WATERCOLOR CLOUDY SKIES | An easy approach to paint dramatic cloudy skies | Suhasini Badam | Skillshare

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WATERCOLOR CLOUDY SKIES | An easy approach to paint dramatic cloudy skies

teacher avatar Suhasini Badam, Watercolor Artist

Watch this class and thousands more

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

Watch this class and thousands more

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

Lessons in This Class

10 Lessons (1h 57m)
    • 1. Introduction

      1:50
    • 2. Supplies Required

      2:40
    • 3. Color Study

      10:03
    • 4. Let's Learn Some Techniques

      12:14
    • 5. Cloud Study

      9:29
    • 6. Class Project I - Cloudy Sky

      22:42
    • 7. Class Project II - Stormy Sky

      20:01
    • 8. Class Project III - Monochrome Sky

      17:53
    • 9. Class Project IV - Wet-On-Dry Cloudy Sky

      19:34
    • 10. Conclusion

      0:46
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About This Class

In watercolours, some of the most favored subjects are landscapes. And that, invariably, involves skies.

Now, of course, you can just paint a plain old blue sky, lightened off towards the horizon. And that's fine for many pictures, as you may not want a busy sky to take away from the rest of the landscape.

ac41f9f6.jpeg

But sometimes we can make a painting interesting just by adding a dramatic sky and when we have less of foreground details going for a dramatic sky is the best option to grab the attention.

You will be able to set any mood of your landscape or seascape painting through a clear, sunny sky or a stormy night. The sky can play a supporting role or be the major star of a composition. Changing continuously, it has endless variety in appearances

In this class we will learn to paint 4 amazing class projects with different kinds of skies.

Meet Your Teacher

Teacher Profile Image

Suhasini Badam

Watercolor Artist

Teacher

Hello, I'm Suhasini Badam, Watercolor Artist from India currently staying in California.

I did my bachelors in computer science but destiny has its own decision , Picked a brush inspired by some Instagram painting posts and from then it became my full time job .I started working with watercolors from 2018 and i paint  different subjects but Landscapes stole my soul .

Now I paint mostly landscapes as i am attracted towards Nature .Nature has my heart .

i do paint Florals and Acrylics sometimes . but majorly i concentrate on painting landscapes in watercolors. you can find all my works in my Instagram profile . 

 

https://www.instagram.com/art_by_choice_/

 

Here are some of my works 

 

