Monochrome paintings with Watercolor - Learn to paint using a single color | Zaneena Nabeel | Skillshare

Monochrome paintings with Watercolor - Learn to paint using a single color


Monochrome paintings with Watercolor - Learn to paint using a single color


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11 Lessons (1h 36m)
    • 1. Welcome to my class :)

    • 2. Materials you'll need

    • 3. What's a Monochrome Painting?

    • 4. Let's try some techniques PART 1

    • 5. Let's try some techniques PART 2

    • 6. PAYNE'S GREY

    • 7. VIOLET


    • 9. INDIGO


    • 11. Thank you for joining me :)

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About This Class

In this class we will be exploring various techniques and ideas on how to paint using a single shade. This class will take you through 5 unique paintings which will be a great exercise to understand the full potential of a single color.

This class is suited for artists of any level as each and every detail is well explained in real time. 

Meet Your Teacher

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Zaneena Nabeel



Hey there! Myself Zaneena Nabeel, an architect by profession and an artist by everything. I'm originally from India, currently based in Dubai. I experiments and enjoys all sorts of medium. For me art is a therapy and I find immense happiness playing with colours.

Since early childhood I loved to draw and paint. when I joined for my architecture studies I totally gave up on art as I got so busy with my studies, but the love for art was growing deep inside me. Once I graduated and moved to Dubai I started investing little of time on art. I started visiting art events and talks and realized the endless world of colours waiting for me. Within no time I took my tools and came back in action and started an Instagram page and here I'm :) 

