Sunrays In Nature - Acrylic Painting For Beginners

1. Intro Swing: I came across this image while browsing on the Internet. This is a result in Bali call command. The moment I came across this image, I knew I had to paint it. And it is my honor to be able to teach you how to paint this gorgeous green landscape. Hi, my name is Debussy tree and I am an artist based out in India. I have been teaching at professionally since 2016, and I have talked close to 10 thousand people in physical workshops and have taught more than 20 thousand people globally through my online classes. I used to work as an IT professional for over a decade. And finally, I decided to quit my corporate life to become a full-time artist, to pursue my interest in art and to educate others about art. If you want to know more about me, please visit my website about street date.com, connect with me on Instagram. In this class, I will start by telling you about my limited acrylic art supplies. Then we will do a color study by swatching out all the colors used in this project where you will learn how to create different shades of greens by using only a very few colors. Then I'll teach you some brushwork using this class and also how to paint three-dimensional objects with acrylics. And then you will get to see my in-depth approach for creating this painting from beginning to end. There are lots of levels of greens in this landscape. We will create three layers of greens, back, middle, and finally the front layer. And of course, I will guide you to create the swing bed in a step-by-step approach. You will also learn to paint Sunrise. I hope you are excited by now to create this painting. Gather all your acrylic art supplies, and I will see you inside the class. 2. Art Materials: Well, hello, hello. A huge welcome to you inside this class. I'm so glad you decided to join me inside this class. This was a highly requested tutorial for a very long time. Here is the original one that I painted, I think a couple of years back. So this is the one that I'm going to be teaching you in this class. Here is the reference image. I decided to omit the alcohol in the painting. But if you want to, you can all cause at this meeting, I have attached the reference photo in the project section down below so you can refer to it. And my promise is that by the end of this class, if you follow along with me, you will be able to create this amazing painting or by yourself. Okay, So let's start. So I will tell you all the art supplies that I am going to use in this one. Since this is a very special evening, I decided to do it on an A4 size paper. So here is the paper which I have dip down on a canvas for easy, easy axis. And here is the paper that I'm using for this class. I will so that you can buy it if you want to. So this is again, sin acrylic people. It's a little bigger than A4 size, but it's almost A4 size. Measurement is 24 by 32 centimeter, 9.4 inches by 12.6 inches. So this is the paper that I'm using which have deep down and what you need. So you can do it on an A4 size paper like me, or you can do it on an A5 paper as well, or Canvas or whatever you have access at home. And I'm going to use these three brushes. One flat brush, wine, a medium-size round brush, and one away liner brush for doing all the thin line. Okay? And here is my plate where I'm going to mix all the colors. I have a glass of water here. And now let's talk about all the colors that I'm gonna be using. Black and white. And I have taken out all the different shades of green I had for this class because this painting is all green. And I have taken down to two types of yellows, warm yellow and a cool yellow. This is basically cadmium yellow, but in Golden It's called Hansa yellow medium. But if you have cadmium yellow, That's fine as well. This is lemon yellow. And the three greens that I have taken out our religion, few permanent green light, and this is top is green. This talk with green color is what I'm going to use in this background. So this has a bluish green kind of things. So I think this green is going to be perfect for this. I think when I painted this, I used a touch of blue with the green to create these colors. So this is not exactly getting, this has a little touch of blue in it. I'm going to keep this painting here on the side for my reference. And you've got a reference as well. So you can also look at this and see how we are approaching the painting, okay? Alright, so that's all for the art supplies. I hope you've got all of that. And of course, grab a couple of papers and let's get started. 3. Color Study: In this lesson, let me take you through all the colors that we're gonna be using in this class. And show you the variety of colors that you can create by using this limited color palette of five colors, three greens, two yellows, and funded by mixing them with black and white. So let me swatch out all the colors. Let us start by using the colors that I have used in the first layer, which is this background layer of the painting. Okay, So for that, I have used takfiri screen and Phrygian. Q. Okay. So this is the top is skin cream color. I have not just use this color directly, but I have mixed it with white and black in different places to give the different dimensions of the green background. Okay? So this is mixed with white, and I'm going to use it. Mix it up with black as well, a little bit on the left side. Okay, so that's the first column. So similarly I'm going to do the next color which is viridian hue, which is also something that we're gonna use in the background. So I'm starting off with the midtone, which is the original color. And now I'm going to add the white on one side, which is to show the highlight of this color. And I'm going to add lag on the other side to show the shadow of this column. Okay? So these two colors are done, and we are also going to be mixing these two colors. The top is green and the viridian hue in the background. So this is the color that you get by mixing. Again, I'm going to add some light on one side and some black. There is not much difference by mixing these colors from individual. By the way, you do it on a broader surface, you will see the difference. So these are the first layer of colors and we're going to mix a little bit of yellow also with these two colors in the background layer. So I am using these two colors. And then I'm adding little bit of lemon yellow to this. Okay, now, as we start moving into the foreground, which is this