See full profile

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Transcripts

1. Introduction: Hello everyone, Welcome to my class, watercolor, cloudy skies. So in order to collect some of the most famous objects are landscapes, and that invariably involves guys. So now of course, you can just paint the plane or blue sky lighten up towards the horizon. And that's fine for many pictures as you may not want the busiest guy to take away from the rest of the landscape. But sometimes we can make a painting interesting by adding a dramatic sky. And when we have less of all grounded tails going, but a dramatic sky is the best option to grab the attention. We'll be able to set any more of her landscape or seascape painting through a clear sunny sky or astronomy night sky can play a supporting role or be a major startup. The composition changing continuously, it has endless variety in our periods is. So in this class we will learn to paint for a missing class projects with different kinds of skies. In the first real pain, this cloudy sky with grassland and its reflection in the foreground. And in the second, we'll paint astronomy sky with minimal for drone elements like this. And in the third, will paint a monochromatic stormy sky, seascape. And and in the foot. And we will paint a cloudy sky in wet on dry technique. So clouds with roughages, we will see how to do the clouds with roughages. So before starting with all the tasks projects, we will also do some color study, which is very, very important for any kind of painting. And practice some techniques together which are required to finish our class projects. So without waiting a minute, Let's get started. 2. Supplies Required: In this lesson, Let's see on less obvious that are required to finish our class projects. So first comes the paper. So the paper that we're going to use in this class is Archie's. So have taken in a byte then into watercolor paper and they have, they've done the edges as I have shown. So this is eight inches into 10 inches, and it is a 100 percent cotton paper, which is very, very important to get beautiful cloudy skies and 300 GSM. This is also very, very important as we are going to use a lot of water to paint the sky. So 300 GSM and nanopores in quadrant are really important. And for the brushes, we will be using only these three brushes for our entire class. The first one is but instead Tian flat brush. And the next one is silver black velvet size number eight. And the next one is Addis up liner brush off, say 0 and the paint. So these are the only shares that we'll be using for our class projects. So these tubes ADH from the brand Art Philosophy. So ultra marine, greenish, yellow and crimson. And brunt, umber and ivory black. And this one is Payne's gray from Holbein. You can use Payne's gray from any brand. And the last one is light gosh, this is from Intel and Newton again, you can use any brand that you have. So these are the artists watercolor tubes from Art Philosophy and will also require a pallet so that we can do all the color mixing is very, very easily. So take a large enough palate and benzene for sketching and a masking tape to Moscow the edges and the spray bottle so that we can make the sky the main vet del v complete painting, the entire sky area and a paper napkin and two jars of clean water. So he here I have shown news to order, but you should use a clean water jars. So that's it. These are all the saplings that are required to finish our class projects need not be of same brands, but you're a 100 percent in 300 GSM. Thank you. 3. Color Study: Cholesterol. So in this lesson we will see all the color mixing cetera, required to finish our class projects. So these are the full class projects that we'll be painting today. So this one is the first and descended the second glass project in which we paint astronomy sky. And this one is the third glass project in which her weight band, it's drumming sky in monochromatic color. And this is the fourth class project initiated paint wet on dry clouds. So in order to paint all this glass projects, we need a certain amount of color mixins as VR, trying to use minimum number of colors in this class. So let's see all local and mixins in this lesson itself. So this is the first class project. So in the base class project we will see the cloud shadows and the sky color, and the bushes, the green in the bushes and the reflection is same as the bushes. So there are like three to four column mixins that are required to finish our class project. And let's see those things now. So I have taken it up sheet, and this one is ultramarine blue. So first we will be painting the cloud shadow. So for the cloud shadow, we need to mix ultramarine and crimson. So by mixing ultramarine and crimson, we will get a purple tone. As you can see here clearly. We will get a beautiful purpley don't, and in R, which is very bright. But in order to neutralize that color, I'm mixing a tiny bit of black into that mixture to this beautiful cloud shadow color. And this one is still bright, so I have mixed some tiny bit of black again. So this is the shared that we'll use in the cloud shadow. So this colored the guard by mixing this ultramarine and crimson and black. And the next color that we'll be mixing is for this guy. So this guy will be using ultramarine and rent a number, three parts, a pleasure meeting and one part of grand tambour. So ultra marine is a very warm color. It looks very bright. So in order to normalize that color, we are burnt umber to make it settled. So this is the sky dawn will get by mixing ultramarine and rent a number. So the bottom line, the bottom line in this lab sheet is the original colors and the top one is the colors that we get when mixing those colors. So, and the next one is for the bushes. So for the bushes using brownish gray, brownish green. So in order to get that tone, I'll be using greenish, yellow. And as you know, I mix my own grease on green colors in every class. So I have mixed greenish, yellow with ultramarine to the green don't. And in order to make it a brownish, I have used brand number and a tiny bit of black. So this is the shape that we'll be using. And this week or by mixing ultramarine. This one is burnt umber and black. So these are the color and mixins that are required for our vast class project. Whichever very easy and simple. And let's see the column mixins that are required for our second class project. So this one is the glass project number two. And here they are. Here also there is a cloud shadow color and the sky color and the foreground green shade. So we'll see these three color mixins. So the first one is cloud shadow. So in this class project we'll be using a different cloud shadow mixing. So far that we'll be using ultramarine and burnt umber. So for this, a tiny amount of ultramarine and a large amount of