30 Day Watercolor Challenge - Winter Landscapes and Christmas Vibes. | Umashree Taparia | Skillshare

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30 Day Watercolor Challenge - Winter Landscapes and Christmas Vibes.

teacher avatar Umashree Taparia, ART 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

39 Lessons (13h 22m)
    • 1. Hello and Welcome Back

      3:42
    • 2. Materials You will Need

      3:38
    • 3. Technique 1 - Basic Wash

      3:26
    • 4. Technique 2 - Water Control for Blurry and Misty Backgrounds

      4:07
    • 5. Texture 1 - Using Water and Paint Splatters

      4:27
    • 6. Texture 2 - Using Salt

      2:46
    • 7. Texture 3 - Using Brush

      2:31
    • 8. Texture 4 - Adding Snow , Snowflakes and Stars

      4:45
    • 9. Texture 5 - Dry Brush and Reflections

      3:07
    • 10. Day 1 - Misty Landscape

      21:38
    • 11. Day 2 - Winter Sunset

      22:04
    • 12. Day 3 - Red Snow house

      22:05
    • 13. Day 4 - Snowman

      22:24
    • 14. Day 5 - By the Lake

      24:48
    • 15. Day 6 - Snow Capped Mountains

      28:59
    • 16. Day 7 - Galaxy Sky

      20:27
    • 17. Day 8 - Snow Lamp

      26:12
    • 18. Day 9 - Ice Man

      26:18
    • 19. Day 10 - Cabin House

      18:57
    • 20. Day 11 - Lamp on a Wooden Log

      23:10
    • 21. Day 12 - Brown Galaxy

      23:54
    • 22. Day 13 - Kid in Snow

      21:47
    • 23. Day 14 - Winter Cup of Coffee

      24:06
    • 24. Day 15 - Northern Lights

      25:03
    • 25. Day 16 - Country Side

      26:34
    • 26. Day 17 - Winter Wonderland

      31:57
    • 27. Day 18 - Misty Mountains

      30:25
    • 28. Day 19 - Northern Lights Camp

      32:46
    • 29. Day 20 - Christmas Tree

      25:10
    • 30. Day 21 - Pink Galaxy

      26:26
    • 31. Day 22 - Red Barn

      34:29
    • 32. Day 23 - Santa's Bag

      25:39
    • 33. Day 24 - Christmas Ornaments

      28:35
    • 34. Day 25 - Christmas Ornaments 2

      25:30
    • 35. Day 26 - Christmas Gloves

      20:49
    • 36. Day 27 - Wreath

      34:07
    • 37. Day 28 - Cardinal Bird

      20:41
    • 38. Day 29 - Christmas Car

      28:43
    • 39. Day 30 - Merry Christmas and Thank you

      25:55
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About This Class

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I’m one of those people who says I can’t wait for winter. Then when it gets here, my fingers and toes are cold, my nose is runny and I’m ready for summer again. Winter, is the darkest and often the coldest of the seasons, but with chill and the possible snowfall comes the holiday season, and ample moments for cozy retreat and hibernation. 

Who doesn't love curling up with a winter cocktail by the fireplace, snuggling up with a blanket and indulging a bit. 

If you’re feeling anything like I am, then maybe these winter paintings with all the Christmas vibes will help you appreciate the season a little bit more.

Through this Class we will be Painting 30 Beautiful Winter Landscapes and getting some Christmas Vibes On. Through every painting I will keep guiding you through all the steps, Color shades alternative and tips and tricks to work with watercolors. 

The one thing that makes watercolors the least expensive medium is the amount of supplies needed to get started, which consists of only the essentials: paints, paintbrushes, watercolor paper, a palette, and water.

Watercolors is one of the toughest mediums to achieve, its transparent streaks almost impossible to cover up and its various techniques prestigious and precise, but satisfying when accomplished.

So if you want to transform your Watercolor Journey for Painting Winter Landscapes then come join me in this class and explore the beauty and freedom of this Medium called Watercolor .

If you like this class, please leave a review that will help this class reach more students.

I'm so excited to begin this Journey of 30 Day Watercolor Challenge for painting all the Holiday Vibes and would love to see you Join me in this Journey. Thanks a lot for joining :)

Materials you'll need :

  • Watercolor Paper –  I recommend a minimum 300 GSM/140LBS , 100% Cotton Paper 
  • Brushes - Flat Wash brush,   Round Brushes Size 8, Size 4 and Size 2,Detailer Brush
  • Watercolor - Any Artist Grade Watercolor. We will be Discussing every color and alternate that you can use.
  • A Mixing palette 
  • Masking tape
  • Two jars of water
  • Pencil and an eraser
  • Paper towel or a cotton towel 
  • Salt

Meet Your Teacher

Teacher Profile Image

Umashree Taparia

ART EDUCATOR

Teacher

Hey Lovely People,

 

I am Umashree Taparia, a Self Thought Artist, Art Educator and a Creator from India. I am a Chartered Accountant by Profession and an Artist By Heart. I have always been creative since Childhood but it was majorly crafts, card making. With all the Study and busy work Schedule I never had time to practice or think Art. But in 2020, when the Lockdown hit, I started with pencil sketching and gradually began to learn about Watercolors. It was then, that art became my daily Practice. 

In this one year I explored different Mediums and my favorite happens to be Gouache and Watercolor. Through all the trial and error I have learnt so much in detail about all the art supplies that are available. I believe that if I can do it then anyone can lea... See full profile

