Transcripts
1. Introduction: 10 Day Misty Landscapes Challenge : This mist and fog in the air, you feel the sunshine, even inside the form. You can smell the farm fields. And though in the Rio flight, the midst slowly bonds into their day. Fog and mist beautifies everything in nature, especially mountains and hills. And I feel are true connection with the misty weather. Hello, I'm Shannon and artists and art educator from India. If you have been following me, then you might already know how much I love painting landscapes, and I didn't feel obliged to share my knowledge with you all. Welcome to the class misty landscapes. It is basically a 10 day challenge wherein we will paint one painting at a time for the next 10 days. And you need not worry if you are a beginner, I have covered all the underlying basic watercolor techniques required to be in the misty landscapes. And there is a warm-up session as well, which will boost your confidence and make you comfortable and on this object. So here are the paintings. So without any further delay, I cannot wait to see your class projects in the project gallery.
2. Art supplies: Welcome back to the class. Before we begin the class, let us have a look at the art supplies that we require. You need not have the exact same supplies that I use. You can use any alternative supplies of similar quality. The paper that I will be using is Saunders Waterford. It is 300 GSM cold press paper. No. It is important that you use a 100 percent cotton paper to yield the best results in watercolors. If you're using a cellulose paper, then I would recommend you either work fast or work on separate layers. Next, we have fellows. I'm using an airtight valid bookstore Mike allows you to show your I'm using watercolor abuse from various brands like Sennelier, art philosophy and White Nights. I have all the basic shapes and I also have empty wells to mix toppings. This way it is easier for me to have everything inside this airtight palette. Now let's talk about the brushes. I'm using four brushes your for this class. Princeton. Size four brush for the washes. A size 12 round brush by silver brush. For the larger areas. Size eight round brush and size two round brush. Again by silvered brushes. Moving on to the additional supplies, I have a hard board where I will take down the paper using masking tape. This is really helpful in building the paper and allowing dopings to flow down with the help of gravity. Then I'll be using a hairdryer to dry the beans Quickly. Else it will go a little longer for the pinch to dry on its own. Next, I have oodles of water, one for cleaning brushes, and another one who unloaded though clean water for the washes. Lastly, I will use some tissues and napkins for wiping off the veins of the crashes. That's all about the supplies. Let us move on to the techniques that go.
3. Techniques: Let us talk about watercolor techniques. Well, I have a dedicated class on painting misty landscapes, where I talk about the techniques and also do's and don'ts while painting the misty landscapes, I would recommend you to check that out first. Here, we will just quickly brush up some basic watercolor techniques before we begin the actual project. Okay, So let us go through the techniques now. First one is wet on wet technique. Here we apply wet paint on the wet surface to achieve software washes. This can primarily be used to achieve the background washes. Next one is wet on dry. Your paints are applied on a dry surface. This results in a vibrant and hard edges like the one you see here. Then we have dry on wet. So here we apply thick paint are concentrated paint on a wet surface. The underlying surface could be either plain water or wet wash of paint. This really helps him adding the software details in the painting. Next we have Dr. Andre. Here. We take dry or very less amount of spin on a brush. And then we gently slide the brush across the paper to achieve a certain texture or grainy effect. Next, we have lifting technique. Here. Let's say we have a weight painted surface and we want to lift some paint off. Now using our damp or dry brush, we will lift some of the paints to create this highlight or missed lake effect. Remember the paper needs to be wet well-performing this technique. Next we have the pulling technique. So this is really essential impending mist and fog. Here we apply concentrated paint on the desired area. And then you pulled up in stone using clear water. When the water is applied, the paint flows down. So this can be used to obtain domestic hills and misty mountains. Next we have blending. Blending is nothing but a technique of gently intermingling one more colors to create a gradual transition or to soften the hard edges. So here you can see how we have achieved a nice transition between the two colors. Next, we have tilting. Tilting is similar to the pulling technique, but here we apply pins and allow it to flow down with the help of gravity. It is basically tilting the paper and letting the paint flow down. Lastly, we have layering technique. This is also known as glazing. It is essentially multiple layers of paint applied on top of each other. Each layer of paint is left to dry before applying the next layer. Glazing or layering adds depth and richness of color to the painting. So these were some of the basic techniques. Also, don't forget to check out the do's and don'ts section in the misty landscapes. So yeah, Let us move on to the practice session.
