Sunrise & Sunset Landscapes - 15 Days Watercolor Challenge

1. Sunrise and Sunset - Introduction: Sunsets are proof that no matter what happens every day can end beautifully. I love watching sunset and sunrise. It makes me feel at peace. I just wish that the sun stays forever. Hi, I am Shanan Subhan an artist and an art educator based in Bangalore, India. Welcome to my Skillshare class on painting sunrise and sunset landscapes. Did you ever imagine how amazing it would be to capture the beauty of sunset through your paintings. and just paint your heart out. The feeling in itself brings utmost joy. In this class, we will be painting 15 different sunset paintings. The class is rightly paced so that you can paint one painting at a time for the next 15 days. I explain each and every step and, colors that goes into the painting. You don't have to worry about that. This class is just right for you to brush up your watercolor skills. I hope you're as excited as I am. So without any further delay, let's get started with the class. 2. Art Supplies Needed: Before we start, let us have a look at all the art supplies that I will be using in this class. However, you can go with any alternatives applies that is already available with you. Talking about the papers, I have Saunders, 300 GSM watercolor paper. It is cold press in texture, and a 100% cotton. Using a good quality paper which is a 100% Cotton and 300 GSM. It helps me achieving a better outcome as it remains wet for a longer duration and lets us work on layers of the painting. I would definitely recommend you to go with good quality paper. It could be from any brand. All right, moving on to colors. I'll be using this airtight palette. I have these basic colors over here. I have int from various brands like Mijello, mission, art philosophy, many other brands. You can go with any similar shades that you have. So these are all the basic shades. I'll be mentioning about the colors before I paint. For mixing the colors, we'll be using separate palette. This has several wells in this, so it is easier for me to mix the colors. Now let's talk about the brushes that I'll be using in this class. I'll be mainly using these four brushes. This is a mop brush, 3 fourth inch round mop brush by Daler Rowney. This has this huge belly and results. It helps me. Being the basic where two washes and to wet the surface of the paper. You can even go with a hotkey brush if you have. Next is this. Psi is 12 round brush. I use it for covering the larger areas. Next is size eight round brush. So these are for the mediums I use strokes. And it also has a pointed tip, which is ideal for a, a little bit of detailing. And then I have this size two round brush, which acts as a fine liner brush in my paintings. And lastly, I'll also keep a flat brush ready just in case if I need. You can go with any alternative brushes that you have. Some of the other supplies that I would need r. I will be using cardboard. Place the paper. I'm taping the paper on this. This is an essential tool. You can either place it on a clipboard or any hard surface. The paper on. I'm using this because I mostly the paper while painting. It helps me achieve certain results in the ending. Now, we would mean the masking tape for taping down the paper. I have this pencil. It is spray bought. These extra supplies. Then we would need, I'm Joseph water. Often in watercolors, the water gets dirty while painting. So it's good idea to have two jars of water. One to clean dirty brushes and other one, pick the clean water for the clean washes. Have two jars ready. Next I would need tissues and napkins or old rags because I use issues for lifting the paint. Cans or old rags are helpful to wipe off the extra paint or water of the brushes. If you need a damn brush, you're going to just wipe the brush. This will absorb all the water. You can do it with tissue also, but I do not want to waste a lot of it, so I just prefer having a napkin handy. The tissues are for watercolor techniques. Keep it handy during the process. Next is an air dryer for faster drying of paint. Drying time of the paints depend on the temperature of your area. If you live in a dry area, then though paints dry faster. But if it's a humid area, it dries very slow. You can have a blow dryer handy so that you can on bright fast and continue with the painting. You might have to wait for some time for the paint to dry and then come back to the painting. That is also fine. These are the supplies that I will use. You can use any alternatives applies that's already available. We do. 3. Before we begin...: This challenge is for everyone who wants to refine their watercolors skills and dive deeper into painting the beauty of sunset landscapes, Like I said earlier, we will be painting 15 different paintings one at a time. I'll be incorporating several techniques in this class. If you're a complete beginner, I would recommend you to go through my previous classes where I have explained the watercolor techniques and also included some practice sessions so that you get confident with medium. However, if you still wish to continue, you can join along and paint with me. I will be explaining each and every step as I paint. Before we begin this challenge, I really want you all to let go the fewer around this medium and allow yourself to experience the joy of watercolor painting. What happens is when you set the expectation before starting the painting, you are operating from for your mindset, which in turn, or blocks all the possibilities of the painting. Just learned golf, all those expectations and just be playful with the colors. Just explore, see all the possibilities. It okay if you fail, you can do it again. At least you will know where you went wrong. Just enjoy and have fun with the class. Let's get started. 4. Setting up the Paper: Let me show you how I set up my paper. Here. I have my paper cardboard and I'm asking, I am using one inch masking tape. You can go with any size of masking tape that you have. Down the paper. Here I'm applying a thicker border this time, almost like half inch of water to the painting. You can apply a thickness of your choice. Thin or thick, doesn't matter. Once you have tape down the paper on all the sides. Run your finger over the edges and the sides to make sure it is tightly sealed. Right? We are ready to paint now. 5. Day 1 - Sunset Through The Fields (Part 1): Welcome to day one of sunrise and sunset landscapes. Today we will learn to paint this gorgeous sunset view through the fields. This includes a very simple composition of fields. Some of the grass blades are sunlit due to the brights. Andres. So grab your supplies and let's get started. Here are the list of colors that you would need. I have also mentioned the alternate colors that you can use. Hunter. Dominant, yellow, orange, Payne's gray, opera pink, ultramarine blue, sienna, burnt umber. That's it. Let us begin. Our paintings. Have the horizon line. Market very gently. Apply clean water. I'm using my round Nemo brochure, which is 3 fourth inch granule brush in horizontal and vertical motion to make sure that the water is spread evenly and there are no puddles of water in the same area. Let's take size 12. You can go with any alternative size. Of course, I saw a low LOD. So these two are shades of yellow and I have stored them in the same battle. So do not get confused when I refer to the same. Well in the palette, I'm going to have the sun or I'll make this semicircular shape your. Next we will take our diluted yellow. I add more water to it. This is for the inner part, gradual blue in the sun. We'll apply this for the brown level as well. Let's take orange. Mix it with the deep. Apply on the altar area of this semicircle. Apply this in a single screw. Stopping the brushstroke in-between my create some blooms. Glen it with the background using clean water. I hope you have achieved this beautiful effect already. I think opera pink. Mix this opera pink in a medium consistency. Apply in the mid part of the painting. You can either use so crimson or rows motto as an alternate color. Mix. Ultramarine blue with the opera guy have here. This will create Euler chaired. Leave some white spaces in-between. Applied the same mix or the pink area. In screen. Apply this darker shade on. I'll put areas. This depicts the darker clouds in the sky. Next, I'll just glide my brush urine there to create these tiny brush strokes. Moving on, burnt sienna and mix it with orange. Apply on the lower part. Shouldn't get blended well with the yellow shade. It should have a sunlit APRN. The upper area here we will apply some permanent yellow deep. So this will create a nice sunlit effect. Next we will apply some more yellowish orange shade. On the pink areas of the sky. This will create some orange Santa Cruz in the upper part as well. Take a thinner brush, and we'll take ultramarine, sorry, which candidates, this burnt umber. Let's add some grass plates in the painting. I'll be using this darker brown mix to paint the grasses on sites of the painting frame. The belly of the brush to create this impression. Around the center area, we want a sunlit effect. Let's use orange for this circular area where we have white color. We will keep the colors minimal. I'm using wet on wet technique because this will be portrait as the blurry grasses, the detailed one we will paint in the next layer. Payne's gray and sprinkle the paint. Let me take some more paint. It will be easy for me to sprinkle, then we will let this dry. I'm using a blow dryer to dry the paint. Your you can either use blow dryer or let it dry naturally, it is totally up to you. Whichever way you want, you can go ahead with that. Paper has dried. Now, we will take a very diluted tone of burnt umber and Payne's gray. This is like a really dull color. Now let's add this diluted color as the stem of these grasses. Let me explain it to you guys. The grasses we've painted already are at a distance, and hence they are blurry. Out-of-focus. I'm adding these diluted colored stems because it wasn't possible to add those lines on a wet surface. I'm adding them know, on a dry surface, this is wet on dry technique. Now I'll add these tiny lines on the grasses you see here with the same diluted yellow, I'll add in some random lines to add a sense of depth in the distant bloody grasses. Remember the colors your should not be too dark as we are going to lose the blurriness of the gas. Distant grasses. Just dabbing my finger to spread the orange and mix it in a medium consistency. 6. Day1 - Sunset Through The Fields (Part 2): Now to give you a brief idea, can just mark it with up until it is a simple grass like shape. You can draw any shape that you want. These are going to be the foreground grasses. It will look something like this. Can you see this drawing? We are going to fill in that area. Some of the grass blades I will paint or my, my brush itself. I'll also take some aloe leaf. For the sunlit area here. Use value of this color. We will first paint with a yellow shirt because that is the sunlit area. We will later gradually add the darker colors. Keep this yellow color a little watery inconsistency. And that will create a transparent effect. Just dab your brush. My brush is you can use any similar sizes. For the site. I'll use orange sheet. When it reaches this part, we will add in studio. Next, we need to bring a gradual transition from yellow to orange and then to brown. Mix orange and brown to create that transition. Now we will apply this orange shade on the upper and lower part of this grass. You need not paint the exact same thing here. Your glasses would have their own shape and sizes. Now let's add some more darker shared with brown color. These darker colors to the rest of the glasses here, and hence is the beauty of the sunlit part. It adds a sense of contrast to the painting. The brushstrokes are very loose and random. I'm not following any strict pattern as such. So you need to make sure that you are creating a nice gradients between this brown and yellow. You can add some orange in-between. The grasses that are on the sides of the painting named not have the sunlight effect. Only for the ones that are in the same area will have satellite effort. No, I didn't summed up Bogota authors here on the upper part. Not paint these grasses in a symmetric manner. Let it be a little wonky. And after symmetry. That's one way to add inorganic shapes in the glasses. If you'll notice, I do not have a symmetrical pattern. It's all in different direction. All different sizes raid. You do have to do the same thing in order to achieve the organic looking grasses. Next we will take or burnt umber and Payne's gray. This will create a very darker brown mix. You can also take CPR if you weren't