15 Days of Summer Sky | Acrylic Landscapes | Debasree Dey | Skillshare

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15 Days of Summer Sky | Acrylic Landscapes

teacher avatar Debasree Dey, Acrylic Artist & Educator

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

30 Lessons (14h)
    • 1. Introduction

      4:05
    • 2. 2

      7:44
    • 3. Basics of Acrylic Blending

      16:43
    • 4. Cloud Technique - Part 1

      35:20
    • 5. Cloud Technique - Part 2

      19:07
    • 6. Color Study - Blue

      25:07
    • 7. Color Study - Green

      23:31
    • 8. Color Study - Browns

      8:08
    • 9. INSPIRATION

      1:46
    • 10. Day 1 - Cloud Harmony

      43:57
    • 11. Day 2 - Rising Above

      38:19
    • 12. Day 3 - Strength in Numbers 1

      31:29
    • 13. Day 3 - Strength in Numbers 2

      27:16
    • 14. Day 4 - Eternally Floating

      41:00
    • 15. Day 5 - Stream Of Life

      47:04
    • 16. Day 5 Continued

      8:00
    • 17. Day 6 - This Must Be The Place

      32:28
    • 18. Day 7 - Keep Rolling | Part 1

      35:54
    • 19. Day 7 - Keep Rolling | Part 2

      27:24
    • 20. Day 8 - Path To Greatness 1

      23:02
    • 21. Day 8 - Path To Greatness 2

      39:51
    • 22. Day 9 - Simply Floating

      34:25
    • 23. Day 10 - Standing Strong

      38:16
    • 24. Day 11 - Going The Distance

      36:18
    • 25. Day 12 - Calm Reflections

      43:38
    • 26. Day 13 - Keep Walking

      50:36
    • 27. Day 14 - Peaceful Morning

      34:28
    • 28. Day 15 - Let The Light In

      42:05
    • 29. Your Class Project

      1:40
    • 30. My Project Process

      21:42
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About This Class

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The sky has been inspiring me since the last couple of years ever since the lockdown started.

It has been my companion every single day. And so I decided to create this class to share a little bit of my inspiration with you and also to get you to a daily painting habit for 15 days.

So I invite you to join me in this acrylic painting course, where you will learn the basic of acrylic paintings and to create 15 beautiful landscapes.

ACRYLIC ART SUPPLIES 

One time Investment

Recurring Investment

If you are a beginner in acrylics, buy a set of 12 acrylic colours to try first time.

If you are a regular painter, invest in acrylic tubes/bottles.

See you inside the class :)

Debasree

Meet Your Teacher

Teacher Profile Image

Debasree Dey

Acrylic Artist & Educator

Teacher

 

Hello, my name is Debasree, a fine artist & educator from India. I enjoy painting abstract landscapes with textures and bold brush strokes! From an IT professional to an Art Teacher and now a Freelance Artist and entrepreneur I love it all! Read my story 🧚‍♀

As an educator, my work is to help people identify their inner artist, guide them to create beautiful paintings, which helps bring a lot of confidence & happiness as bi-product!

Visit my online gallery: debasreedey.com 

I'm an absolute nature lover, so all my classes will be focused on the beauty of mother nature!

 

 

After teaching close to 10,000 people in physical workshops, I'm so excited to teac... See full profile