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Transcripts

1. Hello and Welcome Back: Vento is the doctest and often the coldest of the seasons. But the width, chin and the possible snowfall comes the holiday season and ample movements for Posey retrieved and hibernation. Who doesn't love calling up with a winter cocktail by a fire, please, snuggling up with a blanket and indulging Verbit. Window is magic. Oh, I'm a machine, an artist, and an art instructor. You can find me on Instagram, YouTube, and Pinterest as creating from the heart. Heart is like a therapy to me and I love sharing this therapy with each one of you out. You're welcome to another Skillshare class with me on painting beautiful winter landscapes with the Christmas wipes on either one of those people who say, I can't read for winter. Then when it gets your my fingers and toes, I hold my nose is running and I'm ready for summer again. If you're feeling anything like IN then maybe these window paintings with all the Christmas lights, then help you appreciate the season of bit more. Even if you are a big note, you can still join us because I will first be guiding you through all the basics that will be helpful to you for painting each of the class projects, easy me, and just like a pro, we will be learning how to create beautiful textures and do a painting using different materials. And I will guide you through each office and even initially discussed each of it with you so that you know what we are going to be getting into the coming days. I would even be sharing the entire material list that I will be using for the class projects in the coming days. And I would even keep telling you about the colors that we are using through each class, project. Through each class, I will be guiding you through all the steps in real time to how we're adding what details and at what point, how you as opposed to using the palace and the best alternative colors that you can use it. We will be learning to create these misty, beautiful, blurry background and paint beautiful landscapes in just realtime with each other. Doesn't is beautiful snowfall paintings Rouse your inner child to dream and play once more. We are all like the snowflake, all different in our own beautiful being. So come and join me into this Watercolor Challenge class, where we will be painting these beautiful window landscapes, which brings the Christmas wipes on. Window, is not the season. It's a celebration. Winter comes with the happiness and joy of Christmas wives. So I would like to see you all join me into this class. And these beautiful winter landscapes with me through the bombing, CATI is creating such beautiful Christmas wipes around. You can even use these paintings as the obvious Misko Scott and send it to your loved ones. So without further ado, let's get up into wipes on with these beautiful paintings. 2. Materials You will Need: So let's have a look at the materials that you would be needing in this class. You would be needing what other people? I'm going to be using this 300 GSM, 100 percent cotton. Then by two inch into seven inch watercolor paper from the brand, go home. It's academy level watercolor people fat. So this is a block of people I will post and then the sheet off from the top edge and remove it after bending. You can see this people has a texture and that will be very helpful in adding textures using the dry brush stroke. So this is the paper that I will be using in each of the class for the coming term, TVs. Coming next, you would be needing a pallet to mix down your colors. You can go ahead and use any palate which is available at your end. It may not be the same as my. Next, you will be needing a masking tape to tape down your paper onto all the four edges for all the coming days. Next, you would be needing of your brushes. You would be needing a flat brush or medium-size round brush, a smaller sized round brush, and vd lA brush. So you can go ahead and use whichever brushes are available at your end. Next year we'll be needing a pencil and an eraser for doing some pencil markings. Next, you would be needing this free water for evading the surfaces at cases and for adding texture. And you would be needing right field as well to add the texture. So for the white, I'm going to be using this white dwarf separately for splattering the small stars and providing some pictures as well in the wet on wet background to create some snow effect into the background as well. Next, you would be needing two jars of clean water for Egypt, the class project. One job you would be needing to apply clean coat of water and the other one to keep cleaning your brushes from time to time. Next, you would be needing in water follows. So I will, using in this Magellan mission set apart from this, I will be using a few sheets from the white knight set. So this is Naples yellow paint, indigo. So these three to four fellows that I would be using it from the other set. So you can go ahead and use any watercolor set that is available at your end. It may not be the same as mine. Next, you will be needing a lot of tissues. You will be needing issues for or, you know, adding perfect reflections. And in case if you want to spread the fisher around by just plugging this task so as to avoid the pleas from getting the right spots, then you would need a lot of tissue, so keep them handy and ready. Next you are going to be needing in soil, we are going to be using in salt for adding textures into a view of the background. So this is just normal, regular cooking salt that I have used in your patron data. I'm going to keep a reflow to also had liquidly for dabbing off excess water or paint. I would also be using in our hair dryer too quickly speed up my drying process in between. So I would not be recording this part, but you can also use a hairdryer to make your paper dry out quickly and so as to speed up your process for feeding. So these are all the materials that you would be needing in for the coming for TVs. You can grab all of them and we can begin painting our first class project for today after discussing some basic techniques in the next lessons. 3. Technique 1 - Basic Wash: So before beginning with today's class project, Let's discuss some basic techniques which will be helpful for you if you are a big note with watercolors. So the first one is going to be wet-on-wet and the wet-on-dry technique. We will discuss both of these techniques and then move ahead and discuss further, are there techniques that will be helpful in creating beautiful backgrounds? So as the name suggests for the first one, it's wet on wet. That is we have a wet background and undo that. We're going to add in vet beam search smallest piece on which I applied at the input of photo. Now I'm just going to pick up any random color, and I'm just going to wet this color. I'm going to apply to a Buddhist Webpack though. So this is called wet on wet technique. It's useful when you want to pin surfaces and you'll do not want any harsh edges in between. Now as the second technique, wet on dry technique. So that is your background is dry and you'll begin with wet paint onto it directly. This is helpful when you just need to be smallest offices or adding in DBS. And all you know, it will be very difficult to paint larger surfaces or the technique wet on dry because you would begin to get sharp edges in between. So you can see, you can use both the techniques depending on the size of the people or size of the area that you are willing to paint in. Even be using both the techniques in each of our class projects. Next is a gradient wash. That is, you'll get different values of fun color, either from bottom to top or top to bottom. So I will quickly just apply water onto the surface first and then show you how to get the gradient for getting the bleeding. We are using the wet on wet technique here. So now I have the red undo that I just applied, a layer of color at the top. And now with a damping trash, I'm just pulling that color from the top to the bottom. So you can see at the top I have got the darker bones and as we move down, what's the bones have? Don't light up. So this is called a gradient wash. Now I will show you the same gradient wash from warping. Who thought the first one we did was taught to water. So for bottom to top, we will apply the color at the bottom space and then just use a clean damp brush and pulled up close to the top speeds and get ingredient. See, you can get video with two colors, three colors depending on the project that you're working on. So this is how you can achieve gradients. We are going and using this gradient technique for building mountains and skies in the coming D's class project. Even for today's class project, that is going to be the Class Project 1, where we will be painting the misty landscape we are going to be using in this technique to being these beautiful mountains. We are going to be using this technique into these class project itself. I hope you could understand all the three techniques that we discussed in the first file. That is the wet on wet, wet on dry, and the gradient washes. In the next lesson, we will further discuss how to get water control when you're working wet on wet with different colors. 4. Technique 2 - Water Control for Blurry and Misty Backgrounds: Now that we've understood the wet on wet technique, Let's begin to understand the water control in wet on wet technique. That is when you already added in the fourth year of color. And then while that calendar your best in red, and you wish to go ahead and add another layer of color, then how you need to control the water to achieve the effect. We are going to be using this technique a lot in many class projects to create a blurry, misty background, and also for creating some beautiful pine trees into the backbone. So I've just mentioned it here. It's the water control for wet on wet. So I haven't heard of photo and unfold that. I am foster playing in the first layer of color. You can see the first year of color does not make a lot of problem. But even in the First New York control the weapons, you do not want a lot of light effects, okay, Now this background is big and you can see in this painting these created the background using this technique itself, that is the wet on wet technique. Even in the other class projects, you can see the blurry effect that we have achieved. So now I can just pick up some things Greek adequately and buying this background is in bed. I will begin applying earlier of beans green column. For first I'm picking up the beans be in a very liquidy consistency with a lot of water. And you will see that the pins are spreading a lot and they will not be creating a perfect look as you need, and even just fled and create a batch of the palette instead of maintaining the look that you're trying to add in. So you are, you can see the background was still a lot of it and you added extra bad thing. So it just created another square off the Payne's gray color. Now I can just make another block here quickly and show you how the need to go the right way. That was the wrong way that we discussed. Forced templates are planning or clean the water. Now I've just added in the layer of color quickly and you can see we've got the perfect color. Now at the bottom, that is a lot of water. So I'm just going to pick up little of the water and dab it off. Now or before beginning to applying the second year of follow, I will just read for a few seconds for this neo to just soak in a bit and dry in just a little bit. And this time I'm going to pick up the beans, be also the cholesterol photo. I will quickly be dabbing my brush on do a reflow to audit issue before beginning to add in your so that if there is any excess water by any chance, it will be the moves and absorbed by the tissue so quickly dabbed it. Now after a few seconds, I am beginning to add in. And you can see now the pins are not spreading much as the first one. Also, you are able to achieve the sheep that you are adding them in. And it's creating the perfect glory mistake that you'll want them to your paintings. So this is how you need to add these details in the right to be. You need to control the water and you also need to wait for about say, OF US against for the fourth layer to set an in before beginning into add the second meal. Now you can see on this I aggregated darker details and even their standing out but having the software and the blurry edge. So you are the key concept again, I repeat, is that you'll need to control the water nag you are adding in the Talia, that is the neural find genes that I added right now. And you need to wait for a few seconds for the fourth layer to just set the name. We are going to be using this technique to create these beautiful background. She's which are bloody. And also creating this beautiful background by injuries you're in a blurry view. So this technique we are going to be using a lot in the other buildings as well. And it will be very helpful if you practice this technique of few times on a rough paper before beginning to add these into your class projects into the coming days. So I hope you get to control or what is water control technique? And I will see you guys into the next lesson where we discuss some textures that we will be hi. 5. Texture 1 - Using Water and Paint Splatters: So now that we've understood the basic techniques of wet on wet, wet on dry, the gradient washes, and the water control. Let's begin to create some textures which we will be using in the coming days. The first lecture that we will be looking into is creating textures using waters plateaus and using the spray bottle and the white beans plateaus. So I'm forced just feeding a small patch and onto this, I'm going to quickly go ahead and add the indigo color this time, you can add any color for practice purposes. It may not be the same sheet. You can go ahead with a initiate of your choice. First, I'm just going to add a layer of the color completely. Now first I will show you this flag, those using a spray bottle. So the three important that we discussed in the material section, I'm just going to pick up that's pretty Bowden. So a drop of water from the cap just spend down so I can quickly just adapt this EDA and keeping the surface before showing you the right technique. So you need to be careful about this thing that, you know, not excess water should fall in, otherwise it will create a big blue. So I will just quickly leaping the surface. And now I'm going to use this play button and I'm just going to spray some water droplets from a distance. So approximately 15 to 20 centimeters, five from the people. Okay. So it's from this far off the paper that you just need to splatter some water using this play button. And you can see that it showed that it is pleading by just reacting with the beans on the paper. It gives the smaller blooms. And you can use this technique when you want a very fine snow effect or no effect in the low galaxies. Okay, So this is the technique that we are going to be using it for readings flappers at times. I'm going to use the second technique that is creating these rules using it, the brush technique. So first being the surface also with the indigo color. Now this time I'm going to pick up a brush which has a little water into it. And I'm just going to splatter some water droplets from fire on to this area. You can see you get larger blooms as compared to the blooms that you get by plugging using the spray bottle. You can notice that what do you get in the spray bottle? You'll get VD smaller moons because it's very small droplets. And then you use the brush, you get these big rooms, okay, so you can add as many as you want. Also, I'm going to use right? So just picking up the right thing just as you picked up the water on your brush and Ivan splattered mature and show it to you. So you can see the difference when use black and white things, you get clear white fetches. And when you use a water balloon technique, you get them lighter bone off that be creating a lightest no effect or no effect of stars in the galaxy may be. So this is how you're going to be using this technique for creating the blurriness, no backgrounds at the background. Oh, you don't. It will be really helpful for creating beautiful textures into your painting. Wet on wet. So we did all of this wet on wet, that is the paint was backed by nice black and the white beans or using the spray bottle also. So this technique is going to be quite useful to you, are creating in the snow effect into the paintings. And also you can use this technique for creating some grass effects, antimony effects as well. It works really great and gives you really good pictures into your pin thing. Second one, Let's pick a more water and see how a GX, my background is still wet. I'm just picking up a brush but knitting what? I'm dabbing some water. You can see how you definitely again, it's creating a blue and the snow effect. You just need to be careful about one thing, that you should not have excess water on your brush. Otherwise, as in the beginning, I dropped a big glob of water. It will create rules. Okay, so this is the first test shot. In the next lesson, we will further discuss more textures. 