Understanding Value Keys In Landscape Painting

2. High Key Painting Part 1: Welcome to this video. This is a scene which I painted a sketch which I presented last week on a Sunday and visited place near plane, which is called a worksheet allow or monotonic allow. And I was standing there with my palette and everything in hand with standing and didn't even have in place to properly set all of these things in one hand. And with the right hand, I painted this in about ten minutes. I wanted to create three different paintings based on this same sketch. I'm not going to change the composition much. I'm not going to change the colors much. I'm going to change only the value range which are used. There are some paintings which are called high key, which use a higher value colors. Then there are paintings which use mid-value colors. And then there are paintings which use low value colors. Low value in the sense. Darker colors, darker values. And mid-value means middle range values, mid-tone colors, and higher value. Paintings have all lighter value colors. So the first thing what I'll do is this is a kind of mid-range painting. And what I do is now I paint very light value Heikki painting. And in upcoming videos, I'm paying two different versions of it. Let's get started. I'm going to draw this sketch on painting again is to give me some reference to feed on. This is kind of wall sloping land. Then there is this good OS which is really brightly lit in the sun. And then there's these Greece bunch of trees. One is here. Another one is, I have the right in the center. Maybe reduce or change the composition of bit and keep it same across all the breeding things. I didn't want to keep them off the same size. Then there'll be smaller shops here. And I wanted to add some details to the mountain in the background. Not many details in sprinting, but just use it as a means to show you how you can vary the value range which you use for painting. And then three different paintings. Paintings, three different buildings with three different moods. This painting, I'll be using all Heikki colors so the dots will not be as dark and the light will be very light. And I'm going to keep the same colors. Cobalt blue, chrome, yellow, burnt sienna, and white. Only four colors, three colors plus white. Painting. The whole thing with that. The idea is not to make a gallery. The painting here. I'm doing this painting to show you a particular thing about using colors. That's the key of the painting. How you need to key in the right values so that you can create the mood which you want. I'm starting with the dark. So as I'm painting a high key painting, the dots will not be as much dark. But I need to create a dark which is fit for this painting. I'm starting with this mix of color, cobalt blue and burnt sienna. And it's going to be a green, dark green of the, IS of the shadows. I'm going to add a bit of yellow to it so that it becomes green. I'm going to apply that here. I should paint more opaque so I'll add more white to it. Some, some yellow. What I've done is I've just created and similar value color. I'm just using opaque white. Instead of using the color in a very thin manner. What I do is I'll push this. Three slightly in the background and keep it even lighter. Probably this is going to be the darkest dark which I'll have in the painting. The dark on this tree will be even lighter and use light that color. So I added a bit of white. I'm painting the right-hand side of each tree because the light is coming in from here. Now I'll go for the lighter side of the vein of these trees into S1 to be more of yellow. Because this is a high key painting. I'm going to make the light colors even lighter. Start with this midground or mid value color. With respect to this painting, the middle value or values are always related to each other. Now I'll add the brightest, yellow. Now let me switch back to change to another shape, which is this. This is going to be much more brighter than this because it is a flatland, more horizontal than this. It's going to be even lighter so far that I started with you already yellow, no agreement and some white dove hint of green. So I've added a bit of this lean to remain too much yellow. Only yellow. This is the gate. Then I'm going to paint this. Let's paint this first because it's in the same color. Family. It's distant green, so it'll be much more bluer. So what I'll do is I'll modify this pool itself and animal glue to it. Because it is at a distance, it will be even it will have even more white in it because it's perspective which is affecting that. And let's see how this looks. This is Fulbright, more blue, some more white. Let's see this, this, it needs to be even more bluish. Can go even lighter, some more white, and it should be okay, is to start with, I think I can go even lighter. Because as you can see, the value of the dark side of this tree is looking very similar in value. I want to test it against. This is, this seems to be good. I'm making this edge so that it looks as if the photograph and grass is the tip of tips of the grass. I've seen variation. Is colored in a bit. Right now I'm applying one value, one color shape of this mountain. Go by the M3 method than what we are doing right now is the second stage. The first stage was growing and composition, which wasn't, wasn't big in this splitting because already