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Transcripts

1. Introduction: [MUSIC] Welcome to 15 days of summer sky landscapes. In the next 15 days, you are going to learn 15 different landscapes of white clouds floating across the bright blue sky. Acrylic paints are so versatile. I fell in love with this medium during the early 2014 when I was working in IT. As a beginner, I bought so many art supplies and started experimenting. There was no proper guidance or classes to teach techniques. I practiced and created some 2000 plus paintings, till date, and learned a lot through trial and error. But I don't want you to go through all that pain and wanted to teach you acrylics in absolutely easy way. Acrylic paint is a perfect choice for beginners and experts alike. Because you can apply it in layers, which means you can make changes easily if any correction to be made. It dries fast so you don't have to wait long between layers and you can clean it up easily with just water and soap. If you have been on the fence to try acrylics, I invite you to join me in this class. Learn the basics of acrylics and learn to paint 15 beautiful landscapes. Hi, my name is Debasree, and I am an artist based out in India. I have been teaching art professionally since 2016, and I have taught more than 20,000 people globally. I have changed my profession from corporate to a full-time artist to pursue my interest in art and to educate others about acrylic paintings. If you want to know more about me, please visit my website, debasreedey.com, or connect with me on Instagram. [MUSIC] Have you ever heard the voice inside your head? I could paint that and fade like there is an obstacle keeping you from even trying. Well, I am here to tell you that it happens to all of us. That is why I created this class for 15 days with different paintings each day so that you can follow along, paint, learn and get in the practice of painting daily. Practicing more paintings is the key here. Don't just paint one or two, paint hundreds. In this class you will learn how to get there. At the end of the 15 days, you will be able to paint from your imagination or just by looking at your own photographs of any summer sky. In this class, I will tell you all the basic acrylic art supplies that you need to create amazing acrylic paintings. Then I will guide you through some of the basics of acrylic blending, followed by teaching you how to paint realistic clouds using an easy six-step method. After that, I will give you an exhaustive understanding of acrylic color theory using which you can create 100 different shades of colors just by mixing a few. Then we embark on our journey of painting 15 different landscapes in the upcoming days. Nature your talent. I know you have it if you're watching this video. Practicing art can be super fun when we do it together as a community. I hope you are excited by now to join me inside, I can't wait to start this exciting journey together. I look forward to seeing you inside. 2. 2: In this lesson, I'm going to tell you all the supplies that you'll need for this class. So if you're an absolute beginner and you have never painted in acrylics and you want to buy some of the stuffs. I will tell you the very minimal art supplies that you need for painting in acrylics. First thing first, you need a base to paint on. So I normally painting acrylic papers. This is the one that I have been using in this class. So this is an A5 acrylic paper, which is this one. This is an A4 artist accurately fever, which I have cut down in half. This is the half that have stuck down to this white foam board. Okay? Now I am going to link all the products down in the description below so you can click on them and get the products that you want. So this is the first thing at artist actually paper. Now, if you're an absolute beginner, I mean, actually favors are excellent for painting and acrylics, but I would still recommend to get a canvas bad. That is like the cheapest thing. This pad, rather than getting a canvas board or a stretch canvas or Canvas that looks something like this. So what you can do is you can use acrylic papers to do some practice things. The practice things I'm going to show you in this sketch book. So this is a sketch book, A4 sketchbook. It is not meant for acrylics. So if you have a regular sketchbook, do not try practicing in it. This is where I will be showing you all the techniques that you're going to learn in the coming up upcoming lessons. This is an A4 journal. This is where I have done all the demos and all the techniques and everything. So you can do not do it in a sketchbook, do it on a Baptist church, on an acrylic paper. For the final projects, all the paintings, you can do them on an acrylic paper if you want to. But if you're an absolute beginner, I definitely recommend using a canvas. That is the surface material. First thing that you need for acrylic painting. Now for this class, I have used only these three brushes, one flat brush and to round brushes. One brush is medium-sized and the one is absolutely pointed. Size 0, liner brush. Again, I have linked to all the products down below. I'm not sure if you can get just these three brushes. I would recommend if you're buying brushes then by a set of flat brushes or stage of round brushes on the variety of sizes of the brushes and you can paint them on any surface that you want to. Okay, so that's the painting surface. Then. You're painting brush, acrylic brush. You need a plate to mix on. This is the play that I have used. I will link it below as well. If you want to get this. It's not a setting is played. I think it's a little plastic you played, but it's very easy to wash off the beans and you reuse it. Next, the most important or the acrylic colors. For the acrylic colors, you can buy a set of 12 acrylic paint where you will all the 12 colors. But I really don't like using the whole set of 12 colors is because there are few colors like purple or pink. These are the colors I really don't use in my, in my paintings. But if you want to have those colors, you can buy a set of 12. The most colors that I like using, the blues and the greens. Now, I think instead of 12, you get generally two types of blues and two types of grains, which is great, but there are some colors that I need a lot more. So what happens when I used to buy a set of four or 12 o'clock colors, the ones I use the most is to get over. That is when I decided to buy each tube like this, or if you're buying fluid acrylics. However, just a particular color that I like to use a lot. Now the colors that you need for this class are, I have used these three, actually four blues in this entire class. This is Prussian blue. Now, I do not have the Prussian blue intake body acrylics. That's why I have used the fluid acrylics which I store in this nozzle bottles. And the colors I've used a Prussian blue. This is Taylor blue, ultramarine blue, and light blue. These are the colors that I've used. But if you don't have these colors, if you have some other blues, you can use them as well referred to the color blue lesson. And you will get a very good understanding of the, of how you can reuse blues that you already have without buying any. Okay, So these are the blues and greens. I have used these two greens. One dark green and light green viridian hue and permanent green light. These are the two greens that I've used. These are the two yellows that I've used. One cool yellow, one warm yellow. Again, you will get the details of all these colors in detail in the color lessons. So go through them to understand the different tastes of colors. And then these two colors, burnt sienna and burnt umber, very important for any painting. According to me. And coming into black and white, I have used two types of whites in this class. One is a fluid acrylic, which is basically this one is physical acrylic colors. You get it in India. I have linked it down. I'm not sure if you get it outside India as well. So this is a huge bottle that I buy in fiber level or one liter, and I generally stored them in nozzle bottles like this. So this is a color that you would see me use a lot of fluid acrylic. And I have used tick body acrylic, which is the camel one. Again, I buy this in 500 emailed rather than a 100 ML because it's cost-effective because I use a lot of white, so it makes sense to buy a 500 ML bottle like this. For black also have used the fluid acrylic, but you can use the tick body acrylics also if you have thick body acrylics, the reason for this class I decided to use the tape body acrylics is because not everybody has access to the the fluid acrylics. Whereas we take body acrylics, you can mix little bit of water and make them a little fluidly and get the consistency like this one. So that is what you would see me doing in the class that I have mixed water and pinned down little bit. And yeah, so that's all, these are all the colors that you need in this class. And a masking tape, which is this one I have been using. I will link this one also down. I really liked this masking tape rather than this one. This is the one that I used to use audio. There isn't. This gets off from the paper very, very easily, which is amazing. All your eye. When I used to use this other one, I used to have the pages is to tear up while taking it off. So I really like this one and the gum is also very strong. And a glass of water and some tissue papers. That's all you need for creating beautiful acrylic paintings. Just to summarize all of them, first thing you need is a painting surface, acrylic surface. Then acrylic brushes, acrylic paints, glass of water. And I'm asking them, That's all you need. And if you don't have a foam board, if you have any regular board like whatever I like, cardboard or whatever you have at home or you can tape down your paper to the table as well. I like it on this because I can move it around. So I hope you got a good idea of all the art supplies that you need to buy for this class. If you already have, you can reuse them, use whatever you have without wanting to buy. If you have any question, feel free to ask me in the discussion below, and I'll be happy to get back to you. 3. Basics of Acrylic Blending: In this lesson, I'm going to teach you the very basics of acrylics, which is blending two colors and creating a beautiful textured outcome. This blending is going to come in very handy if you learn it now in creating the sky. In this class we're going to create many different types of skies. Now I want to show you what are the two different types of blends, and then I'm going to teach you how to do that. But first you need to understand what do I mean by that. If you look at this background, look at the sky, try to look through the cloud to the background. You see, there are a few strokes that you can see are very visible. It's not a very smooth blend. The textures and everything are visible. Same thing over here. You see the brush marks are all visible in the background. Whereas in this one, you won't see too much of brush marks, but it's like a smoothly done background. When it is a smooth background, the color gradation changes from dark to light, but there are not much brushstroke scene that is called a smooth blend. When you see there are some gradation. I call it a textured blend. I hope you understand what it is. Now I have put couple of masking tapes on my A4 sketchpad. But if you are practicing for the first time, if you're a beginner at acrylics, I would not recommend you doing it on a sketchbook. This is a regular sketchbook paper. It's not really meant for acrylics, for the demo purpose I'm showing it to you here, but I want you to practice it on a acrylic paper. Or you can do it on a canvas, clothes, whatever you have available, but definitely not on a sketchbook paper because you will find it very difficult to merge it on a sketchbook paper. Acrylic paints does not go well on sketch book paper. The reason I can do it is because I know how to blend it because I've been doing it for many years. I still remember it was 2013 when I didn't know all these things and I bought as a regular sketchbook and acrylic paint, and I did try doing a painting, that was the year I started painting. It came up horrible and I thought I'm a bad painter, but later I understood it was not really me, but it was the paper that was resisting me from creating the painting that I wanted to do. Then when I switched to Canvas, then everything started falling in place very easily. For the demo purpose, I'm showing it here, but please try it on a acrylic paper. In the first one I want to make some Prussian blue. The three pallets I've taken out are Prussian blue, permanent blue light, and this one is ultramarine blue. In the first one, I'm going to mix this two in the second one, I'm going to do this two. The color doesn't really matter. I'm just trying to show you here how you blend. First you start off with a dark color on the top and you keep coming down. Remember, what is a blending? We mix two colors and gradually tone it down to white. That is how the upgradation of the sky looks like. Now I can do it directly with Prussian blue, tone it down with two white, so it will be lighter version of Prussian blue. That is also doable, but I want to show you how I mix two colors also. Now I will start moving onto little bit of light blue. You see I picked up the second color in the same brush without washing the brush. What I'm doing is I'm adding the color, and then I'm going up into the Prussian blue. If the Prussian blue is not there, I'm picking up a little bit of Prussian blue, absolutely less amount. How you blend is you go up and down a few times. This first one, I'm doing a textured one where you see the brush marks. You see the brush marks are very much visible, and one way of getting textured background is having absolutely no water, so I don't have any water and that's why my brush is very dry as you can see. That's because I'm using thick body at least. If you need to add water, if you feel you are having trouble moving that thick body acrylic, if you're taking water, this is how you take water. Just touch the corner of the brush. I did not keep the whole brush into the water, just the corner of the brush in the water. Absolutely tiny beaker of water and taking that will help you blend it a little bit easily. You see over here, this and this are very distinct colors, but we have to mix both of them. This is my light-blue and as I am going up, picking up absolutely less amount of Prussian blue and trying to blend this. Again, I'm going up so the Prussian blue is getting overridden. I'm taking little bit more Prussian blue and mixing it with this. So good amount of colors are added and they are blended nicely, and some of the brushstrokes are visible. Now let's keep coming down. I have light blue and now I will start moving onto light. You see when I'm adding the white also am just not leaving it here. I am going up also trying to blend it in with the previous color that was above it. Now, what I'll do is I'll just wipe off the excess paint that I have on the tissue paper. Just to make the bottom part say, for example, this is where it ends. I'm adding a lot of white here, and now I'll take this up and blending with this lighter version of the blue. This is the absolute lowest plot, which is basically the horizon of the painting. I'm going up and blending it in. You see I'm not really doing it like a smooth one and you see so many brush marks going here and there. I'm also creating some brush marks like this. Absolutely I love doing this. My target here is to show the gradation of the color from dark to light as I'm coming down and also create some brush marks. You see how nicely it has been blended. Practice this a few times because when you start painting in acrylics for the first time, blending can seem really difficult, but it's not really once you know how to do it right. All you have to do is go up and down a couple of time. That's all. I'm adding a really dark Prussian blue on the top to keep it dark, and as I'm coming down, the color is changing. This is the first blend. Now in the next blend, I'm not washing off the brushes, getting rid of the color. What I'm going to do is mix these two colors. I'm starting off with ultramarine blue and mix it with light-blue. Also add some white here and make it a light color. This is the darkest color on the top. Now gradually I'll keep coming down. Now in this second one, we are trying to create a smooth blend where all the brushstrokes are not visible. Very simple thing this time you take just a little bit more water. Rather than dipping just the corner of the brush l'm dipping the entire tip of the brush. I'm coming here and blending. l will be dipping my brush into the water a few more times to be able to get this. But make sure you have paint. If you don't have paint, it's not going to happen. It will be too much watery. Now you see how nice colors. I'm going to change the colors also in-between as I am changing and go coming down. But only just adding little bit of water. You see this is where there was no paint so the water came directly on the paper. Rather than that have some paint first. You create this textury background like this, then when you want to make a smooth blend, that is when you ask comment at the water, so don't add the water directly on the paper or canvas wherever you are doing. Now, we have come quite a bit down. Now, it's time to make it lighter. I'll start adding more of white. Now gradually start taking it up and blend it with a dark shade that we have on the top. Some water, wherever it takes you is that coming up, just adding little bit of water is going to blend it smoothly. Now I'm going up one more time just to make sure everything is looking nice and even and making it just a little bit more dark on the top. You see how the two colors blend into each other seamlessly just by going a couple of times up and down. You see you created such a beautiful sky gradation in this way. The trick in creating a smooth blend, if you like smooth blend, I absolutely like this because I like seeing all the textures of the brush. But if you'd like smooth blend, all you have to do is touch a little bit more water than what you've done in your previous step. Every time I do a blending, I have to go up and down a couple of times to get it right. You see at this part, the blending is very nice. But over here there is a little gap so I'll just go here a couple of times to make sure there is a smooth. Now it becomes smooth. I'm just going to remove the tape. You understood two different types of blending. Now I'm going to show you one more different types of blending that we're going to do in all the fields of the paintings that you're going to learn. For that, I'm taking out a few green and yellow. The most of the blending that I'm going to do in the field of the landscapes are going to be in this way. Rather than blending them completely, this is where we blended them very nicely. Dark shade to light shade. But in the field area it's going to be a stroke like this. Then I add the yellow blended into the green. Then I might add a little bit of yellow. You see the lines, the brush lines are very much visible. This is how we're going to create most of the fields. This is also a blending because we are moving from dark to light or whatever light to dark. But rather than going up and down multiple times and blending them all in and making a smooth blend like this one, this is more of an uneven blend. In most paintings, it's light always at the distance. I create that with the white add a little bit of yellow. Then as you keep coming down, I'm going to introduce some green. You see the gradation is happening. Blending of one color into another one is happening. Then probably for creating textures, I'm going to take a couple of strokes into the lighter shade, lighter area. Maybe a little bit of yellow strokes in-between this. This is a different blending where you're not really blending everything together but yet there is a change of color happening from light to dark here as well. These are the two different types of blending that is going to help you a lot. If you're new to acrylics, I would recommend that you try this out different types of blending and get your hands used to mixing two different acrylics colors. This is going to help you immensely in creating these landscapes. 4. Cloud Technique - Part 1: [MUSIC] In this lesson, I'm going to teach you the basic techniques of painting clouds. In this class you're going to be learning 15 different types of clouds in each day's landscape. You're going to learn so many different types of clouds, but if you understand this basic technique that I'm going to teach you in this lesson, you don't want to get the basic idea. I'm going to break down the steps of painting the clouds into six different small steps. So if you understand those steps and the basic technique of painting cloud, then once you go into each of these paintings and learn to create different types of clouds it's going to help you understand them even much better. I'm going to teach you a couple of techniques here then you can practice them and see which one suits you best, which one you like more because I pretty much can create the same cloud using multiple techniques. So all these techniques that I'm going to teach you here are my self-discovery. By painting many, many clouds, I came up with this technique. I have broken them down into the way that I felt uncomfortable and then I realized that it's really easy to paint clouds. I know when you don't know how to paint clouds it might seem, oh, my God, how am I going to do it? It's so complicated looking at it. But once you understand the six different steps, it's going to be so easy. Now before painting the clouds, I am also going to teach you another blending. In the previous lesson you learned this blending. But the problem that happened in teaching these blending was it's a very small, narrow space. In this small space, you can move from left to right very easily. You can just move your brush. This is the flat brush that I use. You just can go very easy. But when we're painting on A5 size, so this is the A5 size in which I will be teaching in the class, or maybe, say for example, you are painting on a A4 size, so this sketchbook is a A4 size, you have to move all the way from here to here. Now with acrylic paint, since it has a very high drying property, you won't be able to go all the way. You might have to break it down just to move from left to right. That is why in this lesson, I'm going to teach you that blending where you have to move from here to here, and how you can do the blending. Technique is just the same, but I feel this was very easy to move. Here you will now understand how to move such a wide range. That makes sense? Anyways, I have to paint the sky to be able to teach you the clouds. I thought it will be a good lesson for me to teach you the blending of the sky here. Now here I'm going to create two different sections of sky and teach you two different types of clouds. In the first one, what I'm going to do is I will first understand these two types of clouds that I'm going to teach you. When you paint background, acrylic painting takes somewhere around 2-5 minutes for the layer to dry. If you paint the sky background and immediately you start painting the cloud, then the white mixes with the background blue because you're not giving it even a minute or two minutes time to dry. But if you're painting on a huge surface, the background pretty much dries by the time you are coming back on it with the white to paint the clouds. In that case, you will not have that problem. I am going to teach you both the techniques. Whether you're painting on a small surface or a big surface, you can attack this problem either ways. In the first one I'm going to do is paint the background and then I'm going to be in the second background, and then paint immediately on it the cloud. By the time you finish this and come back to this one, this would have completely dried, so we will add the cloud when the background has dried. So this one is while the background is wet, this will be when the background is dry. The technique of the cloud is going to be absolutely the same. What I will do here, I'll do the same cloud here so you get to practice twice and also you get to understand how to paint the clouds on different types of backgrounds, as in dry background or a wet background. Enough said. Let's get to painting the sky now. I've taken out two different types of blues. The brushes I am going to be using the same three brushes that I told you in the art supply video. One flat brush, one round brush, and one liner brush. The colors I have taken out for this is Prussian blue, phthalo blue, black, and white. Why Prussian blue and phthalo blue? I just wanted to experiment by mixing these two colors and show you. You can play around with whichever colors you like the most. I definitely loved these two colors, so I'm just experimenting with this. Now let's start the blending. This is the blending lesson. [NOISE] You see, I could not take a complete stroke from here to here, it dried by this, so I'm going multiple times. So many strokes are happening here. I'm going to do a texture blend and not to plain blend. A smooth blend because I really like it. Here I am mixing Prussian blue with phthalo blue. Like you understood in the previous lesson, when you blend two colors it doesn't blend immediately, so you have to go over the blending area a couple of times. That is exactly what I'm doing here. I'm going to come probably all the way till here. From here, I am starting to add white and Prussian blue because white and Prussian blue gives that beautiful light shade that I like. What I do here also, while I'm picking up white I like to go towards the bottom of the sky because it is the widest most. I add lots of white and then keep going up and blend it with a darker layer of blue. You see the color is almost over, so I have a very dry brush, which means I barely have paint in my brush. I'm going up, trying to blend it with the darker shade of blue. Before blending you see where there's a clear distinction between the dark and the light here, so this has to be blended. That blending I'll come to a little later. First, I want to add as much white I want towards the bottom of the sky. I think this is a good one. Now I start blending. What do I do here? There's a stark contrast. I start taking a little bit of paint, accidentally less not a lot, and start to blend it in with the above dark layer of blue. Now, there's a stark difference between phthalo blue and above Prussian blue. I'll take a little bit of Prussian blue here and blend it in with the phthalo blue. Then I will take a little bit more of white and keep coming down to blend it in with the lighter blue at the bottom. Like I said, I keep going up and down a little bit more. See in the previous video, while I was showing the blending, I could not do this so much because it was a narrow space, so it dried off quickly and I didn't get so much time to go up and down. The reason I go up and down so many times until I'm satisfied with the blending that is happening. If you've been satisfied in just one stroke, you can stop there. Now over here also you can see a stark distinction. Look at it closely. There is a distinction between this color and this color and this has to be blended so that it looks like it's smoothly going into each other. For that, I am taking some more Prussian blue and phthalo blue and keep going higher and higher. Again, there is a line forming here, some coming hard and adding little. You'll see what's happening. The reason I like this picture of blending is because you can see all the brushstrokes and it just looks so gorgeous. Now, I mean, I'm done here. I'm not going to come down here again because they can again, this will get distorted and again, I'll have to add lots of colors. Now I'm going up to complete this blend and adding that dark layer of Prussian blue once again to the top. To have a smooth blend. I mean, not really smooth blend, but the gradation showing properly. Now I have lot of Prussian blue. Just wiping it off, excess one on the tissue paper. This time what I'm doing is I'm using the feather-like touch of the brush and very gently blending it into each other.Very gently. I'm not putting too much of pressure with my brush. That's it. Now you see, you can see all the brushstrokes and yet you can see how the color is gradually switching from dark to light. This will be our first guy, so let it dry and then I'll come on top of it and paint the cloud and by this time what I'm going to do is I will paint the bottom sky. For that, just for experiment sake, I am going to use a different color. There is no point in doing the same color. Just by using these two colors, I can create so many different colors. What I'm going to do is mix phthalo blue and Prussian blue on my palate and some white and I'll start off with this lighter tone on the top. It's not as dark as Prussian blue over here, it's a little lighter. Now I will keep going down and make it even more lighter. It's like here I'm starting almost from this mid-tone blue and I'm going down. If you feel like experimenting, you can just do with just phthalo blue or one of the shades that you've taken out, and see what happens when you blend it down with white. One of the things I have felt or realized after painting a lot of cloud painting is that, when you have a very dark background like this one, the white clouds on top of it looks very bright. But that doesn't mean that the cloud will not look good on this one. This also has a very subtle effect of it while you paint. But yes, on a dark, Prussian blue it's really something else. I'm going to go again add the white at the bottom. You can see all the brush marks, they are looking fabulous. There is not too much of a gradation here. I'm just adding little bit more of white here and this color just a little bit more on the top. The sky is done. Now, like I said in the beginning of this lesson, that I'm going to be painting the cloud directly on top of this. Right now it's not dried, it's pretty wet. This time I'm going to paint the cloud on top of it, teaching you all the six steps that I mentioned to paint the clouds. This is how I paint on top of a wet background. This is a wet background. What I do is, wash off my, not wash wipe off my brush to get rid of the excess paint. Then with a flat brush, take lots of white come here and create the shape of the cloud. I'm looking at this one, I'm going to tag it for you. As in upload it. This is a photo I'm looking at. It doesn't matter, you can just take any random cloud photograph that you can get your hands on. All I am doing here is, the very first step is painting the shape of the cloud without doing anything else. Simple thing, paint the shape of the cloud. Not ruining the entirely details of how the cloud is like, but just on a very rough scaled and I am just one big one in the center to teach you how to paint clouds. This comes like this. This comes like this and you see what's happening just because the background is fit well, I painting with white, it's mixing with the blue. Honestly, I don't mind it, I actually didn't like it. There are few loose one's going here, which I'm not going to do now, but just paint the cloud here. What happens here is, and I'm letting you know what exactly happens when I paint like this. When I paint on an A5 size of paper or a A4 size paper, this is pretty much what the dimension of the paper is. When I'm painting a cloud. I paint it immediately on top of blue. You can see through some of the blues that are showing through the white. You will see when I paint the white here, that paint, since it would have dried completely, it will be bright white. This is not absolutely bright white. This is little bluish white. If I go one more time on top of it you'll see the blue is mixing up with the white. What I do generally is give it a little time to dry. But when I'm painting a landscape and there are not just one cloud, there are multiple clouds. What I do is start painting the other clouds. By the time I finish creating the shape of all the clouds and come back to the first one, it would have dried by now. But since I am teaching you just one cloud right now. It is not dry and as you can see, it's pretty wet, so I'm going to give it a couple of minutes, let it dry and then I'm going teach you what to do in the Step 2. It's been a couple of minutes and since it's summer it dried pretty fast. Next, what I'm going to do in the Step 2 is I'm going to add some more of white to this to make it look absolutely vibrant white. This is the step that happens when you paint on a dry background. You don't have to do it twice, just by doing it once the cloud looks absolutely white because it's not blending with the background white blue. This is just a repetition of Step 1 than with a black brush. Now in Step 2, the most important thing that I'm going to do in the Step 2 is smudge the edges of the cloud. I've created it in the shape that I saw in the picture but if you notice the edge of dark clouds are not so prominent all the time. They're smudgy and it's soft or feathery edge. That is the state that I'm going to do here, which is Step 2. Let's do that. How I do it is have absolutely less amount of paint on my brush, which is what I have. Then you see I'm moving my brush in round and round motion like this. Since I have very less paint, you see I'm creating this smudgy feathery edge of the cloud. Picking just a little bit more of paint to join it with the inside cloud that I painted in the previous step. This is where I'm giving the exact shape that I'm seeing in the photograph also. One more thing I want to tell you that while I'm doing this soft smudgy edge of the cloud, I am not using the entire flat base of the brush. This is like pretty white. All I'm using is just the corner. I'm holding my brush like this and using the corner, just one corner to do the smudging. Now it can be a little difficult for you if you're doing it for the first time. In that case, you can do it with a small brush, this round brush or the liner brush, either of them, because if you find this one difficult then you can try that. In this other one, I'm going to show you how you can do it with a small brush. But in this one, since I like this a lot, I'm teaching you this because I find it much easier to do it with this flat brush. Only thing that you have to keep in mind that you don't have too much of paint. I feel I have a bit too much so I'm wiping it off and then coming and adding this smudgy edge of the cloud. See, it's so pretty. Especially because it's smudgy. You're not adding too much of paint, so it doesn't cover the blue background quite a lot and the blue shows through, which is what makes it look even more great so you can add as much. What I do is when I paint [LAUGHTER] clouds like this from a photograph, I go overboard and do add this smudgy in the way I like. Right know we are in the second step. In the second step, one more thing that I generally like to do is you would see that with just a big amount of cloud, big chunk of cloud there's few more cloudlets also which are next to it. If the photograph that you have chosen that has it. This is what I do. This one has, so I am creating few more cloudlets in this exact same technique using which I did the smudging of the edge of the big cloud. Using that technique, I am coming here and using the corner of the brush, very less amount of paint and using the tip of the brush. I'm moving the brush in round and round direction and creating some cloudlets Maybe if you're coming out from here, fill loose clouds here and there. Is not here in the photograph as you would see, but I'm just adding few just to make you understand it's so fun to do and you can add wherever. This is something like I said, I do it some of the times even if it is not there. I like to add some extra. Whenever I am going inside the cloud area, I can add as much paint I want, not too much but just a little extra. The moment I am on the edge and doing this merging. Wipe off the excess paint and do this. Here I want to teach you one more thing that, I have taken out this thick body actually over here, white. When you paint the center area with this thick body also, you get very bright white because it doesn't blend with the background blue a lot. You can have really nice white cloud. I just added a little bit wherever I saw that there is a little bit of blue is showing through, you can do this. Again. I'm sticking to the center of the cloud. I'm not really going to the edges because the edges are nicely done. If I go out on the edge, then I'm going to spoil all the stuff that I just did. If I have to do the edge I would rather wipe off all the paint and with a less paint I'm just going to go and do this. That is your Step 2. In the Step 2 what did we do? We add detail to the edge of the cloud by smudging the edges and made the edges little bit cleaner and softer as it is blending into the background sky. Take any reference image, any reference cloud, maybe it can be a photograph that you've taken and try to paint that shape. Once you paint, look at few clouds and you've painted the shapes, you will get a good understanding. In the step 2 what we also did is we added few small cloudlets here and there, like this one. After adding the smudging edges, I am adding a little bit more of white inside to make them look a little bit more brighter. Thick body acrylic is something that I'm showing it to you so that you understand both the whites so use both of them fluid acrylic and thick body and see which one you would like more for creating the clouds because everybody will get to have their own way of doing it after learning the exact same steps. Find out which one works for you the most. This is step 2. Now in the step 3, the most important step we are going to add the shadows of the clouds. Every cloud that you would look at, if you look up at the sky up outside your window, you will see that there are always shadows. What are the shadows? The cloud is floating like this on the sky. The sun is falling from the top. The top part of the cloud is highlighted with the sun rays, but the bottom of it, the sun rays are not reaching so they are shadowed against the light. Most of the time you'll find the shadows are towards the bottom side. That is the step that we're going to do next. For creating the shadow, what I am going to do is create the shadow color. Looking at the photograph that you're looking at, you would see that the shadow can be little grayish or can be little grayish bluish mix. Depending on the photo that you're looking at. The photo that I am looking at, this is grayish and I feel there is a little bit of blue also here. That is what I'm going to do. But in step 4 also we're going to add another layer of shadow. There are two steps for adding shadows. In step 3, I'm going to add a lighter version of shadow, in step 4 I'm going to add a darker version of shadow. Let me create the shadow color. Tiny bit of black. Anytime you're mixing black and white to create shadow, just dip the corner of the brush. [LAUGHTER] I added so less that there is no black only. Then you mix it up with white. It's a very, very dark color, tiny bit of blue to it and I have a beautiful dark shadow. This is the shadow color that I'm going to do in the next step. In this step, what I'm going to do is, on the side of it, create the light shadow. This is the light shadow on my plate. However, since I mixed all the colors, my brush has a lot of paint. Now, if I have a lot of paint, I cannot [NOISE] use it directly on the paper. What I'm going to do is just wipe off little excess, see so much paint I had, so much. After getting rid of the color you come here and see, look at your photograph, I see some shadows here, some shadows. The shadows are coming here, going here, at the bottom here. Just see where is the shadow going and that is where you go and just add few of the shadows. There are a few here and there. Now the shadows have been added. Now, what we have to do in step 3 is, after adding the shadows, we have to blend it with white. Now, you have already understood blending. All I'm doing is on the same brush, picking of white and adding it next to it and blending it into the white. That's a lot of whites, so I'm going to wipe it off and make it more grayish and with the grayish color or the shadow color I am trying to add some smudgy edge, more white to blend this side. Even adding shadows to this small cloudlets here and there also, little bit. Now moving on to step 4 and in the step 4 also it's the repetition of step 3, where I'm adding another darker layer of the shadow color and blending it again. Here I am going to pick up this dark shadow that I created here. I see in this one that I'm looking at, the dark shadow is only over here and it's coming all the way down here. This is where the darkest of the shadow is, add it and now I am using little bit off the lightish gray and blending it off. I'm taking just a tiny touch of water. See how much water I'm picking, just a corner of water. Not too much because I'm having a little difficulty blending it. Just by taking little bit of water, I am done blending it in into the white. Very nice blending has been done. What is our step 5? I mixed the step 5 and the 4 together. Step 5 was adding the shadows to the cloudlets. This I have already done. In step 5 also what we can do is if you feel while adding the shadows to the cloudlets, if you want to add a few more of the cloudlets, this is the time you can add some more. Let me just go ahead and add a few more just to make you understand. Few of the cloudlets here and there. This was our step 5. What is step 6 which is the last step of the cloud technique? You see when I added the shadow, most of the white was covered. Just blending it a little bit over here. I feel like it was not blended properly, so just blend it in properly. Now in this case, I can see that the white is very much showing. But sometimes while painting what happens is the highlight, which is the bright white that we added in the step 1, it gets overshadowed by the shadow. As in the whites are not very visible. In my case, it is visible, but I'm teaching you what happens if you overshadow the white as in, you've added too much of shadow. In the step 6 which is the last step of the painting of clouds, what you do is you add another layer of white. I'm going to take out some more of the fluid acrylic white. All I'm going to do is wherever there is bright white, as in the very bright sun falling that is where I'm going to add the white once again. You see when I'm adding this white, it is looking so much brighter than the one that I had before. In some places in between the shadows also you go and you add some of the highlights. There you go. The first cloud has been done and you can see how nicely you can very clearly see the dimension of the cloud as if it's a 3D. How is that possible? Only by adding proper amount of your highlight and shadow. Just by adding highlight and shadow in a landscape, you can make it look 3D realistic, whatever you want to call it. Now, I'm going to repeat the same cloud and teach you one more time here. But in this time I'm going to show you all the different methods that you can apply in creating the exact same cloud. The reason I'm repeating is so that you can see the difference of doing it with other technique. While you're watching it and you're doing it, so do it exactly the way I'm doing. This one I did it with a flat brush. This one I'm going to do it with these two brushes. Try out both and see which one you like more or which one you're more comfortable with. In painting some of the times what I do is, I'm comfortable with all of them. So this one also, I'll start off with the flat brush and then move on to this brush. But depending on where I'm painting, so say for example, in some landscape you would've seen, let me show you one of the paintings. Say for example this one, there are lots of small clouds over here, so that I cannot do with a flat brush. Even if I did the whole thing with a flat brush at the bottom where I'm doing all this small cloudlets floating at a distance, that I will of course use this liner brush to create the small ones and maybe this mid-size ones I would do with this medium brush. Depending on how much big area you are doing you can change the brush. 