PAINTING LIGHT AND DARK VEGETATION / LANDSCAPE TECHNIQUES FOR BEGINNERS / STEP BY STEP

Hello everyone, how are you? Today we're going to have a different lesson here. Do you see these two little cabbages I made here on the screen? Actually, they're the risk of two shrubs, right? What am I supposed to do? I'm going to paint one very dark and one very light. because often people ask about it light vegetation and dark vegetation. I'm going to show that it's possible to do a very dark and a clear one using these three colors here, What is Versil green, Tramar blue, and Cadmium yellow, right? It could be light yellow, anyway. Ah, I don't have Tramar blue; can I use Prussian blue instead? Sure. I prefer the Versil green because it's a darker green, okay? So we're going to do this in oil paint. I'm going to put this here, look, A little bit of Versil green in the palette. I'll leave it here nearby in case I need it. I'm going to apply the Tramar blue and the light cadmium yellow. Actually, this is cadmium yellow, not any kind of white. Look here, you can see this little screen right here, right? I painted this little piece on cardboard, you know? I left it here just as a decoration. Anyone who hasn't watched this video yet, go watch it—it turned out really great. This painting on cardboard is getting a lot of views here on the channel, right? Well, then let's start our painting now. I'm taking this brush here, see, I just dabbed a bit of oil on it, okay? It's an old brush, and I'm going to paint the background of the bush dark. In the depths of the dark thicket, those who've been following me on this channel already have a general idea of how I work. I'm going to apply Versil green and Tramar blue. I'll do the background here, look. Why am I using oil, everyone? Because my paint is old and I need it to flow a bit more on the screen. And I'm telling you all that she's quite hardened. So I'm using a little bit of that oil there, you know. I'll follow more or less the risk of that thicket over there. You can see that there won't be any background here; I'm not going to do a background, anything. Because this is a study class. Different from the step-by-step lessons we do here on the channel. This is a step-by-step guide for beginners learning to paint. And I want to clarify a few points right away here regarding light and dark vegetation. Hey, what's up? I made a really dark background, huh? I'm a bit variable, okay? I added more blue here, look. I'll make the light come from this direction here, from right to left. So I've already made it a bit clearer here, Not really much, huh? At this tip, I applied the green Versil and added more intensity to the blue Tramar here. I'll give this brush a quick clean, here. I'm going to take the yellow and light cadmium now. I'll take a little bit of blue here too. Let the car pass there on the street. You heard, right? The person who's arriving right now is going to get used to the little noises I record here in my garage. It's more or less like this. So, hey, the difference is already going to start right here, hey. At the bottom, lighter shade. Look there. Cadmium yellow with a touch of blue there, a little bit of green, just a tiny bit, okay? Remember, the light will also be coming from this direction, right? Following that, there's no way to change the light's orientation in the bush. Grandpa, I left a bit here. Okay. Here, oh, I'll give it a slight dimming. Just like I did with the other one in blue, you know. Hi? Here. Giving the bush a little shape. You can see that the yellow here is harder to stretch. It's harder than the other paints. That's why I said I'm using oil. Alright. Well, about here is already good enough for us to start the fun. So, we have two distinct funds. One shade darker and the other lighter. So as not to end up floating with these two clumps either, I'll do a light finishing touch here on the floor. Just so they don't stay floating around here, right? O. I'm going to put them... Put a base here. Remember, I'm not going to contribute any funds or anything like that—just the study itself, okay? But I need, at the very least, to keep them trapped in a base here, right? What is the floor. So-so, I think it's fine. Legal. So, cool. Now, enough of the background. Give it a bit more of a smooth touch here. Let's start working on the lights. I'll take this brush of mine here, which is the Condor. 