composed, seen on location and replicated that drawing is to add some details to this mountain and adding more blue and let me add patches of that in some places is to create some variation. As this mountain is not too far off, I'm adding some details which might get obliterated when I paint this guy, but right now I'm keeping them. Now let me add the grounds of this. And again, because this is a high key painting, I want to keep this light brown to this yellow which was already dead, which will make the brown lighter and also add some white to it. And let's see how this looks. Should be okay to start with, I can add few dark accents later on. Where does the first layer? This is fine because this is a vertical surface. I'm using vertical brushstrokes. Keeping this edge because this is not a flat ground and there'll be some grass which will cleave on and so on. Not be up. Clean edge. Let me paint this. This will be lighter than this one because it will be similar to this color but not so bright because I want to, this is not the focal areas, so I'm going to have to make it slightly dull. Adding brown, white. I want to keep it a yellow color. Yellowish brown color. I want to also make it slightly more. That's too much. Let's see how this looks. I didn't want to suggest some foreground which is focal area basically not have many details. Again, I don't want these colors to be dark. I'm suggesting some detail. Also. I wanted to suggest a few retain some details in this edge. I do that once I paint the sky, the sky, obviously you will be very light. Started with white tinge of blue to it. And I will add some more blue to it once I go here. Brush has some remaining color from the, from this mix. That's why it's not very clean color, but that's fine with me. Know, Let's add some more white. Some more blue. Make the sky blue. Maintaining the icky structure of keeping colors light. This completes our second stage of the painting if we go by the empty method, because it's a high key painting, you will see a lot of lights and darks, even the data salivating light, as compared to this painting, can see how light the dark side. Now see you in the next video when I add some details to complete this painting. 3. High Key Painting Part 2: Welcome back. In the previous portion of this painting or in the previous video, we painted this light version of our Heikki version of this sketch which I had done on location. And I'll be finishing it up with some details. Let's get started. I'll be using smaller brush this time. Let's use this regard. Not well-suited to paint the details, though I would have preferred a slightly larger brush. Let's go ahead with this. I need a dark which is here. It needs to be slightly more dark even though I want to keep it light. But I'll mix a dark using cobalt, chrome, yellow, and some brown. Let's see how this is the darkest dark. So let's see how this looks. This should be fine. Even for this Heikki painting. I'm not interested in making too many painting, too many details, just a suggestion of few things. Here and there. This dark will be slightly lighter than this dark. I'm adding some white. They'd be this dark cure. This dark will be actually seen only against the lighter mountain in the background. Since I have this, I will add a few details here and there. Now let me add some details to these, to this, rather to this ridge. For that, use, brown, burnt sienna. And I will add some blue to it. I don't want it very thick, very dark. So I'll use it thin. I could have added white and done it, but again, make it dark and make it light enough by just by just using it. Thinner consistency so that it doesn't get too dark. Just adding some texture to this surface. And maybe in one or two places I will add some definite shapes of dark. Somewhat ID. I want to go overboard and paint too dark. That's enough to suggest that this is now let me do something else. What do I add details to now? I will make this, I need to make this lighter. And I will also add a few details to the some details to the to the yellow grass. Let me clean this up. I can use the palette for mixing another color. I need a slightly darker version of this. So what I'll do is I'll use this yellow and add a tinge of brown to it, slightly darker. And add a few. Marks of that in some places, not many. And I'm using the side of the brush so I don't want to paint blades of grass. I'm just painting patches of grass which might be slightly darker here and there is two variation. That's enough. Now I need to make this lighter. For that I can modify this. This was the color which I had mixed for this. I'll do that by adding some more white and reactivating this color. Let's see how this looks. Seems good. This will push the mountain even more in the background. And instead of painting the whole mountain again, I'm painting patches of that. Patches of this color on top of that, so that it does create variation and it also lightened the overall value. It will also nicely separate out the threes here from the background. Earlier, not so prominently seen. Bit more white here, overlap with this color so that I had painted the sky later on. And because this mountain is in front, I can add the finishing touches with the mountain color. Can suggest some trees which are rising above the mountain line in some places without making them too attractive. Now, to add some