5. Cloud Technique - Part 2: In this one I'm going to teach you this big cloud, how you can do. I sometimes actually to be honest, this cloudlets that I did here, I actually like them doing much more with this brush because I think I get amazing textures with this. So find out for yourself which one works best for you. I think I had green in my brush, so I'm going to get rid off. In the last step, I think I did white a lot. I just wanted to get rid of all the excess paint I had. Let me start off with this white. The shape might not be exactly same, but you see no blue is being picked up because the background is completely dried. It won't be exactly similar, but I'm trying to do in a similar shape. The reason I do the first step with the flat brush is because it's a big area to be covered, so with a flat brush I can cover it faster. That's the only reason I do it with a flat brush. So this was my step 1 where I'm painting the cloud shape using a reference image. Now, I am not using this brush, I'm not watching it all, so I'm just keeping it on the side. Now, our step 2 is what? Smerging the edges of the outline of the cloud by making it little feathery light. For that step, see what I'm doing. I'm taking just a little bit of paint on this liner brush, and I hold my brush like this, almost making it lie down on the canvas. So I'm not holding it like this, I'm holding it like this. I go in that round and round motion. I'm not even taking any paint because there's a lot of paint inside already. I can create some of the shapes nicely also. See for example, here, the photograph that I'm looking at, it has a really nice crisp edge. I can do that, and I can create the feathery texture also over here. Look at that, how nicely the pictures are forming. To be honest with you, I really don't know which one I like more, because I think sometimes depending on my mood to be honest, I like the pink brush one like the one I'm doing right now, or maybe sometimes I like doing it with a flat brush. Tell me which one are you liking more, this technique or the previous one? I feel this is very easy to do. That is what I feel, but that is only my opinion, so I want to know how it is for you. Just to focus is on the edge of the cloud, the outline. You see that in center of the cloud is not properly filled in, but that's okay. We're going to anyways, come and add highlights over there, so I'm not much bothered with it. To do this technique, you need to make sure that you don't have too much of paint in your brush. This is step 2 where we are adding the edge of the cloud, plus we are adding some cloudlets also. Let's add a few cloudlets here. These loose feathery clouds which I love doing. Let me go ahead a little bit more and add a few more cloudlets over here. Like I was saying, on a bright dark blue, it's so fun to create some of these loose clouds. You see. Inside I'm just adding little bit more of white. So this is our step 2. Step 3 and 4 are adding layer of shadows. One is lighter shadow, one is darker shadow. Let me move on to the shadow state now. I don't think I am going to use this brush, but you can try definitely out this one once again while doing the first step. In the first step just fill it up with this one. Personally, I like filling it up with a flat brush. For the third step, I am creating some shadow color. This is already dried, so I am mixing little bit more. This is the dark shadow, and I need some more light. I'm adding some more white to it to create this light shadow. Light shadow has been added, as it mixed. Now I'm coming and adding it very gently here and there. You see what I'm doing is I'm using this entire length of the bristle, to make it lie down and then going ahead and adding it. Now I'm going to blend it in with the white, so I'm taking quite a bit of white and blending it in. While blending, wherever I feel I need to add a little bit more shadow, I can do that also. Blending and adding more shadow wherever necessary. When I paint alone, as in painting a landscape, the step 3 and 4 are not very prominently different for me because I do it together while I am doing it, and that is exactly what happened now. So I'm still on step 3, blending the shadow with the white. Now I am going to add the darker version of the shadow, which is this color, and I'm coming here and adding this darker shade, and blending it with white once again. Those are step 3 and 4. Now in step 5, what is step 5? Adding the highlights wherever you feel another layer of highlights. That was the last step. Step 5 was adding the shadows to the cloudlets, which I already did. So it's like step 5 is merged with step 3 and 4. I am breaking down the steps for you to understand. I never have these steps in my head while I'm painting, so it's difficult for me to remember what exactly I'm doing. I just intuitively keep painting. This is step 5 where I'm adding the shadows to the cloudlets. The last step is adding some more layer. It's just a little bit more shadows, maybe here. In the final step adding some more white as in the highlight of the cloud to finish it off. So adding some bright white on the edge. Of course, blending it down with the shadow. So if you need to blend it a bit more and you see it's not blending, feel free to pick up a little bit of shadow color and blend it in with the white. But our focus is on making the whites prominent, this time. Adding some of the loose edges also while I'm adding the white, and also blending it in with the shadow. Doing so many things at the same time. Blending it in, and adding some white. When I paint it, so I go over all these steps multiple times. It's never just once. I'm adding the white here. If it doesn't blend with the shadow, then I pick up the shadow once again, and blend it in. Simple. Since you have learned blending, you will see that how easy it is to do all these steps. More of whites. Cool. I mean, it's not there in this one. It is there. If you look at the photograph here, there are a few small clouds here which I want to do here and show you how you can do that. These are the small clouds. First thing you do is small cloud shapes. That is always step number 1. Small ones. I generally like to hold my brush like this and keep doing this small one-by-one. Then I generally like to add the shadows immediately because what happens when you add immediately, the white is wet and your shadow mixes up with the white immediately. Then later maybe you can go and add the blurry edges. Alternating the steps a little bit here and there, depending on which place I'm painting the cloud at, and whatever I feel is easy, I can do that. Sometimes what I also do is these are all happening in case of the small clouds. For the big ones, I mostly follow this pattern that I showed you. For the small ones, what I also like doing is take lots of these shadow colors so that when they're lots of small ones, and I add all the shadows first. Then I go on top of it and add the highlighted clouds. Always, whenever you are adding the shadow or the highlight first and then the other one you always need to make sure that you're blending each of them into each other. That is the most important thing. You see, I'm not doing them in detail. Whatever I'm doing right now it's not even there in the photograph but I'm just adding these small ones to show you what all stuff you can do. Let me add a few more here. What I'm doing here is first adding quite a bit of shadow, and then on top of this, then adding the clouds. Finally, I'm going to take the tape off so that we can see how nice it is looking with a crisp edge. Wow, isn't that fabulous? What do you think? It's so easy. It's not difficult at all. Normally what I like to do is always before ending my painting, I like to add little touch-ups of whites here and there and make it give a very final, beautiful shape or texture. Most of the time I do this with this liner brush with very little touch-ups here and there. I hope you understood how to paint clouds. Practice them may be more than ones. I would suggest if you're painting clouds for the very first time with acrylics, it's really easy but you just need to have a little bit of patience and do it multiple times. Don't just do it once and think you will be able to paint amazing clouds. Just do it twice. Just listen to me and do it twice, and you will be surprised at how amazing you change from the first time to the second time. Because when you're doing first-time you're understanding and you are doing at the same time. In the second time when you do the exact same thing, you will see how much you have improved. I'm telling you this from the stories that I keep hearing from my students that second time they could not believe that they painted something like this. Please do it a couple of times before you move on to painting the beautiful landscape. I hope you enjoyed it. Thank you so much for joining me. 6. Color Study - Blue: In this lesson, I'm going to tell you all about the blues. You are going to have a really good understanding of the different types of blues and how you can use them in your painting whether it's sky or anywhere else. The blues that I have taken out here are Prussian blue. This is the only fluid acrylic that I had; Prussian blue and remaining all five of them are thick body acrylics. Prussian blue is this one which is pretty light that I have stored in a bottle, which is the fluid acrylic. I don't have this in thick body that's why I am using this fluid acrylic. Next, I have taken out this one, turquoise deep. After that, Pthalo blue, this one. Then, this is the ultramarine blue. After that, I've taken out this color, bright aqua green. Then I have taken out last, this one, light blue permanent. I'm going to keep them aside and take out my journal where I'm going to swatch them out and show you how each of them looks like, and then how you can mix and match two different blues and come up with a new blue. Take out all the blues that you have. Right now I don't have a cobalt blue, so this is the one I had, but it is dried so I can't use it in my painting. If you don't have all these six different types of blues, that's okay. Whatever blues you have, if you had just two shades of blue, just take them out, whatever blue you have, just take them out. Then I'm going to take out quite a bit of white because I'm going to use white to mix up each of these colors. This is a brush. I'm using the round brush, size six. Let's start with the first one. This is Prussian blue. First thing first, I'm going to apply just a dark Prussian blue so that now you understand how it looks when it is absolutely dark. I'm going to wipe off the brush, get rid off all the excess Prussian blue, pick up some white and see whatever is remaining Prussian blue I had. I'm just mixing this up with this dark Prussian blue so that you can understand how Prussian blue looks like and how it looks when it mixes with white. I'm just trying to pick some random shape for this. This is how Prussian blue looks like. Look at the different shades you can create just by varying the amount of white to this. Look at the absolute lightest shade. Absolute light shade of Prussian blue. It's quite gorgeous. Now I'm going to wash off my brush completely, get rid of all the Prussian blue from it and start off with the next one, which is the turquoise deep. Again, I'm going to take good amount of this paint and add it on the top so that I can see how dark it is. It's like almost looking like black, very dark. Now I'm going to bring it down and pick up some white, blend it off. Look at this beautiful color being created. Again, look at this lighter shade by varying the quantity of white. What's the color that you are creating? That's the turquoise deep and washing off the brush. The next color is, this is Pthalo blue. It's trying to dry off my brush completely without any water so that I can see exactly how it is. This color is very close to this one. Pthalo blue is very similar to this turquoise blue. Now let's add the white, blend it in with the Pthalo blue. Looking at these two, it looks very similar, both of these colors. So having just one of them should be good. Washing off completely. Moving on to the next one. This is ultramarine blue. Applying the solid color on the top, picking up white and adding it from the bottom and blending to the color. Compared to these ones, this looks very purplish. If you know color theory, you know that every primary color, blue is a primary color, every primary color has a warm shade and a cooler shade to it. The blues that fall towards the reddish category are the warm blue and the blue that falls towards the green side are the cool blues. Just by knowing this little theory, you understand that these are cool blues and this is the warm blue. Check out the light shade again. The light shade is something that you absolutely don't understand unless and until you do these color mixing swatches. This is done. Moving on. I'm making sure that I'm drying my brush absolutely clean before moving on to the next blue. This is one bright aqua green. Even though the name is green, it looks pretty much like blue and I use it quite a lot in the sky and then thinning it down with white. Then the final one, what's the color name? It's light blue permanent. This is a very beautiful sky color. I'm not sure, if this is the lighter version of cobalt blue. If you have cobalt blue, and if you do this thinning down with the white, let me know, if this is the color that you reach. Look at this light shade. It's very pretty. All the shades have been done. They look pretty good. You understand what are the different colors and each of the colors individually. Next, what I'm going to do is I'm going to mix two colors and see what color I come up with so that if I want to change the colors in my landscape, like in the sky, I can mix and match a couple of colors and know which color I like just by doing this exercise. I highly recommend that you do this exercise for yourself so that you have a reference image like this, a reference page like this, where you can go to anytime you need to find out what color you want to do. If you look at a photograph, and you're not sure what is the color of this blue, you can come to this page and find out which color you want to do for that landscape. Makes sense. The color that I want to do first is let's say Prussian blue and light blue. Picking up Prussian blue, and I am picking up light blue, and mixing both of them. You see the color that I'm getting. Again, I'm going to tone it down with the white. You see it's a very different color than both Prussian blue and the light blue. It's a very different color, and this combination I use quite a bit in my landscapes. Next combination I want to do is let's say this turquoise and the light blue. Just by adding the light blue, do you feel there is a difference in the color shade than what was in the original one? I don't feel it's too much of a difference, very slight difference with this light blue, but when I added white to this one, turquoise blue, I feel the color is very much the same. Whether you use mix of these two or you use this one directly, I think it's pretty much the same thing. Next, I want to use Prussian plus ultramarine. Here is my Prussian, here is my ultramarine. These two colors are very opposite because like I said, this is cool blue, this is warm blue. Let's see what happens. You don't know what is happening unless you clean it down with white. This is a very interesting color that we didn't have before. I'm cleaning it down a lot with white to see the actual color what's happening here. Very pretty color, and it's very different from both the colors that we had. Look at this light shade. It's absolutely different from all the colors that we have created. When you mix and match, you understand the different colors that you can get. Before I move on and before we forget, let me just write down the names of all these colors that I have done. Now, I'm going to keep doing the same thing as I mix a couple of few more colors, and experiment and find out how it looks. The next color that I want to mix is Phthalo and light blue. Have I done ultramarine and light blue? Basically, I want to mix a warm blue and a cool blue. Maybe ultramarine blue and light blue permanent would be a good thing to see. This is ultramarine blue, and this is light blue. Yes, look at that beautiful color. Let's clean it down. It's a very different color than all the previous colors we have done. Very different Prussian. This one was ultramarine plus light blue. Because ultramarine is very much like purplish. That's why it's a very different color. I'm just adding some white in-between to see how it looks when I add some clouds just for fun. Next, I want to mix again, just keep writing because I keep forgetting the colors I'm adding. This is ultramarine plus light blue. Next I'm going to mix pthalo blue and light blue. This is pthalo blue and this is light blue. Again, very different color. Actually, no. If I look at the pthalo blue light color, it's very much same. This is pthalo blue towards the light, and this is pthalo blue plus light blue. It's basically doing the same thing as what happened here. The turquoise blue with the light blue, it's looking same as the turquoise blue. Same thing is happening with pthalo blue. Pthalo blue plus light blue is also looking like the pthalo blue lightened. What I understand is that the light blue, since it is the cool blue, if I'm adding it to the cool blues, it's not making a lot of difference. Rather, if I'm adding the light blue to the warm blue, then it is making a lot of difference. Then let me mix ultramarine blue with all the different colors. I've done ultramarine with Prussian, I have done ultramarine with light blue, let me do pthalo blue and ultramarine. How about that? Here is pthalo blue, and I'm going to take ultramarine. I need to take out a little bit of ultramarine. This is my pthalo blue, and now little bit of ultramarine to it. Let's tune it down. Very differentiate shade. But I feel like this shade is very much similar to this one. Just a very slight difference. Ultramarine mixed with any of the cool blues is giving almost the similar color. This is pthalo, this is ultra. I'm just adding it on the top so that both the dark colors are little visible. Then we tone it down with white. Whatever colors you have, I'm coming up with a formula so that I understand what color I'm liking. It's a little different from the ultramarine plus light blue, but not too different. It has a little purplish shade towards the end. Great. This one is turquoise plus light blue. This is pthalo plus ultra marine. What else can I experiment? What else? Ultramarine plus this bright aqua green maybe. Cleaning off the brush is very important to make sure that no previous color is there. Ultramarine and this pthalo green. It's a very dull color, I believe. Let me tone it down. Oh, not chilly, it's a very interesting color. See, when you tone it down with white, it's when you actually start seeing what color is coming out of it. It's a very different shade. It's a shade that I have not seen before. What else can I do? Have I done turquoise plus ultramarine? No, let's do that. Turquoise plus ultramarine. Let's see what color we create by mixing these two. Wow, this is also very pretty shade and a very different color. I feel anytime I add ultramarine towards the bottom, which is after adding the white, the color is very much the same for this, this, this, and even this one. But I shouldn't plus ultramarine. Let me write down these two. I think this is a very different shape that we have got here. This is ultramarine plus aqua green. This is ultramarine plus turquoise. Yes. I think we came to a very good conclusion that adding a warm blue and a cool blue creates a very different shade like this. Adding light blue to any of the cool blues is creating pretty much the same color. Like this, this, this, this, this are very similar. Just having one such color is going to be fine. This is a very different shape, ultramarine blue tint down, well, with white. Ultramarine mixed with any of the cool blue like Prussian plus ultramarine, turquoise plus ultramarine, pthalo plus ultramarine, light blue plus ultramarine, they are all giving very similar shades. So I, 2, 3, 4, these four shades are very similar towards the bottom. I think that's enough of practicing this. I hope you got a very good understanding of how the blues work, how you can mix and match. I'm sure you don't have so many blues if you have, by all means practice them. If you have just two to three blues, just mix and match and find out which color you like the most. Then accordingly, you can choose the color for the sky. 7. Color Study - Green: In this lesson, we're going to talk about all the greens that I have used in this class. After understanding all the blues, it's time to dig into greens. These are the four main colors that I've used to create green in this class. I've taken out these four colors, viridian hue, permanent green light, cadmium yellow medium, and lemon yellow. These are the four colors I have taken out along with the black and white. I'm going to show you how many colors you can create by mixing all these colors. In some of the paintings, I have also used blue to create green because as you know that green is not a primary color. Yellow is a primary color and blue is a primary color, so by mixing these two colors, blue and yellow, you can also come up with variety of greens. But still, I have used these greens because rather than mixing when I want to use it in a lot more quantity, it's good to use the greens like this directly from the tube. But I'm going to show you also how you can create greens from blue and yellow. For that, I'm also going to take out ultramarine blue and Prussian blue. I'm just taking one cool blue and one warm blue. Prussian blue is the cool blue and ultramarine blue is the warm blue. Also here, what I want to tell you that every primary color has a warm side and a cool side to it. Just like the blues, if you look at these two yellows, this is more towards the red side and this is more towards the green side, so this is a warm yellow and this is a cool yellow. It's very good to understand that in all the three basic primary colors, you have a cool version and a warm version. Understanding that will help you create different kinds of colors very easily. Let's start. I'm going to start with the dark one. Just like the blue, I'm going to tone it down with white and show you the different color that you can create just from this one shade. This is the bright dark green and if I tone it down with white, this is the color you get. It's a very pretty color. Sometimes this color, I use for painting sea as well in seascapes. This is the color of the sea, also very aqua green color. I love this light shade of this green. This is one of the colors. Then let's create the same thing with the light green. Even the light green mixed with white gives a very beautiful color, like a very pastel color. I'll get this pretty color. Oops, I'm so sorry, I just saw that it's out of my frame, so sorry about that. Here it is. Then I'm going to do the same thing with this four colors that I've taken out. Well, this is the cadmium yellow medium, and see what happens when you pin it down with white. Sometimes what I like doing is instead of using lemon yellow, I like to tone down the color of warm yellow with the white. It's not exactly, you don't get really lemon yellow, but it's a lighter version of this yellow. Then the lemon yellow, such a beautiful color. Now, we're going to create so many more different types of greens by mixing all these four colors and I'm going to show you how you can create green using black as well. Black is a very important factor of creating greens. We will shortly come to that. I'll start off with this dark green and we can mix it with this light green. This is the color we get and if I pin it down with white, this is the color we get. It's a little different from both of these greens. When you mix them, this is the green shade that you get, which is a very nice color. It's a little different. Now, let's mix the dark green, look at this, beautiful greens. Very pretty green. Look at the lighter version, that's even more prettier. After that lets make dark green with lemon yellow. You see the shade is very different from what we got here. Two different colors. Many different types of green we're creating by mixing all these colors. I like this one. Is very bright. You know why? Because this is a cool yellow. We use lemon yellow, which is a cool yellow, which means it's more towards the side of green. When we mix green and the cool yellow, which is the green version of yellow, you get this bright green. Whereas when you mix it with warm yellow, it's more towards the muddy side. This is a very warm green that we created here. Let's repeat the same process with light green and warm yellow. I don't see too much of difference between this and this. The dark green mixed with warm yellow is giving me the same shade almost as the light green and the warm yellow. Now let's do light green and lemon yellow. Again, it's a very bright like springy green. Now I'm going to show you in that how if you say, for example, you have a very little touch of green in a painting and you don't really want to use these two greens. How you can create greens using blues. Say for example, this is ultramarine. With ultramarine, if I use the warm yellow, what is the color we get? You see, we're getting olive greenish color, like muddy, but this is also a very pretty color, like a version of green. Now let's do ultramarine with the lemon yellow. Whatever blue you have, try mixing it with the yellows and see what you get. See this is a very different shade of green that I'm getting. Because it was cool yellow, it's towards the green side, like a brighter green again. Twain it down with white to see the actual color. It's like a very different green. Now let's repeat the same process with Prussian blue. Now, the ultramarine was a warm blue. That is why it was more towards the orange side than on the green side. Now, whereas Prussian blue is a cool blue. Chances are that we will have a better green with the Prussian blue. Let's find that out. Isn't that a beautiful green that we are creating? Is it similar to any of the greens we have created in the past, out of the all the above ones? I'm trying to see if it matches with anything, but no, not really. It's a very different green. Next, Prussian blue with lemon yellow. I believe it's going to create a very bright green because both of them are cool primary colors. This is the green that I like to use a lot in my paintings because this is like, I feel the most vibrant green ever. I like it even more than the actual greens. Like I said, if you have a very less amount of green in your painting, you don't want to take out the green just for doing a little bit of green, this is the easiest thing to do. If you already have blue and yellow on your plate, you don't have to take out the green and you can just create little bit of green using this method. The last two colors that I'm going to show you is by mixing yellow and black. That also creates so, because black is very dark. First thing I'm picking up is yellow, starting with the warm yellow, and tiny bit of black. Don't take a lot. Tiny bit of black. Let me come here and add it to the yellow. Look at this beautiful green we are creating. It's a very different yellow ocher color. Same thing. Let's do it with the lemon yellow. Tiny bit of black. Really different kinds of green. Just by using a few colors, look at the amount of differentiate of green that we created. Now, I'm going to write all the names of whatever colors I have added before I forget. Here are all the names I have added. I absolutely loved the tissue, didn't I? I was just trying to see if there was any similarity between into greens and I absolutely don't see one. All of them are so very different. Whatever greens and yellows and blues that you have, you should totally do this exercise and find out what you like. I am just going to do one last thing and I'm going to add just a little bit more of black. Say for example, when you want to create shadows to the greens, you can increase the amount of black and have this shade. I just wanted to have a little bit of black visible because it's not visible from this color swatch I have done that there is any black in it. Almost all, teacup little bit. I think more than the black mixed with cool yellow, I like that black mixed with warm yellow. Again, it's a personal choice. You'd want to do this stuff, you will see which color do you like more. I mean, not that this is good or bad. It's just a personal choice. If I talk about greens, this is looking more like a blue to me. That is why I said I use this for in the seascape to paint the water. This is a very bright green, Viridian Hue and light green mix. This is a green that I liked, a very vibrant spring, the summary green. This one also. Both the warm yellow, so wherever I have called warm yellow is basically the cadmium yellow medium. This is the warm yellow, this is a cool yellow. With the warm yellow somehow I feel it has a very warm touch to the green, and these two are also very vibrant green. These two combinations, I absolutely love green plus yellow. This is a very beautiful green. I like this one. These two colors that I created with ultramarine blue, probably not my absolute choice of green. The two greens created with Prussian blue are absolutely brilliant. I love these two. I love this two, I love this form. This is not my absolute favorite. That's all about it. I think this is a very good exercise for you to try, so you just need to do it once and for the rest of your life you're sorted. So anytime you need to create a green, just open this page and see what you have created and see the green that you'd like to use in a landscape , and you're sorted. Do this exercise, and I hope you enjoy creating this exercise because it's a very fun thing to do. Absolutely enjoy doing it, and you will come up with a beautiful result. To make you understand how each of these greens works out in a landscape, let me show you a couple of paintings. Look at this one. This is clearly a mix of lemon yellow and green, so pretty much this shade. I think it's a little mix up for light green and warm yellow and cool yellows. So like mix up these two, which you can clearly understand. Now, this is mix of black and warm yellow. As you can clearly understand the color that has happened here. This looks like light green, dark green mix and thin down with white. So all the colors that has happened here is this one. Check this out together so that you understand. Next one is clearly looks like warm yellow, so it is warm yellow with light green. This is the shape that I can see here, it's warm yellow and dark green. I think dark green and warm yellow is this one, and light green and warm yellow. That mix of these two colors has happened over here. Sometimes dark green mixed with black also gives away dark green. So that is also to create the shadows and stuff. This looks like close to this color, so ultramarine blue and warmer yellow. I can very well understand that there is ultramarine blue in the sky here. I must have used the ultramarine blue mixed with yellow, and that is why this is the color that is there and little bit mixed with black, a combination of these two in this landscape. Looks like yellow mixed with the burnt sienna. So that is also another different kind of greens or land color that you get. This I'm going to tell you in the later section. Show also the greens that you see on the side. It looks like a mix of more. Actually, this is a little bit of green and yellow over this color, and little bit of this. Along with that, there's a mix of bond sienna also. So bond sienna mixed with green also gives a very different kind of green. But displays looks very similar to the light shade over here. What else? This is where we started. You understand that how the greens, when you paint in the landscape the different greens can create, so many different kinds of landscapes. 8. Color Study - Browns: There are two very important colors that I've used in this class rigorously and I'm going to talk about them. One is burnt sienna and one is burnt umber. These two colors I feel is a very important colors that you can probably mix with primary colors and create them. But I like using them straight from my tube because I use it quite a lot in my paintings. I'm going to do a little bit of color swatch and show you how you can change these colors in so many variety of ways and use them in your landscape. Let me start with burnt sienna. It has a little bit of reddish property in it. When you pin it down with white, look at this beautiful earthy color that you create. That is burnt sienna. Look at these pretty shades that we have created here by adding lots of white. This is burnt umber, looks very dark, almost close to black. But look at this color when you pin it down with the white, see how it looks like. These two colors look very different when mixed with black as well. I'm going to do a little bit of that. So this is burnt sienna, and I'm going to mix with a little bit of black. It's a very nice wooden color. [NOISE] Look at this shade. Same thing with burnt umber. It's very dark, so mixing with black, it's not going to make a lot of difference, but yes, of course, it will get even darker. That's it for these two colors. Now, I mix burnt sienna. When you are painting summer landscape, green is pretty much dried at most times. What I like to do is mix yellow. Let me take out the yellow, maybe a warm yellow. Because burnt sienna is on the warm side, it's reddish. I'm taking out some yellow. What I like doing in my landscapes when there is a dry land, that is when I like to mix burnt sienna with yellow and you'll get that beautiful, say, for example, wheat field or that land if you're creating, then these two colors mixed comes in very handy. I have mixed these two colors a lot in my landscapes. Then you pin them down with white and this is the color you get. Now the one thing that I've never done is mixing burnt umber with yellow. Let me try and do it right now and let's see what color we come up with. It's a weird color, greenish, I would say. Not sure, it looks like green to me, like this olive green, isn't it? I don't know if I'm going to use it anywhere by mixing burnt umber and yellow. But yeah, it is green. Another way of creating green is burnt umber and yellow. Wow, I didn't know that. See when you experiment, you get to know so much stuff. I think that's all for this class. That's the main properties. Now, let me show you a couple of paintings that I've done so that you understand how it looks. For example, in this painting, this bottom part is completely done by a mix of burnt sienna and the white. You see this is very much the similar color with a little touch of yellow in some place, mix of this and this. Let's see if I talk about this one. This is a mix of more of yellow and burnt sienna with little bit of white. Look at this one. This is a mix of burnt umber, burnt sienna, and white. Maybe I can just create that one quickly. I don't think I have mixed burnt sienna and burnt umber, so this is a mix of burnt sienna and burnt umber. Let's pin it down and let's see what color we get. That's a very pretty color, very different from these two colors. This is exactly the color of the road that I have done here. Just by mixing these two colors with little bit of yellow, there are so many variety of colors that you can come up with. Isn't that so pretty? Before I finish off, let me just write down all the colors names. [MUSIC] There you go. These are all the color combinations possible. Try them out and you going to have so much fun in doing this exercise. [MUSIC] 9. INSPIRATION: [MUSIC] Welcome to our first day of 15 days of summer sky. In the next 15 days, you are going to be seeing a lot of blue sky and white clouds floating across. So before we begin this journey together, I urge you to invite some calm into your mind, into your heart, into your eyes? [MUSIC] Do you have any view of the sky from a window? If not, you could walk to your balcony or simply step out of your home and stare above at the sky. Look at the clouds floating, they float so slow that you may not grasp it immediately. But if you keep staring for some time, you will see them moving. Play your most favorite song. Listen to it while you look at the sky. Feel the emotion of the song as if it's floating in the cloud. Pause the video and do it now. [MUSIC] I hope you have listened to me and done the exercise. I'm sure you're already feeling the calm. Take some deep breaths. Take some moment to settle down at your creative corner. Let's get to the painting. [MUSIC] 10. Day 1 - Cloud Harmony: Hi, let's start with our Day 1 Painting. Let me tell you all the art supplies that you need for this painting. The colors that I have taken out are Prussian blue, light- sky blue, white, black and white, yellow. This is chrome yellow from the brand that I use but you can find this yellow as cadmium yellow in any brand and this is burnt sienna. For white, I have taken out a little bit of fluid acrylic and a little bit of peak body white as well. Both of peak body and fluid because I might be using a mixture of both. That's why. For the blue, I wanted to tell you that I have taken out two blues but if you want you can use just one blue and indeed down by mixing it with white and make it a light blue. You don't necessarily need to use two blues. I took out two blues because I really wanted to experiment and see how the mix of these two blues look and I absolutely love this color just like it. If you don't have two blues that's totally fine. Just make sure that you're using one dark blue that you can paint it down with white. These are the few basic colors. Blue, yellow, brown, black, and white. I have not taken out any green in this because I am going to create the green by mixing blue and yellow. These are all the colors. I have my acrylic paper taped down to a white foam board and these are the three brushes that I've taken out for this painting. This is a flat brush and the size for this brand is six. I generally measure the flat brush based on the size that I'm using. I measure it like this approximately 1, 2, 3, 4, 5, 6, 7, 8. It's a little lesser than eight but pretty much approximately that is how I decide the brush that I like to use for the canvas size and one round brush and one thin brush to do any detailing or whatever but this round brush is the one that I like to use for my painting. For this painting, I don't have to sketch out anything. I can pretty much start by painting it with a brush and color directly on my canvas board. Let me start. I'll start off directly with a very dark blue starting from the top. I'm making sure that I'm going all the way to the edge. Now, if you are painting on our canvas cloth, then you will not have this problem that I am having. When you paint on acrylic paper, it doesn't blend very well like canvas cloth. I always suggest for beginners if you're painting to paint on canvas rather than painting on acrylic paper. It's not very difficult for me to blend it because I have been painting with acrylics for a really long time but I remember when initially I started painting on papers, I found it difficult. So you can choose accordingly. You can try it out on paper sometime and see which one you find comfortable but from my students what I have heard is they all love blending it on canvas cloth because of course that is a very smooth feeling of blending. I'm not going in any particular direction. I am pretty much trying to. My focus is on covering up the sky area. I'm just going to bit by bit with my color and brush and coming down gradually. I'll go like this till half the canvas. So you notice how I am blending the sky is first I'm adding the dark blue. Then I'm adding the white to lighten it. Then I'm going up also a little bit to blend it up with the above color that I have. Now, as I'm starting to go down, I will start using more of white and less of blue because we are blending it from dark to light. Dark on the top and light at the bottom. This has become too light so I'm adding little bit more of Prussian blue in this section towards the top, eventually coming down. Here you see this sharp distinction between the dark blue and the light blue. I'm just going up just a little bit just to blend it out evenly and making sure I'm covering the entire canvas. There is no white spot left out. Absolutely dark on the top. Pretty much blend up and coming down. Now I've pretty much come like half the canvas. Now I will switch to the light blue but if you want to continue with the same blue, you can just keep on adding white to it and come all the way till here. Lovely drawing it out. At this place, I am using this light blue and blending it up on the top first. Look at that. Lovely. Now, I will keep adding white and bring it down. Just mixing a little bit of light blue and Prussian blue to blend it well and just to make sure there is some smooth blend between both the colors. Well, as you can see, there is very rough texture, I don't want to make it very smooth as it's coming down, as one solid go and a very smooth blending. I like this rough blending and that because that gives a lot of texture to the painting. But if you like smooth blending by all means, go ahead and do that but this is what I like, so I want to stick to it. I'm pretty much done with this sky now and I will move on to the clouds now. There is a little bit of canvas showing here. I just want to add little bit of light blue. You see how I blend. Even if I add any color, I just go up and down a little bit just to make sure it's blending well. Now I'm going to go ahead and do the clouds and for that, I I'm not going to wash my brush, all I'm doing is taking a tissue paper and just wiping off the excess paint. [NOISE] That's it. Here is my brush and I'm taking up the white and I'm creating some clouds by going in round and round motion. Now the color in the background is not completely dried. I I'm aware of that, and I I'm taking advantage of that and that's how I'm going. I'm holding my brush very loose. See, what I'm doing is with a flat brush, I'm doing it now, just to cover huge area in the sky to create the clouds. Look at the way I'm pulling my brush. I'm almost making it lie on the face of the canvas. I'm not holding it high like this particular reach, but it's like lying over here and I'm doing it very soft and I'm going round and round motion like this. It's done over here and over here, I I'm going to go face loosely, very smoothly so that there is not too much of color. I create this thread-like texture of the cloud here, same thing I'm going to do here a little bit. You see the benefit that we're getting because the blue in the background is wet. It's not a 100 percent dried, but it's dried quite a bit is that this white is mixing up with the blue and giving us a light bluish white so the white is not absolutely white. It's mixing up with the blue and becoming light and that's creating very nice color of the cloud. At the moment, I'm playing around only with white. Sometimes this tape I like to do with my round brush, this one but because I have done it with both with the flat brush and the round brush as well. Depending on my mood I use whichever brush I don't want to use so you can try it, this thing out around brush as well if you feel like experimenting. I want to tell you one thing is see the width of the brush is pretty thick but because I I'm doing very small area, I I'm using like the corner of the brush like this and doing the clouds. I'm just going to add a little bit more over here because it's looking almost like bluish, not much white. Wherever you want to make it more white you just go ahead with white months more.Right Rite now I'm just switching a little bit for sometime to my small brush and I wanted to show you especially over here the small clouds. Over here the blue has completely dried. It's not really mixing a lot with the background. I have a less paint and I I'm holding it it very loose. This is why I have kept this thick body acrylic over because what happens when you paint with thick body acrylics is most thicker. The blue shows little less. For some places I'm going to use the thick body acrylics like right now, over here I'm using the thick body acrylics. The edges of the cloud, I like to go very gentle, very soft. Even over here, I I'm using a little bit of thick body acrylics to make it look more whitish, like absolute solid white. Now, once we approach the edge, so this is the edge of the cloud. Whenever you approach the edge, go very gentle and create these lose actually edge to give thread like picture of the cloud and using thick body I'm creating the edges of the cloud as well. Some loose clouds floating around here and there like this. This one, I want to make it a little bit more. To control the amount of paint that is going on the canvas what I like to do is I like to make the brush light on the canvas. That way I can control each more so that it doesn't have too much of paint out on the canvas. Very less pressure. Just going with a thick body acrylics to make the cloud more white than it was before. In the first round, the white was mixed up with the background, blue and it was whitish blue, which is nice. Some places I I'm leaving that light blue color show through and it's simply says I want absolutely solid white blue. In those areas I'm going with thick body acrylic. Just keep coming down. Here also, see I'm creating little bit of the shape and little loose floating clouds. There are lots of loose floating ones, sure. Look at the way I'm holding my brush. It's like almost making it to lie on the canvas and using the tip. If you want, depending on your canvas size, you can use an even thinner round brush. If you feel this is too big for the canvas size that you are using, just with patients, just keep going little by little. It's all developing together, coming together. Look good. That's the first round of a cloud that we have done. Next thing I'm going to add a few most loose here, but not right now. Right now, what I want to do is I can maybe just a few more alert and before moving onto the gray. Now, that most of the white has been done, Now I'm going to move on to the gray. The gray I'm mixing a little bit of white with black. This is a lot of dark green. I'm using little bit of blue also with it. This is the color that I finally created, maybe just a little bit more of. Now, I'll just swipe up little excess and come here and add dark one. There are two different shades of gray we're going to use, this is the most dark one that I'm using now. Wherever there is a dark gray, I'm just going with it. Even fewer also, it's quite great. Keep referring to the image. I'm going to make it one tone down so I'm adding more of white with it. It still the same grid, just a little bit lighter. With that, I'm going to go in the center and create some more, maybe just a little bit more flat, it's more bluish. I'm trying to make it more grayish. Again, I'm blending it with the white, that is there, you're not just leaving it directly and I have too much of pain because of which are not able to blend well so wiped it off a little bit on the tissue paper. I am softly been blending it. More white it's too dark, want to make it light. Again, the way I'm holding my brush is making the clouds very easy. If you hold it like this, you will see that you are having fun the process. The classic coming up nice automatically. Whenever I'm adding the gray, I am making sure that I'm taking little bit of white and blending it with the rest of the white cloud. I might have to go back again and add a little bit more of a dark gray. But for the time being, I'm focusing on this lighter gray that I am adding, the gray is going basically on the down part of all the clouds that we added. See I'm adding some loose ones like this. Absolutely brushing it over on the edges. My brush like this is actually making the process much, much smoother. Most of the cloud has been done. Now what I'm going to do is just go over it once again with white and wherever there is bright white cloud, I'll just touch up the white ones again because what happens is the process of adding the gray shadow to the cloud, you end up losing few of the bright white spots after. I'm doing it quickly, the moment I finished this is because I will be able to blend it with the gray part very easily now rather than keeping it for later, maybe I went up just a bit more of great in some of the places. Basically going to went through unless I am happy with the shapes that sticking the shadows that it's taking. But the process is just the same, just add some white and then create at the bottom of it to create the shadow of the cloud. I think that's it, I can keep on doing it for some more time. Unless and until you feel satisfied you can keep doing it. Because it's all about your personal perception of the clouds, how you want to have it. Because I feel like it's difficult for me to stop. I have to stop at someplace. Let's add a little bit more of this small clouds at the bottom, we are done. That's it. Stay a few more of the grease on the age, make sure that it is looking nice with this 3D clouds, give a really nice look and very nice ages. From this one you lose one over here, that's it. We're done. Now, I am going to wash this brush. I kept it outside for quite long, so it's kind of dry a little bit, what I'm going to do now is rather than watching this, I'm wiping it off, getting rid of as much blue I can. Taking white and just a little bit of burnt sienna, I'll create this land at the bottom. Recently I have started liking to take small strokes and that creates a very nice texture to your painting. I always like textuary stuff on my paintings. I am adding just a little bit of yellow to it to keep a little yellow touch. What you can do here is pick one smooth stroke and create a beautiful land without any texture. I mean, that's totally up to you. What I'm doing is taking small strokes like this so the brushstrokes are very much visible. [NOISE] Trying to create some textures into the land rather than keeping it absolutely flat. I m creating some textures to it. Because that's my personal choice. You can choose not to do that. But I somehow feel that showing the brushstrokes through creates such gorgeous vibe to your painting. If you have not done this, you can try it out and see if you like