layer, this is where we're going to use this light green, lemon, yellow, and virgin here. Okay, so I'm going to take out some more of viridian hue and colors that you've got. Again, this is a good idea and this is the light green. This is lemon yellow. Now, if you don't want to have this light green color, It's not always present in all colors sets. Just after doing this color study, you can see that you can create this color by mixing viridian hue and a lemon yellow, right? So even if you don't have this color, is totally fine, you can create it. Okay, so you can see the different color combinations that are appearing in the middle layer, which is this layer. And now coming to the front layer, this is where we're going to make a very dim view. Black, lemon yellow, and little bit of cadmium yellow as well. So the colors that I'm going to do for this is that it can heal within heel flat plus lemon yellow I've already done here. So in this one I'm going to mix viridian hue with the cadmium yellow and show you that different shade of green that you can create your own. Okay, and another beautiful color that you can create is by mixing lemon or you can use cadmium yellow, also. Cadmium yellow or lemon yellow and black. So check out this color. This is lemon yellow. I'm adding quite a bit of lemon yellow and take a tiny touch of black and you create this beautiful olive green. So this is the color also that I'm going to use in this painting. So there you go. All the different shades of greens that you can create by a mixing test, limited color palette. So this green is optional even if you don't have, you can create this green by mixing viridian hue and yellow, lemon yellow. And the other set of colors that we're going to create is for the bed. I'm not really doing the color swatch because it's just simple. Yellow mixed with a little bit of bond above. So I'll do, I'll show you the mix of burnt umber and yellow. And I'm going to show you the color of the tree trunk that we're gonna be using. Bond tamper is a very beautiful color. If you don't have this color, it normally comes in, in a set of 12 colors. So ideally you should have it if you have bought set of colors, but if you don't have this color, you can buy it individually. Also, I have linked down all the colors below, so you can buy it. Now, I'm going to mix a little white to this seat, a variety of colors you can create just by mixing this bundle amber color with black and white. So this is mixed with white. And now I'm going to take a molecule and mix it with black. If I add more white to this. So this is like black, white and burnt sienna together and burnt umber. And this is the beautiful color you get. All these shapes that I'm sure I'm creating right now. The colors that we're going to use in the, while creating the tree trunk. Just by changing the proportion of the black and white, you can come up with so many colors, okay? So these are all the colors that we're going to use in the in the bed frame and in the tree trunk. Now I'm gonna show you a little mixed with the burnt umber and yellow mixed with the little bit of white. So already I have a burnt umber mixed with white here. And I'm gonna take a little bit of maybe cadmium yellow. And this is the color basically that we will do on the metrics. Even though it looks like absolute yellow, It's not. There is a mix of color into it. The pillow is exactly the cadmium yellow, but the mattress color is basically this color which is mixed with a little bit of burnt umber and weight limit. Okay? So this is the color. I can add just a little bit of yellow to. The final color that I want to show you is mixing cadmium yellow on Dumbo. To cut this conscious color that we get. This color I'm going to use when creating the shadows on the bed. That's all four pilots watching. I hope you understood. You've got an understanding of how the colors mix and create all these different shades of colors. 4. Brushwork: In this lesson, I'm going to take you through all the brushstrokes and brush marks that I have used in this class projects so that you can learn them and use it to create this landscape. Okay, so I'll start off with a very flat brush. The highest one that I have, which is ten. And I'll show you the first brush mark that is going to be very useful for you in this database. So this is the brush mount that I have used in this background and little bit in this layer of the green as well. Okay, So for that, you don't take too much of water in your brush, has just a tiny touch of water, even if you need to have and add very little amount of green on the brush. Bristles open up like this, and then very gently touch it on your practice this technique for a couple of times and you'll understand how beautiful pictures you can create using this technique. Okay? So the, the, the, this time this technique, let me show you what you should not do. So if you go to harden your Canvas and you go with a lot of pain, this is what you do. You get this kind of textures, okay? So this is also not bad, but this is a different kind of texture so many ways we are feeding the background and we don't need to create beautiful textures. You can go hard like this and fill up the place whenever it is required. Because sometimes what I've done is I have blocked up background and then have come on top of it with some other color and created the texture. So whenever you want to have the textures visible, don't go too hard on the canvas and use it very gently. And now you can use it to mix two colors as well. So you see here, I had used religion you, and now I picked up yellow. So you didn't use mix these two colors very easily. Over here. Let me show you a little bit more by what I mean by this. So this is gradient you. Now, let's add a little bit of lemon yellow to this. And now let's add little bit of white on it. So the three tricks that you need to remember for doing this right, is not too much of pressure on the canvas and don't have too much of color in your brush. Let me make it a little bit of black also on this side. And show you all the color combinations that you can do by mixing this. This is the light cream color. Okay, see what happened here is I picked up a lot of paint and it came up as a block. So now this is the center of the area. It's not a problem, but as you're moving on the edges and you want the textures to be visible, which is basically the textures of the leaves that we are trying to attain with this technique. So you go fairly