more interest, add a few fence lines or something like that. Just to make things somewhat more interesting. Maybe the fence line is like this. Again, the fence posts also, I don't want to make them dark. Something like this. Just this a bit lighter, yellow color again. This is the brightest green, which is shining because of the direct sunlight warning on it. Few more mid value because this was looking like one big area or dark dark area. I'm just trying to break it up. So I think that's enough for this painting. You can see that the difference between let me make a border and then I'd show both these paintings together so that you will see the difference between kind of impression, mood, which these two paintings create. This is a high key painting, and this is more of a mid-value or looky painting. You can see the difference between the two kind of move which they create. This is more cloudy, dull kind of atmosphere, whereas this is very cheerful and bright atmosphere. I hope you enjoyed this video and also saw an opportunity to interpret the scene depending on how you want to portray and create an artwork which is authentic to you and not being slave to the scene, which you'll see in front of you can modify things and make the scene into a work of art. Not only a copy of what you see in front of you. So thank you and see you in the next video. Happy painting. 4. Low Key Painting Part 1: Welcome to this video. In the previous video, we painted this Heikki painting, which means it has most of the values which are tending towards very bright side. And it's based on this on-location sketch, which I did on last Sunday. In this video. Today we're going to paint loci version of this painting, which means most of the values will be on the darker side. To do that, let's first draw the scene. I'm not making any changes to the composition of it. I'll be also not changing any colors that I use. I'll be using the same colors. I'll tell you those in a moment. Again. Let me first draw the border. Maybe this will be better. And there are, there is this line of the grass which goes like this. I don't want to hit this exactly at the center of this vertical lines are and bring it slightly downwards. And then there is this wall or edge of the farm. This is some area where there is some grass growing. Then there are these bushes. This is a large one. There is a tree in the background, slightly behind this tree. And there is one bush here. Nothing very complicated, very simple subject. There is this mountain which is in the background. And that's it. There is nothing much to this painting in terms of shapes or details. Now let me start by explaining, start painting the doing the painting. And before that, let me reiterate the colors which I'm going to use. Cobalt blue, gamboge, chrome, yellow you can use they're both very close to each other. And burnt sienna and white, three colors over blue, gamboge, burnt sienna and white. I'll start painting from the dark shapes and the darkest dark in this painting is going to be the shadow part of these trees. To mix that color and start with covert and add burnt sienna to it. Because it's green and I also have to add some yellow so that it becomes green, but a dark origin of green. If you compare this, let me show it to you in a minute. Just laying in the dark side of these trees. This will be dark here. This also is a bush which has this shadow area here. If you see, compare this dark with the dark here, you can see it here. How dark this is as compared to this one. So this is a high key painting. This is going to be a low-key painting. Let me continue. Since I already have green on my brush, I will slightly tried to paint the mid value by adding some more yellow to it so that it becomes mid value color green. And I want to do this in as little brushstrokes or as fewer brushstrokes as possible. Just to make it look fresh and simple. This way. I'm making sure that it's not mixing with the darks. Because otherwise I'll get a middle value between these two, which I don't want because of the mixing of these two values. Now let me paint the paint the red wall or edge. It's not a wall, it's edge of this farm for that and start with burnt sienna. And I wanted to make it dark, so I'll add some blue, not add any white, because I want this dark. Let me paint that with vertical strokes so that I get the texture automatically. That's how I'm adding painting the wall rather on the edge of the farm. I don't know why I keep calling it a ball. Keep it at that. I did not work on the details right now. Now let me paint the mountain in the background. This is, this blue is also going to be darker than what I have in this painting, will be much darker than this. We had a blue. Let's start with a blue. I want to add some white. I want to bring down the chroma. I will add some brown to it. That's too much. You can see. It has become almost agree. I'm trying to bring it back in the realm of blues. Let's see how this looks. This is too dark. Some more white. See how this loops. Yeah, this looks okay. So let me quickly paint the mountain. I don't mind or rather I'm making sure that these brush marks are not covered up. I don't want to paint a wall. That's why I'm leaving these brushstrokes alone. I'm not trying to cover them up or make them smooth. Wouldn't be mountain. I can always come back and modify this, but for now