Aircraft Landscapes With Watercolor - Learn to Paint Stunning Airplanes and Seaplanes | Geethu Chandramohan | Skillshare

Aircraft Landscapes With Watercolor - Learn to Paint Stunning Airplanes and Seaplanes

Geethu Chandramohan, ARTIST & ILLUSTRATOR

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17 Lessons (3h 43m)
    • 1. Welcome to the Class

      3:39
    • 2. Art Supplies

      7:53
    • 3. Techniques

      9:54
    • 4. Colour Mixing

      8:46
    • 5. Sketching Aircraft Landscapes

      3:43
    • 6. The Aircraft

      2:14
    • 7. The Bright Take off - Part I

      15:02
    • 8. The Bright Take off - Part II

      13:48
    • 9. The Tropical Sunset

      23:14
    • 10. The Flying Whale

      21:28
    • 11. The Violet Bird

      13:56
    • 12. The Sunset Take off - Part I

      17:10
    • 13. The Sunset Take off - Part II

      22:26
    • 14. The Bird on Water - Part I

      21:27
    • 15. The Bird on Water - Part II

      16:42
    • 16. The Bird on Water - Part III

      20:51
    • 17. Thank You

      0:39
22 students are watching this class

About This Class

The most awaited class from me is here!

This class is all about painting aircrafts! Painting different types of aircraft landscapes with watercolours. 

I will first take you through the art supplies, the techniques, the colour mixing properties of watercolour paints and then there are 4 exercise lessons where you will learn to paint 4 gorgeous aircraft landscapes in detail.

  • The bright Take-off - we will learn to paint the beautiful aircraft taking off from the runway as the sun's rays glow beautifully from the horizon.
  • The Flying Whale - The glorious A380 aircraft flying through the clouds 
  • The Tropical Sunset - the aircraft flying through the tropical Caribbean islands at sunset
  • The Violet Bird - the aircraft flying on top of the pine forest at a beautiful purple sunset 

After that, follows 2 class projects

  • Painting the Boeing 747 soaring into the sunset sky and
  • A cute little seaplane docked along the river bank

I hope you all join me in this class.

Get onboard everyone, and fasten your seatbelts!

