Winter Sunset Landscape with Watercolors

1. Winter Sunset Landscape - Introduction: Window is the time for comfort, for good food and won't, and for the dog beside the fire. Lucky are those who get to witness the snowfall. Hello, I'm challenged urban am an artist and art educator based in India. Welcome to my Skillshare class on painting Windows. I'm sent landscape. Today we will learn to paint this sunset scene in Windows. This class is not just about painting this artwork, but also about learning light and direction of shadows. We will talk about some interesting topics like color values and its range. Learning to control the amount of water in the painting and adding dimension to the elements. So without any further delay, let's get started. Much excited to see you in the class. 2. Art Materials Needed: Hello again. I'm glad you decided to join me. This is the painting that we're going to learn today. Now, let's talk about the art supplies that I will use for this class. Starting with paper. I'm using SON those. So 300 GSM watercolor paper. It is a 100 percent cotton and cold press or texture. It is important that we use a 100 percent cotton paper in order to achieve the same results. Next, let's talk about the colors I'm using. Colors from various art is great brand. I have stored them in this pilot for easier access of beans. And I have displayed as my palette for mixing colors. Next is brushes. I'll be using these three brushes by Silverberg brushes. First one is size 12 to pin the larger areas, then size eight for regular application of paint. And then I have phase 2, which is 4 finer lines and details. Then I have a pencil and it is here. I'm using kneading eraser to remove the darker graphite lines. You can use a regular eraser as well. Then we will use two jars of water, one for cleaning the brushes and the other one to take the clean water. Then I have some issues and a napkin to wipe off the extra water and pains from the painting and the gracious. Lastly, I'll use masking tape and a hard mold or a clipboard to tape down the paper while painting. So yeah, these are all dark supplies that I'm going to use for this class. You can go with any alternative supplies that you already have. 3. Color Values and Range: In watercolors, the water to paint ratio creates a unique value range. This color range is an important factor to achieve different modes and drama in the watercolor paintings. The amount of water added to paint determines the value, or also known as the tone of the color. The different value ranges are dark or concentrated value, midtone or a mate value, or lighter value. When we mix less water to the pigment, it results in a darker or concentrated moon. Equal amount of water and paint eels or mid-tone range. The more water added to the paint, the lighter the value. So when we apply a lighter tone, the color of the paper is seen through this layer and hence it appears more whitish. That's the transparency property of what the colors. Here consider this color range. The initial stage is the darker color, and as we add more water to it in gradually transitioned into a mid-tone range. And lastly, we have a lighter tone which appears very whitish or base telling you this is due to the transparency property. Different colors have different tonal range depending on the pigment and the brands. Here. This violet color has a wide tonal range because of its high saturation. Some colors are less saturated and some are more. So it is recommended to slash the colors and understand the properties of the colors before you use them in your paintings. When we compare these two pigments, they have different tonal values. And the violet color has a wide tonal value range. A good painting always has a balance of lighter and darker tonal values. For example, if your painting only has like no values, then it is going to look unappealing. Now, you might wonder, where do we use this various tonal values? Let me show it with an example. Here. In this painting, we have snow on the ground, which is white in color, but we also have reflection of sun and sky colors on the snow. So how do we achieve that? Here, we will be using the lighter tonal values of a law and some lighter tonal values of bluish gray to bring out the reflection of the sky colors on this note. However, if it was acrylic or gouache pins, we would have to add white pigments explicitly to make colors lighter in Pune. But in what the colors, we just need to add water to make it lighter. Tonal value. Here's another example of the sky where we have used lighter values by adding water to the pigment. If you notice, this painting has a good balance of lighter and darker tonal values. With the help of different tonal values, we can achieve a sense of distance and atmospheric mood in the landscape painting. With just single color. We can bring out the light and darker mood in the painting. For instance, the distant object in the landscaping, we use lighter tone and value. This can also be depicted as though the trees are covered with mist and fog, which makes it look lighter in color. When we use darker pigment, it appears as though it is closer to the viewer. And it can also be depicted as the clear view with no fog or mist in the wheel. 