Now I conduct local/... See full profile

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1. Welcome to my class :): I am an art in two c est. Do you allow working with watercolor? If so, you have reached the right place. Hello, everyone myself. Czarina Bill, if you have tried any off my previous classes, I want to tell you this one is going to be really different from all my other classes as we're going to work with a single color off your choice. This class is all about monochrome paintings. We will be learning how to create beautiful paintings using just a single shade. It's going to bend very interesting experience exploring the full potential off a single shade. I have considered every minute detail so that the techniques that you learn in this class will be useful for your future projects Hospital. I have to since I different projects so that we can explode the full potential off a single color. You don't need to have the exact same shape that I'm using here. You can try me with any off your favorite cheese. By the end of the class. I'm quite sure each of you will have a greater understanding about the media in particular and its techniques more than instructions and creating five different paintings. This class is going to be a deep talk with watercolor palette. This one is going to be my last class of the year on in this class. I'm gonna share everything I know about particular. Which means you shouldn't be missing this opportunity. Go grab your fairy cologne on. Join me right now. Let's get started. 2. Materials you'll need: the term. A quick look at the materials you'll need to follow this class, as I always mentioned, it is absolutely okay not to have the exact same brand that I'm using here. You can use any brand or any other supply Daddy have. Carpet is kind of similar. Let's talk about the water Calo first, they said. If I sheets that I have chosen for our monochrome paintings, the 1st 1 of Spain's great on, then how violet here then I have integral. And then I have Prussian blue on permanent brown, which is smaller or less and blow to bouncing. As this class is focused on, monochrome painting will only need one single shade for each painting. You don't need to really follow my color choices if you don't have a particular shade or if you want to try a different color that is absolutely up to you. Or if you want to try pains grief for all the paintings that also can be done. So feel free to go with your favorite color. You will get to know the brand of the color that I'm using at the beginning, off each of for painting. Now let's talk about the water globe. Russia Start you will need. These are the three bridges that I will be using the 1st 1 It's a wash brush. This is to apply and even go the water to the entire paper. Then I will be using to round Russia's one as a bigger size round brush with a size number 12 to apply paint onto a larger area on then to Adam, the little details. I will be using the size number six down brush. Both of them are from Princeton had states cities. If you don't have a wash brush, you can use any off your bigger size to brush to apply and even go the water. Then you will need a mixing palette. I will be using this little ceramic palette as we're working with a single color. Any kind of palate will work perfectly for this class. You can even use a play to mix your colors. A white ceramic plate is the best pilot you can use for a monochrome painting. Anyway. Go with any kind of pilot you have caught. Now let's talk about the workload paper throughout the class. I will be using archers from 40 L B Cold Press. 100% court on watercolor paper. Please go with any artist grade watercolor paper with yourself. Minimum 1 40 Elevate to get the best your cells on. I will be working with the papers. I starting by 18 centimeter. And finally you will leave two jars of water, a masking tape to mask all the four sides off your paper. Then you will need a pencil and an eraser. Last but not least, you will need few people travel aspirin so quickly Go grab all the materials and join me in my next video. Let's get started. 3. What's a Monochrome Painting?: monochrome or a monochromatic painting. It's a kind of painting created using a single color. You can use different tone toe, one color or hue to create a monochrome painting. As we talk, I will do a quick scratching off the color integral to understand the different normal values of this color, I will begin with the darkest tune off into Go On As I progress, I will be adding water on diluting the pain to get the lighter tones. Monochrome paintings are great to understand the full potential off a single color, which you will understand when I'm done with dispatching, you will see how many different tonal values I can get from a single color. So, dude, in earlier centuries, monochrome painting were quite important because that time the weren't thes many shades which are available to us right now, artists have explored their painting using a single color. They have examined the values and how they can change across different surfaces. How a single color can be used to create a writing off expression on emotions. You know how people off olders injuries used charcoal degrade their outwards. That was the only medium available to them at that point on, then later Inc came in then are two started using ink, and they would simply dilute it to get the required shades. It is quite clear monochrome paintings were quite popular and only centuries. For centuries, Spain does have taken away color from their artwork as a way off enhancing it. Some artists even believed once they switched to black invite, it will help them showcase their skill and a better way. It's very interesting to read about the world famous monochrome paintings and how each artist conveyed their deep messages through a single color on it is believed that monochrome painting so a sense off purity and simplicity. All right now, coming back toe other simple monochrome paintings. I have just five colors for our class on. I will be using one single shade for each painting. We will be working with different tone and values off a single shade for each of our painting. It's gonna be a very interesting class. As we're exploring the full potential off a single color, these scratch cards will give you a better understanding off eight shade on its full potential. You could see on the top I started with the darkest shade, which is the color off its maximum value. Now let's consider this pain and cure of which we will be doing. Shockley. The color I used here is Prussian blue. To get that very in depth, we will be working with different tonal values off Prussian blue. We already discussed water. Tonal values on Dhere is the quick scratching, which I did earlier for you to understand. The different tonal values of the shade in Dicle, in a similar way will be playing with each color that will be using in this class to get the different tonal values of a shade in particular, you'll just need to add water on to keep diluting the pain. To get the different tunes off that particular shade, you can create many more tonal values in between. By carefully playing with amount off paint and water, you are to it. I just made seven different tonal values here. If you carefully play with the amount of paint and water, you may get 10 or 20 more different tonal values in between. As I mentioned earlier for this particular painting here, I bent in the different tonal values of Prussian blue. You could see the multiple dimensions I card in this painting, using a single shade on. Does a Samona groom painting? Now look at this painting here. It's very clear it's not a monochrome painting. I have used multiple shapes here. You can see blue crane on black, so that's the take away. To call a painting a monogram painting, you should be working with only a single shade all you can tow a so play but different tonal values on. That's exactly what we'll be doing in this class. So with watercolor monochrome paintings are quite easy. You just need to dilute your paint on, create the desired tonal value that you want to work with, but with echo click or with other medium like oil pains, artists use a white gained on. They add that into the color that you're using together lighter tones. I think we can stop it there on. Proceed with our paintings. I hope you all have a basic idea about monochrome paintings on If you want to know more about monochrome paintings, there are many blocks available on the Internet. Give it a read. Some of them explains how monochrome painting brings and spiritual purity and attention and a painting, you will find many more interesting grades. So if you are interested, go ahead and give it a read. In the next week, you will have a look at some of the techniques that we will be using our paintings. 4. Let's try some techniques PART 1: Let's quickly try some techniques before we Hecht over mean protect as we'll be using a single shade to paint each of four painting. It is very important to understand the full potential off a color on to understand that we did atonal scratch off the shade in Tico. Here I played with the amount of water and paint, and I got these men eternal scratchers. This is a great exercise to understand your color, better the top elsewhere to the color at its full strength on. Then I added water on diluted the color to get remaining off the swatches. Now let's see how can incorporate this journal scratches in your monochrome paintings. I'm going with the color, which is almost similar to that bottom. Most swatch on using the shade, I'm adding a tiny bit off a mountain. All the exercise of that will be doing in decision will be incorporate in our upcoming painting, so you can either watch it or you can do along by the end of decision. Don't understand how the tonal values can be used to create multiple dimension to your painting. So for this layer off mountain, we went in with the lighter stone off indigo. Here we're trying. The layering technique will be using this technique quite a lot in our paintings. We'll have to wait for distilled dry on bond. Now I'm going with the next tune off in Tico, which is the second most from the bottom. Once you're Bagram layer has dried. You can go in with your secondly off mountain. Then once this layer dries, we'll go with next. Tune off into go on ad in the third layer off mountain. Throughout this entire practice section, I will be only using intercourse so that you get an understanding world a single color can do. Now. We finished our second labour. Once this layer dries, I will go with the third layer for the earlier will be going with the much more talk It'll off Interco on my mountains are not like before. I'm adding some tiny lines on the top as this one turned food crown. The details will be much more possible than the ones in the background so you can have these tiny lines on the top. To make it more realistic will be trying similar type of mountains and never upcoming paintings. We're adding these tiny lines on the top to mimic trees and remaining off the bottom area were just filling out with that particular tone off Interco, you can see how easily because that feeling off stepped on distance. In this painting, we only played with different tonal values on DeSisto result. Once this layer drives will go but one more layer off mountains on. I will be using a much more taco doing off Antico in a similar way. How I applied the previous layer. I'm going with those tiny lines on the top. I'm going with the tone off integral at its full strength. There s more pigment