Brandenburg to get this neutered gray tone. This by regard bombings in brunt, umber, and ultramarine. See you can get Cloud charter color by using two to three different verities of cloud color mixes. So as you can see in the capitalist class project, we have mixtures are met and crimson and black to get the cloud shadow. And in the second, we got by mixing brunt, umber and ultramarine. And as you can see for this guy in the second class project, I'll be using pure ultramarine. And for the foreground green, they be using greenish, yellow directly. And the bottom part of the green we'll be using a darker tone. We got darker tone by mixing ultramarine and greenish, yellow and evaded art codon by mixing ultramarine green, Michela, and black. This one is ultramarine and greenish yellow. And then the dot-com auction we got by mixing more ultramarine blue, greenish, yellow. So these are the things that are required for the class project. And this is a third class project. If you observed a third class project is made of S and D color, which is monochromatic landscape. And the colors that we'll be using for this class is Payne's gray. So I have used Spain's going from Holbein watercolor brand. So this is the docket Dr. stone possible. So we'll get back a stone posible by mixing tiny amount of water to paint. That is more paint and less water. If we go on adding water to the paint, then we will get different tonal value of the same color. That means less paint and more water. But adding more water to the same mixture again and again, we will get different lighter tones. As you can see. So this is the tonal value of the Payne's gray. So by painting monochromatic landscapes, we need to use these tonal values to bring out their depth and dimension to our painting. And this is a single color in the class project tree. So in the class project four. So this is our fourth class project. So clouds can be painted into this wet-on-wet and wet-on-dry. So in this class project we have done by Don dry clouds. And we can see the color of the sky, color of the clouds, and color of the greens that we have done in the foreground. So for the color of the cloud will be using the same color mixtures that we used for the class project number 1, that is ultramarine and crimson and black. And for the greens, will be using greenish, yellow for the lightest green don't. And ultramarine and greenish yellow for a lighter and darker tone. And I'm using here white gosh. So I'm mixing white goes to the same colors. Like I'm mixing white gouache to greenish, yellow to get a matte finish for the same color. See, I'm mixing greenish, yellow to white to get a beautiful marriage finished one. And and if you don't have whitewash at your home, then you can skip this white gouache mixing bot and you can directly use think about the color onto the paper. So the brown, fat brown area have used brand number directly. And for the sky, I have used ultramarine mixed with white boys to get a very lighter tone of blue. See, this is the sky color that we'll be using them for class projects. So as again, I said, if you don't have wide gosh, you can you can use the watercolor directly. And you can get a lighter tone of blue by mixing a lot of water to ultra marine if you don't have whitewash. So these all the column exists that, that we'll be using in all of your class projects. So for the Cloud, we'll be using three colors. So for the last project, 123, and in the fourth we have used to see mess in the first one. So that's it guys. Let's see in the next lesson. 4. Let's Learn Some Techniques: Hey guys. So in this lesson, we will see all the techniques which are required to finish our transport Explorer. So in this class project we paint how to see that they're dumb, dry clouds like this and the blending of two different colors to get the beautiful depth like this. And in this class project we will see how to paint beautiful waves and also how to paint tiny birds. And if you so in this class project, we will see how to paint wet on wet clouds. And in this class project, too wet on wet clouds and the birds, everything we will see priority in this glass. With that, it will be easy when you directly at him, the class project. So first come by Don wet and wet on dry techniques. So these two are very basic techniques in any watercolor painting. But I'm explaining again here because these two are very, very important techniques to start our class projects. So if I don't wet means a wet paint on wet paper. So this seems to be very easy. But the way you are a plain water defines a lot in the output. So you have to apply even and flat layer of water in order to get an even layer of paint. So I have uploaded even flack Court of order, and now I have taken wet paint. And if you see, I'm applying paint, wet paint on wet paper, which is called a wet on wet technique. And again, I'm taking wet paint here with green learned in my brush. And I'm again spreading the paint here from the bottom. And if you see, you can clearly observe the edges are not at all draft for the green. This is because we use wet on wet technique. The paint smudges the water, and we did not see any definite edges. We will see the same, the same little tiny painting in wet-on-dry technique. So wet on dry means wet paint on dry paper. So I did not apply any water on the base. I directly have taken paint and that Italy are playing that blue color into my PEP, onto my paper. So and after finishing these two who can clearly observe the differences between wet-on-wet and wet-on-dry technique. And so this one is still wet. So I'm I'm letting it dry so that I can paint green on the top of this. And I'm taking the paint again, that green paint, and the paper has dried now. So I'm applying this dry, wet paint on the dry surface again. And if you see here, you can clearly observe the edges which are very sharp. But if you say in the first case, the adjust ours smoothly blended into the background. But if you see here, these are not blender because we use wet on dry technique. So that is the differences between wet on wet and wet on dry and wet on dry. The color is not as bright as we see in wet on dry technique. So if you want your paint, your painting to look very vibrant than wet-on-wet. You can use wet on wet. And yeah, that is the basic things about wet on wet and wet on dry. And the next technique that we are seeing is birds. So this is also a small technique which is important as we use version 3 of our class projects here. So I have taken out his eye liner brush upside 0 and I'm using black paint here as. And if you see, I'm painting one large wing and tiny blob of paint, which represent the body in the center and moving towards the right. And the direction, and the direction of the wings that are present, the direction of the bird in which it is flying. And you can increase and decrease