing this everywhere, even in the right side. You're not going to touch those too far off trees that you made. You're not going to touch them. We are done with it. And just adding the lighter green in the folder stats, sort of in the forward section. One thing to keep in mind when you're making these strokes is to not cover the entire green. So remember how if black was the 100% there, we went ahead with the deep between which was 75 to 80. This time, the lighter green that you're going to make is going to be sort of, let say 5255 per cent, right? Just the outermost section is going to receive this green color. You're not going to go all the way covering the entire section as we did before. You're just going to sort of imagine a tree. And if we were to give the tree the lighter greens, the lighter greens are going to be only in the outward sections, not in the depth, not in the in the area which is deep inside only part of a tree or a really thick tree. The tree is going to receive those light green colors. The depth where it attaches with the trunk and the branches that's going to be still dark or have a medium green color. And that is what you're doing here again, I'm just going to go ahead and sort of imagine what the outer section of the tree is going to look like, where it's going to be. And then go ahead and add lighter greens in that area, only covering 5255 per cent of the section. In case you feel confused where the light falls, you can always look at the reference image just to understand. Light and shadow play that's happening. And that'll give you a better idea of where you want the lighter colors to be. I just assume the lightest sort of falling from the top section, right? Only the top part. And for the tree, the outer section, like I was talking, is going to receive that side. And that is why they're going to have the lighter green section. Once this layer dries, we're going to go ahead with a lighter green. This time. It's just sap green mixed with a little bit of yellow and white. So it's going to be a lot lighter than the previous color. We're going to repeat the entire process again, but this time covering only about 30% of the area. Just going to add highlights to it. But at that stage we're just adding highlights. We're not going to cover the whole thing. And you can see that I'm only making this at the tip of the section to each of those little shops that I was talking about that I created. I'm just going to put it on top of it. And a few strokes slightly in the middle and at the bottom just so that it doesn't look very odd. And we're just going to add in these highlights, repeat the entire process again and sort of cover, sort of go over the entire section. The only thing that you have to keep in mind here is to make sure to not cover the previous layers that you've added. It's okay to go beyond the section. Your strokes can go beyond the little sections that we have, but makes sure that you're not covering the previous list. We stood, we should still be able to see the deep green, the medium green and light green shade that we're adding on top. Other than that, the process is buried, updated. So I'm just going to slightly increase the speed here in case you want to follow me along, then you can slow down the process by clicking at the bottom and you'll see a setting to slow the video down. And then you can follow me along that way. But right now I'm just going to slightly increase the speed. I'm really happy with the way this section looks. So we're going to stop right here. And in the next lesson we'll be adding the left tree and all the details to it. 12. Day 2 Part 3 : Into the Meadows: Alright, let's start painting the tree on the left side. So what we did for the right side is going to be repeated here. I wanted to do it in separate firms because I wanted the left side tree to appear much more closer in the middle ground as compared to the right side. And that is why I left that little section empty in the left. So over here we're going to repeat the same process of filling out the base. And then at the end, just trying to make a bunch of different vertical strokes, trying to depict the leaves. It's okay to make the vertical strokes first and then go ahead and fill in that entire section with this deep, almost black shade that we used earlier. So this is going to be in the bass and right above this will add a bigger section, which will appear to be a tree that is closer to the observer. So once I've filled out that empty white space that I had, I'm going to go ahead and load my brush with a little bit of the same color that we used. And I've changed my brush, I've gotten smaller brush. I'm using my size four round brush from silver black velvet. It comes to a really nice fine tip. So you can use any brush that comes to a really fine tip. So using my brush, I'm just going to start making a few branches and just tapping in my brushes randomly. So the idea here is to just fill out that space, the right section. I just want that thing, triangular, kind of gradient, slant, whatever you want to call it. It's very similar to the one that is on the right side. Very similar to that. The only difference is that this is going to be slightly taller than the other one and slightly more fuller and much more bigger. Just just a little bit of difference is going to be in-between them. Not a huge effect, just slight difference. And that is, as you can see, I'm just trying to make the outer edge first. And then once I make the outer edge, it's very easy for me to just fill in the section so you can just follow that, making the outer shape, adding some branches and just tap randomly to fill out that section. And then once you have the outer edge affected, all you have to do is load your brush with some paint, just fill out that section. So over here I've left a little bit of whitespace is in between. And that is just to bring in a little bit of a variation compared to the other side so you can completely fill those spaces. Don't have to leave that white. It's completely your choice. But I just went ahead and left a few white spots. The process over here is going to be repeated all over again. We're going to start off with that deep green shade that we used above the black, covering almost 70 to 75 per cent of the area. Over here again, you can watch me make these strokes. I'm just trying to not make all the strokes in one direction. Going to bring in a little bit of variation, some moving towards the left side, like in a cluster in the left side, a cluster in the right side. So this just brings in a little bit of variations when you add the stroke. Other than that, everything is just repeating what we did in the previous section. One thing that I kept in mind very similar to the right side tree was to make the brush strokes slightly slanting upwards Just as to the direction of the base color that we've already added. And just make sure that the cluster of these different colors that you're adding in a, not really all over the place. But rather they do have a little bit of a direction where your artery is straight up and its leaves and its branches are shooting slightly upwards, moving upwards. And that is why we want to add the colors and the brushstrokes in that motion. Now we're moving on to the next color, which is the medium green shade. Again, we're going to repeat the same step covering almost 5255% of the area, going more in the outermost sections of the tree. What I mean by that is you have the outermost section right there, the outer lid. And then inside you want to give radiations, but you want the bush to be slightly protruding outward because they're not all in the same line, right? You have some branches that are bigger than the others and then you have some that are smaller. Likewise, the light falling on them is going to differ. That is why you can add in some of these light green colors in the middle part as well. But don't cover the entire section. You know what I mean? You can see me adding only in the sort of like picking up a section, then adding it on the outside of that little area so that when I add in the lighter green, It's going to look like That's one cluster of trees and tree, sorry, but like branches and leaves. Now that we're done with our medium green color, Let's go ahead and add in the lightest screen just similar to what we did in the previous section. And repeat the entire step again this time covering 3235 per cent of the brushstrokes. So as you can see, I'm just trying to add in the highlights to that section so that when you look at it, it looks like you have branches that are patrolling outwards and a different sort of light falling on them and then sort of things in the unevenness in the tree. Yeah, go ahead and repeat the entire process again. And once you're done with it, you'll have this beautiful middle ground consisting of beautiful greens. You can also go ahead and fix in the branches if you'd like, make some branches coming out without sleeves. And once you're happy with how it looks, I'm going to stop right there and let it dry. And then we're going to move ahead and start painting the foreground element. So I've switched to my flat brush. This is a size 12 flat brush and I'm loaded my brush with the same light cream as you were using for the tree. I'm going to go ahead and carefully applied right under the horizon section. So as you can see right under the trees, I'm going to apply this light green color. The consistency of my paint is nice and thin. I told you I like using thin consistency for gouache just for the base layers. And once I come to the middle section of the foreground, I'm going to go ahead and add in a little more sap green to make the color deeper and darker. Going to have a transition between a light green color to a medium green color and then add the bottom, you will have a slight dark green. So that can be a mix of your green along with a little bit of black. So just make sure that you are adding just a tiny bit of black. Otherwise it'll be too overpowering and you'll end up with a very, very deep green shade. And we don't need a very deep green shade, we just need a nice light, deep green shade if you know what I mean, it shouldn't be too black. You should be able to see the green, but still it should be darker than the other greens that you lay at the start of the foreground and in the middle of the foreground. What we're doing here is sort of creating the base layer for all the other layers that is going to come on top of it. So for the lighter and darker grass elements that will add, we want to make sure that it has that base that it needs to rest on. Switch is creating that. As you can see, I'm just blending all these colors together, making sure that cannot completely even you don't want the blend to be nice and even, but rather, if it's uneven, It's really good because it really adds to the text, at least that's what I think I personally like having that uneven blend. That's light watercolor effect to blend because it really adds to the textures when I'm adding other layers over it. I'm really happy with the way this has turned out. I've also gone ahead and added a few strokes of the depot green color in the middle and the top section as well, just to add another bit of texture. That is, it we are going to wait for this layer to completely dry. And in the next lesson we'll be adding all our different shades of grass and flowers. 13. Day 2 Part 4 : Into the Meadows: Alright, Let us start adding details on our foreground. So I'm using my same size four round brush that comes to our journey. Nice step. I'm using that and I'm going to go ahead with the same light cream color that we use at the top of our background base. I'm using that color. I'm going to make tiny, tiny lines just to give the, the section, the horizon section which connects with the middle part. I want to give that section a little bit of uneven, grassy look. I'm making these really tiny vertical strokes. As you can see, they're very, very tiny. And I'm making that just so that there is this unevenness on that area. So what we are doing here now is trying to make that grass like I want to make this a foreground to be really grasp like a grassy element. So for that, we have to work in many, many layers and I'll show you how you can do that easily. So here's the green that I'm using. I've added a little more green to my mix and white so that it stays opaque, like a lot more opaque than the other ones. So adding white to it will really help it stand out on our base color. As you can see, this is the swatch and now I'm going to go ahead and sections. So the first one that I created was just to give that uneven look. And each time I come down, I'm slowly going to increase the size. And what I mean by this is right at the top of my foreground, like at the top where it connects with the middle part. That is going to have tinier lines. So the brushstrokes that I'm making are smaller. As you can see, this might take, this whole section takes a little more time than you think because there's a lot of repartee to process. There's a lot more of just repetitive brush movement, right? So you really enjoy it because it's therapeutic and obey. Because it's just doing the same thing again and again. Usually when I'm painting something very similar to this, I tend to get lost in my own thoughts because somehow my brain just noticed that this is what I'm supposed to do. And this is going to repeat until I reach the very end of the page. If I started from the left side until I reach the right side, my brain just knows that this is the size. This is what I'm supposed to do and it goes on. Anyway. Moving on to that, as you can see, I finished the first line and try to make them uneven, right? Try to make them not very much in the same line and same height tried to bring in that variation. So I just thought of creating a little section in the left corner to understand what the most closest grass is going to look like, right? And I will go back to that second line of grass. As you can see, I'm just varying in the brushstrokes. You can go in a way that you tap the brush and release it upwards or you tap upwards and release it downwards. Both ways are correct. There's no right or wrong. Whatever you're more comfortable with, do that. What happens with tapping down and then releasing up is that your bottom stroke is going to be slightly thicker because that's the point where you touch the brush. And as you released, that's going to be thinner. So as you can see, what I'm doing now in this corner is tapping and then releasing. And I quickly go back to tapping and then releasing downwards to both the methods are correct. Whatever you're more comfortable with. As I was saying, when you tap and release, the n stroke is going to be much more thinner and sharper. In case you want your stroke to be sharper, you can go ahead and tap and release upwards. But if you don't want that you can tap and release it downwards. And then when you have a bunch of these strokes very close to one another, they don't end up looking back on it. Now over here, I'm just repeating the step trying to cover in this section. So each time you complete one line and come down, you slightly want to increase the size of your brush strokes. I didn't want to make lines go line-by-line because then it would look like It's going line by line. So I'm just mixing and matching over here, trying to just understand what different sizes are going to look like together. So here I have taller ones. Then in the middle somewhere, I'll make a medium-size. And then above that slightly smallest, this entire section just gets filled with this nice opaque grass color. And once you're done with this, we'll move on to the next step. So this is going to be slightly time-consuming. I'm just going to increase the speed of this by two times because the process is rapid data, as I said, you can reduce this. Reduce the speed. I'm sorry, this is such a tongue twister for me. Reduce the speed and come back to my normal speech. They just have to use that to make me go slow in the video. Alright, I'm really happy with the first layer of grass. Now to the theme makes I've added more white to make the color lighter. And it looks really, really nice. I'm going to tell you this graph shade is so nice, so highlighted, it's based as sage green. I don't know, just makes you feel so nice. And I look at this color, and we're going to use this color and start repeating this same step over again. I'm sure you must have noticed that in this class project, everything is just so reputation, right? You have the same steps happening over and over and over. We did the same thing for the middle, middle foliate section. And then even in the grass, that's where the type potato. So this project is kind of therapeutic in its own way, but it's also very easy to get angry because you have to do the same thing again and again and just takes time. I sometimes get angry when I have to sit down for too long. But when that happens, you feel that you're getting too annoyed with the degradative step, you can always take a break and then come back to it. And that is why I'm giving you two days to complete one class project because I don't want it to be a burden on you. I want it to be fun. Anyway, coming back to what I was doing, I have taken the nice light green color and we're going to start making this sea grass strokes as we did earlier. As you can see, I'm doing a variation here, right? I go up and then I come down and go up and then I come down. I'm just doing different variations with the brush strokes tapping and releasing upwards, tapping and releasing downwards. This is to just sort of adding variations and my grass so that the brushstrokes would have tabbed and release downwards are going to be the ones at which I rest my flowers that I was talking about. But either way, do whatever makes you feel happy. Now, I'm going to repeat the step in all of them. Makes sure that you're making these slightly lesser in quantity. It's very similar to the middle foliage, right? So if the first grass layer we did was, let's say it covered fully about 75 per cent of the area. This one's gonna be more 50 per cent for just slowly kind of like adding highlights. It's very similar to that. Yeah, go ahead and repeat the same steps all over again. I'm so happy with the grass is turning out. Now I've mixed more white into the same paint that we used earlier just to make it more lighter. And then this time we're going to add in some more grass strokes, just like we did earlier. This time in even lesser quantity, which means only 3235 per cent. We'll be adding these brushstrokes, just a few of them to bring in slightly little highlighted cross colors. But as you can see, I don't know if you can see it, but I feel like I'm sitting here and looking at this painting. I think I didn't appreciate it enough when I was painting it because I didn't know what the final painting was going to turn out like. But now when I see it, it looks really nice. I'm so happy. Like looking at it just makes me feel happy to look at that. Look at those greens. They are so pretty like aesthetically pleasing I guess. But anyway, coming back to this, I just get through them to get so lost when I'm talking about the greens. But yeah, it looks really nice. So you're going to add the stroke on all of the area, again following the same size pattern guide that you created, right? So the ones that is closer to the horizon line is going to be smaller. And as you transition downwards, the size of your grass increases. Now, we're just going to add some splatters, which is like my favorite part about painting. So I'm going to make a mix of yellow and white, right? It's a nice bright yellow color. And I'm going to use that loaded on my round brush and then pick another brush and tap on it. This way. You hold the brush and tap using the other brush, makes sure that you don't have a lot of paint and a lot of thin consistency of paint. You want it to be trainees go when you tap, you get these tiny, tiny splatters, which act like little buds on the grassland. So just go ahead, declare another, take your brush loaded with paint and take another brush. And just stop on, tap on it and you get these beautiful splatters. I mean, just look at it, looks so nice. And now that we have those tiny, tiny splatters, It's time for us to add some bigger dots. For that. I'm just going to load my brush with the same color and tap it on those graphs that went from top and downwards. I told you you tap and release them downwards. We can use those for your reference, but instead you can put it on anyone. It doesn't have to be that brushstroke itself. And now there is no perfect way to do this. You're just going to make bigger yellow dots, specifically in the area that's in the bottom half. And it can be anywhere. You don't have to follow the way that I'm doing it. Just place them wherever you feel like placing them. That says you're free zone, you're free to do it in any way that you like. Now that we're done with the yellow bit, I'm just going to use a mix of yellow, green, and white. Then I'm going to use that color and just add in some more splatters. Now, make sure that you're not adding a lot of this shade. I just want a tiny bit of it in the chat. Then using that same color, I'm going to make some more flowers that are almost very close to white but not white. Now they're very random. It's almost like a wiggly blob that I'm creating, aren't really thinking it through. Just wanted to add a little bit of variation into the grasslands. So I just doesn't look very flat with a yellow and different colors. It's cleaned up, just randomly added these blogs wherever I felt like adding them, I can add them. Again, wherever you'd like to add them and try to make them somehow clustered together. Some of them very close to one another. Some of them resting on individual stems, some dots, some blobs, whatever. Next I've taken just the orange color from my palate and tapped it in between all of them just to give it a shape and sort of like a different color in the middle of our flowers. And that is it. Am I going to really work on the details of it? And then I'm using this deep green color to give them a stem to rest on, just to make that stand out even more. So right under the flower, I'm just carefully making a line going downwards. So tab under the blobs that you created and pull them down. And that is it. You are done with the painting. This is it. We can wait for this to dry because that's what I did here. But yeah, once your painting is fully dried, you can carefully peel the tape off as you can see how I pull it away from the paper, It's important that you pull it away from the paper so that you don't end up getting your painting that you worked so hard on. Sometimes it happens that we end up pulling against the paper and then it just lifts off the painting and then that sucks. So make sure that you're careful in that section. And that is it. Look how beautiful our painting looks. I started out, I had some doubts in my head because I didn't know how I was going to get that beautiful grass effect. To be honest, it did look complicated, but I'm so happy with the way this has turned out. It looks gorgeous because I feel like I'm just here. Yeah, I hope you enjoyed painting. They do. And here's a little sneak peek of the Clean. See you there. 