6. Texture 2 - Using Salt: So now let's begin with the next step. I'm going to apply a clean coat of water first. This time I'm going to apply it on black because surface we are going to be creating textures using the salt that we discussed we will be needing in the material section. So impulse going the head, adding in the Euro photo. Now on to this item quickly added the indigo color again, this time. Again, you can go ahead with any color for all you know, learning this technique has very, it's completely your choice. I'm just picking up the Pamela's very candidly so quickly using my round brush, I will just add the integral follow onto this entire surface. So I'm done adding the indigo color. Now, I will pick up soiled and I will begin splashing the soil onto this wet surface. So at the top space I'm going to splatter the stars VD randomly far away from each other and from a distance. And after block them, I will be adding salt in patches and tribal show you the dividend results. Most of it will be giving me. So now you can see at the bottom, I'm adding a lot of salt into factions together. So we even see both the effects that we get and at the top against matching those salt from the distance. Now using this technique, we are going to be creating beautiful snow effect like this into our paintings as well. So you can see the effect that we have is using the salt tech shop. So now let's wait for this to dry completely. Do not use a hair dryer for drying this because if you will use a hairdryer for joining this, it will not give you the same effect. So let this dry very naturally on its own. So I can wait for this to dry first. So now beyond my texture is completely dried and I have written stopped the soil and you can see the beautiful texture it. So you get this noise effect using this plateaus and you know the white fiend as well. But with this also you can get snow effect innovating different texture like this into your findings. So both of the techniques create very different look and what are the techniques we will be using for creating different textures into offending. And at the bottom you can see the patches that are creating by adding soil as a batch. So you need to be careful what kind of pattern you want. Whether you want to open your Python like the bulb or patches at the water and according to splatter the stars. So this was all about the salts technique. 7. Texture 3 - Using Brush : Now the next technique that we're going to look into is creating some grasp patterns into the weight back on using the back-office brush. So I'm quickly going to need a yard of color. I'm going ahead with a wet on dry technique. Your because the paint is going to stay for a little time and I don't want the whole lot bedtime. Now just using the tip of the brush, holding the brush perpendicular, I'm just going to pull out some grass drops very randomly moving in different shapes and angles. And you can see the beautiful effect that this is creating. This automatically creates the effect of the same fallow and chose as into the palette there. Now, this has to be done when your background as well. So you can see on the left side, I'm uneven to achieve the glass effect vent because it began to dry quickly. And on the right side I have been even will achieve the glass effect. Perfect, neat because it was still wet and it is still back for me to keep adding a few more grass tops. Now, this, this will be very helpful for you for creating grass strokes while painting widows and even by adding smaller the beans. And it gives very beautiful look when you want the grass of the cell stone into a vacuum. And that also easily just using the tip of your brush. So the risk that you need to hold your brush perfect if you know by pulling up these glass door and use a pointed tip. And you can see the right side is terabit and hence I'm even able to pull out his troops even now. Now under this, let me show you one more thing. I'm just going to pick up the indigo color and just going to add a very light tone of the indigo color onto this. Now you can see it's kind of a glazing technique that we are using in your. Now again, using the tip of the brush, I haven't followed the Facebooks while this is still back. So this time you can see we are getting the gospels with the indigo color, the orange color of the US troops underneath are also stand there. And we can see both the brush stroke and it creates so much valence and build up the index. So this technique will also be a lot helpful for adding in the glazing technique or grass effect as well. So this was about adding the grass roots wet on wet, using the tip of your brush and add in some textures into your fiendish. Now next we will discuss about adding some stars and define Gs and the dry brush strokes. 8. Texture 4 - Adding Snow , Snowflakes and Stars: So for discussing the folder techniques, I have already created a patch of the blue color and I have let it dry completely. Now using the Payne's gray color adequately add a mountain range onto the left side and we have to wait for it to dry completely before adding the dry brush strokes onto it. And also under this top itself, I will just add a few pine trees and then show you how even be adding in those details onto the find genes. That is this no badges on to define g. So now you can see I'm going to be painting the pine G is very randomly and nothing much in media. I'm going to be using the simplifying g, the deal that we are building right now. And some of them, I'm just going to add the least cost that is not with much foliage onto them. So you can notice I'm using the very basic binary and this is how I'm going to be adding in the pyogenes. Now let's be for this to dry and then let's see how we are going to be splashing the snow. So first pledging does nor we are going to be using invite washed and using a round brush. We are just going to dab our fingers onto the tip of the brush and then you can see you get these flatted off. Notice. Now when you're weightless, plateaued at this V is going to create a mess around. So for that purpose, I'm going to eat officials around so that I don't have to clean my people again and again. If you want and find stuff, you can lose a pour-flush and splatter this task, this will give you verifying status. You can see it creates Verifying stuff and all you want, you can add both the techniques to create a balance into your snow effect. So with both the techniques that will be a lot of whites flappers on the site. So I'm going to use the shoe paper and spread it all around and keep my painting onto that and then splatter the snow so that I do not have to keep cleaning my surface again and again. Okay. And it's going to create a little mess on your hands has been. Now next, let me discuss with you how we will be adding of your snowflakes and do a few of the buildings as well. So now using a smaller sized round brush, which has a pointed tip, I'm just going to begin adding in the snowflakes. So first we are going to be adding in a plus sign, then a small cross in between this, which is going to be smaller than the plus sign. And then just add these little details onto these are lines that you have added to feed the snowflake blue. We are going to be using this to adding it into your pin things to make. You can see that we've added in this class project, this video, we're going to be adding in snowflakes in different sizes. Now next we are going to be creating some Chinese task. So for that first I'm going to pick up the white color and create a very small round. And I'm going to create it in under dim light tone, as you can see. I'm trying to blend this silicon with a backbone and it has a very light tone to it. And then we will wait for this to dry and then add the shining look to these tasks. We'll be adding into your graphene things. Then the other kind of styles that we will be adding in these small shining stars and some shooting stars as well like this. Okay, So these are the different things that we will be using it for adding in the stars and the details and who are fainting. Now these patches have died in for this time. I'm just going to mix in a little yellow with my gosh, I'm just going to add the shining look to these tasks using a yellow color. And you can see it stands out so differently. So for these, the bees DO has to be blended with the bag down so that it creates a light bloody shining effect for the backbone. Now, my opined genes have dried and we will begin adding in the snow patches on Buddhist. So for that I'm just going to be using in the white quash and using the tip of my round brush, I'm just going to add some small, small batches like this as you can see. So now you can see the fine G automatically gets a lot of detail because of this no effect. You need to wait for your binding to dry completely before adding in the snow. Otherwise, as you can see in the center, feet up I love begins to spread in. Now in the next lesson, we will discuss about the dry brush stroke and the deflections. 9. Texture 5 - Dry Brush and Reflections : Now next let's begin to learn to add some reflections. So we are going to be adding a lot of GDP is I'm just smaller branches into a bin things. So like this, see we've added a few branches and now to this we will need to add the deflections. So for adding that reflection, I'm going to keep our tissue handy with me every time. And I'm going to use the same themed color in a very light consistency. And depending on the movement and the angle of the sun, I'm going to add the reflection and quickly dab it with a clean edge of the visual. So right now I'm showing that the sunlight is falling towards the right side, and hence these deflections are moving towards the right side. You can see I add the reflection with a very light and watery tone and quickly dab it with a tissue of give it much lighter tone. Now, see this side, the reflection is moving towards the left side, so I will add that flexion towards the left. So that is the sunlight is moving towards the left side and hence the tree reflection of these genes is on the left side. Now the key here is that you need to use a clean side of your tissue and not use the DOD side. Otherwise it will create a bad image onto the reflection. So this is how we are going to be adding reflections and do API index. I hope you could understand this and make sure to use a clean side of the tissue. And also, you need to quickly debate by the distance and positive flexion. As you can see, we've been using the beans in a very watery consistency with just a little touch of the pigment. So that is how we will be adding all the deflections into the painting. Now the last thing, let's begin to understand how we are going to be adding in the dry brush strokes into a painting. So my mountain is completely dried. I have picked up some bike wash that off the excess paint issue and just using the tip of my brush, you can see I'm pulling out this triplets tube onto the people. Since the fire has a little texture, it's making my job a little easier for adding the texture. Now I'm going to pick up some fresh by cosh without adding any water to it. I'm just going to add some darker highlights. And you can see you get so much DB by just using the fellow without adding any water. So make sure when adding in the dry brush you do not add a lot of photo. We will be using this dry brush technique with different colors to add some snow-capped mountains and other details in our being done. So this is all about the techniques that I wanted to discuss with you all, which will be helpful for you all in the coming Curtius class project. I hope. And I would recommend all of you to practice all of these onto rap sheets. And let's begin painting after these class project for the one which is going to be this beautiful misty landscape for today. So let's begin painting this in the next lesson. 10. Day 1 - Misty Landscape: So before beginning with today's class project, Let's discuss some basic techniques which will be helpful for you if you are a big note with watercolors. So the first one is going to be wet-on-wet and the wet-on-dry technique. We will discuss both of these techniques and then move ahead and discuss further, are there techniques that will be helpful in creating beautiful backgrounds? So as the name suggests for the first one, it's wet on wet. That is we have a wet background and undo that. We're going to add in vet beam search smallest piece on which I applied at the input of photo. Now I'm just going to pick up any random color, and I'm just going to wet this color. I'm going to apply to a Buddhist Webpack though. So this is called wet on wet technique. It's useful when you want to pin surfaces and you'll do not want any harsh edges in between. Now as the second technique, wet on dry technique. So that is your background is dry and you'll begin with wet paint onto it directly. This is helpful when you just need to be smallest offices or adding in DBS. And all you know, it will be very difficult to paint larger surfaces or the technique wet on dry because you would begin to get sharp edges in between. So you can see, you can use both the techniques depending on the size of the people or size of the area that you are willing to paint in. Even be using both the techniques in each of our class projects. Next is a gradient wash. That is, you'll get different values of fun color, either from bottom to top or top to bottom. So I will quickly just apply water onto the surface first and then show you how to get the gradient for getting the bleeding. We are using the wet on wet technique here. So now I have the red undo that I just applied, a layer of color at the top. And now with a damping trash, I'm just pulling that color from the top to the bottom. So you can see at the top I have got the darker bones and as we move down, what's the bones have? Don't light up. So this is called a gradient wash. Now I will show you the same gradient wash from warping. Who thought the first one we did was taught to water. So for bottom to top, we will apply the color at the bottom space and then just use a clean damp brush and pulled up close to the top speeds and get ingredient. See, you can get video with two colors, three colors depending on the project that you're working on. So this is how you can achieve gradients. We are going and using this gradient technique for building mountains and skies in the coming D's class project. Even for today's class project, that is going to be the Class Project 1, where we will be painting the misty landscape we are going to be using in this technique to being these beautiful mountains. We are going to be using this technique into these class project itself. I hope you could understand all the three techniques that we discussed in the first file. That is the wet on wet, wet on dry, and the gradient washes. In the next lesson, we will further discuss how to get water control when you're working wet on wet with different colors. 