it. Because unless and until you try something is difficult to see whether you'll like it or not. I'm using a little bit of thick body white here to create some texture in the distant space. That's it. It's done. I love all the colors that I just created at the bottom using just a mix of three colors, burnt sienna, yellow, and white. At this step, I am washing off my brush, so I could, I could have done this with this round brush also, but rather than using that, I am using this small pin liner brush because I feel I will have more control if I use this one. The colors I am using are white, burnt sienna, yellow, and a little bit of blue to create that greenish texture, more of burnt sienna and a touch of black. You see this beautiful green that I ended up creating over here. It's a good amount of paint that I created, so it will suffice me to create this entire green over here. Now I am not to the entire mixture over here, but on the side, I'm adding a little bit more of yellow to have both dark and light yellow. The colors I mixed are burnt sienna, partial blue, yellow, black. This side is the dark part, this side is the light board. I'm starting off with that dark part, and I'm creating the horizon line over here. I'm adding more of blue to it to have more of green tone. It's looking more like brown over here. Honestly, if you look at the photograph, it's more brownish, but I want to have it greenish tone rather than more of brownish tone, so I change it. [NOISE] Now after creating the line, I am going in perpendicular direction, and creating the distinct ones like this. The reason I'm holding my brush like this because I got used to holding it like this while doing the clouds, and also you will be able to see it better because if I hold it like this, you won't be able to see what I'm creating. I'm holding it like this, but feel free to hold it however you feel comfortable and keep going like this. Pushing it up in perpendicular direction and adding some light shades in between. Because anything that you create in nature, it's never the same color because the sunlight is falling on it. Some places it's dark, some places is light. By varying the shapes that you're using in your painting, you create the depth of a landscape. In some places, I'm adding this burnt sienna to create that brownish effect. More or less the complete background is done. Now, what I'm doing is using the tip of the brush to create some of the pointy tree-like structures in some places. Not everywhere. I'm not doing it in a very detailed way, just in some places. Adding pointy tip like this. That's it. Not too much. Maybe I want to add a little bit of yellow in some places just to give more highlights. You see using this brush was a good decision for this area because it's helping me create all the details easily. With a big brush, it would have been a little difficult. This part is done and now I'm creating just one layer over here as you see in the photograph. We are going to create, I'm adding just a little black with it and some trees up. I twist my brush like this to get rid of all the excess paint from my brush, and I can use the tip to create absolutely pin lines. I'm using little water because otherwise it's not going to move. Like this painting lines, and now we're going to go all out and create some good amount of trees over here. There are lots of chunks coming down here, small thin lines. Then you go up and I'm adding little bit of yellow in between to add the highlights, and a few lines very lightly like this, almost there is no paint on my brush. Some green line just to show some green texture on the field. Absolutely light strokes. With that, we almost come to the end of the painting. That's it. You won't see this exactly in the photograph, but I'm just adding this highlighted tree to have this as stuff focal point of the painting. This tree will be highlighted. When you look at the photograph or the painting, this is the tree that will grab your attention first thing, or maybe the clouds. It really depends on how you look at it. I'm looking at it very close right now because I I'm into the painting, and this tree is pretty much like the odd color out. The rest of it is a lot of the same color everywhere. I'm just doing a little bit of touch ups here and there. Just with a yellow, I'm adding some highlights at the bottom of this distant land. I think that's it. It's looking good. Just a little bit of dark almost black over here at the base. That's it. I'm not going to overdo it. I tend to do that. I paint alone. Washed off all my brushes. Very important to wash your brushes after finishing a painting because otherwise it dries up. I'm excited to see how it's looking after the tip peeling. [MUSIC] There you go. Our first painting is done. Have a look at it up close. If you want to do any changes to it, you can always add something if you want to. Go ahead a little bit more time with the clouds, play around with it because I know that's the best part of acrylics. If you don't like something, when it dries, you can just go over on top of it once again to add as many layers as you want to. There are canvases that I painted 5-6 times. That is the versatility of acrylics that I absolutely enjoy. Go all out and do whatever you like to do. I'm adding just a little touch up of white with the paintbrush because I would have more control with it. That's it. To be honest with you, I'm never satisfied with my paintings because I feel like I can just keep going and do so much more. But sometimes what also happens from my experience is that when you keep going a lot, actually, if I would have stopped earlier, it would have been kind of nice, but it really depends on artist to artist, how you look at your painting. It's totally, I won't say a norm, I won't give you any guidance here. So just listen to your intuition and just go for it however you like and create your painting. But I hope you enjoyed creating the first painting along with me and you understood how easy acrylics is. Just stick with it a little bit more wherever you don't like, just go and correct it on top of it once [LAUGHTER] it has dried.. That's it. This small clouds are really nice to keep going on and on. There you go. Tell me how did you like it. You can talk about your experience in the discussion section and write a review if you liked it. Because there's so many awesome paintings coming up in this class and I'm so excited to do this, and each of all these different types of landscapes. If you have any question, please feel free to ask in the discussion and I would love to answer it for you. With that, I I'm done. The final thing that I'm going to do is sign my name to this. Signing is a very important part of painting, I feel. Because I have heard it from many of my students that they don't know how to paint, for me, I also personally, even I didn't know for a very long time how to sign or rather which color to use for sign. I have pretty much, what I have done is used absolutely different colors. Say for example, I would use blue to create a signature over here, but later with a lot of practice and by observing other artists, I have learned that it's better to use similar color tone that you were using. For that reason, I'm using some burnt sienna. I'm adding a good amount of water to it, and I'm twisting to leave as much paint as possible. I'm going to sign. Again, I'm twisting just to get rid of the excess paint so that I have a pointed tip. [MUSIC] I have been painting for good eight years now, I think 8-9 years. I have changed my painting signature at least four times and this is the one that I have very recently changed and I absolutely love this. I feel like this is going to be my permanent signature the rest of my life. There you go. [NOISE] See you tomorrow. 11. Day 2 - Rising Above: [MUSIC] Hi, welcome to Day 2, and I am going to use the same three brushes that are used in yesterday's class. The flat brush, one medium-sized round brush, and one liner brush. Here are the colors that I have taken out for today's class. Phthalo blue, this is the one that I have taken, phthalo blue, then I have taken ultramarine blue. Then I have taken out, this is permanent light-blue permanent, it's a light blue color. These are the three blues I have taken out and then I have taken out this cream viridian hue, which is like dark green, then this is a light green, permanent green light, and then I have taken out cadmium lemon. These are the six main colors that I have taken and of course black and white and a little bit of burnt sienna. Let's begin. I want to experiment with three sky. That's why I have taken out these three blues and I want to teach you and also experiment with these three colors how well we can create a beautiful color of the sky just using these three colors and what a variety we can do with the sky in today's painting. For the white, I have also taken out fluid acrylics and a little bit of pink body acrylic. I'm going to start on the top using phthalo blue and light blue. I'm picking up both of them together and I am going on the top along with little bit of white. I like this phthalo blue color which is little greenish and along with that, a little bit of light blue, which is nice shade. Instead of again going all around making one single stroke, I am going bit by bit and adding small strokes one after another. For this side, I want to create the sky with ultramarine and light blue, so adding with lots of white. You see I got a different tone of blue on the side. Let me just increase the color a little bit. Ultramarine blue and light blue and I'm mixing them in the center using white. As we are coming down I am trying to blend all of it together and I do more of white and light blue. Just like in yesterday's painting, how we blended all the colors, that's the same thing. The first round is always blending of colors. But this time we added a little touch-up of different blues and try to make it similar rather than keeping it one solid blue. As we are coming down we are adding more of white. The sky is done. Now I am going to use this other brush and I'm going to add the clouds on top of it. Again, I'm making the brush lie down on the canvas and it's mixing up with the background, which is nice. Round and round motion for these clouds and if you noticed, I took up a little bit of ultramarine blue, very little ultramarine blue along with the white to give it a shadow. Instead of using black as the shadow like we did yesterday, in today's clouds, I am using the ultramarine blue to create the shadows. Because if you look at the photograph, the shadow is more purplish rather than. That became a bit too bright white, so I'm just wiping off my brush and making it absolutely light with a touch on the canvas, almost no paint on my brush. That's why I am able to create these nice, gorgeous textures of the cloud. Let's come down, and create lots of clouds here. Whenever I want to create more white, I like to take this thick body acrylic because that creates more vibrant white and even over here also, I want to create vibrant white. Again, mixing a little bit of ultramarine blue along with white to create the shadows. If you notice the color of the photograph or the color of the cloud in the photograph, you see that it's a little purplish and that's one of the reason I chose the ultramarine blue to add little bit in the sky so that it doesn't look like just coming in this shadow and it has a little bit of connection with the rest of the painting , if that makes sense. [LAUGHTER]. I'm absolutely loving the shade it's creating over here. Make sure you go all the way to the edge to make sure that it's going all the way to the deep edge. It's pretty much done. Now just because here it's quite dark amount of shadow. What I'm doing is taking just a tiny bit of black, mixing it up with this ultramarine blue and adding some white. I'll wipe it off and then I'll add a little dark shadow on the spot. Maybe just a little bit here and there. Again, I'm going with the lightest shade and kind of blending on the shadow to the Cloud. Even in this area I'm just adding very light amount of shadow below the cloud. Again, I'm working with a lighter shade on top of the shadow just because I feel it has become too dark in some places, so I'll add some white. You can see it so much. I'm going to and fro, to and fro to get the clouds right but once you understand the technique that I'm following, you will be able to create really easily all the clouds. I know painting clouds can look a little bit intimidating if you don't know the correct techniques, but it's really easy. I really want you to understand that, that it's not difficult at all. Even if you're not painting, you're just watching it. You will understand just by watching that how easy it is. It's not very easy, it's not that complicated also. I just want you to get that feel of it. Oops that's a lot. I feel it's starting to come together, enough of to and fro, maybe just one final touch of little white, just to make some bright cloud spots. Keep referring to the image and you'll understand why I'm going in certain places and not everywhere, because not everywhere is very bright white, just in some places. Alright. I really like how it turned out and I think after the tape peeling, it's actually going to look really good, which I am not able to see right now. Now we will move on to the green area. First thing what I'm doing is just marking out with white where my stuff is going to come. If this is where the land comes, you can do this with the pencil as well as this one. When I'll get up and get up until now. This is where the green comes, and this is where the green mountain comes. This is where there are few distinct mountain and that's it. I mocked out where all this stuff is coming. Now let me start painting. I'm starting with the dark green. Like I said in yesterday's class also, I am going stroke by stroke. Before that, let me just make out the marking properly, and, moving on to a little bit of light green and little bit of yellow, the colors are drying very fast because my AC is on and it's summer in Pune, it's very hot. A little bit of white. While I'm marking out those stuff for the outlining, I am also painting in the process. I like to do two things at once. This part is almost done. At this time I'm going to switch to this thin brush, mixing white and this dark green to make the distant area. Over here, I have to add the distant mountain also for that I'm mixing with the same brush without cleaning it off, I am adding maybe just a little bit of phthalo blue with it. I mix a lot of color. I don't know if you got that. I haven't washed my brush, so ultramarine blue, little bit of phthalo blue, and here is my distinct mountains. Now add little white to it and make it a tone lighter for the even distant ones because they are at a distance, so they're light. There you go. It's done. Making sure it's going all the way to the deep. I'm not washing my brush instead I'm taking white and the viridian hue green to do the land in front. That's done. I think I actually like the small liner brush, so I'm going to use that to fill this place up. You see how I did not wash my brush, so it has pretty much all the colors that we have been using. Here's a little distant one. Adding little yellow. I am using very thick paint to do this and I'm not really smoothing it out making my small, small strokes. That's done. Now let's come to the front. This yellow is giving me a little trouble and I like to trouble. [LAUGHTER] I'm adding some yellow in the front. This is basically where the light has fallen, the sunlight. That is why this part is light, white to it. I'm going to put this too [NOISE] in the water, because they are drying up very fast. I don't want my brushes to dry out and become not usable. I've actually wasted a lot of my brush just like this by keeping it on the side and not washing it in time. This is done. You'll see just by creating stroke by stroke. Starting to keep such nice, dense look and feel of the whole painting. Now it's time to mark out this line over here. I'm using little white along with it just to mark it, a little bit of burnt sienna. You see how I don't wash my brush moving on from one color to another? Mixing the burnt sienna it's almost dried, but it's okay. I just need very little to add it here. I like how all the colors mix up and gives a really nice shade that I could not have come up with had I not mixed all the colors. That's it. I really loved the color it formed. This has done and some land fixture over here, that's it, and let's create some other greens over here. I'll come to this little later. Let me just get done with this side first. I'm adding little bit of black over here. Even though over here also, we have to add a little black. I'm not going to go into detail and create those trees very nicely. I'm just going to go little random, and that's it. There are lots of trees here. I am going to just make sure that it looks like different trees so just adding some yellow highlights to it. All my trees are done on the right side. On the left side, I am going to use this dark one and create some perpendicular trees. Taking a little bit of dark green. Adding in perpendicular strokes, it's not perpendicular strokes, its like vertical stroke. That's what I am trying to do here and adding some over here, adding some black at the bottom in vertical strokes so that it goes with the entire upward strokes that I did, blending it into it. It's a little confusing so don't get into the detail of it, keep looking at the photograph. But all I'm trying to do is make sense of what is where and accordingly. This is a land green here. Just trying to get some sense of it without trying to get in too much of detail. It's starting to look so nice that these two entries, all the tree standing in front and everything is starting to look good. Cool. This is done. I just want to add a little bit of eggshell this mountain, dark one. That's it. I don't want to fuss about it too much. Now moving on to the big round brush. Lots of white along with this dark green. Look at this beautiful color it creates maybe a little bit of light green also, but the main color is white her. We're going to go all the way to the end. There you go. There is no gap here. Everything is completely done. Now let's keep moving, keep coming down. You see all the brushstrokes are visible and I wanted to keep it that way. When the brushstrokes are visible in a painting, it gives a very nice rich look. [NOISE] I am just going to take the strokes ones and not come back to it a lot. Just keep going down. Over here there is one line of the field going up and down. See how easy acrylic painting is. Just a couple of strokes. You know how people complicated mostly is by doing too much, overdoing it. If you just take one stroke, it's done. Over here, I'm going to take this light green. If you see that there is a division in the field for that, I am taking the liner brush. Making that line to show that division of the field that you can see in the photograph. [NOISE] We'll look at that big chunk of yellow that I picked up. I like it sometimes having these little bumps in my painting to create beautiful texture, so I'm going to leave it like that. It's really nice. It looks like almost like the 3D feel of the field. Switching to my big round brush and continuing this texture. Now from here, you see the grasses are in this direction. Rather than going in horizontal strokes, I'm going to go in vertical strokes like this. I want to keep this brush also. Before that, I'll just go a little bit horizontal over here. There's a little dark tone over here, can you see that? That is what I am going to add here, that little dark tone, the shadow of the field basically. There's not too much of yellow in the photograph, but I just feel like adding a little bit of yellow to it just to give a little brightness to the painting. I sometimes not follow the photograph exactly as it is color-wise. I add my own colors. Right now all I'm doing is going in horizontal direction because first I'll cover up the whole canvas, and then I'll go in vertical direction like I was doing some time back. Adding little bit of dark green also. Now the whole canvas is covered. Now, I will go and add some vertical strokes to it. I'll make sure you're able to see. Using little bit of water, some black. I'm playing around with these three colors, dark green, light green, and black and white. It's a little difficult for me to move my hand in a way so that you can see it. Let me just move it around a little bit so that I can do it properly while you can see it as well. I think I'm able to do it now better. Everything is just practice. You just do it a couple of times, you get a hang of it. Don't become too focused on getting it exactly how it is. If that's what you want, by all means, but I am not going to do that. I am going here and there with some colors not exactly going by what you see here. In some places, I'm adding a little dark one to show the shadow of this grass. You see how much paint I have. I feel at this point I am going to switch to the liner brush and create some strokes like this. This is fun to do. Create some small strokes like this. Create few. Over here, there's a shadow area, over here. Done. Next, I'm moving on to a little bit of yellow just below it to cover up the base of what I just did. It's really starting to look good with the thin brush. With this round brush, I feel I was not able to do the strokes very well. I did not have too much of control on my brush, but this liner brush, I feel it's more under my control and I am able to take the strokes the way I want. Like I said, with acrylics, it's really easy. All my before strokes are going down and they're becoming almost invisible. This final strokes are going to be visible by the end of the painting. Wow, I'm absolutely loving what I am doing, it's so fun to go stroke by stroke, small strokes, one at a time. Just make sure you vary the color. That's the main thing that you need to focus on. Just make sure you're not adding same color next to each other. You see I'm placing the whites and the blacks, a little far from each other. Let's add some whitish at the bottom. We are done. Now, let's look at the painting after taking the mask of because that's when we really get to see. I'm just making sure before pealing the mask off that I have gone all the way to the edge. Nothing is left out. Yes, mask pilling time now. [MUSIC] There you go. A beautiful landscape with a different color combination in the sky. You'll learn to create a different landscape with a different color shade. I have some color lifting my brush so I just thought I just put a few touch-ups over here just to neutralize these fine lanes with a little blurry line. That's it. I'm not going to do too much. Like I said, it's difficult to stop and now I'm going to sign it. The color I am choosing has to be something that goes with green. As you can see, this place is very complicated, so signing it with the lighter color would be better and I am adding some white also with it to make it even more lighter. Water is very important for signing. What I'm going to do is before adding the sign, I'm going to just darken. Should I do that? Just making the place a little bit more dark so that my signature is very nicely visible. This is what I do sometimes. Let's see. [MUSIC] I hope you enjoyed creating this painting along with me and you had a nice time experience of painting it, please post it under the projects. I would love to see it, and if you have any question, feel free to ask me by posting a discussion. Thank you so much for joining me. See you tomorrow. 12. Day 3 - Strength in Numbers 1: [MUSIC] Hi, welcome to Day 3. I'm using the same three brushes as yesterday. One flat brush, which is proportionate to this canvas size, one round brush, medium-size, which is Size 6 even this is size 6. This is a Size 0 liner brush. I somehow have a feeling that this liner brush is not very pointed, so I might switch to even more liner brush later in this painting if I need. These are the three brushes and the colors that I have taken out, are light blue, this one viridian hue, dark green, light green, which is permanent green light and lemon yellow. These are the four main colors. Then I have taken black and white, and then burnt umber, burnt sienna, and crimson red. These are three colors that we will use for all the detailing lighthouse and the house later. Let's dig into the painting. I'm starting off with a flat brush. This time I'm using just the light blue for the sky without much complication. Simple, light blue for the sky. I am going to create the horizon here. Not absolutely in the center, just a little bit higher than the center. I'm creating the light shade of the sky here. With just a few simple strokes, you can just fill up the entire canvas, the sky area. I'm just going couple of times more just to make sure that there are no white spots remaining in the canvas. This is happening because I'm using acrylic paper, if you use canvas cloth it doesn't happen much, but just make sure that you're covering the entire canvas, it's a good practice. The complete area has been covered. Now, let's go on top of it and create the clouds. I'll just wipe off the excess blue on the tissue paper and I will not to wash it. Rather I would use the same brush and rather than using the whole breadth of the brush, I'm going to use just a corner. By corner I mean like this, you get a small dot with the corner of the brush. That's the area I'm going to use mostly to create the clouds, you see. Today, I forgot to take out a little bit of for thick body acrylic of white. But if you feel that is easier for you, feel free to do that. I wish I had taken out, but it's okay, I will manage with the fluid acrylic. There's going to be a lot of cloud shadow coming up in a while. First I am trying to create. Again, you see I'm making my brush lie down on the canvas to get those thread-like edges of the cloud and even to create the whites shapes. It's very easy technique to create clouds. It's pretty much done. Just to add a little bit more, maybe on the top here. Now I am going to create some gray and maybe add a little bit of blue. Create dark nice shadow of this cloud here. Blending it with more of white. At this point I am going to switch to the round brush because I'll have a better control of the loose age with the round brush. You see how nicely I could create all the loose edge. Very gentle strokes bit by bit. That's it. Some more. You see I don't create one shade of gray, I have dark to light to light. All the shades are there which are going to need at whichever time, I'm just going to pick that up. I think by now, you are going to have a very good hangover over clouds. Tell me if that is so. Most of it is going to go in the background. However, we still do the clouds as nice as possible because there's a lot of objects that are going to come on top of this beautiful sky that we're doing. However, I have a plan, I'm thinking if you look at the photograph, I'm not going to do the objects as thick as it is shown in the photo. I'm going to reduce the size a little bit just so that my sky is more visible. That's what I'm thinking right now. Let's see how it goes. I'm just finishing the sky up with just a few loose strokes, towards the edge and some bright white in few of the areas. So that's beautiful sky, I like it. Now only I am washing this one. This one I'm not washing. This had a little bit of gray. I am directly switching gear and moving onto green and adding the green field or hill. That's too dark, so I'm just using a little bit of yellow. You see the gray is getting mixed up in the green and that's okay. Just making sure I did a straight line. Done. I'm just going in random direction and filling up the space [NOISE]. You can see how random I'm going. It really doesn't matter because it's just the background that I'm creating. It's done now let me go all over and fill up all the white spots left out in-between [NOISE]. Just a little water because thick body acrylics is very heavy and difficult to move around, so just taking little water helps. All these white spots, I'm targeting on filling this up nicely. I'm done and I'm just adding a little bit of yellow on the absolute extreme edge towards the horizon because this is where all the yellow flowers are going to come in a while. That's done. The bottom part I'm not going to do anymore with this brush. I'm just going to switch to this round brush [NOISE]. Washing it off. Taking black and dark green and it's just like how we did in yesterday's painting. I am creating some lines. And I get a feel that rather than this one, I'm using some water also. The thinner brush would be easier to create these lines, but if I do with a thinner brush, it's going to take forever, so what I'm doing is with a big brush, I am creating few strokes and then I will switch to the thinner brush and do some more. All of it is going to go in the background once the flowers come, so have fun in the process. It doesn't imagine how it's looking exactly, just making sure there's some vertical strokes of the grass. Just to give a few final touch-ups, I'm going to wash this flat brush itself [NOISE]. Just a few final touch-ups with the thin brush, liner brush. You see some fine lines of branches looks really nice. Some highlighting lines [NOISE]. It's so therapeutic. I feel like [LAUGHTER] doing this on and on, it's so good. I don't want to go too up because I really like this horizontal line that I've created. I don't want to change that, so I'm trying not to go too high up. So that's it. I'm going to leave it at that [NOISE] and I am going to create the lighthouse now. I just want to give it some time and make sure that the sky area is completely dried before I do this. So instead, what I can do now is there's some greens over here, so I can just try and do that. I'll just mark out the lighthouse area, it's like this much. Then just behind it, I'll actually do it with this brush itself. [NOISE] One good thing of doing the background greens first is that if there are any lines that gets into the lighthouse, once I paint been lighthouse, it will be taken care of. Just a few trunks. I did not really add a lot of detailing to this just to make sure that not getting too much in detail because if we get into the details of this, it's going to take a long time. But we are just touching it up lightly and create a beautiful painting. Let's do the same thing on this side of the lighthouse. I am thinking of ignoring the house. I don't think I want to do the house, but if you want to do it by all means, please do it because it'll be too crowded, I think to be honest. Also the cloud will be visible over there, so I think that I want that. I had taken out the crimson red just for the roof of the house, but now I'm discussing the idea of doing the house. But feel free to do it if you want to. I'm just going to go all the way till the end with a little bit of [NOISE]. I'm not getting into details of all that is there. I'm going to leave it like that. So the cloud is still not dried and that's why I am avoiding creating the lighthouse because I want it to completely get dried and then I can do it happily. Let me do this a little bit. This dot-dot-dot, not getting into too much detailing, and create some trunks. That's it. I'm going to give it a little break and come back and do the lighthouse in a bit. I will wait for this to dry up a little bit, and then I will add the flowers as well. It hasn't completely dried, but I will start doing [NOISE] the lighthouse. Let's do that. For that I'm using burnt umber. Burnt umber is almost like black. Since it's a thick body acrylics, I am mixing some water with it. Let's create the shape of the lighthouse. Feel free to use a pencil if you're not confident of doing this with the paintbrush directly. I am taking a little bit of burnt sienna also and mixing this up. A little bit of burnt sienna. I'm going to create the shadow a little later. First I'm focusing on getting the shape right. Then I'll create this horizontal shape over here. I'm using a little bit of black with it. Finally, the top structure. I'm using the color as for my wish, I'm not really following the color I'm seeing in the photograph. [NOISE] Now, let's create some of the shadow that is falling. Oops [NOISE] I made a mistake over here. You can see that I added a little, as in, I did not add it, but it just got added by mistake. See how I'm going to correct it. I'm just going to increase the shape a little bit. Even down, I am going to increase this side a little bit. Now, let's create a shadow. [NOISE] Since I don't have too much paint on my brush as I'm taking the brush down, it's coming up as broken lines you see, which is great. I [LAUGHTER] didn't have to do much about it. Similarly, I'll take some white and create some broken lines as the shadow, and some flaky textured wall, give it a little bit of yellow [NOISE]. It sticks your wall, that is done. A little black on the left side to show the shadow because the light is on this side and our light over here. [NOISE] Again, I'm not getting into absolute detailing of the lighthouse, but just trying to do as less as possible to get the light and shadow. That's it. Now, we have to create the four wings of the lighthouse. Before that, I'll just create the doors and the windows. I feel this was competitively difficult one because of the lighthouse. But it's always fun to learn something new rather than just what we always do. It's good to have little subjects in the painting. Pushes you beyond your comfort zone. Finally, the door at the bottom. It's very detailed work, so take your time. I know I'm doing it very fast. Just watch it and rewind it little bit if you need to watch it again, and then do it nicely slowly. Don't have to do very fast. I have been painting for a long time. I absolutely do these things very fast, but I understand that this is a very detailed work, and you may not be able to do as fast as me, so take your time. That's how it looks. Pretty 3D-ish just because I have given it the nice light and shadow feel [NOISE] is looking very nice. Once it dries, I'm going to create the four wings, or whatever the thing is called, and I'm going to paint the flowers. 13. Day 3 - Strength in Numbers 2: Some more of lemon yellow and I'm going to use this thin liner brush to do these flowers. The distant ones are smaller to maintain the perspective and the front ones are going to be really big. It's a little tedious, little boring job, but just stick to it and after 10 minutes, you will be surprised. Also, what I'm trying to do here is rather than moving the brush and painting, I'm picking up this thick paint and just dropping it on the canvas. So that it looks really good, almost like 3D-ish, lots of texture. Only the distant ones are very small so it's going to take a little more time. Once we come forward it's just going to get easier. One easy way of doing this is also if you just want to take a horizontal line that also you can do. I have done that. That will look very abstractive, but I feel if you just stick with it and just do a few flowers it is going to look really nice. It's worth doing it, I feel. I mean, sometimes when I didn't want to do all these flowers, I have just taken a straight line like how we did here. Just listen to some music, play some music on, and just keep doing while listening to the music. Just because I'm recording it right now I don't want to play any music because it's just going to not limit me create a good video, so I'm not playing it, but otherwise, when I paint alone, when there are something like this which is going to take a little longer than usual, I like to listen to some beautiful music that I like to listen to and play them. You enjoy the process while listening to music. I'm going to shut up now and let you do this and enjoy the process. Almost towards the end. Now, what I'm doing is that then having them evenly spread out, I am going to create a cluster. So going on top of each other and creating a cluster in some of the areas. Because if it is evenly spread out, it just looks a little funny. Creating some clusters. Finally, I am taking a little bit of burnt sienna, mixing it up with the yellow. Not everywhere, but just adding them at the bottom of the flowers in some places. I'm just going over here one more time. The stand ones, there's no space because it's a distant one so pretty dense at the distance. In some places, I'm adding the bond center. I hope you are having fun in the process and not really feeling stressed out. I understand it can get a little boring but it's all good in the process. Enjoy the process while you're doing it. Look at that, that's pretty awesome. Going through it and final thing I'm going to do is create these four blades I guess, blades of the lighthouse. For that, I'm creating this color with burnt umber, burnt sienna and white, and a little bit of black. This is the color that I created. I'm creating quite a bit at a time because I'm going to use all of it while creating these plates. It's going to be a little funny to do this now because it's going to be a little difficult. Keeping my hand on top and trying to do. This is where it's starting from. One. Use a scale and a pencil to mark it out. Two. Three. Four. I think I did it right. Just seems a little. Now I'm just making the lines a little thick. They're not perfect but I'm happy with how it turned out. Now for this next part, you can use a black gel pen or something if you're not very confident of doing this with a paintbrush, just adding a little shadow on one side. As thin as possible. Use a good liner brush for this. It's done. How nice is that? Check out the windmill. I absolutely love it. There's a little shadow that has fallen on the body over here so I'm just going to do that quickly little bit. Not in too much of detail but just a few lines like this. That's it. This is the shadow and we're done. Let me peel off the tape and see how it's looking. There it is. I feel this was a little complicated little Lindy painting, but I think it's good to learn something new. That is the reason I did not add the house over here but if you want to and if you're feeling adventurous, please go ahead and add it. I'm going to finish it off by doing my signature. For that, I don't have any space over here so I'm going to do the signature over here. It's going to be a little difficult. I'm trying to not smash up the yellow in my fingers and do it. Let me try. There you go. I hope you enjoyed today's painting. I loved creating it. It was a little complicated, but if you stuck to the end I'm sure you are able to create this gorgeous one. Please post your painting under the projects and tell me how you liked it. I would love to know how much you are enjoying doing this with me. Before I wrap it up, I just want to add a little final touch-ups. If you don't want to do this, absolutely feel free to stop it but I just want to go ahead and add a few of the flowers that I just feel like adding. Like I said, it's totally up to you how much you want to do it and I absolutely love playing with my painting after filming also a little bit more. For this one, I thought I might as well show you a little bit. What I'm doing here is I am taking black and burnt umber and I am creating a few lines under the flower, not a lot. It's not going to make too much of difference but just adding few details. I love doing it, that's why I'm doing it and that's why I said windy is already looking beautiful. If you don't want to do this, it's totally fine. But I just thought I'll show you a little bit of my process that I do. Done. 14. Day 4 - Eternally Floating: [MUSIC] Hello and welcome back. Today is Day 4 and I have chosen to create a beautiful landscape again with lots of clouds floating. The materials are the acrylics paper, the same three brushes that I have been using. The colors that have taken for this class are Prussian blue and Phthalo blue. Prussian blue I don't have intake body acrylics that's why I'm using the fluid acrylics. This is the one, the fluid acrylics that I stored in a bottle. But if you have Prussian blue in thick body, you can use that. Prussian blue, Phthalo blue this is the one. I want to experiment by mixing these two colors and see how it looks, rather than simply Prussian blue and yellow. For yellow have taken out this one, cadmium yellow medium. This is the one, and I have taken out two different types of whites; fluid acrylics and thick body, black and burnt sienna. It's a very limited palette. There is no green in this one, but I will be creating a little bit of green using Phthalo blue and yellow. All right, let's start. I'll start off with this flat brush and absolutely dark on the top. I will start with the absolute dark Prussian blue without creating any texture because when you use just one solo color, you don't really create a lot of texture. It's only when you mix two colors, you will start seeing some textures forming on your canvas. At the moment, I want to keep it absolutely dark on the top because when your sky is so dark and you create clouds on top of it, it gives amazing, fantastic look to the sky. That's pretty dark. Now I'll start adding a little bit of Phthalo blue. I don't think I like it a lot, but no worries. It's my painting. I can choose the color of the sky that I like. Let's see, let's continue. I'm mixing both the colors here so that the shapes are not too visible as in the proceedings and pillows, dots. It should not be like that. Let me start taking some white. Now I'm starting to like the shape. You'll see what happens when you use the dark shades directly and mix them up. It might not always look excellent, but the moment you start adding white, the actual sheet of the color starts showing. I'm going to come all the way till here. What I'll do is I'll just add the white first at the bottom because I'm picking up white right now. With that, I'm adding little bit of Phthalo blue to give that greenish light change of color. Now gradually as I go up, I'll start getting dark color. Maybe some more of white. I just want to make it really light. That's nice. Just creating some sheets. I don't want to keep it absolutely flat out like I've done on the top. Because we are using two different colors, which is white and Phthalo blue, it's easy to create the textures. If you see the photograph, it's absolutely flat. But I don't like such flat-out colors. That's the reason I am creating all these textures. Now let's start going up and blend in the two colors, as in the light and the dark. Making sure I'm doing on the way till the edge of the painting. Now we need a little bit more dark. You see these three colors, Prussian Blue, Phthalo blue, and white is giving such a beautiful shade that I am loving a lot. From the bottom up, the blending has been done. Let's go up a little bit and blend a little bit tomorrow. [NOISE] Blending is really fun, so if you have never done this before, you will find out that initially there can be a bit of struggle. But you probably have to go a couple of times up and down like I'm doing right now. But ultimately it's the most fun part of painting with acrylics. I'm going up now and making it finalizing the top part of the sky. Cool. This is completely done. Over here you see there is a stark difference, so for that I'm just going to take absolutely tiny bit of white and blend in both of them. It's done. I am going to wait for it just a little bit, not too much. I feel at this time, I think it is going to be better if I can wash the brush off because generally, I tend to paint with the brush with a blue on it. But since there's a lot of Prussian blue in my brush as you can see, not soft so I'm going to wash it off. Then the very next step is to dry it off completely, so taking a tissue paper, there's a little bit of blue within it and that's absolutely fine, but make sure it's absolutely as dry as possible. [NOISE] Now let's start creating the clouds. Starting off from the top, and you see that blue is wet, it's not completely dry so it's going to mix up and become light blue and that's okay. I have a lot of paint at this point of time in my brush. But for creating clouds, you need to really have less paint. What I'm doing is again, I'm making my brush lying down and creating the strip like loose ages of the cloud. This is why I went in directly without drying the background because when you paint directly on the little wet background, the white is mixing up with the blue and creating light bluish mixture for the end, which is something that I really like. I'm using the corner of the flat brush, this corner to create this lose feathery picture of the cloud. Let me just switch to the medium-sized round brush and we'll be able to do it better. At all times I like to keep the brush on the line on the canvas to get these feathery extras. All I'm focused on is doing the edge right now because later I'm going to go inside and fill it up with absolute bright white. But right now, I am switching between the flat brush and the round brush because I feel with a flat brush I can get better textures, the edge textures of the cloud. I see this loose feathery structure. Also, I can cover more place at a time with the flat brush which is also nice. Right now I'm creating the main big shapes of the cloud. See all the background has completely dried so it's not mixing up with the blue and it's almost bright white. Small ones I'm not going to do now, I'm going to do it later with a small brush. I'm going one second time and creating, and I leave it more brighter white, and same thing I'm going to do here also. Go one more time over this and add some more bright white. I absolutely love doing these feathery edges of the clouds. Whenever I'm doing this I absolutely feel so good doing them, taking my time to do them nicely, slowly. Here comes our thick body acrylic of white to rescue and I'm going to use that to create some more white. I'm almost creating texture with a thick body acrylic, holding my brush in a way that it's lying down on the canvas and you can see it's sketching some amazing textures. I'm absolutely loving it the way these textures form. I can't play around over here a lot because it's picking up a lot of blue from the background. Let this dry a little bit and meanwhile what I'm going to do is, maybe just add a little bit here. I'm just going to create all the small ones here because this place is completely dry. While that top part is drying, I will be able to come and finish this part and then go up and do the top portion nicely. Let me switch to the round brush a little bit and see how it's coming. This place is absolutely small clouds so instead of these two brushes, I'm not washing them because I'm going to move to this again while creating the shadows. But for the time being, I'm using this liner brush and I'm using the fluid acrylics over here to create all these clouds here, small ones. Holding the brush like this, the way I'm holding now makes it very easy to create the shape that I want to, so try that out rather than holding it on the top. I'm not really getting into all the detailing of every cloud, just trying to create few horizontal strokes like cloud. There are quite a few of the bottom with the gray if you are referring to the image, the reference image. At this point, I'm just going up a little bit just to see if this portion has dried. [inaudible] I want to create the gray color. See, holding the brush like this is able to give me some control on the brush so that I know how much to add, where to stop, and everything. This place is still not dried. If you lose ones you're creating very slowly, very gently moving the brush here and there. It's time to create some gray now. I am taking just a tiny bit of black. Just taking tiny bit of black creates a lot of gray, so don't take a lot of black because then it will become really dark, and also taking just a tiny bit of blue to this. There's a lot of the color in my brush so I'm just wiping it off and adding more white to get the shadow color. Now let's add a little over here, mixing the shadow color with white to blend it into the white cloud that's on my canvas. Again, starting off with the dark, adding at the bottom, then adding some white and blending it into the white. Very simple, that's how we're able to create all the shadows. I feel using this thin liner brush I am able to get a good control over how much quantity I want to add. Let's go down and add all these small clouds. If you feel I'm going too fast, this is what I suggest. Just watch it first once and then you try doing it. Because if you don't watch it or if you are doing while watching, you won't be able to see all the steps. This part, especially the small cloud part, just watch it once and you will absolutely understand. All I'm doing is just going at the bottom first with a dark shadow and then adding some of the whites, lending it into the shadow. I'm repeating the same thing again and again so that the more you listen to it, more you understand what's happening here. Now let's go on the top and I'm switching to this brush. It's very much dried. I'm still using little bit of thick body acrylic and the fluid acrylic. You can see it's getting really bright white now. Since this is like the bigger area, rather than using this liner brush for the shadow, I'm going to use this brush itself. But before that I just want to make it little bit more white. Now, let me take this shadow color and come here and blend it in. I think I absolutely love how it's turning out some more brightening white on the top. Whenever I'm coming down, I'm switching to this liner brush to get more, better effect. Like I always say, you can keep going on as long as you feel like doing it, but I think I'm going to stop here now. Otherwise, it's going to go on forever, very difficult for me to stop. As long you are able to see that it's like the shadow and the whitish of the whiteness of the cloud is visible, you can stop. I hope you understood the concept of creating such clouds because that will help you create any cloud that you see in any photograph if you get this concept right. Just adding a little touch up on this small ones at the bottom. I feel I haven't really spent a lot of time on this ones. That's it. I'm going to wash this one and the flat brush. I'm going to continue with this brush itself doing the bottom section now. Now I already have a white and blue. All I'm doing is picking up some yellow and going over it very slowly. I'm taking little water because this thick body acrylics are dried. See. I picked up a little bit of Phthalo blue, which is why I created this beautiful green. However, I don't want to create a lot of green so I'm just adding all the greenish structures wherever I'm seeing in the photo. Next, wiping it off, and then moving on to yellow. Generally when I do the lines like this, I try to just go with the flow and mix and match the colors. Create little bit of shadow and basically just play around with this section and not really follow exactly what is there in the photograph. But that's just me. If you want to create exactly how it is, you can totally do that. Here is a land like this. For this side, I am going to use the smaller brush, as in the small liner brush. I'm going to use the burnt sienna, mix it up with little bit of yellow and create this color over here. This little section is done. Over here also there is a little land that's going like this. With white, I'm going to get over here and create like little bump on the land, going random. Actually the reason I'm going once again is because I see that some of the canvas is showing through. Some white spots are left out and that's why I am going over it once again. There is a little bump over here. I like creating such textures with the thick body acrylic and it's nice to have that paint pop up from the canvas creating some 3D effects. Absolutely love textures. At this time, let me tell you, I am also thinking of creating a very nice color in this corner where my signature is going to come so I am putting little extra attention here. [inaudible] gets looking really good. I don't want to overdo it. Few strokes here and there just for fun. Now I think these brushes work is done. I'm just going to mix a little black and yellow and maybe just whatever blue is left, the color is almost drying. I got this beautiful olive shade of green. I feel like getting this now here a little bit, gosh it's beautiful color that I created, just makes it a little bit of yellow with it I think that should be good. Let's do this. Adding more of black and adding some distant trees with small dots. I'm just moving my finger a little and creating distant tree like this. [NOISE] I absolutely love the textures that are formed. I think I need to add just a little bit of yellow, I've just overdone it a bit. You see how beautiful the textures are forming just because my brush is dry and I have less paint on my brush. That's it. It's done. Just I'm not liking this part quite a bit, so just making sure that it looks nice. Done and it's time to take off the mask because the edges are not absolutely visible. [LAUGHTER] I don't even know how it is, so let's peel it off and see how it's working. [MUSIC] It's done. I absolutely love how it turned out. I just feel like adding a little bit of textures over here. I'm taking a little bit of burnt sienna, it has a lot of water. I'm just creating some dabbing the color on top of this to create some rough dry leaves trees texture, along with a bit of yellow. Just a small little textures not too much because I love texture. Rather than keeping it flat-out, I like doing some pictures. Adding tiny bit of black here to create some shadow. I'm going to finish it off by adding my signature. Can you see how nice the wave of the land is visible just by creating little bit of light and shadow. Light on one side and dark on one side. That's the way you create a land. I feel here it is a bit flat out, so I'm just adding some highlights to the land. You know this liner brush of mine is completely spoiled because it's not having are tiny smooth tip. I am going to switch to a different brush. [NOISE] This because liner brushes after using for some time they done bad. I am going to use burnt sienna and a little bit of black, maybe for creating the signature. [MUSIC] Thank you so much for joining. I hope you enjoyed this class and if you created this along with me, please post it under the projects and let me know your feedback. I would love to here if you're liking it or if there is anything that you want me to teach you new I would love to hear from you guys. Thank you so much for joining. 