14. Day 3 Part 1 : Spring Days: Hello everyone, Welcome to Project three, D3. This is a beautiful spring day landscape that we're going to paint and the colors that I'm using, or cadmium yellow, primary jet, Prussian blue, sap green, titanium white, and lamp black. So I've taken all the colors out on my palette, as I mentioned earlier. And then we're going to start off by a quick sketch. So I've taped down my paper and on all four sides using my masking tape and using my pencil, I'll start creating the basic sketch for this. You're going to create a rough horizon line. It doesn't have to be perfect. I'm not going to make a straight line. I want to make it slightly slanting upwards. So as you can see, I'm making a slant upwards and then I'm making a kind of cove almost like a straight curve downwards, just to add in a little bit of texture. Now, above that little section that divides the ground, I'm going to have a set of two pushes. One of it is going to be slightly further away and the right side that starts from Midland goes up is going to be closer to the observer. Then behind that you're going to have a set of mountains or hills. Alright, it's a very basic sketch. You can also look at the reference picture to understand the placements of these elements. But I'm just going with something that I have gotten inspired from the reference picture and then I'm putting these elements in place. So it's a very basic sketch. Don't worry about the perfection of your sketch because either way, if you mess up here, you can always fix it when you're painting with gouache. So let us start creating the background for the sky first. So I'm going to mix my white paint. I've added a little bit of water to it to make it nice and slowly. And do my white paint, I'm going to add a little bit of Prussian blue to make it lighter. I want this nice clear the color for the sky, and I absolutely love Prussian blue is why I ended up using Prussian blue a lot in my skies. Be it if I want to make a dark sky, I used, especially if I want to make the lightest guy, I use pushing buttons, but there's always Prussian blue in my sky. So I'm going to make a clear blend with this nice light Prussian blue color. And as I transition downwards, I want it to be lighter, so I'll keep adding a little bit of white to it. I want this nice gradient transition and the blend you can see I'm just using the left and right motion going in one direction and then to the same paint, adding white to make the color much more likely to make it much more soft and bright in the sky. So carefully go over your section, the sky section. It's okay if you go into your mountains as well, It's completely fine. And as you can see, I've used a nice thin consistency for the base layer. And once this is done, I'm going to wait for this to completely dry. Now that my base layer is completely dry, I'm going to repeat the process again. So I'm adding more Prussian blue into the mix and then adding white to make it lighter this time, the color is slightly deeper, but I'm going to just use one streak of that color at the top just to give my sky a little darker shade because I feel it's too light right now. So load your brush with some Prussian blue add white. So the more white you add into your mix, the color is going to become lighter. We've learned That's right. So the more white you add, the more lighter the color is going to be. So I've just use this nice light blue, Prussian blue color. And I'm going to repeat the process again, going in this left and right motion and trying to get that nice sky color. Once I've come halfway in the sky region, I'm going to go ahead and load my brush with some white, make the consistency is slightly thinner so that the blending process is easy. And then I'm going to go again in this left and right motion to bring in the lighter colors for the sky near the hills in the mountains. Make sure that you're moving in this left and right motion because that gives you the perfect blend that you'll need for this guy. And I'm really happy with the way this has turned out. I'm going to wait for this to completely dry before moving on to the next step. Alright, so now my paper is completely dry, which means I can go ahead and start adding details over it. Right now what I'm going to do is use this slightly deeper color of Prussian blue and white. So I've mixed, I mix this earlier, so I'm just going to use that. As you can see, there's a difference between the two colors. The sky one is lighter and the more Prussian blue you add into this, the deeper the color gets. And I've sketched out my mountains again just to bring in a little bit, make it deeper in color so that he can see. And then I'm using the deep, slightly deep blue color at the really far off hills that you see. I'm just covering that section, especially the areas that are behind the for the most mountains, I'm using that color over that section. And after it's dry, I'm going to go ahead and add more Prussian blue into the mix. As you can see, the color has gotten much more deeper. Still with a tiny hint of white in it. So this is not Prussian blue in its pure form directly from the tube. It does have white in it. So I'm going to use this color and then I'm going to apply it in the mountain that is slightly in the middle. So each time you come closer, you're moving closer, you will add more and more color into your mountains to make it deeper, make it up, you're deeper to the observer. And I'm carefully just going over this section and filling in that area. You can also use water or slightly thin consistency to blend them at the base so that it also adds a little bit of a white, misty effect to it. And I'm really happy with the way this is turning out right now. So once this is done, you will wait for this to completely dry. And when that happens, I'm mixing another sheet which is a deeper version of the Prussian blue. And I've added a little bit of black into it. And then I'm going to use that color to slightly go over at the tip of the mountains. Then I'm going to blend it out carefully so that there's a transition between slightly lighter blue at the base and then deeper colors at the top. And once you're done with this, you're going to wait for this color to completely dry, this layer to completely dry. And then we'll move on to the next step. Alright, let us move on to our third set of mountains. So for that, I've used a mix of Prussian blue, green and a little bit of black. So it's this nice, deep, almost like a green, blue, black color, Let's call it that. And using that, I am going to go ahead and start making this third set of mountains. As you can see, the movement of my brush, especially at the edges, are really, really rough. I'm not giving them a clean surface. You can see I'm moving up and then blending it down so you want to create those vertical strokes and right in the middle, I'm also using the green color directly with my brush and tapping it in to bring in some textures into the mountains. So I'm going to switch between are the deep black color mix that we made and just add in a little bit of the sap green color. And if you look closely, there's a section that's lighter and then there's a section that's darker since it's just to add a little bit of texture into your painting. When it's still wet, you can use them like watercolors. So you've seen how in watercolors, when you just mix two colors together, they blend, but the effect is not the same, which I mean is it does not just flourish and move along like watercolors. It's still more controlled. But when the paint is still wet, you can add in lighter colors and it will slightly blend with the previous shade that you added. And then it'll nicely gives you that nice texture look that you want. So without really actually working hard to make that happen. So this is the light green color that I've been using, which is just sap green actually enough to stabbed it on my mountain while the paint is still wet in this random order, I'm not really thinking through. This is just an area where there's a little bit of green in it without many details. So I've just randomly added that in that area. And then if you think that you've made the green too much, you can always go back with your dark, almost black color that you've used, this deep green shade. You can go back to that and then add it in to make it look good. And once you're done with this, you are going to wait for lead to completely dry, and then move on to the next step. I decided to add in the sap green mixed with a little bit of white. And I was doing this just to add some more texture, a little bit more lighter green color. Again, you're going to do this while the paint is still wet so that you don't get those rough edges. And like I said, just like watercolors, if your paint is still wet, it will slightly blend in with the water that's already in that wet section and then give you the texture look that you're going for in case if, if you feel like your section has dried, that area is dry, then you can always lay another layer of paint over it and then just add the lighter bits. You can go ahead and add black are the deeper, the other green that we used and then add the lighter green over it. This is it. This is how the section looks. It looks funny right now, but once this dries, all the colors will likely get separated from one another. And then the extra loop that I was talking about will come into play when it's wet. Try not to really dwell on it a lot because it looks different when it's wet and once it's dry, it looks completely different. I'm really happy with the way this turned out now with the lighter greens that I added over, I also fix the edges and made them slightly rough so that they look like they're trees on them. So once you're done with this, you're going to wait for this to completely dry. Alright, now you can see once that section is completely right, has that nice textured look. You have those lighter greens, darker greens. All if it looks so nice without, without really actually having to work so hard on it, you've got a nice texture that we were looking for. Now I'm going to go ahead and use that dark mix. This time I've added a little more black into this section because this is going to be the base of this area. Now, this is, let's say, a hill that's much more closer to the observer. And that is why we will be adding more details in this section. So the previous set of mountains, I didn't want to add details because in this one which is in the foreground, Let's say the middle ground rather has more details to it. Closer to the observers is going to see all the light greens, the dark greens. And the previous one is still awake. So he does not have to see the exact details of the greens that you're adding. So I'm using this nice deep black, dark green, deep green color. And I've just added it carefully over the horizon line that I sketched. And we're going to wait for this to completely dry before we move on to the next step. Alright, now that this layer is completely dry, we're going to repeat the same step that we did in project. So this is almost like moving ahead using the same techniques that we did earlier to achieve something different. Now, over here I've created this nice deep green color. So you have to go in shades that are slightly lighter from one another until you come back to the lightest green shades I'm using my round brush. This is size six if I'm not wrong, and I'm going to go ahead and just tap these dots all over the section, randomly covering 70 to 75% of the area, very similar to our previous stuff. You can also make this rough movement with your brush. It doesn't have to be all dots. You can also make little blogs as well because this is the base layer, so it's not going to be perfect. You don't want it to be perfect. So just go ahead and create this all over this section. Once that yet is completely dry, we are going to create a grain that's lighter so you can use the light green that we used earlier, that is sap green directly from the tube. And they're going to go ahead and again repeat the same process, but this time making these vertical strokes carefully because this is going to be the third layer that you are using. And this time you don't want to go all over the area. But just imagine this being like a volume in this bush, right? Hill with a lot of trees. It's going to have some sections that are light, are some sections that are deep up. You have to go in that order. Now you can look at the reference picture to understand where the light will fall. But I'm just going to tell you that I do it. However, I feel like in the moment. I'm just going to make sure that I called on 5250 per cent of fifty, two, fifty five, fifty to 55% of the area. And making sure that I'm leaving some space for the darker greens and the blacks. They should be slightly visible as well. Once that layer is completely dry, you're going to go ahead and add a little bit of white into your sap green, and then use that color to add in more highlighted with this time, even much more carefully because you're not going to cover the entire area as you can see, I've just added in some places just to bring in that nice light cream color to give that nice fluffy bush. Going to use this color carefully making this line covering around 30 to thirty-five percent of the area. It's not supposed to be perfect. Those lines as vertical strokes, those random dots are not supposed to be perfect, so don't. Funny about it. This is just to add extra, just to add that effect. Alright, so I'm really happy with the way that section has done out and I'm going to create another mix of black and a little bit of sap green into my palette. This time we need a color that's even deeper. So you can also go ahead and use black directly and then add in the greens and the middle like we did with the third set of mountains. So I'm gone ahead and add just a tiny bit of green into my brush. And then I'm going to just follow the shape that we left, the white shape that we have left behind. And just create this nice mountainous shapes is not exactly mountains, but they're just like a cluster of trees and bushes in that, in that area. So we're going to go ahead and go ahead and make the edges first and then fill out the entire section. We can use a light consistency of paint over here so that you don't have to really deepen the color because it's the base layer. You can also go ahead and add a little bit of green. And like I was talking about, right now, I'm just adding this deep, deep almost black color into the area that's in the middle ground carefully above the edges. And once I'm done filling out the entire section, I am going to go ahead and make sure that it nicely connects with the line and then add in a little bit of green. So I've mixed black and green together. And I'm just going to add it on the left sides of the area. So this is just to add in a little bit of green into our background layer so that it does not look really flat and black. So I'm just going to lay down a little bit of green so that it helps us men by layering with our brush. It helps us to achieve that nice, fluffy look that we need. So as you can see in watch me add it to the left side because I'm assuming the light is going to come from the left of the paper. And that is why the left of this section is going to have that green to go ahead and add a little bit of this deep green color. And once you're done with this, you're going to wait for it to completely dry. And in the next lesson we'll be adding more lighter colors to this section and then creating the base for our foreground. 15. Day 3 Part 2 : Spring Days: Alright, Let us start adding details on the lighter colors to the tree. So I'm going to start off with this nice deep green color. This is not exactly black, but a nice deep green color which I've made using a mix of sap green and black. And I will be using this shade to add in the stroke's. I've used my round brush here because I wanted a more round look for this section. And I will be adding these word called stroke slightly going upwards in towards the left side. And as you can see, I'm adding this more towards the left side of the section as where we added the lighter green color when we were making the base. You can see me along. I'm basically almost covering 70 to 75% of the area, just like how we've done in the past. You're just going to repeat the process again and make sure that you're creating these different little sections and not going all over and just as a flat way, you create these tiny, tiny sections. So when we add in the lighter colors to this, it gives that nice fluffy 3D look tool geometries. Alright, now that I'm done adding this green, as you can see on the left side. I've also gone ahead and cite the added this green on the previous set of foliage. That was because that green, I really didn't like how it turned out when it dried. So I just went ahead and added this deeper green over it just to lay it over and then we'll add in another set of lighter green over it. So I wasn't really a fan of the way the brushstrokes look, I guess. So I just went ahead and laid over using the deep green that I was using right now. Once you are done creating this little section, I've covered almost 75% of the area. I've also made these little sections and clusters together. Once you're done with that, you are going to wait for the layer to completely dry. And once that happens, after that, you can go ahead and layer the second, second, second set of colors. So I'll tell you how you do that. For now. Just make these little strokes and fill the area up to 75 per cent. Now for the next set of colors, I'm going to use sap green, this nice second green that you can see in the swatch section. It's just sap green in its natural form. And you can add a little bit of fight if you'd like. But for now I'm just going with sap green in its natural form. Then using the same color to this Time cover almost 5255 per cent of the Ada going over the previous trucks you made, but this time making less of strokes that you can also see the black part of the foliage, can see the lighter colors and the medium green that we added. So the process is again very debilitating. So you're just going to add over n layer over your phone. While this layer dries, let us go ahead and create the mix for the next color. Over here, I'm going to mix a little bit of yellow, a tiny bit of yellow, a tiny bit of white into the green just so that this study, yellow, vibrant yellow, undertone to the green. So I could use white directly into the green, sap green, but I want that hint of yellow to make it more warm. So now using this little mix of yellow, white, and sap green, I'm going to start adding the lighter colors over again, repeating the step this time covering only 3235 per cent of the area. I'm just going to add some strokes which act as the highlights. Alright, so we're just going to make sure that you can see the medium green, the black, the deep greens. You can see all of those greens, but at the top of it, you have these night light, nice light color falling on that section. And you can also use this color to add in the lighter colors in the folios that's behind it. As I told you, this process is going to be very repetitive, absurdly going to increase the speed. But you can enjoy painting along with me. To do that, we'll have to slightly reduce the speed. So I'm just going to make it 1.5 times, but you can reduce it just to follow me along. Why are fully section is drying? Let us go ahead and create the base color for our foreground. So I'm starting with this pink color, which is a mix of primary red and white, but you can use a pink color, maybe a permanent shows and add a little bit of white to it to make it nice and opaque and lighter. I'm going to go ahead and add it in this little section. You remember we had two little sections in the foreground. We had a triangular shape and then we have a section that was going slanting. So that is the triangular section which I'm adding this pink color. And then along with that I'm adding a little bit of green and slightly mixing the deeper greens, the lighter greens together. So you've already have this mixed on your ballot in case you don't, you just need a light green which just sap green directly from the palette and light are slightly darker green. And if you feel like your pink was being overpowered and you can always add pink over, but makes sure that you're not blending the pink completely with the green. Because otherwise you'll get this muddy color not show up. So be a little bit careful when you're adding in the pink color. Once you're done with this, wait for this to completely dry before we go ahead and add the base color at the next section. Alright, now that my section is completely dry, I'm just going to use this nice pink color mix that we used. And here's a swatch of the pink color in case you want it for your reference. I have used primary red and white together to get this color using the same mix. I'm going to go ahead and added right under the other triangular section that I was talking with a slant is Section. Use this color. I've added a little bit more red so they appear more vibrant here. And using that column just going to carefully go in this slanting towards the right side. And then I'm adding more pink over here because I wanted it to be more vibrant and stand out a little bit more as the base color. Then right under the pink, I'm going to go ahead with a light tone of the green carefully because I told you being and the green will blend together to give a very muddy color which we don't need. So be careful when you're blending the pink with the green color. And then when you are done with that, you're going to slightly just start blending and downwards with this light green shade. And as you come somewhere almost half at the little section that we have, that slant is section, you're going to use the dark green mix, but this is not completely dark as you can see. It's not fully dark, but it's a dark color. It's a dark, deeper green color. You can also add green to make it lighter or black to make it darker. All you have to keep in mind is that it has to be dark because over this, we will be laying the lighter colors. If your shade is too light, it won't show up properly. So you want a deep dark color as the base color. It's similar to what we've been doing in the past. We've been laying black. And then over that we have a bunch of different layers. So similar to that of a here we need to lay the colors accordingly. Now you can see that I'm going all over the place. I'm not going in a particular order. And that's because this is a section where you'll have a lot of these standing tall grass and all of that. So it doesn't have to be a straight blend. You can do blend it in this random order and once it dries, it also adds to a nice texture. Seek and use that texture to your benefit and paint accordingly. So you can do this while the paint is still wet. So I've gone ahead and added a little bit of white to my pink, solid red. There's two vibrance. I just turned it down with a little bit of white and then I'm doing the same blending method. And right now it might look like you're painting is all over the place because the top half looks amazing. And then you have the bottom half, which looks a little bit crazy, but that's because it's the base layer. So you have to be a little bit patient with yourself. There's no perfect ordering in which you do this. You just have to follow the color theme that we're going with. I'm switching to my size six round brush. And I'm really making these words because shapes, as you can see while the paper is still wet. When I do this, while the paper is still wet, like I told you, a slightly blends with the water and you don't get these sharp edges. And since I want this to be in the background as the base color, I have to do this while the paint is still wet. I'm also using this darker green color to just add in a little bit of texture in that foreground area. I just don't want it to be light green in the middle. I want to add a little bit of darker color so that when I later layers over it, it has this little shadow effect to it. And that is why you're adding the darker colors for the shadow onto your other layers that you add over it, it'll create this nice shadow. And once you're done adding the darker colors, you can also slightly move it to the pink, right? And you can also use pink and slightly move it to the greens. You're just blending these colors in a random manner, creating shadows as the base color. I felt like you're the darker green slightly overpowered everything. The lighter greens that I had. I'm just going to use the light sap green directly from the tube and just added randomly, as you can see, not going in perfect brushstrokes, but rather going all over the place. Random squiggly motions because this is the base layer. You're going to have a bunch of layers over it. So it's not really going to show up that much. But it will just add a nice texture to the background. That is, it. You got to wait for this to completely dry. And in the next lesson we'll be adding all the details to our foreground elements. So see you then. 16. Day 3 Part 3 : Spring Days: All right, So to start adding textures and working on layers. First, I'm starting off with this lighter green color where I've added a little bit of white to the green. I'm using my round brush and the dry brush technique. I'm going to start adding textures. As you can see, I'm just brushing over with this thick consistency of my paint over that area. Now, this technique is something that I really like when it comes to adding texture. See, as I add more white and layered over, it just looks like I spent a lot of time trying to bring in that roughness in that area, but rather it just took me a few seconds to create a thick consistency of paint. And as I brushed over because of the texture of the paper, it's going to create that beautiful. Now I'm going to switch to my size four round brush. I'm going to use that nice red color so you can make this in a larger quantity because we'll be using