11. Day 2 - Winter Sunset: Hello everyone and welcome back to D to E to D even be painting this beautiful countryside kind of words. Do we view the panelists that you need for today's class project? This beans green, Naples, yellow, black, white goulash. And you would also be needing a little thing to offer orange color as well. So today, we will first be using the technique that we learned for water control and creating the misty sky, and then add in the rest of the detail in the foreground space. So now I have my people now onto all the four edges and we will begin painting. I will first begin with a very rough pencil sketch. I will mark the distinction between the horizon line, that is the skies fees, and the rest of the foreground space. And by marking the horizon line. And then on the right side, as you saw in the beginning, we are going to be having offense space. So I will quickly roughly mark out the fence space. Then I'm going to be adding in now onto these. I'm going to be adding in fence. So the backlog, things are going to be quite small and as you reach glues or defense is going to be taller in height. So now you can see as we're moving closer, we are increasing the height of this fins. And the one-step is that the backspace Neopets summarized in life is going to be quite smaller than Hive. And we've tried to give this a little circular movement as well. Okay. I can quickly just mark very rough rest of the fence as well. Now, I'm just increasing the height, which are much more closer to us. You can see, if you want, you can directly add this widow beans instead of adding it forced with the pencil mark. Because if you remove an electron from this pencil map, the background charcoal months we've been visible as the background is going to feel quite lighter tones. Father being the mean this fence, although they are going to be having interconnections resist giving him some light pencil sketch for that as well. So that is it for the pencil sketch. Okay. I just start with a very light pencil sketch of the T as vent that we'd be adding later on with the themes directory. So I just want to apply UCLA important for both or neither my horizon line and forth to even begin painting in the sky. So now I will just keep in this masking tape under my board and keeping people tilted downwards so that the flow downwards. Okay, So I will post beginning with the shade of Naples yellow. I'm going to use my round brush and thickly applied. So before that I will just set up our luxury out on my palate. Now you need to be careful about one thing that there is no excess water. Then if you can notice on my horizon line, I have gotten a little excess water because identify people. So all the water has gathered near to double rise in length. So using a clean edge of the tissue, I'm quickly going to pick up that excess water. Now I'm just getting the thelodonts ready. A little touch of orange and more of the Naples yellow and the Payne's gray color samples for him to begin with the Naples yellow near to the horizon, right in the center of the sky space. Now just onto the top of the Naples yellow adenine, very little of the orange color. And you can see, because I have kept my default denotative, all the things are flowing downwards and blended each other in the downward direction. Now just for you to pick up things Greek or low, I'm just going to add it about the orange color. Now if you see I have when using all the follows, Inability limestone and not too dark. Now new to the horizon line, I will just pick up the excess water and dab it onto a tissue because then we are going to be adding in the grass effect into the background space. So if you remember, when we learned in the water control, we learned adamant that by dawn blurry trees and uploaded details. So that is the technique that we will be using in your, I just added a little bit more of the orange near to the beans dried. And now I'm just going to add a little more of the yellow again as well. Because remember watercolor dries adorned by token what they seem into the paper at the moment. Now just adding a little tinge of the bond CMR color as well at the top space. If you want, you can skip this step. But all of this is wet on wet that I'm adding in. Now I'm just going to pick up until after bone sienna color, I'm mixing Payne's gray. You can even mix in orange and Payne's gray color if you do not want to use the bone CNR callow. Now I'm just going to mix watercolors and almost an equal consistency. I'm going to get a medium consistency of these things. And using a smaller sized round brush, I can begin adding in the details. So as you remember in the technique also, I had told you you need to wait for a few seconds for your sheep to just settling into the space that you want to add these details and then begin adding these details. So then that way these details one spread even much and even still have that soft and blurry effect. Okay, So I just quickly dab some excess water we do is still flowing from the top side. Now using my round brush, I adequately begin adding the details here. You need to make sure that there is no excess water. So I quickly remove the excess water from my brush. And also by adding the details at the top space. I'm just going to use the tip of my brush as you can see. So you could see how in a controlled way I was able to add these details and they've got a soft edge because my paper was still wet. Now, another important thing, your voice that we get the masking tape underneath our people to keep up a tilted so that automatically the pins won't flow towards the top side and they would only give flowing towards the bottom side. So I would recommend you to keep your paper tilted as well. Now just picking up a little darker tone of what the previous two on that I have picked up. I'm just adding some darker highlights because again, as I told you what the calories will dry upload like dot. So that is it. I'm done editing the complete skies piece and this laudatory effect, if you can notice, I have added these two reasons actually that the background, yellow, orange beans read round. All the colors are still visible of the sky. You can see the yellow color being perfectly visible just near to this G life. Ok. So you got to be a little careful and make sure all the deals are visible. Now let's wait for this to dry completely. So now you can see my sky spaces completely dried and I've got the perfect effect to the piece that I wanted to add it in, the blurry effect. Now I'm going to pick up, pick up some freshwater and apply water into the rest of the bottom space to begin painting the foreground. For the foreground, we're just going to be adding very little of the eyes effect using the same colors that we used in the sky to reflect this tight space. Your then adding little dry brush with the Payne's gray color and adding the fence detail and a few tree and then the small effect. So that is all what we are left to be adding in the foreground now. So first, I'm just giving a very light wash of the Naples yellow that we used in the sky. You can see the pattern is so light and it's even lighter than the sky color. We just need a very little touch of these colors as a reflection on Buddha ISPs because of the sunset view that we have. Now in the same vein, I have just picked up a very little touch of Payne's gray and the brown color on it and just adding it from the edges, you can I have picked up the fallow in such a light consistency without any water on my brush, hence just evil to add it onto the edges and get that gradient. So in the center space trying to maintain the yellow light and from the edges just pulled out this light tone of the color and make sure that the palace have very light even compared to the skies piece. Now I'm going to quickly add in the transplant does your AUC, so as to add little more depth to this price-based that we are adding it. So with the Payne's gray and the brown color mix, just adding splatters wet on wet. So this is the paper is still wet AND gate goes into the palace plugging technique. I had taught you this technique using white color, but we can do that with any color neo to these fans speeds onto just adding little patches already wet on wet, so as to add little more debt when we add in those or, you know, thanks details needed on. So you can see how lightly I'm adding this ground column make innovative night consistency. Again, your since we are adding all of this wet on wet, you need to have the what the console against clutching a little converge at the bottom, please. And Europeans believed it feels so much depth into this. Isps that we are creating your, the reason that I'm using these colors for ICR is to reflect the sunlight onto the ice. So basically the color of the sky effects the color of the eyes as well. Okay, now, I'm just going to mix in a little more of themes three and going to add the tree that I have added in the same dose. Now, I just started a few branches with the pencil sketch. So I will pause, try and cover that up. And then I will add the rest of depth of we cleave very randomly. Now make sure that your bottom species dry so you can see, since there wasn't a duvet at the warping space, the paint is beginning to spread. So I will quickly pick up a clean brush and oh, you know, docker logs from there so that it does not spread a lot. So now ready to randomly just quickly add the branches to this G. Make sure to add the not the God Apollo branches and tribal VD the branches throughout so that it looks like an actual tree. So since my brush has appointed, you can see me, but we'll add all these details just using this one brush in this, if your brush does not have a pointer at the Big-O of branches with all of the Co, brush and then shift to a detailer brush for adding in the smaller branches. So now you can imagine the smaller branches also just using this brush and in-between, I'm just darkening these branches. So I'm done adding that gene, the center. Now I'm going to pick up this color and begin adding the fence. So I'm going to use the Scholar in a very medium consistency force. And I'm going to keep our tissue handy so that I can that and light in the background fence. It's quite a blurry background that I want to add them. So you can see I'm quickly adding boot revenge and just dabbing it quickly with a visual, just as I have shown you into the reflection technique section, how we're going to be adding the reflection thing. You ought to meet the back daunting a little glory and a little out of the side view. I'm quickly adding in these and dabbing it with the help of the tissue. Now, as I've been begin to move more towards our close up view, I'm going to darken the fence area as well. So now, while adding these fans your near to the t, I have darken the color that is amusing the ballerina little multicore consistency. And you can see you are getting one tone darker than the ones that you were using at the back end. And now as slowly as I move towards the more foreground species, that is this piece that is more closer to our view. I even begin adding this width of any dark bone of the beans Greek follower. And I won't be diving these off with that issue anymore. So I'm almost done adding all of the fences, Just last two of them are left. And then we will act of all horizontal lines as well into this fan speeds that we had added using the pencil mark. Now at the backside I'm going to add the water is on the line also in a very light tone and quickly dab it with the tissue and add the foreground space that is more inclusive. You, I'm going to add them with the darker tone just as we added the vertical lines with the Dakpo door. So for the background, you can use a more diluted form, the technique you would not want to dab it with the tissue. And for those of you that is closer to you, you can use the pons and darker consistency. So automatically it will balance the view that we are trying to add it. Now, I'm just going to pick up a little of this beans green mix. I'm just going to splatter a little of this Carlo very than the mean Neo-Orthodoxy, things that we have added in. So make sure that you add these black dots in a very controlled manner. In this, if you feel that just like Bozeman spread towards this guy's beast and make sure I propose this guy EDI vetoes off before so that these plateaus do not move towards the sky. Now I'm just adding a little of these plateaus, even into the center of the fan speeds medially near the fence. As you can see, I'm adding a fairly close to the fence and hence I'm able to control the splatter limit in peace, if you will, or use a bigger size brush, it will move towards the sky as well. So you really need to control this plateau as you begin to add them. Now just going to add very little newer to the backspace. And you can see a little bit moving into this guy's face. So I haven't. And I will just cover this piece now and quickly add this plaque does to the bottom of this spins as well. Now I'm just going to keep the tissue onto the other side and splatter and Digital of this node towards the left side as well. Make sure that even by adding the shadows, you control the water. Now I'm just going to add little of the dry brush strokes as well. So and I'm adding the dry brush strokes. You can see I'm dabbing off excess water onto the tissue before adding it onto the people. And you're just going to add very little dry brush and then just going to add small batches and do the areas. So you can see just a little up the batch in between the speed and just on a gel onto the left side that we added in. So that is it for the dry brush stroke with this color. Now I'm going to quickly shift to the whitewash and begin adding in patches of snow into this E. Okay, so we try and push all that already. It's a completely ISPs filled at the bottom. But now we're going to add some snow badging as well, trying to show some smoke elected at thesis forming some rough mountains of snow. So I'm just going to begin adding the snore baby than the mid Meiji onto the left side and very little on the right side onto the. Make sure that you pick up the white portion of editing consistency so that you'll get the A-B-C blue. And in using by decree, Let's make sure to not add any water. Otherwise, it will be very difficult to achieve the look of the acrylic beans vital for watercolors will not be able to do this grid justice to you and give you this A-B-C Look because it's going to act like watercolors and it will be transmitted making the bottom background still visible. Hence, I would recommend you all to either use by quashed, by post Apollo's all white acrylics. Now just flattening the middle of this nor make sure that you can lay down the shoes onto the edges and then please the people so that do not have to keep cleaning your table again and again. And this time I'm quickly just flushing the snore and you can see I'm splashing it so I'm a little distance. So I'm getting these plateaus of different though sheets and different sizes. Now at the bottom space, your, I'm quickly going to add a little more of the small batch, okay, and I'm just going to cover this extra dots, these here with the white color. So in these wind up being things, you can easily cover up any space with these snow patches and correct your arrows because whitewash is going to act as an opaque one onto these light watercolors. Now quickly, I'm just going to add, let's lock this nope election onto these pens very random. So in between the connection of these fancy, you can just add little patches of this white piece to deprotect know being collected onto these connection points. And that is it we are done with our painting for the two, Let's remove the masking tape and see our final painting. Make sure that you remove the masking tape at an angle from your people and be careful if the white foreigner, white elks feeds is still wet, otherwise it will begin to spread onto the edges and the fellows may get lifted onto the edges as well. So beyond this and calculate by taking off the masking tape or read for the beam thing to dry completely. So you always have been doing for the dual. I hope you guys enjoyed painting this beautiful sunset view with me today. It was a very simple one. And yet outcome. I will see you guys into the D3 tomorrow. 