15. Day 5 - Stream Of Life: [MUSIC] Hello and welcome back. Today in Day 5 were pretty to create a stream flowing through the middle in mountains. It's a very beautiful landscape. I had already created it before once and I loved creating it so I'm so happy to teach you guys this painting. The colors that I would use for this painting are Prussian blue. Mostly, I think I am going to use Prussian blue, I had still taken out this all the permanent green, permanent blue or light blue permanent color. But I'm not too sure if I'm going to use this. Prussian blue is the main color that I'm going to use in this one. Then I've taken viridian hue and cadmium yellow medium. This is like the warm yellow then, black and white and burnt Sienna, very limited palette using which we are going to create this beautiful painting. Let's dig in. I'm going to talk again on the top using Prussian blue. I love this color. But if there is any other blue that you like, feel free to use it. Like I said, I don't think I would be using the light blue color because with Prussian blue itself, by adding white to it, you can create a very beautiful color , not really necessary. I'm just mocking out till where the sky is going to come maybe a little bit above it, but I'll just come a little bit below. Pretty random because it's all going to get filled up with clouds in a bit, so I'm not really too focused on how I am doing it. My entire target is just to fill up the white canvas with blue. This corner top-right especially I want to make it absolutely dark. [inaudible] to the photograph and you'll understand how I'm gradually proceeding from one step to another. It's been covered completely. I am going to wash off my brush and dry it off completely as much as I can. I'm just doing a little bit more blend creating light blue at the bottom. You see what happened. The dark blue on the corner became a little light, and that's why I had to go again and add some more of the dark blue, blending it in to the light. What happens in blending is for me sometimes I just go up and down a couple of times, rather than just doing it at once. Because unless an anti lamb absolutely satisfied with the color that I want, the shades that I want, I just keep going up and down. You also get too clumsy. Again, I'm taking the light up a little bit more, wiping it off, adding more blue to get the blend. It's not a very smooth blend, but there is a very nice blend over here. Right now I'm going to wash the brush once again, and dry it off completely. Before the blue completely dries off, I am starting off with my cloud. Reason being I want the white to blend with the blue in the background little bit to create those light bluish textures. Right now what I'm doing is marking out where all the clouds are, and I'm using the corner of my brush to create all these loose, feathery clouds. If you have done so far, you'll probably have become a master in creating clouds. [LAUGHTER] If you lose once here and see the reason I'm doing it so fast is because I want to do this before the blue dries off because it's drying very fast these days in Borneo because it's very hot summer, and that's the reason I have chosen all the summer paintings, inspired by the way that I am watching, lots of white to create fluffy white bright clouds. [MUSIC] At this stage, what I'm going to do is take the liner brush and use it to create some nice edges of the cloud as I am seeing at the [inaudible] at the photograph. Rather than creating really lose aims like the feathery ones that we have done so far. In this one, especially they are very nicely done edges which is what I've tried to do here. Along with that I'm doing few loose ones also here and there. [MUSIC] Adding a blob of white here to create this beautiful sunny, bright blue sky with the white clouds. I think it's starting to look really gorgeous already. Now it's time to add the shadows of the clouds. Here's my white little black very light because there's not too many dark shadows here, so very lightly, I'm adding the shadows. [MUSIC] I think I absolutely love the sky and the cloud however it has come out. Just adding a little more bright white inside. [MUSIC] I'm coming down a little bit more because just in case, there is some white showing through. I don't want it to be the light blue color, rather the cloud color. I'm just coming down a little bit, just to be on the safe side. [NOISE] Now, I'm going to add the green meadow with the same brush. I'm going to wash this black brush off. [NOISE] Creating this beautiful green by mixing these two colors. [MUSIC] We are just marking out at the moment. Then comes the light one. That's it. I absolutely love the combination of this green and the blue. [NOISE] Before moving forward, I'm just going to add this tiny little [NOISE] mountain at the back. All I did was take some Prussian blue with the same green that I already had, and adding some more green to it, and adding a little distant one. [NOISE] The distant mountains are done and now I will do one good round off the middle. Just to make sure that it is in the front. [NOISE] Sure is another line. Just to note where I'm supposed to do this. Right-side mountain on this side is almost done. [NOISE] Just some highlights of the sun rays falling. The one in the front, I'm going to do it a little later. Let's focus on the left side now. [NOISE] I'm going to fill this up. [NOISE] Rather than one solid color, I like adding some more of the other colors just to create some [NOISE] pictures and shadows. You see how I created the shadows by adding some more of dark green on the side. I'm not really defining all of them, but I am adding them randomly and the colors are being created. That is the thing I want you to understand, that you don't have to really sit and get in detail of all of it, rather you can just have fun in the process and let it come alone on its own. That's more fun. Now let's create this dark one. I'm going to use this medium-size brush because if I do it with this small brush liner brush is going to take forever. I'm doing it with this one just to do it faster. I'm going to add some black to it. You see I don't mix the green and the black on the plate. Rather, I like to come directly on the Canvas and paint, and as we're nearing this edge, I'm going to add some yellow and blend it with this. One more thing I'm going to do here is take a little bit of black and create the edge of this mountain by shaking my hand little bit and creating some textures on the edge because it's like Green Mountain. It's not absolutely smooth edge. It's like there are greens on the edge of the mountain. I'm creating this wavy end of this left side one and it's pretty much done. Okay. Just next to it I'm going to add absolutely bright yellow that comes all the way here. Let me quickly draw it out so that I know where what is going. This is where the stream is flowing and this is where another land comes like this and this is where it flows. There's a lot smaller land over here. Keep referring to the photograph. This is where the stream comes flowing. Cool. The complete marking of the stream is done and now I'm going to just fill it up. It's so simple. I had black in this one so I better wash it off and take just yellow and create this part. For this part, I am mixing this light green color. I'm going to fill it up nicely with this medium-size round brush because it's easy to fill up bigger space faster. I'm using a little bit of water because it's very dry. Now as I'm filling it, I am starting to create some textures on top of it. With just yellow, the brush stroke whichever direction the brush is going, the texture is forming automatically. Over this side. I know I paint very fast, so if you feel I'm going too fast, just rewind it a little and watch it. Also, I would recommend that you watch it first and then you do the in-depth place. I have completely filled up the left side of the meadow. Just adding some random color, not really focused on. But the only thing that I do is I pick up the colors separately, rather than mixing them on the plate and picking. In the process, I created really nice textures. Now let's create on the right side as well. I'm going to take out some white, [NOISE] some yellow, moderate. The edge over here is not done, it's not done at all. I'm going to do that a little later. Right at the moment, I'm just focused on creating the beautiful greens on the right. The land is done. It's not 100 percent done, I'm going to come and revisit it once more. But meanwhile, I'm going to wash my brush, take the liner brush and do the stream in the center. For doing the steam, I'm going to use white and gray. The gray was already created here a little bit. I'm just using that paint and very softly, slowly I'm going here. I'm going a little bit on the land also to create the direction that I want to create and later when I finalize the land, that is when I will come and create the actual land edge. If that makes sense. I'm using completely gray here. [NOISE] There's a different color going to come here and now after adding the gray, I'm going to add some white to show the flow of the water. See how I'm adding the white. Just watch this part. I'm going to do it very quickly and I'm dropping the white flowy paint because these is fluid acrylics that I have. I'm adding that in the center like this from both the sides. Over here, the flow is pretty high, so lots of white over here. This rock over here that I'm going to do a little later but since connecting the sides little bit with white. At this point, what I'm going to do is, the water is pretty much done as you can see. But since I have this light blue, what I'm going to do is just make a little bit of light blue here and this can be done using the Prussian blue also but I'm going to mix a lot. I'm just adding little touch-up of this light blue here and there in some places. Not overdoing it and now since the rock is coming here, what I want to do is take the burnt sienna, mix it with little bit of black, and create the drops right over here. Not very particular about how it's coming, just trying to make the rock here and also create the edge of the land here. I just want to mix this green that I added a little bit with yellow so that it looks connected. I'm just adding that and over here also. A little bit of the edge of the land. Now I'm taking some gray and making it just a little bit darker gray and adding this on the edge of the water. It's a mix of all the colors, I'm not really segregating what color I'm doing. But it's like the mix of this burnt sienna, black and this blue that I have. Let's go all the way down because this is the rock over which the stream is flowing. So it's a mix of all these colors. These are some of the rocks protruding into the water, so I'm adding those rocks now. You see everything is mixed into each other so I can't really define if I'm doing the rock now, or the green now, or the water now, I'm switching between to-and-fro between all the things, and the colors are also getting mixed in the process. See now, very gently I shifted towards the left and I'm creating some of the rocks with this burnt sienna and black on the left side as well. So there are some rocks that are going to come up here as well. But let me just finish up the right side very nicely because it's almost done. There are some rocks here as well so I'll just do that part also. The colors that I'm using for this entire part is burnt sienna and black. More of burnt sienna because of the rocks on the edge. [NOISE] Same thing on this side also. Pretty much done this side. Now I'm going to add some more of these pictures on the left side. But before that, I'll do one more thing. Few of the rocks I'm going to create inside the stream. So few rocks here and there, so very small details. I'm not really adding them in absolute detailed way, I'm just adding some stuff here and there. One rock here, some rocks here. This is along with the green so I'm adding the green edge also because now the water has been done so I can nicely define the edge with the green and the browns and everything. You see how nicely it's coming together. Now I'm switching to the medium-sized round brush and just sticking this up a little bit. I'm not really getting into details of all of this, just creating some big strokes, which is creating the nice green metal. Some black here maybe and along with that, some green, some yellow. So the direction of my brushstroke is deciding the dimension of the land. [NOISE] I had black and burnt sienna, so I'm taking some more of yellow and green. I will create some more of this shadow over here in the distant land, so it goes like this. Wow, I absolutely like it, how it's coming. Simple done and I will add some highlight over here and some clean and white on the side. That's pretty much done. What else I wanted to do? Take some white and burnt sienna, so created with weight and buoyancy and I created this rock color, and now on the green area or I will come and add some of these rocks. There are lots of rocks falling here and they're, not in detail, just a few. These small details actually add a lot to the painting. I'm just adding small dots, basically, more white and burnt sienna. Let's have rock stand. Good. You just add a little shadow to this rock. If you just add one flat color it doesn't look very great, so I'm just adding some burnt sienna to them. Just a little touch here and there. There is a huge shock over here, so just that as well. Again, if I try to get into the detailing of all of these it's going to take forever so I want to stop at some of these rock color directly like this without getting into the details. Cool, I like it. What else do I want to add? Maybe some of the burnt sienna. The more burnt sienna I'm adding more fresh color is coming to this blue-green painting. Next what I'm going to do is this water is flowing through on these rocks, so just going to add a few of the water lines flowing through. Just some small detailing that adds a lot to the painting. That's done, just adding a few green strokes here and there. Cool. I think that's good. Like I said, if I keep on doing it, I can keep on doing it forever and add lots of minute detailing, but I have to stop at some point when I'm face satisfied with how it is looking, and the way I decide when to stop is also looking through the camera, so I'm looking through the camera right now and I'm absolutely liking the shadow and a light reflection of the sun. I'm going to stop here and take off the masking tape. [MUSIC] Here it is. I think I can go on and add lot more detailing to it, so if you've done [inaudible] I would ask you to actually sit with the reference photograph and see what else can you add because I gave you the basic direction of how to create this painting. But I want to ask you to go ahead and do some more of stuff that you want to do. There are so many small things that you can do. I am just doing a few just to show you what all you can do. So just keep looking at the photograph and see which is the part that you are liking. Maybe all of fit you don't have to do whatever you are seeing, but just hearing there you can add a few more strokes and make your painting look unique, different than what I have done. I'm also going to do the same. I'm probably going to sit and add a few more details to this part. This is a very good place to stop, and in this class here, I hope you learned a lot in this class. It was complicated painting, I would say. But if you've followed along, I'm sure you got a very good idea on how to approach a complicated photograph like this when you feel whether you will be able to paint it or not. The first step in starting any painting is to get over that fear that holds us back from even starting that painting. Keeping that in mind, so start any painting and you'll see that just block up the big areas that you're seeing, and you will be able to start doing the complicated painting on your own after you have finished this and you understood how to do that. I'm adding one drop here inside the stream. This small details, they make the painting look very nice, these small details here and there. See what more you can add. One thing you might have noticed that I don't wash my brush a lot and in the process, what happens is I end up creating a color that I myself don't know how I created because I don't wash the brush and it just mixes all the colors that I have on plate and creates something absolutely beautiful. I'm going to end this class by doing my signature. I'm looking for a place where I can put my signature and I think this is a good place to do. [MUSIC] There it is, tell me how you like it, and if you have been able to create this, please post it under the projects and show me what you did after following this class. I want to see how much more details you add after my class. I'm also going to probably sit now and add few more detailing to this. I don't know what I'm going to do. It pretty much looks complete to me, but maybe I will add some more rocks in this area. I'm so excited to see what you have done so please share your painting and tell me how you liked it and I'll see you tomorrow. Thank you. 16. Day 5 Continued: Dr. Dr. 17. Day 6 - This Must Be The Place: [MUSIC] Hello and welcome back. In today's class in Day 6, I'm going to teach a very easy landscape. It's a very easy one, but there are lot to learn here as well. I've chosen that easy one because yesterday's one was pretty difficult. It's a little lengthy also, so I thought, let's do an easy one today. The colors that I have taken out for this are Prussian blue, this is ultramarine blue. This is the light blue, this is cadmium yellow, black and white, and burnt sienna. These are the colors. I've taken the ultramarine blue because this is a little purplish-blue. This is a little purple, it has a little purple to it. I wanted to check how just in my experiment with Prussian blue and ultramarine blue and see what result I get. Let's start. I will start with mixing these two colors with little bit of white. You see there is a little purple touch to this color. I'm also using little bit of light blue shade. Look at the reference photo. The reason I started from here and not from the top, is because there's a lot of blue here, and then the cloud starts from here. That is the reason I started from here. On the top, I'm going to start with white directly, because this is where the clouds are starting to form. Looking at the landscape, however the sky is, that is how I decide where I start from. Also, I'm doing it very loosely, which means I'm not trying to create a lot of exactly how it is. First thing I'm doing is creating all the edges of the clouds. I'm keeping my brush lying down on the canvas and creating the edge of the clouds. Just adding more of white to it. This is not the final picture. I'm going to come on top of this and add just a little bit of shadow. Then from the bottom, and this comes all the way till here. I love this light soothing blue that I have created here. Now gradually blend the cloud over here. Very loosely again, I'm creating the edge of the cloud in this way. This is a little weird shape for the sky, but that's okay. We need to practice different types of landscapes to be able to paint different types of skylights, so that's why I have chosen this one. Now I will start creating some of the shadow color, which is gray, and this is where it's a lot dark, but I'll still wipe off a little bit of it. I don't want to have too much of paint in my brush. I'm adding the dark shades over here. Now gradually let us start to go up. It's mostly light gray shadow, not the dark gray that we did here, so with light shade. I'm going to go bit by bit and add the shadow color, wiping off the excess paint and adding little bit of white. This is starting to look good. Just moving here and there wherever I feel I want to add something, not very particular doing it roughly randomly, just adding little bit of blue which is showing through the cloud here. I'm going to add some blue here, along with white, which is like the sea at the distance, almost blending into the horizon with the sky, such a pretty landscape, and leaving it at that because I'm going to create some clouds on top of it floating. Most of it is not going to be visible, so I don't want to go up too much. Like I said, it's going to be a very loose landscape. Let me start off with this brush and then gradually I'll move on to the small liner brush. Because if I do the entire thing with the small liner brush is going to take forever, so I think it's good idea to start off the big clouds with this flat brush and then move on to the liner brush. Roughly I've created the shapes. Now I will go and add some of the shadows to them. Now I'm going to go slow. I have a problem of painting really fast, and that happens when you paint a lot. If you also start painting quite a bit after creating probably 100, 200 paintings, probably also you'll get also this speed. Creating little bit more of the shadow color so that I don't have to keep creating it all the time, and this is the lighter shade that I want. Now bit by bit I'm going to go and create all of these small clouds at a distance. I absolutely enjoy doing this. There is really not much of technique here, all you have to do is create the cloud shape and then add the shadow and blend it of with the white so that its not too permanent. It's really easy. It's just that you have to just keep going for all of the clouds one by one. I'll let you watch it and do it slowly [MUSIC] Isn't it so much fun to just keep looking at the photograph and be able to create the clouds and the landscape. What I really want you to understand here in this class is that by doing a couple of these paintings that I'm teaching you, you will get such a good idea of how to paint sky and landscapes that you should be able to look at any photograph and you will be able to create it. I really want you to get that confidence after doing it and that's why I'm recommending that you have the photograph open and have a look at it while you're doing it so that you get a good understanding of how to look at a photo and then do it. In some places I am adding little bit more of fresh white to give the white, let's highlight area of the clouds. The down area where I'm doing the clouds now, it's not that I am doing each of them individually very nicely, but I'm just creating the lines which are giving the cloud-like structure. That is how I'm going to do it. I don't want to get into all the detailing of this, please. I'm pretty happy with how it's turned out and I don't want to do much. I just want to add a few more of the loose clouds on the edge over here. The fresh white clouds give a much better summary look of the sky. That's it. Now, I am switching to the flat brush. I haven't washed it yet. All I'm doing is using the same brush, I'm not doing anything. I had a little bit of blue in it and using the same brush I picked up yellow and adding over here. For the remaining part I'm mixing little bit of black with cadmium yellow which creates a very beautiful green, and I am using that green to cover up this place. Now, as you notice, I'm not going to create exactly how it is again, I'm just going to give the impression of the land. Just creating some horizontal lines, alternating the green and the yellow. This is pretty much done. Switching to the liner brush and taking burnt sienna to create the land over here. You'll see in the photograph there is a small land, so that is the one I'm creating here. I leave it at land. I think this is a mountain. Adding some shadows to the mountain, and some of the distant mountain. I like doing these lines because it differentiates between the horizon, it differentiates between the sky and the land, which is almost blended into the background. You saw that I did not do the mountain very neatly just spew impressions. Now I'm going to create just some of the green grasses that you are seeing here. For that I'm mixing ultramarine blue and yellow. I'm creating this grass-like structure that you see here. This is so fun to do and it's so easy or so I hope you are able to understand by now how easy this is. Once you get a grip on how to look at a photograph and paint it. I absolutely love this green color that I'm doing, mixing yellow and black. Like I said, it's a fairly easy landscape. I'm adding mode of black in some places to create the shadows. In some of the places, I'm adding these blacks alternately with a green to create the shadows of these bushes. This is pretty much done. I don't want to overdo it and we finished it quickly. If you want to continue doing more, looking at the photograph, you can. In some places actually it's a good idea to add a little bit of green touch, but I don't know how to do that. I want to finish it at here. But if you want to add little bit of bright green color to this and that will look nice as well. But this is the color combination I really want to have for this one. [MUSIC] Let me pull up the tape [MUSIC] Can you see how good it is looking, especially the below area after the pealing of the mask. It's giving a really nice edge with little highlights over here, all little dark over. The whole landscape looks pretty balanced. I'm just going to end up this painting with my signature. Participate, difficult to place it here. But I think I'm going to do it here. [MUSIC] There you go. A fairly soothing very easy landscape where you get to play with the clouds a lot in a very different way. This sky is very different than all these skies that we have done so far, and a very easy landscape that makes you feel like you are now looking at this landscape and feel like just being here. I absolutely love it. I think I'm going to touch up a little bit on the Cloud section and in this painting. [MUSIC] Thank you. I hope you enjoyed creating this beautiful landscape with me. Please post your painting. I would love to see how what you did. I'm actually eagerly waiting to look at what you guys do. I will see you tomorrow. 18. Day 7 - Keep Rolling | Part 1: Hello and welcome to Day 7. I hope you've been enjoying the past six days and you learned to create different types of clouds. The point in this class is not just painting clouds, but learning to paint different types of clouds. If you see in this painting in today's class on Day 7, I'm going to teach you these clouds, which are not very dense like the past six days, but in today's landscape, the clouds are very sparingly floating in the sky in a very small quantity. By now since you've already learned how to paint the clouds, it's going to be so easy, but it is also going to be a different type of cloud that you're going to learn in this class. Also, I absolutely love this landscape for hay bales rolling on the wheat fields. It's just a perfect summer landscape and let's get started. I hope you enjoy this painting. Let's get started with today's painting. Here is my acrylic paper and the brushes are the same. One flat brush, one middle-size round brush and one liner brush and the colors that are taken out for this class is ultramarine blue, light blue, cadmium yellow, burnt sienna, viridian green. Wait, let me show you. Viridian hue green, this is the shade. These are the five colors, plus black and white. All right, so let's get started. In this class, I decided to experiment by mixing ultramarine blue and the light blue. I don't think this is a combination that I have done before, so let me start mixing with the colors with a little bit of white. I like mixing white with any of the sky color, so to tone down the color and make it look pretty. It's coming out a little muddy and not really vibrant blue so let me instead switch to this light blue color directly. This is pretty nice and vibrant, so let us continue with this one. You see this is the benefit of acrylics. You can cover up one color with another one. Now, as we're going down, I will start adding more of white to this blue. This blue is not the same as it's shown in the photograph. If you want to do the exact same color, then you can start off with Prussian blue because this is the same color. I had done quite a few dark blue shade in the sky, so I wanted to experiment with a new color. That's the reason I'm not using the Prussian blue. Otherwise, Prussian blue would have been perfect for this painting. Just creating the horizontal line now, and I'll go up and mix it up with the light blue. Just taking little touch of water. So whenever you want to do a smooth blend, as in you don't want the texture lines to show too, just add more water, and if you want textury background like I like mostly, you can ignore the water, very simple. If you look at the sky, it has a very smooth blend. Not necessarily whatever I'm seeing I have to do. I can do it in my own way, so I'm keeping it little textury, blending it little bit here and there. I like tender very gentle shade of this blue, which is nice because some of the previous paintings, I did are dark blue, so I wanted a lighter tone just for a change in the color. You see, I went up and down quite a few times to bring it to a blend that I like. It's totally your personal call, how much you want to do. One of the things that I've noticed is when you do a very dark background, with the Prussian blue, the clouds become very prominent. That is the only benefit of doing a dark background. But sometimes I like soft color of the blue as well. This is where all the distinct mountains are going to come, so I'm adding just a little bit more of white here so that is it. There are few textured lines that are visible here, but I'm leaving it at that. You see some lines are visible here, so that's okay. Now I'm going to paint the clouds immediately. Rather than washing my brush, I am wiping it off. Now, I am taking just a little bit of white, not too much because is a very loose clouds. Just making sure it's dried. It will be absolutely dried, but since it's summer, it can dry up quickly. Yes, it is dry. So you see my white is not blending up a lot with the background. It's blending a little bit which is good and with very gentle pressure. I'm coming here, making the brush lie down on my canvas, and creating the loose clouds like this, very gentle touchings. I'm using the edge of the brush to be able to do this. Adding one more layer of white on this. Okay, now adding few loose ones next to it. I'm taking a little bit of pink body acrylic white here, to be able to do this nicely. The edges are important, like I always say. Now, doing a very thin one, so I'm making my brush lie down and with very gentle strokes, I'm adding few of the clouds here and there, a few here. See if it was on top of Prussian blue, it would have been very prominent. Right now, it's not very prominent, but it's creating a very calm-looking sky with clouds floating in it, which is also very nice. Here is one big one in the center. I'm not using the entire breadth of the brush. I'm using the corner to be able to have a list face covered by the brush. If you find it difficult to do it with a flat brush, switch to a small brush that will be easy. Over here the clouds are very small, so definitely switch to a smaller brush. But I like having fun with a flat brush so I'm continuing with that. You see I'm just using the corner of the brush here. We're going to revisit this one because this is a big one, so I'm going to revisit this after sometime. There's one more here. Whenever you've taken more paint, you won't be able to create the loose edges, for them you really need to have less paint. I just wiped off excess paint on the tissue paper and then creating this loose thread-like clouds. This is the reason I have chosen this painting because it has a very different cloud way, loose, very thin one rather than a very thick one, and there is one more, like a big chunk. If you use floating ones in-between here. Using the corner of the brush again. Now this part has completely dried, so I'm just going over it once again and adding vibrant white color. Pretty much all the loose clouds have been added. Now, I will just add a little bit of shadows to this. For creating the shadows, this time I am not going to use black, rather I would use a little bit of what is this one? Ultramarine blue. So I got a popply shade, and there's not too much of shadow in this one, just very light shadow. I like the gentle look of the landscape that is happening in this one. Very soothingly welcoming look. So yes. That's why not adding too much of shadow in this one is like very much white clouds. Alright, so now that it has been added, I'm not washing this brush. I'm just keeping it aside, and I am taking a little bit of this liner brush and adding some of the prominent white highlight of the cloud. Some here, some here. If you look at photographs of different types of clouds, you'll see there are so many variety of clouds, known too clouds are pretty much the same. Which is so good to look and observe and paint that you actually get to observe nature so much more when you paint landscapes, which is why I like it a lot. Otherwise, you don't really get to stare. Even if I stare at the sky and look the clouds, it's not like I'm paying attention to all these nitty-gritty details of each of the clouds like where the highlight is, or where the shadow is formed. But when I paint the same photo, it really opens up my eyes to see so many different things and after you paint a few of the landscapes, once you start looking at nature or at the sky, you will see this sky differently just because you have painted it. Because painting really opens up intuitive eye that we normally don't use. I said normally because some people might use it without painting as well. I'm absolutely loving this feathery loose clouds, not too much, just in small clusters fluting here and there. All different random shapes. All right, so pretty much done. It's looking really nice. I love the shadow that has formed here. Just a little bit of shadow here, also there is a little bit of the shadow. Just adding more highlight on the right because the shadow is on the left. The shadow is very shuttle, it's not very bright, which is different from all the previous ones that we have done. You see the blue was little wet here, and that's why the blue has still not dried. So I'm adding a thick layer of white on top of it to cover that up, but it's okay. I'm not going to get into too much nitty-gritty detail. Now before adding the mountains, I'm just adding may be more clouds floating here, at a distance, which is so good. Small lines and just adding little bit of this ultramarine blue and the white one to create few of the distant ones, which are not absolutely brightly visible. That's where I'm adding little ultramarine blue with it to make it toned down. That is the distant cloud, and now I will create the distant mountain. For that, I am adding more of ultramarine blue. This is not the color. If you look at the photograph, this is not the color. The color is pretty much, I feel like it's lighter version of prussian blue. Actually prussian blue would be a perfect color for this painting, for the sky as well as the distinct mountain. I've toned down with little bit of white, but I absolutely love the color that I'm doing. Let me take a little bit of black with it. That's a lot of black. I'm just going to mix it up. More ultramarine blue, maybe just a little bit of light blue. Little lighter shade at the back, and little darker one in the front. I made a little bit of distant mountain, a little bit of front mountain. Maybe just a little bit more of dark shade absolutely in the front. There's going to be a lot happening here but for the time being, let's just leave it as it is. We just created some of these distant mountains with light shade at the back lighter shade at the back, then a little darker, and then absolutely dark. Three layers of a distant mountain made did here and let me leave it at that. The reason I did not watch this one is because I'm going to use the same brush and create the entire front part. I picked up a lot of yellow and just a little bit of this green. As you can notice, I'm just mixing everything on the paper. A little bit of burnt sienna. Basically the wheat field color, the entire background I'm adding a lot of this, just a little bit of white. All I want to do is fill it up completely and then come on top of it and paint it nicely. I always like to apply a layer of background to my entire painting before adding all the details on top of it. That way what happens is two things. One is my painting is undercoated with one layer of paint. If anything is visible is this color, not the blank canvas as in the white canvas, plus it's helping me covering up a lot of paint like the color of the canvas as well. I'm mixing the colors directly on the paper. It's mostly brown because it's summer and it's like dried wheat field. It's like yellow and burnt sienna mostly. In between, there is a touch of green as well. Let me take out a little more yellow. This distant part, I want to keep it very light, so I'm adding more of white to this part. As it is coming down more of white and burnt sienna. You can see the amount of texture that I am creating in the process. I'm leaving it at that. As you see while creating the background, just go multiple times up and down. Look at what you're creating. see if you are liking it because this is like I said, it is a background, so it's most of it is going to go in the background and I'm going to paint on top of it. so the texture really doesn't matter. But I like to create really nice ones rather than making them bad one. That is why I'm going up and down a couple of times to make sure that it is nice. I kind of made it already. It's looking like a distant field because it's like light on the top, dark at the bottom, so that is giving the depth of the field. With that, I'm going to take a break here. Make sure you can also go and take a break. Have some water and freshen up while we let the painting dry and in the next step, we're going to come on top of this and add all the beautiful details of this painting. I took a little break and let the canvas dry completely, hydrated myself as well and now we're going to start and paint the remaining part of the painting. All right, so for that I am using this liner brush, zero six liner brush and this is going to be a very exciting part of the painting so watch this part a little bit, and then probably you can start painting. I'm going to use these two colors alternately, burnt sienna and this dark green color. I'm not going to paint it out completely as in like sketch it out. I generally like sketching with my paintbrush. But if you are a beginner and you feel like a little difficulty in doing this step, feel free to use a pencil to sketch it out. What I'm doing is looking at the photograph and marking out the place of the green area. Then there is some green coming here, that I picked with my finger but that's okay. Then there is some coming here. Then some here. You see how intuitively I'm looking at the photograph and I'm creating this place, not going into too much of detail, and also I am observing the direction of the field. I'm going in that direction. It's not just green, it has a little brown in some places as well. I think this is the place which is not dark green. Connecting in acrylic is fairly easy. I am taking some of the yellow and adding it here. This is the black space and not the dark green space. Adding some white also to this place, a little burnt sienna. This is how you correct if you make any mistakes and then let me add all the dark greens first, that will make it easy for me. Coming all the way here. Then a little patch over here. Not too much water here, so I'm painting with thick paint to create the picture of this distant land. That is the very good way of painting such landscapes. Where rather than your brush doing the work, you let the paint do the work. So apply a thick layer of paint and your textured green. Let's say for example, let me show you. So this is a very thick amount of paint that I added, and you just move it around a little bit. This is almost like the thick layer of the green is formed here. right a little bit of shadow to this by adding a little bit of black. You see, look at that texture that I created here by adding a thick layer of paint. So same thing you can do everywhere, and add this thick green. That is why I'm using the green in this one. Otherwise, I would have mixed blue and yellow to create the green. But since I need a thick amount of green, that's why I am doing this. Same thing I'm going to do here as well. I really like a thick amount of green and a little shadow with black. The black's here. I think I have pretty much done the greens. Now, on top of this without washing my brush, I'm coming and adding some of the yellows. You see the reason I'm adding immediately is because I want it to kind of mix up with this a little. At the distance also there are a few green lines. For this, because I want to create an absolutely thin line, I am taking a little bit of water and adding some of the distant lines. So adding some black also along with it. There's a lot happening in the distance if you look at the photograph, but we're not going to go in on that detail and see how easily we do that. So creating some lines with green like this, trying to create as thin lines as possible. With that adding some yellow also in the lines. Maybe some blue also, just to create some variety in the colors. Now let's add a little lighter color. So we added quite a bit of dark colors, now a few of the lighter colors. You see we're not really defining all of them at the distance. But still we came up with a very nice, distant looking middle. To sum it all up, I'm adding a little amount of black in the distance. The complete distant land has been done. Now let's add all the colors in this middle portion. Before that I'll just add some more of the green here. Now I'm washing off the liner brush and adding some yellow and a burnt sienna and a little white, and I'm adding it in the direction of the field. Same thing continuing wherever I have a little white spot [inaudible] adding over there. Over here as well. Alright, so that is the entire distant land, which has been done now. All I did in the end was adding a little bit of this yellow in-between, this green area just to add a few highlights. It cannot be just flat out dark green. I added just a little bit of yellow as the highlights. On the shadow we had already added earlier, right? So all I did now is just add little bit of yellows because you understand the light and shadow of the landscape is very important. So adding the highlights were also very important. That is all for this step. In the next step I'm going to add this beautiful field. 