already made. We will add the darker shadows in the grass is known. Again, add another layer of paint. Now if we have overlapping grass blades, it will add a sense of depth. And I mentioned in the grasses. Next I'll take a diluted version of orangeish brown. And I'm going to apply it on the grasses near the sunlit area. This will act as the shadows of the sunlit part. Next I'm adding in some more grasses here. Next, stylistic splattered of beams on the lower half of the paper. This is a very nice muted tone, so you can apply it over the sunlit area as well. Next, we will take darker brown shade. Since this is a darker in color, if we do not want this area to be affected by this cell, cover those with a paper on the sunlit part. Least black dirt on the lower area. Flattering helps us achieve a sense of texture. Again on the corner. The side of the painting. Resolving the same bird sunlit area. Just wiping of all the paints that's outside the painting area. That is it with this painting. Let us remove the masking tape. Okay, So this is how the painting looks like. Beautiful late. Hope you enjoyed and had a fun learning session with me today. Feel free to reach out to me in case of any doubt. Please share your class project and the project's gallery. I'll see you in the DTU of the challenge. Until then, bye bye. 7. Day 2 - Sunset & Temple Silhouettes (Part 1): Hello and welcome back to day two of the challenge, sunrise and sunset landscapes. David will learn to paint this gorgeous sunset will house the lower parts of the temporal structure. Rich and some trees. In the foreground we have free flowing water stream, which reflects the color of the sky. It's a very simple painting. Let's get started. Alright, though paper is masked. Now we will start the painting. Some video, we will have the horizon line. Next we will draw or temple-like structure with curved roof, giving a hint of definite architecture. Next to this we will draw an adult building, maybe a tower. You can just follow along and draw the similar composition. We have green foliage on the left side of the painting. Adding some smaller buildings around this area. Adding in some filler elements as well. And then connecting it to a bridge towards the right. The bridge has the offenses. These are basically the silhouette. So we need not focus on the detailing part. On the light edge, we will add a tree foliage. Towards the foreground. We will have a stream of water. Let's draw some zigzaggy lines. This water is reflected by this guy colors. So this will be painted separately. These are partly so most drugs in the water. We will leave it and move on to the painting part. Let's keep the supplies ready. Size 12, round brush and clean water. Load your brush with clean water and make a circular outline. Gba, innermost part, dry. Apply clean water only on the outside. Now let's mix the colors. I'll be using hansa yellow, and now they consider a low, medium consistency will make this color mix and apply around the circular area. Leave a bit of space around that. So cool. I love the paint to flow on its own. This creates a soft APRNs and avoid having a sharp edged effect. This was like a partial wet on wet technique. Now tape permanent yellow deep color apply around this hansa. Yellow. Permanent L0 is a bit darker, yellow. If you do not have this color, then you can mix a bit of orange to yellow. You'll see we have a nice gradients in the sky, starting from white to yellow, and then it ends in a darker yellow. The sun looks very bright and white. We will apply the same color on the water stream as well. This is the reflection of sky on water. Now we will take some orange Apply over here. Also a bit of burnt sienna. To perform this step, your paper needs to be damp or a little weird. You might end up getting patchy effect. Clean your brush, wipe off all the water. Spread this orangeish brown with loose sheets. Here it is good to have a larger round brush so that it is easier to blend. Moving on, I'll apply the same mix on the reflection part in the water stream. Gently apply some horizontal strokes creating ripple effect. I weren't keeping this area flat. Have some variation with different tonal values. Next we will paint the water body, which is on the other side of the bridge. I'll go with a diluted yellow. This helps me create a separation between the sky and the water. Right? So we will allow the paint to dry. I'm using a blow dryer to speed up the drying process. Alright, the paper has dried. Next I'm going to use a golden watercolor Shema. Apply this for the water body. Because when the sun reflects on the water, we see a kind of sheen shimmery effect. I'm going to create that. However, this is an optional step. You can go ahead with this or skip it if you want. Totally up to you. I will apply this mix onto the order area. Also on the foreground. Water stream Applies some simple horizontal brushstrokes. If we reload the painting at a certain angle, we can see the shimmery effect of the paint. 8. Day 2 - Sunset & Temple Silhouettes (Part 2): Next I'm going to need black. I'll be using the paint directly from the tube. Know if you do not have black, what the new probability? Cpi and Payne's gray or burnt umber and Payne's gray. You can even mix your own shade. Since we are painting the silhouettes and darker area. So we would need or a lot of black color. I'm mixing the paints that I don't run out of colors in-between. Now we will apply this black mix on the inner area. Do not paint the details now, we will be adding them using a fine brush. Now I'll switch to my size eight brush here and I'm just carefully applying the paint. Apply the details. Know. I'm trying to achieve a zigzaggy pattern in the water stream. I'm adding some tiny rocks, stones, structure. I'm going to slide my brush to create this kind of external effect. This technique is called dry brush technique, where we use a dry brush to achieve a certain texture. I had some partly so most drugs here, I didn't rocks of different sizes and gives no organic APRNs to the water stream. Just dab your brush and create this impression of tiny rocks. The opening thing need not be exactly same as mine. Now, I'm filling in the lighter areas here. Now let's paint the upper part of the silhouette. I will start with the bridge. Fully apply the paint. Next, I loosely paint the tree silhouette. No, I'm filling in the color for the temporal structure here. Use a fine liner brush if needed. Next, we're painting this tree on the left side of the brain. We will first feel the inner space. For the outer area. We will add these tiny shapes, such as the leaves off the trees. Next I'll paint this Gabi roof of the temple. Leave it empty space on the ballpark. For the B failure. Using my size two round brush. Small dome-like structure, painting the peak of the building by adding some simple straight lines. Going back to the stream area, I'm adding some tiny rocks, adding in some texture by applying some loose brush strokes. This will create a sense of noise in the stream. Makes it a pure narrow destined. Now it's time to be in some free flying birds in the sky. You can paint as many boards as you want. Lastly, I'll paint some tiny tweaks popping out of the three silhouettes. I had some tiny dots near the bridge area to depict some tiny grasses. Alright, so we are done with this painting. Now let us remove the masking tape. There you go. This is how the painting looks. Once we remove the masking tape. Just beautiful, right? I hope you are painting has turned out the same. Negotiate your class project with me are under the projects gallery. I would love to see your class works. All right, then I'll see you tomorrow in day three of this class. Until then, bye bye. 9. Day 3 - Sunrise and Bougainvilleas (Part 1): Hello and welcome back to day three of the challenge. Today we will learn to paint this serine Sandra is views by the lakeside. The bottom part of the foreground, we have green succulents. And at the top part there are Bogan video vines hanging from the top. It's a beautiful composition. Let's get started with a painting. Here are the colors required. Hansa, yellow, orange, blue, burnt umber. Payne's gray, green, rose madder. Permanent yellow deep. That's it. Let's sketch the composition. Mark the horizon line first about this area is the sky and below is the lake water. Then we will draw the distant mountains. That will be layer of mountains. These mountains are far from the viewpoint. They appear smaller in size. Rest of the elements we shall add as we paint. All right, so let's get started with the painting. Apply clean water throughout the surface. I'm using my mop brush of three-fourths inch plywood or throughout the surface. We will be performing wet on wet technique. Applying wet paint on the wet surface helps the color flow very easily and create these soft effect. Now let's mix the colors first, yellow and mix it in medium consistency. Then we'll take orange and mix it in medium consistency. Again. We have these two colors already in the palette. I'm using my size 12 round brush. Now take L0 and apply it in a circular motion about the horizon line. We are leaving this blank circular space in the center. And this depicts the sun. The paint spread well on the wet surface, leaving a softer effect. If you notice I'm applying a low or linear the horizon area. The upper area is still white. Next we will repeat the same thing for the reflection part, create the same effect. The blank circle looks a bit smaller. So I'll use another technique for fixed this, which is the lifting technique. I use this special paper to lift the paint that I have applied. In order to attain circular shape. We will try to keep both the actual sun and the reflection of the same size. Next, I'm applying a low color on the lower part as well. This being the reflection, your shirt, how a similar APRNs as that of the sky. Next we will apply orange around this area. This is called layering technique, where we apply paint to create depth in the painting. The paints randomly to create orange use often rise. Sunrises are usually refreshing, so we will avoid darker colors. Moving on, we will paint the upper part, so apply clean water to blend this Andres use also to make sure that the upper part is still wet. Repeat the same on the lower part as well. Next, we will take surrealism blue and mix it in medium consistency, meaning equal parts of water and paint. Mix and start applying from the top. And as we move downwards, we will try to achieve a gradient effect. As you can see, I did not want to mix the yellow and blue cause it would have resulted in a greenish shade. To avoid mixing up of paint, I kept a layer of lighter blue in-between, which is almost like white. This is basically creating a gradient. You'll see veins getting mixed up. You can use a damp brush to lift all the beams. Alright, so we will allow the paint to dry. We are drying the paint here because we need to dry layer to paint the next elements in the painting. This is the base layer. Alright, the colors have dried. Now let us move on to paint the further elements of the painting. First, let's mix the colors for the same. I'll use burnt umber and orange. Let's take orange Your, we will be creating a sunlit effect on the area closer to the sun. Apply darker shared on the other side. So you'll see how it adds a sense of dimension to the mountain. This is bond amber that I'm using here. I'll quickly let this layer dry because I do not want the two layers will get mixed up. So I'm allowing this to dry. Your paper takes longer to dry. Then you can pause the video and wait for the paper to completely dry. 10. Day 3 - Sunrise and Bougainvilleas (Part 2): Okay, So this is tray. Next we will paint the preceding mountains. First, apply orange on the upper part of the mountain range. Once we have this, then we will add the brown shirts. Blend the two colors together. It shouldn't look like two different colors. We should have a gradual transition between the brown and orange shade. We will apply another layer of Albert darker brown. You can take concentrated, burnt umber, bit of Payne's gray to it. According to me, for any element to appear organic and natural, it needs to have right, contrasting values. So here we are adding darker value. So it stands out and creates an appealing look in the painting. Right now to create separation between the two mountain range, I'll add a darker shade on the previous one. You can see the difference, right? A bit darker shade. Who the mountain in the front? I didn't outline on the mountain peaks. I have applied this darker paint, but it looks very sharp, right? To soften that, I'll take a clean brush. Remember not to take too much water in the brush. Just right amount of water