Love

Geethu

Transcripts

1. Welcome to the Class: Have you ever imagined how our lives would be if the Wright brothers hadn't invented the first airplane in 1903. Before that, scientists thought it was impossible to build a structure that was heavier than air which can fly. And since the 1900s, the world has changed. And more than a 100 years since then, we all love airplanes and cannot imagine a world without them. I still run outside and gaze at the sky. If I hear the sound of an aircraft, I could spend my whole day watching them take-off and land at an airport. Hello everyone. I'm Geethu, I'm an artist and art educator originally from India, but based out of the United Kingdom. But above all, I am an aerospace engineer by profession. I always dreamed of becoming a pilot. And luckily, I made it into the aerospace industry as an aerospace systems engineer, where I get to work with these flying marvels everyday. I still dream of becoming a pilot, but painting aircraft landscapes every now and then gives me so much satisfaction and peace. So today, here I have finally made a class on painting aircraft landscapes. I have had so much love and warmth from the art community for my aircraft paintings, for which I'm really grateful for. We will start right from the art materials we need and some handy tips to sketch the aircraft. I have also included in detail about the importance of color mixing and how we can use it to our advantage. There are four exercise lessons in which we will focus on painting aircraft landscapes. where I will take you through all the phases, right from sketching the aircraft to painting the aircraft and its landscapes. I have also included tips and tricks on how to sketch an aircraft perfectly to make it easier to draw regardless of your expertise level. Once you have familiarized with these techniques, you have two class projects where we will paint two majestic and stunning aircraft. The Boeing 747 soaring into the sunset sky and a cute little sea plane, docked along the river bank. I'm sure after taking this class, you will understand the basic skills required for painting aircraft. The importance of capturing the pencil sketch, learning about painting the shadows and highlights, The class projects and exercises will also be taking you through painting skies and reflection on water. The classes are designed to help you take your time to learn and most of all, enjoy the calmness a painting brings to your soul. You can see all my aircraft paintings, airplane videos, my flight stories, and a bit of everything else on my Instagram feed. colourfulmystique, where I created, Mystique world and my mystique aircraft. If you love planes, the way I do, then this class is for you. So let us now jump into the next lesson on the art supplies you will need. The wait is over. Onboard everyone. 2. Art Supplies: Let us have a look at all the art supplies that we need for this class. So I will be using this Arches paper. It is cold pressed 300 GSM or a 140lb, 100% cotton paper that is from Arches. Or you can also use Saunders Waterford paper This is a classic watercolour paper, which is also cold pressed 100% cotton paper and 300 GSM, as you can see. So you can use any of the 300 GSM 100% cotton paper that you have, I mostly use paper rolls from Arches. So I cut them out into the shape that I need so that I can work with different kinds of papers as in the sizes. So I will be using A4 and A5. The brushes, I will be using this flat brush from a Escoda. As you can see, it's got really nice flat hairs and you can use any of the flat brush that you have. This is mainly for applying the water and applying paint to a larger surface area. You will also need a larger size round brush. So this one here is a size 16 brush, but you can use any larger size brush you have such as a size 12, size 10, size 8. Then, you need a medium-size brush, so the medium size depends from person to person, So it can be either a size 10, a size 8, or a size 6 brush. So these ones here are from Escoda, So they both are natural hair brushes. And one of them is a size 10 and, and the other is a size 8 as you can see. Then we will also need a synthetic brush. So a synthetic round brush because it will hold lesser water. Natural hair brushes, as you can see here, this one here is Aquario series, which is the natural squirrel hair brushes And they will hold a lot of water and paint. And we also need synthetic hair brushes. So that is why I'm using this one from Escoda, which is their Prado series. So as you can see, I have various sizes in their middle range, which are like size 4, size 2, size one. So we also need a very smaller size brush for the details. So you can use the smallest size brush that do have ideally a size 0, 1 or 2. Or you can use the tip of the pointed brush that you have. So these are the smaller sized brushes that I will be using for the details. Then you also need flat synthetic brush, So this will be for lifting off paint So synthetic brushes are the best for lifting off technique. So that's why I'm using a flat brush. But let me tell you one thing. Ideally, all you need is a large brush, a medium-size brush, and a smaller size brush. So you can join me with whatever brushes you have, because we're going to have a fun painting session. We also need two jars of water. So one of them will be to take fresh paint and also for applying water. So we need clear water for that. And the other one will be to wash off our brush, which has paints when we start painting with it. So as you can see, the water will turn muddy eventually, but we don't want to be using this muddy water when we're trying to paint the wet on wet technique and applying the water. So that is why we need two jars. Then the watercolours, of course. So I will be using watercolours from tubes, from various brands, mostly Art Philosophyco and White Nights. So these here are the White Nights tubes as you can see. So they are a Russian brand. Then Art Philosophyco, So this one is an American brand. So these two brands will be the ones that I mostly will be using and the colours that we will use in different exercises and projects. I will be telling when we are doing the projects and will also be listed as you start them. Then of course we need something to mix these paints. So I will be using ceramic palettes. So this one is ceramic three well palette that I have. And I will also be using this ceramic bowl. So you can use whatever palette that you have. For example, I will also be using this dinner plate, which I have already filled with a lot of colours, as you can see. So this is also what we will be using in this class. So you can join me, with whatever watercolour palette that you own, then we need a ruler to take measurements, draw grid lines, and make the aircraft sketches, and eraser and a pencil. So I'm using a mechanical pencil here with a nib of 0.5 millimeters because it's easy for me and I don't have to keep sharpening my pencil. Then I also have this board where I tape my paper onto. As you can see, it's a plywood board. So you can use whatever you have, Magazine, your table top, whatever. And then I use this normal masking tape to tape down my paper onto the board. And I will also be using this masking. tape to get an angle on my board. So whenever I want a bit of gravity to work on my paintings, I will keep this masking tape under my board. As you can see now I have an angle. Then I will be using this white gouache. So this is a white gouache from Winsor & Newton. As you can see, I've used it a lot and it's almost finished. But you can also use other white gouache. So this one was permanent white and this one is zinc white. So you can use any white gouache that you have. And if you don't want to have white gouache, you can also use your white watercolours. As you can see, this is titanium white, which is from Sennelier. And as you can see, its PW4, which means Pigment White 4 and I want to show you what is there in this gouache paint. As you can see, it also says be PW4, which means that the pigment used for both of these, the gouache and the watercolours is exactly the same, so it doesn't really matter what you're using. Join me with whatever watercolours and paints you have, and let us have a wonderful flying lesson through the clouds. 3. Techniques: Let us have a quick look at the different techniques that we will be using for this class. If you want to learn about these techniques in detail, then I suggest you take my class on Ultimate Guide To watercolors, which has over 25 lessons, focused on only the different watercolor techniques. And there are also several class projects. So in this one here, I will be explaining them very briefly because we already have a glass on that. So the first one is wet on wet. It simply means that the paper is going to be vet and also we will be applying wet paint so that despite I'm applying water onto the paper first to make it wet. So using a natural hair brush is best for the wet on wet technique because it holds a lot of water and it will be easy to paint. So here I'm taking Indian yellow and you can see how the pain spreads as soon as I apply the paint onto the paper. This is because it is bordered on it. So this technique of painting on a wet surface with a wet paint is known as the wet on wet technique. And you can see with the Swift left and right movements how I blended the whole area with the Indian yellow. Next is by Dawn dry. So that's means on dry means that paper is going to be dry and we're applying wet paint. So you can see I'm making some straight strokes. So you can make whatever kind of shapes with the Red Dawn try. So anything that you paint on a dry surface is known as wet on Dr. technique. It can also even be on a dried-up paint. So if it doesn't try it surface, then it's known as the pet on dry technique. Next, let us have a look at vector on wet advanced blending. So again, this is bet on wet, so I'm just going to apply water onto the paper. So here my papers not taped and we don't have a good borders. So ignore the edges whether it has no water, just concentrate on what is the wet surface. So applying water. And then I'm starting with my Indian yellow. I'm gonna apply on to the paper as you can see. So first, I applied a whole wash of Indian Yellow. So it seems like an even blend now, doesn't it? As I said, ignore the borders. Then on top of this one, we're going to be adding Indian gold. So this is an EIS, golden brown, golden yellow sheet. And as you can see and making these strokes on top of it. So it's not evenly just adding them using the side of my brush. So it's not the dip. I'm using the side of the brush that is placing my brush at around 30 degrees angle to the paper and using the whole of the brush. So you can see they're just spiffed left and right movements. So this will introduce that bind on to the vet paper, giving it a different kind of blend. So this kind of technique is what we will use to paint different types of skies. You can add more colors on the top. So as you can see, I've taken a bit of Venetian right now, and I'm adding it on the top, which gives a MOOC on trust because now that has a yellow, there's a golden sheet and then there's a red on top of it. So, and also to get your shapes lose on the paper. Make a note on where you're holding the brush. So I'm holding the brush farther away than closer to the tip, which will make the strokes loose. Let us move on to the next one, which is VET on wet shapes. So as the name suggest, it's again going to be a wet on wet technique, which is why I am applying water. I've got very less space here, so I'm just going to quickly apply what in a rectangular shape. As I said, ignore the borders. I don't have a deep here on this paper. And then the whole of the paper again, I'm going to be applying Indian yellow. So this will be the base layer for this technique. So what I want to show is how we can apply different shapes with the wet on wet technique. So as you can see, I just applied the paper, the paint on the paper and the paper is still wet. So now we're going to add some shapes on top of it. So let us do that. Now. I'm going to be taking this synthetic brush. So this is a size six brush from a Skoda and to step Prado series, which means that it's not natural hair like this accordion series, which is natural sweetened hair brush and holds a lot of water. This one, the Prado CDS, is synthetic and it holds very less water. So it helps when we're painting wet on wet shapes if we don't want the pain to spread a lot because the brush itself who was less water and will not add more water onto the paper. So that way. We get to know much more refined shapes spin. We're adding the adornment technique. And also, as you can see, my paper was wet but it's like, you know, into the drying stage. So if it is really wet, it's going to spread a lot, whatever brush you use. So it's just like Just going to dry but not dry. So it'll be like shining if you look under light. And then using a synthetic brush, you can make different shapes and it will stay in shape, almost in shape. So you can see, I'm drawing some kind of buildings with this brush. And I can still get roughly the shape of the building and it's not spreading a lot. So do factors as helped into this. One of them was the fact that the paper was not too much water on it. Almost going to the drying, but not dried, still wet. And the second is this synthetic brush because it holds less water. It does not introduce more water onto the paper. Next, I want to show you the use of these Dina sized brushes. So the first one is a size one, and this one is a size three slash 0. So it's a very small in size. Three slash 0 means it's a triple 0 size. So let us take some beings with the size 1 first. You can see the small dip that it has. So see the line. And when I press on the paper, I can get this fat of a line. And here are the smaller lines that I can get with the tip of my brush. So it really helps if again, practice these small, thinner lines with the tip of your brush, tried to get them administrate line because it's going to be really helpful for this class. Now, I'll take the size three slash 0 brush and try to do the same. So let us see how it is. So backing up nice paint on my brush. And you can see the thinner lines that I'm getting. So it's really, really thin and delegate. So it's very useful when we want to paint details. So if you can practice a bit with whatever smaller size brush you have tried to make the thickness of the lines with TOO smallest size brush. And also see if you can Bain small circles and small small things. Basically, this is just an exercise to help you understand how to work with a smaller brush and adding the tiny little details. It's always easier to work with the larger brush and very difficult with the smaller one because it requires a lot of attention to detail. 4. Colour Mixing: In this class here, I'm also going to teach you the importance of color mixing and blending two different colours on the paper. So first we will see blending two colours on the paper. So it's wet on wet blending. So I'm going to apply wet paint onto the wet paper. So that's why I applied water first. And I'm starting with rows shade. So this is Alizarin crimson or rules matter. And I applied at the top. Then right below it, I'm going to apply with a blue shade. So as you can see, I applied a blue shade right below the Pink shade. Then again, I will take the thing shade and apply below the blue. So now we have three colours on the paper, but we need to evenly blended. So for that, we will use this swift left and right movement from the top all the way to the bottom. So you can see how we have created a nice gradient dash with the perfect mix. And the ROS is going into the blue shade by creating a Bhopal violet shade, which makes it get the perfect blend that we want. So now let us look at a different kind of blending. A second one, which is known as vet on dry blending. So as you can see, it doesn't know what my paper, I'm just applying wet paint. And that key factor here is this dark edge here. So before that dark edge dries and starts forming a dark edge, actually, we need to change the next stroke. So you can see I'm binding the blue at right before it starts drying. So as soon as you apply the previous stroke, you'll apply the next blue on top of it, giving it no time to dry. And the same again, I have light blue, but before the blue can dry off, I'm using my red on the top and right below it. And applying, this is the key rule for this technique. Before the previous stroke dries, you apply the next rule so that your paper, it always stays wet. So when you apply a bed Spain, it's obviously vet, right. So that's what we're doing. And once this is done, you can just even truly evenly use the swift left and right movement to blend it evenly. So you can see we're again getting the nice perfect blend of the two colors. So I included this lesson within the color mixing part because we're actually using two different colors and creating a violet or purple sheet here. Next, I will show you how we can do some color mixing or blending right on the paper itself. So first, painting on my big bow with the rows sheet or the Permanent Alizarin crimson. So I just made a rectangle here with the wet paint. So just a small rectangle. And then now I'm going to pick up my blue shade. And I'm going to apply it on top of the Permanent Alizarin crimson. So you can see that as soon as I apply the blue paint on the people, we're not getting the exact blue shade, but rather we are getting a mixed shade. So we're getting it kind of like a violet shape. This is because the paper was wet and it mixed with the red, the form awhile it. So if you add more red on the top, it will done bugaboo. So this is how you can make scholars directly on the paper. So here are the two shades that we just used. So it's cobalt blue. And the other one is rows matter, which SPR 83. It's big men read 83 and the cobalt blue is PB 28, which is bigger than blue 28. So both of these scholars will give a beautiful mix of Y, let beaucoup and differentiate. So file it's invoke was actually and I will show you how it is very important with regards to color mixing. So I have the rows matter and the blue here in this palette. And I will show you how we can get beautiful color mixing sheets using just this two sheets. And it's going to be useful for a class exercise as well. So as you can see, I've mixed some of the red shade and the blue shade. And you can see that I'm getting a very beautiful violet here. So let us add a bit more read into that mix. And now you can see