gentle and also keep moving your brush like this depending on the area of the landscape that you are painting. Okay? So if it is a broad area, you need to cover a lot of places. Go with the big side, the broader side of the brush. And you can go off like this. If there is a if it is a smaller area, then you can turn it on the site ways and you can add like this so it covers a small area. So rather than changing brush, you can use this technique to move your brush to create textures like this. So you see a very less amount of paint on the side of the brush. So I am getting really nice textures now. I want to get more color. Just started on the other side where I have more color and I can go like this. So if you're building this for the first time, this kind of technique, if you have not done before, practice it a few times on a rough sketch pad and you will be good to go. So this is a technique that we will be using in the background completely And in this layer. But in this layer we're going to use a mix of these brushwork and different brushwork. So that is the one I'm going to show you now. Okay, So for that, I will use this round brush size and this technique I'm going to use in this second layer, and in the third layer, which is the Franklin. For this, I'm taking some water and we are going to create one strokes like this and create leaf extract. All we're going to do is use different colors to create different layers. But the brush stroke is. So sometimes you might want to create a bigger leaf, which is basically on this side. If you see these are like big leaves. So you make a stroke like this, this way. Or if you want to create smaller, much smaller list, you just make a smallest jobs like this. I'm using just some random colors to demonstrate this. Okay? And how do you create lists is just by using this method, go from dark to light. So the background color, if you do it really dark. Then on top of this, you can come in the gaps where whenever you have created gaps, gaps, you come and create more strokes. And then on top of it you add the lightest drugs. So this is how you can create layers of leaves just using this stroke by stroke technique. And you can create dens, amount of forest leaves, whatever you are trying to create. Okay. So here also, if you notice what I'm doing is I'm kind of twisting my brush and trying to create all sorts of shapes. The legs. So if I press little harder, I get a different shape. If I press gently, I get a smaller shape. So if I want to fill up some of the gaps, this is how I go in-between. And just keep switching your brush around to see what is that shape that you're getting a couple of strokes here and there is not going to make much of a difference as long you got the idea right. Okay, So this is the technique that we're going to use little bit over here. So over here, if you see all these small bushes that I have done, that I have done this technique with a little bit off on the edges. Maybe I have just added a few of the strokes like this to create some of the green leaves to make it little prominent. And in this layer, I have completely use this technique to create all the lists. Okay, So these are the two main brushwork that you need to learn. And the final brush stroke that I want to show you is for the sun rays. So I already have some colors. But while doing the sun rays, we're going to use it with only white, but I'm using a different colors so that you can see it here. So first and foremost thing, hopefully very less amount of paint on your brush with weight of us and wipe it off on your tissue paper if you need to. And then all you have to do is just make a straight line like this. This line wasn't very strict. So I, what I want you to practice is I'm just taking a little bit of water because wiping out in the sunlight, I like to use little bit of water and less of paint. So I am going like this. So now even while doing the sunlight salaries, you can go on the flat side like this, we will create a broader amount of sunlight. But if there is a place that you want to create less amount, you can go sideways like this. It's important to have very less amount of paint. Then only you will be able to create such a broken line like this. Practice creating straight lines like this on a rough piece of paper for some time and your hand will be able to move forward like this. But just in case you'd see that you're not able to create settling at all, even after practicing, you can use a scale and they sit on your painting and then go buy this hill and then create the strokes like this. Alright, so that's all for the brushstrokes. 5. Forms & Dimensions: Okay, now I'm going to teach you the forms and dimensions of any object, how you can convert a flat object into a 3D object. Okay, So for that, I have taken this object, which is a cylindrical shape. And if you learn to create this, you will be able to create the street chunks are very easily which we are going to encounter in this class project, right? Okay, so let's get started. So first thing what you have to do if you want to understand this, is we're gonna take one color, which is the burnt umber, and then we're going to create. So if you look at this object, you'll see there's a ductile on one side and there is a highlight on that site. If you look at the color composition is dark tone over here, then there is a mid-tone in the center and there is a light to the left. What I call it generally is going from shadow to highlight. To go to shadowed, from shadow to highlight. You basically take your original color and you add black on one side and you add white on other side. Okay, so let's create this object and we can learn in the process what's exactly happening. So first what I do is whatever shape I have to create, I will just create that sheet. So for here we are, the painting, our cylindrical shape. I have completely used burnt umber to create this shape. And now I'm ready to add some white. The reason I go with white first, because then I don't have to wash my brush. I can directly move from one color to another without washing. So I'm just adding white on one side. You'll get two more of white. And I'm going to blend it in with the bond. And you go back and forth a few times until you really try it. So you see I have added too much of white to the center, so I'm just going to wipe off my brush and add a few little bit more of burnt umber in the center. Okay, So it's done. And now on the right side and I'm ready to add