and run it along the line that we have painted. This helps to soften the sharp edges. That is it for the lake. Now let us move on to paint the foreground elements. Let us paint the bougainvillea vines. Hanging from the top. You'll see these wines are routed somewhere outside the frame. So we can only see the winds your. Now with the help of a pencil, I will gently mark some curved lines. You can go with any shapes, no strict shape as such to follow. Alright, so I'll mix the colors required to paint the Bogan video binds. First, I'll take sap green and mix it with one number. Why mixing it with one term? Because we want a natural looking in green color. Using sap green alone look very vibrant and the unnatural. I'm muting down the vibrancy of the green color by adding a bit of brown to it. Alright, let's print the bougainvillea leaves first. Just dab the brush at random angles. You need not create perfect shape of leaves. Ignore paints in medium consistency. Let it have a bit of transparency to it. Here we have our first Bogan, really a wine. Let's paint another wine now. You can draw a line for the reference and then add the leaves if you want. I avoid having symmetry in the Lias you paint because symmetrical looks very artificial though. So try to have a little. Randomness. We will add few more lines on the top. Adding some filler leaves at the top part. Just stopped, just dab the tip of the brush and let it form its own shape and size. You all wines could have its own shape and size. It need not be same as mine, like I always say. Alright, so we have the leaf spot. Now, let us mix the colors for the flowers. I'm going to use. Rosemary. Really, I could be off any color. You can go with. Orange or white, or any other color of your choice. It's totally up to you. I have this rose madder mix in medium consistency. I'll start adding the flowers from bottom to top. Applies smaller shapes, something like a triangular shape. You just have to dab your brush. The shape will be formed on its own. Moving millions are usually found in bunches. We're just going to adapt the paints and electric a PR like bunches. Here. I am nowhere intending to paint them in a realistic way. That's not the approach I did for paintings. I usually prefer a loose and semi realistic style of painting. The flowers and the random places in and around the leaves. Next really big concentrated Rosemary and applied on the petals that we have painted. It is red, so it creates a nice graded effect. Also looping them on the upper part as well. This is the first layer. We are done with the first layer of the bougainvillea he used. Now let us allow it to dry. 11. Day 3 - Sunrise and Bougainvilleas (Part 3): All right, the paper looks dry. Now we shall add another layer to add a sense of depth and our 3D look to the bougainvillea wind. I'm going to mix a darker green color, probably by taking sap green bond, tambor, and a tiny bit of Payne's gray. I have a very dark green mix. I'm going to partly apply it on the leaves. Creates a mix of both light and dark colors and also enhances the essence of the wind. It basically acts as the shadows on the leaves captured by itself. Can add these tiny tweaks using a fine liner brush. I didn't darker colors on the stems as well as on the leaves. Then I'm adding some tiny leaves on the Greeks that I have been told earlier. Next we will repeat the same process for the flowers. I'm going to mix a darker pink shade. I will be adding Payne's gray to the pink color I have. You can even add or black or sepia. This gives me a maroon niche, are a plum like shared. Not sure what the shade is, caldo, but you can mix a similar shade. Anyway. Let's apply this mix partly on the flowers to do you already see the flowers getting a sense of depth. It's APRNs. That's how important is the shadow part in the paintings. Adding darker and lighter colors to the painting gives a three-dimensional look, overall, appearance for the rest of the flowers as well. So we are done painting the wind. Moving on. Let's paint the foreground element. I'm going to paint some simple, spiky succulent, not any specific kind word agentic, one, sap green plus permanent yellow. A bit of burnt umber. This gives o warm green color. This mix, I'm painting some curvy shaped, succulent. Start with the tip of the brush and slowly apply pressure to get thicker strokes. It's okay if you did not achieve or dried. First, dR. Dy, again, you'll get it right. Avoid painting same shapes and angles. How a mix of different shapes and sizes. Because that's equally important to look organic. Something of the topic your I recall my school days where I would paint a lot of these shapes. It was my favorite kind to paint in my drawing books using post-hoc colors. I love painting this overlapping shops way back to the painting. Keep adding as many overlapping shapes you want. Once we are done with this, we will add the shadow part. Let's take darker green color. I'll be mixing sap green plus and burnt umber to make a darker shade. Apply on one of the sides of these succulents. It acts as the darker sides and enhances dimension and adds depth to the saccular and succulents are fleshy and went in foreground. It demands these details. I had some tiny lines depicting some tiny stems. We will add some wild grasses in-between. Next, we will go ahead and add some more darker shade, mixed sap green plus burnt umber, then a bit of paint gray or black. This time it's the darkest green shade. Apply this on the sides of the leaves. Them, on all of the leaves. We have a right balance of contrast. We will add more of this darker green in the bottom part. All right, that is it for the succulent. Now let's add some birds in the sky. I'm using darker shade yo as many boards as you want. For the sunlit effect in the boards, I lose orangeish brown. Using this orangeish brown creates a sunlit effect in the flying birds. In case you have applied darker colors, then you can just dab your tissue and lift off the excess paint. Now for the reflection of boats in the water, we will add some simple lines, just giving a touch off the reflection, not create exact team ship. That's about it. We are done with the painting. Let us remove the masking tape and reveal the final look. There you go. Here is our sunrise painting when bobbin really are and the succulents in the foreground. I hope you enjoyed watching and had a fun learning session with me. I'll see you tomorrow in the day four of the challenge. Until then, bye-bye. 12. Day 4 - Sunset and Tree Silhouettes: Welcome to day four of the challenge, sunrise and sunset landscapes. In today's session, we will learn to paint this sunset sky and the silhouette. So let us have a look at the colors that are required for the class. Scarlet red, crimson, Payne's gray and indigo, black, orange, Hansa yellow, or any other ILO and burnt umber. Let's get started with the painting. I'm not going to draw anything here. Just straight away. Get into the painting. I'm applying water with my mop brush. You can use any similar brush. Apply genders amount of water throughout the paper in it to make sure there are no extra pool or puddles of water. So just let it flow. This is perfect. I'm going to take my size two, round brush, go scarlet, red. A bit of crimson. Mixing the colors before hand makes the process much easier and smoother. Next, I'm going to mix paints gray. This red mix. I apply the paint in thicker consistency. We are applying wet paint on a wet surface, so it is called wet on wet technique. Next, we will apply Clemson alone. Blend these two colors together by running your brush in to and fro motion. We'll apply paint scraped on the upper part. Blend crimson and paints gray. Next we would need or tissue paper. I'm using this to lift the colors from the paper in order to suggest the sun in the painting. We have achieved or so glad shape. We will later fill in the yellow color in this space. Right on the pink area. Also on the upper part of the sky. In some Payne's gray. On the lower part. This adds a sense of dramatic effect to the sky. Mixture very thick indigo apply on the upper part of the sky, which is on the Payne's gray area. Applying some tiny brush strokes in the lower right area. So here I am using a size two round brush. The size of my brushstrokes are thicker. If you're using a thinner brush, then it depends on that. Stake, some concentrated Payne's gray and apply on the upper part of the sky. I didn't multiple layers your creates a sense of depth. Here I go, clean brush. I'll go with my size two. And now I'm going to apply this yellow color inside the blank circular space. This clearly depicts the bright yellow sun. We will allow this to dry. The paper has dried. Next we will paint the silhouettes. For that. I'll be mixing black color in thicker consistency. If you denote have black color, then you can make spin scrape plus CPR, one number that will give us similar shade. I'm going to apply the paint starting from the lower part. Here. Our initial intention is to, just to fill in this blank space. We will later add the details using the data below brushes. For now, just apply the paint and Willendorf area with black color. Style switch to my size eight. We're going to create the tree silhouette. Just try to create the impression of Greece by dabbing the brush. Your DRI need not be affect. Our theme as mine. In mine is not perfect here. You can leave some tiny spaces like this. Be mindful of pressure you apply on the brush. Because the pressure, besides the size of the brush strokes. Now let's paint some loose foliage here. Leaving some spaces in-between creates an organic looking silhouette. You can look up on internet and find some references if you want. Next, we have an interesting shape of a blind or a shrub. I'm going to paint its leaves. Just loosely apply the news and avoid having a symmetry that's not required. Next, I'll use my size two round brush for fine lines. Using a thicker brush or make it look like giant tree. So I wanted it to have a very tiny stem. This fine liner brush on random area to create an impression of some leaves and filler element. Then we will add some tiny stems and all the weeks at this ADL absorb how tiny these lines are. Just applying mild pressure to create such strokes. Now, on the right side, we will add some smaller leafy shapes. In the center we have sun. So we will just orange. A number, a little bit of crimson because this whole team is red in color. I apply this orangeish mix. It creates a lovely sunlit effect. Then we will add this same mix on couple of other leaves as well. To enhance the sunlit effect, we are going to add some darker shade on the top and bottom part of the plant. Then I lied somewhere tree branches. Lastly, we will add some free flying birds in the sky. Again using black color for this. You can try to harness unlit effect in the board says We'll keep it simple, black in color. Okay, So we're done with the painting. Let's remove the masking tape. This was a really simple painting. I hope you enjoyed it and had a fun learning session today. Let's just take a minute to admire this beauty. Isn't this gorgeous? I am really looking forward to see your class projects. Do share them under Projects gallery. I'll see you tomorrow in the next chapter of this challenge. Bye bye. Happy painting. 