the size of these birds. And the birds which are nearer to the horizon will be much smaller. And the birds which are far from the horizon will be much bigger. And I'm very bigger. So in this way, you have to pin birth and always paint birds in different directions so that they can create some kind of interest in your painting, rather than painting all the birds flying in the same direction. So as I said, the birds native to the horizon will be in smaller shape and then those which have lung. So the next technique that I'm explaining now here is blending. So here first I'm digging this little color. We will see how to blend a different shared onto this color. So I have taken greenish yellow here. And if you paint the same greenish, the single color for painting a grass, then it will look very flat as you can see. So now I'm explaining how, how can we use blending to make our painting look interesting without looking at flat? So now I have painted greenish yellow. Now I'm taking a darker tone of greenish yellow and I'm just smoke least margin. So this is wet on wet now, you can see as the darker tone blended into this lighter tone evenly without any rough edges, which is the use of wet-on-wet technique. And if you add darker and lighter tones, you can automatically create some depth in your painting. See the top one, which is looking very flat. And the thing that we painted, it has some depth and dimension to it. And blending can also be done on the go. So a low-end blue to the editor makes green. So now I'm taking here greenish yellow again. So in the second one, I have taken a dark green tone and blended it. But now I'm taking ultramarine directly and now painting from the bottom. So blue and greenish yellow, ultramarine blue and greenish yellow to their mixes on the go and makes a beautiful darker green color. So this is ended up form of blending lake on the, on the go blending without a mixing paint on our palette, we can directly mix on our paper. Yeah, like this. So that is the blending technique which is also required to finish our class projects. And the next one is Dave's. So we will bend waves in our third class project, which astronomy is escape. So begs for the painting wet on wet technique. So I'm reading myself is using my flat brush. And please virtual surface evenly. And now I'm taking it on British silver black velvet, precise number eight brush. And I'm using Payne's gray here. And by using wet on wet technique, make sure you use the car paint. Because as this office is already wet, if you use more watery, watery paint on your brush, then the painfully, then the paint will matter a lot. So if you want, if you don't want your paints to smart alert, then use ethical consistency paint. So here, if you see I'm not playing one stroke to that side and one stroke to this side and leaving wide gaps in between. So if you take paint with very watery consistency, then it will bleed more and it will cover all the wide gaps. So we don't want to do that by mixing a darker and thicker consistency of paint. So one stroke to that side and runs to the side. And as we go to the top area, I'm reducing the vibrancy of the color, the tonal value of the color to lighter ones. And if you see my paint is also bleeding. So am this evening it out using my brush? And I'm making it more thicker using more of paint. And if you see my white gaps are also filling up. So in that case, what you have to do is take a clean brush and pat it dry. And with this dry brush, just brush on those white areas and move the paint that your brush absorbs. And then again wash your brush and then move your brush along those white gaps. So that's it. So I have explained a very basic question of painting waves here, which is what we see in the third class project. So now we will see how to paint bushes. So for this we'll be using a silver black velvet size number eight brush. So now be seeing these distant trees and we will later see the bushes. So just paint using the tip of your brush and just paint these shapes. One smaller and one larger side-by-side and with a connected base to the other. So these are the distant pine trees. Pine trees, yeah. So in this way, we paint pine trees here in our class. And another type of bushes that we'll be seeing is in the last class project that is larger bushes which are in the foreground. So in order to paint that, we'll be using the same brush. But here as you see, I'm using the side of my brush to paint this. And I'm applying a larger area, the paper in the shape of Bush. And to the bottom, I'm applying a darker tone of paint in order to create depth. So as I said in the blending, but it applies same here. If you use a single tone and value to the whole thing, then it will look very flat in order to clear it some depth and dimension to the thing that we're painting, then we have to use different tonal values. And always there will be depth towards the boredom. So always the bottom part, they'd be more darker compared to the top, top parts. So remember that thing always add some darker tones with Ruby shadows with darker tonal values. So this is how we paint the bushes using side of your brush and all this practice before shutting it on the actual painting. So these are other techniques in the process of painting the Cloud. So you will see in next class. 5. Cloud Study: So in this lesson, we will see how to paint clouds. So before learning to paint clouds, Let's see the structure of the Cloud. So the basic structure of the Cloud includes a cloud shadow and the Cloud head and the remaining sky. So you'll see cloud charter or the bottom part of the Cloud, and the top part of the Cloud will be invited chaired a more brighter share compared to the bottom bar. So I'm drawing here the basic shape of the cloud. So the basic shape of the cloud will be like a dome structure on the top and flatter and flatter towards the bottom. So yeah, like this. So this is the basic shape that we know about the Cloud. So this bottom part, they'd be the cloud shadow. So the cloud shadow or the water present in the Cloud will be because of more weight of the water, that it will be towards the bottom but the Cloud. So we'll see some darker shade towards the bottom edges of the cloud. And the top part of the clubs will be mostly of gas, which is white in color, and the remaining part is the sky. So these bars that I have mark now we'll be inviting color mostly. So this is the basic structure of the Cloud. So the cloud can be painted into this so they don't wet and wet on dry. So if you want these edges of the cloud to be smooth and blend it to blend it into the sky, then you have to go with wet on wet. And if you don't want this to blend into the background sky, then you can use wet on dry technique. So we will paint both these wet-on-wet and wet-on-dry clouds in our gas projects. So now let's see