4. Warm-up | Practice: Let us paint some common elements of misty landscape to feel confident with the upcoming painting challenge. So let me show you two ways of painting hills or mountains. And the first one is using wet on wet. Here we apply wet paint on wet paper. So this results in soft and bloody Mr. hills or mountains. Leave a blank space to depict the white mist. And then paint another layer. Isn't that simple? You can use thicker paints as well. The second one is using wet on dry and pulling technique. This results in vibrant and sharp edges. This can be used when we want the element to be clear and distinctly visible to w point. We allow the paint to dry completely on the first layer, and then we apply another set of hills are the beans. This builds a sense of distance in the painting. The first one is on wet surface, and the second one is on the dry surface. You can pick any technique based on your requirement or the outcome you want. Also, you can use multiple colors to achieve a dramatic effect. Pulling the dollar bills or gradual transition of alloys, resulting in misty and foggy effect. Next, let us learn to depict the misty effect in the binaries. So here again, there are two different ways. First one is we've been reshaped using darker colors. And then with the help of tissue or a napkin, we will lift up palace. So this leaves a lighter color which creates an impression of mist. And for B effect, you can also use straight lines as filler elements in between the binaries. Second technique is to paint the tree with lighter color first, and then the OBD-II darker colors using a pointed tip brush. Now this combination of lighter and darker color, wheels, a misty atmosphere in the painting. You can apply these techniques on the other elements as well. Next, we will learn how to create a sense of distance in the painting. Let's say we have a background wash. Now for the elements to appear clear and sharp, we would need a dry surface, so we will let the paint dry first and then I'll explain you how to achieve the distance. So we have a dry surface. Now let me show you how we can achieve a sense of distance in the painting. And you will paint will start by being in smaller trees, assuming that these are very far from w point or the observer. Also keeping it very later in Boolean value because the objects tend to appear hazy and blurry due to the atmospheric we pour and missed. When you observe a misty scene, you would notice that the distinct elements are very grayish or bluish in nature. Then we gradually increase the size of the trees as we move towards W point, and also increasing the intensity of the color. This means that the tree is somewhere in the mid ground or slightly away from the viewpoint. So this is the rule of perspective that the objects tend to appear smaller and lighter in color as it moves away from the viewpoint. Now in the foreground, the trees appear very clear and we got in size. So we will use darker color. If you absorb the overall picture, you can figure out a true sense of distance in the scene. Next, we will learn to paint the misty and blurred view of these. We will take a wet surface. Here we will apply a diluted wash. It could be a neat color and apply thick paint on this wet area. The underlined area, being weird creates a software APRNs of the color. Next we will apply another layer of thicker pins. We'll create a sense of depth. This can be classified as a combination of wet on wet and also dry on wet. Because we are applying thicker paints as well. Once they dry, they appear very soft and blurry in EPR and this can be used as distant treeline in the pin. Now, on the same thing, we will paint the reflection. So wet the paper. And below the painted area with clean water. And we will paint the exact mirror image of the above element. Over this, we will add some ripples using darker colors. So this is how we been the reflection. You just have to create the exact mirror image. Now let's say you are not able to achieve the desired misty effect. So there's an alternative using gosh pimps. So here we will wet the paper on desired area and then apply thick wash bins within this wet area. If you apply it on dry paper, it will create sharp edges. So make sure you're applying inside the boundaries. This results in a tick misty or foggy effect once in price. So this is how it looks after drying. In our paintings, we will be painting a lot of bare trees and by increase. So let's practice some trees as well. Here we first draw the trunk of the tree in required angle and then add the main branches are the limbs of the trees. Once we have this main skeleton, we apply the extra branches and I need weeks in the trees. You can choose to keep it minimal or have a denser look. It depends on