19. Day 7 - Keep Rolling | Part 2: Now for the next step, I'm using this middle size number 6 round brush. I'm going to continue the same thing except the color is going to be different this time. Before moving on to that, I'm just going to add a few more of highlights in this top section. This is white and yellow. The light yellow. I'm adding this color because the more highlights you add, the more gorgeous the shadows also become. Adding a little bit of highlight. Is a light, shade. Over here as well. Some here. Now, I washed off that brush and this is the one I'm using. The reason I'm using this middle sized round brush is just so that I can cover more space in less time. All I'm using is yellow, white, and burnt sienna. That's all I am using. Going in the direction of the field that I'm seeing in the photograph. Actually, I'm going to use this liner brush and this round brush alternately. I'm using little bit of burnt sienna and yellow mixed with white and creating. You see this lands that you see here, which is coming from here to here. One Then there's one from here to here. That's it. We're going to follow this direction. Mode of burnt sienna and yellow mix. As I'm coming down, it's becoming darker. Trying to create these lines that I'm seeing in the field. This place, it's like in this direction. I'm just following the direction of the field, as I'm seeing in the photograph and reach the bottom of the canvas. Now I'm just going to make the lines a bit more prominent. That's why I'm switching to the liner brush. You see how nice thick textury it's becoming. I'm not going to cover the entire thing. Just so that the background is visible, beautiful background that we have created. Just adding a few strokes. Then the strokes in this direction. Adding more white to it so that just so that the directions are visible, there is one direction of the field in this way. You'll see there are a lot of directions in this way. Just creating the directions. Let the colors be a little different. The colors doesn't have to be exactly what you are seeing. Just little bit here, and that is fine. As long we are able to create the direction, show the direction of the field by using the textures. This look beautiful. I'm absolutely loving all the directions that I'm able to create here. You see just by mixing the burnt sienna, cadmium, yellow and white, there are so many shades that I was able to create here. Just because I'm not mixing them a lot on the palette, in the canvas they are forming really nice. Now I think the undulating texture of the land is very much visible. Now I'm going to let it dry. [MUSIC] At this moment. What I can also do is peel off the tape because after this I'm going to add the hay bales, the rolling wheels that would be inside the canvas. It's not much on the edge. I can peel it off now. I'm so excited to do that always. [MUSIC]. Here it goes. I'm not going to let it dry completely. The reason I wanted to make it dry before doing the hay bales is because if there is any mistake that I want to correct, I will be able to do it only if the background layer is completely dry because I don't want the hay bale to mix with the field there that I want you to pop up on [inaudible]. Because of that, I'm going to let it dry. Now we are at the absolute last step of the painting. I'm going to create these beautiful hay bales or the rolling wheels, whatever you might want to call it. They are going to add so much of a definition to this painting. I'm starting off with a small liner brush and taking burnt sienna. I'm starting off with this big one that we see in the front. Just creating the round structure. This is the shape of it. We go like this. A geometrical shape that we learned in school in the geometry class. A cylindrical shape. I'm focusing on the shape first and then I'll fill it up with color. Did you see that I did a little correction. I increase the size a little bit to the top to connect it with this. The shape is done. Now we're going to fill it up. I'm going to start by adding the dark color first. This is the shadow side. Then adding a little highlight on the top. Because on the top the sun is falling. It is light on the top. It might take me to take out some white. The shape is getting a little distorted, not the way I did at the beginning, but I'll bring it back to shape very soon. This is the side and I'm going to add some more of the shadow. Highlight to this. There's going to be even more dark shadow at the bottom, but before that, let me now come here and add the front of the rolling wheel. All we're doing is we're going in the direction and creating the picture. Just by using the picture, we are creating the shape of whatever we are doing. There you go. The shape is very clearly visible now. I am just going to make it a little dark, so by adding a little bit more of burnt sienna. Adding thick textury paint to make this look very textury. Now, I'm adding some of the burnt sienna on this side. Now, I'm going to add some black. Absolutely at the bottom and mix it up with burnt sienna. Just a little bit on the side. Just a few lines here and there, all dried. I feel I've added too much here, so I'm adding some more of burnt sienna here. Now comes the shadow, that black and burnt sienna mixed color, so that is what I'm using to create the shadow. Very, very dry strokes, make sure you don't have much paint. I don't have much paint, that's why I'm going directly on the canvas. If you have just wipe it off on the tissue paper. If I have very less paint, I can create some dry strokes like this. Going all the way here and really gently adding the shadow very, very gently. On the edge, I am making it little bit blurry. Just like how we do the edge of the cloud. Exactly in the same way, I'm just adding the edge of this background in very dry strokes. It is done. I'm just going to add some more of the light color because I feel like there's too much of dark over here, and a bit of white and yellow. That's it. Now at the bottom over here. See I'm just adding one more layer of shadow, and washing off my brush. There's few of the grass which is in front of it. For that, all I'm doing is adding little bit of the previous color that we had on the field. That is the color I'm just adding on the front of it. Blending it into the shadow, and leaving it at that. The biggest hay wheel has been done. Now, let's move on to the next one. I hope you understood how I did the first one. By watching the second one, you will get even better ideas such as on the top, there is a lot of highlight. I'm just adding one more layer of highlight on the top. I am not sure if I'm really satisfied with the shape that is forming, so I'm just going multiple times on top of this. Yes. This is pretty good. Now, the same thing continues. I am taking a lot of burnt sienna to create the shape over here. First thing is the shape. This is a little smaller, because this is a little behind. I'm creating the shape first. Here is the side part. Filling it up. I can create the shadow also at the same time, this is where the shadow falls. The entire structure has been done. Now it's time to fill it up. Again, I'm starting off with the side portion first. Adding little bit of yellow to create texture. I'm going to add the black later, so for the time being, I'm coming to the center, adding lots of yellow, a little bit of white. Right, this is done. Now, I can add some burnt sienna, and let mix. Here comes the shadow. That's it. See in the second time it's done faster. Also because it is a little smaller. I'm adding burnt sienna more, and adding some of yellow to blend it off into the background. Adding some highlights on the top and few of this highlight's color in the center. As in, the shadow colors. Maybe a little bit more burnt sienna in the center. Two are done and now there are so many small ones. Let's do them one by one. They are not going to take more time because they'll be tiny ones. All I'm doing is getting rid of all the paint from my brush because they are really small and I need to be able to have a very pointed tip to be able to do them. Rolling off my brush to get rid of the paint and I'll start from here. There you go. You see just in a couple of strokes, this one is done because it's small. This is the shadow, a little bit more of black. This is done. Next one. A couple of more. I don't think I'm going to do all of them. Let's see. I'll do as many as I feel like doing. This is done, creating the shadow and then the light touch on the side. That's it. I feel if I take out even smaller brush, it's going to be better for this day because I'm struggling with a liner brush, so I switched to an even thinner brush. I think I can do more definition with this brush. That is right. They are looking really gorgeous and maybe just a couple of more. These are very, very tiny because they are at a very much distance, and doing these tiny ones with my small brush is extremely difficult. I'm not going to do all like I said. All I'm doing is adding all the shadows, small amounts of shadows with burnt sienna and black. The shadows, as in the shadow on the field. Then take the yellow and white mix. Pretty good and maybe just a few on this side. These are just as sides. I think two is fine. I'm going to do too many. If you are painting this on a bigger size Canvas, maybe A4 or something, it's going to be easy to do this. You learned how to create the shadows of the hay bales and they're really easy. If you look at the painting, there are quite a few more. I would definitely highly encourage you to do more if you can, or you can stop here where I am stopping. I love these beautiful shadows. Have a look at it close. It's looking gorgeous, especially this distant land. You can see the highlight and the shadow of the painting is creating a really good texture from a distance. I'm going to end it up with my signature. [MUSIC] That's all for today's class. I hope you enjoyed this class and if you created along with me in today's painting, please post it in the projects pillar. I would love to see what you've created and see each other's projects. Thank you so much for joining and see you tomorrow. 20. Day 8 - Path To Greatness 1: Hello, and welcome to Day 8. In today's class, I have chosen to teach you this beautiful landscape of cumulus clouds in three big chunks. Also, I love this painting because of this road, it's like going towards the infinity and it's a very beautiful landscape. Once you learn this painting, you will see that you are able to create this landscapes that you come across online in a photograph or maybe even a photograph that you've taken and you'll be able to create them so easily. Dive in start the class and enjoy learning to create this beautiful landscape. Let's get started with today's painting. Same acrylic paper, same three brushes and the colors that I've taken out for today's class is Prussian blue light blue, permanent cadmium yellow, burnt sienna, burnt umber. These are the five colors, along with black and white. Let's get started. Today I was thinking you have already done seven paintings and you've seen that I always start the sky from top to bottom. Today I was thinking of experimenting and starting it from the bottom up. How about that? It will be something new to learn today. You could also try this out along with me and then find out which one you like more, which one is working out better for you? I'm starting from the bottom with the light blue color, along with white. I love this color. This is such a vibrant, happy blue color. I don't know why I bought this ever because I never used to use it, but I had it in my test for a very long time and I never used it. Then once I started using it, this has become one of my favorite color. See, you can create this color by mixing chocolate with blue with white. By mixing a few other colors as well. But I feel like why do so much of painting if the color is already available directly, and this is a color I use a lot, so I think this tube is already in ending. I have to buy a new one probably. I have gone up. Now what I'm going to do is add a little bit more of light-blue and gradually start adding Prussian blue. Because you must have noticed by now in all the previous paintings, I go up and down so many times to get a blending of my desire. I was thinking, what if I start from the bottom and go up? Do I have to do so many times of blending? That is exactly what I want to find out. Experimental is always good, you always find something new so try it out. Since I'm sharing with you all my thoughts that I'm having while I am doing this, you are also understanding how I think and how it is good to think in different lines rather than always doing the same thing. As far as I can remember forever, just to make it easy for you guys. Whenever I have taught sky, I have always started from the top and come down always like as long as I have been teaching painting for like seven, eight years now. This is probably the very first time I am doing from bottom up. Now I'm taking just a little bit of water. Just to make a smooth blend, I don't want too much of texture. I don't like adding too much water in my painting anyway. See, I came down and all my pretty light blue is gone. This is exactly what I was trying to avoid, but I could not. It became diluted with Prussian blue. I'm not going to leave it at that. There is lot of pictures in the sky and I think I'm going to leave it like that rather than trying to smooth blend it. Keeping the top absolutely dark. Like I was telling in yesterday's painting, then you do the background so dark, the clouds look gorgeous. This photograph has really nice clouds. I really wanted to take advantage of it and do it nicely. You see how I'm blending with the dry brush strokes I am moving it around and round, and bringing it down till here. Almost the blend is done. Just I want to add a few more strokes at the bottom. Honestly, if tell you my feedback after doing this from bottom up, I think I preferred the top-down approach much more because anyhow I have to come down and up multiple times to do the blend of my choice. It wasn't really too much of help going from bottom up, so it's okay. Now you also got to do it. Now you can choose however you want to do it and do that. I'm going to take out some more of the light blue. That's enough and in this one, what I'm going to do is I'm going to let this dry completely because they know what happens is every time I start doing clouds on top of this, it picks up this dark blue from the back. What I'm going to do is let this dry for some time. Meanwhile, what I'm going to do is [inaudible] this brush because I don't think I need this. I'm going to paint the road and do all the other stuff the bottom part, so fill the background of this interconverse. I'm using the absolutely thin liner brush. The color I am making is mixing burnt sienna and white to create this beautiful pastel color. With that, I am going to create the bottom part. Creating the horizon line here. I am drawing it out as always with my paintbrush. Feel free to do this part with pencil if you find that helpful. Or I would say, start doing it along with me with the paintbrush and you will see how fun it is. I'm mixing a little bit of burnt umber to this. I got this another beautiful shade, which is what I'm going to use in the road. Now what I'm doing is using this color and going in the direction of the road. In-between coming with just white and blending this off with the color I just added. I'm going with white in-between and blending all these colors together. It's such a pretty shade. You can use this shade in other paintings also. It's such a good shade that you can create with burnt sienna and burnt umber. Now the distance, I'm going to add some white to create a light on the side. You see how alternately I'm adding the color with a little bit of white. That's how the road is done. You can absolutely see the depth of the road coming from the far away to the highlighted in the front. Now on this side, you see there is a little dark patch. I'm going to create that with burnt umber. Very less paint and almost no water. That's why I'm getting these broken lines. That is a good thing because it looks good. With a broken line, I'm adding some shadow next to it. This part is done. We're going to add some more lines, but I'll let this dry up first and then I'm going to add all the stuff. This one I added immediately because it's going to blend into this very nicely somatic, just one more line next to it, which is almost getting blended into this one to show the perspective. Isn't this good? This part is done. While I'm with this color, what I'm also going to do is add the horizontal line. The colors are drying very fast. I just took out the color, and it's almost drying because it's very hot in [inaudible] these days. I'm absolutely loving the summer because I am painting summer landscapes. What can be better than that? This is going to be the mountains coming up here. I'm not going to the mountains now because I will do them after adding the clouds. The reason I added this is because I'm going to add the green over here. Watch that, how I'm going to do it. I just washed out my brush and immediately before this dries, I'm adding the white, yellow over here, a little bit of white so that it mixes into the burnt umber I just added. Now what I'm going to do is mix the yellow, and Prussian blue and create this beautiful green. I'm going to come here and add it here. Again, I'm following the direction of the field to add the color so that it looks like it is in that direction. Just by maintaining the directions, you create such realistic look of the painting. I maintain the direction and I'm going to add some more that will blend almost with the burnt umber on the side of the road, and adding some white highlights. The field is pretty much done. If you notice there is a little bit of brownish shade also to it. I'm just mixing the same green only with some of the burnt sienna to give a touch-up of just a little bit of brown shades over here. Not too much. Very dry brush strokes of brown on the side. The green is completely added, and maybe some of the browns in this distant place. Now the same thing, I will continue with the same color on the left side. Very light color. With just these many colors, if you just mix it with different amount of white, you can create so many different shades. I absolutely love this green shade that I'm creating without using green. Isn't that so good? In-between, I'm adding a little bit of brown shades. Now let's add a good amount of green. Very dry brush. I'm almost struggling to apply the paint on the paper, but I think having a little yellow. In the photograph, you don't see too much yellow, but I'm adding a good amount of yellow because it just makes it very vibrant. Otherwise, it might look a little dull. I'm just mixing all these things up together and connected all the lines. I'm just following the direction. You see here I followed this direction, here I follow this direction, and add different shades of colors in between. Just adding little bit of browns here in the distance. That's it. Maybe just a bit more of brown over here, drying my brush. Don't want to add too much. Dry strokes like how we did this burnt umber area like that with burnt sienna. Very dry strokes. I'm just wiping it off and adding here the burnt sienna strokes, broken burnt sienna strokes on this side. While the sky was drying, we finished the complete background. We'll take a break here. Just adding a little bit of burnt umber. [NOISE] I'll let this dry. Take a break. In the next step, I'll start off with the clouds and then come down and finish this whole thing off. At this step, we have covered the entire background, and in the next step we're going to add all the highlights on top of it. 21. Day 8 - Path To Greatness 2: It's been five minutes and everything has dried completely and now let's start adding the clouds. I'm starting off with the white and I switched back to my flat brush, with which I added the sky background. Let's create the big shape of the cloud with the edge that you see over here. Just a very big outline. I'll fill this up completely. Be careful when we are close to the edge of the cloud and with dry brush strokes and adding the edge in a very, very loose way. Add the other one on this side. I don't know why I picked up on it to blue because I thought it might look good, but no, even white is good. Dry brush strokes while at the edge. Some of these small loose ones. This one I can do with a small brush also, but I'm actually more comfortable with the corner of the flat brush. But you can do it with this small brush. I will also do it with a small brush maybe a little later I'm taking a little bit of a thick body white paint. There is a huge one in the center, so let's get to that. Creating the rough edges. Starting to look pretty good to me and now use the small one on the left side. I feel working with a thick body acrylic for these textures work really good. Just a few strokes. Now they're very quite a few small ones below this, so let's get to them now. Many different weird shapes of the clouds and it's so fun to do them of every different shapes. I think time is coming up gradually for me to give up the flag brush and move on to a thinner brush, because this is small now, I'm using the corner of my flat brush to do this small ones. I absolutely love working with my flat brush for everything. Even though I'm using such a big brush, I'm using only the corner of it to create everything. There are lots of clouds here. You see I'm not really getting to all of them individually, rather than just creating a lot line over here. They're so many small ones for them also. Some of them are of my individual style of cloud. I'm not really trying to do all the exact shape, but I'm referring to the photograph for replacing the clouds here and there. But all the small ones, I cannot go through each of them so I'm putting them in my own way. Lots of clouds have been added, I'm keeping the flat brush on the side and moving in with a liner brush now, and let's see if I can add a few more. There is a lot of water in the brush, I got rid of the water because it has to be a dry brush. Wherever I want to do some nice edges with a small brush, it's much better to do all of that. Give the exact shape of the edge and not a very rough one, so that I'm doing with this small brush. Correcting some of the edges wherever I feel like correcting a little bit. Trying to make sure that I' m going all the way to the edge of the masking tape and adding it so that nothing is left out on that corner. I'm just making sure that I'm adding white wherever necessary and after this, I will start making the shadows. Over here we have a little less white and the first thing I'm doing is making them prominent white. This is done maybe if I just increase this just a little bit more on the edge. Over here also you see there is a little bit of blue showing through. I'm just going and filling them up as much as I can and adding some edges. Nice looking edges. I am pretty happy with how this turned out. Now it's time to add the shadows. For the shadows, I am going to mix white and black and create some gray. I'm taking out just a little bit more of white. Tiny bit of black creates a lot of gray. At this time I think I'm done with the flat brush, so I'm just keeping it in the water. This is the dark gray and now I am toning it down and mixing it up with white on the side. Let's add all the shadows wherever there are shadows. This is in the middle of the cloud section, there are few shadows here and there. I'm using white to blend it off into the white. At this point, what I'm also trying to do is wherever there are few of the blues or showing through the white, that is the place also I'm going to and adding some white. Blending it with white. The shadow has been added onto this one. Now let's add here. That's a lot dark, so I'm just going to add some more white to this. It's done. Now in this one, lots of dark shadows here and a few over here. All the shadows have been added. Now I'm going to blend it off with white. [NOISE]. Just a little bit of shadow, there is not too much of shadow in this one. Very light amount of shadow, but very little shadow. As we're coming down, let's just add quickly to all these small ones. Just at the bottom, just touching up the bottom part of all of these small ones little bit. We're also adding some bright white to top it up. Just playing around and just doing a little bit of stuff here and there. I'm absolutely enjoying this process, so just continuing little bit more with it. This is done just making sure I'm going all the way to the tip here so that after the mask peeling it looks really good. All the clouds are done, big chunks of fluffy clouds. I absolutely love it. Like I said, it will end only when you want it to end. If you feel like adding some more highlights or shadows, feel free to do that. Just going to add a few more of the stuff here. If you've noticed, there are beautiful lines of clouds formed, I generally don't like to paint that way with absolutely doing it to the tee. I like to keep it in a little loose abstract way and give the feel of it while at the same time not doing it in detail. The clouds are done. Now, I am going to paint the mountains and finish it off. For doing the mountains, I am mixing burnt sienna, burnt umber, and creating this beautiful colors. See, I already had a white in my brush, so I didn't have to take much of white. Now, I'm going to go from here and the colors have dried a lot, so I'm taking a few bit more of the color and adding a little water and mixing because it's dried. Again, I'm going to create thick shady mountains with a thick layer of the paint and I absolutely love doing it, you know by now. Now I'm going to create some of the textures by using the dark color. This is actually the shadow that has formed in front of the mountain. This is basically the shadow. Now one dark layer at the back of it. One layer coming here. Taking a little of white to create the textures and it is done. You see how I don't create a solid color and use the colors alternately and create some textures. Now I'm taking some more of white to create the highlights of the mountain because it's a sunny, bright sky. The sun is falling on the mountain and creating a lots of shadows and highlights. Whenever the sun is falling, it's the light color which I'm doing right now, and wherever it's not falling, it's a dark one. Just add a little touch of black to this. Otherwise, it's going to look too flat. Unless I add some black, the shadow won't be very prominent. I'm playing around randomly with this, so it's difficult to explain. Just watch this part and then do it in your own way. The mountains are done. This little bit of shadow and highlight created here and there. Just trying to darken the shadow a little bit more with just a tiny bit more black. I felt like this painting didn't have much of black and any painting is never complete without some black in it. I'm happy to add some more shadows here with black. I feel it's very nice prominently highlight and shadow that we have done over here. Now, the last thing, just a last few touch ups that I'm going to do. There are a few trees here, so I'm not going to go into all the details of it, but just create some of them. But before that, let me create the road first properly. There is a white line. There is one more over here, which is coming from here. One more line with burnt umber and black, which is almost here. I can see a little yellow line over here as well. I'm just adding a little touch of yellow by this line. That is all and some of burnt umber. A little bit on the side here. You see I'm just adding few touch ups here and there. Now there are some distinct field over yours, so for that again, I'm just doing a little touch up with burnt sienna I'm just adding. This looks like a little drops at the distance. There is a little green on trees. I'm just adding a few of those small things with Prussian blue and yellow combination. A little touch-up, small touch ups here and there. Some small little grass here and there. You can see my colors have very much dried, so I'm having trouble picking them up. I don't want to take out more paint because it's almost done. So if I take out more, it's going to be wasted. Anyways, every day I'm wasting so much of paint. After the class is finished, all the paint I generally wash off. It's done and there are few lines that I see. That is the last thing I'm going to do which I'm going to do with the burnt umber, burnt sienna mix, and a brownish. You see there are few lines and I feel these lines are so cute. I really wanted to do them. I'm having some water on my brush otherwise doing this lines are going be difficult. This looks good. On this side also, the same stuff, some more of lines. As I'm going far, it's becoming lighter and smaller. That's all. I think I finished it. Now let me take off the masking tape and see how it looks. [MUSIC] Here it is, the final painting. I think I really want to add some of the more of the edges to the clouds, it's just me. You don't have to do this but I'm going to sign the painting and add some more touches in the cloud because the cloud is the hero of this painting. That is what is taking most of the attraction of this painting. I'm just going to add a few more clouds and that's it. We're done. [MUSIC] Here it is. So I kept on painting for some more time, adding little touch-up. Feel free to add them if you feel like. I just wanted to show you how I do all the little touch-ups at the end of the painting. If you like it, you can also do it. I'm trying to teach you the process here, rather than teaching exactly what to paint, so that once you understand you can do any painting the way you want to. So we finished creating this beautiful painting. I hope you enjoyed and you created this gorgeous landscape along with me. If you did, please post it under the projects, and I would love to see what you created, and see you tomorrow. 22. Day 9 - Simply Floating: [MUSIC] Hello and welcome to Day 9. In Day 9 I have chosen this photograph, this landscape, which is fairly easy compared to the painting you created yesterday. I chose a easy one but again, creating the clouds in this one is not absolutely easy, you are going to learn another different clouds in this landscape. But I chose a easy one so that you can finish it in a little lesser time, and I hope you enjoy creating this painting. Let's get started with today's painting. The art materials are: the three same brushes that I've been using, A5 acrylic paper, which is tipped down to my home board. The colors that I've taken out for today's class are only four shades: ultramarine blue, this one, light blue permanent, cadmium yellow, burnt sienna, black, and white. I want to experimental with ultramarine and light blue mixed for the sky color today. Let's get started. It's a very simple landscape so it's going to be very easy for you to follow along and create this, so let's get started. All I'm doing is taking these two colors, mixing them up a little bit with white and adding it. As you see, this color is different from the photo color that you'll see. But I wanted to experiment with this color, I don't want to do the exact same color, but if you want to do the exact same color you can use Prussian blue, so that's the color that is there. As you can see, the color is not very dark, as dark as Prussian blue, and that is the thing that I want for this painting. Just a try, just an experiment. [NOISE] Pretty good. Now as I'm coming down, I'm going to have both the colors, I'm going to switch to only one color. I want to have a mix of both of these colors and see how they look. It's a very different shade than all the colors we have done before. Again, if you are blending just keep going up and down a couple of times so that it shifts from dark to light towards the bottom. I'm just adding a little bit more of the dark shade, as dark as is possible by mixing these two colors. I'm not going to take water, I'm going to use only paint, maybe just a tiny touch of water, not too much. Now as I'm approaching the horizon, I'm going to switch to much more of white. This is where the white comes. It's a very different shade, but I absolutely love it, it's very subtle, very pasty shade is what I feel with a little touch of ultramarine is making it look really a little purplish also. It's a very nice shade, I'm liking the shade how it is coming up. Now as I'm going up, I'm going gentle so that I can keep blending it with the top part gradually creating the blend, very different shade than the photograph but that's okay. Whole blending has been done. Now, before adding the cloud, I am going to fill up the green, or should I do the cloud first? I think let's do the cloud. All I'm doing is getting rid of the excess paint from my brush, don't want to wash it, I've a very dry brush and I'm mixing a little bit of fluid white and thick body white. Let me start from the top. Keeping my brush almost aligned on the canvas, see if the top part completely dried, and when you lie your brush down like this you can create the texture of the cloud really nicely, which you probably would have learned by now. Here are loose ones here and there. Now, let's do the one from the side. Very loosely undoing, not adding too much of paint. I have a lot of paint over here as you can see, so I'm just dabbing a little bit off in the tissue paper and creating the edges. Again, I'm using the corner of the brush to create these loose clouds. Now there is a big one coming up from the right. Don't put too much pressure with your brush on the canvas and that way you can actually control the shape and the texture of the cloud. It's really easy. Don't put too much pressure, very, very gentle pressure, and then there is one here on the side. Isn't it so fun to paint cloud? Ain't you starting to love painting cloud by now? I somehow have fallen in love with painting clouds so much. Let me know how is it for you. Has anything changed ever since you started painting the summer skies? I'm sure if you've come so far, you probably feel it's really easy to do it by now, don't you feel so? Let me know whatever you feel while you are submitting your project. I actually love really everything that you guys have been writing. It just makes me feel so good to see that so much you are learning. Now here comes the time to do all the small ones. This is the time normally I like switching to the small brush. I'm just going to do a few more. There is a lot of gap here, so I'm going to add some of my own clouds here which is not there in the photograph, but I'm just feeling that it's very emptish. Just creating few loose ones here and there. Once you start understanding how the clouds float, it's going to be so easy to be able to do something on your own. I just added a little bit of cloud here in there, which is not there in the photograph. Very loose here. Time to do all the small ones. [NOISE] At this point, I'm just going to create some horizontal lines of the clouds and not really getting into much of the details, because with a flat brush I can't really do much, so I'm leaving it at that. Later when I'm going to come and use my small brush that is when I'm going to add all the beautiful small clouds with a small brush. This point I'm just going over all the clouds once again and adding some bright white. Very soon I'm going to start adding all the shadows. Just adding some loose ones here and there. All the clouds have been added and now I'm going to add all the shadows. Not too much of shadow in this one, just a little bit of black and a lot of gray. I have a lot of paint on my brush, so I'm just getting rid of all of it. It's very important to have dry brush while you paint clouds to get good textures. That's a lot of dark, adding some more white to it. Again, wiping it off. Let me start from here, very light gray. Since the white is pretty wet, the shadow color is very easily blending in with the white because I just added the white so it's wet. All these ones are done, the main ones. Now I'm going to add a few of the gray here. This is the time that I'm going to switch to the smaller brush because it's difficult to do all of it with the flat brush. I'm going to wash this off and take my small liner brush, size 0, and I'm going to add the small ones here. I am taking the thick body white because it's going to be pretty, thick, popping out, and in a distance, it's going to look nice and bright. [NOISE] All the clouds have been added. Now I'm just going to add few touch ups of the edges with a clean brush because with a clean brush I feel I can do much more. Very less paint and some loose clouds here and there. I'm just adding. In some places I'm adding proper nice borders and in some places I'm keeping them loose depending on how I'm seeing it in the photograph, but feel free to try your own way also. You don't have to do exactly, I'm just trying to teach you all different types of clouds. Here what I'm going to do is some loose edges, like this. [NOISE] Here I'm going to add just a little bit more of shadows. I'm going to take a little bit of blue with this. You see, just by adding a little bit of shadow under all the small ones it's just going to look so good. [NOISE] It became a little dark here, so I'm just mixing it up with little white. With a small brush you can play around a lot and add much more detailing to the cloud however you want; by playing in the small areas a little bit more. You can add another layer on top of it. More layers you add, better your painting looks. But sometimes I like to leave it at this stage. It also gives a very nice realistic impressionist look, so I sometimes like having it that way as well. Most of the time I like it that way, actually, in loose impressionist way. But the reason I'm doing so much in detail is so that you understand how you can approach such a painting. You can leave it at one step, as in one layer, or you can go and do a second layer and a third layer also. I want you to understand how much you can do and how it can transform. More you do, more realistic your painting becomes. I'm pretty happy with how the clouds are looking. They're looking very 3D-ish popping out of the canvas, showing a very nice 3D texture of the clouds with right highlights and shadows. That's all. [NOISE] I'm going to leave it at that. Now, I'm going to create the bottom part. I am continuing, but you can pause it here, take a break and then take out your yellow and burnt sienna and do this part. Now I'm going to show you the color mixing and creation of a beautiful green shade. I'm using this medium-size round brush. Starting off with the yellow and adding some yellow a lot first. Now I'm going to create the green. What's the process? Here is the yellow and I'm taking a little bit of ultramarine blue. See. Look at this beautiful color that I created. It's a very pretty green and I absolutely love this color. You see I'm taking small, small strokes and trying to fill this up in a very loose way. As I'm going down, taking more of ultramarine and creating the dark shade of green in a very, very simple way, not really creating a lot. Here, just trying to fill up the space. My brushstrokes are all very, very visible here. Taking a little bit of burnt sienna and mixing with this color. As you can see, that some of the canvas is still showing. There's a little white spot showing. For that it's very easy to cover it up with water, but rather than water I really want to have thick amount of paint over here. That's why I'm going on this place again and adding a dark layer of color. You see this thick texture color that is forming here. Now, because I added a very thick texture, now with just a brush, I'm just throwing them upward to create this grass-like because there's a lot of grass over here and they're vertical. But rather than creating them in a definite way, I'm just creating small, small strokes here to show this grass-like texture. [NOISE] That is all about the bottom part. There is a little dark land over here and for that I am creating this over here. Just to make it more dark, I'm taking a little bit of black also here. With this brush, I'm having a little trouble because it's big. I'm just adding some more of the darks here. As you can see, I'm not doing it in the exact way how it is in the picture, but I'm doing it in my own impressionist style. Now, I'm using the liner brush for doing this part which is pretty dark over here. I'm adding actually a lot of black here. If you mix yellow and black, also you'll get the exact same shade. I am mixing it up with a little bit of black now and adding it over here. Little touch of burnt sienna in-between. Mixing all the colors and a few leaves popping up like this. Just creating them. How about that? It's almost done. Just adding a few dots. More shadow I create, more gorgeous these bushy area looks, so I'm adding some more of black at the bottom to give a very dark shadow to this place. It's done now. The last thing what I'm going to do, is just go at the bottom of it and add a layer of yellow like this. Look at that, how pretty that is looking. Add maybe a little bit of burnt sienna to this. That became too dark, I'm just going to go over it. Add a little bit of burnt sienna to this. That is all and I see there are little lines over here, I'm going to create that also. It's very tough because it's like small place. Mixing little bit of burnt sienna and check out this. It's like [inaudible] is what I feel it is. Mixing a little bit of burnt sienna and black. These small things add so much of life to a painting, makes our landscape look good. As I'm going towards the right, it's becoming small and small. Very much invisible, but it's still there. Very less pressure of brush. I like adding these small strokes here and there. This adds a lot of elements to the painting, just adding some small touch-ups here and there as McLeish. That's what I'm doing here and there and going really impressionist in my attempts. You learn something new here, how to not exactly copy what you see, rather, do it in your own style. I love doing that sometimes. It's so fun to do. Playing around, looking at our landscape, and doing it in your own way. That's it. I'm going to stop here. I'm very happy with how this has turned out. Especially the land part. I think this was one of the quickest painting we did. I'm going to peel off the tip. [MUSIC] Here you go. The final painting, I think it's looking absolutely amazing. Look at the beautiful textures at the bottom. You can see a little bit of paint popping out over here also, which is pretty good. We did an absolutely different color of the sky here is very subtle. It's not as bright as Prussian blue yet it's giving a very beautiful soothing, calming feeling to the landscape. Don't you think so? I'm going to finish it off with my signature. [MUSIC] That's all for today's class. I hope you enjoyed creating this painting, post your painting, whatever you have created from today's class in the projects below. I would love to see what you did. Thank you so much for joining, and I'll see you tomorrow. 