and very less water you can use This layering technique can play the different tonal values off a single she to create beautiful paintings. This is one of the most popular kind of monochrome painting using watercolor because it's quite easy to do on. Do you get a beautiful result? By the end, you could see how easily because that beautiful range of mountains we only used a single shed on this is the final result. Some of the paintings that will be doing into this class will be based on this toe on ingredient on and layering technique. We'll be doing similar mountains and other paintings. Now I'm gonna paint a similar layer off mountain, which we tried at the bottom. Then we'll see. How can you add reflection quite easily. That's gonna be over next exercise. So the other layer off mountain using the darkest, own off Interco. Now I'm taking my wash fresh dipping. That and clean water. Now you think this fresh? I'm gonna add a coat of water at the bottom, leaving a tiny cap in between. We don't want the top layer to smart, so leave a gap in between. Now I'm again going the DACA turn off into go on, leaving a tiny gap there I'm adding paint onto the wet layer. Now our do paint. In a way, it looks like it's a mirror image. After about layer at this pushing the trees are a little taller, and then it became shocked. Er, now again, as it goes towards the other end, it is getting taller, so make a reflection also in a similar way. As you're applying the paint on a white background, it will blend beautifully and create a beautiful reflection by its own. This is the result. It is better if you don't go with multiple layers. You just need to apply it. Ones on that are beautifully spread into the better background. Living are gorgeous reflection. They will be comparing the sternal grading mountains on also this reflection and one off our paintings. Next, I'm gonna show you how you can paint snowy mountains quite easily. I'm sure A quick graphic illustration first. So here I am, drawing the mountains one toe on a tiny one on the left side. Now continue either right or left on. Add irregular patches like this. No matter with side you choose. You have to be consistent. So I have added these Patties for all the three mountains here. For the smaller ones, that looks fine. But for the bigger one on the right side, I'm adding two more Lino patches. There is no specific size or shape for dispatches. You can draw it however you want to. So other basic sketches ready? Now I'm gonna apply a light. Don't agree on to these patches here. We'll be following the same process using pencil and paint in a couple of minutes. So I chose a light on a great aunt. I'm applying that onto this patch. Similarly, I will be filling all these patches, but this light on agree we will be adding color only onto these patches. The rest we believe asset is we won't be adding any color on toe the other parts of the mountain. I'm showing this graphic illustration just to meet the idea. Clear later. Once you are comfortable with the process, you don't need to sketch your snowy mountains. You can directly go in with your paint. The idea is quite simple. We just need to add a shape of the mountain on concentrate own Edo, right or left side and at these kind of patches, if it's a bigger mountain, you can go in with some Lino Pattison between. If it's a smaller mountain, just a little patch on it all right or left side us enough and that's it. Now I'm going to repeat the same process on a paper. I will start by sketching some simple mountain. Then I will take a lighter tone off into cool on. Similarly, how I applied the great on Hill. I will be adding a lighter, don't off into go onto all those patches. We'll be working with a very light on off into go for these patches. So make sure it's just a reference or a guideline for you. When you apply your light turn off. Indigo thes lines shouldn't be visible. That is the main idea. So I have had a to moment here. A tiny one on the left side. Onda bit bigger one on the right side. Now I'm gonna take a lighter tone off into go on in a similar way. How we applied that great color. I'm gonna apply this light on asking to go onto these patches here. There is nothing complicated here. Just fill that patch you sketched but alive. Tonal. The shade that you're using on when you're finishing that patch, leave it in an irregular shape, Paschal. Now let's go with the next mountain in a similar way. I'm feeling this patch also with a light on off indigo. Just have a look at the way I'm stopping that patches. I'm not taking it to the other end and a very rough and irregular manner. I'm stopping it in between now I'm adding those Lino passes onto this bigger mountain on the right. The mountains are looking so snowy already. It's a very easy technique. You just need to do it two or three times to get a hand off it on Dhere is a closer look off these mountains. The process is quite simple. Draw your mountains, then, are these patches either on the right or left side, then full of those patterns with a light, one of the shade that you're using and that's it. Simple, right? We'll be using this technique in one off our painting. So if you have painted it along with me by the second time and be paying the same thing on a Bobick a painting, it will be much clear for you. Now let's pay in summer, Leo's along with the story Mountain for these layer here be bending with the Flatbush, which means we applied the entire mountain layer and the same tone, really mortally. The tune the entire mountain layer was painted in the same tune. Now I'm gonna add another mountain layer right underneath the story mountains. I'm starting with shape. I'm going with the doc Oto off Interco. So everything that we're learning in today's class can be incorporated to your other paintings as well. It is just that in this class we are playing with a single color on its different tonal values. The same can be done combining two or three different shades off your choice in your future paintings. So we have added the basic shape of the mountain. I rinsed off the pain from my brush, and I'm taking water on my brush now, using water and reducing the intensity of the color here on the top. I will have a taco earlier on. As I come down the tune off the integral will be like toe. If you're an intermediate or advanced artist, most of these techniques will be familiar to you. You can just watch because it's always nice to brush up your ideas. As I mentioned earlier, you can incorporate these little techniques and your future paintings with multiple colors . Maybe for this layover, adding here you could try it with forest green on create a dense forest effect. Not for this class. I mean, when you're trying your future paintings with multiple colors, you could also add a nice green reflection on. That's how you incorporate the techniques you learnt from a class in your future projects. You will get millions off inspiration photographs from Internet. If you stare at them for like 5 to 10 minutes, I'm pretty sure all these little different techniques we learned will come into your mind and you will be able to paint them. Anyway. My mountain Dale has beautifully dried. Now I'm going with a line of trees at the bottom. I'm gonna add some pine trees. These are far beyond your eye level, so you don't need to put a lot of effort. Just draw some wake shape off pine trees and select the bottom area with the Dhaka tune off , intercooled for the only earlier off mountains, we added just lines on the top to represent trees. Now we're going with a little more detailed proper trees for the paintings will be doing. I will be going with the very rough shape off trees. I wouldn't be adding any detailed pine tree or anything, So if you want to go with proper tree shapes, that's totally up to you. My idea is repeats the technique. I don't want to put you in pressure with so much off my new details So let's focus on the idea and technique. All right, let me quickly finish this line of pine trees on. We're done hard in the pine trees. Let's try adding deflection for one more time. I'm adding a coat of water, leaving a cap in between. You can use a smaller, flat brush insert off a big government. I was too lazy to teach my brush. Now I'm gonna lose my brush with in Tico and the similar way how we added the previous reflection. I'm leaving a gap in between on dime, adding the pain to directly onto the wet background. The key is supplying your paint quickly onto the background so that it will spread and create a nice reflection by its own. Also, make sure the lines you're applying now as similar to the height of the pine tree about the water. So those are the two major things you need to keep in mind when you're adding your reflection, the rest of the magical be done by the paint on the wet paper. So here we try the reflection on a plane. Wet paper may be in your future paintings. You can try the same on a different color layer. You can paint your water and nice turquoise, blue or any other color of your choice on, then are your reflection with a dark Oto. Else blew on that wet background so you will get the same result with multiple colors. And that's how you incorporate the techniques you learned from this glass in your future paintings, I added. Some darko don't off into go on to the top line before the background dries on. With that, we're done with the first part of our technique section. You saw we tried many techniques. Aunt I also explained you how you can use this in your future paintings in the next section , I will be due to you have to pay in those little birds flying in the sky. 5. Let's try some techniques PART 2: in the previous section, We tried some of the techniques that will be using another upcoming paintings. Now I'm gonna show you how you can paint those boats flying in the sky. I'm using my size number six round brush. We'll be trying three or four different post shows. Let's go with the 1st 1 I'm starting with an inclined to line once you have that inclined line, then we're going to add another inclined from the middle to the opposite direction. When you're adding your second inclined line, make sure it is little ticker at that meeting point. Now let's try the same board in the other direction. I added the first inclined line. Now I'm drawing another inclined line from the middle on taking it to the opposite direction. When you add a little thickness to that point where those two lines meet, it will really look like a wing on that. The first type of board. Now let's go with another one are symmetrical Coe lines like this towards either direction , and then we're adding a little thickness at the center on. That's your second type of food. This will be quite simple, as this is how we used to draw the board when you were a kid. It was just that I'm adding little thickness at the Santo. So at the basic shape off your bird, you just need to draw this little wide Ovie on, then over to the center. You just need to add that little Chris, and that will make it looks like a very realistic flying board for the smaller ones. You don't need to add that thickness. These are far beyond your eye level. So you just need to draw that. Why don't we? And that's it. Now let's try the same kind of bored in a different way here. The we was wide open. Now I'm gonna limit the straight off. That way it's going to be a little more closer. It's not that much fire open. This means the wings are not that far apart. They're much more closer. So I have the basic reshape here. Now I'm adding that thickness towards the center. We just need