12. Day 3 - Red Snow house: Hello everyone and welcome back to the d3 of this RDD watercolor challenge, the candlestick. The need for today's class project is a shade of yellow, red, orange, one CNO themes green, black. And by wash. You can go ahead with the best alternative followers if you do not have these exact same sheets, we are going to be painting this beautiful snorted in house today. And we will first begin by painting the sky and then add the rest of the details into the painting one by one. So let's begin painting to these class project. So I have MCI put the double bond to all the four edges, and we'll begin with the pencil sketch first. So the pencil sketch that we are going to be adding is phosphine mark the horizon line to distinguish this guy and just no species. Then in the center space, we are going to be adding in the big red house that we will be being. So you can see the houses going half into this guy's face and have it this into this little space. So just a very simple house that I'm adding in. The top of the house is going to be covered in with snow. And the rest of the house will be painting in with the red. Now on to the left or right side here I'm just adding another very small house in which we want to be adding much of the leader. And onto the left side you're just adding a very small fence, and that is it for the pencil sketch. Rest of the details we would add with the veins directly. So now let's begin painting to these class project and post when to begin with oblique portal for dog only on to this guy species. Now when I will apply the screen CTO photo Eigen, make sure that I do not add the water into the house. You can add the water include offense space that will be completely hokey. But Jaya whiting to add the water and the beams off the sky into the house. That isn't the center portion because the top of the sky, we are going to be having a completely filled up with snow. So try to maintain the light handed out there as much as possible. Make sure to apply an even border of water throughout so that your paper doesn't dry quickly and you do not have any rough patches in between. And also make sure that our no bottles of water anywhere. Otherwise the beans may flow because of the water that is excess onto your paper. Now impose going to begin in with a sheet of Naples yellow. So now to the horizon line and pause beginning with the sheet of Naples yellow and almost till the half of the sky I'm going to take in this column. Now next I'm taking the shade of yellow, orange. You can just mix in a little touch of your orange to this yellow and make a yellow orange color. And I'm going to just apply it next to the idea load actually applied. I'm going to blend both of them then. Now to this, I'm just going to quickly mix in a little bit of the red color to get an orange tone and apply it at the rest of these guys. So you can see that follows attending well into each other. And I'm trying to get the perfect radiation from the yellow, the orange haze. I use the little yellow orange in between. Now at the top space, I'm just going to add a little bit of the Payne's gray color. If you do not have the Payne's gray color, you can just mix in a little bit of indigo and black to get a Payne's gray color and engaged. Even if you do not have an indigo color, you can simply use your black color in a very nice consistency to achieve the Payne's gray color. Now just trying to get the perfect blend into the sky space and you can see we have a perfect transition. Now, I'm going to keep this masking tape underneath my people so as to give my more tilted downwards and now add memorizing, drying, I'm going to be adding in the blurry, gee, look with the mics off bond, CNOT and beans, great Gallo. And to create almost shaped like a bond on book, I love my mixing these two fellows. So if you want, you can directly use the bond amber color. Now, I have already waited for a few seconds for the force Neil colors of the sky to set the link. And now beginning with this color, I'm beginning to add in the background blurry find Gs are the background blurry effect that I want just knew that the house gene make sure to not cover the entire yellow color of the sky. You can see my beings are not spreading much because of the two things that I have discussed with you in the technique section, right? Adding in these blurry effects what you need for a few seconds for the fourth layer follows to settle in. And second, when you begin to pick up the second column for adding the blurry effect, you need to make sure you do not add excess water. Despite if you want light-dark bones, you need to control the water by adding these effects. Because if you're going to pick up excess water dough, all of the beans will begin to spread and you will not be able to achieve the sheep that you're wanting to add it in the bloating manner. So you are, if you can see I am able to achieve those by TH2, these blurry because I am controlling the water that I'm adding in. Now I have just darkened the door by adding in a little tinge of the beans green color and adding another layer onto these trees. And at the top and you can see I'm getting the appointed edge to these genes just as I needed them. And the pains are also not spreading much despite being the red background because I am adding them after the base steel beams out in the dead center. Now let's wait for this to dry completely. So now my sky spaces completely dry it. And you can see I've got the perfect look to those floating jeez. Now I'm going to apply arrow four dot-dot-dot ISPs at the bottom area. I can make sure I did not add this water into the house is that we have in the center and the right side and into the rest of the space quickly just going to add a clean Leo Porto. The eyes, is going to be a sort of an affliction off the sunset sky just above the house. So we are going to be using the same sheets but in a very diluted consistency and unoriginal of the Payne's gray palette to add eyes effect. So first, I have just picked up a little of the beans green, mix it with a little touch of blue. If you want, you can skip adding in the blue. Man, I'm just adding a little bit into the bottom space to give more of the eyes unfit. I have picked up the yellow orange That wasn't my palate. And you can see it's quite dark, ventilated down onto the paper. So I'm going to quickly use a damp brush and blend it into the rest of this piece. And now you can see I have been even bla achieved the light color loop. So you need to make sure that, you know in the ISPs, the polos that you are using from the sky, they just need to be like 5 percent and 95 percent needs to be the workup. And then I'm just adding in a little more off the blue effect into the eye space. But onto the right side you can see I have maintained the yellow and the orange look as well in the center. So make sure to maintain that little yellow Read effect. Now, I'm just going to pick up a little of these tones again, I'm going to add a little more of this color. Now you can see when I'm adding this, I'm dabbing off all the excess paint. And I'm going to quickly blend this into the rest of the EDR. And if ever you drop in darker, you can quickly use a damp brush, lift up the Apollo or light DNA by spreading it with water. So you can see, despite me dropping in the darker tones, I could lighten it quickly because my background was vague. Hence, I would recommend you to use a flat brush by adding in this detail. Now just going to add little darker highlights onto the edges of this new area. Now, this dries, let me show you the details that we are going to be adding into the house. So I will just do a rough pencil sketch off the windows and the door that we are going to be adding into this house in the US and does the house on the right will not be having any ideas. It's just going to be a simple, plain ground house that we are going to be building in. Now let's meet for the complete snow area to dry quickly and then we can add all the details into this beam thing together. So now raise no spaces, also completely dried and you'll get Steve, you've got such a beautiful, It's no effect with the Palace of this fire odds that afflicting it. Now I'm going to pick up the permanent leg drawn from my palate. You can go ahead and lose any similar bright red dawn. And I'm going to fill the Santa house completely with this bright color for me. I'm going to leave the windows and the doors of this house without discolored door. Because that we will be adding the details needed along with the yellow Kahlo and giving some effects to the doors and the windows as well. For now, just being the rest of the House makes sure that you add this detail volunteer sky and this lowest fees is completely dry. Otherwise the red column and begin to spread and you will not be given to all control the spreading because of the weight also faces around. Now you can see my brush has appointed dip pens. I'm able to get those crisp edges with my brush by just using the tip of the brush. Hence, I always recommend to keep up brush, which has a pointed tip so that you can quickly add in these details also together, along with thinking in these big goals offices. Now onto the roof I'm going to add a very diluted bone of the color. You can see the entire loop is going to be covered in with the small afterwards using the whitewash, but just really be leaving some of the places blank without the white wash paint is i1 the underlying get drawn into that group space. Hence, I gave in that light that bowl to the house in the right side. I'm just going to lose the bond sienna color. Mix them with a little touch of Payne's gray and 12 being the complete. How's that this scholar retreats. So I'm done painting Buddha houses. They dry. I can quickly add in the other videos. So I'm just going to pick up some Payne's gray color. I'm going to add a few branches into the ISPs, moving to the half of this guy space as well. Now you can see I'm adding these branches vary randomly and invitation draft. You're going to be adding in deflection to these nature dot. If you remember, we had learned how to add these reflections in the technique section. So make sure you have a tissue paper handy to add the reflections in the lightest and the best ones. So now I'm picking up the light tone of the gray color. And you can see, I'm quickly dabbing it off and the deflection is so light and looks perfect. Now to the ones on the left side to add reflection moving towards the right side only this type. And you can see I'm using the faintly fallow in a very diluted consistency. It's almost 098% water and just do percent of the pigment. Now, I'm going to begin adding in the rest of the detail into the center house which is dry. So I'm just going to pick up the bond sienna color. I'm going to add the door with this bond C and our Carlo. Now in through the windows, although I'm going to be using in this bone cnf Gallo mix. All right, I'm going to add rest of the details with white brush. Now next I'm just mixing in a little bit of my bond CNOT and the red color and getting the reddish brown dogs. And using disadvantage from dawn and a very fine liner brush, I'm going to add lines in to the house area in the sample space. So just to add some detail to the house, I'm going to use this mic's off the red and brown and add some thin lines completely. And this is just going to add little wooden details to this house. So if you want, you can directly use one of the red color or bone sienna color if you do not want to add it with a mix of David M zone. But the reason of mixing the red and the brown is to get a sudden stone so as to blend both the details of the door and the house together. Now you can see I'm quickly getting in so much of more of the details. Do not divide up the fellows that has all beeped out of the house space. You can follow that up simply with whitewash. Then we add in the small details. Hence, I'm not worried much about those little edges that is coming out by adding in these lines. So I'm going to quickly add them into the rest of the house phase as well. So I am then adding the details in the housing space. Now in this house on the right side, I'm going to use the Payne's gray color. I'm going to add some darker edges to this Payne's gray color into this brown house. Just added the Payne's gray color on the edge and I'm just trying to blend it with the brown color using a little RED brush. And now onto this house as well, I'm just going to add fuel is cheap nines using the beans green and the brown column-based, you can see just very Magendie dance not much onto this site. And enter, enter can easily be covered up with snow and do this no landscape painting. Now using the same Payne's gray color, I'm going to quickly add in the fence you're on to the left side. Now I'm going to quickly add in the reflection to this fence also, just as we added Google's branches, very small ones, as you can see, nothing much in detail. Now just going to add lead to autism deadlines as well to reflect the fence perfectly. And you've been adding the deflections makes the painting look more natural and more real. So I just felt like adding one more branch shop, just me or to the house with smaller branches popping out. So I'm going to quickly add this and then we'll just be left to add the snow deviance and do the painting. You can see I'm using a size four brush. Even then I'm even to add these smaller and finer details of branches using this brush because it's the pointed tip that this brush has in peace of your brush does not have a pointed tip. Your smallest brush to add these GPS. Now just adding in that reflection to this new branch that we added in your. Now let's pick up some whitewash and begin adding the details into this house. So I'm going to quickly be adding in a lot of snow into the roof of this house. And you can see I'm adding it ready randomly so as to show that the snow is being connected, innovating random shape. And hence, I'm pulling a little of this noise effect into the house area as well. And I'm going to cover the rest of the entire rules with this snow quickly. Now just going to add a little snow your at the bottom space as bed and on the roof also, you can see I cover the roof of the house with this north in such a very random manner and created a little mountain lake look of snow on the roof as well. And now onto the edges of the house, I've added mode off this note. Now to the US House on the right side, I'm going to add the snow and I just have to love the brown color picked up on by my hand. So I covered that also with the white quash bakery. Now on to this roof as well. I'm just going to add in the snow, bought them site again. I'm just going to add in a small batch collected Nieto this house as well. Now I'm going to quickly add some slower on UDL connections off this spans and an added onto the branches that we have added in so quickly. Now on through these branches going to add in a dense snow collected in between these branches. Now using the brown color, I'm just adding little details on the roof as valley as you can see. And now it's the best thing to do with that is Plaza this nose and let us do. Okay, so now I'm just going to pick up the whitewash in a medium consistency and I'm going to just dab my brush and let us know all fall onto the entire painting. Now, you need to be sure that the table around this all paper is going to get legitimacy. So you can spread some visual pay both odd or health people around. So that does, no, does not spoil your paper and you'll do not mean it again and again. So I'm going to quickly just dive little snow into this painting and make sure that you'll use the whitewashing a little tick consistency so that you get the opaque look to this node. You're, if you're going to be using it in a watery consistency, you want get the opaque look. Let's remove the masking tape and see our final painting. I have quickly cleaned up my day, but also I just added the white quash effect onto the doors and windows of the center house. As you can see, I missed to add that thing here, so you can just add those details into your painting as well. So your is up beautiful painting for D3. I hope you guys enjoyed painting this beautiful snow house with me today. I would be seeing you guys into the default class project tomorrow. Thank you so much to each one of you for joining me do this totally Watercolor Challenge class. 