4. Water Control - How much water to use?: Most watercolor beginners commonly struggle with water control. It is easier to get overwhelmed with how much water and pigment go into the painting. It does sound complex, but you will get hang of it with regular practice in what the colors. So here are some methods of control that I personally use in my painting. So I'll be demonstrating different situations by changing the amount of water. First one is to demonstrate what happens when we apply too much water on paper. So you can see there's a lot of water on the paper. And on application of spins, it starts flowing in an uncontrolled way. The paint your gets the freedom to move around and form their own shape. So you may not be able to achieve any particular desired shape. So this is not an ideal way of performing where conduit, let's say we want to paint a pine tree shape on this wet surface. So you can see it is quite difficult to define the shape on a wet surface. The DRI, or kind of goes everywhere and losing the original shape that we are trying to create. However, if you are planning to paint galaxy painting and have a unique background formed on its own, then probably you can go ahead with this technique of applying the paint on a very watery surface. The colors get blended on the watery surface, leaving behind a beautiful background. So I hope you have understood the difference. The second scenario is when we apply just enough water, I play clean water and spread it well, wipe off all the extra water. It's more like a thin layer of water on the paper. The amount of water is just enough to apply the paint. So when you apply paint on this wet surface, it spreads very slowly as compared to the previous one, and we can retain the original shape. I just stops the moment after awhile. Again, the outcome also depends on the quantity of pinch you take in your brush. If you have more watery paint, then it does spread like the earlier case. So we need to make sure that we have right amount of paint in the brush as well. Here the brush has thick and just enough paint. So you can see it is easier to define the shape. It does spread, but to a certain extent only, which helps us achieve softer and blurrier effects. Okay, Let's say we want to paint the same galaxy effect on this surface where we have right amount of water applied on paper. So I'm applying the paint. And as you can see, the movement is limited. And it doesn't allow the paint to flow very freely. As compared to the previous one. We can use this wash for painting skies or distinct elements where we have some control over the flow. Yet we achieve some software and blurrier effect. While the paper is still wet, we'll add some darker and thick colors to see how it stretched on a wet surface. Wet on wet doesn't necessarily need to be on a plane surface. You can also add the paints on previously painted surface. So this can be used to paint. Darker clouds in gender, landscaping things. It is very beneficial for creating a dramatic effect in the painting. Next, we will demonstrate a scenario where we allow the water to soak in for some time. So this technique helps us in achieving sort of undefined elements in the painting. So I'll apply water and I loved the paper to absorb the water for up to one minute. Here, if you tilt the paper, you will see a sheen kind of effect. Now let's apply some paint. Here. You can see the colors are spreading very mildly and we can retain the shape. Also, you have to make sure that you're taking very less amount of paint in your brush. Now, if we compare all the three binary shapes, that is the first 1, second 1, and the third one. Here we get very clear and defined tree shape. So this method is ideal for achieving defined and soft elements in the painting. You can apply the pins up until the paper is 60, 70 percent damp. The additional layers like shadows and contrast in the painting could be added up. At this stage. The colors get blended easily and doesn't spread on the paper. All right, The next scenario is what happens when we add pains. When the paper is almost dry. Let's say we have a wet surface. So you'll note that it could be a layer of clean water or already painted surface. I am applying a layer of paint as the base layer. So usually in watercolors, if we do not work fast, then the paper dries up and creates unwanted textures. So let's see how do we deal with that. I leave it for some time and then I'll come back to this. Okay. So the paper is almost 80 to 90 percent dry after a few seconds or a minute. So now if we add water or paints, then we will get loans or cauliflower effect. You will see that in few seconds. So it is