to add a dog onto the top area towards the bottom rather than a dog. You can go with the triangular sort of a shape. Just keep in mind when I'm saying triangle, rectangle or circle. It doesn't need to be a perfect shape. These are far beyond your eye level, so the shapes can be very big. It doesn't need to be ready to. Now, let's try all these shapes for one more time. I'm going with the 1st 1 we tried. I started with an inclined line on. Then from the center of that line, I took another inclined lines. What's the opposite direction on where the line to meeting. Just at that point, I made the line with more ticker to make it look like a wing. That was the 1st 1 we tried. You could do the same thing to the other direction. Aspar on Now, going with the 2nd 1 we bending with the wide opened we, which is little Kobe on either side. Then we added a thickness at the center. On that gave was the second type of sport. For the 3rd 1 we made the wings little more closer. That means that we wasn't that wide open. Start with a Kobe line. Now go with a symmetrical Kobe line on the other side. Then at the thickness at the Santo on that day was the prototype off board you can try the same kind of bored in a different way drew the same shape in an inverted way. It's the same shape I just drew it in the other direction on now, at the thickness towards the center on that gives a different type of bird in a similar way will be adding boats on our paintings. Give it a try so that it would be easier for you when you paint. Next, we're going to explore the dry brush technique, which we will be using in one ofour paintings. So have a paper travel next to you. I'm going with the same brush which I used earlier, which is my size Number six crush. I loaded my brush with the Darko tuna skin tico on. I'm just dabbing the brush on a people travel to remove the excess amount of water. You could clearly see it from the paper travel as I'm dabbing my brush multiple times, the excess water is removed and those brush marks are looking very dry. I'm gonna show you how to paint a tree trunk or a wooden log using this dry brush technique , all you need to do is remove the excess pain from your brush using a people tower on. Then keep on adding dry strokes like this on either left or right side and then take it in a tree. Kind of a she. So I added their dry strokes on the left side. I took it from the left to the right, and now horizontal manner. Now I'm adding a tiny circle at the top, again taking my dry strokes from left to right. Now, in a similar way, I'm gonna take my dry strokes from right to left on. That will give me a complete shape off the trick drunk for one of her painting will be using this technique to paint friends. It won't be this much detail as the scale is different. Thats are much more small offense. So they have the basic shape off the wood and log. Now I'm gonna add some Darko sports here and there, Joe. Some random spots on add darko patches on that will make it complete. Here is a closer look. We will be using this technique to paint a small friends. You can use this technique to paint a tree in your future paintings as we will be using this for a couple friends, I'll make it complete by adding those rope on strings. I added a so called loopy from the so called low Pam, adding a metal string in a similar way. One of the border, Massport's now onto the strings. I'm gonna add tiny cross marks, the friends and this magistrate that will be adding in our upcoming painting will be a much more big emotional stirs. It won't be this much detailed. I just wanted to show you how you can do it now because scale that you can incorporate in your future paintings as the final step. I'm gonna add a shadow for this vote and posed. You can use a lighter tone off indigo to add the shadow on bond right here. Maybe you can make it a little darker with that. We're done with our second part of techniques asphalt. Now, without any further ado, let's get started with our paintings. 6. PAYNE'S GREY: Okay. There's the first painting off over monochrome series, this menace entirely done using one single shade, which is Spain scree. The one I'm using here is from the brand white nights. You can go with any brand off your choice. Even the color choice is absolutely yours. We just need one single color. It doesn't really matter which color or which brand you are going with. Let me quickly fix this paper until bays. It is very important to run your fingers across all the four sides to make sure your papers formally fixed onto the base because we'll be working with multiple layers of water on. We don't warn the water to seep into and created or the edge. All right, let's do a quick sweating exercise to understand the tonal values off pain. Scree, I added. Very little water on Dhere is the darkest, own off pain scree, now adding more water, bringing the tune down. Let's keep adding water on Meet the turned lighter. When you do a monochrome painting, it is very important to understand the full potential off the shade that you're using on understanding the way this journal values off that particular she is the fundamental thing off a monochrome painting, I added. More water on Dhere is the lightest diversion off pains. Great that will be working with here the five different tonal values off paint gray. If you carefully play with the amount of water and paint, you can get 10 or 20 off scratches. All right with that, let's get started. I'm using the size number 12 round, fresh five transfer inherited cities. I'm adding enough water to my palette, and I'm going with a lighter tone off things. Great. So we'll be working with this particular shade here, of which we tried at the end. I'm using the shade for the sky. I'm applying it on the top of the paper, So this is how we will be progressing. We have the lightest runoff pains, great for the sky. The later ones that layer dries. We will be using the next one of grave for the first layer off mountains on. Then gradually, we will progress to the darko tones. So I applied a light tone off. Greater. Now I'm taking clean water on bringing the tune down on blending that into the background. That's all. First layer now We'll have to wait for this layer to dry before we go in with the next layer. I think I'll go grab something to eat because they're still take a while to dry. I got some cookies just to till my time during those waiting. But it you also go get something to munch in between because you have to take multiple breaks. We'll have to wait for its layer to dry before we proceed with the next layer. So now, for the next layer will be going with this particular associate here, which is the next door off. Great. This particular technique, in particular, is called Layering are the placing technique, which means you are adding upon layer on top of the previous layer. Looks like the bass player has tried. Now I'm going to the next tool off. Payne's Gray on time are in the first layer off mountain using the stone. This technique is quite simple, and you can create colleges paintings using the single technique. But patience is the key. You have to wait for each layer to dry before you proceed with the next layer. That is the only thing you have to be a bit careful about. So I applied the second turn off. Great. You can go with any kind of shape for your mountain. I just went in, but the taller mountains on the right side, the rest I made quite flat. You can find plenty off images and Google like this ones Here. You can use this as a reference just to I know how to place your different layer off mountains. You could also a rooftop meal sketch before you start with your painting so that you are quite clear about how to place each layers. If you want to follow the same mountain lines that I'm drawing here, you can do that. Or you could take a reference picture on, then follow those mountain ranges. Now, I'm taking some clean water on bringing the tomb down on blending that into the background And, yeah, that'll first layer off mountain. Now we'll have to wait for this to dry, which means it's time for a cookie. All right, of office layer has dried. Now I'm going to the next turn off paints. Great. I have a scrappy sof People here it is always great to test your color before you go on to your main painting this way. You're quite sure about the shade that you're using for your second layer? That's when it's quite dark. I need to get that somewhere here. I've allowed more water on to make the tune lighter. Okay, Now let's go with the second layer off mountain. I'm going to start it from here. I don't have any image reference in front of me. I'm just going with my intuitions. But if you want, as I mentioned earlier, go with reference picture so that you get perfectly lying to mountain trenches. So the only thing that you have to keep in mind as each layer has to dry before you proceed with the next layer on as you progress towards the bottom, your mountain should get darker in color, and also you should respect every layer that you're painting. You shouldn't be hiding the previous layer entirely. It is that gradual, creating petard small beauty to your mountain ranges, so each layer should be visible. All these begin, but adding the basic shape off your mountain. However you want it to be, it is up to you. Add in the shape and Philip the remaining area. But that particular tune which you're using, I'll make this portion but more toller on. Maybe I'll add some more who were here. Now I'm gonna take clean water. Andi, make the lighter on blended into the background. We will be repeating the same process, but one or two tones off pains. Great will be going with the Dhaka tune in the next two layers. Now I'm going with 1/3 layer. For that, I'm going with a much more Darko tone off pain Scree. Make sure your Baghlan layer has completely tried to get the perfect result. You have to wait for each layer to dry. You shouldn't be rushing now. I'm going with a taco tone on adding my third layer off mountain. I'm making this mountain taller of the right side. Then maybe the rest I'll just take flat. Or maybe I'll add one more tall a mountain in the middle, as I don't have any reference picture or any particular way I want my mountains to be. My only idea is not to entirely hide my previous layer. That is the only thing I am little careful about, so you really don't need to stick to pains. Great. You can try the same thing with a different shade off your childs. You could try it with a nice poeple or a bright blue, maybe a forest green. Orban Sina Forest green would look really nice. You could try that forest green and also Bon Xena. It will give the mountains and earthy look. When I'm doing any monochrome painting, my hands goes first to Payne's gray and then go to Intikhab. So these are two colors, which I really like, what I'm doing. Any monochrome painting on that's ever third layer. Now we'll have to wait for this to dry before we cope with the food and the final layer. I took a five minute walk and I came pack on. My layer has perfectly dry now let's go with the food layer. This one is going to be my last layer of mountain. If you want to add more, and if you have enough space on your paper, you could do that. As this is my last layer. I'm going with the doctor. Tune off Pain Scream. This is the color at its full potential, could say it is all those close to black. It's totally opaque on. I'm gonna go with a little irregular shape, as this is, the one which is in the foreground on the little details will be much more visible than the ones in the background. So