how you want your tree to be. Also, we will practice some pine trees. These are some easier ways to draw a straight line and then I add random crisscross lines in different angles. This image self will look like the tree is Fuller in appearance. And make sure to give it a triangular or conical shape. That's how a pine tree should ideally be, right? The second method is to paint the main skeleton by adding just a few basic shapes and then fill it up with leaves and pine needles. Here's another style. This is my go-to style. I just add some zigzaggy, loose strokes in triangular shape. If you still feel difficulty in wind increase, then don't worry, I have a whole class on painting trees, ideas, more than 50 types of trees in the class. Feel free to check it out. Now if you want to pin a reflection of their trees, then you're going to paint the mirror image and exact opposite angle. But in distorted style. Making it distorted gives the illusion of ripples in water. For inclined shapes, we are painting the opposite angles. Also adding a little horizontal brush stroke where the subject touches the water. This is to create a sense of separation between the water and the air. Now let's paint some words. It is the easiest subject of beam. So just add some inclined brush strokes. We don't have to create any details. Keep it loose and simple. We will learn more about mist, fog, and other elements as we dive into the painting project. So let us move on to the day one of the challenge.
5. Day 1 - Misty Dawn: Hello and welcome to day one of the misty landscapes challenge. This painting brings about the mastodon. With audience highlight. I made clear sky in the foreground that is reflecting the sky. And trees and weeks partly submerged in the water. Towards the horizon. We have a blanket of fog hugging the surrounding dense forest. And of course, some birds flying high in the sky. The Pelosi required. For the sky, we will use audio. Then we will mix ultramarine and boil it to achieve avoided the blue color. And for the dense forest, we will use Payne's gray. And very Dreze will be been deducing burnt umber and Payne's gray mix. So that's all about the colors. Let us get started with the painting. I have already must. Now let us form a basic sketch of the painting. We will have some pills in the distinct area, which will be covered with missed. In the foreground we have Lake. The observer sees the word equaled reflection of the distant landscape in the lake. The sky too, will be reflected in the lake, which we will achieve while the painting. So we will prepare people for wet on wet technique. I'm using my size eight round brush. You can go with any larger brush that you have. First step like clean water throughout the paper and make sure you have even coat of water, keeper tissue to wipe off the extra water from the brush. Now let us paint the sky with a size eight round brush. I'm going to be orange and mix CTO for diluted shade. With this shade, I'm going to apply diagonal strokes on the top part of the paper. This is going to be depicted as the audience strokes in the sky. And now in the bottom part, we will apply opposite strokes for reflection. So this is the exact mirror image of the sky. Apply some more strokes with concentrated shade. The brush as we will be changing the color now. Marine blue in the palette. Mix it with violet. So when you mix these two colors, you will get the blue color. Pin this on the MPA at, on the orange strokes. We already know how to paint the reflections. So it is going to be the mirror image right? Next we will be in the misty layer and the hills. Use Payne's gray to pin the hills. So here I'll be going with concentrated paint to achieve the dents effect in the hills. The hills area with a smaller brush stroke. Here the paper is still damp, so it will help in achieving this bleeding effect. Remember, with the mist covered, the hills are not defined with sharp edges. Plot the reflection in the bottom. Go with the same method, but you can keep the brush strokes lose. The bottom edge of the hills look very opaque. This has to be soft drink gradually downwards. See in the brush and wipe off the extra work around the clock. Lie read across the edges. The idea is to live the thalamus that otherwise add darkness to the element. Load the theme and the bottom half as well. Lab some Payne's gray around this ADR. Big the midst. Next, we will develop some ripples. There are no strict rules. Your allows you to be experimental by the ripples and the waves. And not too dramatic. We do notice that technique that we use to paint in the painting. So it is negative spacing. So here we have not applied any white paint. Still we have this bright white effect in the painting. So that is an easier way to achieve