this color and this value looks okay to me. Now let me, since I have blue on my brush, let me paint the guy. Let's start with white and need some more white. The sky is lighter towards the horizon. I'm using this white on my brush. And because the brush already had this color on it, I'm getting light blue gray color. If you have watched to our brush in-between, then you can make this color and paint it. Paint with it. As I go up the sky. I'll add more blue to this. Because the sky is more blue towards the top. Some white, some more blue. And let's see how this looks. It looks good. You can see that I'm making no attempt to cover up these brushstrokes. In fact, I like the visual appeal of these brushstrokes. It's up to you whether you want to make your painting smooth, leaded, have that texture. I like paintings which have texture and brush marks scene in it. I think I'll have to make it make the sky lighter because it has become dark. Take some white. Tried to suggest a few Cloud. I don't want to make it a bright sky because then it will not remain. Low key painting. In a low-key painting, The Brights are not very bright and the dark, very dark. That's how it creates a rather serious mood. As compared to bright painting. Our high key painting. Now let me come back. Come to paint this where the bright grasses, as we just now mentioned, the brides will not be as bright as they are in the ICU painting. But I'll start with yellow. And I don't want it to be so bright. So what I'll do is I'll add some green from here into it so that it becomes slightly greenish. And let's see how this looks. Of course, this will be much more brighter than its surroundings, but I will make it into a slightly more green color. Let's see how this looks. This shouldn't be okay. Because we have to remember that we are trying to paint loci painting. Not added any white in it. It's not opaque. I want to create. These may add some white and create these blades of grass which are kind of overlapping the mountain shape. You can see that even if, even after I added the white, it has not become very bright. That's what I wanted. I wanted to maintain its low key characteristic. Now the last shape to be painted is this. And then we'll have completed the blocking part of this painting or blocking step of this painting. This will be a color similar to this, but it will be slightly more dull because I want this to be the focal area. What I'll do is I'll take this color and add it here. So that becomes a color between these two. And let's see how this looks. There has to be, I can add details in this later. What I want this to be a slightly darker color as compared to what is already there. Then completes the part of the painting or stage two of the painting. I'll have to make this darker in the next stage. That doesn't compete with this. But I will allow this painting to dry for a bit and then I'll come back and show you how to paint the details. See you there. 5. Low Key Painting Part 2: Welcome back. Now let's paint the details. But since we want to paint this as a low-key painting, I need to make these two shapes darker. Because that's when I look at this painting, I still get a very bright feeling. And that's not appropriate. The way we want to read the result, I will have to darken these two shapes. I'll start with the sky first. Start with the blue. And I want to make it dark so I add some brown. Let's see how this will turn it in. Yes, this might be too, too dark, so let me add some white some more blue. Still in the blue range. Use of pretty dry brush. So I'm just wiping my brush on this piece of tissue. Not darken the sky all over, but I'll just lay in this color in some areas. That will increase the contrast here against the light color of the cloud. I'll have to take care of or reduce the contrast by dragging this dryer brush over this. It's the same color, just the brush is much more dry and it doesn't have a lot of color in it. Dragging the color on the brush in a circular fashion. But still you can see that there is value difference between this and this. Maybe I can accentuate that by laying in this color again. And that makes it necessary to make this mountain also much more darker. So I'll again modify this same color because it's already near, this is the color. I'll have to modify it to become much more blue, slightly greenish, but instead of adding yellow, I will add brown, which is a very dark version of yellow. Maybe some yellow also. Some white domain, it slightly opaque. Let's see how this looks. Shouldn't be okay, I guess maybe some more blue. This is good. Let's paint. This side of the mountain. Looky painting represents a scene wherein the light is not very bright. Because of that, the values are also close to each other and the values are on the darker side of the value scale. Have to make this darker than what it is. Now let me adjust this. To make this darker. I will add some brown to this color itself. And let's see how this looks. I leave some lighter areas in-between. I'm not covering the whole EDAR again with this color and just leaving some gaps in-between. Now let me make this dark. This is also for this painting. This I will use brush which is slightly smaller in size. So this is what I've been using till now. Now I'll use this. I will use a dark color, which is a version of the same color but slightly dark. I will use it in