285, number 12. Round brush. You can also use the round brush you like to use. You don't have to be the Condor, you know? But I use that one. And I'll start the light right here, okay. So, let's go. I'll take the green versil here. Remember that this bush is dark. I'm going to mix this with the yellow from the meat. You can see it there in the palette. I'll add a bit of blue to give it a burn effect. I'll reach the tone I want here. Let's see if it's already a nice tone. Oh, already. For the first layer, it's fine, okay. I'm stretching it out, doing a gradient. Remember, dark vegetation. Why didn't I pick up more colors? Because I want to show just with three. And it can be done. Sometimes we just don't have all the colors we want, you know. Work. Paint is a bit more expensive these days. So, it's more or less along those lines, right. O. I'm gently making the little cups. Let me check if it looks good here on the camera. Well, you can follow along on the camera. I will continue here. I've already lightened the tips slightly. Are you going to shine more light later, professor? Yes. I'll shed more light. Apriore. Just get through this first phase of the little cups, okay. Do the little cup and start pulling a gradient, come on. So I hold the end and keep pulling. Let me show you this, okay. Here it is. I'll bring a little cup over here. Oh, I'm already fading out and doing a gradient, oh. How nice it's turning out. You see it? Here I'm going to make a perfect hit here. Here I'm going to make a little more of an exit. To give it more shape over there in the bush. And these are the little secrets too. And not only that, right. The purpose here is to show this difference in tones. And I also take the opportunity to start teaching her how to make the little cups. Ah, can I do this with the flat brush's edge? I can. Do you do it, professor? No. I already did. If I'm not mistaken, there's even a video here talking about this. But I like to do it with this brush here. I'm leaving too, same here. They always end up a bit rounder. It's the format I like. It's kind of characteristic, isn't it. Oh, hey. Slightly tilted the camera, gave it a little shake. But I think it's all fine, right. I'll take more here. Also. And today I'm painting standing up here, you know. I'm not sitting, no. I wanted to position the camera in a way that looked better here. And I discovered that painting standing up would work better for you all. So there it is. Here too. Carrying out the integration with the ground. Oh, how nice. You see it? So we already have a dark bush. Do you notice the subtle difference between one shade and another? Why? Because I vary very little. But I vary the shades of green within the same bush. Because even though all those little cups are there, right. In the same bush. They are not all the same. Some are younger leaves, others are older. Some more sunburned, others not. Finally. And so it goes. O. Put it here. Let me make a little something here like this. Just as if it were protruding here. Okay. Just to make a cooler effect. So there it is. We laid down the first layer on that dark bush. Now I'm going to do the following. I'm going to clean the brush. You can see, oh. I'll give this a quick clean-up here. Ah, what do you use to clean the brush, professor? I use an odorless or unscented remover. Yes. Clean. Okay. I clean the brush. You can stop removing the excess. I'll take a little bit of oil. Throw away the excess again. And now I'm gonna come at this guy right here, look. Here, things are going to be a bit different. I'm already going to start with a very light green. Why is the vegetation light? So I'm mixing yellow here with just a little bit of green. Let me see if the tone is coming through already. O. And I'm already going to do the first layer there, look. Pick up more yellow here. Why don't you just play the yellow card directly, professor? Because otherwise it would turn yellow, and the shrub is green, right? I'm not going to mix the paint right here. I'm going to mix it just as I'm doing there on the palette. Will it turn somewhat yellow? Yes. But it has to be pulling toward green. Because afterward, there's another layer of light up there. These are the first little cups, right? Here, oh. Also. O. The same colors, huh, guys? Here you go, mate. The same colors. However, it's the intensity of the mixture with yellow that's causing this difference. A big difference between the colors of one bush and another. The noise you're hearing is me picking this up to clean the brush. Because it became too heavily loaded with paint. Grab it again here. Come on then. Yes. Now it has less ink loaded. Otherwise, it ends up harming the process when trying to achieve that cup-shaped form. Oh, the same old thing. Yes. Oh. Here too. I ended up making this bunch very close, very tight here against the frame, against the canvas. Oh, yellow, how it is a more transparent color. I'm doing wet on wet. I have to play the yellow with the greatest quantity. I have to leave some