how to pin clouds in using both these techniques. So here I am again, drawing the basic shape of the flower. So one for wet on wet and wet on dry. So in the previous class and the previous lesson, we have learned how to do wet on wet and how to do wet on dry. So this is where they really use that technique. So the first one is wet on wet technique. So I'm hitting the surface using my flat Princeton brush and I'm hitting the surface evenly doubt without heavy water laying there. And for the cloud shadow here, I'm using pople stone. Meanwhile, ultramarine and crimson. And if you see this is the Cloud chariot on that, I am bending towards the bottom part of the Cloud. And as this is a wet-on-wet technique, you did not, you will not see any rough edges. See the thing is blended into the background with smooth edges and the sky. So now our cloud shadow back is done. So I'm preparing color for the sky using ultramarine and prime number. And, and before painting the sky, I'm using a bit more darker tone to create more depth to our Cloud for painting more darker tone towards the bottom. But now you can see layers of depth in our cloud like a darker tone and more darker tone towards the bottom. So now glow charter is done. So we have to paint the sky at on these cloud shape that we have drawn. So that had to be done in wet on wet technique, but my paper has already dried. So I have later till the paper is completely dried and I'll play it one more layer of water using my flat brush. And now I'm painting the blue color for the sky around the shape that we have sketched. See the cloud itself is nothing much difficult to paint. And the cloud itself, if you paint the cloud itself, we will not see it as a cloud and we paint the sky around it as the Cloud is white in color. We didn't really not see clouded cell until we paint the sky around it. See now you can observe the adjust the blended into the sky without any rough edges or rafting. So this is why we use wet on wet technique pattern for getting soft edges. And now let's see how to paint a wet on wet cloud. So I'm again sketching the basic cloud shape. So the first step is similar to a wet on, wet on wet technique that is painting the drought shadow. So we will paint a glow Cerda in wet-on-wet technique itself. But we will paint the sky at on the Cloud using wet on dry technique. So now I have this surface and I'm using the same color tone, that loud shadow. Let more than codon towards the bottom. So if you've see like this, it will not look like a cloud until we paint a sky around this cloud. Light bending sky at on this cloud, the NDRC in the teens. And it will look absolutely beautiful cloud like an, like a beautiful flower. See now, as I said, we'll paint the sky in wet on dry technique. So I have the dry surface using my head dread and I'm digging blue-colored now. Ultra marine and painting along the edges that we have sketched. But the cloud see as soon as we paint the borders, the Cloud, then it, it started looking like a beautiful, beautiful, beautiful cloud. And if you observe the top and the bottom, that is the wet-on-wet Cloud and the wet-on-dry cloud, you can see a clear difference. I don't dry has rough edges but wet on wet and soft edges or the Cloud. So this is how we paint wet on wet and wet on dry. And sometimes you can also use a combination of wet on wet and wet on dry flowers in your painting. But in yoga in our class, we will do wet on dry drought in one project and wet on wet clouds in the three projects. So if we are seeing ARAF edge and the bottom part of the Cloud. So in order to eradicate that, I'm using a dry brush and just smart gene that into the background. So that's it, it's done. So this is my downwind and this is dry. Now, let's understand how the basic sky looks. Basic cloudy sky looks. So this rectangle is our sky. So we'll see mostly larger clouds towards the top part of the sky and smaller clouds towards the horizon. And in order to make your painting look realistic, always join your clouds. Don't let, let alone your clouds, like flying in the sky. This combined two to three Clouds together so that it will look realistic. So and always make sure you leave some gaps like this for this guy. So that the remaining part that looks like clouds, the sky consists of the two parts, clouds and the actual sky. A combination of these two, we make our painting look beautiful, like this blue part is the sky and the remaining part is the Cloud. And there is a cloud shadow. A combination of all listings will make a beautiful sky in our paintings. And in this one, this is astronomy sky, but there is no sky here. As you can see. We have painted only the SRO make lousy. And in this, this is one kind of sky. And if you see this is wet on wet cloud. 6. Class Project I - Cloudy Sky: Now let's start with our first class project in which a very paint, a cloudy sky and a reflection of Greenland in the water in the foreground scene. So I'm starting by taping down the edges. So as this class is all about watercolor cloudy skies, most particle painting will be sky and the foreground area and below horizon area we be very small. So I started by painting by sketching the horizon towards the bottom end of the paper. And he liquidated flexion. And here will be the grassland and he will be the bushes. And have speeded up this getting bad. And I'm sketching very basic lines gauge, as you can see. I'm not sketching any more details, but I'm just sketching freely using the benzyl. And in the bottom part of it will be water. The reflection of the bushes will be present here in this area. And just outlining the areas where the shadow should be. So the top part will be this guy. So the larger glands would be the top part of the sky and the smaller clouds would be the towards the horizon. So I'm starting to sketch some larger shapes to at the top, but and I'm trying to connect these clouds as they say, if you paint clouds in its age, form each cloud in to its own, then they don't look realistic. If you want your clouds to look literalistic, please connect to your clouds and water. I'm painting, I'm sketching some smaller clouds. So now I was getting this done. Sue. And if you are experienced with your watercolors case, you don't even need to paint the sky. The Cloud placement of the clouds in the sketching part, you can directly go and paint the sky. So now I'm mixing color for the cloud shadow before starting the painting. So I'm mixing ultramarine and crimson. So this we have learned in the class and a tiny bit of black. So the reason why I am mixing the color, priority starting the painting is so far the watercolor sky, we are using wet on wet technique. So when using wet-on-wet technique, we have to pay in the cloud shadow and the sky both when the paper is wet. So in order to make my time count, I'm mixing that color shared earlier so