missed in what the colors. We will lift off some paint from the hills missed and formed in the painting. So we will let it dry completely. You can use a blow dryer or let it dry naturally. Alright, now that the paper has dried, next, we will work on the horizon line. So in the center In-between these hills, Lee will read the paper using clean water and with the help of diluted payne's gray, we will draw a horizontal line. So this will act as the horizon line. Now to soften the edges here, we will lead a damn brush above and below this line. So as to give a faded effect. After some time, this line fades away, but we will have a vague impression of horizon line. To add more elements over this line eight concentrated Payne's gray and add some dark patches on the horizon. So it will look like an uneven area near the horizon. We will let this dry. Now the paper is dry. We will mix Payne's gray with bone number. So this gills almost like a black sheet. So we will develop some tree trunks in the lake area. These are mostly the dried tree trunks. I add straight lines and fold them into two or three parts to depict the branches. Straight line too low, so there's no compulsion in creating the branches. Paint them in different sizes. These trees are partly submerged in the water. Next, I'm going to pin the reflection using size two round brush. Using a thinner brush helps to achieve a nice detailing work. And then we will paint the reflection of these trees in a distorted manner. Why they appear distorted is because of the ripples in the water supply to paint them in a combination of zigzaggy and straight lines. This will help in achieving natural reflection of the trees in the water. Okay, So for better understanding, consider these examples. You have got. Draw the exact middle element for the reflection. Let this paint some more trees on the right side. Again, it is same technique that is adding the trees and then painting they're distorted reflection. You can also add some more trees if you want, or skip some of them. It's totally up to you. Here. We will add some horizontal lines, new order tree trunk, where the drunk but just the water. It will help in the separation between the water and air. Next I will introduce bear pine tree in the water. I add branches and fold them into multiple parts. Then once this is done, we will add the reflection, adding some more definition. But the trees and the reflection, yeah. You can skip or the next word diluted payne's gray. Add some more fine liner brush. I'm going to add some hot is on and some zigzaggy lines near the horizon needs to be settled. Now to develop some missed in the newly painted trees. This can be done by lifting colors. If I live to be in choosing brush, it might deform the shape. So I'm going to use an issue paper instead. Just apply some pleasure and liftoff. The colors from the painted surface. The upper areas are darker and we can only see the midst in the bottom part of those trees. Now, it's time for much elevated birds in the sky. I'll be using a mixture of Payne's gray and burnt down word. This color mix and wipe off the extra beams so that you get nice and crisp brush strokes. I add some simple brush strokes to depict the birds in the sky. Now, going back to the misty area, we will add some pine trees there. We have achieved the effect of mist covering the trees. Mix burnt umber and Payne's gray. With this mix, paint some pine trees. That is already lots of mist. And on this idea, that tree should not be left dark. So lift some pains for the misty field. Here, the midst does not always covered the whole tree. So let us paint a couple of pine trees when the top of the trees look darker, but the rest is covered with dummies. For this pine tree in it when denuded color. And then nab some if required. Next, paint the top of the tree with dapper don'ts. And may call gradual transition between the dark and diluted don't. There are multiple ways in which you can paint the trees. Now, we have arrived at the end of this spinning and at this point, echo, step back and develop some elements that you find missing. Add a couple of birds in the sky if required. I think more definition to the tree branches are adding some repulsion. Render. Whatever you feel is required in your painting, just go ahead with that or leave it as it is. All right. So at this time to wrap up this painting, remove the masking tape from all the sides. Take some time to appreciate your efforts on the paper. Have a look at the MRTK down the middle area. All we left the paper MP and lifted some beans. The tree is closer to the observer, are in high contrast without reflecting any light. Does it for today? If you have any doubt, whoops, hit me up in the discussion section. Thank you. See you soon.