I'm getting a kind of like a purple shade. So you add more red and do it, and it turns into a red purple sheet. So this kind of diverse mixing capabilities, it's only possible when you actually mix two different colors. If you were to use a single wireless cheat, you will not get this on the paper. So if you really wanted to switch between the different combinations of the violet and the poeple that you get with these two sheets. You really need these two shades. So not exactly these two sheets, but rather if you can use a red shade and a blue shade, because obviously so color mixing 101, or the basic principles of colors, blue and red will mix to give a violet. And that's what we're going to be using here. So just, we need different shades of Bhopal and different sheets of why lit. So just by varying the different quantity of the blue and the red that we mix onto the paper. I mean, on our palette, we can vary and we can get different rights. So see this beautiful Bobo that we have got. If you add more read into it, you get a light, like a more read the sheet. So you don't, if you want to be on the paper and add all these different dawns or differentiates a file. It, it will be really possible only if you mix two colours. So, and this is just with Googlers. So imagine the possibilities that we can get when we mix all of the colors that we have. I mean, we only need the primary colours itself and you can actually makes a lot of colors. So see this beautiful provided shade that we have got. It. Isn't it? Beautiful? And the possibility of adding a reddish purple shade dried next to the violet and still not make it look odd is because the first violet that we applied already has a red in it. So you can see how it is. And here, so this is a violet shade right from the Duke. I'm not saying that this is not good. This is definitely very vibrant, very beautiful. But we should definitely see the difference. Because here, we don't get that different shades of popular differentiates a file at all we can use is just the different tonal values. So the first one is the poeple that we mixed. You can see the different dorms that we're getting. The y let the poeple and some read into it. So it gives the additional beauty to it. And the other one is the violet straight from the dupe. 5. Sketching Aircraft Landscapes: He's so painting aircraft landscape sounds very exciting, right? But there's one thing I wanted to alert you. If you look closely at this picture so you can see how the aircraft asymmetrical almost at the center. So it's got the wings on both the sides. And then if you look at this one, this is also symmetrical, but there's, it's flying at an angle. So there's that difference. Then this one is again symmetrical. So it's got the wings on both the sides. So this one is like the second picture that I showed. And you can see how important the pencil sketch of the aircraft is. So look at these two. So these two, as you can see, they are almost similar but flying in opposite directions. So this one here, the aircraft is flying. The words the paper that is further away from us, so it's a takeoff view. And here also you can see how everything is symmetrical and equal in both sides. How the pencil sketch would be. Can you imagine that? And what about this one? Look at this one. So this is looks, so dof, right? Because of all the bento sketch, all the details, the sea plane itself looks so tough. But I want to show you all a way in which we can easily make the pencil sketch for all of these. Because when it comes to aircraft paintings, the pencil sketch is what is most important. So here I am going to introduce you to a new mobile application, which is known as grid. So this will help us with making the pencil sketch. So let us see how it is available on all the major platforms, such as Android, iOS, and you can even get this on the desktop. So here I have installed the grid app. And in the grid app, and what they can do is you can load your reference picture. And once you load it, you get these fins lines as you can see. So it's like a grid that you get on top of it. And you can also control the number of grid lines that you want. So the number of rows and the number of columns. And once you adjust that, you can save that to your device. And you will have the grid lines that add a lot of other adjustments are available. But you don't need to use all of that. This grid lines is what is most important to us because it will help us in making the pencil sketch. So you can see, you can use the grid lines to make the pencil sketch the way you want it. With the help of this grid, it will be easy for you to sketch the aircraft because you can make use of those lines and see how and where each part of the sketch goals. So I hope that this app would be really helpful for you to sketch the aircrafts and to get the symmetry perfectly. 6. The Aircraft: Hey guys. So I will be referring to a lot of bots on the aircraft for binding the different aircraft lessons in this class. So let us look at different parts of an aircraft because all the names that I use will be really helpful for you. So here is a tiny little aircraft that I have in my studio here. So the body of the aircraft is known as fuselage. So the whole center portion, that is the body, that's known as a fuselage. Then obviously we have the two wings of the aircraft on either side, which are obviously cemetery goal for every plane in the world. Then this thing is known as the vertical stabilizer. And then the two horizontal stabilizers at the back. And then we have the engines off an aircraft. So they're usually attached to the wing, but as you can see for this one, it's attached to the fuselage. So usually they'll be somewhere around the middle or closer to the fuselage on the wings. Then the front of the aircraft is known as the nose of the aircraft. So the nose is what is at the front of the fuselage. Then obviously we have the nose landing gear. And there will be usually landing is on the wings or the fuselage, two of them, or maybe four. And they're known as main landing gears. Then these tiny parts here are known as flap tracks. So this is what the flaps of the aircraft used to move up and down mechanically. I hope that these Dobbs will help you when I'm referring to them while painting. I don't want this to be a technique, a lesson, of course. So let us get started with the exercises. 7. The Bright Take off - Part I: Welcome to the first exercise. So here is the Archi's 300 DSMB bird that I have got Dowd a_2 when A5 size. And I'm going to Dave down this paper on all the four sides. I'm using a normal masking date that I showed you in the art supplies B deal. So if even dave down all the four sides, just to make sure that the paper sticks onto the board. And then I'm going to use this ruler to press firmly on all the sides to make sure that there are no gaps where the paint or the water can flow. So first we will draw the lines of symmetry. The vertical line in the center. So measure your paper to get these lines of symmetry. Take the center 0.1, draw the vertical line. So as you can see, measuring the paper and mocking the center point so that I can draw up effect where take a line and the horizontal line, we will draw at about one that position from the top of the BBA. Then we will start with the pencil sketch of the aircraft. You can use the grid app if you want to get the grid lines on your paper and make the grid sketch. I will be showing it in future lessons and projects. Make the fuselage of the aircraft first, that is the body of the aircraft and mark the lines. As you can see, I have made an OK in the center. Then we will draw the wing. So we have to make sure that everything is symmetry go when we're painting the aircraft, the wings should be equal on both sides, the location of both the engines at the same place and everything. So that is why I am using my ruler to take measurements, the exact measurements. Also, the budget is fairly straight As in the aircraft is flying right in a symmetrical position, not at an angle to the viewer. So both the wings and everything will be symmetrical and equal in length. So that is why you have take measurements. I have a dash to the reference pictures in the resources section, so you can use that to get the exact reference image that I have used. So whatever closely to the reference picture to get the lines correctly. And if you really find a difficult without any help, then of course you can use the grid app like I showed, and use the grid lines to help you make the sketch. We will have to very carefully draw the engines and every bark of the aircraft. When it comes to aircraft paintings, the pencil sketch is what is the most important thing. So we have to do it very carefully. So as you can see, I'm taking my dime to do the pencil sketch, and I'm also using my eraser whenever I am making a mistake. So you see, we don't get it right the first time, but we can always erase and make good, correct. And under the wings, we had the flap of the aircraft. The flaps of the aircraft. So what that does, what those horizontal lines are. So we've been mark all of that with a pencil. And I folk loosely to the reference picture to get all of the lines correctly. You can see all of these lines medically early in the reference picture, so that will really help you. Then. The windows on the golf bit, that is the top part of the fuselage to small windows. And we will also mark the shadow areas on the fuselage. Next, we will add domain landing gears. You can see that digging a lot of attention to painting the Bentsen sketch. I mean making the pencil sketch. Because that is really important when it comes to aircraft paintings. That is getting the shape correctly, the symmetry got ugly, so we have to be very careful. Next. We will draw the land idea. So first I'm mocking line, a horizontal line, then we will follow the rule of perspective. Do draw the lines on the land. So they will all start from the vanishing point and spread away from it. So make sure to take measurement as to how much distance your drawing the lines from. And the same we have to do on both the sides. So exactly as I did on the right side, I'm doing on the left side. Now, erase off the unwanted symmetry lines after finishing the main sketch. These are the main colors that we will use for the background. Band on NBA. Bowman Taylor, deep yellow ochre, cobalt blue, and indigo. For the aircraft, we will be mainly using this scholar, ivory black. You can also use Spain's greedy or neutral tint. So let us start painting here. I will be using this three-quarter inch flat brush to apply what dot onto the paper. Apply water to the whole of the paper. We have to make sure that it's evenly applied everywhere. It's alright to apply on top of the aircraft also be we'll paint the sky first and afterwards the aircraft. So the whole of the paper with water evenly. Then using the same flat brush, we will take cobalt blue and we will apply to the sky area at an angle like this. All of the strokes should be such that they are from the outside to the inside. But to make sure that the standard area of the beeper remains blank. So from the outside towards the sender at an angle at all the top edges of the paper. Next, I will switch to a size ten brush. Take the same cobalt blue and apply or dog of the earliest strokes. To make it a bit Dhaka. It will be the same inward strokes. So as you can see, I'm binding from the sides of the paper to the inside. Then taking yellow ochre. We will apply this at the centre, but this time outward from the center. So these will be the sun's rays. So will we believe a small gap in the center and all of the lines outward apply small lines from the centre outwards and leave the center gap white. Next, we will take indigo and apply on dog off the cobalt blue at the edges of the sky. So we want some Dhaka donuts in the sky that described we're applying indigo. So applying smallest strokes to get a Dhaka contrast in the sky. Leave some spaces with cobalt blue and most of the edges on the top left and the right weight indigo. So you can see I'm making darker at the dot. This will give a nice contrasting effect to the sky. And you can also add more cobalt blue in areas where you think it is faded. This would also help in mixing and blending the cobalt blue and the indigo nicely. Then I will apply more water to the ground now. And foot binding the ground. We need the angle for our board. So I'm going to keep the masking tape on the board to get the angle. Let the water flow down under gravity. Then taking bond on, but we will apply it to the ground on the left side. So we don't need to hard edge for the horizon line. That is why we have been doing with by Don wet. So the horizon line is like kind of far away and it needn't be that dominant in this painting. So that's why it's going to be with wet on wet. I mixed integral with fund on but to create a nice gray shade and applied it onto the left side. Then we will take permanent yellow deep and mark the sun's rays again. Then using Bund, NBA, we will paint the rest of the ground area. So fill all of the spaces between the sun's rays with the Bund amoeba. Then we've been makes more of the gray paint that is indigo and bond on wed together. And we will paint the ground towards the right. So this point, I decided that the whole of the right side and the left side, we will being with gray shade. So we have to make it symmetric. And that's why let's apply the same onto the left side. And on the right side. To get the exact symmetry. Next, I will take my size six brush and live bond. But again, to make the ground a bit more Dhaka, apply carefully so that the sun's rays are not disturbed and apply in wet from the bottom to the top at an angle. So you can see it will be always focused towards the center. Then use your brush to lift off some paint to get the sun's rays to give a more original effect. Do the race. Add moribund, um, but if your color is starting to fade. And we will also make the hurdle horizon line a bit more sharper. So we'll just add the gray shade on top of it in the form of a straight line. Then use your damn brush again. Do liftoff paint. This time, again outward from the center, the direction that you are lifting off. So this will create the nice sun's rays and give a nice contrasting effect between the yellow, white, and bond MBA. 8. The Bright Take off - Part II: All backgrounds has now completely dried. So now I'll take my size, do a brash, and we will start painting the aircraft. So apply water on the whole of the aircraft body or the fuselage. So this sender body bark of the aircraft, it is known as fuse large and we will apply water to the whole of it now. Because we are going to work on the wet on wet for the body of the aircraft. So Eddie gadfly apply water onto the body of the aircraft. Now we will take the ivory black sheet, but slightly lighter to benefit. And we will apply this to the whole of the body that does the fuselage. So no Tia, it's going to be a lighter don't that we're going to be using. So you can use Payne's gray or neutral, thinned or black shade, but in a very lighter tone. And as you can see, I have left a tiny space on the right as white. Because we need that idea to be light. Then we will take a medium Dawn of the black and we will apply on the wings. So it leaves the engine for now. Test the wing ADL, we will paint with the medium dawn off, then black, the ivory black shade. So we will do the same width, both wings, so apply on the left-wing as well. You know, ideally the wind direction is said from the direction of the cockpit that despite the pilots sit. So what we're finding right now is actually the right-wing. But for the purpose of this ScalaCheck glass, I will always mention as we see it on the paper. Next, we will take a slightly darker tone of black and female apply to the flaps on the wings. So this is the idea under the wings, the extra lines that we did remember when we were drawing the pencil sketch. So that now we will use. Slightly darker tone of black. So I'll show you now how we're getting these different dorms off the black. The veins straight out of the tube is darker or the darkest as you can see. And then I'm adding water and it gets lighter. So each time adding more water to it will make it lighter and lighter. So this is how you get different tonal values of a single color. So now the aircraft has dried. I will take burnt umber and lie on top of the black. That is the light of dawn of black that we applied earlier. But only in the underside of the aircraft, in the center area that all Cui made with the benzene sketch. So we didn't that area evenly. Then a date black, again. Again, a medium dawn of black. And as you can see, I could make it in the shape of a shadow on the fuselage area. So this is how I get the shadows on the aircraft by applying different dawns of several colors. So here it was ivory black and burnt umber. Next, we will take the darkest black again and apply on top of the wing area. That is the engine. So not the wing area, but this is the engine on the wing. And we have to do it very carefully to maintain the shape of the engine correctly. So it's not exactly round, but for the painting purpose we can make it round. So next, I'm switching to a size one brush because this is even smaller than the one that I was using, which was ice due. And we will carefully draw the horizontal stabilizer. So these two horizontal lines on the aircraft at the back of it is known as the horizontal stabilizer. So there's two of it to either side. So we will Bain that with the medium dawn of black. Remember they have to be symmetrical and equal in both sites. So we'll very carefully, because it's very delicate. Next, we will take the darker tone of black again and apply on top of the V01 idea. So just a small line on top of the pencil sketch that we made as you can see. So it's mostly to cover the pencil sketch and get the nice shadow lines correctly. And we will do the same for both the wings. And also the win dip, which has a slight bend at the end as you can see. Then draw the outline on the engine with the same black shade, darker tone. So this is like the outer circle. The inner circle is what we did earlier. And mark the engine body. So we will apply a medium Dawn of the Black into the engine body. As you can see, the whole of the aircraft was just differentiates of black and bond number. So this is how different tonal value comes into use. Thanks. Using a Docker, dawn of black, we will draw two black windows on the fuselage. So it's like an OK, but there's a slight separation in the middle. Then we the black again, we will draw the flap tracks. So these are just vertical lines, just make these vertical lines on the winks. These are known as flap tracks. That is the track for the flap to come down when the aircraft is taking off or landing. You might have seen it way. If you have traveled by air. Then for the landing gear, we will draw using this micron pen. So this is 0.8 millimeters. Simply draw the two main landing gears. I usually draw this but the brush it says, but I thought that this might be easier for us for this painting as it's very delegate. So there are, as you can see, when we look at it from this angle, then is that do we use on either side? And then the two struts joining the two wheels. And then the nodes landing gear on the body. So it will be slightly smaller than the main landing gears. Then, using a black tune again, we will draw some lines on the fuselage and also add in the landing gear doors. So this is where the landing gear goes in after takeoff. Lastly, we will add some highlights with white. So I will use whitewash, but to give you as whitewater Gullah is if you don't have wash. So I'm using my smallest size brush again. So on to the horizontal stabilizer. We will add who does on deadlines and on the wings as well. And as you can see on nose of the aircraft, that are some highlights there, which we've been ads now. Adding highlights and shadows will increase the contrast between different details. Then on to the engine as well. Then make this small spiral shape inside the engine. This is to show the rotating engine. And then some on the wings. Just deadline to mock and show the contrast between the black and the white at the bottom part of the engine as well. So you can see, I've added some to the bottom part of the engine. Then using black, I'm going to just add random details to the aircraft. Just some spots here and there. Because actually on the body of the aircraft that are a lot of things, lot of small minute details. So that's why I just add some random spots. And you can add more highlights. So to the flap tracks, I'm adding who does, what declines. Next, we even add some details to the ground. This will be the last thing to do. So with bond NBA mark the edges of the road area. These needn't be that gear. Our focus here is on the aircraft. And then we'd take some white to add some lines on the road. We need not make it much detail. Just sucked the lines does the lines on the road or the runway. So one status done, the painting is scum ie just some delegate lines. So now we can carefully and slowly remove that date. Remember to pull it off away from the paper at the, why's your paypal might dare and go into the painting. And here today is the final picture. 