some black. I'm using little water because I'm doing it on the sketch book and it's not very accurately, family doesn't help you blend months. So that's why I'm using little bit of water in the process. She was trying to create a nice edge, not really required, but trying to finish it off in a nice way and it's done. So now you can see how the 3D object, the flat objects. So this was a flat object because we painted it on duty, right? So it's a flat object, but just by changing the highlight and the shadow of the object, we converted a 2D object into 3D object. So this is how you can convert any painting, any object while you're painting, into a three-dimensional object. So what do you do? You add the original color in the center and a highlight on one side and dark on one side. So now, well, how do you decide where to put highlight and shadow? Highlight and medical shadow is basically depending on the, on the, on the, on the source of the light that is coming in our landscape. Your, thus sun is coming from here in the center. So that's why these two trans, this is the highlight for this trunk and this is the shadow side. And for this one, this is the highlight side and this is the shadow side, right? I hope you understood that this is really easy. Just practicing it, or even just by watching lesson, you will get a good idea of what it is. So sometimes what I like to do is if you notice in this one also and this object, I just like to add a few of the highlight colors a little bit in the center. Also in some places, it gives a very nice 3D look to the object. So here it is. 3d object. 6. Step 1 - Green Layer 1 (Back Layer): I forgot to mention another color bond above which I'm going to use for the chunk, chunk. But I want to take it out little later. Alright, so let's get started. I'll start by taking out all the colors that I need in this step. So first I want to take out a lot of white. So I'm taking out the white from this acrylic bottle. I'm gonna take out some of this turquoise green little bit of viridian hue. So I'm taking less amount of paint and as, and when I need it, I'm going to take off more. So as you can see, both the shades are very much close to each other, but this is a little bit of bluish, this is little bit of a greenish. And I'm going to take out black. I'm starting off with this flat brush. This is size ten. Okay, So size ten is what I'm using for this size people. So this is how I measure a brush that is perfect for my canvas size. I place it on the shortest side of the canvas and measure 12345678. So if it measures to eight, I know that this brushes for this canvas size. Okay, so now let's get started. I am starting off with some white on the top using just a touch of water. And then I am taking little bit of this bluish green mixing it up with a lot of white. And I am good at it like this. I'm taking some white because I want this to mix up with the white little bit so that it looks like it's blending into the white background. White background is basically the sky. Okay. I'm using, you can see that I'm not using the flat side of the brush and I'm also using the shortest side of the brush a little bit and adding this monks the pictures of the leaves. And now I'm coming down and adding more of it. And as I'm coming down, I'm using more of this color without using too much of white. Since I already had wide, it's going to mix up with the blue or rather green. The top is green. And it's going to create some beautiful textures. I'm also using this other green that I have. The first layer that we are doing is the background there. As you can see in the reference image, there are three layers to this painting. So when you see a painting like this, it's so difficult to decode how which led to go first. So first layer is the most distant layer. So this layer in the background that you can see, this is the layer we're focusing on at this time. Okay? I'm taking just a tiny touch of black also with this. So as I'm coming down, the color is getting darker. So there is a lot of kind of dabbing that you've got to go keep doing. Don't lose patients. Just go slowly and keep creating. These are all good background color. Like I said. I'm trying to tone it down by adding little bit of black and white in the green as well. Okay, I am going to introduce a little bit of yellow in this also in the background. Just a tiny bit of yellow. It's not going to be very bright yellow because the brachial is going to be in the front stage of the green lady. Little bit of yellow in this background. Everything with little white and black, because these are all bedroom colors. So if you want to keep the columns fresh, you use the tint color, right? Like if it is in the foreground of a painting of a landscape, you use yellow and green. But since this is the distance layer that we're doing, with every color, you mix a little bit of white and black to make it look like it is in the distance. That is how you differentiate between the different layers of a landscape. I'm just going over it multiple times to create different distinct layers. Using just a touch of yellow. You see the texture of the leaves are coming so awesome. So make sure that you are using a good brush because it shows that you get, depends on the kind of brush that you're using. C, even if I'm using black, it's not entirely black because it has little bit of white with it. And that's why it is look in lizard tinted. We don't want to use absolutely dump black here because these are all background-color straight to find a veto. So what I'd like to do is for any layer, I never mix up all the colors and directly use them on the painting. I found like to pick up the color as and when I go and edit directly to the Canvas. Or two things happens. If I do that, I can create variety of textures in my painting. And I can create different layers also in the painting. It seems a little periods while you're doing this by half planning the process. Enjoy it. See how nice pictures you are able to create just by mixing these few colors. This all goes in the background. So using little bit of dark colors in the back with the data of green. Of course. I am going over in those places where I see some of the white canvas is showing tool because I don't want any white canvas to be shown. And this place is absolutely in the background. Audit again and as the color some taking a little time here in this tape and Nike and doing it because this cannot be revisited. Okay, that'd become a