paint leftover. However, if I had let that layer dry, it would have been easier to work with. But how do I do it like my cousin here for you all? That won't work, will it? You have to use some resources, some devices. What a contrast. Legal, right? Now here it is, I've darkened it a bit more. Do you realize? A bit more green, please. Because here I've already put a darker section, look. Subtle. As if he were already getting a fade right there in his own bush. Look there. You see it? Variety of tones. I'm going to add more yellow here on top. Here, I want more yellow. But yellow. I'll do it this way to make it stand out, to make it nice and pretty. Be careful not to leave the bush synchronized. All the little cups in the same sequence. I'll always leave a little bit. Always leave it a little random. And also do it just like I did the other one over there. Let me darken this a bit more here. I'm realizing that I'm running out of paint on the brush. Grandpa, it got too dark. Oh, how nice. Doing a light finish here on the floor. Tell the truth. If you looked at these two bushes separately. Can we say we're doing this with the same colors? Can you be honest, though? Suddenly you have this perception. Wow, cool. No, sir, the professor. I lay my eyes on it. I already know what to say. Alright, I'll believe you. But if you tell me, no, professor. I honestly wouldn't say it was made with the same colors, no. I'll speak, man, okay. I will also believe in you. So, comment on the video there. What matters to us, you see? The comments, the likes. Comment, like. Grandpa, it fell here. Also subscribe to the channel. You have to grab a deal that just came in here. I'll take this other brush here. Do a bit of perfumery down here while it's drying over there. Light coming from that direction. Just so I don't leave it half done here, right? Here less light. Let's do an integration here, okay. Here I'm going to add even a shadow. Leave everything somewhat looser. Hey, everyone, check this out. How cool. The same colors. Blue, cadmium red, green, viridian, and cadmium yellow. I'm going to, I could end the class right here. But I'm going to apply a second layer of light. Let's see if it's going to look good. If I realize it's not going to work because it's too wet, I'm aborting the mission, okay? So, I'll take the cadmium yellow that's here, look. I'll put it here. I'm a beauty worth wasting paint on, right? And I'm going to add a second layer of light to this guy here. How do I do this? I'll clean the brush. Repeating. It's legal to do this already with the screen a bit drier. Come on, let's go ahead and do it without having a dry screen. I'll take a mixture here of green and versil. I'll make a greener, more euphoric shade. I won't burn with the blue scarf I'm wearing here. So, let's go. Green and violet with cadmium yellow. I'm coming over to the tip. You have too much paint on the brush; let me see. Let me add more yellow. It's clearer now, because since the paint is wet underneath, it's blending into one another. Oh, now it's good. O, second layer of light. It already made a difference. Come on then. At the tip. Hey, now it's not nice anymore. Let me clean the brush. Grab it here. Let's move on to the second layer of light. At the moment I start, I have to do it, right? Maybe I won't put on so much light. These hard paints of mine here, I'm gonna tell you about them, okay? Because I had bought a lot of paint, I left it stored for a long time, and it ended up like this. Come on then. And I've already been doing the lightening and the gradient, right? Here too, I'll make a slight adjustment here. Otherwise she'll bump into the other one over there, and I don't want that. I'll make it a bit different in format. Because I don't want her to touch the other one. Otherwise, it will ruin our study here. The light that struck most strongly right here in the middle. I've been doing a gradient, oh, how I've been losing the light, oh. You see? How cool. I'll loosen it just a bit so she's not held on so tightly. Oh, that's cool, it's already become more robust. I don't want to touch that other one over there, but it's almost the same, you know? Don't even think about it. Look how nice the format turned out, don't you see? Now I'm going to reduce the intensity of the light here. But I'm going to put a little bit here too. Just to make a bush look a bit prettier, right? Since I pulled it more over here, I'll also make it stronger down here. So that it doesn't end up looking a bit strange. Although nature doesn't have much of that, right? It's a bit half-baked, but it's all good. But here, in the painting, we make some corrections. Oh, are you seeing it? I'll go slightly too. You see