you can go with the little scrub Lee pattern for your mountain line rather than drawing it in a very clean and smooth line, I added the basic shape of the mounted line. Now I'm gonna fill up Ah, little off this area in the darker tone off pain scree Andi. Then I'll take clean water and make the tuned lighter on. Blend that into the background. You can see how called uses other mountain ranges looking. It's a very easy technique. You only need little off patients and any single color. And, of course, I'm brushing paper. I usually five different tones off Payne's gray. You can do the same thing with 10 or more different tools, and that will add a lot of beauty to your mountain ranges on that it's my fourth and final layer off mountain. Now I'll wait for this to dry, all right, and that has dried. Now I'm switching to a smaller brush this is size number six round brush. I'm gonna add a tall tree at the center onto maybe one or two trees on either side of the tall tree. If you are happy with the mountain ranges and you don't want to add the trees, you could leave it like that. You don't need to add the tree. It's a simple tree. Start with the tree trunk. If you're not too confident about drawing the tree, maybe you can try the same thing on a sample piece of paper. And if you're confident about drawing the tree, you could come back and add it. On your mean painting are you have any particular tree, which you're comfortable, but you could draw that maybe one or two pine trees or some other tree that you're more comfortable with. You can just skip the street. Now I'm adding some branches on either side of the tree. It's a quite simple tree. Just have a look, aunt. See if you could do it. So I have the main tree trunk and some branches. Now I'm taking my brush and now scrub Lee battle, just adding some daughter and scruples and creating the foliage of the tree. Just give it a watch and see if again to work. It's very simple. Just take your brush indescribably battle and create the Foley edge on just adding multiple dots close to each other. Also, make sure you're using a medium sized from brush. Otherwise, the fall age will look too big and it will go out of proportion. I'll add one more here. I'll start with the stem. Then I'll take my brush on a doctored pattern on. Once you create those daughter patterns very close to each other, you will get your Foley edge. Is he right? I think it is quite easy. You just need toe, do it a couple of times to get a ham off, and then you will be able to create beautiful trees quite easily. Anyway, if you're still not feeling confident about ad industries, you can skip this tip. You could go, but any tree that you're comfortable, but or you can totally skip adding trees. Let me quickly finish the Stahl a tree here. I'm just extending the tip on adding this daughter pattern and creating the leaves on the top. I'm only focusing on this victory at the center. Maybe I will add one more smaller bunch on the left side and that's it. I wouldn't be adding any more trees. Now we're married some tiny stems on the right side, then going the doors daughter pattern and creating the leaves. Similarly, I will add one or two bunch off leaves on the left side has full. This is how our paintings looking so far I'm adding another or tiny tree on the left side. I added this turn. Now I'm adding the Foley edge. I'm just taking my brush on a very daughter than screw plea pattern. You could see it is quite simple. I'm saying this multiple times because I just want you to try. Just give it a try on a scrappy soft paper. I'm quite sure, but 10 to try. You're definitely going to get it right. I'm writing one of the bunch of trees onto the right side, just one or two tree popping from that right margin line. I added this tomb now going that that daughter pattern to create lives. Similarly, I'll add one more right here, adding this term on again, taking my brush and adopted pattern on finally I'm gonna add some boats you can ruffle back to the previous section where I explained how you can draw those different kinds off flying boards. You cannot ask many as you want, please. Dreadful back to the previous section if you have any doubt on how to add these birds on, but that we have finished our first painting on That's a gorgeous gray mountains. I hope you all enjoyed this quick and easy monochrome painting. We first try the different tones off pain. Scree. I'll just flip it. Yeah, so we use the lighter stone off Payne's gray for the sky. Then we gradually used the next tunes for the mountains. In a similar way. You can try the same landscape using any color off your choice. Do a scratching exercise first. To understand the potential off the color that you're using, you need to know the different tonal values off the same sheet. Then you can create the same landscape using any color of your child 7. VIOLET: on Dhere. We are at the world's second painting on for this painting. The color that I have chosen is Violet. As I mentioned earlier, the color doesn't matter. You can go with any color off your choice. We just need one single color. The one I'm using is from the brand white Knight. It's a pant watercolor. The color looks slightly different in this image, but then it's more off bluish violet. Let's quickly start with the pencil sketch. I'm gonna draw three tiny houses. One right, he'll this houses are at the hilly area, so I'm gonna take a line sloping down on after Those have allowed another tiny house right next to this one. This one is facing the friend, so you will only see this part of the house. I'll add one more. I'm not adding that in the same line, I'll shifted little down. This will make the arrangement more interesting. So whenever you adding a cluster off similar things, no matter whether their houses, trees or buildings always played with different sizes on different rendition, this will add more character to your painting. It will make it more interesting. I'm only adding tree houses if you want. I had more. You could do that. The house of the bottom, sitting at different heights. So I'm adding a different line here. I'll make this line made the other end. It was incomplete. So that is the hill and houses. Now I'm gonna add off friends, Draw this. Friends along that Healy line, the ones which are closer to you, which is on the left side, will be a little more taller than the ones which are far from you. So always keep this in mind. This will give a sense of distance to your painting as you progress towards the other end. Make them shorter on that's of a sketch. This time I'm skipping the spotting exercise as we're not walking with two money touring values. For this painting, we need to apply. And even though the water onto the sky So I'm taking my Princeton a light wash British on applying a clean coat off water onto the sky As you come closer towards the houses. Maybe you can use a smaller brush to add water. We don't even want a single drop of water toe touch those roof that has to stay as white. I'm gonna begin with the light or two off while it I'm taking a little on my palette on diluting it on, making it a lighter tone. I'm using a size number 12 brush. You go with a bigger size fresh on. Apply that light or don't know violet directly onto the wet paper. Apply O pained along the line. Be added. Make sure not to cover up the entire sky. Has to get closer to the house. Is big a little careful? We don't want anything to touch those roofs. We have to get them clean and perfect. I didn't have much water along this Sadiyah. Just quickly add a little of water here. You could say I added the water only on to the top area. I didn't had much closer to the house. Now, once I add in the paint along this line, it will automatically spread into the water, which we applied on to the top area. I'll quickly Philip this remaining area on a lighter tone off while it you can use a smaller brush if needed just along the roof line. Then you can come back with Oh, because I sprechen and blend that into the background. Feel free to Joe's before you're comfortable, but we just want the roofs to be clean without any tent off. Why let we're almost done with the first layer of violet? Feel free to go with any color off your child's. You could do the same thing with Indigo Payne's gray forest green or any color off your child's. Just like how I explained when we were sketching those houses. I'm going with a different height for this landscape behind the houses. This will make our painting more interesting. Also, you have to be very quickly applying your foot slayer while it this needs to be applied when your background is wet. Otherwise you won't get a good result on that. So, first or a while it. Now I'm going with a much more taco tune. This needs to be applied before of a lighter. Tone dries, so there is no cookie time or a waiting time. I took a doctor to know while it on. I'm applying it along this line. You could see when I'm touching my brush on the paper. It was marching into the background and creating ah for game misty effect This is what we want If you're lighter don't has already dried you will never get this result So will be a little quick Onda ply your taco tune before the background dries for the lighter tune Reinventing with a bigger on a larger spread for the darko Tuned, we're just limiting along this line. So are you Darko tune in a similar way how I'm doing cure quickly addio darko tomb Otherwise it won't blend into the light. Oh, tune To get the same result, you have to be very quick and consistent. Make sure you have enough off paint on your palate before you start with your second term because we don't want to waste any time in between. Onda was second layer is almost done. Now I'm switching to a smaller brush on. I'm just cleaning go roof line using the same Dakotan off while it and that's done. Now I'm switching to my wash fresh and I'm applying accord of water along this hill line we're gonna paint the snow, so I'm switching to my smaller brush on going with a lighter tone violet on dime, adding fuel broken patterns off lighter tone off violet along this line. You just need to add those broken lines as your background is. Bet it will blend on creator snowy field. Make sure you're going with the light or two when your paintings. No, you should always go with the bare minimum amount of paint. You have to leave your paper white. Maximum. Andi. Limit the amount of paint. Similarly, I'm gonna add a light called the water along the top line on dropping in some light. Oh, a while it along this line Aspar. And with this we are done with the background on the foreground washes. Now we are proceeding to defend sandy houses, for the friends were just applying some dry stroke. So take out a paper tower. Go with a taco tune our violet W brush two or three times on the paper. Travel to remove the excess water on just applies on dry strokes to the wouldn't posed a blind. The dry strokes only on the left side. The remaining I'm leaving Asset Er's. It's a very simple technique. I have explained it in detail in the previous section. So pleased. Therefore, back whenever you're adding the dry strokes, the only thing you need to be careful as to remove the excess amount of water from your brush, so always have a paper trouble next to you. Onda Pure brush two or three times to remove the excess water. Then you will get beautiful dry strokes without any difficulty. These vents are too tiny. I'm not quite sure if you're able to understand the detail. That's why I ask you to refer back to the previous section where I'm explaining this on a