bit too white. So I just add some green to this. Just by adding different colors, different shades. I'm adding so much of textures to this. Very gentle touch. I'm not pressing my brush to hide. And that is the cheek of getting these pictures, right. Adding some blacks in between just to show the depth and the shadows of this background. He says that just because tobacco leaves doesn't mean that they don't have any shadows. So we have to be careful and create those strategies as well. Because you know that by creating light, amount of, right amount of light and shadow, we create the perspectives in the inner landscape. I'm just adding a little bit more shadows here and there before I end this tip. So already, it's starting to form really nice background. And I don't want to make it too dark, so I'll just make it a little bit more light. Okay, I think I have a bit too much of blacks, so I am going to wipe it off. Okay, and just add a little bit. So I'm referring to this immature and seeing what I have done here and accordingly and doing just a little bit of light yellowish colors. Most of it is going to go in the background. None of it is going to be so much visible. But still, I like to do it as nicely as possible so that whatever it is peeking through from between, Looks good. I'm digging more of weight here. Okay, that looks good to me. And just a few final touch ups. It's starting to look really good to me. It's not exactly same as what I have done, because anytime I create any painting, it never turns out to be exactly the same. They're always some difference. And that is good. And using it as a reference, you know, the tape that I'm doing right now, I'm not sure you eat following anything, but just doing it just a little bit more layers. Because the more you do, the better your landscape gets. Maybe you know, so much of this is going to get hidden window frontier comes, but that's okay. So our first step is done. Check out different layers, depths that we created just by using one technique of dabbing. Here where it ends. This is where I have made extra careful, extra careful to add the extras in a way that looks nice. I don't want to end this tip here. 7. Step 2 - Sunrays Layer 1: So now I have washed off my brush completely. And let's try it off. And now in this step, we're going to create the sunlight. So they're going to be two layers the sunlight. So firstly, I'm going to do on this, on this background. So even do the background right now, looks very bright and kind of like not very toned-down. The moment I add the sunlit sandal raise is going to get toned down a little bit. Okay, so let's load a sunrise on top of this. So all I'm going to use is little wide and just tiny bit of water with it. Not too much of water. So tiny bit of water. And I'm going to dab it up just to make sure I don't have too much of paint in my brush. Know, if frequently, I'm going to take out a little bit more white paint in my brush. But to start off with, I want to do it really light. Also, make sure that your background is dry. I have given it like kind of like two to three minutes and it's all dried so that you don't see if it is wet, don't do it because then the color is going to mix up with this. Alright? Hello, brush on the top and bottom by me towards the end of the age and try to do one stroke appetite. You see I have less paint and I think I should reduce it even more. I don't like this here, which leaves me with, I just wanted to get rid of this part. The background layer is dried. This is easy to do it. You can just wipe it up. There you go. So try to do as much possible straight lines and in one stroke, maybe less amount of white. Don't want to have too much of white. And do them in one stroke, go all the way from the top to the bottom. So in this part, I'm going to go one more time. Let me take just a little bit more weight because it's very light. Okay. I'm kind of liking it just a tiny bit more. Increase the intensity of white. Bit by bit. Don't start off with a lot of white. So right now I'm increasing it just a little bit more, especially in this center word. Okay? I'm increasing quite a bit more and adding jump top here. Now you'll see the background kind of tone down so much after this service layer, which is good. Okay, so that's all. I generally tend to go overboard, so don't don't go overboard. I think I've added a bit too much over here. I'll try to wipe it off and see what yes, I can make it all. Alright, so that's all you learn if you do mistakes, how you can correct it as well. So it's really fun step, just be a little careful if you feel not to competent of doing this. Doing it directly on your painting, checkout, rough sheet of paper, and try doing this long strokes with additional to make sure your hand is making a straight line. If you practice it just for two to three minutes, you will get it right. So like you saw when I did the first absolutely the first line, it just got little wavy because that was the very first step I do. If you just do couple of strokes on enough paper, just by the thought of food stroke, you will get it straight and you can come on your painting and do it. Just don't overdo it, and just see when it is looking perfect and you can stop there. So here is a close-up image of this tab. You can see the not completely covered. Yet. It has gone in the background and everything has become really like it. Okay. So that's it for this step. I hope you'll learn how to create good sunlight. 8. Step 3 - Green Layer 2 (Middle Layer): Okay, Now in the third step, we would create this secondary I call, I'm calling second layer because I feel this is little bit inside and then this layer comps absolutely on the top. So this was the first layer. This is the second layer. Let's skip this one. For this, I'm going to take out all the bright colors that I have. The Reagan who was already out, which was not used much. I took out this light green permanent and then some lemon yellow. Okay. So the brush is not washed. It has little bit of white from the previous step, but that's fine. I'm going to go on top of this and create the lower area. Alright? So the technique is just the same of what we did in layer, first layer of dabbing it with a brush. I'm going to start off with this two colors. And you see, this is like the brighter shade, your front. Moving slowly. Some of the leaves, I might give a little different shape needed like C with the flat brush. The benefit of this is we just one stroke. I can