this fashion. So I'm trying to press the brush and get its fibers spread out so that I can use it to create this texture. I don't have a lot of color on my brush. It's complete dry brush technique. Let's do too dry. I don't want any details here where there's one impression of some drag grass. I think that's good enough for now. I also want to blur the edge between this grass and this edge of the farm. Now, let me also make this dark in some areas because it's too bright as compared to the overall thing. I'll modify this color itself. Some more blue and some more brown. I will make it. Let's see how this looks. It has to be slightly thin, becomes slightly darker. Even though we are painting in a gouache style, it's not necessary to make the color opaque every time. By adding white. Keeping it bright here. As long as you get the result. You don't have to think in terms of transparent and opaque. What you want is the final painting should look the way you want it to look. Now I have to make these shadow areas dark. So for that I need a very dark color. Blue and brown again, some green to make it green. And use it to paint this, you can see how dark it is. Now this being the final color, I'm not paint it all over. Leave some mid-value patches. This painting will give you a much more monsoon niche feeling where the sky is heavy with monsoon clouds. The sun is not so bright. Now, let me add some lights here. I want them to be opaque, so I'll add some white. I don't want them to be so bright. If I add this, it will be too bright. I don't want that to happen. So I will add some dark green here, bring down its value. Then let me apply this. It is still light as compared to the darks, not very bright. Some fine tuning mid tones back when they were left. To paint this dark blue. That's fine. That is, in the camera, you will see your reflection here because the color is red. Please something here so that you don't see the reflection. Now with the ringer, I will add few even darker accents. To finish up the painting. Need a dark green. Let's see how dark this is. Good. Now I'm using the point of this brush, the fine tip, and adding few details. Okay, The last thing, I need to add some details here also, the crevasses where there is very less light reaching this to use this to paint few marks like this. Now I'm using not the point but the edge of this brush that I get that texture from the side of the bristles. Same color goes in here for some, integrating some grass. These are just some supporting characters to help this subject get the importance. That's how it is. Now let me paint a few fence posts. Give it more bit of a human touch. Because we humans like to put a fence around everything. You see your pins. You can be sure that there is a human presence here. Not very descriptive sense, but it will just create some interest area. Let me see this painting from a distance. I'm just stand up and seed. It looks. It looks okay. It's it's a dark value painting or loci painting. That's what it is doing. Let me draw a border around it. Then we can call it finished. This is a scene which you might see when the light is low. Not much of sunshine. Cloudy weather. The Brights are not very bright and the darks are pretty dark. Just by changing the value of the colors you can create different mood. Now I'll show you the lite version and the dark version we've been painted just now. I zoom out. You can see that this one, this is what we painted just now, has all dark values. This one has light values. So this is Heikki painting. This is loci painting. The subject is same. I hope you will take advantage of this concept of the values to paint in a certain style or a certain value range so that you can create the impression or the feeling that you want to create. Inspired of using a scene which had a different kind of impression and atmosphere at that time. That's it. I hope now you will take out your colors and try to paint a low key painting just like this and experience the strength which this concept gives you as an artist. I'd see you in the next video. Happy painting. 6. Full Value Range Painting Part 1: Welcome back. In the previous videos, we have seen how we painted this based on this planar sketch. This is a high key painting I painted. In the next video, I painted this Loki painting. And now instead of painting a mid value painting again, what I'll do is I'll paint. A value painting means if there is lightest light here and darkest dark, you are then added to tend to use the maximum range. So out of these painting which have different, this has mostly bright, this has mostly dark colors. And this is kind of squeezed in-between. What I'll do is I'll try to use the brightest brights and the darkest darks in one painting and create a bright and sunny painting. Let's see how it works. So it will be an exercise again in controlling the values. But without just values will be also using columns. If we were to use just the values, then it would have been a black and white painting, which we are not doing right now. Just sketch out the painting. The drawing once again. Simple thing, nothing complicated. Doing these exercises of painting same scene in multiple values gives you a very good command over how you can control the mood of the painting. That's from that point of view. This kind of exercise is very, very important. I'm just sketching out