9. The Tropical Sunset: Here I am starting with the pencil sketch, which is the most important thing when we're painting aircrafts. So first, we will draw the aircraft. We didn't have to draw it very carefully. If you want, you can use the grid app to draw it correctly by using the grid lines and marking them on your paper. It will give you the correct lines of reference to help you sketch the aircraft. And as you can see, I'm using a ruler to get the straight lines. Here. You have to notice that the aircraft is flying at an angle to the viewer. And hence the lengths of the wings will not be the same. But you have to get everything correctly in the right angle. It's okay if you make a mistake, you don't have to be stressed. Just try to do it exactly as you see in the reference picture. But it's okay if you don't get it right the first time, then draw the vertical stabilizer. So you can see it extends upward on top of the wing, on the left side. The dynein cockpit windows then do horizontal stabilizers. So as you can see, I'm always checking the angle with the reference. So here when I was drawing the stabilizers, my reference was the wings. So they have to be in the same line. As I said, the wing on the right side should be shorter. And here I am adding two same isa goods for the engines. Then, once you're done with the aircraft, with your pencil just lightly. We will add the palm trees. Just very lightly mark the place holder. That is, we're just adding the place where the bomb trees would go, just roughly at the bends and sketch for it. Now the gallows, we will be using a ivory black, Indian yellow, venetian red, Bund, MBA, and Indian gold. So we will start by applying the water. We will apply the water to the whole of the paper. Here. We don't have to be worried about what's going to be the aircraft AD. So just apply water to the whole of the BBA. I'm using my three-quarter inch flat brush. Then. With the same brush, I'm taking Indian yellow and we've installed applying from the bottom in wet on wet method. So I will cover the tie up a bot with Indian yellow except for the bottom center, but it will be the sun. So leave a slight gap at the bottom center. And the rest of the paper discover with Indian yellow. You can also use transparent yellow if you want. Just do the whole of the paper, every corner and everywhere. Then switching to my size ten brush, I will take Indian Gould and will apply on the top of the Indian yellow while the paper is still wet. So i'm applying from the left side towards the centre and from the outside towards the center in straight lines as you can see. So this will evenly blended on top of the Indian yellow. Make swift left and right movements with your brush. So you can see how this movement is making the Indian Gould just blend evenly on top of the Indian yellow. And it remember to keep the sun idea clear. So if you accidently paint over it, you can create it with a damp brush by using the lifting method. Now, if you take a Docker dawn of Indian gold and apply on the dog, it the same brush movement from the left to the center and from the right to the center. But that random places. So we just darkening the corners, the left and the right. After that. Now for you to take venation dread and apply on top of the Indian gold first in the center, and then will move towards the top. So we'll divination read. We stock from the somewhere around the middle sender, ADR, and then all the way towards the dog. And you can see that I'm using the side of the brush to make smaller clouds. And at a member to skip the aircraft AT this time when applying the Docker Gullah. Some of it might go on top of the aircraft because we're still applying wet on wet. But that's all right. Okay, so now we will take bond and we will apply it on top of the Venetian red. So you can see we gradually starting from the light and colors and then moving on to the darker colors. So evenly blended into the background because we don't want it to appear as if it's overlaid on the top. So if you think that your Kotler appears lighter at the bottom, you can add more Indian gold and vanishing red. Just make sure to liftoff paint from the top of the sun as it should be left white. So while blending, if you see that if you accidentally got rid of the white area, you can always lift off again using the lifting technique. So you can see I'm lifting off board behind from the air to create the whitespace. Now, while the paper is still wet, we will take mobile, earned an MBA, and added on top of the Venetian red. So we're now creating the taco shadows on the clouds. And we will add it towards the top area. And on top of the smaller clouds, again, using the side of the brush. And you can also add clouds as small lines if you want. So you can see I'm making smaller lines. Just make sure to make the top bought darker than the rest. And what's the bottom Bard? We even have smaller clouds. So don't make any huge clouds at the bottom part, just very small and very lightly. All the Docker Cloud should be at the top and the lighter clouds at the bottom. Also, the bigger clouds at the top and the smaller clouds at the bottom. So we just have to make sure that the dog barks as darker than the rest. So add more buttoned up to the top to make it dark so that you can use a darker brown that you have. And I gave around will also work. So after this, we have to wait until the background is try. When you're finished with the sky. So now we will move on to painting the foreground boundaries. I'm using my size to brush. So I will take bond, but this time I'm taking a very Dhaka don't buttoned up all or most similar to black. But I'm not using black here because I just wanted to be prone but very dark brown. So use the Dockers from that you have. I will draw the palm tree first, add the bomb DCE. So you can see I'm adding the strokes of the bomb trees, that is the leaves of the palm trees using smaller strokes like this, very randomly and in quick small lines on the boundaries. We don't have to focus much on getting these lines perfect. No bomb trees are actually both affect also. Make painting it randomly would make it more look, look more real. So there will be that Doyle boundary and then two smaller ones. So we will only see some bard of the leaves a fit and not the trunk part. So you can see the loosely here how I'm making the lines on the boundary. Just randomly wick Motion with my brush. And now to the left side. So you can see some of the leaves that bomb lease can be bent. And when you're adding these lines in some areas, you can leave it blank too, because they may not all be filled. And what do you need to understand is, we don't need to rush in any bard of this process. Sit back, relax and enjoy the process. As I always say. You know, fainting is all about enjoying the process and just stick your time to do everything, nothing to Russia about. So that's why I love painting. So remember to use the smallest size brush you have idly assigns 0 or psi is one. So I'm using my size do here, but if you want, you can use a smaller size. So now I've switched to a smaller size, a size 0 brush, because I want even thinner lines on some of those palm leaves. Once we've finished with the palm tree, we will move on to painting the aircraft. Okay, so now we will move on to the aircraft using Indian gold. We will paint the body of the aircraft, that is the fuselage. So aimed the whole bottom part of it with Indian gold. You can see that that is that tiny space at the top of the fuselage that I've left behind. So except for that the rest of the body will be in first with Indian Gould. Be very careful and paint along the lines that we have made. And also on top of the vertical stabilizer using the same color, Indian gold. Now, using Indian yellow, we will paint the top fuselage. You know, that space that we didn't veined with intermingled here. So we'll pay invade Indian yellow now. So that's because that audio needs to be lighter than the rest. So that's why with Indian Yellow and the area on top of the wings and the engine. That is the outer body of the engine that's also with Indian yellow. Next, we will paint the bottom part of the fuselage bit burnt umber. So as you can see, there will be three colours on the body of the aircraft, which is engineer Lu, Indian gold and band number. So the darker shadows will be with this buttoned up ba, daka, dawn of band amoeba. So as you can see, I'm binding the whole body, the bottom bar of the fuselage with this band very carefully. And we will also paint the whole of the wings with Bund. So these are again the details, details as in very delicate parts of the aircraft. So we should be using this more or less eyes brush that we have. I'm using my size to brush here. So both of the wings leave it veined with fund and also the idea inside the engines. So the inner part of the engine and the wing ADR, that's what we'll paint with at Dhaka dawn of band amoebae. It remember, no need to rush this process. Take your time and very slowly. So you can see how very slowly and concentration is most important when we're painting this. Next, we will paint a two horizontal stabilizers with the same Docker, Dawn of the MBA. As I said, you can also use any Docker's prone that do have transparent Braun van de Gabriel on all of these colors that you can use. Then the flap trucks, small thin lines outward from the wing area. So these are known as flapped tracks in an aircraft. Then using the same band on biophysical pain, the cockpit windows of the aircraft. Just a small tiny line at the top. Next, I'm going to add a slightly lighter tone of band MBA. So be careful. It said lighter tone of bond number onto the body of the aircraft on top of the Indian Gould and blending it with the already existing color using water. So this was just to get that Docker gone trust from the lighter though the darkest stolen, we just bond. Well. So next, we will use whitewash and add some highlights. So first, we will add it to the end of the vertical stabilizer and then the dot portion of the fuselage to depict the highlights. So this area is going to be really bright and white. So, but if we leave it white, it's going to look odd. So what we're going to do is we're gonna take some water and blend it, the yellow. So it's using a damned brush, not a lot of water, just a damn brush. And then we'll blend it with the existing colors. And as soon as you apply the water, the paint will flow. So apply the water and then blend, blended smoothly with the yellow underneath it. So now you can see the transition from the white to the yellow to the Brown, which makes it look beautiful. And the same way with the bottom Bart. Now that the very thin brush had tiny white lights to lines to depict some of the details on the fuse large and the wings. So they need not be very dark white, just few lines on top of the wing, the horizontal stabilizer, and in some areas of the fuselage. So you can see what I'm adding, just some lines. So even though you apply white because it's on a dark background, it's going to done in do a lighter mode. So it's all right. Now. Lastly, we will take some Indian gold and added to the palm trees to show some glowing lease. So even add to all of those leaves that are closer to the sun. So on the left side, all leaves to the right. And for the trees on the right, or the leaves to the left, just in some areas at the Indian gold to show that there is that glowing sun reflecting off the boundaries. So these leaves are illuminated by the Sun and hence flowing gold. So know our painting is complete and we can slowly remove the masking date. So this was just a small exercise. I hope you like this. And here's the final painting. 10. The Flying Whale: We will start with the pencil sketch as a waste. Here, I'm linking to symmetric lines in the center. So this symmetric line will help us to make our Benson sketch. Juseyo to learn to take measurements. So this image here is the reference picture that we will be using, the A380 D soaring through the blue sky. I have loaded it in the grid app. And I will set it to four columns and four rows. So here it is. So let us get back to our BBA and try making the grids first. Use a ruler to take the measurements of your PIPA and split it into four rows and four columns. Then at the center is where we will make our Benson sketch. Just keep in mind that we have to make sure that the plane is symmetric on both the sides as in the image. And you can see from their friends picture that the airplane is exactly in the center of the line of symmetry. So make the sketch of it slowly and very carefully. Everything should be in equals, that is the length of the wings and the position of all the engines and everything. Make the sketch of the engines in the correct position with reference to the grid location as well as the flap tracks. So the engine's on both the sides. So this is why we use the grid add. Because to get the lines correctly, that is the position of each of the elements got ugly. If you're comfortable to make the sketch without the grid app, then you can do it. This is just to make it easier for you. As you can see, I'm using my eraser a lot because the pencil sketch is what is the most important Bard. And we need to get everything in shape, the symmetry, the possession and everything. So what that is, what is very important. Then we draw the horizontal stabilizers symmetrically on both the sides. Followed by the vertical stabilizer. So user ruler whenever you require. And once you have done the benzene sketch, we will erase off all the grid lines that we made because we actually don't need them in the painting. So here I have removed all of the grid lines. Now, I will use my Skoda flat brush to apply what on the paper. I will bet the paper as we will be working on the wet, on wet technique for the background. I will bet the whole of the paper, except for the main body, that is the fuselage area of the aircraft. It is all right if you apply what up on the wings, just avoid the fuselage area. So very carefully. Even on all the four corners of the paper. Then I will take my size eight round brush. So this one is again from most Skoda. I'm going to take some cobalt blue first. And we will apply it at an angle like this. I will be using a mix of colors for the sky. And the next scholar that I will be using is yellow blue. Yellow blue is also known as bright blue. So it's BB 15 that they speak meant Blue 15. We've been at it at an angle like this. Just write about the womb. So now I'm going to use my small size do brush to lift off some paint. I'm using a synthetic brush here because synthetic brushes are the best liftoff paint from the paper as they hold very less water and will not add any more water onto the beat. But when we're trying to lift the paint off, slowly, lift off the paint in the line, wash the brush in water, and then dab it on a tissue to remove the water. Repeat this a few times to get the sun rays correctly. Ok, so now we will be in the right side of the sky. I will take pride, blue and applied randomly like this. Here we're going to add some clouds in the sky. So we will leave some spaces white. And I will use the tip of my brush to make smaller clouds on the side of the brush to make larger clouds. So you can see I'm using the dip and the sides of the brush to make the shapes of clouds. Next, we need to add a daga color on the top. So we will add indigo onto the wet BBA. Apply the indigo on top of the bright blue, mostly to the top and on top of the larger clouds. It remember, apply the integral only if your paper is still wet at the wise, wait for everything to dry, and then reapply water on the whole of the paper to work on the VET unmet method again. So that this one golden rule that we have to wait for the paper too dry if your paper has started to dry. So now we will debate in the bottom part below the airplane wings. So this