very important that you work quickly with watercolors. Now I'm applying this clear water on this. So you can see this blooming effect. This usually happens with this guys on some flat washes in the landscape painting. Some of you might have already experienced this unexpected outcome. I have also seen this in the class projects from my previous classes. Although this is considered as an issue, but we can still use this to our advantage for achieving texture and noise in the plane areas. For example, if you want to create some texture in the grasses, then you can just sprinkle some water. And I loved the pinch to move away from it. That's all about the water control. Along with the controlling the amount of water on paper. You should also have the right amount of water in your brush. So yeah, that is it. Let us move on with the next chapter. 5. Direction of Light and Shadows: In this chapter, we will discuss the direction of light and how it affects the cast shadow. Consider the sundries or the direction of the light falling from the left side of the paper that has the object. In this case we have threes, your, your, the trees will be sunlit on the same side. And thus we will apply this orange sheet to depict the sunlight or the sunlit effect on the trees. Now, on the other side, it resembles the darker side. So we will go ahead and paint the darker shade on the trees. Since we have painted the trees and there is light in the painting, there should also be some shadows, right? So here, the shadows of these trees are casted on the opposite side, which is against the direction of sunlight. So this rule applies to all the cases. Wherever the sunlight is, the shadows will be tested on the opposite direction. So here I am using some cool colors to paint the shadows. Now, let's change the direction of the sunlight. Let's say the direction of the highlight is on the right side. So here the sunlit part on the trees will be on the same side as that of the sunlight, which means on the right side. So we'll be adding orange on the right side and depicting those Hamlet affect the darker side. I'd so contrasting values to the trees. So we will be adding some brown. It is okay if the two colors get blended organically. Here are the shadows are clustered in the opposite direction. So we're really paying them against the direction of the sun. The strips are going to be very helpful if you are printing something out of your imagination. 6. Structure of Trees - Practice: Now that we have learned the direction of sunlight and sunlight effect, now let us practice the trees. Here. I'm using size 8 brush. For trees with sunlit effect, you can use orange color and then go ahead with the brown is shared as discussed earlier in the previous chapter. Now for the shape of the trees, you can start off by painting the trunk first. Paint the tree in a lovely little slightly V-shape to render and organic look in the drink. The way you hold your branches while painting doesn't make a difference in the shapes you create. If you hold the brush at the bottom and it results in a controlled strokes. And if Doug brush is held at the top end, it results in loose strokes. Now, based on what you require, you can choose the way of holding it. Usually in realistic painting, it is held in a controlled way to HU, precision in the painting. Whereas in the loose watercolor works, it is the other way. I prefer using mix of both, depending on the outcome I want in my painting. Like a mix of both realistic and loose watercolor style. Now, let's see how we can create dimensions in the branches of the fees. Initially, we will paint a simple shape 3 and allow it to dry for some time. Then we will add more branches right on the middle of the tree trunk to make it appear like it is emerging towards the observer. Let's add some more branches one by one. There you go. I hope you're following me. Now. The branches you see at the sides of the tree trunk are the branches that emerge from the backside of the tree. You need to imagine it while painting. Alright, let's do it again with a lighter color as the base layer. So it is easier for us to figure out the darker branches in the next layers. Okay, So I'm going to add the branches. So these are front-facing branches. Among snack emerge from the backside will be on the sides of the trunk. Sorry, add some more branches and let you guys take their own shape. We can also create dimension by adding darker colors on one of the sides of the trunk so that it looks cylindrical in shape. Once we have the basic shape of the tree, we can add in more branches to make the tree look fuller. For the tiny branches, you can use any fine liner or smaller sized brushes. I'm using a size 24 fine liner brushes. It is easier to draw these pointed tips and fine branches. 