a lot of the shade for adding in the flowers. I'm using this color. I'm using the dry brush technique again, just to add in the textures because this area is really far away from the observer. So we don't really need to work in the details of our flowers, but rather we can just add a little bit of the texture. And this will give the sort of look into your landscape that this area consists of these flowers, but they are really far away. So you can see the details, but you can see the color, you can see the color, it spreads into the ground. You can see that they're there, but you can see the details. So in case you feel like you loaded a lot of ain't, you can always brush it on the side of your masking tape to get rid of it. And then you can use the dry brush technique to start over and add in the textures again. So when he created the base, we just wanted that area to have that color, the nice pink color as the base. So that when we go ahead and add textures, you have a base color and the texture is happening over that. I've also gone and created some tiny, tiny dots like a cluster of them along with the textures is to make it more opaque in that area, especially at that dark bed where it connects with the foliage. So I've just added a few dots here and there's a scan depict the bigger flowers and slight little dots. You can see the details of those individual flowers. Once you've done with this, we are going to wait for this to dry and move ahead in the next section. Now over here, my footage got lost in this area. But I'm just going to quickly tell you what I've done. I have repeated the entire step again, which is adding the textures. So you can see that I've randomly added textures on the ground about a little bit of pink texture as well. But just a tiny bit, I focused more on this nice light green texture. I've used a thick consistency of paint for it. And right at that bottom area where you can where you saw that we added the black strokes with our flat brush. I've just gone ahead and created individual stocks like we did in the previous class project. So that is the only thing that I've done with a little medium green colors. I have not used the same light green that I used for the textures, but rather use a little, little darker green version to add in the details for the stems. And now I am using my pink color to go ahead and add in textures over the green. So you go with the green texture first and then on top of it, you're going to add the pink texture. So I'm carefully just using the same dry brush method to go over and bring out the pink color, picking up the color for the flowers that are there in our foreground. So the dry brush technique works really well in this section because it just creates that texture for you. You don't really have to work hard to make them happen, right? And that area which is at the top is the starting point of our foreground. You're going to have textures. And then as you slowly progress down, you're going to start making clusters of these dots together. These dots are going to be the Florida that at resting on the light green that you've added as the texture in the base. And since this is still closer to the observer, he can see those individual flowers. So the top area is the area that's further away. So he cannot see, or she cannot see the exact details, exact shapes of the flowers. But as this area comes closer, you're able to see the individual flowers. And in the bottom section of our foreground, you can really see the shape of the flowers. For now, since we're working in this middle, middle section. We're just going to make dots and you're going to make the dots right over the green textures that you've added. So make sure that you're adding these green textures randomly in clusters so that it's easier for you to add in this color. Now, this shade that I'm using, it's slightly darker as the as compared to the pink that is at the top. And that is because that pink has more white in it. It's red and more white. This one has more red and just a tiny bit of white to make it nice and opaque. Now on this we'll add another layer. So it will really add to the layering bit of our artwork. So right now we're focusing more on creating those clusters. So let's go ahead and add that on your painting. You can add them wherever you want. By the way, you don't have to add it in sections are in just exact sections that I'm making can just randomly add them wherever you feel like it. Here again, I lost the footage of this step, but what I've done here is I've just taken more white into my red mix and then added dots like we did earlier. And this time I'm adding lesser dots just to add in a little bit of the highlighted bits into our flask. That is the only step that I've done is I've just good. I'm just going to give you some time right here so that you can maybe pause the video and just complete the step and then we can continue together. Yeah, this is very similar to adding greens method where you have the base layer first, then on top of it, you added a darker color, and on top of that you add a lighter colors that's very similar to that. The only difference comes is that in this, in the folate section, you have vertical strokes. Here, it's just dots, so we're just trying to create individual heads up, throw off the flower. So it's just little dots that I've added and that escapes. So that is the only step that you have to do, an add in the light TO Galloanserae of flowers. And now we're going to move on to the next step. And that is to use our long round brush. I'm using my round brush and I'm using a mix of yellow, green, and white. It's this nice light green color that I'm going to use. And using the shade, we are going to create some more details to the bottom part of our painting. So I'm just going to make these vertical grass shapes in different directions. I'm going from top to bottom, releasing top to bottom and then also extending from bottom to going up. I'm going to just add in these random strokes around it, just uneven shapes that I'm making around it. That is because this area is going to be the details for our lease. So you don't have to make the exact details, but I'm just some somewhere down the line adding a little bit of left and right movements into my stocks as well just to have those leaves in place. Other than that, this person is very depth data. We're just adding a light color and I'm just going to cover everything. One thing to keep in mind is to not make all of them the same size and same height. So you just want to play around. And I didn't have bigger leaves if you'd like some smaller leaves, some extensions in the left and right side at which you maybe want to make those flower buds. But let's go ahead and add in two of these thin strokes. I didn't really like the shape of the flower heads that up added. So I'm just going to skip that step for you guys and we're going to fix everything in the next bit. So what I'm doing here right now, it's just using a nice light green color, which is a mix of sap green and white. And then I'm going to use this plateau method which just splatter in some colors, splatter in some dots into our fields. So I'm just loading my brush with some paint. Tapping it against another brush makes sure that you're not loading up a lot of paint. Otherwise, it's going to make bigger dots are to get finer dots, splatters. You need to load in very little amount of brush, paint. Brush. You need to load up very little amount of paint on your brush and then tap it carefully against another brush to create that texture. So I'm going to splatter this all over in the foreground field. As you can see, Do not overdo this because there's a heightened and see. I tend to do it a lot as well that I go overboard with the splattering sometimes, but don't try to not go overboard. And once you're done with this, you're going to wait for this to dry and then you're going to move on to the next step. Now while this is drying, actually let us go ahead and add in some birds in the sky before we go ahead and fix our flower heads. So I'm just going to make the space they can our shape, we're just extending the starting and the ending point carefully. So for this you need a really thin brush, so you can use a size 0 brush as well. Then right in the center, you can make a little circle just to show the body to be slightly bigger, to just make a tiny bit of a circle and then the shape. Now if you're not very comfortable, you can try this on a piece of paper or not add them that is completely on you. All right, now what I'm going to do is fix these flower heads. So what I'm doing is loading my brush with some pink, the light pink color. Then I'm just going to make these vertical strokes around in a circular form. And you can make the shape how we, however you want. I went from dark to light color, which I didn't like. That is why now I'm going to go from light to dark. That is why I wanted to fix it. And I've also added some buds as well with a light pink color. So as you can see, I'm just going around making this vertical stroke around the base that I already created, but it's okay if you haven't created the base, you can just make a circle and then make these little strokes, vertical lines around it for the flowers. One thing that you can do is make those lines around an a so good or make a circle and make those lines or make a line and then fill the entire circle in the middle as I'm doing so I'm just making these lines and then filling it in the middle. So this is one of the easiest ways in which you're going to do it. You're going to repeat it for all the flowers. Now there's no right or wrong as to how many flowers you have to add. You can add as many as you want. Wherever you want, whatever size you want. Just remember to give them a little bit of radiation. Try to make some of them bigger. So often smaller, some birds, some widely open flowers. So completely up to you how you want to do them. I'm just going to tell you what the shape is going to be like. So let's just make this vertical strokes and fill in that section. Alright, I'm actually okay with how this looks right now. And what I'm going to do is just load my brush with the darker color, which was the darker pink color, and just make these little blobs in the center. As you can see, I'm not really focusing on the exact shape. I'm just mixing it in and then using a very thin consistency so that it's easier to blend it with the previous year. And I don't want it to look really odd while the paint is still wet. I'm just loading my brush with the dark color and adding that in as well while the paper is still wet. And that way you don't get those really harsh edges. You can add in the darker pink in some of them. You can also choose to add them in some of them, but this is what your overall shape is going to look like. Once it dries, you can splatter some pink if you want. Or you can just carefully peel the tape of acetone live. You're not going to focus a lot on the details of your flowers, but rather just focus more on adding the textures, adding the flowers, then you can see those flowers, but not really in the best possible way. And this way, as you can see, I really actually like this class projects so much. I love how pink it looks. I love the greens of this landscape. The one thing that I really didn't like was the flowers, but silicates fine that we ended up adding it this way, we fixed it. But as you can tell, it's better than the previous one that I added. And here is a final product. As you can see, many beautiful shades of greens. And we've got two beautiful colors of pink. One got a clear sky. Everything about this landscape is just so pretty. And I hope you enjoyed watching the three. Hope to see you in the four. Here's a little sneak peek of what's coming next. So see you there. 17. Day 4 Part 1 : Dramatic Sunset: Hello everyone, Welcome to day four of our series. Today we're going to paint this beautiful, dramatic sunset. And the colors that I'm using are cadmium yellow, cadmium orange, primary red, Prussian blue, sap green, titanium white, and lamp black. For the purple, I'm going to be using a mix of red and blue, but you can use while led directly itself. Alright? So I've taken my paper on all four sides using my masking tape and taking the colors out on my palette as we discussed. So let us quickly get started with a base sketch. For now, I'm going to draw a horizon line dividing the paper in two halves, almost like a 2.5. And you don't have to make a straight direct line. I really liked the unevenness in the ground. I think the straight lines is too harsh. So you can just roughly sketch that. And behind that, or rather above that, we are going to add a series of mountains. Now. Make as many as you want, make them urine, whatever shape that you want, you can follow me along as well. You can look at the reference picture to understand the placements to that's completely your choice. I've just gone ahead with a seas of different hills. And that's going to look really pretty when we add in the colors actually that some flight sketch that we have, the placements of these hairs are the only important, but other than that, everything is just random. That's all that we're going to do while we're adding layers in the bottom half, not bottom half at the most bottom section of the paper, you're going to have a bunch of flowers and leaves and all that. So that is it, That's the basic sketch. So let us quickly start painting for this guy, I'm going to use a mix of my cadmium yellow and white and a Madigan little bit of orange, just for adding a little bit of an orange undertone to it. But this time the yellow is more so you get this nice yellow, orange color. Uses swatch of the shade that I'm using. Remember that adding white means you're going to lighten the tonal value of the color using my flat brush. I'm just going to brush it over like this. And if you notice my brush movements, they vary from being completely flat to using the sides of my brush. So basically for now we're just laying down the base colors. Now I'm going to mix it yellow and white together. So it's just going to be yellow. And it's not going to be the yellow, orange color that we mixed earlier. And right above the yellow orange color that we laid out in the section, the sky portion, we are going to lay yellows. As you can see, this color is much more vibrant and yellow as compared to the base color. And that is a transition that we want. We want to transition from the orange to the yellow. And then I'm going to mix a little bit of black, white, almost. We're going to create a gray color, and I'm going to add a tiny bit of blue to it. And we get this nice neutral gray, grayish, bluish shade. And that's the color that we need. So it's not too blue, it's not the actual Prussian blue color. And it's not even, say it is just a mix of Prussian blue, white, and a little bit of black. And I'm going to apply it in the top part of the sky. And I'm going to use a left and right motion to slowly blend it down. You can keep the consistency of the paint to be slightly thinner over here. Because this is the base layer. We are definitely going to add another layer over it and make it more opaque. Right now we're just understanding the placements of the colors to mix the yellow and the gray, bluish gray color that we've used. I'm going to use white. It's almost like using the mixing with white method where you're trying to blend two primary colors or even secondary colors. And you're trying to not make the muddy mix of these two. So you can use white to blend it together. As you can see, I'm moving the yellow upwards and bringing the blue downwards. And in-between we have the white, which is going to help these two colors merge together without creating any green or any muddy shade in the middle. So you can just go in this nice left and right motion until you're happy with the blend. Whenever you feel like your brush is too dry, you can use water to blend everything. And once the layer is completely dry, you're going to repeat the process again. So you have to wait for the shade or the background layer to be completely dry before you go ahead and start laying colors over it again. As you'll notice, the color becomes much more opaque and it's times out even more. And one other thing that you have to keep in mind is that gouache dries to be lighter than the color that you put on the paper. So you might think that the yellow is too dark when you lay it too wet, but when it dries, it's going to dry out to be slightly lighter. So just keep that in mind. So right over here, I'm actually really happy with the way the blend has done out. Your yellow and orange are nicely blending into one another and then transitioning to the white of the sky, and then transitioning to that bluish gray that we have at the top. I really like the way the clouds look over here and fill this. I'm just going to add a little bit of orange while the paper is still wet and just blend it in. Now, I didn't want the whole entire section to be yellow right above the orange. And that is why I went ahead and added orange from the left stopping midway because I want somewhere in the right section to have the brighter colors in the sky. So I just went ahead and added a little bit of orange and then blended them altogether. Once you're done with this, you're going to wait for this to completely dry and then we'll add the clouds. Alright, now that my base layer has completely dried, I'm going to go ahead and start adding the clouds. I'm going with this yellow color which turned out to be really light and wasn't showing up that well. So I ended up adding a little more white to it and I'm going to start adding linear clouds. Now. Making fluffy cloud has really tough, but making Lena clouds are much more easier. Because in this the brush movement remains very similar. And all you have to do is kind of like guide your hand to guide them, to tell them where the strokes need to be. But anyway, I'll tell you what the secret to myelinate clouds are. I actually end up using my brush slightly slanted to the paper. I'm going to switch to the orange color. Let me just tell you that first. So here's a swatch of the orange color that I'm using. I've added more orange to the mix so that it's much more vibrant. It stands out in the sky, and it's not a very toned-down version as compared to before. So it's nice and vibrant. And I'm going to use sort of like the dry brush method where you don't want to load up a lot of paint, but you want your brush to be slightly dry so that you can use the texture of the paper to your benefit. The price movement that I go with is kind of like making this. Telling my paper no, right? With my brush. I end up telling my paper no with my brush. And this is like a constant movement that I have in my brush. It's almost like a ticking clock. It has that movement the entire time. And all I have to do is like rested on the paper while continuing the movement and then lifted and then drag them drag it wherever I want. And because you're using a thick consistency of paint, using a textured paper, end up creating these textures that look like clouds. And this is probably one of the easiest ways in which you can add clouds and to make your scale of look much more better and dramatic are adding that beautiful colors in the clouds. You can use this method because it's easier and it's very beginner friendly practices out on a piece of paper in case you are not very comfortable with putting it on the paper in the beginning itself, because I understand how you might have to sketch book in front of you and you're just so scared to make mistakes and mess up because we've all been there. We don't want a row in a single page in our sketchbook and we want it to be perfect, at least. That's what I used to go in my head. So you can try it on a piece of paper and see what your brush movements look like when you do it. It does take a little bit of time. Maybe it's easier for me to do it because I'm so used to making these clouds. But I'm telling you because you can do it though. I trust in you and I know that you can do the same movements. So practice it on a piece of paper in case you're not confident in making, put it in your sketchbook. Now, I'm going to make a gray mix, an added the orange like this in the sky as you can see, coming from the left stopping midway where the yellow now made a mix of this nice, warm, neutral grayish color, which is a mix of blue, little bit of red, a little bit of orange, basically just using all the colors that I've used in the sky. And we want it to be somewhat that mix anyway. But before we do that, I've added a little more orange and connected the yellow and orange with one another. And I was actually happy with the yellow the way the yellow look. I'm just going to go ahead and fix that little section because it's too wide as compared to the orange that is in the sky. So this time I'm just using yellow direct hello with people a little bit of white to make it slightly more opaque and standard. But it's still a much warmer. Tonal value of the yellow color that we have used. And I'm just blending it into the lighter yellow color that we've added earlier. And then just mixed around and make the same linear motion like I was talking to you guys about. And fix that little light, vibrant yellow that we had covered up with some nice warm yellow color. I also went ahead and added a few little clouds coming from the right side and coming closer to the yellow that we laid out because the right that looks slightly empty, especially at the bottom. As you can see, my clouds, really, the orange Cloud specifically stay more concentrated and the eta, which is orange in the background and just lightly went up to the grave. Just a few strokes, not all of them. You can make the concentration of this orange clouds just in the background where the orange was. And now I'm making that same gray mix that I was talking to you guys about, which is a mix of blue, red, a little bit of orange, and tiny bit of black. And then there's a bit of white, a lot of white actually, you get this nice gray grayish color. I wouldn't really call it pure gray. It has this warm undertone to it and we want that warm undertone. Slightly popular shows if you, if you asked me. So we want that warm undertone to be there because we are always looking for a sky to be orange and purple. The shadow, the deeper colors in the sky is going to be with the purple. I've just mix this if you think the color is too dark, remember you can add white to slightly tone down the vibrancy of the particular color. And now I'm going to use the same. The linear movement that I was talking about the same no, to my paper with my brush. And I'm going to add this at the top. Now, what I'm basically doing here is this is going to be the sort of like, let's say the darker bits in your clouds. It's going to be at the top because the sun is somewhere in concentrated in that yellow bit. That's the most brightest part of the sky. Let's go into cast some light on the clouds, which is the orange that we laid out. So instead of doing poeple first or this gray first and then adding orange, we went with orange and then we're adding purple over it. So at the top, I'm going to have this nice purple color. And under it is going to be the orange. What you've done, you've already laid out the orange right over it. You're going to lay the purple using the same movement. You are going to lay the purple. But in case you have made solid sections that you don't have space to add the purple, you can just go over some of the orange bits and added, this is not the perfect class. You're just trying to add in the darker clouds right now. Even if we're doing on it on a rough paper instead of your sketchbook, you might notice that it looks crazy, right? It looks, it looks like you've ruined it, but trust the process, right? We're going to fix all a fair, we're going to blend them together so that they look like one nice fluffy, dramatic clouds in the sky. So you're just going to go ahead and add this little section, concentrated more on the left side because as you can see, the Sun is somewhere here. And it's going to cost a lot of light that falls in the clouds. And all of those clouds are going to be nice. And orange, orange. And right for the shadows, will use this nice gray purple color. Once you're done with this, you are going to, like I said, fixed stuff. But before you fixed off, it can also go ahead and add in some more clubs in case you're not happy with the way this looks. Right now. I've just got it at an angle so that it's easier for you to see how I'm doing it. I've covered the orange that was there, those sharp edges at the top. It's all gone now. It's covered in this nice bluish purple color. I'm really happy with the way this looks right now. So now we're going to switch to the orange color. And I'm going to add a little bit of white to my orange color just to tone it down slightly similar to the color that we used for the previous brush stroke. And I'm just going to add orange. And especially at the edges, right, those harsh edges that you see where I lead in gray on top of the islet cells open and gray that we laid on top of the orange tonight at those edges, I want to add in a little bit of this orange color so that the wet paint slightly reactivates the purple, purple gray. And it helps lend with one another so that they look like they are part of a single Cloud, rather than being just two different individuals, fellows in the sky. So we want it to have that nice blended mortgage to look so you couldn't see the lighter parts of the sky. You're going to see the darker parts of the sky, but same time you want them to be slightly blended with one another. This isn't the time when you can also add in some tiny, tiny clouds wherever you feel like adding them. Some filler Cloud, some other extra clouds floating in the sky wherever you go with the flow. You can look at the reference picture to understand. I look at the reference picture for the colors and my sky, but eventually end up making the clouds in my own different forms, which is much more achievable to me. And what I mean by that is there are a lot of different types of clubs that I can't eat because I find them really difficult. It's not like that, I can't, but I'm still not very confident with that and I still have to practice a lot before I can master how to make this fluffy clouds. Eventually end up making these clouds in my own style. And that is completely okay, right? This is your painting. No one is going to question you or ask you why this is like this or why you've done this. Unless you're kind of like trying to beat someone. But it's your painting. You can always have explanations for the way you've done things, why you've done it. Making fluffier clouds are easier for you than you can switch to that completely. But if making these leaner clouds are easier for you, then you can incorporate them in most of your paintings. So that is my little conversation about making the clouds and the way that you want. Now it's just gone ahead and added a little bit of that light yellow color that we used earlier, just to add in the light of bits in the clouds. I'm actually really happy with the way the clouds look right now. In some places they look off, but that's because the paint is still wet and it looks kind of weird sometimes when the paint is still wet, so you have to give it a little bit of time to dry out. And once it dries, it looks really good. If you feel like there are certain places you want to add more orange. Two are certain places where you want to add more blue to. You feel free to go ahead and do that instead, because this is the time where you're just going to add and blend and fix the things that you don't like. And once you're happy with the way your sky looks, you are going to wait for it to completely dry. Then the next lesson we will be painting all the green hills in the middle ground. 