time we will take a lighter tone of bright blue. And as you can see, I applied a bit extra water and it was creating a dark edge between the top and the bottom part because the top-left area was starting to dry. But we can avoid the dark edge by repainting on the top all over again. And as you can see that this what I did. So at the bottom Bard maybe use a lighter dawn of bright blue, very light. Then we will take a very Docker dawn of indigo and applied onto the wet paper as small strokes like this and form the shape of the Docker clouds at the bottom. And I'm also going to leave some whitespaces For the clouds. And the rest of the areas I'm applying with the Docker indigo color. So you can see a dismayed some random shapes and some areas I left white. Just make sure to leave the white gaps for the clouds, which we will. Later. Next, we will take a lighter tune of Payne's gray and apply some smaller strokes like this for the clouds above the horizon that is actually just right at the horizon. So use the dip of the brush at an angle to make smaller clouds. And we will also add these more low clouds to divide area that we left behind while binding the Docker indigo clouds. And using the same beans gray, mark the faraway horizon with the light at dawn and blended smoothly with your brush with a damn brush actually. So make sure that there is not much water on your brush when you're doing this. Okay, so now I'm going to add smaller clouds to the top part also. And here I'm using a damn brush again. And taking the veined with my damn brush because my paper has almost dried so we don't want any more water or law paper. And as you can see, my brush has almost no water and picking up only paint to make these more luck louds and add them very randomly. Also with the very lighter tone of pain screen. Now, I'm going to use this white wash to add more to the clouds. You can also use white watercolors. If you don't have whitewash, E2 will be exactly the same. I am applying the whitewash to the edges and the areas with indigo to give it a more cloudy effect. You know, we want to make those clouds have a fluffiness, right? So that's why we are adding this white watercolors. Divide watercolors or the whitewash we add are almost opaque. And adding this will give more fluffiness to walk clouds. But as you can see now, it looks separate from the top. So now I'll blend the top edges of it with my brush. Just blended smoothly. And if you want, you can add extra water here at this point without brush. Do blended smoothly with the background. But the water will form dark edges. As you can see, it is already forming on my paper. But obviously we can correct that. So this exercises mainly to make you understand how we can work with water, with dark edges, how we can solve them, and how we can work around it and used it the way we needed to remove the dark edges. Simply use a damn brush and blended into the background. So you can see I took fresh pained off the screen and just add it on top of the dark edge and now it's gone. So now after the background tests completely dried, we will paint our giant monster now. So we will start adding shadows to the body. So apply water to the fuselage on the right side, halfway through the shape of the shadow. So observe the reference picture closely. And I'm using my SQL dot brush again and adding beans grey for the shadows. So this is my size to brush now. And we're applying wet on wet itself. So it's okay if you're being spreads. After that using a medium dawn of Bain screen, we will paint the bottom part in the shape of a triangle, almost like a triangle as you can see. Then using the same medium, don't v will pay in the horizontal stabilizer. Vad GEF Lee on both the sides. Use the smallest size brush to get thinner lines and you have to be very careful and we don't want any pain to go outside. Then next we will pay into the wing. So pains the whole of the wing when the medium to one of being screened. Both of the wings and we have to be betty good food to maintain the shape of the aircraft. So this is why we have to use the smallest size brush and the tip of the brush to get the edges correctly. And then the vertical stabilizer after that onto the wet paint on the wing, onto the vet Bain that we just applied. I will add a slightly more darker tone for the shadows. So continue on with this Dhaka. Don't do the ADR right below the fuselage. So you can see that Docker area right below the fuselage that is just below the idea. So that whole idea, they will apply with the medium dawn of mainstreet. Again, it's slightly darker to medium don't. Everything is about light and shadows. That's why we are adding different Dawn of the beans Gray. And I just added the ringlets on the plane with a very Dhaka tune of Payne's gray. So now I'm going to add more darker shade. Do the bottom part because we want more shadows. And as you can see in that picture, it is a bit more Dhaka. So now we will add a Docker. Don't have Payne's gray here. So this is like the underdog that as the areas under the aircraft, so it's like the shadows. So add a Dhaka dawn of Payne's gray, or you can even use black or neutral tint. And next, veined all the four engines with Bain's Gray. I'm using a very daka, da one concentrated beans gray. So that's why it's almost like black. You can also use black if you want. And behind all the four engines similarly and very carefully. So you can see I'm actually bending the inner circle of the engines. So that's where the engine is actually. So that is what the Docker dawn of pain scri, the outer ring of the engine rebuild painted later. Remember to use the smallest size brush because all of these are tiny minute details which we need to begin with ultimate attention. Then we will add the flap tracks with this Dhaka color, the same Docker. Don't just eat small, tiny lines, you can see on the paper. Next, we will take the medium dawn of beans great. Again, to make the outer covering of the engines. So this is spare, no, we're completing the engines. So using smaller sized trash, again, make the outer covering of the engine with a lighter tone or a medium dawn of beans. Great. So dry it. No, we will use thinner lines. Do mark the shadows on the horizontal stabilizers. So just a small line under the horizontal stabilizers. The Arab lanes are all about adding shadows and light and the tiny little details. So that's why it takes so much time, but it shouldn't stand in the way of painting, right? The same way. Add a line to the vertical stabilizer. Out using a Docker dawn or black, we will add the cockpit windows for small little windows. And then do small ones on either side. Two small lines as you can see. And lastly, now we will add the final highlights with whitewash or white watercolors. Using the pointed tip off the smallest brush you own. Ad the lines surrounding the engines for the highlights. So you can see in order to get the shape that at least we need to add these highlights. So add these wide lines, just like you see I'm doing. Remember, light and shadow in a painting is very important. It's what gives the painting the relook. Add it to the vertical stabilizer as a straight line. I'm adding into what's the right side. And then also to both of the horizontal stabilizers, just a smaller line on the top and also to the top AT off the wings. This is mainly just to get rid of the Benson sketch. So now our painting is complete. Let us remove the tape and look at this glorious beauty. I always wonder who took this amazing chart of the A380 right from its front. It's majestic, isn't it? And so here is our final result. 11. The Violet Bird: Hey guys, welcome to this exercise lesson. Here, I have already made the grid lines and my BBA. This aircraft here is what they build sketch into the right corner. This aircraft is bought off a bigger picture and I've cropped out the aircraft bought out of it. So we will be sketching this aircraft but onto the right side of the beat, but as we will have other elements. So I'm starting the pencil sketch. We will very carefully had the rough outline of the aircraft onto the paper. And for this one, the right side will be slightly longer than the left side because of the angle that the aircraft is flying at. So as you can see, we, the horizontal stabilizers, the right side is slightly longer than the left side. The viewer also is seeing the aircraft at an angle. So that is why we have one side longer and the other side shorter. So the right-wing will be slightly longer than left. And add in the engines as a small semicircle on both the wings. We only want the rough outline of everything. So just make it very rough. The engines, the flap drags, and the little parts of the aircraft just mock them on the shape of the aircraft. Then the nose landing gear and the main landing gear. Because of the darkness, only one main landing gear will be visible, as you can see in the reference picture. So we will draw only one. After that, let us erase all the grid lines as we don't need them for this painting. As you can see, this painting has only the pencil sketch of the aircraft. We will be using these two galleries for the painting. Only these two colours. So cobalt blue, which is BB to AND gate, or big mint blue 28. And roles matter would just be R 83, that is pigment red 83. This is also known as Alizarin crimson in several other brands. So mainly what you need is a blue shade and a red sheet. So now I will add these two colors into my ballot, which is the ceramic ball. And then I will add water onto the whole of my paper with my flat brush from a SCADA. So applying the water evenly as we will be working with the Red Dawn wet technique. We will then makes some blue and red together to make violet. Add more blue so that it's wireless and not purple. Then using my size eight brush, I am going to apply it on the top. So at the dot barred by the sky is going to be Now I want an angle for my board so that the water and the paintball flow downs. So here I'm going to give this masking tape under it. Then getting back to the violet, I will add it to the top and then do the right side. It a member more blue in the mixture. That's how we get the dark violet shade. And it's okay to paint on top of the aircraft. Then to the left side, we will paint in the fall morph smell clouds. Used appointed side to feel brush to make the small clouds and leave white gaps. Some lines on the right side towards the left. Then, using a very lighter dawn of Violet, we will paint all the way to the bottom so that we can blend the whole of the sky to the bottom of the painting. Now, let us add more red into the mixture so that we get a red purple sheet. And we will use this shade to add smaller clouds in the area that we left behind. Again, I'm using the dip of the brush for the same you can see. So just make these smaller clouds randomly. Now, I will mix nice concentrated red, purple shade using both the galas but more of red. So that's why it's BU. With this scholar. We will add some trees at the bottom. Use these small strokes to create some trees shapes like binaries. Then vivo make stock violet by adding more blue to it. We will add this to the red purple trees so that We continue painting our trees and adding the darker shadow was on top of it. This way we will get a good mix of both colors for the trees. This is the sole reason why we're mixing colors here and not using readily available Violet's oboe boots. I wanted to show you guys that Gullah mixing is beautiful and that it's so much diverse, but the colors we can achieve by mixing different sheets. Also note here that I'm painting the trees with wet on wet because the main focal point of this painting is the aircraft and not the trees. So that is why we're painting it weights by Don wet so that it will be blurred. So all we have to do is mix the two colors in different ratio and added to the paper to form Tree. He's indifferent sheets. Some will be wireless, some purpose, I'm closer to blue, some like read. And then add in some shadow was with the darker colors. Here, I'm switching to mice in the tick size brush and using the dip and retrobulbar shade to make it a bit more darker on top of the clouds. Here, I switched to a synthetic brush, mainly because the sky region will have almost tried by the time I painted the trees. And if I use a natural drive, it holds a lot of water, so there is a chance it will add extra water onto my paper. And I don't want that because then it will create doc, edges. So that's why I'm using a synthetic brush because it holds less water. And using the same synthetic brush, we will add some lines to the trees so that it looks more like pine trees. As I said, the lines will spread lesser than if painted with the natural hair brush. And that's it. We will pay in the aircraft After the background has dried. So now I'm going to use this size to synthetic brush from Skoda for the whole of my aircraft. And as you can see for the whole of this painting, we will only be using the Vedas mix of these two gutters. So I will make a nice dog. Why lead sheet? And we will apply to the fuselage area of the aircraft. So mixing a Doc while it, as you know, more blue and less of red, that will give us the dog while a cheat. So apply to the whole of the fuselage that is the main body of the aircraft. Maybe ghastly following the pencil sketch that we have made. Then we will mix a bit different to the mixture and add it at the bottom left part. So the key thing is all the ages in shadow, we will pay into it the Docker violet shade and the highlight areas with the red bubble that is with more red in the mixture. So the left side is going to be in a more read shade and the right side in a dark while a cheat. When I see red, I mean vet boat blue. So this is the beauty of mixing these two colours because we can read you the ratio of the blue and red and create the bull or the why lead as we need them. The right wing will be in the Dhaka violet sheet. So you can see I'm adding the Dhaka wireless cheat to the right wing. And the left-wing, we will paint with more red in the mixture. But on the left wing, there's the engine that's a bit too visible, so that would be in shade. So we leave it blank for now and then we will add it with wide-eyed later. So you can see what I did here was 1.5 of the wing. I painted with the red, that is the bottom half. And then on the top I added in a bit of shadows with the dark violet. And the same we will do with the engine. So the engine I'm painting with Doc while it, This is because that idea is under shade and hence Dhaka. So this will also give that nice contrast between the red and the violet and make our painting look more attractive and beautiful. And they're also adding the flaps. So you can see it's a slight gap between the wing and the flaps. And then I have added the main landing gear. The other landing gear is not visible because it's like on the body of diffuse large at this angle that we're viewing. Then the nose landing gear. So you can see that for the whole of this painting, I'm using the same size to a brush and just using the pointed to profit. Now, once the painting on the aircraft has dried, we will Bain trait whitewash. I know I said Googlers, but we don't count. Why does a guy right? So we will add the highlights just as you can see to the left wing. Some areas of the fuselage. Then at the bottom part of the fuselage. And at the DOP. This very likely. And oops, this area here I've missed. So that's the vertical stabilizer. I'm adding it with Violet. And then we can get back to adding the white. So just adding some small lines on the wing due just mark the separation between the wing and the flaps. And that's all. So let us remove that, Dave, to reveal the beautiful painting. And here it is. 12. The Sunset Take off - Part I: Let us start with our first class project. So here on the paper, I'm going to mark the center of the paper because my aircraft is going to be right at the centre. So this one is going to be pulling 747 aircraft and it's got four engines. And it's one of the huge aircraft in the world. So we're going to be drawing it in a simple way. So the first, the fuselage of the aircraft that we will have a small circled but some way flat at the bottom, as you can see. And then add BARDA facade on the top. So it's not really a circle, but you can see it's kind of like an oval shape. So this is how the body of the aircraft is. So you can see it looks kind of like a bug that's flat. Then we will draw the wings on the aircraft. So it's going to start from the bottom. So go somewhere in the middle and towards the top. So the wings are going to be at an angle. You can see it's not trade and horizontal it but it is at a slight angle. And then there's the dip, which has a slight bend towards the top. Then on the wings will add the flaps. So these are separate surfaces on the aircraft wing. Then of course the engines. As I said, the Boeing 747 has four of these. So adding small circles in the shape of the engines and make sure to get that position right. So whatever position you do on one side, we have to replicate that on the other side. So as I said, if you want, you can make use of the grid app and the grid lines to get your symmetry correctly. So here I am measuring the length of my wing because I want the exact same length on the other side as well. So the direction doesn't matter exactly. The angle need not be correct because the aircraft might be on a roll and it might be flying in our direction. So roll means when the wings move up and down. So that is the roll angle. So we will add in the flaps for this one as well. Very carefully. And as you can see, the first flap that where the first being starts. And then there's another flap by the second wing will be the second engine. So we'll make sure to get the position of each of the engines got ugly. They have to be symmetric o that is at equidistant basis on both the sides. Then add in the flap tracks. So these small, tiny lines, they are known as the flap drafts. So we will add them. Now what we have to add ase, the landing gear. So because it's a jumbo jet, it has multiple landing is multiple main landing GIZ. So there's two in the center, then there's dual in the wings. So just right next to the first engine and have another landing gear. So this one has actually four main landing gears with multiple wheels on each of them. And then there's the nose landing gear. So that's what in that semicircular area in the center, only a very tiny part of the nose landing gear will be visible. Then the main landing is on the fuselage, and then another two landing gears on the