bigger scale on that subtle difference. Now I'm going ahead with these houses. I went in with a taco to a while it and I'm applying that on the world's off this house here I'm using the darkest value of Violet. We went in with a lighter tune for the first layer off landscaped, and we came back but a Dhaka tune on the foreground. Now I'm going with the next tune off while it for this house so that this will stand out from the remaining landscape and the snow. You could see how I'm leaving those door on window opening as I paint the world, use a brush with a sharp pointed toe that to get tiny being Bruce lighters. If you're using a bigger brush, it was a little difficult to get these tiny openings. Now I'm going with the second house. You could say I'm leaving a tiny gap whenever I'm starting the wall. And also, when I'm finishing the wall, I'm adding on opening cure. I lied to doors at the port. A masterful. You could see how we created a beautiful snow landscape using a single color. We played the different tonal values of Violet to get that far gay for us to the background on the story land in the foreground. There are so many wonderful monochrome paintings you can tow. My class is a very small introduction. I would see I chose five different paintings so that you get an idea about the potential off a single color and what all you can to using a single shade were onto the told house. Just like the other two. I'm feeling of the worlds and dark while it I left the door opening there, you could say I didn't have any paint onto those roof without any afford. It is looking so snowy on that we're done with our houses will come back and are the chimney. Maybe I'll grateful to still dry. Meanwhile, that dries. Let's go back to the friends on. Add the metal string connecting the post. Go with a very thin line. If it's a very decline, it won't look realistic. You can switch to a detailing brush off needed Andi Adaline connecting to off these wood and posed now to make the strings more realistic, I'm gonna add a tiny cross from two thes. You would have seen these kind of metal fencing. There they tie an additional cross, kind of looking onto the string to discourage dress passes. I have a lot of one more set of friends at this end on, but that we're done with our friends. The houses have completely dried. Now I'm going with the Dhaka tone or Violet Andi. I'm adding the chimney for all those three houses. Just a tiny rectangle, a pop on the rooftop. I'm really allowing how this is looking so far, especially that funky forest in the background. So there we have our Jiminy. Now we're going to add a shadow for all. These three are an inclined line lectures on the snow filled white roof. Similarly, add one for this Aspar. I'm feeling like adding one more wouldn't post over here because there's a lot of space left on the side. I'm going with a taller and pick open and post over here. Just one. If you're happy with the way your paintings looking so far, you don't need to add this one for me. I never kid satisfied. That's my problem. I'm not really a perfectionist, but sometimes I act like one on this particular time was such an instance. Anyway, I'm done with the friends now as the last ask I'm gonna go but a lighter tone off violet again. Andi, I'm gonna add shadow off all these fences on the ground. Go with the light O'Donnell Violet on add inclined lines, which will represent the shadow off all these wouldn't boast at all these incline lines in a similar way. That means if you're choosing your lines, Toby or into towards the right side, make all of your shadow in the same orientation on If you're going with the left orientation, make all of your shadows that way as the length off these wouldn't post are shorter as you go to put the other end. The shadow also should be shorter on we have all the shadows and please the left side. The lines are looking quite sharp. Andi, I'm not liking it much. I'll just add some Dakotans over these line. Then I'll come back toe that taco shadows. I think I need to smudge it a bit, So I'm going with my wash. Fresh on. I'm applying a coat of water on top of it. Okay, Now it looks better, I think. Yeah. Looks better. I'm gonna stop it there. Andi. I'm calling it done on Dhere is ever final painting. I'm really loving the violet foggy forest on the snowy crowned and those little houses we abandon with a lighter tone in the background and come back with a dark atonement for crowned. Then we added the house and the snowy crowned. I hope you allowed this monochrome, snowy painting. I have a much more interesting painting coming up next and I'll see there 8. PRUSSIAN BLUE: on here We are never told painting this me look, little advance. But then it's super easy. I will be using pressure low for this painting here. I have already fixed my paper onto a base. This one is from the brand art philosophy. You could go with any blew off your choice or if you wanna try, but green or proper, that's also up to you. Let's do a quick scratching exercise to understand the tonal values of Prussian blue. I'm starting with the darkest value. Keep adding more water, introduced the amount of paint you could say how I'm getting the lighter tones off Prussian blue, just like how we did for pains. Great, great. Five different tonal values off brushing blue adding more water on making the turn lighter . So there I have five different ones of Prussian blue to get the best result understanding the tonal value. So the shade you're using is very important for this particular painting. So please don't skip this step. Take a scrap piece of paper on Do a quick tonal wash off the color that you're using. Now I'm switching to my Princeton, a light wash fresh on. I'm gonna apply are even called the water to the entire paper. If you don't have a wash for, go with any bigger size press that you have got. Here's a five different tonal values of Prussian blue will be working with. Now we're going to begin with a lighter stone off Prussian blue. Amusing size number 12 language by Princeton. Cool with a bigger size brush. Andi added a for water to your paint on, Take a lighter tone off Prussian blue and just added here and there and a very random manner. The Bagram does bed, so you just need toe. Add in your lighter tone off Prussian blue onto the backpack crammed on. It will create a nice moving pattern by itself. Remember to leave little of wide spaces in between lighters. We don't want to fill the entire paper with light blue. Now I'm switching to the next tool off Prussian blue. So onto the same light blue. I'm adding a little more crushing blow to make it Dhaka. Now I'm dropping that pain into the wet background again. Our idea is to make the bottom darker on the top lighter on. I'm dropping the second tone off Russian blue right at the bottom. The background is still wet. You could see how the pain is spreading. You just need to randomly drop in different tones off Prussian blue onto the sweat background. Don't worry if they're not looking nice at this point that it's absolutely OK. We'll be coming back with multiple layers on top, which will make it look beautiful by the end. Now I'm going with the 3rd 1 of Prussian blue and again dropping in that Dhaka to onto this went to background. You can see how we are building the differently years. The different tools are visible. If the pain doesn't spread into the background, it may not look that nice. So you have to be a little quick while doing this formatting mood taco tones at the porter . The bathroom is already starting to look for key because of the multiple layers. So this is the area we concentrate around. We just went in, but the first room off Prussian blue. Then we came back with the second tune on. Then we added the 13 of Prussian blue. We were just having different tones of Prussian blue into the background on this is the results so far? Go ahead and apply. You paint without any fear. If your background is But you are going to get a good reserve, I can guarantee on that. Now I'm going with the much more taco to off Prussian blue on. I'm gonna drop in that at the bottom to make it look more intense. Take your operation adopted pattern and randomly applied these darker dots here and there on Keep on adding to the density. You can see how quickly we created a dense forest effect using different layers off brushing blue. The different tonal values are clearly visible on That is the beauty of this painting. Now in a similar way, how we painted the bottom part. We're going to add trees using different tonal values off Prussian blue. We'll start with the light of value first and then truly will progress to Darko tunes. I'm switching to a medium sized pressure this a size number six round brush by Princeton. And now our task is to add trees with different tonal values off brushing blue in the background. Everything has completely dried. I'm gonna add the first layer off trees using a lighter value off Prussian blue. I'm going with simple, normal trees. There's nothing complicated here. Just sit back and have a look at how I'm adding the trees. It is a very simple tree. Once you have an idea how we want out of the tree, you can go ahead and add in your trees. Some of them can be straight going to the top, and some of them can be leaning towards one side, just like this one here, so belabor different heights, different thickness on different kinds of arrangement. This will make your painting look more interesting and realistic. So your tree is starting from the dense forest we created on. It's going to the top in a similar way. I'm gonna add multiple Trick is using the light or turn off Prussian blue Go. The different arrangement. Don't make all of them straight. Some of them can overlap like this, and some of them can stay shot, so the technique is quite simple. Once we have added enough off trees and the lighter turn off Prussian blue, we will go ahead with the next toe on. Once that is done, we'll go with the doc kowtow and we'll just keep on adding more and more Leos. So we have added enough off trees using the lighter tone off Prussian blue. Now, using the same tune I'm gonna add, some believes just by tabbing on the paper using my brush take your brush and a daughter pattern just like how it it on the bottom portion Depending on how dense you want the foliage to be, you can keep on adding leaves. You can dribble excess amount of water from you brush by just dropping a ton of people Travel on take your brush and now dotted pattern like a scribble is crappy pattern on Do you will get your foliage. I'm done with my lighter tone off Prussian blue. Now I'm going with the second turn off Prussian blue on in a similar way how we did earlier . I'm gonna add trees. You can see how different each of my trees are looking. Some of them are going straight. Some of them are leaning towards the right and some off the march towards the left. So go in a similar pattern week eight of them slightly different from one another, or you can make some of them ticker and some of them thing a rest ful now at the bottom of the tree. But it will be the tune that you're using. You sing the same tune, you can add little dots. Lighters go in a very random manner and keep on adding some dots will be doing the same process for all the trees as we add them. Now with the same tone, I'm adding more for the edge. I hope the idea is quite clear now. Once we have the background ready, wait for everything to dry, then start adding the trees with the light of dawn off Prussian blue. Then you can add your folly edge. Once that dries, you could go