7. Setting up the Paper: Okay, so here I have up the board and the Saunders watercolor paper. This is 300 GSM, 100 percent cotton paper. And now I'm going to master paper using masking tape. This is a half-inch masking tape. I'm going to apply it on all the sides, sealing it tightly. So masking the paper helps. So in securing the paper tight so that it doesn't though or move or buckle up when we are applying water on the paper. And it also gives a nice border to the painting. You can even use a wider masking tape. For me, this works perfectly fine. So yeah, our paper is most. Once it is sealed, just run your fingers over the edges to make sure it is tightly scene. 8. Thumbnail and Colors required: Before we begin our painting, let us briefly discuss the thumbnail to simplify the elements of the painting. So here we have some trees at the distant area near the horizon. About this is this guy below this is the ground. Since it is sunset time. So we have salaries somewhere near the horizon. The ground is covered with snow. And in the foreground, ADR, we have some trees. The trees up your bigger in size when compared to the distant trees, because these trees are closer to the observer or the viewpoint. Now, let's name these elements. We have sky and then sun. And the ground is no. And some grasses, the trees foreground one and the distant trees. So these are the elements of the painting. Now let's talk about the tellers and that we would need for the painting. Starting with the sky. I'll be using Sarah Lynn blue in diluted are lighter. And then ultramarine blue. For the upper parts of the sky. For the sundries, I will use orange and yellow sheet. Now for the snow on the ground, I lose ultramarine blue in it stallion barn. Since we are using a lighter tone. Let's say transparent on no background, white color of the paper will be seen through this layer, and it will be depicted as snow because snow is not simply by trade. It has some reflection of this guy. Here we will use a low orange diluted colors. So you need to add more water to the pigments. Keep adding water until you see the color of the paper. Moving on to the background trees. Here, I will use sepia. You can also use burnt umber as an alternative color. Then I'll use Payne's gray here, or you can use indigo and black as an alternative. Now for the sunlit effect in the background trees near this handset area, we will use orange and alone shades. Along with CPR. Now, coming to the foreground trees, I'll use orange again for the sunlit effect on the trees. Then for the darker sides, I'll be using sepia. Again, burnt umber we'll do for the shadow part of the trees. I'll be using Payne's Gray and why. These two are cool colors and it works good for the shadow part. I'll also be using CPR, though, dipping the warmer shades in the shadows. So that's all about the colors. 9. Sketching the Composition: It is time for sketching. Now, use any pencil and very gently, we are going to mark the composition of the painting. So keep the paper in landscape mode. Draw the horizon line somewhere in the upper half. So about this, we will draw the district trees. It need not be perfect figures just roughly mark the shapes. Near does handset area, we will not mark any lines as of now. We will leave it blank. Okay. For this, no, we will be painting it with the colors. So you don't have to draw anything. Now, let's paint the foreground trees. I'm marking the tree trunks because I want to leave blank spaces while painting to render the sunlit effect. So here, if you were painting fully darker trees, then you didn't have to draw the lines beforehand. Simply draw some parallel lines to depict the tree shapes. If you notice, I have ended the tree trunk of this tree little ahead of the previous one. This creates a sense of distance between the two trees. Similarly, we will do that for other reasons as well. Try to create distance between one another. So here we will also folk the tree branches. You can also prefer to keep the tree trunks straight in shape. Next, I will overlap some tree branches to create a sense of dimension among studies. Let us add another tree trunk next to this tree. So we will add the trunk and leave this space here to make it IPR, like it is behind the broader tree trunk. I hope you are following me. Now let's paint another tree that is in the center of the crown. Here we will form the trunk of the tree right from the bottom part, and then further focused into several branches. For now, we will leave the tree trunks as it is. And then we can add the tiny branches with the paintbrush. Next we will mark the shadows of the trees. So these are going to be against the direction of sunlight. I have explained everything about lights and shadows in the earlier chapters of this class. Please go through it. If you have skip that part. For these trees, you are the source of light is on the left side. So the shadows should be falling on the light side. And then some simple grasses on the ground. Here, the direction of the shadow changes because the direction of satellite changes as well. It's on the right side of the element. So the