13. Day 4 - Snowman : Hello everyone and welcome back to the for today, we are going to be painting this pretty looking snowman into the sunset view. The colors that you'll need for today's class project is Naples yellow, red, orange, civilian blue, brown, green, black. And by gosh, we're first going to be creating this beautiful lights sky and then be adding the details of snow and the snow man. For painting the sky, we are going to use the colors in a very diluted consistency by controlling the water and adding these strokes, pulling out from the edges and create this beautiful sky and then add the snow man. So let's begin painting. So I have my people, they've doubled to all the four edges. And I will quickly begin with the pencil sketch for the snowman. So I'm first going to place the snowman towards the right side. You can show the change the placement of the snowman according to your choice. It may not be the same as mine. Also, according to your paper size and the size of your snowman may be. And make sure that you add the pencil sketch of the snow man with a very light hand and the light sheet. Because as you would have seen in the thickening, thus no man is going to be off the eye's color only and it's going to be very light. So in order to avoid those charcoal marks after you pin the entire thing, it's very important that you add the charcoal marks very lightly. Now in-between the fees and the body, I have quickly added in a scarf and now just added a few buttons at the bottom space, I'm going to add a hat and then the details into the face area. So just a pretty looking symbols no man that we are doing. Okay, and nothing much in detail. We will paint all of this part by part. Once we paint a beautiful sunset sky. Now I'm just going to add those branch hands to the snowman as well. And then just going to mark out the horizon line. That is the distinction between the ISPs and the sky area that we're going to paint it. Quite small at the bottom as you can see, and it's a little slant as you can notice. Now, at the top I will begin applying of Lean Court of water. And I even tried to avoid adding the water into the snowman speeds because we will be painting the sky with the sunset colors. And The Snowman is going to be of a very light iStore. So in order to make sure that no Carlos go into the snowman, do not apply any water in Buddhist no, ma'am. Area. Now water can run into the headspace because their hat is going to be over black color. Any color underneath will be hidden. So you can see I'm applying the water just around us know man being careful of not taking it into the snowman face and the body. Makes sure to run your brush multiple times so that your paper stays wet for enough time. Because we are going to be using a lot of colors into the sky and create a routine looking sunset sky. So in order to achieve the perfect blend, you need to make sure that your paper will stay wet enough for a longer time. So first I'm going to begin with the synonym blue color. You can see I'm adding so much water and very less of pigment. And I'm just going to pull this color out from the edges. Now you can see in the center, I'm letting the gap b, right? Because we will be pulling the other colors from there. And even in between the blue and leaving little gaps. And I'm using a very light tone of blue as you can see, make sure you do not use the data kalos otherwise, it will be very difficult to achieve in that 3D looking like sunset view. And in this inverse base you can see I have maintained the white color look completely. Now next I'm going to pick up the Naples yellow column. You can use any light yellow which is available in your ballot. And even the yellow color I'm going to be using in a medium consistency. And I will just begin adding this color into the centers piece. Now when you begin to add the other colors, make sure you control the water. And you'll know when the blue and the yellow and react, it will form a greenish tone. So around the blue color, apply the yellow color with a very light hand so that it does not form adapalene or don't because of the blending of the nose and the yellow. So now from the edges and pulling the local law in between the blue strokes that we added. And you can see now you have two strokes coming back from the edges. That is the blue and the yellow color. Now next I'm just going to pick up a little octo orange color. And I have mixed in the orange and the yellow to get. And I'm just adding little darker highlight. And I can quickly lighten them by spreading through the rest of the yellow strokes that we have added in. Now next I'm picking up the shade of red color. I'm going to add very light highlights with the red color in-between the yellows and the blues. You can see I'm adding these strokes very randomly. But the key is, you should not pick up any excess water while picking these bins up. And you need to make sure that you pick up these things in a very nice consistency. And despite being in a light consistency, you can see there is no water on my brush. Hence, the beans are not spreading much and they are redeeming the shape in which I am pulling them out. So this is a polar body, sunset sky, just pulling the color stops between each other very carefully. Now, for this guy to dry first and then the rest of the details for the spindle. So now my sky is completely dried and you can see we've got such a pretty looking blend of the followers and the colors are so light. And so now I'm going to apply a layer of water onto the rest of the bottom space. Now this time if you run into this moment body, it is okay because we are going to be in the snow area as well in the open space. So the palette, I'm just going to be light so fast I'm adding a very light tone or light wash of the blue color. You can see at the top near to the horizon line, It's much more like dof, and at the bottom it has little daffodils. Now I'm going to quickly pick up little of the beam three fallow And just going to add some darker highlights into the snow space. Suppose near to the snowman body to add some shadow to the snowman, going to offend some Payne's gray color and blend it with the blue color that you have added in. Now from the edges just going to pull the Payne's gray color out and you can see how the father is forming another look to the eyes and giving it so much death because of the shadow looks at this darker tone, is giving it. So again, just from the edges and pulling the Palo undescended of the ISP's is light with that blue tone itself. Now just underneath the snowman, I'm going to add some darker shadows further ahead with the darker tone of Payne's gray color. And you can see my background is still wet and I'm blending the shadow into the background. Make sure that your snowman EDA is dried. Otherwise this column is spread into your snowman as well. And this domain is going to be awful light tone, then it will be very difficult to hide this darker. So you can see I'm quickly lifting up the fallow which is spreading into the snowman using a damp brush so that I do not have any darker tones there. Now next, I'm just mixing in a tinge of brown Carlo with the Payne's gray color. I'm using this docker dawn, I will begin painting the head of the snowman. We will address of the details on the horizon line. Once does no area is completely dry. Then then we will quickly begin adding little details into the snowman than that bottom space. So using this darker tone of brown, I'm just going to add the entire in-between the heart. You can see we have a very thin line. That line we will be painting in with the red color later on. So make sure to leave that line right and add the red color to it, leave it at all. So once both the top and the bottom space of the head dress, then we will add in the red color there. Now I'm just going to be these branches that is, I think as the hand to the snowman. And you can see this time, I also, I have added in a very crooked manner and not just a straight line. We'll give it a pulpit branch look. Now I'm just going to use a very diluted bone of the city in low follow and Pindar and bios, No man body. I'm just going to let us know Mandy, with this light tone of blue color in between if you want, you can just add a little pinch off the beam sleep Allah, or mix a little pinch off the Payne's gray palette to your blue colors. So first I will add it only to the lower part of the body because are the top be careful that you had EDA is still there. And if you add the color palette from the Hackman, begin to spread into the area. So you need to be careful about multiple things because with watercolors, the pandas will begin to spread and move into each other. Now just using some darker tint of the Payne's gray color, I'm adding it onto the edges triangle reflect and create some new no shadow blue, this snowman that is standing Your, I'm going to quickly blend this pins gray color into the body space using a damp brush. Now using this brown and pains click Allow mixed, I'm just going to add very different Bush on Buddha horizon light. So pasta, I'm going to add bush with a lighter tone of brown as you can see. And then this I will just add a little darker paint at the bottom space. Now you can see in-between my snow idea was a little wet. So at that place, this knitr ground Gallo has spreading. Know. When I will be adding the darker tone, I will try to cover up this mess that has happened because of the snow idea being wet. So make sure that you have no ADS completely dry to avoid this beam from spreading. Now the half of the snowman has dried and I'm quickly became the face of this domain with the same color, that is the blue and the Payne's gray mix. And once they dry, we will add the details of the eyes, nose, and the Smiley onto this nomad and even the buttons at the bottom speeds. And then we would even being discussed with a red color. You are also on the edges. I'm just lightly adding in a little of Payne's gray dots. You can see this will just act as the shadow effect because of the sunlight. Now you're at the top and between the hat adding in the red line for which we had left that space MD. So let's stop it also going to be of this same that I'm using in the Permanent red color from my palate. Your, you can go ahead and use any red tone, which is an abundant know ballet. And if we do not have any date, you can simply use the scarlet color. Now I'm going to pin the scarf also quickly, make sure that variable you are adding the paints, all the areas around those are completely dry. Otherwise the beams may begin to spread and slow into each other. So I'm done adding in the red color to the scarf. Now while this is still wet, I'm just going to pick up a little of the bond C and Apollo. I'm going to quickly add it onto the edges of the staff to create some shadow effect for this top area as well. So you can see just on the red, red color and quickly dropping in little of the Payne's gray only onto the edges. Make sure that when you add this Bhante enter, you do not add a lot of water. I use the mainland spread a lot and admin cover the entire space and you've been lost or red color. Look. Now next I'm going to pick up a little more of the Payne's gray and I'm quickly begin adding the DB in Buddhist no man. Now the nodes of this, no matter, I'm going to be painting it with the red color. The same that we used in for the scarf. And rest of the details I have added in with the Payne's gray color. You can use a black color in case if you do not have a Payne's gray color. Now I'm mixing Payne's gray and brown. I'm going to add the second layer of the bushier. So this time it's more of beams three and very less outlawed. And it's going to be smaller than the forest area. And you can see it's automatically creating the Doppler effects. And in between you can just pull out little of the classes as well like this. Cmb, even you're on the right side. I'm going to quickly add the darker shadow for the bushes as well. Now I'm going to pick up a tissue and this is still very quickly dab of tissue on the second layer, the bush and some lighter and darker effects automatically mean end of the tissue and dab it in between. So now you can see it looks like this, no eating. Also in-between, you just have little of the darker ones and then the rest of Beta stone by dope, I just dabbing a tissue and do it quickly. So you need to do this. Why is the area is still wet? Now going to pick up some Payne's gray palette. I'm going to add a few branches. You are into this most famous moving in the sky. So you can see I'm adding random branches. Now since my brush has a pointed tip, I'm able to add all the details together just using one brush and even add the pointed edges and thinner branches to this using this brush itself. Now using this brush, I'll quickly adding the shadow to these branches. Okay? And in case if your shadow dawn staff, you can quickly dab it with a tissue. Now since I'm using a very diluted don't I don't need to use a tissue to dab at this time. Hence, I'm directly adding it without dabbing it off. Now the last thing, let's pick and white quash and begin adding some snow patches onto the branches and onto the snowman HIV as well. So just have that connection point of the branches. I'm adding some snow patches, even under the snowman, just going to add little onto the scarf, EDR top space or literal onto the hat and Lipton onto the hands of the snowman. Now just adding very little snow effect at the bottom of the bush as well, but not much. Now it's the time those plateaus, I'm snow. So I'm going to quickly pick up some whitewash into my cap of the white Bush quantity. I'm going pick it up in under two medium consistency so that I can easily splattered it in case if you're using whitewater color will not give you that A-B-C Look. You can either do was y equals two, colors are right, declare legs if you do not have a bush. Now if you do not want the RMS on the table, then you can quickly lay down some tissues around it so that you do not have to clean your table. Now, for I forgot to add little of this no effect on the headspace, so just adding that a bit. And then again I will begin splattering a little more of the stars. Sorry, thus no effect, not that starts actually. So you can see this time I'm slouching a lot of the small effect in between. I'm even getting some bigger blobs off the snow and it's looking also pretty together. Just that might be even it out mess. And that is it BID with our painting for the four, Let's quickly remove the masking tape and see our final painting with those clean edges. Make sure that the edges are completely dry before you begin to remove the masking tape. And remove the masking tape from an angle so that if there is any watercolor paint on the masking tape, it won't run back into your painting. So your ability snowman for D4, I hope you guys enjoyed being pretty snowmen and getting the Christmas lights on. I would see you guys tomorrow into D5. 14. Day 5 - By the Lake: Hello everyone and welcome back to the face. Today we will be painting this beautiful lake side view. And the calories that you need for this class project is Naples, yellow, orange, brown pins three black and by Porsche even phosphate creating a beautiful sunset sky with the orange sheet, then painting a reflection of the sky into the leaky area. And then we are adding the snow and the rest of the details and do the same thing. So let's begin painting. And let's begin by painting the sky first. So I have my paper taped down onto all the four edges. And there is not much of a pencil sketch for this one. The only pencil sketch that we will be having been quickly mark out the horizon line. The horizon line is almost in the center of the paper. And at the bottom species and quickly marking out the league, EDR and the rest of the area is going to be the IZ. So just very light pencil sketch as you can see, nothing much in detail. Now you're at the horizon line will be painting some blurry Bush effect of very small, right? Like this. So just a rough pencil sketch to let you know. Yeah. Now let's begin with a beam coat of water onto the entire sky area. And even phosphine does die before that to dry and then paint the leaf area and I apply an even Nero for DOT or do the entire sky space, make sure that you apply an even layer of water throughout and that there is no foothold of water left anywhere. Otherwise, the water may seep into your painting and Miss point the edges of your painting or wherever the porthole of water seeps in groups. Sam, first keeping some orange colored ready because after the ad in the yellow color, I will quickly be picking up the orange color. So I'm going to pick up the yellow color first. I'm going to begin at a fly into the center of this guy's BCE. Now next flows to the yellow. I'm just adding in the orange color. And you can see, I'm just trying to blend both the followers and maintain the yellow color in the center species B, the CLV adding darker orange sheets there, but even cyclopentadiene, a little yellow color just near to the sun space, as you can see. Now at the top space, I'm just going to add in a little bit of burnt sienna to this orange color and attitudes have the dot. So you can see I have got an orange brown sheet and now remaining top speed, I'm going to just mix in a little bit of my write it with beans green. I forgot to mention the violet color in the pallet list. Also in case of your remark after violet panel, you can just mix in a little bit of your Pin Lu and the Payne's gray Palo and get this so, you know, while it is Show grid like this, and this will imply that at the top space. And again, you can see because of the orange column, you get a muddied on there. But since you already have underlying brown, it creates a perfect