wings. So as you can see that I might approve wheels and because it's flying at an angle, could be seen as stacked on top of each other. Then, now we have to mock the shadow EDS. So as you can see at the bottom bard of the fuselage, it appears to have a darker shadow. And then we need to add in the vertical stabilizer. So that's this smaller triangle. So we'll make it extending. Do the top. Use a ruler because it would really help. And you can see I'm using one. Then the two horizontal stabilizers. So they need to extend as much as the first engine. So that's your measurement. So right where the first engine next to the fuse large starts, that's where the lengths of the horizontal stabilizers are gonna be. And once you have done that, that's. For the aircraft. Now we will start painting. So I just put my deep under my board for the angle. Then I'm going to use this eschewed a flat brush as always, for the background. So we're going to wet the whole of the paper with water. Usually I use a masking fluid for my aircraft. But since many of you may not have mosque included in hand, I wanted this whole skill share class to be without any masking fluid. So that's why I found out a way to use without masking fluid and a lot of garden mixing exercises. So fast. We didn't start with a nice bright blue shade. You can also use cobalt blue if you want, or ultimately in blue. Then this is permanent yellow deep. So all of these we're going to add in the form of strokes, as you can see, but horizontal strokes. I was gonna say, What did you, How has a mistake? So who does aren't, don't strokes. Then we will take Indian yellow or transparent yellow or you can use, but I'm an end yellow. But mentee low light. So what do we use is do different shades of yellow. One was a permanent yellow light and the other is permanent yellow deep. Or you can use Indian yellow and Indian gold. Then next, you can take a red shade. So this is cadmium red, or you can use Collette. So apply it on top of the yellow in the form of lines. So this is the advanced blending technique that I showed by air in wet on wet, if you will, in the strokes at different places and yet blend them together. So just use these random strokes in the form of lines. Then at the bottom, I'm adding in arose Masada. Taking rose matter again, makes them on the paper itself on top of the yellow at random places. So this is totally random. What we're doing is just trying to create an advanced blending sky. Just mixing at random places and adding innovators sheets. So I first added in yellow, then, now again adding in permanent yellow deep. So when bomb in India Lu De mixes with the red, it would create a nice dried orange shade. So that's why we're mixing them together, which will give us a nice bright orange shade on up VBA. Then more, oh, the rules matter. Or Alizarin crimson. It's almost the same. It's BR 83, that is bitmen rent 83 and vivid added on top of the blue. So that will mix and form beaucoup. So you might have understood by now how much I loved that mix. That is the mix of blue and PRA D3, which makes bubble. So that is what I am going to utilize here. I'm going to use this mix to create that beautiful about blue on my paper. Instead of mixing it on the ballot, I will mix it directly on the paper. So first I apply blue. So this is bright blue, or as I said, you can use cobalt blue or ultramarine blue. So adding the blue nicely at the bottom, many prominently make it vibrant. Then on the top of it. And I'm going to add Bowman and Rose, Alizarin crimson. Or rules matter. It's all the same. It's just basically be our 83. Now we need to make this guy more vibrant. So as you can see, the, the paper has already absorbed among the colors and it's getting light. So in order to make it more vibrant, we will add more of the same exact sheets that we applied. So starting with Indian yellow and permanent yellow deep or Bowman and yellow light and permanent yellow deep. So added to the sky exactly in almost the same exact place that we applied earlier. So here I have applied or the yellows. So just make sure to apply them at the same places where you did earlier. Otherwise, we'd be creating a whole lot of mixture on your pipa. For example, if you mix it to the place where you created purpose, then you would be creating a brown. So just be careful. Then we take our red again. So this is permanent red, scarlet or cadmium red. You can use whatever you read you have. We will apply it on top of the dominant yellow and indeed a Lumix. So you can see I'm mostly doing horizontal strokes with my brush. So I'm not using the tip of my brush, but rather the whole of my brush and just blending it smoky. And I want to stress on the fact that we're getting a ball effect. Lend and also the paper is staying wet for a lower duration of time, mainly because it's 100 bus and gotten vapor. So when we're painting with watercolors and we want to do but don't read technique. A 100 person gotten people is really important. And you can see the difference when you start using a 100 person gotten VBA. Because you see how much longer your paper stays wet and you're able to do the wet on wet technique for a longer duration of time. And also there is that fact that the most Rooks you apply on your paper, the motor stays wet. So we'll do all those areas. I'm adding my stroke's again. And you can see high light blue at the top and blended it with the rows do create the violet. I really loved this while achieved. So we won't while it at the top, but we don't want to add violet directly onto it. So this is the reason why we mix blue and red together. So next, we're going to paint the bottom part, some detail, some buildings. So this is where we're gonna make use of the technique where I showed we will do buildings with wet on wet. So we'd taking indigo and we will apply it at the bottom. So I'm not using a synthetic brush here because my paper has nearly dried, so my natural hair brush would do. But if you pay but as a wet and has a lot of water, then uses in the dig brush because it will not introduce any more water onto the paper. So just this bottom part I will do with the natural brush. So this is the land area. We want to make it a bit more darker. So I'm going to add neutral things on top of it. You can also add banes, greedy, or black, but make sure that it doesn't done a lot of live because we wanted to be seen as a bit of blue. This is the reason why I applied indigo. So use a mix of indigo and black for the bottom. Now here I am taking my synthetic flat brush to make the shapes of the buildings. So remember the exercise in techniques that I showed you how we can make wet on wet shapes. Cai made buildings. So I'm gonna make a large building here alone. One, it looks kind of like a factory landscape, right? So maybe there's a factory right outside the airport, on the outskirts of the airport. So that the first one, and then we'll just add some random towers and buildings kind of stuff. This mole and maybe some D DO that looks like a tree. We don't know what they are. They like far off, so that's why they're not going to be d do just randomly. We'll add in the strokes. And you can see. So once you're done with this, that's all. Now you can wait for the whole background to dry. After which, we will paint the aircraft. 13. The Sunset Take off - Part II: Hey, welcome back. So now our background has dried and let us say the aircraft. So because there is already low pained on our aircraft, we need to mix a gray. So I'm mixing NHGRI by mixing all the three primaries together. That is the yellow, permanent yellow light, some cobalt blue or bright blue, and the Alizarin crimson, which will give us a nice gray shade. So this gray shade is what I'm going to use. I'm mixing this on purpose because that is already yellow paint on top of that I craft. So you can see the gray that we created. It looks almost exactly the same as Spain's great, isn't it? But the most important thing here is that we created this with a yellow. So I'm going to start with my size six, a Skoda brush. And we will first water the aircraft because we're going to work on the wet on wet technique. So you can see here, I am applying water on the fuselage atria. So very carefully. Along the lines of the pencil sketch, apply water. We don't want a lot of what I just meu steel peak, but that's what we want. And then maybe use the gray shade that we created and we left lie on the top. So because this glaciated is made with the mix of yellow, it would look really bright on top off our already existing yellow paint. And also the existing yellow paint will give a nice, you know, sunset field that a graft because the sunset scholars would obviously reflect on the aircraft surface. The problem with if you use a beans Gary is that Beans HGRI has gotten underlying blueprint and that blue Dent will mix with the yellow to create green. So that is why I avoided Payne's gray and using this mixture that I created. So once you've done with Diffuse Large, we'll paint the wingless. So I'm using a medium Dawn of the grade that I made. And you can see I'm making the wing area. So when I say wing 80, it's the wings and not the flaps. So you can see the flaps are still dead at the bottom bar. So just the wings. We will start with that. And we will apply the great door all the way to the end so you can see it, Dave Boas. So be very careful to use a thin brush and the binded dip. So I'm usings I6 brush here, five, you can also switch to a smaller size brush if you feel that that's what's most comfortable with you. Then we will do the same on the left side, the wing on the left side. So starting with a thin line and then it will increase and joined a fuselage with a thicker base. So date your time in doing this and enjoy the process. I'd really love to see the part where the aircraft comes to life with each drug that I put on the brush. So now that is done. Now I will switch to my size 1D dealing brush and we will apply water onto the V01 Nadya. I'm applying water because now I want to add in some shadows. So I'm going to be using Payne's gray. And using the wet on wet technique. I'm adding paint only to the top area. So remember only the top ADR. And because I added water, it's going to spread down but create a beautiful blend, creating the shadows. The same thing we will do on the left side. Apply water to the whole area of to whom. But the pain scale, we'll apply only at the dough. So that will flow down and blend by itself creating a beautiful shadow. Now, let us draw some lines on top of the wing area. The same shadow when it extends outwards. It's just seen only as a line. So that's why we added it does align towards the wing tips. So you can see adding smaller lines. Now we're adding the bottom part of the wing. As you can see, it's got the black line. So we're not using black, but we'll use mainstream. And we'll do the same to the left side. So the dot side of the wing will be used of add-on MAC technique. But the bottom side here we using them but don't drive technique. So this is still not the flaps, its just a wings. We haven't reached the flaps yet. Very carefully. As I keep seeing a graph landscapes at very delegate and takes a long time, but we have to be very careful. You the thin brush tip off the brash factors, thin strokes if you can, before starting, starting this landscape. And now we move on to the flaps. So the flags, you can see there's going to be that slight gap between the wings and the flaps. So because the flaps are joined using the flap drags and other systems of course. But there's that slight gap between the wing and the flaps. And the same way for the second one. But in this one and the gap is not that much visible. So it looks as if it's joined together. And at the end that are the ailerons, the other parts of the wing. So there are several things on top of an aircraft wing. For example, the spoilers to flaps, the ailerons that slats. So a lot of different thoughts, but most of them are not that visible as details on top of an aircraft, so you need not worry about all of that. So make the flats the same way on the left side as well. Both of them. So you can see how my neatly detailed These things are. So just make sure to do them slowly. Take your time, enjoy the promises, and you don't have to be stressed. I know that, you know, some of you might feel that all of these details are so overwhelming and so difficult, but please don't be tensed. Just putting your best and I'm sure that anybody can create aircraft landscapes. And it's very easy once you understand that all of these aircraft bonds, how to add in the details, how to add in the shadows, and all the highlights. So that's what is really important. I'm pretty sure that after this glass, when you look at an aircraft picture, you'll be able to see where the highlights are, but the details are and you'd be able to do amazing wonders. So now I'm adding in the flat tracks. So here on this one you can see that the flap tracks go all the way towards the wing. And this is what Joan stack flaps together. So between that gap that we left also does the flaps. The flap tracks amine. So mark all eight of them on the aircraft for on the left and four on the right. Now, we're going to take a medium Dawn of the mixture that we did. And we're going to paint the engines. So it's a medium Dawn. And using this medium dawn, we're going to spend the whole of the engine, even the outer covering as well. This is because the inside covering, that is the inside the engine bar, the Black Bart, we will add in later for this one. So you might remember the process if you attended the exercise lessons, what we used to do was we used to paint the dock in this alco Fest. And then with the medium Don't be used to add in the outer circle. So here what we're gonna do is we're going to do it the opposite way. Add in medium dawn on the whole of the engine. For now. Then I'm going to paint the vertical stabilizer. So do the gray mixture. I added a bit more red, so it's now more book brrr, red, gray shade, kindof, so to the same mixture. So this is what is most important and I'm using the same mixture for all of these dots, what's most important? So I added a bit more read, do it, or the Alizarin crimson Bowman and role as raw as Maddow, whatever it is in your set of tubes or set of watercolors. So add in the lactic AND stabilizer of the aircraft. And now with a darker Dawn of the mixture, that is the gray mixture. So create them excited again by adding more blue, more yellow, because there's already more red in it, which we just added to make the vertical stabilizer. So make them mixture again and mark in the shadows. So you can see very carefully and in the shadow part. So it's kind of like do smallest semicircular regions joining at the vertical stabilizer. Then using the same Docker, don't. They end the horizontal stabilizer. So these are all like small triangles. You can see that the very pointed tip. So that's why we need a very detailer brush for these tiny details on the aircraft. Now I'm going to mark that circular shape using medium dawn of gray. Now, this is where I said that we're going to paint the engines in reverse mode. So we first apply the medium Dawn. Now to the inner circle. We will add a Docker, don't. So I find that this way is more easier because we don't have to paint the smaller region afterwards. So the inner circle of the engine, we paint with a very Dhaka Dawn of the mixture. The gray mixture. Do the same for all the four engines. Now will be in the fuselage. So the fuselage is not done yet. It still very light. So we need to add shape. Do it so fast. I applied water, then taking a medium dual of gray. I'm mocking at the center of it. So this mark here is because of the shape of the Boeing 747. So if you look at the images of Boeing 747, you will understand that they test GYN to flag a head, a little extra space in the front. So this is actually where the first-class seats are, by the way. That is on the top deck, the first-class seats. So that head portion is what we have made with the veins gray separation because this adds the extra headspace and a shadow is involved with that. So we need to make the back of the aircraft more prominent and more shadows. So I'm just going to use bet on red, apply water and add in a medium Dawn of the beans. Great. But make sure that the gray is not as dark as the shadow that we made. So if you want, you can add more banes grade to make the shadow more Dhaka. So you can see I'm adding a Docker dawn on the dog because I wanted to be more Doc because I felt that after they tried, it lightened up a bit. Next for the landing is taking my micron pen again. So you can either use a 0.8 millimeters on a 0.5 millimeters, or if you are so confident and then you can also use your appointed dip of your brush. So adding the wheels, the landing gear struct, the small nose landing gear at the front and the full main landing is. So the two on the wings, as you can see, has multiple wheels looking like stacked on top of each other. So just add them. Now the last part of viciously adding highlights with white VAT ever necessary. So I'm just going to add into white onto the fuselage because I want to make the gray line that we made in the middle to be more prominent. Because that gray line is the shadow separating the head and the body, the head, as in. If you really look at the pictures of the Boeing 747, you will see it. So I'm applying white at the tip as well. So the sender portion of that fuse lodge is what is width being gay. And the rest of it is weight highlights but not that white. Just a little bit. Then, as you can see, remember we applied doc Payne's gray shade at the dopant related flow down. So the bottom part, we need to add the highlights because it needs to be a bit more white. The same way we will do to the left-wing. So apply water at the bottom or to the whole area of the wing. And the white women apply at the bottom. So earlier on what we did was we applied watered and we put the Bain's gate on the top. So now we're applying water and we adding the wide at the bottom instead of the daps at that gives a beautiful blend between the two. If you can see add-in some highlights on the vertical stabilizer as well as a smaller line and blended smoothly onto the read. Make sure the to maintain the shape. Then the small spiral inside the engine to use the smallest id brush. A straight line on the horizontal stabilizer for the details on both of them. And with us, mola tiny brush just blended onto the black shade, that is the beans grains or the gray mixture sheet. Because we don't want the White to seem as if it does, you know, separated out of the painting of the aircraft. We will add a bit more to the center because I want that grade to be clearly visible Leno, that grade to look more contrast and prominent. So this is the reason why I'm adding more highlights to the ADF below it. So now, after I've added white, doesn't it look more prominent, that gray at the middle area? So this is the reason why I applied a highlight of white. So the whole thing about light and shadow is obviously about bringing in the contrast. So the shadow areas will be darker and the areas in light would be lighter. So if I feel that it's not enough lighter, I add in white. Now we'll add in some new details to the area below the factory. So this is just going to be plain and simple. With my white. I'm just going to add in tiny little dots or lines. You can see just tiny lines quickly, no shape at all. Just add small dots. Some may be in a straight line. So these can be like, you know, the lines of buildings or whatever. Maybe it's the line of the runway. We just don't know. It's just far off some minute Di Ni De deals. Then to the factory building on the left or that building on the left, we will add some lines to mock the roof of it. So it's going to be using a very light that went off white. I'm not gonna make it very dark. So just Bailey light. Because if you use a large amount of white here, that's going to stand out and ruin the beauty of your IFR aircraft. So just using a medium dawn of light may be quite sorry. So slowly add whatever shapes you, whatever you want. You can even add more lights if you want. Let us make the wing tip small, prominent with gray. So for me, getting the shape of the aircraft Bo effect is what matters. More than the sky, more than the land, that shape of the aircraft. That's what matters to me. And then our painting is done. So let us state is removed the Hoskins. Dave, this is the most satisfying barred, isn't it? And here is the POD, the flying beast. 