shadow falls on the left side. I hope you are getting my point. So initially, I did mention about drawing the lines gently so that we don't leave the Pencil Dense. I can see some darker lines yard. So I'm using this kneading eraser to lift off the darker pencil marks. Since watercolors are transparent. So you can see these pencil marks if they are darker in Palo Alto. That's all about sketching. Let us move on to the painting part. 10. First layer - Paint the Sky: Let's dive right into the painting process. So take two jars of clean water, a color palette, colors, and paint brushes. I will start with size 12, round brush. Now let's apply. What about this horizon line to paint the sky? We will attempt one element at a time. So here we will go with the wet on wet technique. And thus, we need to wet the surface of the paper. Be mindful of the amount of water you apply. Just a thin layer of what URL will be enough. If you're good at liable water, then you can use a paper towel or a napkin to wipe off the extra water off of the paper. So I'll use this plate as my palette for mixing colors. A civilian blue or any similar color, doesn't matter. Apply this on the bottom part of the sky near the horizon, but not apply paint inside the tree trunks. Leave some blank space there. Next, for the upper part of the sky, we will use ultramarine blue in midtone consistency. Apply the pins in diagonal brush strokes. Also leave some white space on the left side to render the sunset colors. So this layer looks lighter when applied on a wet surface. Next, we will take a slightly darker shade of ultramarine blue and ableism diagonal brushstrokes again. So if you notice I just applied the paint freely over the tree trunks to create the continuous diagonal line. Now I'm going to wipe off the paints from the drunks using our tissue because I want that area to be lighter in color gently and up that issue on the targeted area. Now let's paint the sunset. He was in the sky. Take a yellow and orange in the pilot. Now apply a low near the horizon and on the blank areas. And then a bit of overlapping orange sheet. So this will create the sunset use in the sky. Adding some more horizontal strokes of orange color. 11. Distant trees - Background: Moving on. While the paper is still wet, we will be in the distant trees in the background. So we'll take CPR, or you can take any dark brown color and mix it with orange. So it will give orangeish brown color, which is ideal for sunlit effort of the trees. Applying the paint along the horizon line. These trees are far from the viewpoint. So the APR, blurry and smaller in size. So as released the blue areas of the sky, we will apply Payne's gray. Again. Leave the blank area for the tree trunks. Having those sketch of the arteries helps us analyze where not to apply. The beams. Apply beans grow along the horizon line. Now apply some darker colors along the horizon line, neon, sunset area. So this will add a sense of depth in the district DRI area. So here we have a tear but a lovely sunlit effect. Now let's apply paints gray on the remaining area. Here, I am creating some spikes using the tip of the brush to create the pine tree shapes. Before we, alright, so we will allow the paint to dry before we move on to the next element. 12. Painting the Base layer of Snow : Alright, now paints have dried. Now let's spin the snow on the ground. So as we all know, the color of the snow is white. But we need not apply white color separately. Unlike actor lakes or wash bins, where we have to apply the colors separately. Here, we can use the color of the white paper as this note. Again, we're going to use wet on wet technique. So apply clean water below the horizon line. So you see we have two colors in the sky. Sky colors will be reflected on the snow as well. So first, let's spin the sunset views on this note. Apply a very watery yellow and orange mix on the wet surface. Do leave some blank spaces in between because we don't want the snow to be entirely alone. Just simple horizontal strokes will be enough. On the other side, we will apply what remix of ultramarine blue, along with a bit of Payne's gray. To render the blue colors of the sky. Make sure to leave blank spaces. Now, add some shadows of the distant trees on this no, using slightly darker Payne's gray. They're not apply paint inside the trees. Now we've been adding some shadows, offers no, to create a sense of dimension. The paints get inside the three areas, then you can use tissue paper to wipe off the paint. Use midtone Payne's gray loosely around the bottom part of foreground trees. This will appear like any masses of snow. Add some brush strokes and randomly on the snow area. Adding this darker bumps urine there. We'll create the sense of dimension and depth in this note. However, you don't have to achieve the exact same result as mine. Just go with the flow and embrace the outcome you achieve. 