13. Day 5 - A Pink Sunset (Part1): Hello and welcome back to the five of the challenge, sunrise and sunset landscapes. Today we will paint this sunset painting with soft and beautiful sky and water stream in the foreground surrounded by green grassy land. There are some trees in the distance, as well as in the foreground area. Yeah, that's all about the painting. Let's have a look at the colors needed. We would need Rose, Maddow, or any other pink color, fulminant. Payne's gray, umbo, sap green. That is it. Let's get started with the class. I don't need any drawing or marketing the composition, we will start the painting directly. Paper is already taped on a hard board. I want you all to keep the paper on some hard surface and not on your table or desk because I'd be doing some breathing exercises in today's painting. So pause the video if needed. All right, let's get started. I'm going to wet the paper using clean water to perform wet on wet technique. I'm using my 3 fourth inch mop brush to apply water. As you can see, it covers a larger area. So it is easier for me to apply water. Be sure that there is no extra water on the paper. Now, let's mix the color. I'm going to take Rosemary doping, mix it in a thicker consistency. This color is similar to Clemson. Any bank. We have the alert and thicker consistency. Now before we begin, we need to make sure that the paper is wet enough. Just check before you apply the paint. Paper should be wet. My paper is wet enough. We will go ahead and apply this pink mix. I'll apply the paint fully in the lower part I have applied here. And then when it comes to the upper part, I'll be applying some diagonals strokes, leaving some blank areas in-between the paper and allow the colors to flow in its own direction. Some water if needed to keep the colors flowing. You can see how the colors are flowing on their own and creating these soft galoshes overlap some concentrating rose madder. Next we will be using Payne's gray. Payne's gray, and apply the darker colors in the sky. Apply some diagonal strokes. You can even go with the indigo or any darker color. Next I'm going to apply permanent and low. Since the paper is already wet. So if we take diluted paints, then it is going to create a very light wash. So you need to make sure the audio is thicker paint. I'm mostly tilting the paper towards the left side. Keep the board tilted for some time. Let the colors from its own chip. And wipe off all the extra paint on the masking tape. Next, with the help of a tissue, I'm going to lift a pain somewhere in the center. Wrap a thick layer of tissue around your thumb or finger and then dab it on the paper. This will lift off all the paint. This is going to suggest the sun in the painting. I'm so sorry that the view is getting blocked. But I hope you are getting the point. The aim here is to live the paints in circular shape. There you go. We have achieved that circular shape depicting the sun in the painting. Moving on, we will mix the colors for the ground elements. Let's mix a darker green color. I'm going to take Payne's gray plus sap, green plus burnt umber. We will mix these three colors in a thicker consistency. You can use colors of your choice, but the end result should be very darker green in color. Note that the paper is 50 to 60% damp. The paint consistency is thicker. So we'll take this darker green mix and apply the mix in horizontal brushstrokes, follow along and apply the similar strokes. This is to suggest that green grassy area. We will leave some zigzaggy space for the stream and then apply the green color on the left side. Now we have a green grassy area on either side of the stream. Apply another layer of darker green paint. Next we will apply some bushy trees on this damp area. Again, use thicker paint. If you're applying water the paint, then you will get bigger blooms in the painting. So avoid doing that. Though. Thick paint spread very nicely. We have some trees painted. We will add a trunk later on once the paper dries. Going back to the sun, I'll use a damp brush to soften the heart edges here are the colors will blend with the dampness of the brush, leaving behind us off though APRNs in the sun. Next, let us give some depth to the water stream. So take a clean brush. It should be damp, wipe off all the water. Now I'm going to lift the paint. I'm Gil defined shape first. You'll see we have this white spaces right there. We will add some pink color, which is Rose motto. This gives a sense of depth and definition to the water stream. All right, let's allow it to dry now. 14. Day 5 - A Pink Sunset (Part 2): All right, though veins have bright. Now let's take burnt umber or you can take any brown color. With this brown color, I'm going to paint the tree trunks, the distant area. Use a pointed tip, fine liner brush to paint the branches and parts of the tree. I'll also paint some bare trees. You can also add some simple straight lines to depict though street tree trunks. This looks fine. Let's move on to the grassy area. Now with the darker green color we have, we will add some lines, adding some definition to the grasses. In the middle ground area, we will add some medium tiny strokes. Apply the brushstrokes irregularly. Not trying to achieve any uniform look TO this randomly apply some lines. Near the foreground. We shall paint some taller grasses. Because it is closer to the viewpoint. We can see the details and it appears larger as well. When we paint the distinct grasses, it doesn't have to be detailed ones. I apply the paint randomly and you can even slide your brush and create some brushstrokes that will also do. Moving on. We will add some foliage on the trees. So this adds a sense of depth in the trees as well. Ab your finger to smudge the paint. Add some tiny lines near the horizon. Adding some more grass blades in the foreground area. Here, we have painted the trees, but we need to add the shadows as I'm adding some darker Payne's gray and merging it again using my finger. Now let's paint the world's first. I'll use a diluted payne's gray to mount board shapes. I'm painting them in different sizes. Adding some tiny dots as well to depict the distinct birds. Darker color on the same shapes. So we have the boards, your painting boards is an optional step. You can choose to add or skip it. It's totally up to you. Here. I'm adding a darker color on the distinct tree. Lastly, we will paint the foreground. This mercury will have no foliage in it. Okay, so I'm going to use a size two round brush for painting the finer details. This is a very tiny tree with the thinner ranches. I'll paint the branches irregularly at all different angles. Branches are spread in various directions. We will add some tiny tweaks at the outer ends of the branches. You can paint some foliage if you want. But I would prefer keeping it bear to enhance the beauty of the background sky light. So we are done with the painting. Let us gently remove the masking tape and reveal the final look of the beam. In. There you go. This is the beautiful painting with a soft sunsets guy. I hope you enjoyed today's session. Bouchard, your class projects, and feel free to ask your doubts regarding this challenge. I would be happy to assist you all. Thank you. Bye bye. And I'll see you tomorrow. 15. Day 6 - Sunset and Drama of the clouds: Hello and welcome to the sixth of the challenge, sunrise and sunset landscapes. Today we will learn to paint a cloudy sky. The sun light is being reflected on the clouds from some other site, so we can see the clouds very late. Now let's talk about the colors needed. We would need Naples, Yellow, Hansa, yellow paints, gray, and black. That is it. Let's get started with the painting. I have aimed down the paper using masking tape. Lot be sketching anything today. Let's actually begin painting by applying clean water. I'm using a small brush to cover the area with water. This is to perform wet on wet technique. Let's mix the colors needed. We will be using three shades of yellow. One is Naples, yellow, and the other one is a lot of good. And then we will make so hansa yellow. We're mixing all of these colors in medium consistency. If we consider the final painting as reference image, we will be using all the three shirts for painting the clouds here. Again, that is no particular shape as such. Then don't end up adding lots of potatoes. Some white spaces in-between. Moving on, we will use another shade of yellow, which is a yellow ocher. We are doing it in the lower half of the paper and keeping the upper part for the darker colors. Now let us add Hansa yellow. Until now, we have only used the shades of yellow representing the sunset. On we will be painting the clouds with insecurity, which depicts the soap performing wet on wet colors to spread well. And we will also get soft background washes. I'm allowing the colors to overlap. It adds a sense of depth and gives a feeling that there are multiple layers of clouds in the sky. We are trying to fill up the empty white areas, but not completely. Notice the brush movement. It is not flat. Next, I'm applying the paint on the upper area. This will depict the darker colors in the sky. I'm applying concentrated Payne's gray on the upper part. The upper areas, we are applying darker colors. Using flat wash. It's we will be revisiting later. The area where it touches the low part. We are creating the shape of the clot. Also mixing a bit of black for enhanced contrast. As you can see, that it is a plane area here. So we're getting rid of that by adding darker clouds. Overall idea here is to achieve the shape of the clouds in the sky. In your painting, you might have flat surfaces. Or different areas. Cover them up with patches of clouds. I'm adding darker shade wherever I feel it is missing. I remember some of the beautiful sunset spent at the beaches. Horizon was lit with bright colors. But at the same time they were darker clouds right above my head. I feel there could be darker clouds in the sky. So I'm adding them up at random areas. Moving on, we will add some tiny darker clouds in the lower area. You just have to use concentrated paint over the existing paint we applied. Next with the help of a damp brush, I'm going to lift the paint from the upper part, creating a sense of depth in the darker plots. We can do that on the lower area as well. If you see any sharp edges, lift the paint, give them a soft touch. I still feel that should have been more darker clouds around here. I know I'm going back and forth adding and removing the colors. That is because with the expedience, I know that once it dries, it is going to appear flat. Paper you use might be different. So check further deafness. Then apply the colors. It has dried. You can stop adding the colors. Only if the paper is damp enough, then you'll get the right effect. So we will let it dry. I'm using a blow dryer to speed up the drying process. Write a paper looks and dry. Now, let's take black and mix it in thicker consistency. We will be using this black to add the silhouettes in the painting. Now let's apply the background for the syllabus. I'll be adding some palm trees. You need not paint the exact same silhouette. Be adding an electric wire parsing along this horizon line. Then we will add some foliage in the lower part. Just nap no poster brush to create the foliage effect. Lastly, we will add some free flying birds in the sky. I'm painting a lot of birds. Yeah, we are done with the painting. Now, let us remove the masking tape. I hope you had fun learning session per day, negotiate your class projects with me under the projects gallery. I'm really looking forward to see your class projects. This is how the painting looks. I'll see you tomorrow in the next class. Until then, bye bye. 16. Day 7 - Vibrant Winter Sunset: Hello and welcome back to day seven of the challenge, sunrise and sunset landscapes. In today's session, we will learn to paint a winter sun set landscape with a very vibrant sky. The pelvis that we would need. More lead paint, gray, black, burnt, umber, orange. Let's get started with the painting. I have master paper on board and not directly on the table. That is because we will be building the board to allow the colors to flow in different direction. Alright, let's apply clean water throughout the paper to perform wet on wet. Here I'm using my default inch mop brush to spread the water throughout the paper. Sir, apply horizontal and vertical brushstrokes to make sure it is evenly distributed. Wipe off all the water particles from the sites around the masking tape because we do not want any backgrounds. While we tilt the paper. We will apply water only within this area. Now let's take our palette and rush for mixing the colors. First, I'll be mixing violet in medium consistency. Next I'll take opera pink, mixing it in medium consistency again. The next color is orange. So before applying paint, I'm going to just check if the paper is still wet. I have these three colors ready in my palette. The clipboard in a tilted position. I'll start with the wireless mics on the upper area. Now I'm applying some opera pink. This is going to depict the bright and vibrant colors in the sky. Keeping the board helps him achieving a natural flow and transparency in the colors, which in turn will result in a soft and effortless looking sky. Next, I'm going to apply some centered use near the horizon. I'm going with orange, the board and play around with the colors. I'm building the board in different direction. I'm going to apply another coat off wallet and opera pink to create an illusion of depth in this guy. Let the paint dry run on its own. You cannot control the outcome when you allow the pins to do its thing. That's the beauty of watercolors. I drink some orange juice as well. Now in the lower half near the horizon, we will add some yellow, suggesting the sunset use pattern. Your end result might look completely different from mine based on the way you tilt or rotate your cardboard. Now take a piece of tissue and dab it on the paper in a circular shape. This is to suggest the sun in the painting. This is a really effective way to paint the sun. Make sure you're doing it while the paper is still damp or wet. The paper