create so many live shows, right? I really like to take advantage of that and play around with a flat brush and create this rather than using a small round brush like this and creating one by one. So I'll just do a little bit of that also ensure you, if you see the photograph, the reference image, it has this kind of leaves. So if you don't feel comfortable doing it, the flat brush, you can definitely use this method. I do this sometimes but not always. Okay. So now I'm going to go all out and fill this part. I'm completely okay. So first thing I'm going to do is add a lot of black. Absolutely. At the bottom and take some green stuff off the screen. Oh, can you see I've left a little gap in between. I don't want to go too close with the black. And now what I'm gonna do is wipe off this black and take the yellow and blend it in with any visits all background. Because I'm going to add some more on top of this beautiful thing that happens here. As you can see, as the black and yellow is mixing, it's creating a beautiful olive branch. A student that I didn't have on my plate. But it's mixing and making that color. Okay, so now the complete canvas is covered. There is no white spot, white canvas. Just making sure that it's completely covered. And then I will be deemed the leaf textures on top of it. Whichever color is there, and how they were. Still some white spots I can see. So I'm just trying to be just black. Okay. So the intake and this is blocked. Now. Now I'm going to go on top of it and add some of the leaves the way it is and make it look nice. Okay. So despite when I didn't know, I was not really focused on how it's turning out. I was just focused on covering up the canvas. Now my focus is on doing it right? So I'm going to do is wash off the brush because it has a lot of black. I don't want any more black now. Now we're going to be in bright colors on top of it. I am starting with this round brush. This one is washed beautifully leaves over here. I am not going to go and be intimidating in detail. That's not what I like to do. Just giving some shape and form to this beautiful leaves over here. All I want to do justice to them. And that's why I'm doing it with a plan and adding some of the leaves the way they are. I can see there's some white spots visible. Again. I'm making sure I'm covering them now because sometimes they do get left out. You can make sure everything is done. The stuff that I was leaving here, it's better to do it with a flat brush because it just with a couple of strokes, you can just get some nice textures over here. And I let that olive green color we created. So I'm taking a little bit more yellow and black and creating this olive green color and adding ETO. This olive green color. It's so pretty. And I'm living little bit of this color. So just have fun with all the greens that you have. It doesn't necessarily have to be exactly the colors I'm doing and have fun and create some edges like this. Don't take pressure off. In doing exactly what you see in the photograph, then you lose the fun of painting. I am adding little white also to this. So trying to create as many colors as possible with just this many colors, just by mixing them. Okay? And don't take too much pressure on doing it right, even if you do not shade, it's totally fine. The main thing is having fun in whatever you're doing. I feel like speaking to this brush, the liner brush that I had. And it's going to be at all because sometimes I tried to smile with a thicker brush. Just by using a different brush will give me such a better result. I've seen people do it. It's much easier with this brush, I must say, finding each other. This is the beauty I feel when I paint on bigger surface. I can do so much more looking at the reference image, this is not something that I did in this small one, but here I had the space and I felt like doing it. I'm doing it. Okay. Enough is done. Maybe just a little bit more to make it a little bit more brighter. No more black. Okay, I'm going to leave this for this tape as of now. I'm gonna just a little bit more to this yellow colleges. But after figuring out where the Chico is, where the swing goes and everything. And after that, I would do at this voltage is over here, Not right now. Okay? So I'm going to end this tape over here. 9. Step 4 - The Swing: Before moving on, what I'm going to do is in this tape, I'm going to sketch out the entire painting a little bit so that I know what goes where. Okay. And before that, this plaid brush, I'm going to wash it because otherwise it's going to get try it with this team liner brush. I'm just going to take whatever color I have on my plate, maybe this color. And just figured out what goes in there right now. Tree comes from here. Okay. This is just for my understanding, I'm not painting the actual tree right now. Then the other one comes one more that goes from behind. One thing like this. And there is one more that goes somewhere. Okay, so those are the chunks. And now you to know where the swing goes from here. Because you see so much of this foliage is going to go in the background. Now, it's better that we find out where is it. And then we painted. I start off with the first lower line, which is something like this, where it comes. So okay, this is done. And now the line, this is where that tree is still going to feel it. Somewhere here. This one, somebody like parallel to the other line right here. This is where this is such a pretty hanging bed. I could relate to and found out that this is a resort in Bali. So ever since I painted this, I have been wanting to go to this place. Have you been to this list? If you have been to let me know how it was. And if you see the pictures of this place, it's basically this hanging bed. Is there in this result where you can go up and spend the night or something like that, which is pretty awesome. So that's the placement of my bed has been done. And now I'm gonna go ahead and actually make the outline of the bid first. And then I'm going to paint them on onStop because you see all these beautiful foliage that I did here is put together all blocked. I'm actually trying to get rid of little textures which I don't want as a hindrance, I think bed. Then I'm going to do this foliage right over here after the Things Done. Now, I'm going to use this liner brush to create the outline. And I'm going to use this brush as well. Alright, so now let me take out the color, color. The time when I used to this is bond on both black