18. Day 4 Part 2 : Dramatic Sunset: Alright, let us start making all the details of our hills that are in the middle ground. For that, I'm going to go first with a truly dark mix of color, which is a mix of black, sap green and a little bit of the Prussian blue colors. As you can see, it's almost very close to black. And I'm going to use the shade and block in the mountain that's really, really far away. The first mountain that you see under our sky, we do use this color and block the color right in using my round brush. Now, as you can see, I am making this uneven brushstrokes. I'm just moving up and down vertically making some strokes and that's exactly what you want to do. Don't make it all straight. When you make it all straight, it just looks too flat. But when you just add in a little bit of variation, it makes the mountain or whatever shapes that you're making for your help, whichever direction you are flowing, it makes it look much more natural. So make sure that you add in a little bit of up and down movement, your brushstrokes. And once I'm done with the outline, I'm just going to fill the entire section in width. The mix of color. You can also add in a little bit of water so that that section becomes slightly brighter, like a much more thin down consistency. Now I'm going to load a little bit of black on my brush. And I'm just going ahead and adding much more careful strokes randomly in that area. Now the base color is already blacks. I've just made the color even darker. And adding these vertical strokes, it's just going to bring a little bit of variation. And it's going to show that even though this margin is really far away from the observer, you can see there are trees and there's a little bit of foliage that in around that section. So go ahead and use a round brush. This is a size four round brush, but you can use a smaller size as well. I've added the shapes. I've made really, really tiny strokes that give the appearance of really far off clouds. And right at the bottom or in that area in the color, I've gone ahead and added some dots that it's going to give out a little bit of texture. And once it's dry, you can actually see it. When it's wet, you might not be able to see it clearly, but when it dries, you can actually see the wet bit wet, darker colors. Now let us go ahead and paint the next set of mountains. So for that I've mixed my sap green color with a little bit of orange edge. So you can see it creates this nice brownish orange, if I were to call it, it has the orange undertone to it. I'm going to go ahead and carefully lay that right below the black that we have had. So you can use a flat brush or you can use a round brush, whatever works best for you. I am going with a flat brush right here. So if lead the lighter color at the top and right at the bottom, I've mixed sap green with a dark color as we used earlier. And I'm going to go ahead and add that in and block in the color in my sketch in the next set of hills that I drew out. Now if you're confused, you can look at the reference picture and it'll give you a clear idea of how I have sketched these hills. So as you can see, I'm blending the lighter color with a darker color, bleed them right next to one another. Now I've switched to my size four round brush again and then just making the slant thing stroke. So that, that gives kind of like a movement in the, in the mountain. It's going to give you slide. Look that it's going downwards, right? You can see it moving downward. So there's a section that's up and then slants down. And you can do that by just making the slant, slant lines using the colors, the lighter colors. And I've also added a little bit of this brownish color. It's more towards like a light green brown, almost like a muddy green color if I were to call it. And that's because I'm mixing the green and the orange with one another. I've just added that just to create a little bit of texture in that section. Once it dries, you're going to wait for this layer to completely drive. Once it dries, you'll move on to the next step, sort of repeating the same steps. If you're not happy with the blend of anything, you can always go ahead and add in more colors just to make the texture play come in. And when you're happy, just leave it right there and wait for it to dry. Now that my section is completely dry, I'm going to go ahead in the second set of hills that you see. For that, I've mixed my sap green color with a little bit of yellow just to make the top part to be more brighter than it was. So I'm just going to go ahead and carefully lay this color up at the top. So this is just going to show that this section receives a little bit of light. It's higher up and that's why it's lighter. And add the base you have the darker color. So I've mixed a little bit of sap green and my orange, which was already on my palette. I've just mixed both of them together and lead that color under the light color. So as you can see, there are two shades of green right here. And then right at the base where it touches the horizon line, you are going to make a darker mix of the green and just add that in. Then again, once you add in these three colors, you're just going to use either of these lighter colors to blend them together to create that nice slant look. So as you can see right now, it looks very flat. There is no movement in it, right? It looks too flat. The colors are not blended with one another. So right now, once you lay all the colors, you're going to clean your brush and like I said, load another light color, the same light colors that you've used and sort of bring that inmates land and blend with one another. So you can play around with the darker colors and light colors to see what makes the blend look nice. And once it's done, they're going to wait for it to dry and then move on to the next step. Here again, I'm mixing my sap green color with a little bit of yellow and then repeating the same sort of step again rise. You're going to have the light green and under that you are going to have this medium green, which is actually a mix of sap green and brown just so that it has that orange undertone or the muddy orange undertone to it. And then you're going to add the darker colors at the base where it does not receive a lot of light. The process here is very deputy editor for all three of them. Even though we ended up using the same colors, you can still separate. You can still see the different hints. You can see them as three individuals set of hills that are kind of close to one another. At the base, I'm using a darker green, which is actually just green in its natural form, the sap green in its natural form. And then I'm blending all of these colors together. I have the orange, green, and then I have the normal green that I just use, which is just sap green and its natural form. And then as I reach at the base, instead of adding the really dark green, just add, just yet, I am adding the orange color. And then in the corner, in the corner of the shape of the last hill, I'm adding the darker green. And right now again, it looks very flat and that's because the paint is wet. So whatever you move around will not really show up that well unless it really drives. So nice chance to sort of add in your lighter colors and blend things and see what really makes that he'll go downwards. If it's lacking lighter colors, you add in the lighter colors. And if it's lacking the darker ones you add in the darker colors. It's funny. It's not as complicated as it looks. It even sounds rather here it's just about adding the different greens. So you have to keep in mind where the light would fall and which would be the lighter green and the darker green and the medium green. And then just blend all of this out and add in a little bit of texture by making random strokes just so that when it dries, it looks uneven and nice. I'm really happy with the way this has turned out. So once this dries, it's time for us to add in the final details, which is actually a lot of texture play. So right now again, even after it's dry, it's still flat. It doesn't have any textures too. It's a nice the time you add in texture, some switching to my size four round brush. You can use this even smaller sized round brush. That's completely okay. And using a thick consistency of paint on a dry brush, I'm just going to brush it over in the direction of the hill. If it's slide thing left, I will make the same slant following the lines. And I thought it was too dark, so I went and added a little bit of just normal green textures as well. Play around with the textures, don't. It's very easy to overdo this step as well because you tend to get carried away with the texture, but I'm really controlled with it. Make sure to add them in the sections where you see that it does not receive a lot of flights there, the texture play will be a lot. And in the Aedes that receives a lot of light, the texture play will be slightly less. Either way, all you have to keep in mind is to add an input of textures and variations into your heels so that you don't really have to work so hard to make them look perfect. But with just these little strokes, it ends up looking really nice. Alright, so I'm pretty happy with the way though actually looks right now. So I'm not going to overdo this section and now I'm switching to actually using the same round brush. I haven't switched to any brush. Same size four round brush. And I'm going to start making these far of foliage sections, right? So you're going to have some right above the horizon lines. I'm just making these random cluster of blobs and shapes together. They are not really in a perfect shape if I were to describe it, I'm just making these uneven strokes and they're all clustered together just to add in variations of the foliage that's right above the horizon line. So you're going to go ahead and add that in, make sure that you're adding different sizes just to bring in the variation. Then right above the first hill that you see on the left side, we can make some foliage on top of that as well. That, that acts as the trees that are over that section, over the hill at standing there so you can see it. You can also look at the reference picture just to understand where the foliage stance, but in case you don't want to look at the reference picture and follow me logged in. You can do that as well and add them in these sections as I have. Alright, now that the section or the foliage section is dry, I'm just going to switch to another smaller brush, which is a size 0 round brush and it's very uneven, almost like a spoiled brush. Actually say it really adds beautiful textures. I'm using sap green in its natural form that acts as the lighter colors. And this can be one of the medium sheets that you see in your foliage. I'm just going to go ahead and tap that in just to depict the lighter parts of my, my trees that are on the hills. This is very random as you can see. I'm just adding that in the top portion, especially at the top portion of the little trees that I just painted. Once you're done with that, you're going to again, wait for this to dry and then go ahead and add in an even lighter color. So right now I have mixed a little bit of white into the sap green mix. And I'm going to go ahead and again, add that in at the top bit of the foliage that I've made to add in texture for the trees, just to depict the lighter parts of the trees that you see where the light is going to fall directly on them. In case you don't like our section, maybe you think the Guinness too much, or if you think the white is too much, you can always go ahead and fix it, add more green over it, or just use water to blend it out so you're free to sort of change things. In this section, like I said, you are just focusing on adding a little bit of lighter colors to the little trees that you've sketched out. So that's what I've done. You can also add in some more textures if you feel like the textures have dried out and they don't look as you desire or you want them to. So you can just go ahead and add in some more texture. So I'm going to add in a little bit more with my size 0 round brush. I've just gone ahead and added a little more extra. So if even in this section, if you feel like you're green is too much, you can always add extra using the lighter green and then fix things that you don't like. So over here you can see, I don't like the way the brush stroke look at the top. I'm just using a clean brush. Just slightly bend it out so that it doesn't look as odd as it did when I first made the brushstroke. So basically now is a section that you would think what you want those middle ground he needs to look like and fix anything that you don't like. Things that you'd want a new missed out in the first time. And once you're done with that, you are going to leave it alone and let it dry. And then in the next lesson, we will be adding details to all the elements in our foreground. So see you there. 19. Day 4 Part 3 : Dramatic Sunset: Alright, Let us start painting the foreground. So for that, I'm going to mix a little bit of orange and my green together. Because as you really liked how the orange and the sap green with cadmium orange, sap green locked. I'm going to carefully go over the area that's right below the horizon line. Using my flat brush. Flat brush makes a blending process really easy. So I tend to use plaid brushes a lot when I am doing all my base layers. So I'm going to start off with this nice light orangey green color. And then right under that, we'll switch to more green. So there's going to be more green into my base layer. And as you can see, the consistency of the paint is quite thick. I'm not really focusing on making the layer really opaque right now because I want to focus more on blocking in the colors first. And then once it dries, I will go over it again just to make it more opaque and come to the gouache base that it's famous for. Right now, I'm just focusing more on blending the colors and putting it right there and sort of just creating the base. So once I'm done blending the orange green and the sap green or a depot green. I'm going to come back. I've left this white-space because that is a section where I will add a darker green. For that. I'm just mixing my sap green with the darker color that was at the base. And then again, going in this left and right motion, I'm just going to add it in and blend it with one another. For the blending processes in the background, I generally tend to move in this nice left and right motion because it covers the entire surface without creating any uneven shapes. Yeah. This is what the color of all the greens are going to look like once they are laid together. I'm just going to slightly blend them and wait for them to completely dry. Now that my layer is completely dry, like I said, we are going to repeat the process again, which is just go over the layer with the same colors all over again. So you're going to start off with the yellow, orange color that we laid at the base. Then slowly transition to a deeper green, which is just more green mixed with the orange color. And then using the left and right motion, you're going to blend it out and then add in dark color at the base and blend them all together nicely. Alright, now that you can see all these colors are blended together, what I'm going to do is just add in some radiation. So adding the darker colors at the top where delighted greens are. This just acts as the shadow and the unevenness to the ground. And you're going to do this while the paper is still wet. So like I said, since squashes a water-based medium, then you add that in when the paper is still wet in, the harsh edges really disappeared and just sort of melts with the water that's there. And now I'm going to switch to my size four round brush. And I'm making these nice grass shapes just releasing from the bottom of the paper, moving upwards in different sizes and elections. And again, I'm still doing this method while the paper is still wet so that it kind of melts with the base color or the wet surface that there is so you don't get really harsh edges. So do this while the paper is still wet. If you think that people have slightly dry, you can always lay over the same color as the background and then repeat the process. I've also gone ahead and added some lighter greens and some darker greens to add into the shadows of the section. And once you're done with that, you're going to wait for it to dry completely. Alright, now that my layer is completely dry, it's time for us to go ahead and add in some texture. So I've made a mix of my light green shade. I'm going to use my round brush for that. So this is the mix of green and a lot of white so that it gets lighter. And I'm just using the dry brush method to brush it over the section to create this texture. Now since the paper is a rough, almost like a rough green paper, when you add that in, even as, even on a cold press paper actually because of the texture of the paper. When you use a dry brush over it, it's going to create this very scattered. Texture. Now this really adds to the details of your painting without really having to make these individual maybe strokes or, or like dots to depict the textures. You can just use the dry brush method to create these gorgeous textures without really having to work so hard. And now I'm going to mix a little bit of black and green to create this nice dark green color. Again, using my dry brush, I'm going to add in textures. And these textures are going to be the darker textures. You can make it right under the light textures or intersections where you lead. The uneven colors while we were blending the backgrounds, you can lead wherever you feel like it. This is just to add variations in your ground. And once you're done with that, you are going to wait for this section to completely dry. And then we shall move on to our next step, which is to add in details to the elements that are the closest to the observer. Alright, so I have made a mix of sap green in its natural form. So I'm just going to use sap green directly as the color which is directly from the tube. I'm going to make some grass shapes like this repeating or you can go both ways. You can go top to bottom or bottom to top. That is completely a personal choice. I generally tend to do bottom to top and I want that to be a flower head and top to bottom when it's just grassy shapes. So go ahead and add that in the entire section. Now this color is not really visible as you can see. It just blends right in with the color that is in the background, but it really adds to the effect. Once it's dry, it does dry slightly lighter and then creates beautiful, you know, layers. Once we added a while, you will see. So yeah, go ahead and do badly in dissection. Alright, so once that's dry, I felt like there was just too much cream does not really visible. So I went ahead and created a bunch of different strokes with a deep green color. So as you can see, I'm making a line and then making these strokes around it so that I can make my flowers are the heads of the flowers rest on them. So I've just added a bunch of different strokes. It's very random as you can see, I'm not really thinking it through. I'm just adding a bunch of strokes top to bottom and bottom to top. Make some of them tall, some of them shot, some of them moving left, some of them moving right. Just to add to the variation of your brush movements and then wait for it to completely dry. All right, now that this layer is completely dry, I've mixed a lighter green color. Now I'm going to use light green color and again, repeat the step. Alright, so we're just going to add in some more grass shapes. The shape remains the same. You can just move top to bottom or bottom to top also lay over the blacks big stems that you made if you'd like, or just slightly leave them black. That's completely a personal preference. I'm just going to repeat the entire step in the whole section at the bottom. I'm really happy with the way the grass or this bottom section looks right now. So I'm just going to leave it right here and wait for it to dry. Until then we can make our purple color. So you can use Prussian blue and red mixed together to get this nice purple color. Or you can make both directly. And over here, I've just mixed a little bit of my Prussian blue color with a little bit of red to get this nice warm purple color. And you can turn down the vibrancy of the color by adding a little bit of white to it. So here is the sheet that I've made, which is a mix of my Prussian blue and red color. So as you can see, it's this nice purple color. So I'm just going to go ahead and use my round brush, right? And I'm just going to start making these dots over. The little stems and grass shapes that I've made and add as many as you want, wherever you want. There's not really a right and wrong in this section. Just what really resonates with you. So go ahead and add as many as you want in whatever shapes that you want. I'm just going with blobs. Really. It's just dots and blobs. It's not really an exact shape that I would say. And just add them all over the bottom section to make them rest on the grass. I would like just to make them hanging in the air. Yeah, that's the only thing that you have to keep in mind. Make them rest over the strokes that you've made. That's why we made the strokes so that you get an idea of where the placement of the flowers are going to be. Alright, now that I'm done adding the flowers, I've just added a little bit of white to the same color to add into the