that I can make very faster before the paper dried. So now I'm playing and flat layer of water using my flat princeton flat brush. And I'm going at gross the same area again and again to make sure that the border is spread out evenly without large pools of water here and there. So now sky area is completely bet. So in I'm starting to paint the cloud shadow. So I'm taking the cloud shadow color that we mixed and painting the bottom part of the cloud shapes that we have sketched. As we have learned the clouds, as we have learned how to paint the clouds in the techniques class itself, it should be easy for you to follow up painting along with me. So this is the bottom part. And I'm also drawing some lighter shadows towards the top part of the Cloud. Two, for it's the edges towards the bottom areas. And now comes to the smaller glove. So by painting, if a pepper got dry, then please stop painting and wait till your paper gets dried completely. And then again apply border and then again start to paint. So if your paint is dried and then see patches of paint which is between Lord, make it illegal bending. So now my paper called dry. And this is one more version matter of waiting yourself is by using spray bottle. So I have you spray borderland creates a mortar towards the bottom in the area of my paper called dried. And I'm playing the cloud shadow in the bottom Clouds. It got dry. So I am Meghan springs a motor using my spray bottle. Now we'll paint the blue color of the sky there. So for the blue color, as we discussed time using ultramarine and burnt umber. According to our sketch, I'm painting across the borders. Catch-22 clouds. Be very careful by bending the blue part of the sky because you must leave some white gaps in between the cloud shadow. So that look like and when it eats the bottom path towards the horizon, I'm painting the whole sky using the blue shade. So this entire skydiving, I have deducing a little black boy, you exercise number 8 brush. And as I said, we will use only three bridges in this painting. Flat Princeton brush and the black velvet round 8 brush and a liner brush. So now I'm mixing a color to paint the Greenland's here so that I have mixed greenish, yellow and ultramarine and random error to decide. So at the bottom part should be the reflection, as we are assuming that this is a lake scene. So the bottom but maybe the border. So I'm using my flat brush and carefully a plain water. So before painting the top area, before painting the actual Bush's, we paint the reflection first and then repaint the actual in bushes. Channel the reflection part for that amazing greenish, yellow, ultramarine and burnt umber. And I started to paint the reflections in wet on wet technique. Since things in the reflection that you get will have smoother edges. Red technique. So we're doing, we're done right here. And the actual pushes will bend in my dorm dry technique with some rough edges. The reflection off of a larger brush here. If you see in the reflection to do, I'm adding, I'm trying to add depth by using there and some darker tonal values towards the bottom areas. So the bottom part of the reflection should contain the sky. The sky deflection. I'm using ultramarine and burnt umber the same day that we have used for the sky and the deflection. But two, and Don and I left white gaps to represent the Arabs and the shadow. Reflection. Sorry. Now let's paint the bushes here in the foreground so that I am using a greenish, yellow, ultramarine and burnt umber and a tiny bit of black. And I'm using, as we have learned in the techniques class, I'll be using side of my brush. Edges. Painting is almost finished except some finishing touches. The finishing touches, the painting birds and adding some tiny bit of details into the reflection part. So in our domain, reflection looks like a real reflection I'm trying to use to create special effect. And I'm using white gouache brush. And I'm trying to add some lines which represent the waves in the water. Now I'm adding some darker lines in the lake and the reflection part. And now I'm using black to paint Lambert. Smaller birds. Gradually increasing the size as the birds that up there tip. Painting is done, I'm removing the masking tape to reveal the final painting. So that's a guy's. We finish this beautiful painting into PS 20 minutes. So painting embryo difficult, cloudy sky Landscape is not as hard as you think. Let's meet in class project number 2. 7. Class Project II - Stormy Sky : Now let's do our second class project. So again, I'm tapping down the edges. So this class project will be a astronomy sky with a minimal foreground detail. So I started by sketching the horizon line. So this is the first thing that I do in any sketching. First, sketch the horizon line, and then start the remaining sketch. So that our part will be this guy. So in astronomy sky, that would be more number of dark clouds and there is less clear sky visible to the human eye generally. So in our vending also be large clouds and only a tiny bit of sky. So I'm here sketch in the negative area where this guy should be. And Remaining cool thing will be the cloud. Here I'm sketching the areas with the sky should be, the blue part of the sky should be. And the remaining area is full of clouds. And the below, below the horizon line will be the foreground, Greenland, which is a very, very simple foreground that we're going to do. So first, we're starting to mix in the shadow color, which is ultramarine and burnt umber. And the sclera is also done using wet on wet technique. See I'm mixing a large pool of cloud shadow color that the ultimate in Brandenburg. I'm using my flat brush, but instead of flat brush to wet the whole surface. And now I'm taking, I'm loading my brush with Hitler charter color, starting with the left side and WIP ending these clouds to always make sure you connect your clouds. The connection is very, very important while painting the clouds. And sky full of clouds, connecting Cloud is very, very important while painting a sky full of clubs. As the entire sky area is filled with clouds. In this class project, make sure to use different tonal values of the cloud shadow so that we can create some depth in the clouds. So if you paint whole Florida area using this in blue-collar in single Donald value, then it will not, it will look like a Cloud Center. To make it look like a cloud, use different tonal values to create different depths in the Cloud. So the top part has dried so I'm spraying water to keep it wet. So by bending largest surfaces like wet on wet technique, your paper will get dried for sure Of the same time. So make sure to keep a water spray bottle. We do so that you can use this brave artery to keep the paper red thread along the time. As you can see now I'm using a darker tone to paint the bottom part. So now we have finished