and white so that those are all the colors setup that I use. I think this brush is going to be faster because if I use this line and one is contact me forever. Okay, let's start to create a straight line. Alright. I'll show you step-by-step how you can proceed and do this. So the first thing you do is make this. Straight line over here. Then join these and also in this in a straight line. Okay? And after this, because that places a little smaller, narrow what I want to use. It's a black also to border this out while it is and blend it to quit. Okay, So this is done. And next, here is the next layer that I wanted to. Again, make bad luck to this one entity all adding up black layer between these two. And I'm taking some on-time ball. So this is basically one more plank on top of it. But if you look at the picture, you will understand that this is basically the mattress of the back bit. This comes all the way till here. I might add some color later and make it a little bit toned down. If I need to. I am for the time being, I'm just making the shape of the bed. Just adding white. I don't want to revisit this place. I think it's done. So I'm just going to go and add a highlight to the same thing. I'm going to add a little highlight. Okay? So this part is done. Okay? Now next one, there's going to be listenable, bit more highlight on top of this blank. This part also has to be colored. The same thing happens on this end also. Okay? So this slide is very much visible that this has the lower band plan. This is the, now I am going to create this line. So I'm digging a little bit, or I didn't like Martha more mixed with white. This one. To show the perspective. And adding a layer of black here. And the mattress area. For the mattress area, I'm going to use white and 10. Step 5 - Tree Trunks: Okay. Now I have completely covered the pillow colors and now I let it dry while it is drying, I'm going to add the branches of this side. Okay. I have this brush ready. I did not wash it. It was just laying around with the burnt sienna color in it. And I'm going to mix burnt sienna and burnt umber and create a dark color. Because as you can see, this is in the front. So the color is really brighten. On this side. I am going to add special Blackboard so to this. But before that, let me add this other tree trunk as well, which I had rapidly pivoted. Any some black on the right side. Alright, so treat chunks are done. And now what I'm going to go back to the two finishing the bed because it's all dried and I can create all the nice textures on top of it. 12. Step 7 - Shadows on the Mattress: So the textures in that pillow is done. And now I'm going to add all the reflections on the metrics. Okay? So for that, I am using burnt umber and white mix. This is the color, very light color. So I'll start off with adding a ball underneath the pillow to show the shadow. Maybe just to touch him. Okay. Now it's all the reflections of the leaves on DOM. It's a very fun step. Okay? So that's all the reflections of the trees on the metrics. And this is done. There are few more reflections that I see that we can do with a little bit of the yellow, which is basically the reflection falling on the pillow. I think that's it. You can't do too much here. So that's it. This is done. And now like I said, the foliage which was missing from cure, I'm going to add that color is trade at night. Some more lemon yellow. Okay, I think it's built up really nice by now. I hope you are able to follow along with me and do all of it. I know it gets a little complicated. So just watch it first before applying our before doing it. Right now I can do it with a flat brush so that I'm doing. So it's better to do it directly with us. My gosh. 13. Step 8 - Finishing off the Mattress: Okay, so now I'm going to finish off the bed because this little bit of it is left. So I just wanted this to dry before adding that and try and demo. So I'm mixing burnt umber and black. And let's finish this part. So this is where this straight line goes up. Then it comes like this. Okay? And now we show some starting from here that goes down like this, straight line. All the way to own. This can seem a little bit complicated, but it's really easy. Just follow along and do it. Okay, so the black side is done, and then I'll use the dark color since I have it on my brush and take it all the way down here. Okay, and now we will add all the whites to wait to meet them. Much more visible. Okay, and that's it. If you keep doing it and I seem to get a little bit more complicated. But yes, you can see all my geometry looks nice, everything in place, and everything looks good. Maybe on this one I'll add a little touch of white. So you need to add little white and black to make to make it visible. And for that, I'm going to add just a little bit more. Hey, so that's all the Beta has been done. The complete bottom section is done. I can keep on adding a little bit more foliage is here. So we're just finishing off the entire bottom section. Maybe I ingest a few bright because this is absolutely in the front. So to make that visible, I'm just going to add a few of them. This section is completely done. Have a look at it, close up. Alright, so now the final section remains, which is the top section. So the next time we're going to touch that. 14. Step 9 - Green Layer 3 (Front Layer): Now we've come to the last step of this painting. For the last tape, I'm going to use this medium-sized round brush. And I'm going to add, although actually I think this is going to be a little bit too thin for because this is a big area, right? So I'm going to grab a bigger round brush. Actually, I think I'm going to use this flat brush for this. So wherever the theater sites, thinner areas as in this one leaves, that is where I'm going to use this round brush and wherever there is a big areas, that is where I'm going to use this flat brush. All right, so this is where the sun comes. The risk comes out from here. So I'm going to start from here with a light color and gradually move towards the side. Okay, so I'll start with a lighter color. So I haven't been to use cadmium yellow, viridian hue, black, these three colors I have taken out. And I'm also going to use a little bit of lemon yellow. And maybe just a little bit more of disliked. I missed a little bit of cadmium yellow and black as well. To create little bit of this olive green color. I really love this. I'm using it as a shadow. Okay? I think I'm going to continue using