highlights of these flowers. Just to give them a little lighter tonal value. Right, over these flowers at the top, you can add in a smaller blobs and you can make some little buds as well around it using this lighter purple color. Alright, now that I'm done with the flowers, I've just gone ahead and made an even lighter green color. And using that lighter green color, I'm just going to make a few more stems and grass. This is going to be the lightest stems and drugs that you add. So you just don't have to add all over this section. Just a few strokes would be enough just to add a mediation to your nail. The lightest color which I've just used, using a mix of white and a little bit of purple. I'm just going to make a bunch of different strokes. These are, these can be the lighter purple flowers or you can even say these are going to be tiny. But as you can see, it looks really cute actually altogether, I really like the way they look at the bottom. These flowers look really nice. So I've just added some more dots using the same color. And I'm done with this section. I really like how this looks. Now I'm just going to put another paper. You can put tissues but anything over. Then using the same light purple color. I'm going to splatter some in that section just for a little bit. Splatter fun. It's always fun to add in these splatters. So just go ahead and carefully tap against another brush and you will end up with these gorgeous splatters in your flowers section that is at the bottom of your painting. You can also add few of them without the paper. Just doesn't look really odd that it's just concentrated in that section. And once you're done with that, you can carefully peel the tape of pulling against from the papers so that you don't mess up and tear the paper while you're building your tape. I always love the tip healing process because it's so satisfying and it really brings the painting to stand out. And just, you know, you can admire the beauty of working so many hours on it and I'm so happy with the way this one has turned out. Actually, I love the dramatic sky, the greens, like it looks so nice. I'm so glad I was able to mix these greens look so beautiful and this has to be one of my favorite class projects from all four of the paintings that we've done in our sketchbooks so far. And I hope you enjoyed painting along with me. And use a little sneak peek of what's coming on day five, and I'm really excited. So see you soon. 20. Day 5 Part 1 : Under the Tree: Hi there, Welcome to Project five, which is the fifth day of our sketch book series. We're going to be painting this beautiful landscape under the tree. And the colors that I'm using are cadmium yellow, cadmium orange, Prussian blue, sap green, titanium white, and lamp black. So very, very limited colors that are going to be used in this class project. So I'm starting off with taping my paint on all four sides and taking a little bit of the colors out on my palette. So the first thing that we're going to do is create the basic sketch. Now, you can look at the reference picture to understand the sketch or you can just follow me along. So right now I'm going to start off by dividing the paper into half, just like in my imagination, dividing it into half and then making this rough sketch off line. So as you can see, this is going to be the mountain that's furthest away from the observer. Then I'm going with this zigzag line if I were to describe it. And this is because this is going to be the river that is flowing. Now, again, like I said, you can look at the reference picture to understand how I am making this sketch so that it's easier for you to follow me along, but in case you don't want do it, that is completely fine too. So right here we have this nice river shape that I've made coming from right below the horizon line. Then I'm carefully connecting that to the left side of the paper. Now, we're going to have a series of different, let's say hills, right coming right next to the river that is flowing in. So I'm just drawing that in on the right side. We have one ****, as you can see, I've drawn that little kinda like an isosceles triangular shape. At the base, we have this nice helot, which we have some trees, and then a tree resting on top of that. You have one hill at this base at the bottom. The second one is going to be the one that's behind it. As you can see, I'm making that little shape where it turns. And then you have another one. So that altogether is actually the second one. There's just more curves in the one that's next to the horizon line. And then at the right corner you have a little foliage section. And I'm also making a tree which is halfway in R painting and halfway outside. So all you have to do is sketch the half of it. Now, you can look at the reference picture to understand the sketch better. Or you can just follow me along. You can pause here and just sketch it the way that I have done. It will all start making more sense when I put in all the colors. Because without the colors, it looks like I'm just doing some crazy business here. But once you look at the reference picture, you'll get an idea or it can just get something similar and we can dive right into the peak day. So I'm really happy with how this looks. Anything that I've messed up can be fixed while we are painting. So let's quickly get started with this guy. I'm loading my flat brush and I'm starting off with a nice orange color at the base. I'm mixing orange with a little bit of white to tone down the vibrancy of the colors can see it's not your usual very vibrant orange, but it's a slightly toned-down version. And I'm going to use this color. In case you feel like you made it to light, you can always add more orange to it or add more white if it's too dark. So I'm going to start off with this color at the base. So I'm going to have a transition from orange to yellow and the blue sky. So again, we're using the blending with whites, white method to blend the yellow and the blue together. Now that I have orange laid out, I'm going to switch to the yellow color, which is a mix of yellow and white. I still kept a little bit of the vibrancy of each of these colors. I haven't made it to light or two pets, they'll, I've tried to keep the vibrancy similar to the original shade, but also ended up adding a little bit of white to slightly turn it on because they're very vibrant when they are in the natural form. Alright, so you're just going to mix the yellow and the orange together using the left and right motion. I tend to use these long motions, these long movements from one end of the paper to the other end to get a very nice blend in my, in my paintings. So make sure that you're using even strokes evenly spread out. Next color that we have is blue, which is a mix of Prussian blue and white and a little bit of black because the blue is too vibrant and I want it to be slightly gray and slightly more toned down. So I add a little bit of black to it. So here's swatch off the color that I have used, which is a mix of Prussian blue, white, and a tiny, tiny bit of black. And I'm going to start applying from the, from the top of the sky and then move in this left and right motion, coming downwards. Now since this is a very simple blend, I decided to just sort of use kind of pick consistency of paint and not too thin because it's a very simple blend is nothing complicated that's happening here, so it's fine if you use a light, a thick consistency to blend rather than the light one. And to blend our yellow and the blue together, I'm just going to use white directly and slowly move the yellow upwards and at the same time, add a little bit of water to the paint if needed, or to your brush to make the blending process easy, I just move the blue downwards. So you have to be very careful in the step two. Mix them really too vigorously or directly, because you'll end up getting green and that's not what we want. So just carefully move the blue slowly downwards as you can see, it'll start creating that nice light blue color. And at the same time start moving the yellow upwards, which will create this nice light yellow, pale yellow color. And then you're just going to blend both of them together. I'm really happy with the way the sky looks. Next, we're going to move on to the riverbed. So for that we're just going to add in the same colors that you see in the sky getting reflected in the opposite way. River. So first you will have orange, which is at the starting point of the river, which will transition to the yellow color and that will transition to the blue. So it's very similar to the colors in your sky, since we're not going to add in any clouds into the sky, it makes it very easy for us to just add in the same colors, the same way that you've blended the sky. You're going to do the same thing in the river as well. You can choose to do flat blends or at the angle in which the river is flowing. So I'll just show you what I mean. I am going to move it upwards in the direction of the river so that I get a nice blend and a nice, it also shows kind of a movement, a very light movement in the individual. So this is the way in which I blend them together. So you're going to use this theme, the same to and fro, left and right movement using your flat brush to blend them. And I felt like it became too great. So I ended up adding blue, similar to the color that we used in the sky. As like I said, I'll be using the angular movements lightly because I felt it was too flat and it didn't really go with the texture that I wanted in the river, because unlike the sky, the river is going to have some movement in the water. It's not going to be completely still. And that is why I just ended up making a little bit of a diagonal. Don't to my brush. As you can see, I'm making that nice diagonal movement in the water just to depict the flow of my river and get in some different colors moving across the room. Well, once they dry, as you can see, it looks so nice to be able to see a very similar color in your water as compared to the sky. Next, we're going to move on and start adding in all our little mountains and hills. For the starting bit, which is right above the horizon line, I am going to go with a color that is very similar to the mix in my sky, but I've added a little more black into the mix. So it's a deeper gray column. So the first set of mountains that you drew, you're just going to use this paint and go over and fill that entire area with this color and wait for this to dry. So I'm just using a round brush for this to get in the nooks and corners and make sure that you are giving it a little bit of a flaw. Rather than making it completely just flat, moving up and down makes sure that you are using a very light flow into your mountains and just moving up and down, creating a little bit of texture. Next about it, a little bit of white into the paint, just to use that as the bottom color. As you can see, you purely able to distinguish between the darker color that I lead and the lighter color. And then using the dark color, I will just be blending these two shades together just so that there's a transition between the lighter gray to the darker gray and it just doesn't look flat. So this is one way in which you can add a little bit of depth into your painting, especially when you're creating mountains to create that misty look. This is the technique that I follow. So I laid down the darker color and then move to a lighter color at the base and then just blend them together to create that misty look. Now next, I'm mixing Prussian blue and a little bit of black again to get a deeper bluish gray color. As you can see, it's a deep Prussian blue mixed with black gray mix. And that is going to be the mountain that I made right above the horizon line. And you're going to repeat the same step. Makes sure that you're not covering the mountains that you painted earlier. Make sure that you're not entirely covering that. But at the same time, adding a new set of mountains in the area that's above the horizon line. This time I haven't gone with a lighter white color that I did earlier for the misty misty mountain mix. But I just went ahead and fill the entire section with this color carefully keeping in mind that there's a horizon line. So make sure that you don't go beyond that. Alright, so I'm really happy with the way this has turned out. I'm going to wait for this to completely dry before moving on to the next set of mountains. And for this, I am going to use a mix of green, a little bit of orange. I'm just kinda like I always end up mixing the colors that are already on my palette to see if I like the color that gets created. So here I have a mix of green and then also loaded up a little bit of blue lock. And almost like a dark color, you need a dark blue green mix of color, which will just make it stand out, pop up even more. So this is a color that's not entirely black as he could tell from my mixing palette. That is a mix of a bunch of different colors. It has a little bit of tweaking it, a little bit of blue, a little bit of black and white. And this is the color that I'm going to use for the, for the mountains that is in front of the horizon line. Go very carefully in this section, you can use your round brush. You don't have to use a flat brush. I just ended up using a flat brush in the beginning section and then immediately switch to a lighter brush, I mean, a round brush, the brush. And then when the head with a green color, the green mix it I created in the side and then added that. The idea here is to not have a very flat set of mountains. Let's call them a flat set of mountains. I want to have variations in them where the darker bits is going to be the area that's near the river. And then at the top in that little section, which is on the left side, I want to add a little bit of variations where there are lighter greens, the deeper color. And you have to do all of this while the paper is still wet so that you don't end up having harsh edges. Because we will be adding textures in this section and adding all the little details to this. But for now, I just added the base color in, in this blue wave, which is closer to the river. And then when I move towards the left side, I am going to just add a mix of this green color in there as well. While it's still wet, as you can see, it creates a little bit of unevenness into your painting. You see a little bit of blue, you see your green. And when that, when it dries, it'll dry out to give you a little bit of texture, a little bit of unevenness on your mountain, and then you can add and further details over it. So here's a swatch of the two shades that are used. As you can see, you have the green and then you have the blue. So just go ahead and blend both of them together. Alright, now as you can see, once it dries, it creates this beautiful texture. There's uneven look where you have the lighter parts and the deeper parts. And now I've switched to my long round brush size six. And using the green color that is already on my palette, which I use as the base. I think about it a little more white to make it stand out on the, on the deeper sections. And I'm going to make vertical strokes. And then I also ended up just brushing it over to add in some textures so you don't really have to work so hard. I, if you look at the reference picture, you'll understand why I've done this step. This is just to add in a little bit of p deviations in that area when I'm making these vertical strokes, adding in a little bit of texture. So you're going to do this intersection. That's the second tone that you see in that little area. This shows that there's some lighter foliage in this area. I think there are some movement in this area, so you can just achieve all of that by just making these vertical strokes. I'm adding sort of like shows right under that area. So the step is very simple. It might look complicated. You're not able to understand what I'm doing, but I'm just adding textures here to be very honest with you. And now I'm going to stop. And in the next lesson we are going to paint the next set of hills. So see you there. 21. Day 5 Part 2 : Under the Tree: Alright, Let us start painting all the other hills that are around that section. So I'm switching up to this darker, bluish mix that we use. So it's very similar shade to the previous one. But this time there's a little more black in it so that it gets to this darker color as compared to the previous one that we've made. And again, I'm using my size six round brush if I'm not wrong or it might be size eight. But I'm using a round brush here, size six, there we go. It's a size six brush. And I'm going to use that brush, just make these vertical shapes not making it fully flat, right? So the n strokes that are making, I'm just making these random lines. And it's not straight as you can see, it's not a flat surface. We don't want the heels on the ground that you're making to be flat. And that is why I make those vertical shifts that it looks like this little bit of different trees elements in that here, rather than it being just slanted lines. I'm just filling up that area with that color. As you can see, it's a color that's very close to Payne's gray. Now when I look at it, it's a color that's closer to pains case if we have Payne's gray with you. Well and good if you don't, just makes your black and Prussian blue color together to get a Payne's gray color. So I'm using this color, especially at the bottom and the right side of the hill, also making some individual shapes just to make it more pointy outwards as you can see. And be very fine with this brush stroke. If you do, if your size six brush does not give you those fine strokes, you can always switch to a smaller size brush. Right now, once I've laid out the Prussian blue or this deep color, I'm just going to go with a mix of greens. I've just loaded my brush with some green, mixed it with the Payne's grayish color that we made. Then I'm just going to use the same brush stroke and add that in. So the idea here is to have that little green tone towards the left side of this little hill shapes. So you have to do this quickly because you want to achieve that effect, the flourishing unevenness of this health while the paint is still dry so that you can add all the colors that you need without really having them as really harsh edges. So as you can see, the textures when we added in the previous stroke, they were on dry. So you can see those edges, you can see those individual strokes. But right now I just want to focus on it being blended so you have to do this while the paint is still wet. Alright, now that we've laid out the base color with the green and Payne's gray. We're going to go ahead and mix in some more strokes while the paper is still wet, while that section is still wet. If it's dry, then you can just add the same color that you've added in the piece just to revisit the surface and add in the stroke. I'm not really thinking it through. I'm not doing anything particular. I'm just making random strokes to add them to the texture so that it looks like there are different greens in that area. As you can see when it dries out, you can see those individual stroke that I've made, but at the same time, the edges of that section is sort of blended. Now we're going to move on to the, to the hill that is on the right side using the same dark Payne's gray color that we used in the bottom one, we're going to use the same color and use a round brush to just go ahead and add in a similar sort of mountain as you can see there. So yeah, just go ahead and added in. By now, I'm pretty sure you figured out or gotten the hang of how these things are done. You can also add in a lot more blue. So when you want a color that's similar to indigo, you can make a plot of Prussian blue and a little bit of black. You get that indigo shade. But if you want a more Payne's gray color, color that's closer to black. You can always add a lot of black into the mix so that it gets to that Payne's gray colors of this shape that I've used in the right side is more leaning towards the indigo side. And once I've laid out the base shape of it, I'm just going to go ahead with my size six brush and making these random vertical strokes to add n to the variation of the sub off the surface and not make it fully flat. And even at the bottom, I've just gone ahead slightly made it wiggly so that it's not flat, straight. But at the same time you can see a little bit of movement at the base where it meets the water. You can also have a little bit of green in that area. I've gone ahead with a darker green rather than going for a lighter green. And once you're happy with how everything looks, they're going to wait for it to dry and move on to the next step. Alright, now that my paint is dry, it's time for us to add a little bit of texture in the water right now the water looks very flat. And I just want to go ahead and add in a little bit of texture and I'm using. My size six round brush for that. And I've made this gray mix. It's a gray color to be exact. So there's a little bit of green limber of blue and white and a tiny bit of black into that mix. And using that, I'm just making this texture on the water using the dry brush stroke. I'm just going to use the same color, the gray color as I was talking about audio and adding the texture. This picture depicts the movement of the water where since this is a very far off you, you're not going to see the exact details of the movement in the water, but you'll see a little bit of shadows being caused because of the slight movement. And that is exactly what you are trying to depict here. We've just gone ahead and added the texture to add the texture. Wherever you feel like it, you can look at the reference picture. There isn't really a lot of texture play in that section. So I've just gone ahead and just add this on my own because it felt right to do. And it felt right to add in a little bit of this nice grainy texture using the dry brush method. Alright, so now that we're done with the texture play, we're going to go ahead and add in a little bit of the shadows off the heads right, right under it. It's going to have some shadow is going to have some dark bed on the water. And that is exactly what we're going to do. I'm just using my size six round brush. I'm going to go ahead and thin down the consistency of the paint. I don't really need a thick consistency of paint. I need a very thin consistency of paint. And I'm going to go over and outline that section that was already there. Then go ahead and make these vertical strokes, again, pinning down the consistency of the paint. This way you're able to add in a little bit of shadows. You can make vertical strokes or you can just brush over that section again, something very similar to the dry brush method to add in the texture right under it. So this is a very simple way in which you can do that. As you can see, it creates this beautiful, beautiful shadows of this element that is above the ground on the water. You don't have to exactly make the shadows in the exact shape that is above the ground, but sort of add a little bit of the color on the water. You can also follow the direction of the mountain. So if it's like moving upwards and you can see how the light would fall in that section and casts the shadows of the sun is behind, the light is coming from behind. So it's going to cast a shadow that is very similar to that. So you can follow that effect and go ahead and add bad writing. Alright, now we're going to move ahead and create the foreground elements, which is the tree that I was talking about and all the little foliage that's around it, right? So for this app, made a mix of black and orange, which is this deep brown color. I'm using this deep brown color. I am going to go ahead and start making these little shapes of foliage. It's vertical lines, few different branches around in that section. And this especially in the top part of that white space that is left empty. Now, there is no exact way in which I would follow the method. There is really nothing specific that I'm doing here. When you look at the reference picture, you will see that there are a bunch of trees in that area and they're added distance from the main tree. They're just tiny branches and a bunch of different clusters. It's almost like a cluster of black and brown in a section. So I'm just making vertical strokes, making a few branches and tapping in some leaves and foliage. Elements are rounded and we're going to cover the entire section and that's pretty much it. This step might take some time. Just follow me along. It's going to go diagonally moving upward. And the process remains the same. So only in the outer edge, you need to add in some details, make those branches and those elements much more visible. And as you come in little section that's below it, you can literally just fill in the gap using a lighter consistency off that paint. So as you can see, if you've almost filled out the entire bottom section with this step. I just wanted to add in a little bit of variation in the color. So I went ahead and created a lighter brown shade. This is very similar to what we did in the hills. While the paint is still wet, you add in those brushstrokes and they serve merge into one another without making it really obvious. And I've left the right side empty because you're going to be making the tree in that section so you don't need to go over and fill that in. You can totally just leave it black. Again, I'm loading my brush with a little bit of orange, making these vertical strokes and tapping it around in that section to add in a little bit of the lighter brown shade as I was talking about. So as you can see, it doesn't have those sharp edges. And specifically when it dries, it won't have those harsh edges because you're doing this step while the paint is still wet. I'm just going to add in a little bit of brown. If you look at the reference picture, there is a little bit of brown there, these trees that are slightly brown in color. So I'm just adding that in and also adding in a few extra details right at the top bit where you can see those little branches and leaves or stems. So you can also switch to a smaller size brush here I've switched to a size 0 to add in those final, final details for the branches, as you can see, they're really, really minute. So carefully just go over. You can leave your hands nice and loose you are, you don't have to concentrate on making these branches perfect. Really just COVID the floor, add in some details at the top and you can do it however you want. This is your painting, so have fun in this process. And once you're done with this, you are going to let it completely dry. And then we shall move on to the next step. All right, so I'm really happy with the way this is done out and we're going to wait for this to dry. And in the next lesson we will be adding the details to our tree. So see you there. 