23. Day 10 - Standing Strong: [MUSIC] Hello, and welcome back. Today's Day 10, and we are going to learn this gorgeous landscape. I absolutely love. This is a very simple one. Just some clouds and sky and the field. But what I absolutely love about this painting is this beautiful small hut. When you look at a photograph and you see a hut like this, it might feel like, Oh my God, it's so complicated and I don't even know how to do it. In this painting along with learning all the backdrops of this landscape, you're going to learn such easy ways that you can handle a house like this in whichever photograph you can come across. I really want you to understand that painting a house like this is not difficult at all, if you just follow the step-by-step process I'm going to teach you in this class. Have fun and enjoy creating this painting. The art materials are the same. A5 acrylic paper, my same three old brushes and the colors I've taken out is Prussian blue, cadmium yellow, viridian hue, black and white. I'm going to take out burnt sienna and a little bit of red for creating the house a little later. I'm not taking it out now because it's going to dry by the time I come to it. I just took out just some of the colors that I'm going to need right right. This one I'm going to use only Prussian blue and no other blue. I'm going to mix the Prussian blue with white and do it down with a lighter shade of blue. It's a very beautiful brushing color on the top of this landscape, as you can see in the photo. Prussian blue just mixed with white gives such a beautiful color that you don't really need to mix any other color with it. If you look at this bright color. While blending, this is how I like to blend normally. I added the white and I'm bringing it down as much as possible. Now once the color is almost gone, you come here and you blend this too. [NOISE] Cool, the blending has been done on the top. Now let's keep going down. Let's keep going down. I don't have to take any more Prussian blue, I hope because I already have a lot in my brush, so more white I add it's going to thin it down. If you look at the amount of blue I have already, so I think that's good enough. It's coming all the way down till here, so I'm adding a good amount of white here. You see the blue is a little different from what you've see in the photograph, but this is also a very pretty blue. If you want the exact same what you see in the photograph, then you can add the light blue, this one, to this and it will create the exact same shape that you're seeing in the photograph. Anytime I'm taking Prussian blue to do some of the blending, I'm taking absolutely less, just on the corner of my brush. You can see lots of brushstrokes in the sky. It's not a very smooth blend and that's totally fine. I absolutely love it. Now, before this background completely dries, we're going to do some of the fairy clouds on the back and see how I do that. Just wiping off my brush and taking absolutely less amount of white, and come here and brush it all the way from the back. Tilting my canvas a little bit to be able to do this and it might have to take a little bit of blue with it. Very less paint in my brush, otherwise this wouldn't be possible. I know this can seem a little scary, so watch it a couple of times to see that how much this paint I have and how gently I'm brushing it off on the canvas. These are all the background clouds, not the fluffy big ones in the front. You will see a lot of loose clouds at the back, which are called basically cirrus clouds. That's the one I'm doing here, but this corner I'm using little bit of blue also along with the white, because this Prussian blue is very dark over here so for that place I'm using light blue. Just going a couple of more times on top of this to get the exact shade I want. I don't want it so light, so just making it a little bit more whiter. These are all the background cirrus clouds. Really fun step to do this cloud. You can keep on doing, but don't overdo it. Add a little bit more white over here, and we're done with this. Look at those distant clouds. It's such a fun way of doing. This is a new type of cloud that you are introduced to in this one. [NOISE] Now, I'm going to [NOISE] wipe off the excess blue from my brush and start creating the big clouds that we see in the front. Then one more. Ranging the strokes and then one over here. This one is behind the house, so doing it a little bit, not too much because it's going to get covered up. So I did it pretty fast, and I'm going to let it dry a little bit and then add the shadows to it. Before adding the shadows, I am going to add a little bit more of white with my liner brush, just to make them look gorgeous white. You see the shape of the cloud is so different in this photograph. This has a very nice edge, not the rough one, but defined edge, so I'm trying to do that as much as I can. This is done. Now, this one. I'm adding a very light layer of white here because it's going to go in the background, so not creating a thick layer of white. Also, the edges doesn't matter because the house is going to come in front of this. That's all. Now, I'm going to add the shadow, so creating little bit of gray, wiping off the excess. I'm adding a little bit of blue also with this shadow. Now, blending it off with the white. This is done. See for this one, adding very little touch ups of shadow here and there. All the clouds are done. They are looking pretty 3Dish to me because of this highlights quite liking it. Adding a little ouch up of this background ones right now. Not too much, just a little bit. That's it. Not doing too much. Done. Now I am shifting to my flat brush, and I'm going to create this beautiful green field over here. I'm mixing a little bit of Viridian Hue to create this bright green texture. Adding this all the way, adding little bit of white with it. Creating lots of texture. Adding really thick amount of paint. [NOISE] Just adding a little bit more of yellow. To make it look a little brighter, I'm adding a touch of lemon yellow to it as well. [NOISE] It's a very bright color. If you notice, I'm not really going in vertical direction and adding all the flowers, rather I am doing it in a very impressionist way and creating horizontal strokes. But if you want to create it the way it is in the picture, this is how you go about it. I'll just do a little bit and show. It's just, make little drops like this with the color. I'm just doing it in some places, not everywhere. Create this vertical textures. Cool. I'm not going to keep all of them, so I'm linking them off a little because I liked the impressionist style. So I'm going to keep it like that in most of the places. But I showed it to you, so you can do it if you want to. I like it like this and I think it's looking lovely. It has a good amount of textures, which is popping out of the canvas. I'm going to leave it like that. Now, I'm going to let it dry before doing the house because if I keep my hand here the color is going to come up, so I'm going to let it dry. But since the housing is in the center, I can pill off the mask right now because I'm not going to paint anymore on the edges. Let's see how it's looking. [MUSIC] Already looking very beautiful even if you don't add the house. But yes, I'm going to go ahead and add the house and you'll learn how to create a beautiful house as well. Now, we're going to create the house. For creating the house I have taken out two colors, burnt sienna and crimson red. I'm using this liner brush size 0 to create the house. Now, I'm going to do it directly on the canvas, but I want you to practice it once with the pencil or try it with the pencil on the canvas and then you can do it with a color. I'm being really bold here and trying to do directly with the brush. The reason I did here is because I want this much of cloud to be visible on the roof. That is why I started from there and coming all the way down, coming midway between this and this and I'm going like this. The first area is turned. Let me do the entire structure and then I'll go and pull it up. Now from here, it goes like this then comes here, and this. You see how easy this is? Comes all the way here, goes up here. Now over here there is a small house just below this, another roof shed. I'm creating that here. It can stand like this and this one comes like this from here. I'm taking this out a little bit more. This is how I correct with the paint as well. This comes here, this comes here. I'm going to use a little bit of yellow to fill off the color. I'm filling it up with the light colors first and then I'll go and fill up the dark colors. See how I'm mixing the colors with the shades in-between and not trying to create a solid color over here. You see it's a blend of kid cadmium yellow and burnt sienna that I did here. This is the lighter section, this is also the lighter section, so let me do it here as well. Now if you see, there's a little bit shadow that's falling here, so I'll go and add that shadow here. I'm not creating all the details over here, so I'm leaving it like that then I'm creating the shadow over here. Because I just added the yellow, if I add the shadow it will blend into it and that's why I'm adding the shadow here first. Now, there are not many dark shades here. Now over here I am mixing a little bit of yellow, a little bit of burnt sienna, a little bit of crimson red and this is the color I got. You saw that I picked up all the three colors and I came here and then I am mixing them on the canvas so that there is beautiful shades forming on the canvas in the house. It's not a very solid color. Now, let me do this spot, the roof of this small area. Mix of burnt sienna and red. Cool. This is done. I'm adding just a little bit of cadmium here to show the light on this side and the shadow on the right side. I'm going to go and add a little bit of yellow and red over here to create this big roof. When you look at this photograph and you see this house, it looks complicated. I felt also complicated and I wasn't sure if I should do this, if I should ignore the house, but you see when you go step-by-step and you build it up it becomes so easy. I hope you are learning that in the process so that you can do anything else also. From my experience, anytime I saw a complicated painting and I thought I won't be able to do it, what I did was I just trusted my instincts and started off with it and then by the end of it it's just so easily done. But you need to take that leap of faith and go ahead and do it. This part is done and a little bit here as well. I'm going to add a little bit of burnt sienna, red, and a touch of black using a little water. Come here and add the shadows. It's pretty dark here, so I'm using black. There was no black until now in this painting, did you notice that? I absolutely love touching a little bit of black in my paintings always. Mixing it up with black and brown sienna. Same color, I'm going on this side, this is the last part I believe, and the entire house has been covered. Just taking little bit of yellow, white and trying to create these horizontal lines, but I don't think [NOISE] it's going to look nice. I like it how it is right now, so I'm just going to blend it off with more of yellow. [NOISE] Now I'm going to come into this mixture of brown sienna, red and, black. I'll create this chimney over here. I'm going to go in all the details just a little bit like this and one over here. Little touch of yellow on the right side. This part is done and I'm going to add the door over here. This looks likes the main entrance over here. Now again, I'm not going to go into all the detail and add every door window I see. But just going very roughly and adding some of the stuff, here I'm adding some of the shadows. [NOISE] This is pretty much done and what more do I want to add? Don't have to do everything. [NOISE] I'm just going to wash my brush clean and use the white to add some windows over here. Difficult to add in this small space, so just adding as much possible. Maybe just one over here like this, and fill it up with black. I'm very small place to play around, so make sure you have a very fine liner brush. That's it. Nice. Want to create this one because this is white. Adding just a little bit of white, which is like the roof opening is going to create a little nice white touch to the house, and one here. Here it is. [NOISE] I'm not really happy with the windows to be honest with you. I'm just thinking what more can I do to this, so just trying to just go once again. That's so mall. I think it's pretty fine. Now, just before ending it off, one more black line touch-up just here. Done. Now before finishing it off, I'm just going to add one line of lemon yellow to make it look really bright over here, just in front of the house so that it looks nice because we did the house later so I'm adding a very thick layer of lemon yellow at this place. There it is. The house looks pretty good to me. I don't like this line over here. Just added a little bit of yellow to this spot. I'm just going to end it off with my signature. [MUSIC] Here is today's painting done. I hope you enjoyed creating these beautiful painting and I can't wait to see what you created. Please post it in the project section, share any of your experiences if you want to and I would love to hear from you guys. Thank you so much for joining today and I'll see you tomorrow. 24. Day 11 - Going The Distance: [MUSIC] Hello, and welcome back to Day 11. I hope you've been enjoying all the paintings so far, and you've learned really how to paint beautiful clouds. Today's painting, I have chosen a very simple one, yet you're going to learn so much in this one. The art supplies that I have are my A5 acrylic paper. The same three brushes: one flat brush, one round brush, medium-sized, and one liner brush. The colors that I have taken out are light blue permanent, viridian hue, permanent green light, and cadmium yellow medium. These are the four colors along with black and white. Very simple requirement for the art supplies, and let's get started. For the sky, I have taken only light blue permanent because I'm not going to mix any other color and keep it really simple, yet I'm going to show you how you can make it a little different by using a little bit of a different color. I'll show what I mean by that a little later. Let me just start filling up from the top. Thick body acrylics dries pretty fast. I like to take some water along with it, just a tiny touch of water and not too much. If you are using fluid acrylics, you will not find this problem. Now, I am starting to mix it with white. I think I'm going to come all the way until here. My blending is almost done. It's rough blend, and I like it. Let's keep it a little rough. I'm not going to make it very smooth blend. Now, towards the bottom where it is touching the green field, see what I'm going to do. It's a very simple color shift that I'm going to do, to little bit of greenish-like turquoise blue, but I don't have turquoise blue on my palette. I'm going to create just a tiny bit of turquoise blue, and I want to show you how I do that. All I'm doing is mixing a little bit of viridian hue with the blue, and adding lots of white, little bit more of viridian hue. I see we created this beautiful pastel turquoise color. I have too much of paint on my brush, so I'll just wipe it off a little bit. Try mixing viridian hue very less. Otherwise, it will become too much of green. This is the color that I'm going to add just a tiny bit over here. You see, you're basically creating the sky with a mix of two colors. One is blue, and one is little bit of turquoise, without taking out the turquoise blue. But by just mixing a little bit of green with it, you're creating a different shade in the sky. This is done. Now, I let it dry a little bit before adding the clouds. If you look at the photograph, there are two types of clouds in this painting. One are the big chunks of white clouds in the front, and there are few cirrus clouds in the background. Right now, I'm creating those cirrus clouds in the back. Just doing them before moving onto my next step. Just a few feathery, loose, absolutely dry strokes. Try not to have too much of white in your brush while you're doing this. That's all for the cloud. Now, I'm going to use the same brush. I'm not washing it. I let it dry. Then I'll come back on top of it, and I'll create the big chunks of clouds on top of it. Before that, I'll just do one small thing. I am going to create the road. For that, I need burnt sienna. I forgot to take out the burnt sienna in the beginning of the lesson. Burnt sienna, I'm taking out a little bit right now. With that, I'm going to create the road first. Then I'm going to create the greens on the side. Creating the road is really important because this is the highlight of the painting, and that's why I'm doing it now. I'm not keeping it for the end. Very simple, that's it. Now, I am creating the path of the road. All I'm going to do is extend this because anyways, I'm going to fill it up. That's it, done. Then I'm going to create the other path. Later, we're going to come, and fill this up and do it nicely. But for the time being, I'm just filling it up with color so that I know how much is the road, and I don't confuse it with the field. Because of that, I'm just filling this up. There's a little gap in-between the roads, and I want to paint that green. But for the time being, this looks good. I'm going to come back to it later after doing the field. The road is done, washing off this brush. This one I did not wash. Now, I'm going to add the color just a little bit. I'm not going too close to the road because I don't want to get inside the road. I'm just keeping it on the outside. With the thin brush later, I'm going to do it properly. Just filling it up in a very abstract, loose way. As you can see I'm not really focused on what is coming right what is not. My focus is on just painting this big area with my flat brush. The reason I did it like this is because I'm going to extend the road over here. That's why I did it. The color has been done, now I am getting rid off this flat brush, washing it off. This is done. I'm going to move on to this small brush and I'm going to fill it up nicely. I'm going to take up some more of the yellow, it's corn. Now with the liner brush, all I'm going to do is go slowly and add some of the yellows like this. You see I'm giving it a direction as well. As you see, going in this direction like this. This is the form that I am doing. Now what I'm doing is I'm going closer to the road because I had not been digit with the flat brush. I did not have the space to go here. I'm just going to close to the road and adding the colors, all the way. Here I'm going to add some dark green. There is more to be done here but I'm just doing little bit and leaving it at that for the time being. This side is completed, and now on this side I'm going to go a little more and add the colors using little water because the paints are drying very fast, it's summer. I like this pretty color I created here. It's not exactly necessarily the same color as I see in the picture but it's fine as long I like to color. Over here I'm going to add a little bit of dark ones. I'm taking the direction like this so that it looks like the grass are standing. I think I want to add a little bit more here, but for the time being, I'm going to leave it at that and even here also. I'm just making the direction of the grass a little bit like this, like standing up. I think I want to take out a little bit of lemon yellow. The cool yellow. Let's add a little bit of this and see how it looks. It's like a lighter yellow. Let's add a little goo texture over here which is on the top where the sun reflection is falling a lot and a little bit over here, mixing it with the light green. This is done. Over here also I'm going to create a few of the standing grass textures like this. It's so fun to keep doing all this. Tell me if you feel fun while you do this. I'm adding a line of a yellow here and all of these grass-like textures here. Basically we are trying to create the dimensions of the field which is like lowland, highland, but that is what we're trying to drew by doing all this pictures. A little hue of the green, dark green just like this. We have to create the green in-between here as well, which I'm going to do a little later. Now I'm going to create the sky as in the clouds. I am going to do it with this one, this middle-size round brush, so let's do that. First step, creating the shape of the cloud. [MUSIC] The shape of the cloud is done. Now I'm going to add the shadows. I'm blending it in with the white. Pretty good. Now I cannot use this brush anymore, so I'm washing it off. There is a lot more to be done, but I'm going to use this thin brush now because I really like creating the edges with the rough edges of the cloud with this small one. I'm going to wipe off my brush once again, keep it absolutely dry. Remember, I had some yellow and green in my brush and that is showing up here, which is so beautiful. Do you see that there is a little bit of yellow touch in the cloud. The reason there is a yellow touch in this cloud is because clouds whenever there is a shadow of the cloud that you'll see, there is always a reflection from the ground. So whenever you look at a cloud, it always has a reflection on whatever is in the ground of that cloud. So that is what reflects that color. That is the color that reflects. I'm happy that there's a little bit of yellow that came up here because if we look at the photograph, it also has little bit of the color green in the shadow. It's totally fine. I'm happy that I didn't have to pick up the yellow and my brush already had some. So it just happened naturally. You know what I feel? I feel like when nature paints in the actual cloud, it also has little bit of color from the cloud left in its brush. When it paints the cloud, it just happens like this by coincidentally, I mean, I know it sounds a little funny, but that is what my logic is. I think it's a pretty good logic. All I'm doing is focusing on the edge of the clouds and creating some rough edges. Creating another layer of white. The got you is white ones, but this side is also very yellowish if you see the photo, there is a lot of yellowish color in the cloud here. I'm going to add that as well little bit. I'm mixing the yellow and the gray shadow a little bit over here. Same thing I'm doing here as well. You see the colors are drying so fast. I just created this gray, but it's gone. So I'm creating it again. I feel the clouds are pretty much done. Just going to end it up a little bit with blending it a little bit more with the white and adding a little bit of the edges. I really liked this yellow part of the cloud here. Now, let's finish up the green field. I'm just adding because you see the blue cloud is little bit like there's a little bit of Canvas that showing through here so I want to fill that up. So I'm adding using little water because it's very dry with the lemon yellow. Making the field look nice on this horizon. This is done. Now I'm going to add some of the greens in-between. It's a little difficult because it's green narrow line over here. I'll create it a very textuary way. As you can see, it's just going through the road because like I said earlier, I did it just to outline it. But now this is the time I'm actually painting it. I'll make sure I will paint it where exactly I wanted. This is like correcting the painting from how I did it earlier. A little bit of dark green just to create the shadow on this side. This is done. Now, I'm going to just fine-tune the road a little bit more and finish it off. Let's see, let me try doing that. It's going to be a little difficult because it's very thin over here, you know that's the problem. All I'm doing is twisting my brush to make the tip of the brush absolutely pointed and I'm trying to make sense of the road here like that. Let me use more white. That's done. Now, let's create some of the shadows of the road which we did not do at the first time when I did it. So let's create some of the burnt sienna here and then through the same turn, I'm going to add a line of white, some more white here on this side. So one side is light, one side is dark you know how to create light and shadow. This side is the lighter one. Even for this one, I'm going to add some more white, and on this side, I'm going to add little dark. Now, let's create little dark on this side. I want to make this spot a little bit more dark. This is absolutely in the front. This is how it is brushing it off, very lightly on the white. That's it. You can clearly see the light and shadow of the road on both sides. Let me now take off and peel off the tape and see if I want to add a little more of cloud shapes or something. [MUSIC] I really like the yellows over here. Like I said, it's a little different than what we did before. I just want to add a little more to this and a little bit of cloud, as in the cloud shadow. That's it and I'm going to blend it off with the white. There you go. The complete lane painting is done. As you can see, it's really fun to create this. It's not very difficult. I can keep on adding some more layers in the green. I just want to show you my process. I don't feel the painting is ever done. So if you feel like you can add some more of the lines like this, I just like adding colors, highlights, and stuff like that to make the painting look as I want it to be. Adding very dry strokes of yellows on the green to show the direction of the field here and I want to finish it off by adding this tree, which is standing here. It's a really fun thing to create. Just a small little tree. I'm dabbing my brush like this to create this. Okay, done and adding just a tiny bit of black to this to create more shadow in this painting. It's done and now I'm going to create the shadow of this tree. Small little lovely tree, you can add a bit more towards the top. That's it. So we got the tree and the shadow. Very simple, very easy. Try this out and you can create a beautiful landscape. Make some real landscape very bright. The reason I use lemon yellow is because, with the lemon yellow, you can show the sun's reflection on the field much more because it's brighter yellow than the chrome yellow, because the chrome yellow is more like orange-ish so I feel if you do this with the lemon yellow, it's actually good rather than platinum yellow medium. I hope you enjoyed this painting and I'm going to sign off my painting and finish it off. Do show me what you've created. I would always be great to see what you guys are creating so share with me and I'll see you tomorrow. [MUSIC] 25. Day 12 - Calm Reflections: Hello and welcome back. Today is day 12th and we're going to learn a beautiful calming reflection painting. We know where you're going to learn about the reflection of the cloud on the lake or the water at the bottom. I think honestly it's such a pretty painting and a pretty photograph. I loved it and I wanted to teach you this. Art materials are very simple. It's an A5 actually paper, I have three paintbrushes, actually brushes. This is are the three brushes that I've been using throughout this class. The color is a very limited color palette as you can see. Just one blue, Prussian blue is what I'm going to use for this class. But I have also taken out a little bit of ultramarine blue just to spice it up a little bit because there are just three colors that you see in this painting, which are just blue, white, and black. These are the three colors. The main color is just one, which is blue. Rather than using just simple Prussian blue, I thought let us use ultramarine blue as well to spice things up a bit. Let's get started. I'm starting with the dark Prussian blue on the top. This corner, the top left corner is absolutely dark, so I'm going to add lots of dark Prussian blue and it's done. I'm not going to add any more Prussian blue unless I need to take more for blending. But this much dark is good enough. Now I want to start taking some white and start blending it up. You'll see this color that I am getting if you've watched the blue color study, you would see that just by from one color, but tinting it with white, you get so many different shades of blue. That is exactly what's happening here right. Now as I'm coming down, instead of toning down the color a little bit with white, at this point, I am going to solve. What I'm doing here is just blending, adding more white, and blending it up with the blue because once this dries, I won't be able to blend it a lot more. This corner is absolutely dark and I'm happy with it. I don't want to go more inside it because they need to become more lighter. Then I'll have to add more of Prussian blue to make it dark. I'm trying to avoid from going up more but as you can see, I've already gone up till here. All I'm doing is coming and adding some more of Prussian blue. This is the thing I wanted to avoid, but sometimes while you blend, it just happens once in a while and it's okay. Now as I'm coming down, I want to switch to little bit of ultramarine to get this nice purplish touch to my Prussian blue and create a different shade of blue by mixing these two colors. Till here is my horizontal. Let me just create that part first and then this color is basically a mixer of Prussian blue and ultramarine blue. This is the shade you get. It's a little different from just digit of Prussian blue. Mix a little bit of Ultramarine and it looks really nice. I'm mixing these two colors together and adding it too. Once again, I'm trying to blend it off nicely but I'm keeping a rough blend because the clouds are going to come on top of it and all the blendings are not going to be very much visible. But only at the joining, I'm adding a little bit more of Prussian blue to make sure that the joining is not very obvious. Blending is done and it's pretty nice. I can see the gradual deep of the color from top to bottom. Now I'm not going to take any more color, but just take more of white and keep going down from here. Just for my reference, so that I know from where the horizon starts otherwise these two colors are going to mix up together. I'm adding more of ultramarine blue here at the bottom area from underneath the horizons to know where the horizon is. Then I'm coming down here adding more of ultramarine here, the purplish shade, and making it lighter. It's fun just mixing it up. Absolutely at the bottom is lots of white, as you can see in the reference image. I'm just adding a little bit here and there. Adding some textures and making it even lighter at the bottom. As you can see, it's like water. This is where the reflection is falling, so I'm trying to mix and blend both Prussian and ultramarine here. Also, I think I'm going to add more of ultramarine towards the bottom and as it goes higher, it's going to blend in with the Prussian. This is what I think is going to look good. I'm adding more white here and at the bottom. This blending is very nicely done and I'm happy with it. Now as I'm going higher, this is where I want to mix ultramarine with Prussian. This is where ultramarine ends and Prussian starts. Oops, that's a lot of dark. I'll just wipe off the excess Prussian from the brush and very gently don't have too much paint. Just blending it with the ultramarine here Very dry brush, I have absolutely no paint in my brush. Just dry brushing it and blending it and trying to create horizontal lines which are like the watermark you can say. All at once, I'm now going to come back again and do it very gently brushing some of the white color off to show that this is the water. A very gentle amount of white. Do you see what I'm doing? Maybe like a feather touch, almost barely touching the canvas. I think that's enough. Absolutely at the water bottom, we're going to just touch it up a little more. That's it. Now, I'm going to add all the beautiful clouds. Just wiping off the brush without washing it. Am going to take most of white. See what's happened by now that the sky part is completely dried. So the white is not blending in with the blue and helping me create beautiful clouds. Sure, I'm not trying to do the entire cloud, which trying to make the shape of the cloud, as I'm seeing in the photograph, and adding some more of white here. This is the main big chunk of white I see. Then on this side, so again, I am using just the corner of my brush because you can see my brush is very rough already, but I don't want to use it like the entire flat side of the brush because that's pretty big. Rather than that, I'm using the corner of the brush as much I can reduce the surface area of the brush touching the canvas. You can achieve this by using a small brush as well. But I like using flat brush, so I'm using the flat brush, but you can definitely do this. I think you can do it well with the small brush, as in a small round brush that will not take too much of surface area. Very soon I'm going to switch to the thin liner brush. But I just want to add the big chunk of white chips with this flat brush because that's just how I like it. I'm sure if you have tried the cloud techniques by now, you know which technique you like more. Whichever technique you like, you can do that. Don't have to follow exactly what I'm doing. If this is the one you like, you can totally do that or use the small brush. Now from here, I'm not going to go down because doing this part with a flat brush is difficult. There is one more shape here, but don't want to do it with the flat brush because it's not a very big area. Just going little bit in the center and adding it and that's it. I'm going to leave the flat brush over here, it's done. There are a lot of reflection clouds also, but we're going to go to that a little later. I'm going to wash off the flat brush here and switch to this thin liner brush. You can do it with this one also. But I think I liked this one, so I'm going to do this. Now, the second step of cloud painting is what? Trying to create that nice, feathery age of the clouds. Very lose, having fun in the process. I generally rush my paintings if you've noticed, I think to do it fast because I know I can do for fast. But sometime I feel the fun of the painting is in not getting it done, but by enjoying the process. So right now I'm going absolutely slow as you can see, gently creating this feathery hitches of the clouds. I'm having fun in the process of doing this. Having fun is the most important thing that you do while you're painting. Do not take stress. Do not focus on what the outcome is even if the outcome doesn't come out well, it's fine as long you enjoyed the process of creation. So right now, I am very focused on creating the feathery age of the cloud, trying to do it as nicely as I can and adding some more white in the center. In the next step, I will come and add the shadows. Before that I wanted to add more of white. This is the feathery edge, you see it's a lose edges of the cloud here. It's starting to look nice. Now, same thing I'm going to do on all the rest. So now, all the feathery touches of all the clouds that are added in the previous step has been done. Now, I will move on and add all the small clouds that we see at the bottom. So here, what I'm doing is I'm doing Bootstrap 1 and 2 of cloud painting, at the same time. I'm not really creating the shape and then creating the feathery edges. I'm doing both of them together. As I'm adding, I'm trying to create the feathery edges also. I would suggest just watch a couple of them you understand the process, and then you start looking at the reference image and do it on your own rather than watching what I'm doing because the process is exactly the same. So just watch a couple of minutes and then started we need to on your own. I've added all the small clouds, but it's difficult to do it only with white so this is where I will start bringing in the next step which is adding the shadows. Now I'm going to create some gray here, and I'll start adding the shadows. I'll start from the top and then I'll come down here and I'll add all the other stuff. What do we do with adding the shadows? We add the shadows and we blend it in with the white. First thing what I'm doing is adding all the shadows. All the shadows are added. Now, I'll just wipe it off and take just white and I'm going to blend it in with the white cloud. Now more white. This is the most fun step I feel when you're blending the shadows into the cloud. It just creates such a beautiful step. I'm adding lots of clouds because on top of this I'm going to come and do the final step which is adding the highlights once again so at this step I'm just going all out and adding a lot of shadows and adding a little bit of blue also with it. This one has a lot of shadow. Do you see that in the reference image? There is so much of shadow in this one. Let's go all out and add the shadows. Making sure you're adding all the way to the taped area of the paper. This is done. Now, I will start adding all the shadows in these bottom ones, the small ones, which I was not able to do much with just white because without adding the shadow, it's not going to look that good. My focus is on adding all the shadows of these small ones first. Then add some white on top of it and blend it in with the shadow. Is such a fun step. It just looks complicated unless you have done it and you feel like, "Oh my God, how is going to happen?" But once you start doing it, you will see that it just falls in place so easily. I'm telling you my thought process, what used to happen to me earlier by looking at the photograph like this, I'm like, "Oh my God, how am I going to do it ever?" But then I realized once you start doing it bit by bit, it just falls in place. I feel that is with everything in life. When you look at a bigger problem, it just seems like, "Oh my God is such a big problem. I don't know how to handle it." But once you start taking the first step and the second step and the third step, you see that everything is falling in place so easily. It's not that difficult as it looked when I started. But midway through that problem, it's like, "Okay, it's done. It's not that difficult." First, what I'm doing is adding more of shadows underneath and now I am adding more of white and blending it in. It's a very complicated area because there are so many small clouds, do not get focused on perfection here. This is one of my biggest life learning and I'm sharing with you. I used to do that earlier trying to create everything perfect exactly as I'm seeing in the photograph. I have to do that exactly as it is otherwise, "Oh my God, what are people going to say about my painting?" These are the kind of thoughts that used to go on inside my head. Then I realized, "No, you don't have to do it absolutely perfect," we're just trying to give the feeling here of there are lots of low clouds floating, small clouds floating, there are so many clouds, beautiful clouds floating in the blue sky. Let's keep our focus on that, not on perfectionism. Having fun in the process of creating these gorgeous clouds. Who do you think is sitting and painting clouds? No, only you and me. Focus on that, you're doing it. Now, I feel a lot of the shadows have been added and now I can go on top of it and add a lot of whiteness. I like holding my brush like this and not like this, like this, so that I can go like this rather than holding it on the top. It just happens faster. I like this. This one has a lot of whiteness. This is last step of the cloud painting. I'm adding a lot of the white highlights on top of the shadow. You see how much white highlight is there here down these areas, that is what we're doing, adding a lot of highlights. Absolutely fresh white just on the edges. I'm trying not to disrupt the feathery edge that I did in the second step because I did it with lots of love. I don't want to disrupt all of them so I'm not going absolutely to the edge but just adding just before that and trying to blend it with the shadow here. All the beautiful highlights in the shape of the cloud here. Going one by one and creating the highlights. But just by creating the highlight, it's not going to be enough because you need to blend it in with the shadows just a little bit, maybe not a lot, but a little bit. I feel in this painting you're going to learn painting clouds so much more than all the previous paintings together. But yeah when you have done so many paintings like we're on this 12 today and if you've painted all this while, I'm sure you're skill of painting clouds have improved immensely. Let me know if that has happened or if it has not. If you think something is missing here that I may not be able to see and if you can help me with that. Tell me what else can I teach you that will help you do it better that you're not able to do at this point. What I'm going to do here is just create some background strokes of those feathery clouds at the back. I'm not doing a lot just a little bit. Enough of clouds I feel this is very good already we've done so many. Now, I'm going to add the blue horizon and I'm mixing Prussian blue and ultramarine blue together and I'm creating just a line using a little bit of water. We are just pushing blue that is all I picked up just to make it look a little dark. A couple of hills in the distance, as I'm seeing so this is done. Now the reflection part for that, I'm just going with the same color. I'm using little ultramarine blue in the shadow color just to make it look just a little different. That's it, so this is done. Now, what I'm going to do is take a little bit of black and just create a black line here in-between. Isn't it so pretty? By using this black we are creating the horizon line and that's done. Now I'll wash off my brush and we'll start creating all the clouds at the bottom. First thing I'm starting off with a little bit of white and ultramarine. The easier way would be probably to turn the canvas upside down. But I really want to do it this way and try doing it this way and see how it turns out. I remember last time or whenever I did this reflection painting before. I turn it upside down. But just for experiment sake I'm just doing it like this. All the small clouds, that's what I'm doing here. As reflection, I'm using more of ultramarine blue rather than the gray color at this point. Maybe just a little bit of gray. Now let's come up this is where all the big chunks are coming. You see, I'm not really focused on doing exact how I'm seeing trying to do it in random places. This is where I see a huge chunk of cloud so completing it with a small brush because I just don't feel like switching my brush to a bigger one. It's going to come out fine because I'm using the complete length of the brush to fill this up. Already I'm getting like the feathery edges of the clouds already by doing it like this. This is done, I'm going to do a couple of more. Now I am making some gray for the shadow. I'm going to have them at the bottom here. You can see how loosely I'm creating the clouds, not focusing on each of them. Doing it in a couple of way rather I'm having fun in the process and adding them fast. These are the bright highlights that I'm adding. I always say that I don't really follow the steps of the cloud technique that I have taught you in this class. But rather, once you get the hang of the cloud painting, you can just go to and fro in-between the steps and do it in your own way. That is exactly what I'm doing. I'm not really following all the steps sequentially, as I said, sometimes I'm adding the highlights and then I'm adding the shadows. This is where I'm adding all of our highlights which are showing through the shadows. Let's go. Just adding some loose feathery clouds here and there, just to make it look like a lot. This is going in with the brush and just adding a little touch-ups of white here and there wherever I see more of gaps. All the reflections have been added, and I quite like it how it's looking. Adding some, see my brush has very less white left, right? With that I'm just going on the edges and adding some lose clouds floating here and there just a little bit here that, not too much, most of it is being done. Now before adding those little human in this painting, I am going to pull off the tape and then [inaudible] Washing off the brush and let's take it off. Before peeling off the tape, I feel just want to add just a little bit in this corner, mist it. A little bit of white highlight showing through. Always, before pulling of the tape, make sure that the edges are done exactly the way you wanted to. Because the inside you can always add later, but the edges it's a little difficult after peeling off the tape. That's it. Look at this gorgeous painting we created. I hope you're creating along with me because it would be fun to see what you do. I'm just adding little touch-ups of cloud before adding the human because the human come exactly on top of this. Wherever I wanted to touch a little bit of cloud, I'm just doing it now. I'm adding just bright highlight, highlighted white. I think I need to take out some white. Just some bright highlighted whites here and there and blending into the white into the shadow. Because you just don't add shadow or the highlight just as it is. You always blend it in, and I'm adding some more here, like a little bluish. That's it, done. Now it's time to create the human, let's do that. The brush that I've been using is very much like of not very pointed, but yeah, there is a point. But I definitely recommend you using a very nice pointed brush, otherwise it can be a little difficult to paint. Here is the black. If you're not feeling very confident, do it with the pencil first and then do it with the paint. I am risking it and doing it. Let's see what happens. There goes my little human, and now it's time to create the shadow for this. Watch this first and then you do it. I'm lightening it even more by adding more white and adding the shadow at the bottom. There it is. I think this horizontal shadow is something I need to collect little bit, and I'm adding a touch of Prussian blue also with it. That's it. Very good. I'm going to add the signature now. Well, that's it. Here you go, a gorgeous painting done of cloud reflection, which I understand it can to be a little complicated if you're trying this painting for the first time, but if you just follow along for this entire class, I'm sure you have created a beautiful painting by following my steps. Once you learn one such painting, I'm sure you will be able to get any photographs online and repaint on your own. I would love to see what you've done, so please take a picture of what you just created and post it on the projects, and I would love to see and get back to you. Thank you so much for joining me today, and I'll see you tomorrow on Day 13. Thank you. 26. Day 13 - Keep Walking: [MUSIC] Hello. Welcome back. Today is Day 13 and we're going to create another beautiful summer landscape of white clouds floating on the blue sky. I'm sure you must be enjoying by now all the beautiful paintings that we have learned. Let's get started with today's painting. The art supplies I have are A5 acrylic paper, the three acrylic brushes, which are pretty ringed by now. I've been using these three brushes for this entire class, one flat brush, number 6, which is perfect for this size of Canvas, one middle sized round brush, and one liner brush. This is not the liner brush I have been using. This is the one I have been using because it has become a little rough. The point is a little rough, it's not very pointed. That's why I've taken this one out for signing purpose and all that stuff. But anyways, I'm going to be using these three brushes for this class as well. The colors that I have taken out for this class are ultramarine blue, light blue permanent, cadmium yellow, green, viridian hue, and burnt sienna, and black and white. I was actually looking at the blue color study. I was looking at which color I want to create for this one and I decided that I should do ultramarine plus light blue. This is the color which is very soothing and this is the one that I thought of using in this project. It's a little different from the reference photograph if you'll see, but that's okay. I wanted to use this color for my painting. I'm starting with ultramarine blue and I'm mixing it directly with light blue. I'm using a little touch of water because while painting with thick body acrylics, it's a little difficult to blend them or to use them on your canvas just a thick paint without some water, so I'm using little bit of color water into it. The top color is done, very different from the color I'm seeing in the reference image, and as I'm coming down, I'm using more of the light blue. As I'm adding the bottom layer, I'm also going up and blending it off with the upper side, upper layers. Now I will start using more of white as we're coming down. The horizon is going to come all the way somewhere here. I want to keep this absolutely light. As I'm going higher, I'm going to use more of the light blue here. If you've painted with me so far and you're painting this as painting number 13, I'm sure by now you probably must have understood by now how much you've improved in your acrylic blending for the sky and for painting the clouds. Do let me know how it is going for you because I would love to, because I definitely know I have improved so much from the time I started, so I'm sure it's going to be the same for you. That is all. I'm not going to blend up anymore because the clouds are going to come on it on top of it, and I absolutely love this soothing sky background. It's very pretty, it's not very harsh color, very pretty like this stylish shade of the