with the next tune off Prussian blue, which will be a slightly more taco than your previously er than add new trees than are those doors at the bottom to make it fit into the background. Then you can add in your foliage, losing the same tune off Prussian blue. And once that is done will be going with the next to Doc Oto off Prussian Blue on. We'll be keeping on building more and more Leo's until we reached the Doctor Stone off Prussian blue. I'm adding those dots at the bottom for the street. We're adding the door so that the travel nicely planned and foot into the background. Otherwise, it may look little alls. I'm taking the street of the talk on dime. Extending this branch as well have allowed one more branch of the left side. When you're adding branches, make sure they are thicker than they're closer to the stem on as they go away from the stand. Make them dinner. I'm gonna had fumo trees using the stone off Prussian blue. I think they have Gordon off off trees using the second tone off oppression blue. Now let's add more leaves to the histories. As I mentioned earlier, just take your brush and a darted script. Early pattern. If there is a lot of water on your purchased rabbit on people, trouble on. Remove the excess water and cool, but ah, bit off dry strokes when you have a lot of water on you brushed away. You're putting that. Thoughts won't be under your control. So when you remove the excess water from your brush on when you're going with try strokes, you have the perfect control off all those daughter patterns that you're applying that is by asked you to remove the excess water. If there is any, keep repeating the sexy sides. And at asthma need leaves. Asi won't on once. You are happy with the folly as you can. Stop it there. All right, Now we're going with the next door off brushing blue. I'm gonna go with this stone here, reduce the amount of water and take more paint. We're going with the Doc Adan off Prussian blue. Now, using this shade, I'm gonna add a few trees. These are the ones which are much closer to you. So this can be a little more pickled than the other trees, which we added. I'm really loving the space even without adding those talk or tunes The funky for us Just looking so beautiful. Once we add in the darker tones, it is going to look more beautiful. I'm taking the street till the top. As you could see, the bottom of the tree is much more product on. As I went towards the top, I need it dinner. I'll just extend these branches hospital. Then I'll go with my next tree. Okay, Now I can show you. Why is it important to add that dot at the bottom? If you look at this tree, you can see it is not fitting into the background on Just have a look. Once I are those thoughts. As I'm adding those daughter, it is very clear that the tree is just merging into the background. The tree doesn't look like a misfit anymore. It is perfectly going with the background on. That is why it is important to our these dots in a similar way. I'm gonna add another tree. Right heel. This time I'm starting a tried from the bottom. You don't need to follow exactly the same what I'm doing here. If you want to add your tree somewhere on to the right or left, you could do that. You can go with your into shins and your legs. I'm at it under the tree on the right side at this corner and the trees done. No, I'm adding some dots at the bottom. Maybe I've lied one more tree onto the left side and I think with this I will stop adding trees. Now I'm going with the last rode off leaves. Unlike the previous time. I'm not hiring to money. I'm randomly picking few areas and adding darts like this. Just a few off them. We already have the lighter foliage in the background on die Don't want toe make it too messy. So I'm going. But very few tryingto places on here is ever final painting. I hope you all enjoyed painting this one this one as my most free braid from the five paintings that will be doing today. I have removed the masking tape on Dhere us a closer look. 9. INDIGO: we tried a very interesting funky forest previously. Now we're gonna try something with Indigo. I'm starting with the sketch. We'll be going with a story Mountains first. So my schedule based similar toward we have tried in the technique section on I will be adding a range of mountains Over here. I will be going with a very light pencil sketch because I don't warned the pencil lines to be possible. I will be adding a boulder reference catch for you. I'm starting with the line which separates my water on the mountain ranges. So this is somewhere the 3/4 of the paper. Usually I don't sketch thes mountains. I directly go in with the paint. I'm going with the pencil lines so that you guys will get a better understanding. But when you're drawing your sketch, make sure your pencil lines are very light. It was just a guideline for you. A Children stand out once you apply your pain, so make sure your lines are very light. I don't know if you are able toe capture the lines properly. Anyway, I'll add a reference get so that you can copy those lines. I'm going with one more tiny mountain We're here on here is a sketch that I created as we will be going with a very light on off integral for thes patches. Here, make sure your lines are very light. We will be adding paint only to these patches. The rest We will live as paper white, Andi, but that you will get a beautiful story Mountain. It is quite easy. You just need to understand how you need to add your paint patches. As you could see from here, my focus was on the right side. I added those pain patches only on the right side. So which will be the side? You're focusing for your DACA tools. You have to be consistent. It should be on the same side for all of the mountains. Enough of talking. I think we'll start with painting. As I mentioned earlier, I'm using Indigo for this painting on this one is from art philosophy. Now for the snowy Mountains. I'm going with a lighter tone off indigo, just like how I showed you in the graphic illustration. We will be adding lighter tone off into go toe. All these little patches we made here I'm taking enough of water on my brush on by making a lighter tone off integral for my snowy mountains. And to apply the paint I'm using the size number six strong, fresh go. The brush, which has a good point, will be going with the tone similar to this, which is a very light tone off in tickle. Once you have prepared your lighter washing off into go, just apply that along the patches we made. There is nothing complicated here. You just need to take your paint on the brush hand, apply it along that line. You could say I stopped adding pain somewhere in the middle. I didn't take it to the other end. Similarly, I'm gonna applied over here as well. You could say here I stopped at in the paint and a very irregular pattern. You also should go in a similar pattern. It shouldn't be a small flowing line. Good. Any irregular kind of a pattern as this mountain is quite big. I'm adding another patch. Right heel. Just a thin patch on. I will stop it there. Now we have another tiny mountain on the top. I'm adding the same light to turn off Interco at that little patch hospital on, but that we will be done with a personally mountain. May we have a lad on more Lino patch over here? Yeah, that's it on then, some lines to define the shape off the mountain. All right, now you see a slightly brighter don't off into go. I'm gonna add another London on the left side. This is the June I will be going, but I will begin with adding the shape off the mountain. Then I'll just Philip toe area in this particular tone, I'm going to switch to my big operation because that is easy when I need to fill up the entire area on the same shade. So in this painting, they're combining two techniques and watercolor. One is the flat wash technique. On the next one is the layering technique. As the name says, your aim is to create a flat wash or even wash of the color throughout the entire area that you're painting. So here I went into the flat wash for an even wash for this entire mountain. Once this layer drives will be coming back with the next layer off mountain. There will be using the layering technique, and that's how we're combining those two techniques now. My bathroom has dried. Now I'm going to the next layer. I'm switching to my medium sized brush now will be going with a much more brighter tune off into go for the snowy mountains, preventing with the lighter tomb on. Then, for the second layer off mountain, we bent with a much more brighter toe. Now we're going to the 30 off Integral. Our previously you have completely tried. Andi. I'm going with a brighter tone off into cool. Now I'm taking my mountains and a bit more detailed manner, just adding some lines at the top at different heights. These lines will make your painting look more interesting. It will represent the trees which are there on the mountains. So you just need to take that line across the entire paper on Philip, the remaining off the area, which is underneath and the same tone off Interco. That means we're again going with the Flatbush technique. It is just that we're keeping on adding layers on top off the previous layer on there were using the layering technique, and that's why I said, we're combining two different techniques in particular, this is one of the most easiest technique in watercolor on. By the end, you will get a beautiful recent asked for patience is looking here. You need to wait for each layer to dry. You can see I'm just heading some simple straight lines of different heights of the top that is not in the shape of a pine tree. I'm simply adding some lines throughout the entire line. Then I'm filling up. The remaining 80 are in the same tomb. I'll continue the same thing to the other end of the paper. Whenever you go with the new Leo, make sure you have made in 1/4 paint in advance. Otherwise, you may have to stop in between on. Once you come back, you may not get a smooth transition, so always prepare enough off painting advance before you go with each layer. The weather was superglue me here on the light is changing every minute. Sometimes it is very nice and right on the next one of the sun just goes away on. I have a very dark, gloomy yellow light. Anyway, that is only thing I hate about a winter, but in the rest is all good. We should be grateful that we have a good fiddle here because otherwise we have a hot and sunny better hearing to buy during April Major, it goes to extreme court weather, so I should be grateful and had the weather is good right now. Coming back to the painting. We are almost done with this layer. It is taking a while because we're adding those little lines at the top and filling it up with a smaller sized brush. If you switch to a bigger size brush, it will be much quicker on. We just have a little potion left at the bottom on. We're done now. We'll have to wait for this layer to dry and then we'll come back with the next layer. Go months something and come back with good energy because we have one more painting to go on Devo Base Lier has perfectly dried. Now I'm going with the dark kowtow off canticle Andi, I'm gonna add a similar layer at the bottom line. The slayer, just like the previous one. I'm adding lines at the top. Then I'll fill up the remaining area with a tac atone off in Tico. We want all the bad wrongly used to be possible. So go with a similar height for your new layer. Also play with different heights in between. Some off your lines can be taller and some of them can be shelters. This will make your painting look more interesting