blend with each other. Now I'm quickly going to overlay the same fallows in the order so as to give some darker strokes because I want quite bold colors once the beans dry. So I gave another neuron of the brown and orange mix now and under the hood of the orange color. And then I'll again add in a little bit of the yellow color as well. Because watercolors dry or don't lie, don't. Hence, since I want volcanoes after they dry in, I'm giving you a bold color look right now as Ben and near to the horizon line. So you can see, I'm just trying to give in the darker orange towards and just near to the sun I have managed to maintain in the yellow column. Now I will pick up this orange and brown color mix and begin adding some darker strokes at the lower level floor near to the horizon line. But the strokes are going to be quite less in such a way that the orange palette is also visible. And you'll get duotones your at the Balkans fees. Now just going to pick up a little bit of this violet and the beans green mix. I'm going to add little strokes at the bottom layer as well. But make sure that you've not pick up any excess water. By adding in this CEO, you need to remove all the water just to add a little cloud effect. I'm using this color tool. And if you will add a lot of forethought, the beans will spread a lot. Also you will still pains in a very light consistency, not too dark as you can see. And near to the sun, I have still been able to maintain the yellow and around it, I'm adding a little of the cloud effect with this violet color. Now despite knowing that the violet and the orange mixed together, they form the radical. You can see, since we made it with a very nighttime, we have been able to achieve the violet, fell in love and not lose it to all muddy color tool. So you need for an attention did on your hands. Now I'm mixing in the same violet and the beans green color. And I'm going to add a little effect on, you know, near to the horizon line of the glory details. So far, I'm going to keep a masking tape under my people. And this time I will just keep it your at the top space. I'm going to tilt my board so that the paints do not flow upwards again into the sky space. Now. Now make sure that you wait for a few seconds before beginning to add this. Otherwise, if the iga is true, well, then the beans will spread a lot. I have a different a few seconds. And now I'm going to pick up this mix of violet and Payne's gray color. Make sure that when you pick this up or you do not have excess water on your brush, as you mentioned me should only be having in the Figma. And, you know, always keep a habit of dabbing it onto a lot of people or a tissue before picking it up and adding it onto the paper. So quickly I'm going to add these small Bush effect onto the entire horizon line. Make sure near to the sun, you add them quite small and try to maintain the horizon line and give or definite medial to the horizon line by adding in this bush detail. So if you'll notice I have been adding these D1 indifferent heights throughout. I am not adding them in one single right? And kneel to the sun. I have added them quite small. And now again, moving towards the right, I'm just going to take them off the height at the left side. Now. I'm just adding some darker details by picking up the Palaeolithic of consistency and opening on for the first layer. And you can see we are getting the darker details. My beans are not flowing much and I have been able to maintain the blurry look and yet not spread the bead. Now let's wait for this to dry. So my idea is completely dry it and even begin painting the CDR. Now that is the nape area. That area is going to be an exact reflection of the sky species. So fast I will begin with the import of water. I will not be adding water to the ISPs. Now, PDL been dies phase once the needs phase is completely dry. Now in the leaks piece, just read the sun is in the sky area just at the same place your interleave, we are going to be adding the yellow color to reflect the sky. Oh sorry, the sound reflection into the leaky area. So you can see just a small patch of the yellow palette. And now I'm going to use the orange color and lay down the first layer of orange color into the entire leaks piece. After this, we will be adding the darker edges using the mix of the bond sienna and the brown color. So now I'm just going to mix up on CNN the orange and undo the edges either begin adding the Docker push and pull out a little of the effects in blue, this nape area. So in the center try to maintain the yellow color. And on the edges you can begin to add this orange and brown mix and just pull it to the center. And you can see getting late reflection of the lake B simply by just beginning to add in the Dakota. Now at the top we are going to be painting some fine T. So why is this is where we will add the reflection to that bind G is now only in the leg area. So I'm going to be using in the pins gray color. And again, you're also, you need to wait for a few seconds for the Leaky idea to set. And then just as we added the bushes same behavior going to be adding this reflection into the lake area. We will be adding the F9 key is just about this. So I'm just adding a very rough reflection to define g is that we are going to be adding above. You can see very simple reflection, but this is wet on wet. And said You need to control the false. We'll need to set an in a bit. And secondly, when you're adding these things three column, make sure you do not introduce any new water. You only ask pigment which will automatically give you the blurry effect. And also I'll give you the shape effect of the videos that you want to add it. I'm just going to add little at the horizon line and a metal onto the right side as well. Now whenever you want to please the pine trees, you can add the reflection there. So your placement of the findings can be different than mine. These findings are going to be just at the edge of the nail. That is why we are adding the deflection into the space. Now just giving another layer of tobacco details to the deflection just as we are difficult, Bush's about CMV. All of this is wet on wet. We are still going to be adding a little deeper into the leaf. So I'm just mixing in a little more of the brown to the orange color and onto the edges, I'm going to drop this darker shade to create some reflection and some shadow details. Now you can see just by adding this darker tone on the Edge, be automatically get so much more depth to the leaks. Bce suggest mixing in a little bit and more of the buoyancy and ethical orange and adding mature and adding a lifting VIV effect. But you can see I'm still able to maintain the yellow color in the center for the SCN species. Now just going to darken the brown of bit by adding in the beans green. I'm going to add another edge at the bottom speeds and pull out a little more strokes. So you can directly use abundant book a lot. But I usually prefer mixing in the fellows on my palate if they are already there so that I do not have to waste in the fellows. So I just mixed in a little bit of beams lead to the orange and brown mix and got this darker tone of brown. Now let's wait for this to dry completely and then add the rest of the details. So now I'm just going to add a little detail to the sun. So I'm just going to pick up the yellow color. I'm going to pin the sun completely with this yellow color. And then I'm going to pick up a little of the orange color and just blend it around the sun species. Now in these, if you're not sure about blending it, and if you feel that you missed points on the beam, then I would recommend you to just add this on with the yellow Palo and skip the rest of the Bible's blending it with the orange fallow into the skies piece. Because, you know, The using a damp brush and quickly blending in the Skype bot and you must did not having the sharp edges. But in these, if you really want to level up your game, I would recommend you to try this first under FIFO and then tried to new or fainting. So now I just added the orange color. And now using a damp brush, you can see I'm pulling up the sunrise trees and just trying to blend it into the background. And now I'm just again going to pick a damn brush and blending into the background and even avoid the sharp edges as you can see. Now let's add this new space. The albedo of the sky is of the dark Red Bull. We are going to be adding in the snow also with a Dakota board. So I'm just using this mix of the violet and beans three in a very watery consistency. I'm going to add the complete story idea with this scholar force. Then we will be adding a little patches with the white quash. You not to give in a little more bright snow effect d1. That is, we will try to show that not all of the ego of the snow is reflecting the sky of Fallows. Okay. Now your, what I'm using is 95 percent water and only 5% of the pigment me. Make sure I use it in a very nice consistency, almost equal to water. So same day, even on the right side you can see I'm quickly adding it does nor with this scholar force we are literal, careful neoplatonic. Make sure that you are making idea was completely dried before you begin to add this. Now just adding the two reflection with the orange, yellow, and blue, the snow ADR so as to reflect the orange effect of the sunlight as well. But you can see I added the orange very little almost equal to just do three strokes. Now I'm going to pick up whitewash and just going to begin adding little details. The whitewashed. So we cannot add the fine trees until the snow area is dry. So I think we had this no effect in blue, the lake area. So I'm just going to add some snow patches into the next piece, trying to show that awesome Small has been collected and getting formed into the next piece as well. So just white badges. I'm just going to even splat to the lifting of this noise effect into the late speed. So you can see just an against black dot on into the lake area. You need to be careful that the snow does not get splattered anywhere else. Now I'm just going black little of this nor the DIN. You're new to the bush area as well. But it's going to be quite limited and not much. Now in case of building that goes flat, dose may spread into the rest of this piece and you cannot control it by its fledgling. Then I would recommend you want to cover the rest of the space with official ordered of plot and, you know, begin to add this plaque does only at the bottom side of the leaf where we're trying to show the ice patches being formed. Now Neonatal, the bush line you can see I'm just trying to show some ice collected near to the bottom of the bush area. So just knit Denon the world, the edges that we added is now very slow speeds is completely dry and I can begin adding the fine jeez, flexion, which we already added into the CAD. So just above those pieces we are going to be adding some simple pine trees. Click once and nothing much in detail. But just need to be careful about one thing that you need to meet him being the height according to the reflection that you added in. Now you can see I'm pulling out define g a lithium into this Leaky idea. And I will try to blend the reflection later on into this pine tree that we are going to be adding it. So first I added knitted of the brass effect as when analytical branch effect. Now next to it I'm going to add in the pine tree. So you can add a mix of both or just one audio police and just add some simple branches if you wish to, if you do not want to add find genes for this one, it's completely your choice. Just typo main theme that affliction size at the top species as well. Now I'm going to keep adding these binaries to the place that I have added that reflection. And you can see I am decreasing the height according to good reflection. And I have just added in a directed graph effect again. Now just using a damp brush, I'm just like me or the barber media of this triangle blended with the reflection. And now you can see it looks more real than blended. So again, this site of them going to do the same thing I haven't picked here and define G and an a to love the branch effect. And then just use a damp brush and lighten the bottom space and try to blend it with the reflection area. Branco make it look more real. And this side you can see I'm adding more of the bush details rather than the fine Ji De Beers. So as I told you, you can keep adding different kinds of t is called the deflection because we've added a very generic reflection. Now seeing that I just use a damp brush and try to blend the reflection and about trees and the push details that we added. Now I'm just going to add a little of the branches as well into the rest of the eyes face. Now we're going to add little branches. You're onto the left side as well. I'm going to add little more branches nature on the entrepreneur side as well. But I will make sure that I do not run into the science piece. Again, I'm using a pointed tip brush pens. I'm able to add all the smaller and bigger details altogether just using this one brush and even the point of V gains, I'm, you know, you can see I'm adding the pointed tip and then adding a little pick-up or open space. It is all because my brush has a pointed tip and I'm able to control my brush movement. There I need justice movements and bed. I need to press the venue of the brush. I told you just adding little more branches near to the sun. So between the branches, the sun will be peaking out. Now I'm going to quickly add a little reflection to these branches that we added in. So just very light reflections as you can see. And this time I'm going to use a tissue and get very light reflection. So as I have discussed within the technique section, keep a tissue handy for each class project. You may never know in which class project you will need an issue for adding different things like in previous class project. Thus no man project that we've been dead, we added in the second Bush layer and be quickly that does Docker reflect Docker or bush efficient lighting that using a tissue. Now in them. Just adding a little reflection to this song branches that we added and just dab it with the tissue to lighten the reflection. Now, we are going to pick up five squash and add a little snow detail onto the branches. This time, we won't be splattering this nor even just be adding patches of this node. So even around the leaky area, you can add little patches of the white snow. So basically, we are trying to show that the rest of the store is having a reflection of the sky. But some bad debt is white snow, which is still visible. So just in between the connection point of the branches you can see I'm adding in this modern day, okay? And I'm just going to give middle of the dry brush at the bottom left space as well. So as to reflect that and lifted off the white snow is visible at places very randomly. So even do the bushes of near to the lake Ada, we added little ice collection and now on the left side and the right side just added lifting dry brush to reflect some white snow. And that is it. Now just going to add little snow your near to the horizon line where the leak and the horizon line is meeting. So as to map a little distinction, you're okay and that is it we are done with our painting for today. And just some final touches your into the space which do audits. It's perfectly okay to leave it there. So now let's remove the masking tape and CFI and then painting with those clean edges. I hope you guys enjoyed painting this beautiful lakeside view with me today. And learn how to add the reflections in uploading Mano into the league for the BBS, that would be just did on the Lee. And I hope you guys enjoyed painting this beautiful project with me today. So your final painting with those clean edges. I hope you loved painting this beautiful bold sunset today. I will see you guys tomorrow into the basics class project where we paint some beautiful mountain ranges with some snow cave look to see you guys tomorrow into the basics of this copd watercolor challenge. Thank you so much to each one of you for joining me. 15. Day 6 - Snow Capped Mountains: Hello everyone and welcome back to D6. We're going to be painting this beautiful snow-capped mountain ranges to be the colors that you need for this class project is Naples, yellow, brown, beans green, black, and white. Gosh, these are the minimum colors that you need for this class project. We will begin painting this beautiful light looking sky first and then move to the C and the mountain ranges and