this edge of the farm. Then this is the bright idea where there is grass, then there are these trees. There is a fence here, smaller tree or bush here. The mountain in the background. That's it. That's the sketch. Will be using the same colors as we have used in the previous paintings, which cobalt, blue, and yellow is already here. Burnt sienna and white. Let me get out the burnt sienna, some more. Chrome yellow also. Or you can use gamboge very close to each other. So this being the full range or full value range painting. The darks will be very dark. In the brides will be very bright. I'll start with the darks. That blue, brown. Let me quickly lay in the darks. Because we are painting in gouache style or opaque style. I can cover up these dots with light later on. Then I'll paint the mid value. Mid value will be slightly more greenish. Some more yellow goes in, overlap some of these darks with this color. And I'll paint the whole thing and overlap the lights here. The bright. Let me try to zoom in a bit more. The reflection which you get here is because of the wet color, right? Knowing, just ignore that. Once the brain tries, do not see it. Now let's go to the wall or the edge of the farms. So I want to make it into a brown color. I'm using the same brush and not washing the brush in-between edges wanted to make this slightly dark blue. I'm using this brush vertically. You can add some more brown to it. You can do this kind of value exercise with any painting. Green to paint the same scene in different values structures or one with very light values, one with dark values, one width squeezed in values, and one with full range. And that is bound to give you a very good exercise. I need some color which is dull green. I'm using this mixture of both these colors. Nothing very fancy, or new, different color. Let's see how this looks. Just brush it in. I'm using this colored in a thin manner just to lay it in, cover the area. I'll add the details later on. Now let's paint this Mountains. I'm washing my brush. The mountain is going to be much more blue. Start with blue. Add some white in it. Just to make it lightly dull. I can add either a brown or I can throw in this color. Shouldn't be okay. Let's see how this looks. Value wise. I think I need it to be much more lighter. I will add more white. What I've seen is this watch white doesn't really reactivate easily. It's always better to take out the white again. And let's see how this is. Yes, same school. Me quickly paint this. Here. I'm using all kinds of up and down brushstrokes to create that picture. Suggestion of detail. That is something interesting on the mountain. And it's not a flat colored paint. Some more blue we'll do. Start with this corner. Sky holding. Now since I have the blue on my brush, I'll paint the sky for. So, for the sky, I've taken much more quantity of white and start painting with this. Needs a bit of water. You can see the value of difference between the mountain and the sky. The sky is lighter. Has to be lighter. As I go up, I will add more blue. Because this is a bright sunny painting which has the full range of values. I'm also using the colors in a much more saturated manner, at least in the sky. Since the vocal idea is this the mountain, the edge between the mountain and the sky should not be ready. In border not prominent. And add also a few clouds. Suggestion of clones. Because the light is coming in from this side. This side of the clouds also will be bright. And this side will be much more graded. Now let me wash my brush. Laying the bright color of the grass. The crop. For that I will start with yellow and some white. Let me get opaque. Let's paint with this bright color. Later, decide whether it needs to be made graded down later on. This is too bright. Make it slightly more greenish. Blue will make it green. This at least has a hint of green, which is good. I'm using this very large brush for this area, but then I can still create these ups and downs in the line of the grass. If we look at it, look at this painting from the M3, M3 method of painting. Then we have completed the second stage of the painting, which is the blocking, wherein we have colors for all the shapes. Now what I'll do is I'll wait for this painting to dry for a few minutes and then come back and add the details. So see you in the next video. 7. Full Value Range Painting Part 2: Welcome back. Now let's start adding the details for that. I have chosen to use. This brush, which is slightly smaller than the earlier plant brush which I was using, that I have more control over what it does. Start by adding details to these areas because they are pretty dry now. For that, I need to add few more dark accents in this shape. Then some grass like texture in the, in the bottom part. Let me mix dark brown. I'm starting with blue and brown. Let's see how this looks. I'm using the brush sideways so that I get a final line. I can use it this week. I think this is better. I'm just making sure that this edge doesn't look very flat. Picture will make sure that that doesn't happen. Now let me, I need to add the grass like structures or grass texture. I'll use thinner brush, rigor. And I use the same color. Because this area is much more lighter than this. This should create some difference in can use this. This should be enough to give that feeling of some grass being there. This is too