6. Day 2 - Mist Through the Woods: Hello and welcome to day 2 of the class, misty landscapes challenge. In this painting we have a gorgeous candy sky with a hint of sundries in the background that are Misty and hazy mountains which appear bluish from the view point or to the observers, are these hills are at a certain altitude. So the lower part is covered with dense missed. Then there is ground level or the Linphone he earned. The landmasses is filled with bare trees of different sizes and then there are grasses. Let us talk about the colors that we need for this painting. For the sky, we are going to use crimson and a logo. For the misty layer, we will be using indigo. And then for the second layer, we will mix indigo and Payne's gray. And the fog layer is diluted, payne's gray and indigo. And for the ground area, we're going to use a yellow ocher, some green bond and bond downward. And also a mix of burnt umber and Payne's gray. Next, all about the colors. Here, I have masked the paper already. So let us get started with the painting. We will start by painting the sky. It is going to be smooth gradient of pink and a law. So a Clemson and add water to it. In order to achieve midtone consistently. Apply this mix with horizontal brush stroke on the top part. Remember, the father's point of kind doesn't reach those Andres, especially when the sun is closer to the horizon, so it need not be very bright. Next, we take a yellow ocher and apply it below the pink sky. That I'm applying the paint on dry surface. Just for greater contrast between the two colors. We will add more crimson and the top. Here the idea is to bring out the vibrancy in this guy. Add a layer of water to soften the edges of a yellow ocher. As of now, we are good with the sky. Let us move on to painting the misty hills. Take indigo in a thicker consistency and start developing the distance. Mr. Hill's apply some wobbly horizontal brushstrokes. Depict some elements like Kellogg's and absorbed that the indigo doesn't blend with the yellow ocher. We are not achieving a blending effect. You are now with a larger brush. Apply water below the indigo colored hills to pull the paint down. Notice that I'm placing the cardboard inner tilted position to allow gravity to do it strict. Your this creates a gradual transition. Developer sense of mist and fog at around this area. The distant hills appear a bit flat. So I add more indigo over yo. We want to bring out our perception of dense trees. Moving on, let us use on wet, on wet technique on the middle area to further elements. Also, please an object like masking the torso below the top end of the paper so that the Indigo of the hills gets pulled down due to gravity. For the gradients to this theme and also to avoid getting macrons in the pimping. Note that I have not applied water on the lower 1 third of the paper, and there is a reason for that. More on that later. Next, let us take a low occur and apply on the lower part. Bitly applying it on the wet area as well. This area will have soft and diffused edges, while the other side has hard edges. When we apply colors on dry surfaces, it remains when he wavelength and sharp. Further, we will apply burnt sienna alongside a yellow ocher. This removes the sharp edges and also built a continuum to the ground area. Then we apply burned down along the bottom. Use among these three colors, we have a beautiful gradient from yellow to brown. This is part of the art, is closer to the observer, so it is important to develop some details on the line as opposed to the bloody areas and distant hills. Use Payne's gray to add some horizontal strokes to keep the ground area busy. As we can see the details when we are closer to the real point, correct. Next, let us add some more background missed in the middle area, which is above the ground. Idea is to bring about denser mist and fog leg perception in the lower middle area where the land and use Payne's gray in a very diluted form to underpin the fog and mist. Remember, this area was early washed out with clean water. So blending is easily formed here. And the blank area in the middle will depend the white for millenia. Who avoid having a flat APRNs, we will add some diluted colors. You can dab that issue on the Painted Surface, Go lift the paint and the big a sense of in dense fog. Okay, that was background layer filled with missed. Next, take some sap green and applied on the yellow part for some grasses on the ground level. The pilloried spread slowly well, due to the red background layer, you might end up with a different texture if your paper has already died. So be aware of that. Adding some more diluted payne's gray on the white misty area. Moving on, we will paint another layer of distant misty hills. In other words, another back-off and steals. Use the mix of indigo and Payne's gray. This gives a darker blue color. Apply this mix as the second layer of Misty hills in a similar manner. And go with lovely brush strokes to suggest distinctly shapes. Once toppings are applied, they contain that push and pull the paint down with the horizontal brush stroke. Now