painting clouds. So we have the pain this guy, and then do areas as we have sketched before. So I'm waiting for the MIPI but to completely dry so that I can apply water one more time with this. And then paint the sky as some parts of the sheet has dried in some way daily, right? I don't want my sky to look patchy, so I'm waiting for it to completely dry. You can also use a dry it to make it dry completely in less time. So now this is completely dry it, Let's have play one more clean code folder. So make sure you use water from another jar. From there, you're not washing your precious. So that is the purpose of the second Jarrod for order to apply more layers by using wet-on-wet techniques like these. Here I'm using my flat brush again to apply a neat and clean quarter folder. And I'm going to paint one more layer of clouds here using some darker tones. C. Go over the top and play paint the clouds once again. Mixing again ultramarine and brand dumber. First, I'm painting the sky using ultramarine alone. I'm carefully painting the sky in the areas where we have left blank. I'm calling it done for the sky and I'm coming to the foreground. So for the program, I am using a flat brush. I'm loading my brush with greenish, yellow and painting using S in little stroke. As we come to the bottom right of the grassland here I'm mixing ultramarine blue into the greenish yellow jacket on. And now using my silver black velvet and mixing a darker tone of the same color, blue and ultramarine. Ultramarine, and blending it here in the bottom, but to make it more darker to create more depth. So this blending we have learned in the class. And now I'm using mortar and with my fingers I'm dipping in water and I am the spring, spring links water droplets onto the wet paint. As you can see, a creators and beautiful book efforts here. To make the foreground industry interesting. I just did this spot. So if you remain, if you keep the foreground lab like that, then it would not look that much interesting as it is now. So now I'm again making the volume around it are dry so that we can paint the details. But it is the last part of this painting. So I'm taking black and a tiny bit of greenish yellow. And using the same silver black velvet brush, I'm going to paint the pine trees. So these also we have practiced in the techniques class. Some larger trees in them, smaller trees. Derby should be connected. This you can see here clearly. Use tip of your brush to make the shapes. Now, I'm using black to paint these tiny, tiny white flowers. And ZipCar painting is now finished. I'm killing off the masking tape. So bilabial masking tape only when your painting is completely dried. Paint will bleed through the edges and covered the paper. So that's it, guys. So gas project number two, strumming sky is finished. I hope you all enjoyed painting along with me. So meet you in third class project. 8. Class Project III - Monochrome Sky : So let's start our third class project in which we will paint a straw me, monochromatic cityscape painting. So Festival, what is monochromatic painting? So, monochrome means and single-cellular. That means you use a single color for your entire painting. And in our class project we are using Payne's Gray from Holbein watercolor brand. So you should use only a single color barrier and dire painting, then you're painting is coalesce monochromatic painting. So now I have drawn the horizontal line. And this is the only list gets that we're going to do. And here I'm just getting some clouds. So there'll be a large clubs and the dog and smaller, getting smaller when we reach the horizon. So as we discussed in the techniques class, sorry, the color straightaway class. So we use different tonal values are the same color to create our beautiful painting. So first of all, we'll start with the sky. So I'm hitting the surface. So in this case we are doing wet on wet clouds. So we are doing a water wash for our sky. And if you have a larger brush than this, then you can go with that larger brush and make sure you read the syllabus evenly. So now I'm taking silver black velvet eight and I'm mixing paint. And I'm starting with the topmost part. As you can see, I'm leaving and white spaces in between. So that clouds can be separately identified to some connections between the clouds. As you can see, I'm trying to connect clouds that I have been there from left. Clouds that I'm painting towards the right. And also if you see, I'm using some tonal differences, like I'm using, they're darker tonal value towards the bottom part of the Cloud and a lighter tonal value for the remaining cloud. And I'm also leaving some white gaps in between. And living wide gaps is very, very important. So if you paint the entire sky using some darker color or some color, then you will not understand that this is the Cloud area and this is the normal sky area. You will need to leave some white gaps in between. And if your paper is getting dry, then you can always use your body to make it wet. And if you don't have a spray bottle, as I previously said, wait for the paper to dry completely and then I'll play one more layer of water and then again, continue to paint. The difference between stormy clouds and clouds is generally stormy clouds with dark green color. Because astronomy clouds contain large amount of water in them, so there will be more cloud shadow. But in the normal clouds that little Charlie be only less compared to that on the Astro mic loads. So astronomy clouds always look very dark and very gloomy compared to the normal events. So that is the difference, Petain and this strongly lens and the non-real clouds. I'm letting it dry so that I have a new layer of mortar and then do the darker tones and the second layer. So the paper is dried. So I'm not playing one more layer for the radian. And viola playing the second layer, second coat of water. Make sure you do not blend all the colors underneath because this is what the colors, the dried paint also will react with the water and we get wet and there is a chances of smudging the paint. So make sure you apply water very lightly. So now I'm starting to paint the darker tones. So in order to create value, just mix a large amount of paint and less amount of water. And in order to get lighter version of your paint, then mix less amount of paint and large order. And by aiding the amounts of water in the paint that you mix, you can get different views of the same color tone, which is very, very important to paint any monochromatic ones. So now Skype bot is finished. You can clearly observe how sky is looking. Very beautiful. Sky parties, right? So let's get started with the foreground or below the horizon area. So for this, as we discussed, as we practice and techniques lesson here, there will be waves. So waves really paint in wet on wet technique. So I'm wetting the surface. So