14. The Bird on Water - Part I: Welcome to the next Glass project. So this picture here is what we will be painting. So as you can see, I have already loaded it in the grid app. So you can also load it in the grid app. And here on my paper, I have already made the grid lines, as you can see. So there are six grid lines, that is six rows and six columns. So that is what we will be using to paint. So first, I'm going to mark the land area. So we'll just because I don't want it to be confused between all the grid lines and the separation between the water and the land. I just extended my lines out of the people owned the tape. And at the bottom here, as you can see in the picture, we have a wooden board. So that's going to fly the foreground in the picture. Now we will start to draw the aircraft. So this is a sea plane. Ideally loved the sea plane because somehow, you know, it combines the C and the plane. Both things that I love. I love the ocean who loved the C and obviously loved the egg graphs. And see played is something that combines both of them. So I don't know if you've seen any of the sea planes, but it's mostly seen in tropical islands and tropical countries. For example, in places like MALDI, these motor shares, they have a lot of sea lanes. So the main thing with C plans is that they can land on water. So they have their bottom Bart surface like in the shape of a boat, which enables them to land on water. So that means they don't have landing gear. That is, they don't have the weeds. Instead, they have a boat shaped surface at the bottom, Bart, which enables it to land and water. So with the help of the grid app and looking at the gridlines. So just matching that, I'm trying to make the seedling. So we just have to do it very carefully. And also there is something very important when it comes to the good app that I want to point out. So we might get biggest grid lines, you know, the, we chose six columns and six rows. But there is that difference between the size of the grid. Just because, you know, the phone or the tablet that are used was in 16 is 29 ratio and my paper does not exactly 16 is 29. It's an A4 sheet, as you can see. So that means the gridlines are going to be different. That is D, It's not exactly going to be a square in the grid. So that way, our Benson sketch is going to change a bit. So you just have to, you know, get the help of the grid lines and the grid using the grid app, of course, but you have to be really careful as to get the shape of the aircraft right. So sometimes, you know, one line might be like in the center of that grid, but you might observe that when you're adding it in the center, the shape of the aircraft does not right? So then you might have to, you know, shifted a little bit. So my point is if you're using the grid app, try to very carefully get the shape of the aircraft also right? So it's okay to change a bit from where the exact gridlines are. That is the reference of the image within the grid lines. And as you can see, so I've made the body of the aircraft and then also added one wing. And you can see the wing is like somehow at a 30 degree angle to the bottom part, a somewhat slanted and the other wing is going to be towards the other side, that is towards the inside of the paper. And it's not going to be much visible because it's like kind of behind in that other side. And then we will also add the markings on the aircraft. You know, it. What makes an act of beautiful is of course, when this Spain's in it like when it's all painted, coming straight out of the factory doesn't make it look good, good, right? So you need to paint it. So obviously since we're doing a painting, we will draw exactly as it is. So now I'm drawing the bottom part of the sea plane, as you know. So as I said, there's no landing is, instead we have these two floats. So these are called floats. So as the name suggests, obviously, it just floats in water. So that's why they're called floats, and that's what makes it land in water. So here, observe the perspective. The float that is on the other side, that is on the further side, is extended a bit forward. The one that is nearest to us, it's going to be a bit backwards. So if you are very good at pencil sketch, then this is going to be really easy for you. Because all you have to do is look at the picture and tried to make it exactly as it is. If you want, you can change elements in a banding. I always say that. But obviously when it comes to aircrafts, you can't change the look of the electrons, right? Otherwise it would be totally a different plane or it might even lose the symmetry and the shape of the aircraft. So this is something that does very important. And I know I've been seeing this throughout this class. You know, getting the shape of the aircraft right is what is most important. So that elements in the background, you can change it the way you like. You can move a tree here and there. You can change the water, you can change how the light is applying onto our subjects so that the reflection changes and all of these changes. But the pencil sketch of the aircraft, that's really, really important and we have to get it right. So you can see here R, c plane is coming into life already. That bento sketch looks amazingly right. And I also prefer to add in the shadows. So the shadows in the water. So here it's in water, so it's called as reflections that afflictions in water. So the Benson sketch will be a help for us when we're painting. So it'll help us as to know where we're supposed to pain. So just add in roughly the shadows. And also one thing very important with pencil sketch is don't make your Benson sketch to dock. Just make it very lightly because often painting, we don't want our Benson sketch to be visible, right? So that's why. Then once you're done adding the shadows, you can remove and erase all the grid lines because we don't need them. And if we leave them behind, it's going to be odd because when we paint, this guy is going to be lighter in color and the grid lines will be visible. So we don't need that. Let's just erase it off all of them. So as you can see, I'm erasing all the grid lines. Make sure not to erase your aircraft painting. So I mean the aircraft sketch. So make sure not to erase them and draw back the separation between the water and land at the back if you've erased it off like I did now. So this is why I mocked on my tape where the land was. So that helped me to draw that line back again without the data lines. And let's add in some trees at the back. And our pencil sketch is almost done here it is. It's looking really nice, isn't it? Oh, yeah. And I forgot to add in these bars of the wing that's attached to the fuselage of the aircraft. Then we will start with our painting. So I'm going to use this as Skoda flat brush and I'm going to apply water to the sky area. So make sure not to touch the aircraft because we don't want to paint on top of the aircraft. So at on the wing and at on the front engine fan. Very carefully, we will apply the water. So if you don't want to have a flat brush, you can use whatever brushes you have, the pointer drawn brush. And as you can see, I'm going to switch to my appointed John brush. For watering the paper here, this. And I have also placed my masking deep at the bottom this time because we're painting the sky and I want the water to flow up as in because all the I don't want to watch it to flow down. So this is why I put the masking deep below. And then the rest of the areas of the sky bit water. So the pointed down brush will help you to cover all the APIs and go in the areas between the parts of the aircraft. And then we're going to start with yellow ochre. So using yellow ochre, apply straight strokes from the left towards the center. As you can see, I'm drawing them in straight lines. So straight line strokes. And here observe, it's alright if you paint on top of the engine fan blade, this is because that blade is going to be a darker color, so it's alright. But be very careful about the wing area. So apply the yellow occur. After that, I'm gonna take Indian yellow and we will apply it on top of the yellow ochre. So this will give us a nice yellow mix on our sky region. But we don't want the yellow ochre, Indian yellow on all the places, just in some areas, the rest of the areas I'm going to add in the yellow ochre itself. So you can see. And towards the top the ad, very lighter dawn of yellow ochre. So the India Lu was only on the left side and a bit on the right side. Now the next color that we will use is Alizarin crimson. And we're going to mix it with cobalt blue, or you can mix it with Taylor blue. So here I'm mixing it with pelo blue, so tailored blue and Alizarin crimson. So mixed both of these together and we will get a very nice bubble shade. And using this bow shape, we're going to head in the clouds. For this one, we will be adding it straight strokes again. So this is something new that I land when we're drawing clouds. Instead of using the dip of the brush, use the sides of the brush. So use the whole of the brush and swiftly make these left and right backward movement and you will get a nice clouds in the sky. So we're using a mix of these beans, which really helps because each time when we add the strokes, we will have different colors. The Bhopal will not always be the same. So this is exactly what I showed in the color mixing lesson. So using that book will even add in on top of the sky. And we will be using different Don'ts in some 80 has, it will be really Docker to one. And in some areas use lighter door. So deep mixing the Alizarin crimson and the tailored blue together and you will get a beautiful shade of purple or violet and add that. So towards the left there is going to be a Docker Cloud, which is why I am adding more darker dawns as you can see. And here I'm using my size eight brush. So used a medium-sized rush that do have. So now our sky is already looking really beautiful, isn't it? So just blended nicely. So this brush is dry brush. So using a dry brush, if you blend it, you will get rid off the flowing edges. That is, you know, when, because our paper is wet, using wet on wet technique, the colors are spreading a lot so we can prevent it from spreading. If you just blended with dry brush. Then using your normal brush, add in more of the islet, lighter tones and smaller clouds towards the bottom. And just blend them with the dry brush. Now, we have to wait for the sky to dry or you can continue directly because we will be applying water onto the trees region. So maybe we'll paint the trees. No. So apply water to all the areas where the trees are. So you can see carefully applying the water. But if you apply water to the sky, it's going to spread down. So just row only a brush. You can see I'm rolling my brush on the paper. That way we will make it wet and also not disturbed the paint on the sky here, rolling my brush like this. So as you can see, the tree ADR is now vet. And I will be using dual brushes. I show you why. So just keep your other brush in hand. And vivid and mix button cnf first. And to the burnt sienna, add a bit of blue. Very little bit of blue. So the color is going to be been CNI and the tailored blue and add a bit of transparent drone. So instead of transparent rounding can use any dog problems such as Van Di Gai brown. So mixed that nicely with the three colors that we make stub been sienna and a bit of tailored blue, and then the transmitted brown. So the other brush is because we still want to apply the water when our Benitez dried. And my other brush already has Spain, so I don't want to wash it off. So our paper had dried. So are you reinvent it again? And I'm going to add in this mixture of Brown's. So just add small random strokes. Small strokes shaped like trees. So didn't need not be much details because they're like in the background. So this is the background which is wow, big going to Bain did like in a loose manner. If it was the foreground, we would have added much more detailing onto it. But we just have to make it random small strokes because this is the background. But we don't want it to be in a single color. There'll be shadows there, so we will add the shadows, Solon first, paint the Brown. Now fee will add the shadows. So for the shadows, I'm going to be mixing vanes grade and transparent drawn. So mixed up means gray and transparent brown and then just apply random strokes on top of the tree region that is on top of the brown mixture that we did just randomly. So the is2 mixes together, just apply them together at different rate sure, onto that trees so that we get, do different combinations of colors. And the same we will do to the right side. So you can see how I'm making use of the Duke brushes. So in one of my Brush That is the brown mixture. And in the other brush I have the main screen and the transport and brown mix. So very carefully. Just add in the random strokes, simple strokes for the background. She's, remember we applied water so it's easy because it's going to be wet on wet technique, but also make sure to not apply a lot of water. Just add in the transparent Brown, been sienna and a little bit of tailored blue mixture. And there's that little area under the fuselage of the aircraft. And you can see there is that small wing area. So that's the horizontal stabilizer. So we left it white. And now we're using the other brush. We will add in that tiny shadows. And you can also add in some shapes of the leaves if you want. It's background. So that's not going to be really much detail just in smaller bay dynein strokes. Just, just random. And if you want to, you can add in the shape of a small tree. And then we add in the shadows at random places. So it's just totally random. If you ask me, Do it agreed this exactly as it is. Even I cannot do it because it's, it's totally random. I just applied the strokes as randomly as it can't be. There's no specific rule just here and there. So you can see the brushstroke that making just randomly. So once we're done with painting the background trees, we can proceed to painting the water. See you guys in the next video. 