13. Sunlit Foreground Trees : Okay, So this is how the snow looks after the beans have dried. Now, let's paint the foreground trees along with the sunlit effect. So take orange and TPR and mix it in medium consistency. So yeah, I'll use size eight round brush. So we shall apply the paint. So inside the sketched areas, start by applying orange on the left side of each trunk. This part of the tree is exposed to the sunlight, so it creates sunlit effect. Next, I'll switch to my size two round brush and apply CPR on the other side of thirdly. Now, if you feel like orange is a little vibrant than you can note it down by mixing a bit of sepia, applied the two colors and let them get blended with each other. It shouldn't appear like to separate the colors there. When light and shadows are added to the painting, it contributes to achieve a sense of dimension as it makes it a PR, like cylindrical in shape. So I apply the same technique for rest of the trees. And I let you absorb while I paint them. So here there are some overlapping tree trunks and branches. So here we need to decide what comes of friends and what goes behind. How you can judge that is based upon the distance from the viewpoint. So if the object is closer to the viewpoint, it comes friend. And if it is, then that goes behind. I'll switch between my size eight and size two. Depending on the size of the brush strokes. I want. For final, I like this darker areas. I use size two. And for the wider areas like the orange sheets, I'll be using a size eight. So you can go ahead with any similar sizes that you have. This tray here is closest to the wheel point, so it comes Frank and the other branches goes behind. So you can judge the distance from the viewpoint from where the roots originate. It is okay if you are placed slightly different colors urine. So this is a local vibrant than the other orange sheet. But that's okay. It need not be perfect. Hello. Hi. Okay. Carefully observe how I created this, distinguishing between the two trees and make them appear organic and shape. I want to add in more depth in the drunks. So adding darker colors to enhance it. Central tree, splitting the drunk right from the bottom. So here I have applied a bit muted orange by mixing sepia. First we will add the mutate orange sheet. And then we'll go ahead and add the darker colors. Here. I'm adding sepia on the right side of the tree. Great drunks cleared the impression of rocks, are adding in some darker colors. 14. Branches: All right, so we have painted the tree trunk and limbs of the tree. Now let's spin the branches and I need to x. So here I'll make it orange and sepia. And Lord, this color mix in the brush. Now let us introduce some thinner branches one by one. So I'm using a size two round brush for finer details. Then I'll add in some tiny tweaks using the pointed tip of this brush. Folk the branches as many times as you want. The more the branches, the more denser it is going to look. Also note the emerging point of the branches. The branches are on the front side. Then it emerges towards us, that is the viewpoint or the absorber are the branches in all direction to make it look dimensional. Next, I will switch to the Palo Scipio, play the darker branches on the opposite side. It is good to have variation plus i just a nice balance of light and shadows. Next, I'm moving on to paint the branches in the other trees. These trees are dollar in height, so their branches are going to appear outside of the painting frame. Does we need not create the upper ends of the tree. So here we will add in some branches at random areas. We will aim to achieve a sense of dimension by adding the branches So in all direction, that is the friend on the sides and the back. Folk, the mentors as many times as you want. One thing you need to remember is that we should add these darker colors only on the opposite side of the sundries. The other side is going to look darker, right? So at that thing, if you keep in mind, then you will have a nice organic looking tree. If you want to keep your tree straight and simple. That is also fine. You need not a lot of branches, anything. It is totally up to you. And I didn't some details. There is no fixed method as such. Just keep adding the branches and if you feel you have done anything wrong, then simply dab or tissue and liftoff the talus and that's it. Now take darker color. It could be either Payne's gray or CPR. With darker color, we will add some character to the bark of the trees. Some simple random lines to enhance the appearance of the bark. We don't want the tree trunk to look flat rate, so we will add these knee lines and shadows. Also, be mindful of the pressure you apply on the brush. Let me add some more branches here and there. All right. So I let you absorb and follow along with me while I paint these tiny branches and tweaks in the trees. There is no compulsion as such to achieve the same outcome. You can have your own checkoff crease and you can have your own style of trees. 