instead of reading the surface using only four dram, taking some paint and doing a light wash. And now with Mozilla Black Velvet. And I am taking Payne's gray. Again. Starting with the darker tone. At the bottom, we will go to the lighter tone towards the horizon. So I started with a darker tone to the bottom and painting this one stroke to their site and one stroke to the side. And make sure to leave white gaps here too. Because that worked clears the effect of waves. And now I'm using this lighter tones by just making use of the pain that my brush is holding already. When you reach the top part, do smaller waves. Men mode number of fails compared to that of the bottom. As, as you go to the distant past, then the magnitude of the waves will become smaller. And there'll be a large number of smaller waves compared to the below part. And I'm taking again it alkali Lu here and going through, going over all the details again. And now I'm painting some distant, find trees at the horizon where the top part mirrors the bottom one part, where we create some interesting fact that what painting, because if you see if he left the painting like that as it was before, then it was, it clears know much interest to the audience. But by painting these binaries, smaller binaries, distant binaries in between the top and the bottom bars. Then it cleared so much interest to the audience and it makes our painting more interesting. So these are the things that you must decide on the go. So I did not plan to pay in these binaries beforehand. But after finishing the painting, I failed. There is lack of something. We need to add that the paintings, so I then decided to paint these descendants to make our painting look more interesting and beautiful. Painting is almost finished. So with the smaller line at British I am paintings and birds. The stormy sky and the birds is a perfect combination. I'm starting with a larger bird at the top. So my letting the horizon, the size of the birds will they choose and make sure you pain birds independent directions. It will give you a good feel by loading the bending. I'm painting is no finally finished filling up the masking deep. So hope you enjoyed this class project to say, let's meet in the class project. 9. Class Project IV - Wet-On-Dry Cloudy Sky: So now let's start our final class project of this class. So I'm starting tipping down the edges. And in this class project, movie paint wet on dry clouds. And as usual, as this class is to learn more about skies. More part of our painting will be skies and less part will be the below the horizon out the full round part. So here we are drawing, we're painting some fields, so I'm sketching the same. And this kitchen is also very, very minimal. If you see any of my painting, sketching will be very minimal. But painting on the go is more. So this is my style of painting. Then anyone can have a different style, and this is my style. So here I'm sketching some bushes and I'm sketching some fields. So the dog, but the way the Cloud, so I'm also state in the Cloud outlines so that Maybe we should know where to paint the sky in way too vain, that load cello. So again, I'm building some larger clouds at the top and come into the horizon. The Cloud size reduces and they become smaller. And now I was getting me stands so I'm making are colored shadow colors ready? So the globe shadow color here is again the same, ultramarine and crimson and black. So now pin mixture is ready, so I am within the surface. As the learned in the techniques class, the shadow area of the cloud will be painted in red on red, but the sky, but we will be entered in my darn dry, which gives the rough edges for the flowers. So I'm hitting the surface so that we can paint the glow channel first. So I'm starting from the bottom part of the globe. Dr. Same sprinkling some order to make it to it. And now I'm mixing for the sky. So for this guy, I'm using ultramarine and white quash to get a lighter tone of ultramarine. So if you don't have wide course, you thin down your ultramarine blue using more amount of water. Or you can also use white watercolor to make it more lighter. So if you see, you can see the rough edges as we're painting runs dry. Now, I tap on the top of the cloud shadow is what? It looks like. A cloud. So coming to the horizon, I'm chatting to paint it with a plane and Ramadhan and move water out loud x values. And we can start to paint the foreground element. So before that I'm blending the PLO turtle and Nescafe area, that of H that is present here using a dry brush. So now let's come to the foreground area. So for the foreground fields, I'm painting with greenish yellow mixed with white quash, a tiny amount of white gouache to get that matte finish. And here I'm mixing some ultramarine and a darker tone towards the end of the field. And here we're doing the same thing as we did as we learned in the techniques glass that is blending. And for the next few, we're using grant umber mixed with my gosh. I'm here. I'm taking some darker tone by mixing black to brand number to give some depth to our bending. And here I'm using greenish yellow and ultramarine blue. In my listing the bottom, I'm adding ultramarine directly. So this is what we call as on the bow blending using black and greenish, yellow mode black. Initial loop. I am Catalan painter bushes here. So I mixed on the available colours like Brandon mom, ultramarine and black and tiny amount of green to get the stack and greenish tone. As you can see, I'm using my brush to paint this tiny ambushes. Now, I'm using my liner brush to paint some lines to define the direction in which the field is there. So these little details we make a painting interesting. Writing some more depth territory his head in between the borders. So that's it. Our painting is almost finished. So I'm taking some orange and are ready to paint some flowers at the bottom, but yeah, I'm using it. I can glean down to paint the stems. And the finite bar is painting. I'm using black and my liner brush to paint the birds similar to what we painted in the class project 13. Oh, painting is almost done the last time today. So I hope you enjoyed the class projects and meet you in the conclusion section. 10. Conclusion: So in this class, we learn to paint four different cloudy skies. And if you attempt any old days class projects, please post in the class project section below the class, so that you can inspire many other students to practice and try this class projects. And also I can see and review all your class projects. And you can use the techniques that we learned in this class to create your own landscapes other than the class projects that we paint it together here. And hope you all had a handout and bagged up some skills sought in this class. And thank you for joining. Have a great day. See you with an amazing class.