22. Day 5 Part 3 : Under the Tree: Alright, let us paint our foreground elements. So I'm pretty sure that the sketch that you created in the beginning of the class is going to be cupboard and you're not going to be able to see it So for now, but we're going to do is take up a pencil and 3D sketch the entire thing. Now you can look at the reference picture for how I'm making the trunk and how I'm making the major branches and all the tinier branches. But you can also follow me along over here. We have a big trunk on the side. Like I said, it's half of the tree in the frame. We have remaining half outside our painting, so we don't have to worry about that. I'm just going to go ahead with one main thick trunk on the side and I've got a bunch of different sort of sub branches and nature branches. So the thicker ones are the major branches. And all those little details that I'm adding are the tiny branches. Now, you can carefully add those in, specifically the major ones. I end up making the main ones that you can see. I sketch them out. Then when the entire thing is done, when I'm done painting over the main stem, I go ahead and see if there needs to be anytime you're wondered where I can fill in the tinier ones, and then just go ahead and paint my tree according to that. So for now, I'm just creating the base sketch. As you can see, I want to cover the top the sky region a little bit because we have a lot going on at the base, as you can see. I want to cover the top bit, a little bit. So now what I'm going to do is start painting itself, sketched it out. I'm switching to my size or six long round brush because I think it's the perfect brush when you're trying to paint in details. So I will be using that brush to add in all my details. For now, I am going to use a mix of black and orange. It's a deep, deep, very close to black colors is not still directly black because I don't like using direct blacks on my painting. But this is a color that's very, very close to it. It does have black in it. So I'm going to use this color and fill in our sketch. So you're just going to follow your sketch that you made. And that is why this is a section where you can properly sketch it out and just follow it along and you don't have to really bring anything, right? Usually, I tend to do that. I used to tend to sort of wing the steps when in the branches, but in case I'm going for a very particular look for my tree, then I end up sketching the main trunk and the main branches first. So this is what I'm doing right now. I'm just going to follow my sketch putting the palatal side because it was getting in my way. And now I'm just going to paint over the entire section. Now, you're having a good control over your brush really helps. And what I mean by that is, if you don't have a good control over your brush, which means if you don't know how much pressure to apply, how much pressure do not apply when to lift your brush pen to add in pressure. That's when things get complicated, which I need. Not exactly complicated. That's a really harsh word to put in. But I think that then you'll not be able to get your desired brush strokes that you need. But when you figured out your brush movements, you capabilities of your brush, how much pressure you need to apply. You can just use a single brush. You can see me here. Use a round, long round size six brush. Size six is quite a big number. I think it's a bigger number to add in finer details, but to be able to do that with a size six brush, even though it comes to a really fine tip, is because I have figured out how to add less pressure or apply less pressure using my brush. So it all comes with practice. Don't be so hard on yourself if you're not able to do this because I've been painting for for yours continuously and I've gotten a lot of practice, so I know how much pressure does not apply and that really comes with practice. But don't be so hard on yourselves and just paint a tree. You can always switch to another brush for the finer details, right? For me, I'm going to use this brush for now for, like I said, adding in all the details for the main branches. And then wherever I want to add in the final details, I will switch to my size 0 brush and fill all those tiny branches. So the process here is very agitated. They're just going to add in a bunch of different branches and they go wants to know one. So this is pretty much it for this section. So just enjoy the process of pulling your sketch. Alright, so over here I'm happy with how the main branches loved, but I ended up switching to my size two round brush. And this one is by silver black velvet. I think that's what it's called. And it comes to this gorgeous, gorgeous fine tip. I cannot even explain how beautiful this brush is, but feel free to switch to a size 0. As you can see, I get this journey really tiny details using this brush. I love, I love these series, this series of brush, the silver black velvet ones because they come to a really fine tip and they're so, so good when it comes to painting fine details. So yeah, right now, I'm just like I said, I've figured out what the main branches look like. So now I'm just adding tinier branches and kind of making this tree fuller. I'm just giving it slightly fuller look. So adding all the time Danny branch details. So again, the process is very rare potatoes. So enjoy. I'm really happy with the way our tree has turned out, and I'm just going to go ahead and add in a little bit of texture using a brown color, which is a mix of the black and the orange. So it's a lighter color, it's a brown shade. And using the dry brush stroke, I'm just going to rub it over the trunk. Now, doing this is going to create the rough texture that is there on the tree trunks. You must have seen it, I'm pretty sure. And it just adds to the rough texture. As you can see, this is a tree that's closer to the observer, so he's able to see all the details and look at the texture of the tree. And that is what adding the textures, so nice, I think it looks really adds to the effect. Just go ahead and add in this texture. You can add this in kind of like the main branches, the thicker ones as well. And then I've added more white into the mix just to tone down the vibrancy of the brown to make, let's say lighter brown shade. I'm using this light brown shade. I will be adding in more texture right now, brown that I laid out as a slightly darker brown. And over this I'm going to add in a lighter brown. This again adds into the variations of the, of the texture that you're going to see on the tree. So using this color, I've just added a lighter brown. And I'm actually happy with the way the tree looks right now because the effort that is being put into creating the texture is very minimum because you are just using the dry brush stroke to do it right? But with this dry brush stroke, you're getting that exact look that you really need in a tree when you're looking at it up close, right? You can read this in two to three different colors. I've added three different types of brown. So you've got the darker, the medium and the slightest brown that I'm adding. So this is just going to add in different colors into your tree trunk. Don't forget to add this texture on the main thicker branches as well because that's where you're going to be seeing this little texture. So do add that in that section as well. Don't just leave it empty because then that will look really odd. Once you're done with this, you're going to wait for the entire thing to completely dry and choose a swatch off the brown that I use, one of the browns. Actually, I couldn't fit in all the browns and the side, but yeah, let it dry. And then once it's dry, we're going to carefully peel the tape of moving away from the paper so that we don't paper. So as you can see, I pull away from the painting. This way. I end up not tearing my painting, which is a good sign. And once the tape comes off, actually Jolie makes your painting pop up even more. And I think it looks beautiful once, once the tape gets spilled, that's my favorite part because look at it. It looks I don't know. It just looks unreal to me. I'm so happy with the way this painting has turned out. You've got beautiful textures in the mountains. And we've got the tree with this, with this nice tea tree trunk texture with very minimum efforts. And like I said, using your dry brush technique is really helpful because you can get such amazing textures are aware without really working so hard. So I hope you enjoyed watching the five. Here's a sneak peek of what's coming on day six. So see you soon. 23. Day 6 Part 1 : Serenity in Spring: Hi there. Welcome to Project sex such as this PU to first bring bright spring landscape. And the colors that I'm using are cadmium yellow, cadmium orange, primary blue instead of primary blue. You can use that rule in blue or ultramarine blue as well. Next I have sap green or titanium white and lamp black, uptake and all the colors out on my palette as discussed and taped down my paper on all the four sides using my masking tape. Now, the first thing that we are going to do is create our base sketch. You can look at the reference picture to understand the placement of the elements better. Here, I've just gone ahead and divided my paper 2 third. And the horizon line that I'm making is not straight, it's slanting downwards. Right above the horizon line. I'm making a hill. Let's call it a hill because it's not really steep and it's closer to the absorber. Lets see another set of grounds. Right above this horizon line or the foreground element. We have a bunch of different foliage of trees. We've got cluster of trees, a little bit of smaller ones which are at a distance. And a lot of tree and texture play is gonna go on in this landscape. I've sketched it out very basically as you can see. So you've got to have beautiful clouds and the sky is going to be nice, it's going to be vibrant. And then you're going to play with a lot of texture details in our folk dance. So let us quickly get started with the sky. I'm pretty sure by now you've figured out how to create those good blends into your sky. So you're going to start off with the primary blue color. And I'm going to mix primary blue with a little bit of white so that it's not too bright and it a slightly tone down version of the color. Here the idea is to transition from a lighter blue color at the base and move to a darker blue. I'm going to apply this lighter blue shade right above my sketch where the sky is moving in this left and right motion just fill in the space. Now, over here, as you can see, the consistency of my painter's light, which is thin consistency because I am going to lay this over again just to make it nice and opaque right now I want to focus more on the placement, the graded wash, understanding the beauty of the style section. I'm going to start adding more paint into my mix and that is going to make the color gets brighter and darker. As you can see, this is a much more bluer shade as compared to what I painted or added on my paper right now. And I'm going to start applying this again in this left and right motion, moving from one end to the other end, so that we get a seamless blend into our sky. And right now, we've reached a second shade of blue. To get the darker blue, we will add more blue into the mix. That is just going ahead and adding more blue to get a deeper blue color. And this is why primary blue is a nice light blue shade, like it's not as deep as Prussian blue. Similar to cerulean blue, sky blue, or ultramarine blue. It's the color that comes in the lighter, lighter bits of the blue. And I'm going to apply that at the top this time and adding a little bit more water, I will blend it down in the left and right motion, as I just told you, that it's very good to blend your skies using a, a single motion of your brush. And the bigger your flat brushes, the better your blend is going to be. So happy with how the placements of the sky looks right now. So I'm going to go ahead and let it dry. And once the paint is dry, it's time for us to repeat the entire step. Again. There's nothing new that's happening. It's just that the step gets repeated all over. So I'm just going to slightly increase this video because we are just repeating the steps. I'm really happy with the way the sky blends look. And once it's dry, it's time for us to start adding the Cloud. So for the clouds, I'm just mixing my white paint with a tiny bit of water and using my round brush, we will be making the clouds. Now over here. The slightly different as compared to our previous clouds where we had a more dry brush method for doing it. This time we're going on a more, let's say the circular motion in which I'm doing the clouds just to give it that fluffy look. I am also trying it out to see if I like the way it turns out. Like I said, as I teach, I also experiment things for myself and see how it's going to turn out. Over here. I've just used a much lighter consistency of paint. It's not as thick but I wouldn't say it's thin. It's not painted directly from the tube. It does have a little bit of water, which glides a lot more smoother as you can see when I lift my brush or load my brush with some paint, it creates these nice strokes. But at the same time when I brush it over a couple of times, it starts creating the dry brush stroke. So if you watch very carefully, which means that the consistency of the paint is not too thick. Right? Now you can look at the reference picture to understand the placements of your Cloud. You don't have to follow the same shape. You can just understand how the clouds look in your reference picture. Or you can just follow me along, which is what I do. I just look at one of the clouds and sky and then sort of add my own and mess around in the sky. Actually, there's not really a perfect way to do things because you're learning more than getting into the perfection of things. You should enjoy the medium, we should enjoy painting with it. So that is what I do. For me. Painting is more about enjoying the process. And along the way, if you are able to get great results, that's like the plus point for me. I've always painted for the joy of painting rather than painting for getting something out of it. And eventually my odd God better, because it's just stopped worrying about the final result and started focusing more on the journey, how it felt when I was painting one of the things I can work on, of course, I'm not saying just completely don't take in or the knowledge to pass the knowledge, learn how to apply it, but at the same time, but force yourself too much. Anyway. Thank you for coming to my dog for this section. Moving on, I am just as you can see, adding in the lighter consistency of the Cloud. If you look very closely and carefully at this section, you'll see that there's a hint of blue. You can see the blue that is beneath it. And don't nobody, okay, if you see the blue, it's not wrong. You're not doing anything that is messing up your painting. Usually when we add titanium white with a little bit of water on a wash that has some color beneath it. It dries to show that color up. And you're going to use that to our benefit actually in this class or in this lesson, we are going to use that nice light blue shade that we see to use to sort of get the shadows or the darker bits into our clouds. So to get the nice standing White, the vibrant white, you have to let it a couple of times. So that's what we'll do now. I've just gone ahead and added some clouds floating in. And once you have the bigger shapes. I'm also using the dry brush method here to sort of get a textured outer edge instead of the plain one that you see right here, wanted to have a little bit of texture. And you can achieve that easily by using the dry brush method. So I'm really happy with the shapes of the clouds right here. Right? So the shapes in the clouds and nice, they look fluffy. The only thing that they are missing is vibrancy than lighter parts, the highlights. So we're going to achieve that once we are done with our basic shapes over here, I've just gone ahead and added a little bit of texture on the outer edges. And once this is done, I'm going to wait for this to dry and this one's a thick layer. It just drive that that goes. And you will not need a lot of time to get it completely dry. Now that you're done with the base clear, what I'm doing right now is just using a wet brush to reactivate the paint at the base. And since we have blue at the bottom, it's going to create a shadow effect. I'm just using a clean brush and in case you feel like you're loading up a lot of white or it's getting dry, you can just go ahead and add a little bit more water so it has to be very controlled or not add a lot of water. Dip your brush the tip of it in the water and you can use that to brush over that section. And as you can see, when we reactivated, It's getting bluer and that is what we need, just a tiny hint of blue. And once you're done with that, you're going to use your brush to load it up with some white paint directly from the tube. You need a thick consistency of the paint and brush it over the section. This is going to create the highlights. As you can see. You're able to see the darker parts of the clouds and even the lighter parts. You're going to add in the highlights using our thick consistency of gouache paint and the previous stroke and the re, wet surface that we did right now it's going to act or the shadows. So you're going to apply this on the entire clouds, are all the clouds that you have added in your sky. They're just going to go ahead and add in some highlights. This is also the time where you can add in textures or any float clouds that you'd like. So I went ahead and added a few more slaughter clouds in this linear form of reasoning that no brushstroke that I taught you earlier. Using that method, I went ahead and added some more clouds that are not fluffy as the others. I'm actually really liking the way this has turned out. I like the overall look of the clouds. They look really nice. And I know this might be a little bit tricky, but hanging there, it's just a technique that comes to you with practice. Right at the bottom of the clouds. I went ahead and added some tiny clouds as well. And it looks really nice the sweep. And this is it, this is for our sky. In the next lesson, we will learn how to add details to our middle ground. 24. Day 6 Part 2 : Serenity in Spring: Alright, let's start painting the details that is slightly above the horizon line. So for that, I have mixed sap green with a little bit of blue. Now this, this makes it a very cool blue color. As you can see when you make sap green and blue, It's become, it becomes much more cooler. And using the sap green, I am going to use a swatch of the shade by the way. And I'm going to apply this in the section that I was talking about carefully just go over using a flat brush and just add in this brush stroke in that area. Filling in the details, filling in that age, I'm using this big flat brush and the shapes. So go ahead and fill in the section carefully. Now I'm used to mix of yellow, a little bit of white, and green, and I've loaded my round brush with this sheet. Here is the color that I'm talking about. It's a nice, lighter, lighter green color and it has a nice yellow undertone to it. So this is going to act as the highlights of that section. So we're going to use your round brush and just sort of move in this diagonal motion. Your brush is, does not have a lot of water. So it's kind of like adding into the texture of your, of your head. So you're just going to add in a little bit of texture. Like I told you, there's gonna be a lot of texture play, a lot of details that we're going to achieve using very simple brushstrokes and very, very minimal texture play as well. So using this lighter colors, I'm just adding into the highlights of the section using the thick consistency of paint, moving diagonally. And when you move them diagonally, it kind of gives the illusion of the upward movement or the slant, the slope of your, of your hill or whatever subject you're painting, it gives that nice slope. Now this is a color that I've made using sap, green and black. So there's a lot more green into this as compared to black. So it's a nice deep green color. And using this, I am going to fill in that area that you see, which is all the foliage section that I was talking about. This is the time when you use a shade to just add it in right at this corner, I'm just making these vertical strokes and carefully making the vertical strokes and then filling in that section with, with the, with the, with this color. Actually, you're just going to round brush carefully, make the outer edge, and fill in your section using the same color. We will work in a lot more layers just to add into the details of that area will work in layers. But right now, we're just focusing on creating the basic shape of this element. Now right here we've got these far off trees right in the corner and then you see the ground sloping downwards, sloping upwards. And then we are going to make a bunch of different trees around that area. So you can use this color itself. It's this nice deep green color. You can make more of it. And you can also make it darker by adding a little more black. But I just went ahead with the same sheet because it's nice to use the same similar color tone for all the details that are in that section. Using this shade, I am going to start making a bunch of different cheese in the Ada that's above the horizon line. Now, you can vary them, think of them as pine trees, but they are at a distance, so they're much more bushier. And in order to see the exact details of these trees, I'm just making a triangular shape and then making these very pointed edges to it and filling in this section. And that is exactly what I'm doing. Just making a cluster of them together varying in sizes. And that is a so go ahead and add them in whatever way you want or you can just follow me along to see how I'm adding these brushstrokes. Now that we're done with this section, we're going to go ahead and make all just rather use a sap green color mixed with a tiny amount of plaque so that this is a shade that is lighter than the one that you've just applied, but still not too light, right? So this is the shade that you will be using for the depot green into this section. So carefully just go ahead and following the steps that we've done before. I hope you've gotten the hang of the way in which we do this. I'm just going to go ahead and use these vertical strokes and doors and different shapes to add in this nice green color into our foliage. So we're just repeating the steps that we've done in the previous class. Projects can apply them here as well, like we did in the past, to add in the lighter colors into our trees or into a foliage that's in the middle ground. That is exactly this step will go. We will have the deeper color, then we'll move to a lighter one and then to a lighter one over here. The only difference probably might come in the shape of the tree is that this is a pine tree. So you want to move in strokes, but I think we've done a very similar one in class project too, if I'm not wrong. So we had those slides slinky or much like a diagonal brushstroke that we were adding for the tree. So we'll use the diagonal brushstroke for this section that's, that's in the foreground. I've also gone ahead and added a little bit of shadow off the trees there. Since the sun is shining behind us are going to have a little bit of shadow. I also felt like that hill looked very flat. So I went ahead with a thick consistency of paint to add in some texture into the areas that it looks like. There's a little bit of movement. So as you can see, it just adds to it, right? It adds to a deeper green that you might see in that area. Alright, once we are done with this nice deep green into all our elements, I have actually used a mix of Sap, green and just a tiny bit of yellow, just a tiny bit of yellow so that this one stands out even more under section. And then again, repeating the step of adding these brushstrokes only at about 50 to 55 per cent of the easier just to add into the lighter bits are going to go ahead and repeat the steps again over, but just covering a few lesser area like just tiny, smaller brushstrokes are lesser brushstrokes. Alright, now I'm going to mix a shade that is lighter than the green that we applied before. This time it's going to have a lot more yellow. And you can also add a tiny bit of white to get color to stand out even more. So you can add white, yellow, and green to mix together. So each time that we are going, the idea is to just make a mix that is lighter so that it stands out even more. And because of the quality of the Ghosh, which are basically the quality. But this is, this is something that especially with gouache, you can lead the lighter colors over darker colors. You can go each time, lighter and lighter. This time using this lighter green shade, I'm going to go ahead and add in some more highlights. Just standing and making these brushstrokes in an even lesser surface that we did earlier. So basically, last time we did 5255. This time you are just going to make even less or so, whatever is lesser than that, we are going to go let fit 30% or 40 per cent. The last mix of color that I'm making is actually a really light cream color. And this is for just adding in some more highlights. This is the same shade but with a little bit of white so that it stands out even more. And as you can see, this is just to 15 per cent of Ada that I'm covering. Just your final highlights are going to beat with this section. So you can assume that the sun is falling from the top or somewhere from the behind. So only the top portion or the left side, the left to the top or the right to the top section is going to receive the color and the bottom bits are going to remain darker. So just make sure that you add your highlights in that way. And that is it we are actually done with with our middle ground portion. Once we add in the highlights. Once you're done with that, you are going to wait for this section to completely dry. Then in the next lesson we shall move on to adding details in our foreground. So basically, making the foreground first. 