15. Adding Depth in the Snow: Moving on, let us introduce some noise and texture on the snowy part. So apply clean water on the targeted area and then use so any darker colored. This creates a softer brush stroke. Also, we will add in some loose lines near the horizon. I'm dabbing it off with my fingertip to avoid having sharp lines. Legs, they will add another layer of diluted colors on the foreground snowy area to render some tiny masses of snow and their shadows. So basically this is going to look like a bumpy surface in the north since the paper is dry. So we might end up with sharp edges and lines. Therefore, we will blend in the colors when the clear water in-between. So your I'll go with the sepia, ultramarine blue, a very watery tone of these colors. So when you apply these colors and water in between, so that the colors get blended well and doesn't leave any sharp edges. Create some simple grass shapes with these diluted colors. You or I have applied a mix of all colors like CPR, ultramarine blue, and Payne's gray. And some areas are left as it is dry and blank. Now let splatter some pins on the wet surface. Make sure to cover the upper surface of doping because we do not want the paints on the sky or the main areas of the snow. Here. We are trying to achieve a sense of noise and texture in the foreground area. Now allow the paint to dry. 16. Painting Darker Side of the Trees: Okay, So the foreground snowy texture has already dried. Now, if I gauge the tree structure and its dimension in the painting, the darker side of the trees don't really appear that dark once they're dried. So I'm going back to these trees and I'll be adding some darker colors. Now, if your trees already looked darker, then you can skip this step and move on to the next chapter 0. Otherwise you can follow along with me. Here. I'll be using Payne's gray with a bit of sepia to make it local blackish color. Or you can simply use black color. I'm adding in some darker shades on that. I am using my size eight round brush. Apply a kind of dotted lines. Don't just apply the lines in a straight line. 17. Cast Shadows and Conclusion - Thank you!: Moving on, let us introduce the cast shadows of the trees on the snow. So here I will be using violet and Payne's gray for the pool side. And on the left side I'll add some sepia. Okay. So mixed voice, lead and Payne's gray and apply the shadows towards the right side, paying them one by one. We have already learned the basics of three shadows and direction of light earlier in this class. Go check it out. If you have missed it, we will be painting the shadows for all the trees here. The direction of sunlight on these trees is from the left side. So it's shadows will be tested on the right side. And I'm applying the paint on a dry surface. So you need not the surface. Next we will paint the shadows of the grasses. I'm yet to add the actual grasses here before painting the grasses and paint It's shadows so that I can define the shape and note the direction of shadow and also the source of light. In this case it is opposite Your, let's add some colors on the mid area of the snow. This is optional. Now we will go back to the cast shadows and add some warm colors of sunset. Let's add sepia. Here. I'll take clean water and soften the edges of the shadows. Along with diarrheal also add some darker concentrated colors. That is Payne's gray and white LED. So don't worry if it looks darker now, after drying, it is going to look much lighter. On the left side, I'll add some CPI and I were tough orange to suggest the sunset use. So once we have this, then I'll paint the actual grasses. These are loose shaped grasses. Again, applying some random texture on the snow using diluted sepia. Okay, so at this stage, I usually end to fix the elements. That doesn't look good to my eggs. Correcting this shadow by lifting the existing colors using a tissue paper. So this step might help you learn how to cope with those mistakes. Let's agree. We all have been at the stage where we feel the painting did not turn out really well, as per our expectation. And we end up getting frustrated. So don't give up so easily. Try to save the painting with whatever you can. Apply all the knowledge that you have. All right, so let's add the shadows to the grasses in the center area and notice so the shadows of this element your real somewhat straight because there's hundreds are right behind this element. Okay, So we are done with the painting. Let us remove the masking tape gently. Alright, so this is the final look of the painting. I hope you found this class helpful. I have shared all my knowledge on the subject in this class. Finally, share your review about this class and help me reach more students. I'd be really grateful for your support. Thank you so much for joining me and please do share your class project. Also, feel free to reach out to me in case of any doubt. I'll see you in my next class. Happy painting, Bye bye.