then add the snow cap below. The mean technique that we will be using your is going to be a lot of the dry brush strokes. So let's begin painting together now. So I have my people, they belong to all the four edges. And I will begin with the pencil sketch. So the pencil sketch, as you would have seen in the reference image that you have been doing, is going to be the horizon line and the mountain ranges. So I will add the mountain range almost just in the center space and older the top of this, I'm going to be adding in all the mountain ranges just about over rising light. Now you can see I'm going to be marking off the mountain ranges vary randomly. So you can go here to the very differently also the mountains, if you wish do. And I will add the distinction between the mountains while adding the pencil sketch so that we know that we need to add the darker highlights so as to define the mountain ranges separated each other. Now, I'm going to add another mountain range in a low-lying effect. And it will add all these mountain ranges in such a way that the distinction between each of them is visible. Now in-between these mountains also, I'm going to add some darker areas and lighter areas. And for that I'm adding these center lines so that we know major even left side of the mountain, you're going to be adding in the light oranges and the right side of these mountains, we will be adding in the darker tone. So that is the Docker dry brush effect. At the bottom space, whatever we will be painting, even directly be adding it with the beans and won't be having any pencil sketch. Put it. I haven't quickly begin with a thin coat of water only onto my sky space, but make sure to not add the warping to the mountain range because the mountain range is majorly going to be only with the dry brush strokes and not adding anything today. Hence, you need to be a little careful while adding this layer of photos so that you would not run into the mountains fees. Because if you add any color on the mountain space, it will be very difficult for you to cover it up with the proper dry brush tool. So be patient while adding the water and the beans in the sky species. So I'm done adding in the Queen CTO photo. Now I'm going to quickly pick up the Naples yellow color force and I will begin to blend the Naples yellow color just near to the mountain range into the skies piece. And I'm going to be using a very light consistency of this column. You can see, and if you had seen the image of this building in the beginning, you know the sky is of a very light tone, adding little yellow effect to show some sunset effect into the skies. And now we will just be picking up the Payne's gray color. I'm going to be adding effects with the B3 follow into the sky area in between the yellow strokes also that we added in. Now, even that means three colors. You can see I'm picking it up in such a light consistency and then I will begin adding some darker strokes. Now do not add the darkest dropped altogether. Add them Leo by Neil so that you have different color tones into your Skype. Now when I'm adding this neo to the yellow color, you can see I'm adding it in such a way that the yellow color is still visible and near to the mountain ranges. And very, very appealing that the color has dropped up on a tobacco. Make sure to quickly use a damp brush and pick up the excess color. As you saw, I just picked up the color. Now on the edges, as you can see, I'm adding the darker highlights and near to the mountain range and making sure that the yellow highlights is visible. Now again, I'm going to pick up a little yellow color in a medium consistency. I'm just going to add it little by little knee up to the mountain range, but very slowly while painting the sky so that you do not overdo any of the colors and you maintain a light tone as well. And also my lighting the colors. Just be careful that you do not add it into the mountain range. Otherwise, as I told you in the beginning, it will be difficult to add the dry brush uncovered the fallow strokes. Now next, I have mixed in the beans green and a brown color. And I'm going to add the darker highlights at the top space with the brown and Payne's gray mix, I have added in the bond sienna color. You can go ahead with any brown bone that you want, but just on a dark brown tone to add a little more sunset effect. Now to this mix only I'm just adding a little bit more of the industry and creating further darker tone. I'm going to add little more darker highlights onto the brown and the pins, three highlights that we add it. Now, you can see my sky is having so many calories despite using just minimal colors. We have needle off the ground look yellow and the Payne's gray blue. And we've tried to create a perfect evening light sky. Okay, So this is a photo sky speaks not done. This guy's been strike even quickly being done the water ADR, because we cannot pin the mountains until the sky is completely dry. So I can quickly begin with a green border photo onto my entire CSPs. Now for this guy, I'm going to be using in the sheet of the blue color. So I'm going to use the city and Luke are like, Oh, I'm going to add a very nightly or into the entire CSPs major. It will be in the ascender space. You can add in it along the edges as well. But I'm not concerned much about the edges because on the edges we are going to be adding in the mountain ranges. But in order because we do not know, oh, you know, what mountain range you would be taking. Hence, I would always recommend you to add in the blue color onto the entire space as the mountain ranges are going to be off the darker color and getting an antenna yet easily covered up by the blue color as well. Now I've just picked up a little of Payne's gray color. I'm going to add little ripple effect into the CSPs, wet on wet. So I'm adding this while my paper is still wet. But when I'm picking up the beans green color, I'm making sure I'm not picking up any excess water and just going on with a very nighttime to add in a misty effect into the CSPs as bed. So that is eight. Now let's wait for this to dry and then we will begin adding in the dry brush into the mountain ranges one by one. So now my sky and the water is completely dried and I can begin adding the details into the mountain ranges. Stand for speaking up a little of the Naples yellow and the themes vehicle onto my palate, I have been defiled, Apollo's in a light consistency and onto the right side of the mountain ranges, I will begin adding in this lightly or of kalos. I'm going to add them. They don't dry because it's just a very small space and nothing much detail to add wet on wet. Hence I'm directly adding in the fellows. So at the top to give a little up the sunset effect, I added a little yellow effect and then little of the beans grab the bottom. I'm just blending both of them. So as I told you in the beginning, the right side of the mountains are going to be darker in tone and the left side of the mountains will be lighter, tends to create the Doppler effects onto the right side, I'm adding in this portfolio CMB, even to the second mountain range going with the same palette mix and adding the darker shadow effects, because we didn't have to wait for this before even adding the dry brush onto these ideas. Now as I'm moving towards the right side, I'm just going to be using in more of beans three onto the entire right side mountain speeds because you can see as we're moving towards the right side, even the sky is having more of pins three and very less of the yellow effect so as to reflect the same things onto the mountain range, we are going to go ahead and leave it the leader of Payne's gray onto the right side mountain scapes. Now onto the left side of this mountain scapes, I'm just going to be adding very little effect with a very light tone of the Payne's gray color, just very little medium, you have the bottom species and you can see already getting these patches, botanical dry brush strokes because of the paper texture and because of the water contained by picking up the color. So already this will begin to act as the false Neo4j dry brush of a light layer. And then on to this we will add for the deviance of the dry brush with darker tones of pink and black. Now in the first year of these mountain ranges dry, we cannot add the dry brush stroke. So even begin painting the mountain ranges at the bottom space in the sea. So I'm going to be mixing in my bond sienna and a Payne's gray color and begin adding into mountain ranges at the bottom space. In the z-space area, you can directly use a darker tone of brown order cpr Kahlo, I perform it in Palo so that I can, you know, in-between lose the individual callosum is better to give little more detail effect. Now, I'm just going to begin adding very rough shape of the mountain ranges indices. And in-between. I'm going to be using in only darker Payne's gray color that give some DACA effects as well. Now, if you want, you can pause, read, and watch heat I'm adding at one end and then on the other end. Or you can go ahead and paint continuously and simultaneously with me as well. So I can begin adding the mountain ranges one by one. Now you need to be sure that when you are adding these mountain ranges or overlapping onto the top mountain range, the dark bounded range for SNR is dried. Otherwise, this beam we begin to predict there and it will be very difficult to control the spreading out there because of the red background. So you just need to be a little careful by adding these details. Now I have just picked up some Payne's gray color without adding bow. And at the bottom, dangers of this mountain, see I'm just dropping the Payne's gray color. So the brown color is still wet. Hence the Payne's gray is automatically spreading and blending with the brown dog and creating another effect into the mountain ranges. Now I can begin adding the bottom ranges mountain and just underneath this connected to each other. So I'm just going to make them Lipton smaller than the previous one. Okay, Ivan first just define a very rough outline, do this and then add the D1 color into all dispatch completely. So you can see, I'm pulling out this e ya indifferent Lands Act places. So at the top we added a mountain and at the bottom the giant book epic justice model, feet of space. And you can notice we're just adding different lens. I'm pulling up this piece based, seeing right now on to the right side, onto the left side, I'm going to pull out an equivalent, the opium space. I'm just going to make them up different lens. Now just as added on the right side, I'm going to quickly be using an only the Payne's gray color in a very dark consistency and adding similar field effect onto the left side as well. Now you can see I'm pulling it your also independent lens. So make sure to call them out smaller Chicago logo and in-between leave some space for the CSP is also to be visible. Then onto the edges of this v that we're using invite wash needed on and adding a little of this no effect collected onto the edges of this field space. If you want, you can add this field ADR of it differentiates of green and brown as well. If you want to add a little more of a green field effect. So I'm just finding this top mountain range and lithium light, so I will just quickly darken it with a little darker. Now let's begin adding in the dry brush onto the mountain ranges one by one. So I'm fostering, breaking up the mix of the brown and the Payne's gray color in a very light consistency and beginning to add the dry brush only under the left side. Now you can see every time that I pick up the paint that I am dabbing it on. Rough cloth diapers just kept beside it so that I do not have any excess water. I'm defining the edges and I have pulled the drivers walk from the top and the bottom space meeting till the center line. And the Centaurs are unwritten light, as you can see. Now, onto the right side, Eigen quickly begin adding in a little darker effect for so I will add some darker lines so as to make a distinction between the left and the right side. So the line that we added in the sample space, I'm adding them with the Docker loads and justifying the shape of the mountain range first. Now you're at the bottom space and post adding some darker patches onto this, we will be adding in the dark or digraphs drop once this dries. So your first time adding more of patches and less of dry brush onto the right side. So this is just the second level of adding the details into the mountain space. After this, we will be adding the darker tones for the dry brush and get more detailed look through these mountain ranges. Now just in this scene, I'm going to be adding it onto all of the right side of the mountains and the left side of the mountains, using darker dawns on the right side, lighter bones on the left side. And on the next slide, I haven't tried to add more after I brush instead of patches. And in the same deadlines I will just try to add in a distinctive lines and define the mountains onto the right side and onto the left side you can see I'm moderating major tobacco lines or mountain lions. So as I told you, onto the right side of each of the mountain and quickly adding in more darker effects and leaving some light does spaces as well on some of the mountain ranges. As you can see. All of this, we just started a lot of details. Now since I want these right side begins to dry hands. I added them all on the right side force. And now I can begin adding the details onto the left side because on the left side we have to add the dry brush now did equity. But on the right side we need to wait for the second batch also to dry before adding in the dry brush. And on the left side you can see we are automatically getting in the light to reflect because of the light OB scholars and directly adding in the dry brush strokes but onto the left side, sorry, under the right side, since we are adding so many color patches post, it's automatically having the decoy effect trying to show in the sky effect onto the right side of the mountain ranges. Now I have just picked up a little darker tone of the Payne's gray color and adding into second patch onto the left side. And now beginning to live in the dry brush even onto the right side of the mountain. Now if you know disband, I'm adding the dry brush back then onto the left side of the mountain. I'm majoring me. I didn't get moving towards the left side and then I'm adding the drivers packed and on the right side off the mountain, I'm imagining I didn't move it moving towards the right side. So that will automatically create the effect into your mountain ranges as well. Now with the darker tones also, you can see I'm adding more patches and trying to add little diluted badges just as I did on the first mountain range, and also defining in the center lines. Now under the left side, I'm just going blind in the tobacco dry brush. I will quickly paint the rest of the three mountain ranges first and then even only be left for adding in the whitewash effect of snow near to the bottom mountain range in the sea area. Now again, you are, you can see on the right side I'm using such a darker, adding more darker badges and more darker dry brush effect and covering major of this mountain danger bit darker because in between I just want data a few off the mountain, that's very less, no effect. So majorly bought off the black part depicts more of the mountain being visible and more of the white bar debits more of this no being collected on the mountain. And since I wanted to add in the shadow effect of this dye onto the mountain ranges. Hence, I have been did all the right sides of the mountain with the darker tones. I get so many Nios added, so many color patches to make it look darker than the left side of the mountain deal. If you want alternatively, you can create that left side as the darker tones and the right side as the lighter tones depending on the placement of your son Carlos. So since I asked based painted more of the yellow effect of the sun onto the left. I have given more of the shadow effect onto the right side. So if you want to add more of the shadow onto the left side, I would recommend you all to place more of the yellow polos onto the right side of the sky rather than the left side of this guy. Now again, I will pick up more of beans, lean in much darker consistency, and begin adding little more details onto the bottom veins of the mountain. So I'm going to add some thicker line of Payne's gray. I'm going to add some rough edges and she'd de