bright or too dark brown. Let me use the brush like this. Easily create this. Using the side of the brush displayed tip of the brush. So it's not the point anymore. Musing a denominator mode. Black man up. After the while you brush, comes back to the point. Again, use that in this map sideways so that they get the picture. Just an indication of something being there. And nothing really precise needs to be done here. Now let's come to first make this mountain slightly darker in few places so that the lights which we apply here will become more bright. For the mountain. I'll use the same powder and add some more blue. Obtained your brown. Let's see how this looks. I think this should be okay. I won't paint the whole mountain with this and just apply it in few places so that there is some variation also, and overall value also decreases. To an extent. You can see I'm leaving some areas unpainted. Here. I'll the base towards the base, I'll paint the whole thing because it has to. Stand out against this bright thing. This kind of creates an impression of the mountain having some light areas and some dark gradient. Obviously because that's always the case because the mountain has the mountain has trees, then some areas catch lights, some areas don't. And that's how the Mount Doom gets different shades of color. Now let's come to they'll brights on the highlights on the trees. The part that I wouldn't start with the yellow, I'll modify this color and take some white. Apply. Use the use the tip of the brush and it has to be slightly blue, green. So I've added a tinge of now let me paint some dark areas, slightly darker areas in on this grass so that other areas become bright. So what I'm doing is I'm adding a bit of brown to this. Let's do much. Let me add because I want this area to be the focal area. I'll start with this. I'm using a slightly drier brush, not too wet. And then paint this area with that so that this area becomes slightly dull. This area gets more attention. This is a very, very small change in value. And maybe I can make that more by adding darker version. On this side. Very small changes in values, but then they do that effect. What I'll do is I need yellow, the original color. I'm adding more white, make it opaque. And use it to create this, this grass rising against the shape of the tree. Same thing here. Maybe a dash of dark accents on this. Because there'll be no, not much light falling on. This. Won't be highlights. Mid tones and dark values. That looks good. Let's make this even more brighter. Final highlights. Now I'm using the regarded itself because I want very tiny highlights. This we are hearing to do because the color dries slightly transparent. Here. I don't want a lot of contrast, so not much of that. I'll need some darker green. Dark color rather won't be even green. In some places where there is almost no light reaching. Very, very less light reaching, I will say. That makes these things pop out even more. Maybe a branch, dry branch poking through. Some points here where that is undecided of these leaves will have a slightly darker color. I need the highlight in one or two more places, and it wouldn't be the end of the painting. The brightest. The last thing to be added is the prince. Use this same color. Draw fence posts. Make sure then add a different angle every, every post on otherwise it looks on a deficient. Naturally they won't be standing all in an upright position. Perfectly vertical. Has to be some angled to them. Something like this. I think we're done. Let me draw the outline and this has yet to dry otherwise. Then you will see it like this because there is reflection of light on this because it's still wet. As you can see. When I, as you will see more clearly and show you all the four paintings. And you will see that this painting has the brightest brights also and the darkest darks also. This painting uses a very wide range of values. One thing but again, do still is the sky more blue in this corner? And feather it lipids so that makes the cloud more prominent. One more line. Now, let me show you all the four paintings in one go. So that you can see that the same painting, how it creates different moods when you use different values. This was the sketch done in ten minutes. This is the high key version of that. This is the low keywords and all that. And this painting uses the whole range. You will see the darks, which are equivalent to dark in this painting. And you will see Bright's which are equivalent to brides in this painting and see how it creates different, every painting creates a different mood. This is much more, this is blistering, heat or very, very bright. This is done. This is also done. This is very bright sunlight, but not very hot. As, as this, every painting has a different look to it and feel to it. This is what you should do with different paintings so that you get the hang of how to control the values. And also how you can manipulate the scene to create the mood which you want to show in your painting. You will not be any more slave to what the scene looks like right now. Whenever you are at the scene and you will get better results in terms of the paintings you create. I hope you enjoyed this painting. And now you will take out your colors and try different versions of the same painting with control over values. And see you in the next video. Happy painting.