25. Day 6 Part 3 : Serenity in Spring: Alright, Let us start painting our foreground. So I've made this mix of yellow and a little bit of white. So it's this nice yellow shade that I'm going to use. We're going to transition from yellow to a lighter green to a darker green at the base. Because I want this little section where you see most of the yellow to be where the flowers are, right? You've got beautiful yellow flowers on our field. And that is why this live section has a huge concentration of these flowers. And that is why they appear to be yellow. So I've just carefully laid out the yellow shade, as you can see next, the color that I'm going to apply is this green sheet. Right below this, I'm using the lighter green mix that we made for the highlights. I'm just using the same mix. I'm not really mixing any shade ovale and two, which I'll add a little bit of green. Just to make it appear more green, I can add in more greens or make it darker, but not too dark right away. So we want to have, like I said, transition from yellow to a lighter green to deeper green at the base. So as you go you can add in the colors and also carefully using a flat brush, blend both the colors that you laid together. Now I'm going to make a darker green mix for that. I've used a little bit of the sap green and a tiny bit of the blue color. So making a mix of a nice cool green color. And to add, if I add a little bit of black becomes a nice deep olive greenish shade. So I'm going to use this nice olive greenish color to be the darker parts of the sky. Sorry, not this guy, the foreground. So all of these colors are going to be used. Like I said, we're making the transition. So go ahead and use a mix of these colors and just blend them all together. Once our base is completely dry, we're going to go ahead and start adding a little bit of texture to the ground. I'm using the dry brush stroke and a deeper green color and I'm going to go ahead and just brush it over, drag it across the paper in case you feel like you are lifting up a lot of paint, you can always rub it on the masking tape to get rid of the extra paint or on your tissues. And right now I'm just adding the textures and the greens are right. I'm not adding it to the deeper color that is at the base because there we will be using more defined brushstrokes to see the flowers. Over here. I'm just focusing on the texture in the middle section and I'm not even adding the texture to the yellow color that is at the top because I will be using a mix of the yellow in that area. So the texture will be with the yellow color that you see. Right now, like I said, focus on the green and when you reach to the yellow bit, you will use yellow to add in textures. Now you can add this a very fine line between actually adding in a lot of texture and a little bit of texture over here. I wanted to add in a lot of texture. And right now it might look just very weird because it's all just dark green brushing over one another again and again and just look, it looks like a lot. But when we add in the lighter green to it and also adding details to the flowers. It'll all start to make sense. Over here. As you can see, I am using the yellow color to add in the texture at the top. It just likely in the yellow area itself you can slightly move it down, but make sure that you don't move it all the way to the green. Alright, now that this section is done, I have made a mix of light green, which is just sap green and a little bit of white. And using the scholar, I'm going to go ahead and add in lighter texture to the ground. So you can use the lighter color to brush over and above the darker color that you just laid out so that it acts as the highlighted bit into your section. At the base using a mix of sap green and black, probably like a dark green color. I'm going to go ahead and make some brushstrokes, make some grads, make some stems. And I'm using my size six round brush here. So just go ahead and add a bunch of bees. Moving in different directions, some towards the left, towards the right. You can extend the stems from top to bottom or from bottom to top. So that is completely your choice. I really between both of them. Some of them I make from top to bottom, and then some of them I go from bottom to top releasing upwards. So that depends based on where I want my stems to be. Mostly for the stems I want flowers on, I end up going top to bottom. But if it's just grass and some little gland elements, I just go from bottom to top so that they have those sharp edges. As I release the brushstroke, I felt like the light was too much, so I just went ahead and added a little more texture using this green, this little darker green, I went ahead and added some more texture in that area. As you can see using the dry brush stroke, I'm just brushing it over, not adding a lot of water into the mix. Now, I've made another mix over here of green color, which is just sap green, It's not a dark SAP. Note the duct sap green mix that we use. It's just sap green and its natural color. And I'm making the same brushstrokes over those stems at the base, right at the foreground, the base. I'm just making those brush strokes and again, repeating the steps, just adding slightly lesser brushstrokes as compared to before. Right here I've made a lighter green mix by mixing a little bit of yellow sap, green and white. So using this color, I will go ahead and make the stems again. Just to add in some highlights. You can also go ahead and add some more texture in your ground. If you feel like it was always about varying, you can add the darker shadows, darker textures as the shadows and add lighter ones over it. If you think one color overpowered the other, you can always fix and wavy between them. So it's all about judging them. It's all about seeing what you feel like it. And also looking at the reference picture, just try and understand what the colors look like. So right here I'm just going to focus on making these stamps. This is just like a very repetitive process, like we have done layering. This is exactly what we're doing, just adding layers and layers over one another. So go ahead and add some stems and the base, making slightly lesser strokes as compared to the previous one. Using this nice light green color, went ahead and added some more texture over my crowd. And I'm really happy with the way this is actually looking right now. So I'm going to wait for this to dry. And in the next lesson we will go ahead and paint the flowers. So see you there. 26. Day 6 Part 4 : Serenity in Spring: Alright, let's start painting the flowers for that. I'm using my round brush and I'm using the yellow color that we use at the base. You can also tap up some more yellow color and just add a little bit of white to it to tone down the vibrancy. And over here I'm just going to start making these dots in that area. Now if you all have a huge concentration of the yellow color, and that is why we want it to be slightly darker. So make sure that you're still able to see the color. Start off by making these tiny, tiny dots, so very controlled dots in that area. Now, the entire step in this, in this part is to just be very controlled with your brushstrokes and bake these flowers in these little chunks, I would call it in different, different areas. You can also brush over that area to just create the texture that then making the small dots, especially at the tip, right? I make sure that you're adding those little dots and shapes just to give it that uneven look, especially at where it meets that hill section, all those trees. And then when you come into this area, as you can see, I've got different sort of infections. You can see them where its light and dark and the light and dark underneath, light and dark underneath. I'm going to go ahead and use a mix of yellow mixed with a little bit of white. Just a tiny bit. I'm using this color, I'm going to start making dots in those areas. So instead of doing it like all over the ground, I'm just going to pick up sections. I'm going to make this dots in those sections. Only. You can pick your sections where you'd want, even if you don't have the light and the dark transition, you can make them right now to define your different sections and go ahead and make the flowers. The only thing that you have to keep in mind is that as you come closer to the observer, the shape, the size is going to change. So, right, all that you see that I'm doing right now has just taught just a cluster of dots together in different, different shapes. Still the size of these shapes is really small. But when you come to the stems that you see at the base, you will likely have to increase the size, just barely in the sizes as well. Make some of them bigger, make some of them smaller so that there is a variation in these brushstrokes. Over here. As you can see, I'm making these dots, but they're not exactly circuit. They have different shapes to it, so don't really worry about what it's going to look like. The final result is going to look like just focus on enjoying the process of making these dots over it, right? You're just going to go ahead and baby the different sizes, like I said, make it in different shapes because your flowers have very different shapes, especially in the way they are turned. Some of them are facing towards you. Some of them are turned to the left side. So because of that, you will see different angles of these flowers. So don't worry about the exact details. Just go ahead and add in different shapes and variations in this section. On with the flowers in the yellow bit, we are going to go ahead and make a darker color. For that. I'm going to make some little bit of orange to my same yellow just to get that nice yellow orange color. I don't want to use orange directly my painting because I would be too vibrant to orange. And that is why using a mix of yellow and orange is a good idea here. So that it just goes with the painting color, the flower colors that we have. This is the shade that I'm using, this unequal amount of yellow and orange, if I were to say. And it's this nice vibrant color. Using the shade, I am going to go ahead and add a little bit of white to it as well, just a tiny bit because I felt like it was too vibrant. So just to tone it down a little bit, I added white into the mix. So using this orange mixed color, you're just going to go ahead and tap it slightly over the yellow that you have laid in the foreground at the base. And then using the same thing, you will go over the little sections that you have as well, just to add in a little bit of variation to your flowers. But all of them are going to look exactly yellow light. You'll have little bit of orange, little bit of even lighter yellow color. So that is why I went ahead with this nice Depot, yellow, orange color just to add in variations. So go ahead and carefully add this section n naught all over just to add a little bit of detail in your area. I also decided to brush it over the top part just to add in texture to that section. And I'm really happy with the way the colors are coming out in these flower beds. And now that we're done with this little section, we are going to go ahead and add in light the colors to this. Now over here, I'm using a mix of yellow and white, as you can see on my palette. It's a nice light yellow color. It's a much more toned-down version of the same color. Using this color, I am going to go ahead and add in details or just like the bits into our painting. I'm just going to tap it over the flowers again. And in case you are the orange at the base, we're just going to slide the ad, this lighter color in the side somewhere just for it to act like highlights. You can also go ahead and just tap it randomly, which can act as buds as well. So just slow small details, not thinking so much here. Actually. This going over and doing is the process just adding different colors into your section. So just like we did with the orange, we're going to do that with the lighter yellow color as well. Just go over and add this in and make it act like highlights. So enjoy this process because it's very depth data. So just go ahead and add it in wherever you feel like it. Once you're done with the flowers, we're just going to add in some more highlights to our stems. I'm using a nice light green color, a mix of sap green and white. And then I'm just going to make these stems right under the bigger flowers that I have, the bigger blobs. And then some of them just in-between having fun and some of them attached to the flower heads just so that there's a variation. You can see the flowers head. At the same time. You can see the stem that it's attached to, but there's also a lot of highlights with the grass elements. So go ahead and just add it in. Not so much, just a few little tweaks and a few little highlights. And I'm so happy actually the way this has turned out right now. So you can make them taller ones as well like I did. But again, there's not a lot of thinking process that's happening here. A lot of doing. So I've just done that section and then I'm going to mix white with a little bit of the yellow color using this shade. I'm just going to make some splatters in the, in the foreground. So make a nice light, light color and then load your brush with it and just tap it against another brush to create some splatters on your painting. Make sure that you're covering the sky so that you don't end up splattering these things in the sky, but just be careful of that and use a thicker consistency of paint. Don't use so thin and don't use a lot of load up a lot of paint actually, otherwise it'll just end up making bigger dots. We don't need bigger dots, we need to find the dots. And I'm going to repeat the process again with this orange color as well, just because I felt like adding some more splatters with this orange color. So I've just added these two, and we are done with the foreground element that I'm actually really happy with the way this has turned out. Now the last thing that I felt like doing was adding some birds. Now you can choose to add these birds or you could not add them as well. I felt like the sky is really needed some flying birds. So I'm making this our shape, extending the wings and just giving a different direction. I'm not really going into the details of the birds, but it's mostly an arch shape, extending the wings and making a dot in the middle for it to act like it's body. And then just to add in a little bit of highlights to this bird, I am going to just go ahead with my white paint and just tap in the middle and brush it over the wings, just so that it adds to the light. For your bird's wings acts. I have highlight and I'm really happy with the way the bird stuck in the sky. So happy flying over our beautiful spring landscape in this nice blue sky. And once your painting is completely dry, you are going to carefully paint the tape of just carefully moving away from the paper, you're going to peel it. And this is where the beauty of the painting lies, right? Everything looks so much better once the tape is spiel, I didn't mess up a tiny bit in that area like a small, tiny bit of my painting just sort of came off with the tape. I keep setting if you want to be careful, but sometimes you end up making those same mistakes. And loss depends on the paper. Some of the tape just gets really, I think it's the fact that the tape is really sticky. And sometimes even the paper just like nothing plays in your favor. So you just end up during your edges. But thank God, it wasn't too bad. I'm actually really happy with the edges, the borders that we have. It looks really nice. And look at our painting. I am pretty sure you had fun painting this. And this was slightly less challenging. I think it was slightly less challenging than the other ones that we've done in this class. It was so much fun. I'm so happy with the foreground actually, it looks so nice. So yellow, the yellow and the blue is just, it's just so beautiful and I'm so happy with the way this has turned out, and I hope you enjoyed watching this as well. Here's a little sneak peek of what's coming for our final class project. I'll see you soon. 27. Day 7 Part 1 : Warm Grassland: Hello everyone, Welcome to your last and final class project. For this class, we're going to paint this very gorgeous warm grassland. And the colors that I'm using are cadmium yellow, cadmium orange, Prussian blue, sap green, titanium white, and lamp black. Alright, so I've taped on my paper on all four sides using the masking tape and taking the colors out on my palette. As mentioned earlier, I also took a little bit of red just in case I need red, just a tiny bit of red. You can also skip that in case you don't want it. Now, let us start off with a base sketch. So I'm going to divide my paper into this two-thirds at the bottom and 1 third. And that doesn't mean more than half. You're going to make the horizon line. And the area above is your sky. And the eight are below is going to be for your grassland. And now we're going to create the small bond. For that bond will shape. I'm going to start off with a distance right at the bottom and make this S-shape going towards the right. And then making a zigzag line on the left side. It's very similar to the river, the flowing river we made in the previous or the fifth class project. Actually, it's very similar to that curve. So you can just make a curve like this zigzaggy and just given a little bit of movement to this water that is in at the bottom. So the Ada that's all above is going to be our grass. You're going to be able to see the shapes that you put out there. You're going to see the grass shape in that little section. And then you're going to have this stagnant water that is going to reflect the colors in the sky and everything that you see in your Skype. So you can just walk around roughly in this sketch pad. It doesn't have to be perfect right above the horizon line. I'm also going to have sort of like this rough edges of these foliage, trees, shrubs, anything that is at a distance of just roughly put it there. And the area right below the horizon line is going to be the father of grasslands. You're not going to see a lot of details, only the texture. So this is our simple sketch and you're going to start off with the painting. Now, I want to transition of the yellow, orange, and gray at the top. So I'm starting off with this yellow color, which is a mix of yellow and white surf just tone down the vibrancy of the yellow color using the white paint. So the more white you add, the more base stele or lighter the color is going to become. So I'm just going with a slightly tone down version of the yellow color. And I'm going to go with a nice thin consistency. Doesn't have to be thick at this point because we're just placing the colors right now. I'm just going to apply it using my flight flat brush right over the horizon line carefully. Now like I said, I want there to be a transition from the yellow to the orange and then to the gray. So I've just carefully sort of added that at the bottom, not going all the way to the top. In the middle. I've just brushed it up more because that's where the sun is going to be. And that is where I want the yellow color to show up more. Now to my yellow mixture, I've gone ahead and added a tiny bit of orange, not so much as you can see, it's just a little bit of orange color. This is just to create a color that still goes with the yellow that is laid out and it's not too vibrant. I'm going to apply it right above the yellow and at the same time move it in from the left and the right side. So like I said, in that section, that curve that you see in the river, but right above that bond, sorry, bond part right above that. I'd want the yellow color to be around that it can have that nice orange color in the sky. Next time making a mix of Prussian blue, a little bit of black and white. So I'm basically creating this gray color, but not just a mix of black and white gray. I want it to have a blue undertone to it. So that is why I went ahead with a little bit of Prussian blue into the mix and I'm going to apply it at the top and move it in this left and right motion bringing it downwards. So make sure that the gray is not too dark or too blue. We want that gray to slightly be lighter and to go with the color that is already in the sky. Now to blend these two colors together, you are going to use white. So just go ahead and load your brush with just plain white and add a little bit of water to your brush so that the blend is nice and even and flowing around. And you're just going to blend these two colors together until you get this nice, seamless blend from the yellow to orange to the gray color. Once you're done with the blend and the sky are actually going to repeat the same process in the pond section as well. That you are going to start with the yellow transition to the orange. It's okay to go beyond your sketch, you can enter into the Jacelyn section as well. It's not a problem. And you'll want to transition to the gray. So whatever you see at the top, you'll have a very similar transition