has dried, then you won't be able to lift off the paints from the people. Moving on. We will take Payne's gray in thicker consistency. Now on the same wet surface, we will apply this pain, suggesting though background distant treeline. Makes sure that the paper is still wet. This is going to represent the blurry trees. Hence, I'm going with wet on wet technique. Wet on wet creates soft backgrounds. It is ideal to achieve the background effect. Next we will take black and apply along the horizon line. This is to GW or darker effort on a tree line. With the help of this black color, I'll be painting the tree shapes. This will act as the blurry trees in the distance area. This is going to appear much lighter and blurrier. Once it dries. No blank white space in the foreground, it'll be represented as this node. Does no need some dimensions. I'm applying diluted paints gray. The big steam. Adding this diluted color has given a sense of separation and a layered appearance in the snow. Since we have a sunset in the horizon, we need to reflect some sunlight on the snow as well. Let's apply some it a low share diluted because we want the background white that we've seen through this layer. Because watercolors are transparent, right? Alright, so we will allow the paints to dry. I'm using a blow dryer to speed up the rate. No panes have dried now. As we can see, the wet on wet has served its purpose. We have achieved the blurry background because of the wet on wet technique. Moving on, let's paint the foreground element. I'm going to mix burnt umber and black booklet or darker brown color. I'll also makes a diluted version of the same color. I'll start painting a tree using this diluted shade blender tree trunk with the ground level, that is the snow. Adding in some branches, right? We have the tree skeleton ready, which is this burglary. If you want, you can keep this as it is. You can follow along and add some foliage on this tree. I'm dabbing off the brush to create the impression of leaves. Just a diluted ONE often born number plus black. Paints have to be very diluted. Again, no strict shape or pattern or such. Once we are done with this diluted tone, we will leave a hint of darker color on some of the foliage, allowing it to match with the diluted colors. Alright, so we're done with this tree. Ring on. Let's add some grasses. I'm adding in some tiny strokes suggesting these grasses. Then with the diluted brown shade, I'll be adding some strokes randomly on the snow. This creates a sense of dimension in the snow. Now with the help of a clean brush, we will soften these lines. Lastly, we will add some birds in the sky. Use a smaller brush to paint the fine lines. These words are away from the viewpoint, so they appear smaller and lighter in color. Boards that are darker in color are closer to the viewpoint. I felt the need to add some more tiny tweaks and some branches in the tree. I'm going to add them using my fine liner brush. Also adding in some darker shadow on the tree trunk. Adding some tiny tweaks on the outer end of the foliage will make it look more organic. These details like shadows, and I need weeks and only be added once all the colors dry. We cannot add the details when the colors are wet. Alright, so we are done with this painting. Now let us remove the masking tape and reveal its final look. There you go. This is how our painting looks. Beautiful. I hope you enjoyed this class and had fun learning session today. I'm really looking forward to see your class projects. Share them on the projects gallery. 17. Day 8 - Sunrise and the Lake: Hello and welcome back to the challenge, sunrise and sunset landscapes. In today's session, we will learn to paint the sunrise and or late painting. The colors that you would need a minute. Ultramarine blue. Payne's gray. Let's get started. As always though, paper is taped on a board. And with the pencil, I'm going to mark the horizon line. Somewhere in the center. Below the horizon line, we have a water body. Now let us apply clean water above the horizon line. This is going to be wet on wet for the sky. Next I'm going to take permanent yellow. This is a slight darker yellow mix, the color in thicker consistency. We are going to apply this thick mix right above the horizon line. Dragging the same paints upwards to create a graded effect. This is because I do not want Apache yellow stripe in the sky. So trying to create a transition. Next, I have ultramarine blue. I'm going to apply a concentrated mix on the upper part of the paper. This being a sunrise painting, we will use refreshing colors, also applying the same color on the center area where we had this lighter shades. So we have a nice base for the sky. We will come back to this later on. Moving on, we will paint the leaf below the horizon. I'm going to use the same ultramarine blue in medium consistency. Apply paint along the horizon line will leave or inhibit of space so that the colors don't get merged into each other. I apply this ultramarine mix the bottom of the paper. All right, so we have this as the base layer of the lake. Now let's go back to the sky part. We will add some clouds using Payne's gray. My paper is almost 60, 70% dry. It is ideal stage to add these fluffy clouds. Now if your paper has dried up, then you can dry it completely and then re-wet it again to perform this step. This is why a 100% cotton is very important. It stays wet for a longer duration, adding in some clouds on the aloe part as well. The shape of the clouds in the sky need not be exactly same as mine. Just go with your own flow. Moving on, we will add some depth in the water. We will use Payne's gray in thicker consistency and apply some horizontal brushstrokes, depicting good repulse and movement in the water. Going back to the leg, I'm applying darker paint near the horizon. Towards the viewpoint that is much lighter. I think some more tiny clouds in the sky. Alright, we will leave it. I loved the paints to dry. The veins have completely dried. Now let's mix Payne's gray in paper consistently. Applying the veins on the left board. This will depict the line by the lakeside. Mix the paints in thicker consistency so that we create a kind of texture when applying the paint. If it is too watery, we won't achieve that effect. Apply the paint unevenly where it touches the line. As you can see, I have this crisscross shapes. I have chosen paints gray to keep it a little unique and go with the blue color. You can even use brown color. Next, I'll paint some tiny rocks which are partly submerged in the water. Apply some more Payne's gray on the land part. Paint as many tiny rocks you want. There is no fixed number as such. I'm just trying to humbly painting the rocks here. The overall engine is to add a slight extra. Llc is going to appear very flat. Moreover, it is closer to the viewpoint, so we need to add some details as well. No, the upper part of the painting so that we can splatter the paint on the lower area. I'm using Payne's gray mix for the splattering. This has turned out really pretty light. We can see these tiny makes sure I noise in the foreground. Moving on, we will add some free flying birds in the sky. I am visualizing these boards shopping in the morning, symbolizing refreshing and energetic wipe. I'm painting Lord of birds. If you know me, then you might also know how I love adding boards in all my paintings. Boards is like my go-to thing. I just cannot stop myself from adding words. If you're someone who doesn't like board in your painting, you can totally skip it. I'm using my size. They stood on brush. You precision in the painting. You can also use a fine liner or a rigger brush. We are almost done with the painting, just adding some final touches here and there. We are done with the painting. Now let's remove the masking tape. Gently peel off the tape in the opposite direction. There you go. This is how our painting looks. Isn't this gorgeous? I would love to see your painting as well. Bu shattered under Projects gallery. I'll see you tomorrow in the next session. Until then, bye bye. 18. Day 9 - Winter Sunrise: Hello and welcome back to the nine of the challenge, sunrise and sunset landscapes. Today we will learn to paint a winter. Sandra is painting with a pathway and the offense in the foreground. Let us look into the colors needed. We would need a dominant white watercolor or gouache. Thompson, ultramarine blue, burnt umber, paint cream. Let us get started with the painting. I have my stupid but already know, Let's month the composition of the painting. Pick up a pencil and draw lines. This is going to depict the pathway mixed. We will draw the horizon line. This is just a rough sketch. We will add all the details as we paint. Now let us apply clean water with the help of a mop brush or any large brush. Apply even coat of water and make sure that our no pull-up adults anywhere in the paper. Next, I'm going to take size two, round brush. We will take permanent. We will mix this color in a very watery consistency. Load your brush with this color mix and apply it above the horizon line. This acts as the base layer. Next I'm going to apply some darker strokes of same color depicting the sundries. This is going to be the sunlight behind the bushes. Next, I'm going to mix a beach color. So for that, I'll take white watercolor. Mix it with a low iron crimson. This gives me alone, which is similar to pitch. Know, we will apply this shared on the upper part of the sky. Apply some simple horizontal brushstrokes. Apply some brushstrokes on a low part as well. We're done painting the sky. Moving on. We will paint the district. Was she trees? Next? Let us mix burnt umber or tiny bit of Payne's gray. Next we will apply this brown mix along the horizon line in the shape of trees. This will act as the distance bushy trees. We are applying wet on wet technique and paper is almost 60 to 70% dry. Below the horizon line, the paper is completely dry. Now I'm going to apply some paint that really, really wet on dry technique. Paint, some horizontal brush strokes, leaving some tiny space in-between. We add, adding this to create a snowy texture. Next we will take Payne's gray and applied over the same layer. Next we will paint another layer of tree using this paint. This will create a new layer of trees. You can paint any tree of your choice. It's up to you. So I'll be painting. I'll make software. She trees and some pine trees as well. Painting some pine trees here. Since the paper is damp. So we will get nice soft pine trees. After drying. These are going to appear slightly blurry. It will be out of focus in the painting. Now let's apply clean water below the horizon line. We really be adding some diluted blue color, which will act as the shadow. And I mentioned in those notes. Ultramarine blue in diluted consistency. Apply the paint at random areas. Next, we will mix Payne's gray with burnt umber to create a darker shade. We will apply this darker mix on the edges of the pathway. So we have this line right there. We will apply the paint. Also in the middle of the pathway. We are doing this to the big batches of line around the snow. It will also apply on either sides of the pathway. Here we will be painting the foreground tree. This is like go for the tree. Adding some more brown shirts in the pathway. We believe it York and I love the paints to dry. Alright, the paper is dry. Now let us begin the foreground element. We will start by painting the fence. Let us make some darker brown color by mixing burnt umber and Payne's gray. I'm painting the fence now. We will start from the distance area. This is far from new point as it appears smaller. As it comes towards the viewpoint, it gradually Up yours. Regarding sites. If you'll notice the height of the wooden log increases as it gets closer to us. It creates a sense of distance. We are working on perspective. It's not the actual size of the wooden logs or smaller. It is the perspective that makes it a PR smaller mixed. I'm painting these logs on the right side. Now let's connect all these logs with a wire. We'll make it up. You're like offense. Adding in some darker brown mix. A bit of character to the ground that's appearing. So I apply some random lines. This also adds a sense of dimension to the ground area. Applying the same texture on the mid area as well. You can slide your brush and create this dry brush effect. I'll repeat the same dry brush effect on the area near the horizon. This will create an impression of partially snow filled area. Moving on, we will paint some trees in the distance area as well as the foreground area. Let's start with painting the tree in the district area. I'll paint a tree. Start with a thicker line as the trunk of the tree and then fork. The ranches can paint as