that I don't have anything behind me to help me, right? I'm doing this right here on a blank screen as a study exercise. Why am I applying this second layer of light? Why is it important. If we're going to explain, then let's explain. Well done, huh? And look how I switched the light on and off, do you see? The light hits, in some places it strikes more strongly, in others less. Well, look at that—how much volume this bush has gained. Now I'm going to work on this one. And now I'll have to clean this brush, right? I'll clean this guy here. And I'll practically be working with cadmium yellow. I'll put him right here next to it. Practically pure. Why practically? Because he's a little dirty over there. Not much, but it's no problem. Come on, let's go. Let's go. Clean the brush thoroughly. Leave these paints right here on this side. Grab the cadmium yellow. I'll make sure to dilute it really, really well here in the oil, right? I'm back to speaking. Oh, just slightly contaminate it with the green that was here, very little. Here we go. Let's place the light layer here, also on the lighter vegetation. You can see that the oil has even remained here in the paint now. I will also make a highlight here. Oh, how he turned so yellow over there, oh. Because there he's not hitting, grabbing the green, right? Oh, what a difference. Pretty cool, huh? Ah, professor, but couldn't I have put the English green in its place? Yes, but I repeat. I wanted to do it with three colors to show you that it's possible. It's possible to create both light and dark vegetation using only three colors. If we were to add more colors, it wouldn't be as charming, would it? The objective of the video... Wow, now a truck just arrived here. The goal of the video is to bring you this experience here, check it out. Using the same colors and creating completely different vegetation in tone. I'm feeling quite talkative today, huh? But I haven't yet mentioned one very important thing. While I'm doing this here, I'll be talking, and you'll be observing. Are you getting to know us now? New here? So, hey, subscribe to the channel. Turn on the bell. Why turn on the bell? So that you receive the notifications every week. Because here, every week there's a new video for you. From the landscape, the houses, the floral elements, the sea. Everything, everything, everything done for free. Step by step. In addition to this step-by-step narration, which is a study. We also have a step-by-step guide with music. Finally, everything for free, all free for you. So, are you up for catching a little glimpse of another artist's perspective? It's coming, it's learning, is it a beginner? Okay, no problem. You can sign up; it's free. That is our purpose: to take art further and further. Hey, we need your help for the channel to keep growing. Both me and Professor Marcos Venele, who is my partner here on the channel. Oh, put one on, do it like I did on the other one. Put in a little bit here and there, so it's a bit looser too, right? Let me see, here I'm just going to darken it slightly. Oh, here it's already a bush that's more toward the lower part, more toward the back. There isn't as much light anymore. They were almost touching there, huh? The professor did what he did here, but managed to make them not touch each other. The thing is, we're painting as we go; right now I sketched it, and I said, hmm, it got too close. Well, it's okay, I'll finish here. Let me see if I can loosen this a bit more here, okay. That light slipping along the back there. Just to tidy it up a bit and make it look nice and neat too. Be careful not to ruin her shape. Just a little bit more. Great! Let's finish up. Again, since I shone a light there, I'll shine a light on the ground here as well. Hi? Here. Here too. Here, leaving it to make a shadow, oh. It's getting a bit darker here already. Coming in here. Here's the flat brush that's working, right? Here is a shadow. Leave it looser like this, more relaxed. Let me take a look from here, from a distance. They ended up with a slightly different format. Yet the goal was achieved. Because the goal wasn't to make it look the same. But yes, I'd like to show you the following. Dark vegetation, light vegetation—can be achieved with just three colors. Azure Mar, Verdant Versil, and Cadmium Yellow. These three colors here, look. Here it is for you. Only by knowing how to handle the intensity of yellow, green, and blue. You can create clear and dark vegetation with a really nice contrast. Liked it? Give me a like here. Comment, share. Here everything is made with free will and with a lot of love and care for you. Alright? Thank you very much, everyone. A kiss, a hug. See you next time and thanks!