of the colors on your ponder so l, So go ahead and just use the same colors as you did. But this time just sort of inverting the image. If you saw yellow, orange, and gray moving upward. So yellow to orange to green. Over here, you'll slowly move them downwards. So yellow will be the first color than orange and then the gray. And of course, the white in the middle that is going to help you blend those two colors together. What is our lead is completely dry. It's time for you to go ahead and add another layer over it just so that it's nice and opaque to the process here again, ring remains very similar, already updated. We're just going to go ahead and add in the same yellows, oranges, and the gray colors. This time I'm also vertically added a little more white in that section just to bring in the brighter color of our Sun where it's going to be. So just add in a little bit of white where the sun is, which is almost towards the left of the paper. And then go ahead and add in all the colors like we did earlier. You can also switch to a more sideway blending with your flat brush. But it's completely your choice. Basically we are just adding in the colors again. Now that my base layer is dry, it's time for us to add in some clouds. I've gone ahead and made a mix of a little bit of orange and yellow and a lot of white. It's almost a color that's very close to white with a little undertone, the warm undertone. And we're going to use this color to sort of add in the clouds using the dry brush method. Just going to load your brush or down brush with the color and tap in any extra on the masking tape and just go ahead and add some clouds in the sky. Now, I'm going to have a variation of clouds. I'm going to have these lighter clouds in the sky. And at the same time, I will have in some darker gray or clouds as well. Now the placement. This is very, I wouldn't say completely similar to the reference picture, but it's kind of there so you can understand the placements of these clouds. And as you can see, I'm making them more in a linear form. I'm not making them fluffy, especially these nice light orange ones. And they're almost at the section that is in the gray area. In that section, I didn't want to add in dark gray clouds and that is what this color really stands out in that area. So I went ahead and use this color for this section. Now make sure that your paint is not completely dry. Otherwise, it will not sort of create your nice look. It will not show up on the table. Basically. You can add in a tiny bit of water just to make the paint more and more of them. Now right? In this section, the point section, you are going to look at where you place these clouds and just make an inverted image of this. To make it more simpler, you can flip your painting upside down and then see how you placed it. You can, you don't have to make it exactly perfect. Alright? Don't focus on the perfection. Don't make it look exactly the same. But you can sort of see what brushstrokes you've made and place them on your on your painting in a similar manner. Again, not going for the exact look, just trying to place them. Similarly in voted in the bone section. You can flip it back to see how it looks. As you can see, it's a nice inverted image of what we did in the sky. And your water is always going to show that inverted color. And that is why you have the yellow at the top and then you're transitioning to the three at the bottom. Now we're going to go ahead and make those create clouds for which I have mixed my black, my white, and that nice light yellowish color that we used. We can mix that with the shade as well, or just go ahead with this nice light gray color. Make sure that it's not too dark. It needs to be light and it should have some of the undertones of your sky itself. So I think this color is really good. It's not too dark. It's not too light as well. And it has the yellow, orange mix that we made for the previous, previous brush stroke. Tab in your excess paint out on the masking tape on your tissue. And this time we're going to go ahead and move into circular motion and add in some more clouds. Now, don't worry about the perfection and the exact location because those are things that we're not focusing on in this class were more focusing on joy of painting and trying to make something look very similar to what you see. So go ahead and add in these clouds. And then again, you are going to repeat the process and make it MD under section as well, which is your section, you'll make an inverted image of what you'll see. To add them to the highlights of our clouds, I've used the same light orange color that we used for the previous section. Maybe this one has a little bit of gray in it, but the color is very similar to the previous one. Now, going to go ahead and tap it under the clouds because the yellow section is where the sun is going to be. So you're going to have the lighter parts reflected in the age as you can think about it. Sort of reflecting or having the lighter parts all around it. For the clouds that are higher up, it will be under to the ones that are next to it. It'll be on the left side of your section. So I've just gone ahead and added this color roughly right under the section and wherever the light falls. And then using my clean brush and just blend them together so that they don't look as odd and as sharp edges. Now that we've done with this little section, we are going to wait here and let it dry. And in the next lesson we'll be adding some more details to our clouds, adding in some darker grays. And I think in the details to our foreground. 28. Day 7 Part 2 : Warm Grassland: Alright, let us add a few more details to our Cloud. So I'm just going to go ahead and first place the sun. So like I said, the sun is going to be in a section that is yellow. So I'm just using my round brush and making a tiny circle and fill in that. Then placing it right below it in the pond section as well. And then using a clean brush, I'm just going to sort off, land the edges. Now. For the water bet you will not have an exact sharp line for the sun, but a little blended out version. Now using the same light, very light, almost white, orangeish color. There's a very tiny amount of orange. That's why I keep saying it as an orange color, but it's a very light orange color. I'm just going to go ahead and add in a few more floating clouds around the sun, which is not going to have any gray in it. Because it's a cloud that is having getting all the light of the sun basically, it will not have a lot of gray in it. And I'm trying to replicate what I see under sky and the pons section. Like I said, audio, it doesn't have to be exactly perfect. But when you do it simultaneously, just make like a, like an inverted image right then and there. And the placement of these clouds is going to be slightly easier for you. Even for me, I feel like my painting is not exactly the clouds are not exactly placed in their locations. But when someone looks at it at first glance, they get an idea of how it's being reflected. So I've gone ahead and add some more white into the section. And I also felt like the gray was just to sort of light. So we'll fix that. But before we do that, I'm just using a clean brush to blend in the harsh edges of the yellow that you see, right? You can see the yellow resting completely as a separate layer on the gray, but we don't want that. We want it to be slightly blended with one another to just see the transition where you have the lighter colors and the darker colors behind that. So I've just wet that surface and blended it and using a clean brush, then I'm going to use a slightly darker version of the gray color, right? And I'm just adding it on top of it. Now if you're not very confident about this, you don't have to do it. Okay. I just felt like the gray was too light and wasn't really like popping out that much. So I went ahead and added a little darker gray at the top and advocacy and just randomly adding these lines over the layer. And then using water and just a clean brush, I will blend it and mix them together so that they don't look odd. Ones place this dark gray. You're just going to load my brush with some clean water, make sure that you don't have any paint over it. Then using a clean brush and just sort of going to blend it in and just move it around so that the entire cloud looks like one layer. So now that you've gotten the darker gray color, put in, the white or the lighter color is gone, right? It just became TV while you were doing the blending process in case you have preserved the white, that's good for you. But mine ended up becoming like that. So what I'm going to do here is just layer the yellow light orange color, the very light pistol orange color. I'm going to let it over and then using a clean brush, I'll blend it out again, just like we did earlier. You can also add a little bit of white. This time you can make the sunshine brighter by just using white as well. And for the pons section, for the sun. Blend it out using a clean brush and just add in the lighter colors TO clouds. This is your chance to actually make anything pop out even more that you need. If you think though, the white is my standing out so much, then you can add it in as a process where you just fix and make your clouds look pretty add in some more Frodo crowd clouds if you feel like it. And once you're done with this, you're going to wait for everything to try and then we shall move on to the next step. So I'm really happy with the way to slip strike now. So what we're going to do is make that little bush or the trees that a distance above the horizon line. So for that, I've mixed a little bit of Prussian blue and black together to form this darker gray color. So you can also add a little bit of white and orange. We're just going for a dark brownish mix. At the same time, a gray brown mix. So it's just when you mix all of these colors, you get this nice dark deep gray color. And I'm going to start applying it from the left and the right sides and making these vertical strokes. And be careful when you go above your horizon line, then making very tiny strokes and just uneven. We want the surface to be uneven and we don't want it to be straight. It also go ahead and sort of outline the sections so that you don't get confused. Make sure that your line is trade and not wobbly. And you're good to go. So I'm just going to add these vertical strokes using the same color. As you can see. I'm just adding uneven strokes. And then when I reached section that is right under the sun, I'm going to leave it for now and then use this color to come in from the right side as well, moving towards the left. Now, like I said, you can make the ends bigger. And as you transition towards the center, you can make it smaller just to give that illusion that the right side is slightly closer. And as you go It's like a Let's take a long way through. And once you reach the section that's under the sun, you're going to add a little bit of orange to make this color lighter and move on. Then repeat the process again, making those wobbly lines and just connecting it with the grid that you added earlier. This just adds a nice lighter color right under the sun, so you can do that and you can add the warmth in that area. So I'm really happy with the way this has turned out. You're going to wait for this to slightly dry. And then we will move on to the next step that is adding the green. So now I've made a mix of sap green and a little bit of Prussian blue, so it's a deep green color. I can also add in a little bit of black into the section. I'm carefully going over with this color and start, I started filling in the ether that's right under the horizon line like this. You can use your complete flood of the brush or you can just go ahead and use the side brush method as well. So I'm just using the sides making thinner strokes. This time about it a little more sap green, just to add in the variation to the green, I don't want the green to be just flat or the base color to be just flat. So I add the darker green first and then I'm going ahead with just sap green, which is going to show them lighter green mix and then just blend everything out with one another. The consistency of your paint can be slightly lighter. You don't have to make it completely thick. Now I'm adding a little more of the sap green, add Prussian blue just to get in a little darker green. And then again, using the same process, I will just fill in the entire section with the color. And I can also keep waiting between the colors just to add a little bit of the darker bits as well. So once you're done filling in the entire section with the green color, we're just going to go ahead and add in some darker bits to the green. Right at the edge of used, a little darker green just so that you can see that as a shadow or as a deeper color. While the paper is still wet, we're going to add in a little bit of the darker green color, which is a mix of sap green and a little bit of black. And I'm just brushing it over two. Our darker greens, uneven ground and just do some darkness and just some variations in, in our ground or in a grassland. I've used a mix of black and sap green as you can see, and you can do this while the paper is still wet so that you don't get those sharp edges like you've done in the past, in the previous class projects we don't get, we don't need those sharp edges and we want them to be slightly blended. So this is a perfect step to do when your paper is still wet. You can also use your round brush to create these strokes. And then as you come to the section that's, that's at the border of the bond. You can make these vertical strokes. This can act as the depot glass color that you can see. I'm just making these shapes. That's a tongue twister grass shapes right at the end. And the only thing that I'm keeping in mind is that the brushstrokes are going to be smaller at the sun area. And as I come towards the bottom of the painting, the brush strokes are going to be bigger. As you can see, I'm making these bigger, bigger brush strokes, especially at the base and right, when I move, transition towards the top or the middle of the paper or the painting, it's going to appear smaller. So when you do that, you add the variation in the shapes of the graphs, the grassland or the section that is closer to you, it's going to appear bigger. And the ones that it's slightly away is going to appear smaller to the observer. You're going to slide, please try and do this while the paper is still wet and you can just leave it right here and let it dry. And in the next lesson we'll be adding all the details to our grassland. 29. Day 7 Part 3 : Warm Grassland: Alright, let us add some more details to our grasslands. So what I'm going to do here is just use my brush to pin down the consistency of the paint is this nice, dark, almost black color. I'm going to apply it in the borders where the grassland meets the bond. Adrian. When you do that, it just adds into the deeper colors to your fear grassland. That section is going to be really dark as compared to the ETA that's above it. I'm just going to go ahead and outline the section and start making these vertical strokes just like you did at the top section. You're just going to repeat it and increase the size when it's at the base, and increase the size, decrease the size when it's in that section which is around the sun. So I'm just going to go ahead. And especially in the section that turns towards the right, where you will be able to see the shadow of the grass that's above. You're going to go ahead and make the glass whatever shape you want. It doesn't have to be exactly like the section that's above it. This is just to add into your do your shadows of that Ada so it doesn't have to be entirely correct. You can cover the sun. If that's happening. That's not a problem. And you can just add a couple of TAs facing downwards in different directions. Now, using the same dark color, I am going to add in some more darker bits into the grass and especially at the Ada that's closer to the observer. And he can see right at the top, we're going to start making these little brush strokes in different directions. So you can outline the section again just to bring in some more darker colors. And then add these bunch of different strokes vary the size with the directions. Especially keeping in mind that the area at the end well, which is at the end of the pond section is going to have smaller brush strokes. Reach a point-based all about adding texture of meat, this light green mix. Actually it's not completely light. It's just a shade lighter than our base color. And I'm going to go ahead and start adding textures using the dry brush strokes. So this is a mix of green, sap green, a little bit of white and black so that it just Shows up when we are adding in the texture. So I'm just randomly moving in this left and right strokes to just bring in some lighter color when it dries. It might not stand out that much, but it's okay. We are going to work in layers to add in the texture. When I reach this Asia where you can see the grassland, I'm just going to go ahead with a little bit of black color in it to add in the darker textures because I feel like that section needs a little bit of it. So I'm just using a darker green mix, almost black color to just sort of add in architecture in that area. And once you're done with this, you are going to wait for it to dry or while it dries. You can also work on your next mix of color, which is sap green and a little bit of white into the mix. Again, using the dry brush stroke, I'm going to add in some textures as you can see, I'm just brushing it over the black slightly above so that you're still able to see the darker colors. And I'm just adding in the lighter colors in the section. You can also add in some more white to make it slightly more brighter. As you can see, the shade is a lighter green color. And then I'm going to use this green color to go ahead and add in some more textures. Now, over here, there's nothing right and wrong. We're just doing a lot of texture play. We are just adding in different brushstrokes using different green colors. I'm also going to go ahead and make this verbally up and down very similar to the, to the Ada that we put above the horizon line. Same brush movement. This is just to show these far off textures of your grassland. So just go ahead and make random strokes and also go up and down. One thing I've noticed here is that you have to be very light with your, with your brush. You don't have to hold onto it really tight. Let it flow. Like I said, there's no right and wrong, so don't be scared to put it on paper. A lot of times I feel like my students that I teach in-person, they are too afraid to just let go and make these meet these brushstrokes because they like what if I mess up? But there's no messing up with quash. You can always fix it if you don't like it. And display around. Be very gentle, be very loose with it and everything will just flew up and look pretty. So once I'm done adding the texture in the far of area, we will move on to just adding in a little more details, little more wobbly lines to depict the graph that you can see at a distance. And once we're done with this, we are going to start adding details to the graph that you see at the base. So like we did earlier, we will be moving on in layers, right? Have a darker layer on top of that, you'll have lighter layer. Then it goes on def done this before. So it's very similar to that. I'm starting off with a sap green color. And I'm just going to make those brush strokes like we did earlier and following the same sizing and just adding in a bunch of different brushstrokes in that section. Once we're done with that, we are going to move on to a lighter color. So just adding in a little bit of yellow and white into the mix just to make it lighter than the base layer that we applied. And then we're going to just repeat the step, adding in these different brush strokes in different directions, adding highlights into our section. So just go ahead and have fun here. Again, keeping in mind the sizing of your brush movements and the grass. Other than that, you're good to go and just make lesser brushstrokes as compared to the previous one. So like we've done in the past, you cover a 100 per cent of data with the black dark color. And then you decrease the amount of brushstrokes that you're adding into that section. Once we're done with this, we have makes an even lighter green color and I'm using this color to add in some more brushstrokes and the fire of areas just few vertical strokes. Because you're not only going to be able to see the glass in that outline bit, but you're going to see some of those in the fire of area as well. That is why I went ahead and added some more texture and some more grass shapes just to fill in that area. And then once you're done with that, I actually really like the way the slug I felt like audio. It took them a little bit empty. So I just added some more brushstrokes in that section. And then once you're done with that, you can switch to an even lighter color and add in some more highlights. I'm really happy with the way this has turned out. So now is the time we add in the lightest highlight using a mix of green, a little bit of yellow and white. So just a few strokes, not so many, just a few. To add into the highlight of your section. To just go ahead and repeat the same step. Just go ahead and just add it to randomly around your painting. Follow the sizing of the graphs that you make and just fill up that section. I also decided to add in a little bit of texture using this light color, even in the area that is slightly away from the foreground, exact foregrounds section. So I've just added some more texture, lighter colors in that area. And I'm actually really happy with the way this section looks. I'm just going to go and outline the base of the grassland where it meets the pot and just sort of add in some darker colors and that section also add in some darker shadows at the base. You can just pin down the consistency of the paint and just sort of move in this left and right motion to blend it with, with the bonds so that it's not very sharp. And also add in some vertical strokes downwards so that you add in some darker shadows. And once you're done with this, you are good to go. I also added this deeper colors slightly upwards to add into the darker tones of that area. And once everything dries, you can carefully peel the tape off away from the paper and get these nice crisp, clear edges. I'm so happy with the way this has turned out. Honestly, I felt like I was a little confused if this was going in the right direction. But I'm really happy with the way this has turned out and I'm sure you would have done a great job at the section. And that is eight, this is your final painting. It's the seventh painting in your landscape book or your sketchbook. And I hope you enjoyed watching this with me. I love how the sky, the reflection logs and the green is absolutely to die for. I hope you enjoyed painting along with me. 30. Final Thoughts. See You in Next Class: And this is it, you guys, it reached the end of the class. I hope you enjoyed painting along with me and spend some nice seven days painting in your sketch book using the medium gouache. I hope you learned something new from this class. This was a slightly advanced version of the previous classes that I've done using gouache with a lot more layering techniques. We painted seven gorgeous landscapes in our sketchbooks. And I really, really hope that you are excited enough to add in some more. If you're painting in a sketch book, if you want, then you're good to go with the seven beautiful paintings. And I've tried to cover all the aspects from the beginning so that even if you are a beginner, you can join in as well. So we've covered all the basics that we need to know to advance in gouache and even get started with it. You can also take my other classes that I have on Skillshare for the medium Koch, where we're painting gorgeous clouds, skies, silhouettes, and even just picking up 15 days, of course, challenge. Just to help you get familiar with the medium. You can follow me on Skillshare so that you are updated every time I'm coming up with a new class. You can also follow me on social media, on Instagram at this simply aesthetic. You can also follow me on Pinterest and all the other social media platforms under the same name. I post more about my day-to-day journey, everything that I'm up to, my upcoming online classes, live classes, product launches, everything gets posted on social media. So you can follow me on Instagram to just stay up-to-date with my life. And I shall see you in the next class. Bye.