many trees you want. It is up to you. Moving on to the foreground area, there will be a tree. So around this area, I'll add some grasses using a diluted color. Now let's paint a tree you to the spec. If it is going to appear bigger in size when compared to the the strength trees. I'm using a darker color. You can go with any darker, brown or Payne's gray, whatever is available with you. Here I'm painting a slightly curved tree. Again, no compulsion to follow the same step. You can form your own shape of tree. Now let's add another tree on the right side. I'm using a darker brown color by mixing burnt umber and Payne's Gray. Who can go with CPR? Black, Payne's gray. Any other color? This is slightly bigger than the previous tree. This tree is partially visible in the painting frame. Outer end of the tree is outside this frame. He ought in the pathway. I'm going to add some details using this docker alone will apply a coat of paint gray. Any other shared who suggest sense of depth and make it a PR, a bit cylindrical. Now let us add some birds in the sky. Went back to the fence. We will add some tiny dots on the wire depicted like ABAB or Dwyer. Let us add some more birds in the sky. I'm using a fine liner brush to achieve, or fine line. I think some tiny birds or depict a sense of distance. All right, So we are done with this painting. Now let us remove the masking tape. There you go. This is how the painting looks like. Gorgeous, right? I hope you enjoyed and had a fun learning session today. Lucia, your class projects and the project gallery. I would love to see your works. I'll see you tomorrow. Until then. Bye-bye. 19. Day 10 - Sunrise by the Riverside: Hello and welcome back to gate end of the challenge, sunset and sunrise landscape. Today we will paint this beautiful sunrise by the lake side, along with some lovely pine trees in the foreground. The colors we would need a low cobalt blue paints, gray, black. All right, let's get started with the class. I'm marking a horizon line somewhere in the lower half. Let's take size 12, round brush, permanent yellow and mix it in thicker consistency. Next few really big cobalt blue and mix it in thicker consistency. We will apply the paints starting from the horizon. Apply board about and below the horizon. The horizon we have the sky. Below that is the reflection of the sky on the river. This is wet on dry technique. I'm applying wet paint on a dry surface. Leave some blank space for the blue color in the sky. Along with the background. Using clean water. We're not applying the blue at this stage because it will get mixed up with a low resulting in green shirt. We will apply it in the next layer. Now let us allow this low layer to dry. I'm going to use the blow dryer to speed up the drying process. Alright, the paper has dried now. Next we will apply clean water to go with wet on wet technique, which means we will apply wet paint on this wet surface. Gently apply clean water using a larger brush, as it will be very easy to cover the larger area. Gentle as you might live, the existing paint. Now take cobalt blue and apply it on the upper area. Hold on paper in a tilted position. And I loved the paint to flow downwards. I'm drinking the board around and letting the colors flow to create its own lovely shape. Leaves some aloe gap in-between Our at some tiny brush strokes off cobalt blue. The lower areas of the horizon will act as the darker clouds in the sky. Sunrises, it is mostly near the horizon and upper areas are still blue. Moving on, we will paint the reflection of the sky in the water. I'm going to apply this ripple in the reward by applying some horizontal brushstrokes. Use the appointed tip of the brush. You can even go with your fine liner brush. Since our paper is wet. So we will learn guarantees, crispy lines. Due to the wetness of the paper. Brushstrokes are going to fail to certain extent. Alright, So they will keep tilting it in different direction so that the colors from its own chip. Also adding some definition to the Cloud. We will allow the paint to dry. The paints have dried. Moving on, we will paint the distant mountains using the same color, cobalt blue. There will be two layers of mountain. The mountain which is farther away from the brown mountain. This is a diluted cobalt blue. I'm painting this mountain range. All right, we're done painting this layer. Now let us allow the paint to dry. The paint has dried. Now let's paint the second mountain range. We will be using a bit darker color. By mixing cobalt blue and paint gray. You can even mix cobalt blue and brown. Let's been mountains now. We can see the distinction between the two mountain range. You would do the usage of different colors. Alright, we will write this layer again. Okay, so the paints have dried, dried the Leo's so that the colors don't interfere with each other. Moving on, we will add the shadows of the mountain, in the river, the horizon. Here we will use the dry brush technique to create the texture in the water. As you can see, we have this nice texture. I didn't some ripples in diluted. Hello. You just have to add some horizontal lines, right? So we will leave it here and more on looping foreground elements. Using Payne's gray. I'm going to apply a ground-level New York foreground. This is the ground. On this we will paint some more pine trees. I'm mixing black and paint with this.com mix. We will paint the trees. So first we will start by painting the trunk of the trees. I'm using my size eight round brush. The bottom bar should be thicker than the upper part of the trunk. So here I have drawn for trees, feel One more or less. You can address that according to you. Once we have painted this layout for the trees, we will add the shadows using darker color. Now let's start adding the branches. From the crown part. I'm adding these branches in different sizes and angles. We will add the leaves off the trees. The branches in an irregular way. Try to create a kind of symmetry by having. The branches equal on both sides. Some smaller branches in-between. And then in different direction. We are going to do the same with all these trees. Painting them in an irregular way to make it look more organic. You need not follow the same steps. I'd see him style of pine tree. If you have any favorite kind of fine tree, then feel free to go ahead with that. Make sure you're not filling up the area and covering the sunset part. Here. I'm painting the tree branches, which are outside the painting frame. He already have the branches or the skeleton of the tree. Now let's add some leaves are needles on the branches. It is not mandatory to fill in. Just your you can keep it as well. I would prefer to add these tiny needles. I let you absorb while I bring this. Alright, so we will leave their trees, your screens have gone out. Raleigh beautiful, isn't it? No. Let us move on to paint the foreground grasses. I'm going to add some tiny shops in the foreground. You can add any kind of grasses. I'm just randomly applying some brush strokes to make it appear like glasses. Alright, so we are done with this painting. Remove the masking tape and the Louisville, it's fine. And look. This is how the painting looks like. Lovely sunrise view by the riverside. With these beautiful pine trees. Hope you loved this session today. Negotiate your class projects with me under projects gallery. I would love to see your works. Feel free to ask your doubts or any question regarding this whole class. Then I'll see you tomorrow. Until then. Bye bye. 20. Day 11 - Sunset along the Coastal line: Hello and welcome to 11 of the challenge, sunrise and sunset landscapes per day live alone to paint this sunset view along the coastal line. Let us have a look at the colors needed. We will use orange in the goal, scarlet, red, and black. Let's get started with painting. We have master paper. We are going to use it in, in landscape mode until we have been painting on a portrait mode. Now, let's mark the horizon line somewhere in the lower half. This area we have this guy. And below this is the coastal area that is the ocean. Now take our color palette and size 12, round brush. On any large brush, depending on the size of your paper, will make colors directly from the tube because we would need concentrated color. I'm baking and orange. First I'll mix diluted tone of indigo applied near the horizon. So this is a very lighter color. I'm applying the paint using wet on dry technique. The paper is completely dry. So we can see these sharp edges here. Next we are going to apply orange right above this diluted area. Blend the two colors and do not leave any sharp edges. As I paint upwards, I'm going to reduce the size of this orange area. Okay, So we will stop applying the orange shade and try to soften the sharp edges using clean water. When we apply clean water, color fades into the background, white color. Moving on, we will apply in the code on the blank area. He was a very concentrated tone. We want our dark shade on the upper part and try to blend it with the audience. We will apply the same indigo shade near the horizon. No paper is still wet. So I'm getting this soft edges, you know, apply some tiny lines on the orange area. Next we will increase the saturation in the orange area. So I'm going to add scarlet red sided be applying some simple brushstrokes in a slant motion. Remember that the paper is still wet. We're going to get I've painted surface. Next we will also add some orange juice. Create a nice balance. Okay, moving on, we will paint the ocean water. We will be using the dry brush technique. So we need to pick our damp brush and Lord some thick paint. Light the brush onto the paper to attain or textured effect. This creates a sparkling effect in the ocean water. I'm going to glide my brush drought this bottom area. If your brush is what, you will not get this effect, make sure you have very damp brush. Keep lighting until you fill this area. If you'll feel your brushes very dry, then you can add a bit of water on the sides and the bottom area. I'm going to smudge the paint. Leave this texture only in the mid area, also near the horizon area. Now I'll allow the paint to dry and once it dries, we will add some orange shades on ocean water. Alright, the beans have dried now. Now I'm switching to my size eight round brush. I load some orange shared and thicker consistency. I'll be applying this shared on the blank areas. Also along the horizon line whitespace that we have here. So it'll fill in that area. That is the reflection of the sky on water. Not completely fill up the blank spaces. Leave some tiny bit of spaces you are in there so that it creates those sparkling effect in the painting. Next, I'm going to take concentrated in the goal and apply some horizontal lines depicting the repos or a sense of movement in the water. Apply some tiny strokes near the horizon as well. Using concentrated indigo. I'm going to apply some distant mountains behind the mountains, and that is this white and blue layer. This will suggest a foggy atmosphere. Adding some darker reports in the foreground. Since it is closer to w point. So it demands a bit more details than in the best scenario. Moving on, I'll mix black with indigo to paint the award in the ocean. Here I'm switching to my size two round brush for painting the finer details. All right, Let's paint a board now. We will first begin the bass part of the board. Then we will add the upper areas and some word aligned. No need of adding any minute details. We are just trying to create the impression of board. It is okay for this not perfect. We are not trying to paint any realistic kind of boat. Now let's add the reflection of the boat in the water. You just have to paint the inverter chips. Extending these vertical lines to make it more impressive. Okay, so the board is done. Now let us move on to art board. I'm painting some simple birds in the sky. If you are interested to learn more about painting boards, then I have a dedicated class for the same. You can check that out on my Skillshare profile. Lastly, we will add some black alert ripples in the water to add some contrast in the painting. Alright, so we are done with this painting. Now let us remove the masking tape. There you go. This is how the painting looks like. I just loved this orange stripe in the sky. Sparkling water effect in ocean. Blue. Give it a try and shattered under the projects gallery, I would love to see your outcome. I will see you tomorrow in the next chapter of this class. Until then, bye-bye. 21. Day 12 - Sunrise and Grassland: Welcome to the 12th of the challenge, sunrise and sunset landscapes. In today's session, we will paint this beautiful grassland and stream painting with us Andres view. We would need our