15. The Bird on Water - Part II: So let us now Bay and the water and the reflections. We just finished with the sky and the background. So first I'm going to, water might be, but so I'm using my size ten brush here to water might be, but just use the largest brush that you have. Or size 12, size ten, rush to water your paper. Just make sure to not to apply water onto the floats of the aircraft. So skipping the float that asked of the ADS water. Because here also we will be working on the wet on wet technique. So you can see I'm carefully applying the water. Betty careful along the edges of the float. Just offload region. We will not apply what up, but the rest of the areas we've been apply water. Then once we have applied the water, we will start with Indian yellow. So we're going to add in the deflection exactly as in the sky, because the sky is what is reflected on the water. So first, we will add in Indian yellow onto paper. So you can also use Orwellian or transparent yellow. And after that, add in the French occur. So exactly the same sheets that we used for the sky, as you can see. So first Indian yellow, then the yellow ocher or French occur. So began food again around the wooden area at the bottom, which is the foreground. So apply exactly the same way as we did for the sky. That is straight strokes. So I always preferred to pained in trade strokes. And then back to our poeple mixture. So that's going to be Alizarin crimson and tailored blue or whatever blue. So you can mix whatever blue you have because you will get a nice bump will shade. And we will apply it to the right corner and the left side. So this was where most of the clouds are right on the left side and the right side. As against the, the center, it is somewhat MD, so that's why we will add all of the strokes. On the left side and that side and the center area is going to be mostly with the yellows, both the yellow ochre and the ending yellow. So towards the center we just add in some smaller strokes. So as you can see, because of these horizontal brush drug, it gets evenly mixed. That is the yellow and the purple. Now, I'm switching to my natural hair brush. So this is a size eight brush from daily Roni. You can use whatever natural hair brush or, you know, Midrash itself. It's all right if you don't have all of these. And we will mix the same again. But this time we're going to take Dhaka consistency and female apply. Now what we're going to be is the lines on the water and the deflection. So first what we painted was the base layer for the water. Now we're moving on to the deflection. So first, the deflection of those trees in the water. So here, use your brush and make these straight lines. And as you can see, there's not much water on my brush because that is already water on the people. We disbanded the water so it's wet. The paper is wet. And the reason for switching to a synthetic brush is exactly this. Because it holds less of water and it will not introduce a lot of water onto my paper. So Ben VB painting with VAT on my technique and we don't want it to flow a lot, but also wanted to look exactly like the veteran met technique. Then we use the synthetic brush because the synthetic care holes very less water. And we'll put the paint on the paper without introducing any more water onto the paper. So this is the reason for switching to a synthetic brush. So as you can see, I'm applying some strokes on to the big book, just straight lines. And you can leave some spaces that will give originality, do the deflection. If it becomes door dry, then you can mix a bit of warmed up. But remember there's not supposed to be a lot of water on your brush when we're doing these strokes. So as you can see, they're just random lines, simple lines, horizontal lines. All of these lines we just added onto the surface. And because pressure is just a, not a lot of wet, it's not going to introduce more water and hence do not spread a lot. It will give us the perfect lines for the reflection in the water, so to speak. These simple lines. And as you know, we need more lines on the right side. This is because the background trees are taller on the right side, so we need more there. And then be able to need to add some reflection off the trees and the clouds. So at the angle that we're viewing here, that a flexion of the trees on the water will extend all the way towards the bottom so that this y, we're adding more of these lines. So as you can see, they're just simple lines and it's okay if you people has dried at this point. Because as you can see, my B br has also dried and I'm just adding random strokes. So simple lines, just some small lines, simple horizontal, small lines. That totally random. Again, if you asked me do recreate this, I will not be doing these drugs exactly the same way. So just randomly, some strokes leaves some gaps in between. So this is like the water and the ripples on the water so that it boosts are actually what is forming that a flexion of the background on the water. So we are adding in the repulse. And remember to add in the mixture to make them mixture a bit dark. You can add in transparent drown do the mixture if you want. So you will get a darker mixture. So the mixture is actually Alizarin crimson tailored blue and transparent on mixed together. So you can see I'm mixing. So here, No, I want a dark gray shade for the shadows. So I'm mixing tailored blue Alizarin crimson and we will also mixed together Payne's gray. So that will give us a darker shade, which we're going to now be the reflection of the aircraft. So we will start right below the floats. So first, adding the deflection of the floats, follow the pencil sketch that we need and fill it up. But as you can see, just a random strokes, they have to be staggered because debt is that a flexion which forms that are built on the water. So random staggered lines slowly and very carefully. So here, as you can see, I've already switched back to my natural hair brush, which holds a lot of water. Because the underlying water layer has already tried it. And now this I'm binding with the veteran dry method. But the vent on dry method in which I paint the next stroke right before the previous one dries. So remember this technique that I showed? So this is VET on Dr. lending, so makes the shades and before the previous stroke drives we have to apply the next so that they don't form any dark edges. So this is the staggered lines for the legs that goes to the float. So that's the struct line that goes through the float of the aircraft. So the first black or gray surface was the float statistic reflection of the floats. Then there was the struts. And now we're going to add in the body of the aircraft that is the fuselage of the aircraft. So again, these lands are gonna be staggered. But when it comes to the whole reflection, the body part, we have to color in the whole area. So I'm filling up the fuse large deflection. So very slowly with your brush. So this is why I said that making the benzene sketch is very important. Because once you have the bins and sketch correctly, only have to do is follow it up. Slowly. You can pretty mix your colors if you want. You can have the mixture ready. So what the mixture is? Alizarin, crimson, halo blue, and a bit of Payne's gray, which will give this dark gray color. So obviously that means the mixture of the bulb plus banes gray. So that will give the beautiful darker shade. Then I added a bit more banes gray into the mixture. And I'm making a darker shadow for the of the float. So if you look closely at the reference picture, you can see that this part of the float is actually black and it's Dhaka. And solving the deflection we, So that's why we just have to use different tonal values here and apply some Dhaka dawns on top of the deflection. If we make it just one line or one stroke, it's going to be really weird because it's, it just looks like a simple thing we wanted to look at real. So that's why add in the staggered lines and also use a mix of different tonal values. So here, as you can see, we have added in the reflection of the aircraft, using my book will adding slightly, a bit more ripples in the water. So because my paper has really dry it, these are going to be wet on dry strokes. And as I said, you can use the black or the gray mixture to add in the reflection. Then draw in the curved line. But again, it should be a bit staggered. So this is that line on the float. Now, V will add in the foreground. So at the foreground, you can see there is that. But we're, so it's actually not the board. It's the docking station, so it's where the aircraft has been dumped. And this is where you can board the aircraft. So it's like a bot way in the water. So first we will apply a bit of burnt sienna and then we will apply transparent round on top of it. So first I applied what does so this is going to be the wet on wet technique. Remember that? And you can add in some darker shadows using Payne's gray. But remember not to add it at all places, just at random places. So you can see I've added the whole thing, waits and, or transport and brown. And because I Bane did the wooden board while my shadow was still wet, some of the pain seeped into my full ground. So that's why I'm just adding it with the Dhaka mixture. And once you are done, now all we have to do is paint the aircraft. So this will be it for painting the water and the deflections. 16. The Bird on Water - Part III: Now, after painting the sky and the water, we will get onto painting the aircraft. The seed lane finally. So I will start the wing idea and I'm going to start with a wet on wet technique. So I add light water to the wing. And then a bit of yellow ochre, very light at dawn. And then we're going to use up open mixture that we used for the sky. The reason we're doing this is because it's, the aircraft is actually white, but it's got the colors of the sky and the water and reflected on it. So that's why. But remember, we have to use a betty lighter door. Then to the area where it's joining the fuselage. Then we will add a darker tone of grey. So here I'm using the gray mixture that we made. That is the mixture of tailored blue, Alizarin crimson, and banes grey that is already gray in that mixture, but there's also some blue and some red. But if you want, you can go ahead and use a grave from your duties. Agree directly. It's alright. So slowly, as you can see, the edges of the wing, I have left slightly white because that ADL we need to have some highlights. And then what we will do is evenly blend the gray mixture onto the aircraft. Now let us get on to painting the fuselage. So I'm going to apply water as you can see. So that is that split between the line on, that is the writing on the xy-plane and the bottom part. So to the bottom part, I will apply water first, the whole of it. And I'm going to take the gray mixture again and we're going to add it. But observe that here we are going to only paint the shadows. So the shadows as in because the aircraft is byte, the sea plane is white in color. But we cannot just leave it white because we have to add in the shadows. So here I'm adding in the shadows with the gray mixture. You can use Spain's gray if you want. So all the way towards the bottom, the shadow will be intense and darker and as you move upwards, it will be lighter. So this is the reason why we applied water, because this will make sure that the whole thing blends smoothly. Suggests blended smoothly into the background. So here, if this angle you can see MOOC loosely, then, now we will be in the top area. So here, as you can see, I'm using the dog gray mixture again, or you can use mainstay directly. So I'm using the bane screen and adding the dog bark. So here the dark bar, you can see that it's black and it extends all the way to the back of the fees large of the aircraft. And there's that line below the yellow bar, another line with Payne's gray. So these are the markings that is to paint on the aircraft. So what that does wat we are adding now. But remember, you have to make sure that the water, the applied on the aircraft is dry because this stroke that we're doing right now is wet and dry and we don't want it to spread on to the bottom, Bart. So we'll very carefully. So see, I can already see that sea plane coming to life at look, it's looking so beautiful. Then we will take a Dhaka Dolan of Bain screen and we've obtained the engine. So the engine blade. So this is a different kind of engine from the ones that we just route. So this is propeller engine, which is why it's got the flat fan blades. For the other blade, we will not be the whole area, but just 1.5 of it because it has some highlights on that on it. Then some light adorn of Payne's gray own to the horizontal stabilizer. And then the darkest potion in the painting, which is the float. So on the float, the front part of it, as you can see, it's very dark. So use the Dhaka stone of Bain screen, or if you can even use black. So many gadfly. Now, we will add in. The other parts of the body of the aircraft. So the yellow pained in-between the Dupain's gray, as you can see this as part of the aircraft, feigned. That is what they spray paint on the aircraft. So this is like the logo or different companies have different colors on their hair graphs. So this one is yellow and a gray shade. So that's what we're applying. And what's the front? Add a small, tiny little square. So you might have understood by now that aircraft paintings are all about adding the details. There's this bard of the sky that is between the wing and the body that we missed. So we can maintain that. And obviously, I'll use the wet on wet technique and lending in yellow ochre. So just betty lighter dawn of yellow ochre would do. And we also will need to add in bark off the background tree. So getting back to a mixture of the Trees which was been Sienna and transport and round together. So just small strokes, the whole thing won't be covered. It's just going to be some bark of the tree is going to be visible. We could have skipped and not added the trees, but I added the trees there on purpose because that would bring the c plane to the front, as in, you know, that bard of the fuselage, which we didn't paint because it's white. So if we add in the background trees, the White would be more visible and it will have a more contrasting effect. So this is the reason why I added in those trees at the background. That is in the space between the wings and the fuselage. Now, let us get back to painting the aircraft. So I'm going to add in the windows of the aircrafts now. So I'm using a mix of Halo blue, Alizarin, crimson, and veins gray again. But to the same mixture, I added a bit of yellow-blue again, that there is a bit more taylor glues that it's more in the blue side so that we get a tiny blue shape for the Windows. But we need to add in more details later. For now, let us Spain, they win knows. And as you can see, I'm painting it, but believing certain spaces white, that is the outer covering of the window, I'm not bending. So v have to be very careful when we're doing this. Then on the top we add in the shadows with Bates gate using Payne's gray ad in the lines that is the straight lines joining the float and the aircraft again. So it's a Dakpo dawn of Payne's gray. And using a very small, tiny detailer brush, draw in some lines on the fuselage. And they should be going to because the graph Bodhi is actually curved and to get in that curved shape, that's why we add in the lines as curves. You can bend this along with me by observing all these strokes that I'm doing. And I'm sure that you can bring this to. You don't have to worry as to how difficult this is going to be. So using a medium Dogen of beans, Again, we're going to add that join between the fuselage and the wing. So I Bane did to the right side of it and left 1.5 of it white. Now onto the other blade that we left white, we add a medium dawn of Payne's gray and there's that barred off the wing. On the other side, you see that? Just a small, tiny barred visible so that we will paint with a medium dawn of beans Green. Now we need to make sure that the window is a beer flawless and seamless. So add more Payne's gray on top of it. Next, I have to make sure that the wings are clearly visible and they have all the markings as issued have. So you can see I'm using veins Great and just adding some tiny strokes on DO-IT. And just mock the outer lining with beans, great. And you can also add in some strokes inside. But then we will use a vet brush and blend it. So you can see I'm using a bed brush and blending it. So it's just like I said, 1.5 of the wing should be in a lighter tone and the other in a Docker dorm. This is the reason why we're adding more Galileo's own to the wing area. So just add in more galleries to the windows on the aircraft. Next, we will paint the float. One float at the time. So apply water to one of the fluids. That is, we'll start with the background one that is the other side one. And we're gonna do the same with what we did with the fuselage. So we're going to apply the shadows only because the floats are right. So the bottom part, we will end with beans gray, lighter tone of Payne's gray, and we let it blend towards the top. So this way we will have highlight at the top and shadows at the bottom. And the same thing we will do with the bottom one. The only thing is that when you apply water, make sure not to touch the other flawed. That way you'll paint one spread and it won't become all single mass. Next will take in the Alizarin crimson and then the lines on the float. So make sure to draw it exactly at the place where you made the deflection effect. A lighter tone of veins carry on to the horizontal stabilizer. And if you want to, you can mock the border of the float with a very light dawn of pings gray. Remember, it. It shouldn't be Doc, just light tone of pains clear. Towards the underside of the wing. We need to have more shadows. So I applied water and I'm adding a bit of Dhaka Payne's gray again, so that I get a darker shadow here. So you can see I'm making it Dhaka towards the corner where it meet the fuselage, that is the winged joining the fuselage. That EDI should be Dhaka. This is because that is the idea that this most Under the sheet. The same way with the ring on the other side, which is only visible very less. Now we will add the highlight status always highlights very important because there might be some areas which we missed. So first we will start by adding the letters on the aircraft. You could totally skip this if you want. But I really love it because that's what makes this craft Luke trio. It looks as if it belongs to someone. Handy me or you. So if you want, you can add in your own letters. Let's have a tiny twist to it. Writing your name on this aircraft, wouldn't that be really nice? So we will add in the highlights and blend them to the background, just like we did for the other exercise and projects. And we will also use the White to highlight the struts, that is the lines joining the fuselage and the floats together. So you can see, I've made it really white. So we painted this layer with Payne's gray. So now we'll make lines, Battle, do it along the bands today so that a slight Payne's gray is visible, but also is the White. So used a why to make all the small striped lines, the joining between the fuselage and float slowly and very carefully. Use a thin brush. And you can also use the white wash to get rid of any extra pencil lines. So we'll just paint on top of the pencil lines with the thinnest rash that do have. So this will get rid of any extra Benson lines. Now using the same whitewash we will add in the features of the windows. So we have to make it extremely clear if there was any pained areas that we did very clearly. And you might have to add in multiple dimes, the white because it might fade after some time. So just add on dopa fit ones, the paint has dried so this will make sure that it stays bite and, you know, you can make it more white. Now the last thing to add is the details on the wooden board, that is the foreground board. So using a Docker dawn of transparent John, just add in some random lines onto it. So they need not all joined together. Just randomly with a semi dry or semi moist brush. Used a tip off your brush. Add-in lines. You can also add in lines with beans grey or black. Very carefully, just some random lines and some detailing. So this is what we're doing to get the would affect, which makes it look real. Now our painting is complete, so let us remove the masking Dave and see the final beauty. So this one here is my most favorite and really loved this of all the aircraft paintings I did. I really loved this. So here it is. 17. Thank You: Dd or like the CDs of exercises and Glass projects included in this class. I hope you will all join me and all the beautiful aircraft landscapes. If you do, then please upload all your marvellous paintings into the project gallery so that we all can see how a great painting, violet, you are. I am looking forward to see all your creations. Once again. Thank you all for joining me. C1 in the next class.