this round brush and not the flat brush. Because this one it says I am able to get all the shades. Shapes of shadow. Okay, It's a really fun stamp. If you follow the reference image, it is going to be really complicated. Because I did not exactly follow the reference image. It's kind of complicated, so I kinda did it in my own. Intuitively. However, I was looking nice. So first thing I want to do is add all the deductions because they will go in the background and then I can add the lighter shades on top. Okay, So wherever it's closer to the salaries, I know this is where the sun rays are. I'm purposely trying to keep it all light. It's building gradually, slowly, nicely. So slowly over your sins to one stroke at a time. And it's great. Come out, nice. I'm making sure I'm going all the way to the edges. Just by manipulating the sheets at the colors. That's all. Lots of small leaves, as you can see. So I am creating them just by one stroke. Have fun in this process. It's a little Lindy process, but it's so fun. Just having one stroke at a time without the pressure of doing exactly how it is in the reference image. That is how you make a painting fun without getting stressed about it. Now, all we're going to do is build up layers on top of this, so all the leaves are almost added. Now, how good your painting looks at typically depends on how many layers you add. Different colors, different shades of green, and create more layers. Okay, I think I'm going to just talk here. It's starting to look really good. And now I'm going to let this dry completely before I can do the sunrise. So there's gonna be a finite amount of salaries that's going to go through this. So I'm going to give it a little time to dry and then I'm going to add that. Okay. 15. Step 10 - Sunrays Layer 2: The final step, I'm going to take out some white and we couldn't do the final step. Once again. For that, again, I am switching back to the flat brush. And I'm actually deciding if I should take this big one or if I should take a painter of black brush, that's what I think this is going to be better than one. Alright, so I am going to take just a little deeper water and keep as less paint possible for the first layer. And we have done like really bright lines over here. And we don't want to hide all of it like we did here. So most of it is hidden. But in this one, it's not, all of it is going to be hidden. So first thing first, I'm placing the sun just a bit of yellow. I think. Lemon yellow deep better. It's all mixed up, so I'll just take out a little bit. Tiny does a lemon yellow chest on the sides. Okay. Now, I had a lot of whites, so I just wiped it off more of the watery white. And let's go add our first one. Pick one coming up, and then a few more. Not very visible. So I'm wiping off the brush even more. Okay. I feel I have done a bit too much. So I just wipe it off a lot. That's it. Not too much this time. I don't like this direction. So it should go all the way towards the sun. Just a few lines. So I'm using the edge of the flat brush and creating the lines and little bit more over here because this is kind of like the empty area. Maddie, few more lines here. Is it done or do I want to add more? Okay, What I wanna do is with this liner brush, just going to create one leaf over here with unknown of yellow so that it looks like assemblies is falling here. Absolutely love this void lines over here, over here, and one over here. So that should do. And we don't want to add too much on board lines. Restaurant of them are absolutely satellites. I think that's it. It's done. Let me fill off the tape and see Let's see, let's find out how it is looking. Well, there you go. I think it's looking fantastic. Almost like a bigger version of this one. This doesn't have the white border. That's why it's looking a little different than this. But if you take off the white border of your painting is going to look just the same. I am just looking at both of them and seeing what else can I add? I think I can add just a few tiny touch ups of yellows and all these edges because this is where the sunlight is falling rate. So that just a little bit more, right. 16. Final Touch Ups & Class Project: Now we have caps to the absolute last step of the painting. Can you guess what is remaining? Here is the original one. Let's see if you can find out. It's a little difficult to figure out. Well, just in case you have already found out you have great observation skills. So the thing that is missing is this bed is swinging in the air. So now we have to tie it with a rope to the tree. Okay, so that's the last date that this remaining. Alright, so let's do that. So for that, I am using the liner brush that I had and I am using a bond with a little bit of water with it. Now, if you're not very confident of feeding gradient on the painting. So just take a rough sheet of paper and just practice a couple of lines, pin lines like this. Just practice it a few minutes and you will be good to go. Okay, so one easy way of doing this is getting a scalar. So let's try that. Okay? So this is the line that we're going to do first to use this down. So you can see little bit guards much. That's okay. The idea of doing it with the scale was just to get the line correct. And then I will go over it and make it a little darker. Very nice line is done. And now again, I'm going to take some colors, so not taking very dark color, just a simple little watery color in my brush. And I am going to do the other one. I'm using the scale cheers to mark out the lines so that I know how much to go. Okay. I feel it's a little bit to take it off now. So that's why I use the watery one so that it can easily get to move. This line is done. And now the one on his side. Okay, that's done nicely. And I'm going to darken the color. So there you go. The lines are not to take, but they are very much prominent. If you see each closely about from a distance, they are not too visible, which is good. I don't want them to be too much. So that's it. We have come to the end of this project. So I hope you followed along and create along with me this gorgeous landscape. I can't wait to see what you create. So once you finish to share what you have created, I would love to see and I would really appreciate if you leave a positive review of this class. If you enjoyed painting this along with me, make sure to follow me so that you get updated of all my upcoming classes. Thank you so much for joining me in this class and happy painting.