orange, ultramarine blue, green, burnt umber, and Payne's gray. Okay, so let's get started. I have master paper on all the sides. Now I'm going to mark the horizon line. Somewhere in the upper half. This is the horizon line. About this. We have this guy below. This is the stream and the grassland. Now I'm going to mark the area for the stream. And I just off the grassland zigzaggy line suggesting a stream flowing towards the foreground. It looks something like this. Okay, Let's get started. I'm making my mop brush. I'm applying the water throughout the paper. When we have a wet surface, we can go with wet on wet technique. Apply even strokes of water. Make sure that I know pull up articles in the paper. Let us make staplers. I'm going to take orange and we are using this shared medium consistency. Now let's paint the sun near the horizon. We will apply the paint in circular manner. Apply the same shared along the horizon line. Leave some blank space on the upper part. We are painting or Sandra is view of. The shuttle will lead paint using the bright colors and avoid using darker colors. Moving on, we will paint the blue shirts in the upper part of the sky. I'm going to mix ultramarine blue and boilers. We will apply this mix. Sort of diagonal strokes. The sky colors will be reflected and the water stream. Let's pin that as well. Words w point. We will paint the blue shirts and closer to the horizon, it is orange. Next we will add the same paints in darker consistency who suggest a sense of movement. A friend of rippled effect in the water. So we will simply apply this horizontal brushstrokes. I'm defining the shape of the Sun. I want the sun to be in circular shape. I'm adjusting this year, applying some concentrated shades on the sky on the stream as well. So we have defined the shape of the sun. Direct reflection of the sun in the water. Clean and damp brush. And we will lift the paint from this mid area. Right? The reflection has been formed. Now we will allow the paint to dry completely. I'll write the paper has dried completely. Moving on, we will apply another layer of clean water to perform wet on wet technique. If we had applied the paint on the previous layer, it would have interfered with the sky and the scream colors. In order to keep the layers separate. I'm applying the paints in separate layers. We will let the paper absorbed the water for some time. Meanwhile, we will mix the colors required, except green. Mix it with bond on board. Then we will add some yellow ocher. Mix these three colors in thicker consistency because the paper is already wet so it will get more diluted. Now apply the paint on the grassland area. The green color remixed looks very real and natural in appearance. How do we use direct colors like sap, green or green color? It would appear very unreal and it would look unappealing for sure. This green color adds a sense of harmony to the painting. More variation of green color. Paint the edges of the stream carefully. Next, we will add paints gray to the same mix, creating our darker green color. This will act as the shadows in the grassland. I'll be painting or I don't, I just say TO along the horizon line, apply some brushstrokes are randomly. Like I said, it will create a sense of shadow. Moving on. I'll be mixing muddy shade, probably by adding brown and Payne's gray. It could be any color, but it should look very muddy. Brownish black color. Alright, I'll apply this in the horizon. This will act as the base for the district trees. Apply this paint along the horizon line. Since it is very far from the viewpoint. So we won't be able to see the details accurately. Now take any darker brown color. I'm painting the base layers for the mid ground trees. Aren't Payne's gray along the horizon line. Marks as the end of the horizon. Adding some darker colors on some of the elements to add a sense of depth. Alright, right, we will leave it pure. And I loved the paints to dry. The paper looks dry. And now you can absorb that the paints have very lighter. That's one of the property of watercolors, where it looks lighter after drying. Now let's paint the trunk of the trees that are in the midground area. The strongest mid part of the Greenland. Not near the horizon. Nobody will try to add some more extra in the tree foliage. We will use the same color and pinch to create the impression of leaves. Then in-between we will add some darker color as well. Next we will be painting the details in the painting who enhanced its APRNs. So we're going to mix a darker green color by mixing sap green, burnt umber, and Payne's gray. This will create a darker green mix. Now we will apply this darker mix where the gras status TO stream water. We will apply it on the edges and blend the lower area with water. Our chart wedges. I had some tiny grasses. I don't go there three area and near the horizon. This creates a kind of picture in the painting. Now add some tiny grass blades. The brush. It will create this textured effect. It doesn't have to be perfect. Do not want the grassland to be flat. So we will try adding some texture as much as possible. In the foreground, we will add some longer grass blades. If you feel it is very sharp and then you can smudge it out using your fingertip. Gliding the brush using the technique, my taking thicker paint, this creates a nice texture. These aren't all unplanned things. I'm randomly adding some elements you are in there. Again, gliding the brush to create this texture. You need not create the exact same thing. The aim here is to avoid the grassland area to appear flat. You can add whatever texture you want. Nowadays go black. And we will paint some birds in the sky. Also adding some definition to the mid ground trees. After drying it looks faded. Some more details. In watercolors. You need to go back and forth to the elements and check your fitness. Looking right. Now let us add some ripples in the water. I'm going to use orange for the orange areas, and blue for the blue areas. Some horizontal lines creating a ripple effect. This arts sense of movement and it ripples in the water. Use our fine liner brush to get you a nice precision. Lastly, we will add some darker colored foliage in the trees. Also some darker grasses in the foreground. And some tiny damps, adding some character to the grasses. So we are done with the painting. Now let us remove the masking tape. Genki. There you go. This is how our painting looks like. Isn't it? Give it a try and share your projects under project gallery. I would love to see your works. I'll see you in tomorrow's project. Until then, bye-bye. 22. Day 13 - Sunset, Seashore and Birds: Hello and welcome back to the class. Today is data. We will be learning to paint this sunset and I'll say short review with some boards in the foreground. Colors needed. Dominant, solo. Opera, pink, toilet, indigo, black. We will also need some white gouache paint. Now let us get started with the painting. Paper is taped down neatly, and we are using this in landscape mode. Let us begin the sketching part. I'm going to draw two horizontal lines. One in the upper half and other one. We will have the sky, the ocean. In the foreground. It is the seashore. Okay, Let's begin with the painting part. We will first start by applying clean water about first-line. This is going to be our sky high and we are going to perform wet on wet technique for the same, apply clean water evenly. I'm taking my size eight round brush. Applying this fulminant low ideas, those Andres in the sky. The sky appears. A low near the horizon. Upper part will be pinkish in color. Next we will be applying or wrapping in thicker consistency. I'm mixing this color and I'll apply this on either sides. If you notice, when the pin gets mixed with a low, it gives us an orange shared, which really enhances the sunset view. Next we will add wallet over the pink area. This suggest kind of narco clouds in the sky. Leave some space in-between. I'll add some pink strokes over the yellow part. This will appear as bold orange stripes in this guy. Moving on, we will paint the foreground seashore area. We will be painting the reflection of the sky on wet sand, since the sine or the ground is wet, so we can see the reflection of the sky. We are not painting it any brown color. Here. We will perform wet on wet technique. I'm wetting the paper here. Now let us apply the paint. The horizon we have a low shades. So we will start with a low itself. Then continue adding something sheds. Blend the two colors, yellow and pink. Apply some brushstrokes of opera pink words w point. We have a nice blend from a low to pink on the sides. Just like this guy, we will apply the pink. Now let's add some violet. Now let's add some violet towards the viewpoint. I'll apply some clean water towards the ocean part so that we don't have any sharp edges. Now we are going to paint the ocean. Take indigo and mix it in medium consistency. I'll apply this. Allow mix on the mid part. This is going to be an ocean. Gently apply the paint near the horizon line. Here. This is the base layer. We will add the ripples and other details later on. On a dry surface. We have applied partial low-weight and drag. Now we will allow the paint to dry. I'm using a blow dryer to speed up the drying time. Moving on, let us mix bond on board and in vivo in a thicker consistency. With the help of a damp brush, which means no water in the brush. We will load this color mix. A brush, creating a beautiful texture. It creates some texture suggesting storms and February in the foreground. The not completely fill in this area. Do you have some tiny pink spaces in-between? Next, we will move on to pin boards in the foreground area. I'm mixing indigo and born in Dhaka, consistency. I'm using my size eight. Painting some boards in the seashore area. When you paint the birds, you need to add the reflection as well on the wet sand. We will create exactly inverted image. To depict the reflection. Carefully note the brushstrokes I'm making here. If you find it difficult to are these words you can practice on a piece of paper. Maybe we'll leaping a few of them. Right now. I'm just painting their body. We will later and their limbs. Here's something that I want to tell you all. Do not be scared of painting something challenging Muslim new subject. Earlier, I would always be scared of painting or animals or boards on a difficult subject. That fewer kept me from growing. I was happy in my own comfort zone. You need to challenge yourself and allow the growth to happen and keep learning. So I really interest you all to at least give it a try. If it doesn't come out that grid. I let you absorb and follow along with me while I paint these boards. I think I did enough for some birds. Now let me add the limbs using a fine liner brush. Just add some simple parallel lines. Along with limbs. I'll also RX a minute details like any detail that I feel is needed. Next, I'll add some texture on the sign. Some tiny stones and February ships. Springfield of paint. This creates kind of texture. The upper area so that it doesn't interfere with no ocean colors. Just stopped up on the brush. And you will have these tiny sprinkles on the seashore. Mixed style be sprinkling with a darker color that is a mix of burnt umber and indigo. All we will leave it here. And now, let us move on to paint the ocean. We have the base layer with the midtone indigo. Now let us add some details there. I'm going to make so concentrated indigo. Apply some horizontal lines. So distinct sense of movement or rippled effect in the ocean. Keep adding these horizontal lines. What is the kind of depth we achieved once we added this darker lines? Thanks Ms. Hall, for your brushstrokes and depend on the size of brush you're using. If you're using a brush, you'll get thinner brush strokes. If you want an extra darkness in your negotiate, then you can mix a bit of Payne's gray or black, dark and stuff enhancers stuck on trust of the painting. Now let us take whitewash paint. We have been cleared the ocean. Now we need to add some white forms as well. I'll be using white gouache paint to create these white highlights. White paint. The shore somewhere randomly in the media areas. Next, I'll be adding some indigo just to authenticate shadow of the form. Okay, so we will leave this field, will move on to paint some books in flight. I'm using this a darker color to these three flying birds in the sky. I'm adding boards of different sizes. And some smaller. You can paint as many boards you want. Extraordinary up to you. Okay, So we will stop with your, I guess we have enough boards in the painting. We are done with the painting. Now let us remove the masking tape. There you go. This is our painting. How beautiful is this sunset with these gorgeous