blue. I absolutely love this color. I think we used this background in one of the paintings before. One of the landscapes before, I can't remember which day it was. Maybe Day 2, I'm thinking, probably Day 2 or 4. I can't remember. But yeah, one of the days I remember doing this. Now, immediately before doing the field, what I'm going to do is, my brush doesn't have too much of paint, so whatever paint I have, washing it off on the paper because anyways I'm going to color on top of it later. Now, I'm taking absolutely less amount of white. Look at the amount I'm picking up, absolutely less, and I'm going to come here, make the brush lie down on the canvas and create some of this loose feathery clouds on the background before doing the big chunks, just doing this. Most like feather touch on your canvas. Gently, I'm adding the colors. Add just a little bit more over here just to make it a little bit dark and then light ones, very lightly brushing and taking it forward. A new technique of cloud painting for you. Try this out and see it's so fun to do. All I'm doing is making my flat brush lie down on the canvas, that's all. The less amount of paint you have on your paintbrush, the better you will be able to get this effect. Isn't this beautiful? See how this loose clouds are forming gradually. I'm making sure that I'm going all the way to the edge of the tip, so that there's no space left out here. Adding a good amount of white at this bottom area just to make it more prominent. I'm loving absolutely how it is coming. I'm creating these edges also of the cloud. This is almost done, the background cloud. Now after this I'm going to create the big chunks of clouds in the front. I'm going to do little later. But before that, what I'm going to do is just create this field, so watch out how I'm going to do it. Such a pretty color. Right now I'm not creating it absolutely like the weight is supposed to be, but I'm marking out the place for me so that I know how much I'm supposed to paint, where I'm supposed to paint. I'm marking out the area. This is the top part, then there is a road here. This is the field on the side. Sure I'm going to bring a little bit of burnt sienna and blend it in with the greens. Mixing all the colors together. Not really focused on exactly how it's coming because my focus is on filling up this place first. This side more of burnt sienna and a little bit of white. Background is filled up. A little bit I has to be filled up here as well, so let me do that also. Like I said, don't be bothered about exactly how it's coming out, just keep your focus on filling up the space. In this area also I'm going to, very rough way as you can see, I'm not really focused on how exactly it's looking but just filling up the white canvas so that there is no white canvas left. The complete whitespace has been covered. Now what I'm going to do is wash off this brush. I want to use this round brush, medium-sized brush, and I'm going to create the clouds now. Let us dry meanwhile. This is the big chunk of the cloud that I have painted. I'm just going one more time on top of it to add more amount of white because it's very wide bright cloud in the front. Not so much bothered about the exact shape and everything because I'm going to add the shadow and make it purple. Then I'm going to add the small clouds at the bottom. This is where I'm having a little bit of problem doing it with this big round brush. Just going to add a little bit more and I'm going to switch to the thinner brush. Now, I'm washing this one also and switching to the liner brush. Now I'm going to go slowly and add all of this beautiful clouds towards the bottom. The problem with this small clouds I always feel is that not having the shadow. I'm going to add the shadow also along with it. I did mix a little bit of blue also with the shadow to make it look a little bluish, grayish. Let's come here and I'm going to add this shadow color. These are the colors that I'm adding in the background because I'm going to add some beautiful whites in front of it, creating the background with this. Also, I'm going to create the dark shadow of this big cloud here and blending it off into the white with some white. Now I'll take it upward and create some shadows beautifully. Watch this part little bit and then you can attempt it. Just watch once how I'm doing it. I'm doing it pretty fast. If you just watch it properly, you will get a hang of it. All the shadows are done. Now without washing the brush, I'm coming here and adding the white clouds on top of it. Check this out how I'm doing. On the shadows have been added and now I'm adding some of the white clouds. This is done. Now finally, I'm going to add some more of the highlights in the clouds by going on top of the shadow and add at the highlights once again. This is pretty much the last step of the cloud techniques. Very slowly I'm going and adding the final highlighted area. The shadows went down and the top of the clouds became full of highlights at this point of time. Adding this small loose cloud next on the sides, somewhere here and there. I think it's looking gorgeous and didn't want to do too much on it. Just adding little light highlights here and there to show the shapes and the different clouds and stuff. All the clouds are done and I think it's looking pretty fantastic. Absolutely love it. Just want to add a little bit more of the shadows in some places. As you can see, I'm just adding few of the lines in the middle and probably later I'm going to add one more layer of highlight once everything has tried to make it look absolutely bright white. It is already looking pretty bright, but just if I feel I can add a few more. If you see this cloud, it doesn't have too much of feathery outside outline line, so that's why I'm keeping it pretty much like a solid line on the edge and not really creating too much of feathery stuff. That's it. The clouds are done and now I'm going to start painting the bottom area which is what we have just marked out and now I'm going to paint it absolutely properly. Let me start with burnt sienna and white. There are so many, nice lines out here that I'm going to fill up one by one. In everything, my focus would be to keep shadows at distance properly. Sure. Wherever I've seen burnt sienna to be done is what I'm filling up first thing. This has little bit of yellow in some places, so I'm just adding that as the shape of the road. I don't like horizontal strokes like this. Somehow in the center because that is where the highlighted portion is. Little bit of dark burnt sienna stuff on the edges which are like the shadows formed. Don't have too much of water in my brush is fairly dry stroke. Then one more on this side, which is pretty dark, trying to create the horizontal strokes rather than doing them in a vertical way. This part is done. Then there is a lot of burnt sienna on this side, but that I'm going to do a little later since I'm doing this road, you see how I progress in my paintings normally is generally I like to mix these two colors so I see that there are a lot of green on the side. You saw that I did not wash my brush, right? With the burnt sienna immediately I can now shift it to the dark green because I want to blend these two over here right now. See how I'm going to blend it. Over here you see the grasses are coming on top of the road. The reason I'm doing it now and not later is because then this is going to blend up with the burnt sienna that I added immediately. Don't want them to be too separate from each other, but rather I want them to blend into each other. That's why I'm adding this right away. You see the burnt sienna is mixing up with the yellow and the green. Some more of burnt sienna on the top. The yellow and the burnt sienna is pretty mixed up. Now the same color, same thing I'm going to do on this left side as well. They mixed up. Now, I'm going to create some of the grasses coming onto the road like this. I don't have too much of water on my brush, so I'm struggling to do this because I want to have some of this dry strokes. The drought side is completely done. Now, I can start moving on the other side. Now, before doing the sides over here, first thing what I'm going to do is add the color over here. I want to keep it very texturey so Check this out. I'm not going to do a very smooth colors. I'm just going to go all over and add thick amount of paint. That's the fun of painting with body acrylics. Good amount of texture [NOISE]. Look at the thick amount of texture that I have added here. Lots of thick body paints on top of this, here we go. Even here I'm adding a good amount of thick body acrylics like this. Thick amount of paint. Now, that I've added this, I'm going to create all the divisions that I see here by mixing dark green and a little bit of black. This is the color. I'm trusting my brush to get rid off all the paint from my brush so that I get a pointed tip, which is what I did get. Now I'm going slowly on top of this and you see all these beautiful. This brush is very, what do you call, rough [NOISE], so I am washing it off once. Washing it off completely, and then I am taking this dark green color so I can do it properly. I'm coming here and I have little amount of water in this because if you don't have water, it's going to be difficult to do this. Looking at the photograph and I am creating all the lines. These are like bushes here and there. There is a lot over here. Just by adding this one line of dark green, you see how much dimensions we are adding onto this painting. I might add little bit of yellow to this black to show little highlight. I don't want it to be too flat of course, so I'm adding little bit of highlight on this dark green thing that we have added. Now from here I see a straight line going all the way till here. Then a line from here like this. All these divisions in the field, they look so awesome. I think this is a wheat field or something. Because those the fields that have this kind of divisions, I have seen in my childhood in villages that this divisions are there for which had done for basically agricultural reason. They look **** neat when you look at them from a distance. [NOISE] This is where some of these tree-like shapes [NOISE] are coming. I'm going to add them, some over here. This one line going all the way from here, all the way to the end. You see all the beautiful thick textures that we added previously are starting to look so good. Because of which this is getting so much of dimension and depth and everything. That is all, it's done. Now over here, with the same brush without washing it, I'm just adding one layer of yellow so that it blends in with this black over here. See that is what I'm saying. I don't want them to be too separate from each other. That is how you create a beautiful landscape. You mix all of them. Everything that I'm adding, I'm blending it to the next thing that is there. Over here also blending it onto the road that we had done earlier. Now, I'm not going to wash my brush. I'm going to use the same brush, and add some of the the burnt sienna. You see the colors are mixing because my brush is not clean. It doesn't have a very pure color, whatever I'm taking. Rather [inaudible] washing, I'm going to just wipe off because I think I have a lot of black. I'm going to come here and add some of this burnt sienna. Now since I'm using this liner brush, it's going to get a little bit difficult to add the colors, but that's okay. Mixing burnt sienna and yellow, some white also is going to light on the right side. You see look at the textures I'm creating by creating this short, short strokes with this small brush. I'm coming down all the way close to the road here. Everything is blended very nicely. Later on I'm going to add some of the grass strokes which are like upward. But this is done on the right side. I don't want to add too much to it maybe. Just a bit of this light color. Just maintaining the direction. That's all I'm trying to do here. That's it. Done. Now for the left side also I'm going to do the same thing. Start off with something light on the distance. Some burnt sienna over here and then I'm going to blend it on in with green and yellow. Again, I'm adding good, thick, textury stuff. I'm taking small strokes like this. I think this is the benefit of painting with a small brush. You can create so many strokes. This is if I would've used a bigger brush, my middle-sized round brush, it would have done all the things in just one stroke. But here I have to go a couple of times on this area to do it, and that is creating a beautiful texture. I think little bit of burnt sienna in between all of this. All I'm doing now is I have done the background. Now I'm going to go on top of this and add some of this grass-like textures a little bit like this. Not everywhere, not going do it in a very particular way, but just randomly. Just some of the strokes. Let me add some water because it's dry. Water, more water, more little bit of burnt sienna. I'm just adding some of this grass strokes here and there. I'm loving doing this stuff. It's so therapeutic I feel. Just some burnt sienna strokes here and there. I think that's all. I can keep going on and on, and do more of this stuff, but I'm going to stop here, and peel off the tape. [MUSIC] Look at this, is looking perfect, so nice. Now I'm going to end this painting by creating other [NOISE] wooden posts, other sticks that are there on the right side. Let's do that. Mixing lots of burnt sienna and white. Let me first create the first one. The color is mixing up with the background. I'm going to take some more burnt sienna. Make it bright. That's looking nice. On the right side, I'm going to add more of white because one side is dark, one is light, remember. I'm adding little touch of white here and there to give it the look of the wooden picture. I think with a little touch of black, it's starting to look even better. That's the first one. Let's create the next one. Since this was the first one, I did it with a lot of frequencies like the front one. For the next ones, we don't have to get so much in details. That's all. Make sure the height of the [NOISE] sticks reduce as you go inside. I'm switching to this peanut liner brush to add the white highlight on the side of this poles. It's difficult to do it with this other liner brush. I'm using this. It's looking nice. I absolutely love it. Just a little bit more of white. With this bold brush, I'm actually enjoying doing it because it's more pointed. It's very important to have a pointed liner brush. This is done. [NOISE] The final thing is just creating few of these ropes. For that, I'm using little bit of gray, black and white mix. Don't want to use absolutely dark black. Check this out, very gently. The front ones are most visible. I have to do this one very nicely. This is basically creating the boundaries so that you cannot enter this field. That's it. Don't do really bright lines because it's not very highly prominent traits. I mean, even if there are little breaks in between, that's also fine but that's it. I'm going to finish it off with my signature. It's almost done. Before ending, I'm just going to create some of the grass here coming in front of this land. Just some final grasses. [MUSIC] That's it. The painting is done. I totally love the perspective of this painting. I think this is something new that we did in this painting from all the previous ones. I think even in the hay bales that we did, there also we had little bit of perspective where you see the field in the front and how the distinct area of the field is visible, and even in this one. Just by doing this smaller lines, it creates so much of perspective and depth of this painting. Try this out and let me know how you liked it, what you created. I would love to see, supposed in the projects below. We have just two more days left to finish this challenge. I hope you're enjoying it. I hope you are creating all these beautiful landscapes. Share it with me and I'll see you tomorrow. Thank you for joining me in this class. 27. Day 14 - Peaceful Morning: [MUSIC] Hello? Welcome back and today is Day 14. The painting that I've chosen is of a Havel, which is what we did I think on Day 7 also, one of the Havel landscapes and I really loved it so nicely. The wheat rolls rolling on the wheat field, and so I decided to do one more of those landscape. The cloud shape in this landscape is so beautiful, the shape of the cloud floating. So I really wanted to create this cloud shape as well. Because of both reasons I chose this painting. So the art supplies are A5 acrylic paper. These three brushes and the colors that I've taken out are turquoise blue, this is the one. Turquoise deep and light blue permanent, green, this one, permanent green light, lemon yellow, cadmium yellow, burnt sienna. I wanted to do this color, this turquoise plus light blue is a very bright blue color. So this is the one I wanted to try out for this one so I chose these two colors. It's different from the color you'll see in the photograph. That's why I'm showing you this because this is the one I chose to do. But you can definitely choose to do something else if you wanted to. So what I'm doing is I'm mixing these two colors first on my plate and then I am adding it here. Look at this beautiful color. [NOISE] As I'm coming down, I'm moving to more of light blue, already loving this color. It's so bright, like perfect for a summer sky, isn't it? I'm creating it in a very rough way, it's very different from the color you see in the photograph. [NOISE] We're coming somewhere till here I think [NOISE]. So taking a little bit more of this dark one to blend it in. The blending is done. [NOISE] Beautiful blending, I love it, making it just a little bit more lighter towards the horizon. [NOISE] It's done. Now, I'm not going to do the cloud immediately because I want the background to dry off a little bit and then I'll do. Meanwhile, what I'm going to do is create the greens. Look at these two lovely colors. I'm mixing a little bit of the green and cadmium yellow. These two colors create beautiful shade of green, making it little wavy in the horizon and shooting the land. You see with a flat brush, I'm having a little struggle to do this, but it's giving me a beautiful texture. That's why I'm still continuing with this. With just one stroke it's done. Not one stroke, maybe just a couple of strokes. This field is done, very thick textury. Love it, how it's coming. Now, just below this, I am going to create maybe just a couple of more yellow lines here. Look at this pictures that we formed here. Isn't it pretty? Let me take out a tissue paper. [NOISE] Just wiping it off. It says green and I'm switching to lemon yellow and green just below it. [NOISE] Here I'm taking just a tiny bit of burnt sienna. I'm mixing it up with the yellows, both the yellows and I got this beautiful color. I'm using that to paint the complete field. Just a tiny bit of water because it's very dry. It's done. It's not exactly the color you see over there in the photograph, but I absolutely love this color that we formed. Just going to add just a little bit more of the yellows. The colors are drying very fast. This comment I actually got from some of you on Instagram that the colors are drying very fast. I know I am feeling the same because it's summer. It's the color, they're drying very fast. So only suggestion that I can give you is do not take out a lot of paint at once. Take out little by little. So once you're using, then the color will not go waste. But to be honest with you, in this class, I have wasted a lot of paint and I don't like wasting paint a lot. But that happens once in a while because this way the research that it's happening. But I'm also thinking that probably I'll teach you and me at the same time, to a smart way of painting where you don't waste a lot of paint. So I'm thinking of doing that just after finishing this class because in the summer is actually becoming very urgent to do that. I love this brownish, yellowish free field color rather than the green one. But you see, since we added one layer of green before, there is little touch of green in the field as well, which I think is beautiful. Also the brush is giving some textures in the background, which is also very beautiful. The entire field is done. I'm not going to revisit it anymore, so that's why I'm doing it at once because generally I revisit all the steps once again, but this one, it's a very simple smooth field and I'm not going to revisit it other than painting the Havels on top of it. [NOISE] Some beautiful horizontal strokes, I'm taking here. Cool, that's it, I'm not going to do too much. I have a habit of overdoing stuff, but I'm going to leave it here. So now I'll let it dry. While it is drying, I am going to paint the clouds, so I'm going to use this flat brush, that's why I'm washing it off absolutely clean, dry it off. Always before doing clouds, make sure you have a dry brush. Okay, absolutely dried. Now I'm using the corner of the brush and creating this beautiful cloud shape. Absolutely love this shape. This one is very huge coming from here almost. Just a random shape of the cloud and then it's flowing like this and this. Look at that shape , isn't that pretty? There is a few small ones here and there, but I'm not going to do it with this flat brush because it's going to pick up a lot of space. So what I'm going to do is before moving on to the small liner brush, just going to create the edges, the federal touches, which is basically step 2 of our cloud technique. Just going to add the beautiful edge of this big cloud here. The smaller ones, I'm going to do it with a thin brush. You see with the flat brush, I absolutely get this texture so beautifully that I don't feel like struggling with any other brush. Done almost. It's happening fast only because I have a flat brush. All right, so this is done. Good big chunk of the big cloud which is filling up the centers a little bit more. I'm not washing the brush because I'm going to use this brush to create the shadow and I have to do it quickly or it's going to get dried. You can wash it off, keep it aside, and then use it again but I like painting fast, so I'm going to use it. With a small brush, I'm creating all these small clouds around this big one. I love doing this, I absolutely love this. It's such a therapeutic process. Now what I'm going to do is go on top of it and add a little bit more brighter white and let it dry. Otherwise, the blue is showing through it. Just going to create a few loose ones here and there floating around. All right, so before this brush dries, I'm quickly switching over to this one and you'll see it hasn't dried yet, creating the shadow color and I'm coming here and adding the shadow. You see how easy this is when you have done it a few times, you understand that it's not as difficult as it looks like. For the small ones I'm just adding a little bit, not too much because the flat brush is not going to be sufficient for this small area, so I'm not going to do too much. Okay, so that's it. Now, I'm going to blend it in and make it look nice. I'm not going to go all the way to the edges because the edges are done nicely, so I'm going to stick towards the center and add all the shadows. The main shadow is done, I wanted to add it quickly, that's why I used the flat brush. Now I can easily switch to the thin brush, so what I'm going to do is rather than drying it on the plate, I'm going to clean it off and I am switching to the thin brush. I want to add a few more here and there, wherever I feel I need to add a little bit more, and also I'm going to add the shadows to the small cloudlets. Anytime I'm adding the shadows, I'm directly adding the white and blending it on with the white. Almost all the blendings have been done and now I'm going to add some of the highlights on top of the shadows. Shadows here. Now adding this small ones, I absolutely love them. Just as few small brush strokes and you can create such gorgeous stuff. Now I'm going to wash off the brush and do the last step of the cloud technique, which is basically adding bright white on top. This is done, over here also a little bit of bright white. Where else? Maybe a little bit here. Oh, wow, I love it. I love the way things happen. Just adding a few of the background clouds like this, very dry strokes. Not too much, just a little bit here and there and it's done. Now the final thing we're going to add although here it is, I think ordinarily is starting to look really good. Let's get to adding all the hay bales now. Remember how we edit the hay bale in day 7? If you haven't done that, try it out it's a really fun one to do it. I'm starting to do it over here. This is how I think it is. The first big one. You see as I'm adding it, I am creating the texture of this round shape as well. Very less paint I'm using, not using too much paint like try stroking. That's it, done and in between these I'm going to add some of the yellows. You see it's done. It's such an easy technique. Just watch it once more if you didn't get it quite and just watching it once will give you a good idea of how to do it. On the top, I'm adding a little bit more of yellow because that is the highlight section. I need some more of yellow. Along with the yellow, I'm adding some of white as well. Just a tiny bit of black here. This is basically the shadow side and in just a bit of this blackish area on the side as well. This is where the shadow of the hay bale is. How easy is that? Tell me how easy is that? I'm not filling up the entire area with the black of this dark color. I am using absolutely less paint so that it looks like the broken lines and that's it. Creating some of the strokes of the field. I feel this shadow part, I just need to do a little bit more and a little highlight on the side here. The first big one is done, now I'm going to repeat the same thing, do one more here a tiny bit of black. A little yellow on the side and here comes the shadow. I feel this also needs to be a little bit more dark, so I'm just adding a little more here. Same thing over here. You saw that outside the shadow, I added a little bit of the field areas just to make it look nice and maybe just a little bit more of the shadow here. These two are done, blending it into the background. That's it. Now comes the time for all the small ones. First thing I'm going to do is make it a dot and add all the shadows first. One. Here, one more. here a couple of them on this side. That's all for all the dark sides. Now, I'm going to add all the light sides. Or maybe before going to the light side, I'll just add all the shadows because the shadows are also dark, right? All the shadows are done. The final part of the painting is adding all the highlights for the small hay bales that we just added, and for that, I'm using a mix of yellow and burnt sienna. You see it's so easy once you understand the technique, and you can pick up any hay bale painting and you can do this on your own. That's it. Now what I'm going to do is just make a little mix of burnt sienna and yellow and go in the center of this dark side just to give the feeling of these rolls. I feel I have added too much of light, so I'll just go and add some more of the highlight shadow, the dark color. That's it, it's done. My God, I feel it's looking seriously good. Let me peel off the tape and see if I want to add up a few things. [MUSIC] All right, so this is how it looks. I love the combination of this, the blue, green, and yellow one after another. I think they are creating a very bright color combination. All I'm going to do at the end is just some more of these lines. I think it's really fun to add some more detailing after the painting is done. That's it. We're done for today. I'm going to just sign off my painting and finish it off. It was really nice painting with you today. I hope you had a good time painting with me. Let me know what you created. Share your painting by posting it under the projects, I would love to see what you did. Let me know if this class is helping you to develop a practice of painting every day and are you able to create everything that I'm teaching you, do let me know. I would love to hear from you. Thank you so much for joining me in today's class and I'll see you tomorrow. [MUSIC] 28. Day 15 - Let The Light In: [MUSIC] Hello, welcome to this class. Today is day 15, which is the last day of the challenge. If you have reached till here, pat yourself on the back because you've done a great job of creating all the 15 projects so far. Even if you have not done all of them, you can always go back and do them at any point of time if you want. Today I have chosen one of my most favorite painting of all time. This is the one that I have done once before. Here is the one. I did it on a small journal exercise, and I want to teach you this today. It's a little complicated than all the other 14 paintings we did in this class, because there are quite a new things that you're going to be learning. Here we're going to introduce the sun for the first time. We have painted all these beautiful paintings of bright, sunny morning, but we haven't painted the sun till now. In this class, we're going to learn how to do the sun and create perfect sun rays so that it doesn't look very obtrusive, but it looks blended into the painting. You're going to learn to paint the sunflowers, which is another good object to learn to paint. The favorite part of this painting for me is creating this bottom area. There's a lot of abstract strokes that I want to teach you in this painting. Let's get started. The art supplies are: A5 acrylic paper, the three acrylic brushes, one flat brush number 6, round number 6, and round liner brush number 0. The colors that I have taken out for this class are Prussian blue, chrome yellow, lemon yellow, burnt sienna. These are the four main colors, along with black and white. Let's get started. I'm going to start with a flat brush and Prussian blue on the top. This is something that we have done quite a few times by now using Prussian blue for the sky, making it absolutely dark on the top, and as we come down, we start painting it down with white. This is not something new. This we have done quite a few times I'm sure. If you've done all the paintings so far, you are pretty proficient by now of doing this thing. I am not going to take this white too much into this dark area where I have PR Prussian blue. I don't want to lighten it. I want to keep it absolutely dark like this. I start coming all the way down and start blending it also with this Prussian blue here. You can see I'm struggling to do the blend, but I like it this way. I don't like to have paint on my brush because I feel the blending happens much better if I do it this way. That is just my take, but if you feel you are having difficulty blending, then you can add a tiny touch of water. Don't take too much of water. Just a tiny, tiny touch. This is a perfect color of blue at this level towards the horizon. Now I'll start going up and blend these two colors; the lighter shade and the medium shade of blue. Tiny touch of Prussian blue, not too much. Totally having fun in this process of blending. I like going in this round direction because I feel the blending happens better if I do this. [NOISE] Making sure the entire canvas is covered and there is no white space showing through. I feel it has already become very light towards the top, so I'm just adding a little bit more of Prussian blue to darken it towards the top. But I'm going to blend it as well. I'm going to add little bit of white to this so that it blends nicely. Look at that. How nice blend it is. It's not smooth blend because I'm not using any water. Remember, if I use any bit of water to this, this becomes a smooth blend, but I like the rough blend, that's why I don't use any water. This is completely done. I'm going to give it a couple of minutes and by then, what I'm going to do is add the color on the bottom. I'm not washing my brush, I'm just keeping it aside because I'm going to use this. I'll just wipe off all the excess blue. Actually, you know what, I am going to wash it off. Completely, wash it off. Get rid of the blue [NOISE] take some tissue paper and dry off my flat brush and keep it aside. While it is drying, I want to make it 100 percent dry. By then, I'm going to add all the field color over here. This is a nice technique. All I'm going to do is I'm taking the absolute thick body acrylic and adding the color here. You see, the brushstrokes are creating such beautiful strokes over here. Mixing it with little lemon yellow also, tiny touch of white. The distant color is done. Now let's start coming down. I'm going to add the chrome yellow all the way to the bottom. It's just the first coat. I'm adding all the color over here. Absolutely dry strokes. [NOISE] Just a tiny touch of water. That helps blend in much, much easier. That is why I say if you are struggling, you can always use a tiny touch of water. I like the struggle somehow. I like to do it with that rough, struggling, structured way. This is done. See, look at this. Very less burnt sienna on my brush and I'm going in this direction. I'm just drying it off on the tissue paper because I don't want any water. Look at this, it shows that I'm creating here. I absolutely love doing this. Same thing over here as well. You need to have absolutely less amount of paint on your brush to be able to do this dry stroke technique. [NOISE] Going all in vertical direction, and adding this a little bit more on the side. Remember, this is where the sampler is going to come. That's it. I'm not going to go up too much because this is exactly where the sampler is going to come. I'm just going to darken this area just a little bit more. Before that, let me just add a little more of chrome yellow on this side. Just blending it in with the burnt sienna. I'm going to make it just a bit of tad bit dark in some places with burnt sienna and tiny touch of black. You need to have really dry brush over here to be able to get these strokes properly. Actually, it's better to do it in summer when your colors are drying, your brush is drying. Actually, that is a very good thing. Use it to your advantage and do all these dry strokes. That's it. I'm not going to do too much and crowd up this place because later we're going to add the sunflower over here. Just finishing it off with adding a little bit of chrome yellow here and there. Little bit of lemon yellow on top of it because the distant it is, I'm going to make it lighter. Also using my brush, I'm giving the strokes of this field. I love the blend of this burnt sienna and chrome yellow color. I feel it's so mesmerizing this color. Totally love it. That's it. I'm not going to do too much, leave it here. I'm going to use the flat brush now to create the clouds. Let's do it. The first thing first all I'm going to do is create the shape of the cloud. There it is. The shape of my cloud is done. The first one is done. Then I'm going to do the second one. That is done. Now the small ones here and there. You see, by the time I've reached the number 15 painting, I am doing it so fast compared to how I did it in painting number one. It's very clearly visible to me. I don't know if it is visible to you, but it's very clearly visible to me that I'm doing it much faster. My hand has progressed a lot by painting these 15 paintings. I'm sure it's going to happen the same for you if you keep doing all the 15 paintings. I'm absolutely loving it because I am happy with my progress that I see after teaching this class. Done. Now I'm going to go in-between these and just fill it up just a little bit more of white. What is the next step? I'm going to add these feathery edges that I like doing with my flat brush because I feel the brush is quite rough and with this, I can get really nice edges rather than with a thin brush. Sometimes I like doing it with a thin brush as well, but this is what I am liking at this moment, so I'll do that. The main chunk of the cloud is filled up. I'm just keeping this brush aside and switching to the liner brush, generally using which I do these edges. I'll just add just a little touch, all the small ones that is difficult for me to give the exact shape. That is what I'm going to do using this liner brush. The main chunks are done. Before doing the shadow I am going to do the sun. So before doing the the shadow, why? Because the sun is going to go in the background. If I do this final one, then it'll be difficult for me to do the sun. For that reason, I'm doing the sun now. Don't have too much of paint on my brush. Just a little bit of paint. I'm not doing it very bright white, just barely touching the brush on the canvas and creating the white. Now see. Now I'm going to move the plate aside and I'm going to go in all direction very light stroke of white. Keep moving it around and take big strokes that goes all the way outside the canvas. Just a tiny touch of white. I want the lines to be broken. I don't want it to be too bright. That's why I'm taking less paint. If I take less paint, then it's going to be broken lines. If I take too much paint, then it's going to be a solid line, which I don't want. Trying to create the lines as straight as possible. I just want to add just a bit more of the sun rays. Finally, add a lot of white to the sun center and just taking it out a little bit so that it looks like together and not very separated from the center circle. Some of the rays I'm going to take on the way here. I think that's good amount. Done. Now we will start creating the shadow. For that, again, I'm switching to this flat brush that I had kept aside and had not washed, creating some gray and I'm going to take little bit of Prussian blue also while creating this shadow color. That's a lot of dark, so I'm going to wipe it off a little bit on the tissue paper and add the color here little bit in this small area. Now I'm going to use white and blend it up immediately. I don't have to take the light gray because the ones I pick up white in this brush, it's already becoming lighter. This shadow is not on the bottom, whereas towards the front, because the sun is in the back. The shadow is always on the other side of where the sun is. That's why you see the shadow is in the front here. We can see the light through around the clouds, like on the side and the shadow is in the center. For the small ones, I'm not going to re-sketch with the flat brush, rather I'm going to switch to the light brush. These big two chunks of shadows are done. I think I am done with this brush, so I'm going to wash it off and switch to this one and just very gradually do all the edges. I think the edges of the big ones are pretty much done. Still, I'm just going one more time. Just blending the shadows with the white. This is done and now, especially the small ones which I could not do with the flat brush because it's too big to go on this small area. Just going to go wherever in some places little bit here, little bit here. Now it's time to blend it off with the white. Now that the shadows are completely done, I'm going to add a fresh layer of white on the edges because that is where the sun is falling and bright white clouds are visible of the edges of all these big cloud chunks. At this time, I'm drawing the edges also very nicely on the other side. This is done now on this side. In this one, I feel the edge is very bright white already, so I'm not going to do too much and the edges are also very nicely done with a flat brush so I'm not going to go too much over it, rather I'm just going to go here and there add some bit of highlight in between and at quite a bit at the bottom here. Just a little shadows here and there. I think I need to create just a little bit more of shadow because the colors are drying very fast. Got some good shadow here so I'm going to blend it with the white because this blending are not done in the small clouds very well, so just going to go over them once again. All the shadows are done nicely, they are blended also very well. What I do normally is after I've added all the clouds, I just generally take a step back and see how much is done and if I need to add a few more. Now, I'm just looking at it through the camera and I think it's looking gorgeous. The sun is looking like from the back. The cloud is lit up on the edge and there's a good amount of shadow in the front of the cloud. I think it's done. I know I did it very fast. Watch it once again if you need to and then do it slowly. Just adding little bit of highlights in between, as in the lighter color, a little bit of whitish color. It's bright, glowing clouds on this side. I'm just adding one more good layer of bright white, some shadow here in the front. That's it. Before adding the sunflower, I'm going to add a little green that you see so for creating the green, I'm mixing chrome yellow and Prussian blue. My beautiful green is done. Just one line of horizon. I need to add some water because it's very dry. All the edges are done. What I'm going to do is peel off the tape now, let it dry completely, especially the green portion that I just did, and then finally we're going to do the sunflower. The sunflower is in the center so the edges are not required. So I'm going to peel it off now. [MUSIC] The sun, the cloud, I think this is a very different type of cloud than all we have done in the past, everything is done dried and everything is fine. Now I'm going to start painting the sunflower. For painting the sunflower, I need some greens first. I will start off with green. This is my green, quite a good amount of green I have created here. I'm going to go all the way to here with the green still. Just marking it out. I'm not really doing it right now but I'm marking, where this green petals of the sunflower is going to come so that I can paint the petals first and then come on top of it and create the greens. This is where it is, and this other one, small one is right next to it over here. Even for this one, this is where the green stuff is coming. Since I have green on my brush, what I'm going to do now is just paint the petals, the leaves, not the petals, sorry. Some of the leaves, I'm just going to do, not all. Adding just a tiny bit of yellow to it to make it lighter green in some places. That's it. The greens are done. I'm going come back to it later. Washing off my brush completely and I'm going to paint the sunflowers now. For the sunflowers, I'm going to use just lemon yellow. The paints have dried quite a bit. Here it is, I`m mixing the lemon yellow with a little bit of water to make it a little fluid because it's really dried by now. Check this out, how I'm going to do just one stroke for one petal. Starting from here, that's the one petal of the sunflower. That's second petal. That's the third petal, I hope you're getting the idea and I'm just bending it a little bit. I think I need to take out some more lemon yellow, it's very dry. But even this one, I am going to mix it up with a little bit of water. Because when I have a little bit of water, I can make just one petal with just one stroke, otherwise I might have to take multiple strokes. Always starting at the base and going outside. You see I'm adding a thick amount of paint and just dragging it out. It's so easy and yet so effective. Now, I'm going to let it dry while I do the other sunflower. For that also, I'm mixing a little bit of water, making it fluidy. Let's do all the small petals. Because I'm doing it on the dark background, you see the petals are so much more visible than the first one. While you're reaching the tip, pick the brush up to have a pointed end, otherwise the petals are not going to look good. Make it point the tip. All the petals are done. This one, just one more, properly over here. Next what I'm going to do is one more layer of yellow for that, I'm taking chrome yellow. With the chrome yellow, I want to go on top of it, it's basically like the shadow. It's just like the shadow of the cloud. It is in the center because, the sun is in the front. Just adding one layer of chrome yellow on top of this one. On top of the lemon yellow layer. This one, I'm not going all the way till the end, I'm going only till half of it. Two layers of yellows are done. I'm going to give it just a few minutes, make it dry completely, and then come on top of it and add the green, because if I add the green directly right now, it's going to mix in with the yellow. I don't want it to mix in this time. I want it to be pure green and then we're going to do the green stem also properly and finish it off. For that, I'm just going to give it some time for the yellows to dry off completely. Anyways, drying is not going to be a problem now because everything is drying very fast. That's all. The sunflowers are done. It's been a couple of minutes and the yellow is completely dried, because I used a lot of water with it, it took a little bit more time to dry, but never mind. Now, I'm going to make some more of green and I'm using water because all the colors are drying. Green has been done, taking little bit more of yellow. I'm going to create the petals on the back of the sunflower. Which means I'm going to go on the back like this and continue exactly in the flower petal motion and add all the greens. That's it. It's done. That is how simple it is. I'm going to add a little bit of shadow and highlight to this just to make it look good. Here also, I'm going to add the stem first and then go over it and add the green petal on the back. I'm going to make it a little bit more dark. Add the shadow side and so for that I'm adding a little bit more of Prussian blue and coming on top of it and adding just a bit of the dark side. Same on this one. [BACKGROUND] Just adding one more layer of the light green on top of it. It's like a mix of dark and light. Let me add just a little bit more of light green only in some places to show the highlight. There you go, the painting is done. I am going to sign it off, now. [MUSIC] There you go. The complete painting has been done. I hope you enjoyed it and created this beautiful bright summer sky, and you created all the paintings in this class. I'm so excited to see what you created and I hope you've found my tutorials helpful and let me know how well it went for you. I would love to hear back from you. Thank you so much for joining me in this class. 29. Your Class Project: Do you want to be able to paint all by yourself and not by watching my tutorials? Well, I hear you. I feel you. Why? Because I have been there. Before I started painting on my own, I had watched hundreds of tutorials for good five years. I painted voraciously watching others. One fine day I realized that I can paint on my own. How did that happen? Well, it isn't magic. Simple perseverance and practice. Your class project would be not just paint all the 15 landscapes along with me, but today, create a landscape from a photo that you have clicked. No, not downloaded cloud images, but an image that you have clicked in the past or today. Sounds unreal. I assure you if you followed along with me and painted all the 15 landscapes, you will be able to capture the sky from your window, balcony, or outside, and be able to paint it on your own just by looking at the sky. Here are a couple of videos I had taken. Left one is a time-lapse from my balcony and the right one taken from airplane while I was flying from Kolkata to Pune. For this project, I'm also going to try and paint from my own click. Now be ready to surprise yourself with your own talent and thank you so much for joining me in this class. 30. My Project Process: Yeah. Yeah. Yeah. Dr. Dr. Dr. Dr.