on either ends. I will go with taller trees on. As I come closer towards the center, I will make them shorter, go with any kind of arrangement and hide Astro your choice. It doesn't really matter. We just want each of the layers to be visible, so make sure you're not covering up the background layer. When you're adding the new layers in the foreground, I'm reducing the height of the trees. As I progress towards the center. I hope you all are enjoying it. So far, it is very easy technique on, and as I mentioned earlier, you will get a beautiful result. By the end, it was just I had to take a little off patients. You need to wait for each layer to dry. I don't usually use a blow dryer to dry off my paint on lesson until I'm in a hurry. Now I'm almost meeting the other end off the trees as the idea is very simple and clear to you. I can call, switched to time, lapse and finish the remaining off the trees as to hit the bottom. Finish it with a clean line. So we have our layer off mountains Really there. Now it's time to add the reflection on time taking my Princeton a light wash brush and using this brush, I'm gonna apply a clean, cold water at the bottom. Make sure you leave a gap along the top line when you're applying a coat of water. We don't want the water layer to touch that top line off mountains. If it touches this layer off mountain might spread into the water layer. We want a clean separation at this line. I'm going with the doctor tone off in Tico and using the shade. I'm gonna add the reflection. This is the same tone, but we used for the last layer off mountains on. I'm just dropping in some color onto the vet background. The background is already wet on. I'm just adding lines like these into the better background. In a similar way, I added about mountain layer This is a reflection of what you have about. So if you have a longer line there, the reflection also should be longer at the meeting. Point of reflection on the screen. Sleep a tiny white line like this. Now repeat the same process and finish the entire your line off reflection. So here we have shorter trees, so I'm just adding some shorter lines. Ask your bathroom. Does bet. You don't need to be worried at all. It will blend beautifully and create amusing reflection. If you're using a good quality of article of paper, the paper itself will absorb the water layer. But you have applied on it. Men are dry that quickly. That way you have a little more time to apply your reflection. Anyhow, the basic idea is to apply the reflection before the layer of water dries. It is because my background is still bet. My color is nicely spreading into that, but background on leaving a nice If I told my reflection, it's applying the same thing on a dry background, your lines will end up looking very sharp on it won't give you this effect. I have reached the other end at this portion might raise a little more taller, so I need to make my reflection off a little more longer. My background is starting to dry. I need to quickly finish this along the stop line. I'm just dropping in some more taco pains before the background tries so that everything will blend into the background to nicely. I don't need to put any extra afford. It will automatically blend into the background. Aunt, Here is the finished piece. Alvito, this to dry. Once this drives have allowed some boats on that, we will be done. All right, Here we are. Everything has completely dried. Now I'm gonna add some boards on to the sky. We had a detail section Collier on how to draw these boards. So if you have any doubt, please truffle back. I'm gonna quickly and some boards on. There you go. We have finished our fourth monochrome painting we just used in Deco. We played with different tonal values. Off into court. Finished the anti open thing. Let me remove the masking tape on Dhere is the final painting. I hope you all enjoyed painting this easy and quick landscape. We started with the snowy mountains, then be added different layers off mountains. And then the added a reflection that was sent 10. PERMANENT BROWN: here we are at the last painting off the monochrome cities on. I'm going to begin by applying and even goto water onto the entire paper. This one of the easiest and the prettiest one. I kept the best for the last. We'll be exploring the wet on wet technique in an interesting way in this painting. So we have applied and even called the water to the entire paper. Now I'm going to switch to my size number 12 round brush the shame that I'm using us permanent ground by art philosophy. It's a Courreges drowned. You can use bone, Xena or any other color off your choice. Now I'm gonna go with the first layer for our foggy forest. Go with the lighter tone off the shape that you're using on. Apply your pain in a similar way. You just need to draw lines on the top on that will blend into the background, leaving a pine tree sort of a shape. You can see the lines that I'm drawing here. It's nicely spreading into the background on their appearing like a tree. I'm using a sizable to around Rocio go the brush with soft minimum eight and size. If you go with the smaller size brush, your lines will be very 10 on. You won't get this effect. So it is because I'm using a bigger size brochure. My lines are spreading on leaving a shape off a tree at the end. Now, I'm just taking this pain down on blending that into the background. We don't need to do it to the entire paper just halfway through. You can stop it now. I'm going to the next off Brown. In this painting. You don't need to wait at all. We're going to apply the color directly onto the wet background, just like how we went in with the first layer in a similar way. I'm gonna apply the second tune off Brown. I'm taking a brush in a similar way, just adding some lines on the top. I'm making them at different heights. This will make my painting more interesting. Let go off all the field and go with 200% confidence. You just need to add these lines on the top of the biggest ice brush on as you come down. Just blend that change into the background. That's all what you have to do as the Bagram does. Read these lines you're adding will beautifully blend into the background. You don't need to put a lot of effort. Once you have applied these lines, take the pain to the bottom as we may need quite a lot of pain for each bushes. Make sure you have made enough of paint in advance. My Bagram has started to dry, so I am taking this layer of paint towards the bottom so that I can apply my next layer on top of this vet layer for this painting also were using the layering technique. The only difference here is that we're not waiting for the Bagram layer to dry. Glad directly applying the paint onto the background, so this painting will hardly take 10 minutes because we're not waiting for each layer to dry. You can see how nicely these colors have blended into the background, leaving Ah, foggy forest effect. Those lines, which I added, doesn't look like lines anymore. On that is a beauty off this painting because we added them on a vector background. Those lines spread into the background on the ended up looking roadless like a tree. Now I'm going third layer. The background is still wet. Now I'm going with the bit more talk little off woman and brown in the same way. How we added the other two layers I'm going. But the next all of brown on adding those lines. The Bagram does bet on Just have a closer look at these lines and applying cure. They're beautifully spreading into the background, leaving a misty forest effect. You could see what the doc Oh, don't know brown. I'm just adding some lines at different heights. Some of them are shorter, some of them are taller. So go the mix off different heights. When you play with different heights that will make your painting more realistic. That is why you need to play the different heights of trees when you're adding them. Let me quickly add more lines and finish this layer. Once you are done without. In those lines at the top, take more paint off the same tool on Philip, the remaining area at the bottom. I'm really loving this foggy effect we caught here. It's hardly five minutes since we started. Painting this onto the painting is looking so beautiful laundry. You could try the same with different colors. I try the same with Forest Green, but for some reason, my camera is not capturing the color properly. It came out really nice. Actually. My plan was to pay the same thing with Forest Green. But my camera messed it up. The color was looking through different from Riel. So I decided I'll go with Brown. Now I'm going to the dark layer off brown andan adding similar lying off trees at the bottom. Okay, Now, with this Darko tone around, I'm gonna add another line off trees at the bottom which is going to be of a last and final layer. You could see my background is right on time. Applying the paint onto the wet background are those lines. It is just that we're going with the Darko tone this time. The technique is the scene. You just need to add lines off different heights. Some can be shorter, some can be taller. So on to the left. And I started with hollow trees. Then I reduced the height as I came towards the center in a similar pattern. I will go but a mix off taller and charter trays and I will finish this bottom layer. It's a very simple technique, which doesn't require a lot of time, but he will get a beautiful result. You can see the transition off those four key layers. We started with a light layer on the top. Then we went in with the second tune. Then we've been with the total on. Now we are going with the fourth tone off brown. We're nearly done. I still can't get over this color. It's a gorgeous color. I wasn't a fan off Brown before, but I think this color has changed my mind. It's permanent brown by art philosophy. I think you all should keep the sculler try. It's beyond beautiful. Andare you go. We are done with the last painting off. Our monochrome cities shares a closer look off over misty pines. It's more often abstract. Motion didn't go with any details. We applied layers onto the wet background on. We created that depth using but on where technique. The painting hasn't completely dried over here. Give it to drive with any off your favorite shades. This painting is a great exercise to explore wet on wet technique 11. Thank you for joining me :): Thank you so much for joining my class. I hope you all had a great time painting with me. I have shared quite a lot of techniques and ideas in this class on how to approach a monochrome painting. Do give it a try with the off every cheat. That way you can understand the full potential off a single color. I just wanted to say it is not about getting the class project right that it's more about understanding the medium and the techniques that we used in this class. So do not worry. If you don't get to your paintings right on the first try, go for a second try and you will definitely do it better. If you are trying any painting from this class, don't forget to upload them in the class Project gallery. I would love to see them also, if you're uploading them onto Instagram, don't forget to talk me. My instagram handles Aurora by sea. If you find any difficulty or if you have any question, you can always start a conversation in the discussion section. I will be happy to help you. Thanks again for joining me. I'm ever grateful to each of you who always took my class and encouraged me with positive feedbacks, wishing you all agree to your ahead on, I will be back with much more interesting classes in the next year.