boards? I really hope you love painting this with me. If you have painted this, then do share your class projects under the project gallery. I would love to see them. I'll see you in the next session. Until then. Bye bye. 23. Day 14 - Moody Sunset: Welcome to day 14 of the challenge, sunrise and sunset landscapes. Let us begin this lovely Moody's answered with some trees and birds in the background. The colors we would need Naples, Yellow, Maroon, toilet, Dumbo, black, white, gouache or watercolor paints. That's all about the colors. Now let us get started. I've already matched the paper. First we will sketch the sun circular object, probably a coin or about cap brother, son. You can even draw it by hand. Now I'm using the darker lines. I'm keeping it minimal. Next, pick a mop brush and apply clean water. I don't do circular area. I believe this circular area dry. And across the paper, we will apply clean water, apply even coat of water, and make sure that I know extra pull-up adults anywhere in the paper. Right now, let us mix the colors. I'm going to need. Naples, yellow. If you do not have this color, then you can maybe mix yellow ocher and white. Mix this in thicker consistency. The next color that we're going to mix is so maroon color can be easily mixed by mixing scarlet, red, crimson, and black. The next color is why lead? I have these three colors in the palette. Now before applying the paint, I just wanted to make sure that the paper is still wet. I'll just run another coat of water. Let us begin. I'm using a size eight round brush to apply this Naples yellow around the sun. Gently apply the paint. I don't do circular area. Next, we will also apply the shade on the upper and lower part. It doesn't have to be exactly same areas. Moving on, we will apply this maroon chair. Just randomly apply the paint. This should depict like colorful cloudy sky. We are following wet on wet technique. You can see that the colors appear very soft and blends with each other very well. Not completely fill in this area. Lulu some spaces as well. I'm going to apply boiler it over the pink areas and yellow areas. There's arts, a nice contrast between the yellow and violet, because we know these two are complimentary colors in the palette. We'll apply some crisscross, random brushstrokes. Brushstrokes, you are not defined as such. I'm just randomly applying the paint. Since the paper is wet, we can tilt the board around whichever direction you tilt, the colors are going to flow in that direction. Next time we're going to take Payne's gray. Apply on this guy.co clouds. So it is a concentrated shade. Applying some maroon. Now at this stage it might look really dark. But when it dries, it is going to look just fine. Some more paints gray apply in the bottom part. This is going to depict the student forest. I'm going to fill this lower part with the concentrated Payne's gray. You can use any similar adding some pine tree shapes, you're just some zigzaggy brush strokes. Moving on, I will tilt the paper at different angles. As you can see, I'm keeping it in different angle and allowing the paint to flow. Going to create its own beautiful shape. Trust the process, and repeat the same with me. Now I'm using a blow dryer. The drying process. Observe the angle at which I'm holding the paper. If you keep it straight on the flat surface, you might get some dark patches. I want the colors to flow in different direction and form its own beautiful shape. I'll write, the paper has dried. Moving on, let us paint the sun. I'm going to mix orange. Mix some red to it. It looks like a darker orange. I'm thinking, or diluted mix off this color and applying inside the circular area. Now apply, some scholars read in the lower half of the sun, some more horizontal brushstrokes in the mid areas. Outlining this circular area with the red color. Moving on, we will paint the trees in the foreground. I'm going to make so onboard with paints gray. And this forms a color similar to black. You can even use black as well. With ties eight. I'm painting the trunk of the tree. Switching to size two round brush for fine details. I play some downward brushstrokes to depict the branches and forward them in multiple branches. Look around part of this tree is narrow and as i ne, branches. Painting the branches is one of my favorite subject. I can keep focusing these branches all day long. That's the most enjoyable part. Dab your brush to create an impression of tree foliage. You can either do this step or you can literally add the leaves one-by-one. Whichever it is feasible to, you, always keep the trunk than the other parts. Now let's add another similar tree, the trunk first and then adding the branches. Moving on to the next tree. The tree branches are facing upwards, unlike the previous tree. Now let's add some filler elements in the foreground. I'm adding some vertical lines to create a sense of noise in the foreground area. I didn't. R3, which is spatially outside the frame. You can paint as many trees you want. There's no strict number or prescription. You're extending the branches and adding some tiny tweaks industry. Moving on, we will paint the board. I'm using white gouache being pure and mixing it in thicker consistency. Make this thicker paint. Some white boards in the painting. Here I'm adding some tiny birds. I could have added Blackboard as well, but then I wanted these boards to stand out in the painting. I'm using these whiteboards as a contrasting element because the overall painting is dark. Now if we use black, if it's going to appear monotonous. So I decided to use this white. You can even use Jelly Roll pen or white fellow, whichever it is available with you. Now with the same white paint. I'm sprinkling some stars in the sky only on the upper part. Because as the sun sets, we can see the stars in the sky. Moving on. Let's add some final details on the sun. Here I'm using scholar dread to add these horizontal stripes in the sun, a mix of brown with red. I did in the lower part of the sun. To give it over depth. I'm adding this darker red in the lower half. Adding some more darker color. You can mix brown as well. Blended with clean water. I won't go upper area to be very lighter. I'm lifting the colors from the upper area. We are done with the painting. Let us remove the masking tape. Now. There you go. This is how our painting looks. Isn't this gorgeous with these whiteboards and fuels the sun in the sky. I hope you enjoyed watching this with me. And I'm really looking forward to see your class project. Do share them under Projects gallery. I'll see you soon. Bye bye. 24. Day 15 - Serene Sunrise: Hello and welcome to day 15 of the challenge, sunrise and sunset landscapes. Today is the last day here. We are going to paint this beautiful sunrise painting by the lakeside. Let us talk about the colors required. Ultramarine blue, hansa, yellow, Payne's gray, and burnt sienna. Born Dumbo. So let us get started with the painting. We'll plot the basic composition. So I'll start with the horizon line, marking it somewhere in the upper half of the paper. But not apply more pressure like this. Just very gently. Straight line. This is the horizon line. Above this we have the sky and trees. This is a ground or the water level. I apply water generously throughout the paper. I apply horizontal and vertical strokes to make sure that the water is spread evenly on the paper. The paper is wet. I'll take ultramarine blue. I'll be mixing the paints in medium consistency. We'll apply this. I'm leaving some spaces in the sky. This is the blue sky and these are the white clouds. As we reach towards the horizon, we will apply smaller strokes of ultramarine blue. Mixed I'll take or in script. So applying this Payne's gray right under the blue area, we know create the shadow effect of these. Next I'll did Hansa yellow. So this is a warm yellow. Apply this mix near the horizon area. Already. Read one of this color. Apply in-between, not enough upper part, the mid part, it will apply this yellowish tone. Okay, So we have painted the sky. Now let's paint the reflection of the sky. The same reflection. Apply ultramarine blue in the lower half of the lake. Know Payne's gray. Randomly apply paints gray on the yellow part. Not apply this ultramarine blue on yellow because yellow and blue when mixed together it gives us a green color. We will avoid that for now. I didn't ripples in the lake using Payne's gray Palo. Switching blue, ultramarine blue for some additional repulsing the lake. Take some more darker ultramarine blue. Apply on the blue cloud. Note that my paper is still damp. I'm able to add this darker color here. If your paper has died, then just skip this step. Alright, so I'll dry the paper using a blow dryer. You need to completely dry the paper. All right, so the paper has dried. Now let's add some ultramarine blue, some burnt umber. When you mix these two colors. Get all that color. Does, okay, you can mix any brown with blue. What I'm doing here is first I'm applying paint along the horizon line. Leave this phase for the tree. I'm applying. The paint along the horizon line. This is the distant treeline. I've taken clean brush. And with this, I just smashed the upper part that we don't have any gonna spend focused area here. This step is to blur out the sharpness. I did a stint video, creating a slightly darker mix of ultramarine and burnt umber. We will apply this on the bottom part of the student area. This step helps in achieving a sense of depth in the tree line. They go fine liner brush. We will add some tiny lines, list a big star trees. Breaks the symmetry. Your next study, which is slightly darker than Hansa yellow. Draw a small circle. Fill it in with this. This is the sun, the painting. Now same thing we added in the reflection part. Are adding some sundries in the water part. Just apply some horizontal strokes. Using a fine brush. Moving on, let us add the repulse in the blue part of the leg. I'll take ultramarine blue in a very diluted consistency. Apply these horizontal strokes depicting the ripples in the water. The lines in different sizes have a mix of all sizes. Glycine paints near the horizon line. I'll just spray some water that the paints in this course. We don't have these sharp lines. If you don't have one, it's okay. I'll use burnt sienna. Flight. Know foreground area. This is the ground area. I lived in some other colors like marine blue and burnt umber. This will help us create our texture on the ground area. I loved the paints to dry again. Now let's in the tree, sorry. Born Dumbo. Blue. Blue will work. Ultramarine blue. So I'll start. The tree trunk here. Looks a little darker, so I just take brown color. You'll need not paint the exact same tree shape. Him being in a Gobi tree with multiple branches. Remember this junction be thicker than the branches that we are painting. Bile extend this trunk all the way till the bottom of the paper. I do branches in different direction. Angles. Try to avoid a symmetrical shape. So I'm mixing blue earned. Born dropped this color mix on the sides of the tree trunk and the branches. This art or sense of shadow. Now let us allow it to dry, dried this tree. Next we will mix ultramarine blue and burnt umber, thicker consistency. I'm using my size eight round brush. It also has a pointed tip. We're going to just add the darker parts of the trees. Just add some Coby and wobbly lines. On the left part. I think some darker shades on the branches as well. Later we will add the tiny tweaks on the I think these simple tiny strokes on the tree trunk. I had a sense of definition and gather over the tree trunk. Next I'll take Payne's gray and extend these branches. Yeah. This would like those data I need weeks in the tree. Here already covered the upper part. Splatter, some brown veins procreate or texture on the ground area. Let me add some grasses. Narco brown color. I'm painting the grasses in already asymmetrical and a loose style. Apply some random brush strokes. It doesn't have to be perfect. Adding some tiny branches again, with my size two round brush. This is an optional step. You need not to have a detailed tree. I'm just adding a little character to the tree here. Just like the brush and create texture. Right, so we're done with this painting. Now let's remove the masking tape. James Lee, this is how our painting looks. I hope you enjoyed creating this with me. This officially marks as the end of the challenge. I'm really looking forward for all your class projects under the projects gallery. That is going to be a bonus chapter where we are going to paint a pastel sunrise. Thank you for joining this talent. Your support really means a lot to me. I'll see you in the next class of mine. Until then, bye, bye. Happy painting.