we have four distinct misty hints. I can already feel the cool breeze your looking at these mysterious introduce some diluted strokes in the central foggy area. Let the paint to dry completely. You can let it dry naturally or use a blow dryer. It's up to you. Okay, so my paper is already dry now. Let's add some texture to the ground area. Take bond number in a diluted form and wipe off the extra bins. To perform the dry brush technique. So the brush is damp enough. Glide your brush on the ground area to suggest some rough texture. Remember your brush should be done in order to achieve this texture. And for the lower area, we will do the same step with slightly darker color, which is by mixing Payne's gray to round. Why using darker colors? Because the base is darker. So we have to match the colors. Anyway, no compulsion as such, you can go with any other color as a Payne's gray and add lots of water to achieve our diluted consistency. Now let's paint the distant trees at ground level. Uses smaller brushes because the trees are really tiny. Now start adding some distant trees at the other end of the gown, lemon. Because every from w point or the observer perspective, we've been gradually increase the size of the trees for those that are not too far away. The actual sizes of the trees might be almost the same, but they are different in size due to the distance. Today, our mu naught that I have increased the tonal value of the mid ground trees so that we can distinguish between the background distant trees and the middle ground trees. That's how you create a separation. Also, the sizes of the trees are increasing your as compared to the countries. You can add some tiny details like go. Ranchos are tiny leaves in the distance and the middle ground trees. However, due to the mist, it will not be clearly visible. So you have to keep that in mind and maintain the color consistency. Now let us paint the foreground trees. These trees are closer to the observer. Hence the APR, very defined and Gore when compared to their distinct trees. For the tree trunk into three parts. So that it looks as though it is spread in different directions. And add the branches. I had some defined shape in the bottom part and blended with the ground level. Pinto branches in irregular and twister chips to attain a natural shape. I have a whole class dedicated pooping, increase on Skillshare. Feel free to learn from it. With the help of a fine liner brush you can add though these tiny branches, which enhances the overall look up the tree. Branches. Developing some shapes in the trunk of the trees. In the ground level trunk of the tree. I slide my brush to create this rough texture. Let's paint another tree. This tree is little of the from the foreground tree. To determine the positions of the trees, you can have a look at where the trunk of the trees originate. Again, add the branches in twisted and group good way to achieve a natural cliches. Next, we'll add some noise in the foreground area by adding some texture and some tick grasses. This is an optional step. You can keep a simple plain ground as well. I had some simple and straight lines. This access some noise and makes the ground level a little busy in appearance. Also, we will identify the main ground trees by increasing the tonal values. Sometimes we need to go back and fix that. Things will improve the painting. The alert look darker when it was wet, but after drying, it appears dull. So I had to go back and fix it up. Adding some more defined branches. You need not follow the exact same steps that I'm doing. You're all you have to do is just focus on your building and see what element you can add or improve upon. Now lastly, we will go ahead and splatter some darker paint in the foreground. This depict some unevenness and adds a sense of drama in the foreground. Now, diluted in the goal and pled rate on domestic area that your tissue paper don't live dopings of the surface. This creates a very mild water droplet texture on the foggy area. That's all about the painting. We will remove the masking tape and admired define a look. In this particular painting, we have been switching between Mr. Hill's to foreground foggy area and back to the Mr. Hills. Again, we primarily wanted the paper to be of certain dampness before applying paint. Also at times, we felt the need to go back and add missing elements or details. Don't be hesitant to experiment and improve your art. After all, it's your painting. I hope you enjoyed learning with me. I'll see you in the next chapter.
7. Day 3 - Misty Winter: Hello and welcome to day 3 of misty landscapes challenge. Today we will learn to pin this miss the window landscape covered with snow. The distinct trees is covered with missed, hence it IPOs bloody. There are some bare trees in the area and grasses on the land covered with snow. All right, let us talk about the alerts that we need for this project. For this guy, I'm going to be using yellow ocher and Clemson and paint. And a bit of orange for the brown colors, and indigo for the bluish use. So if you do not have exact same sheet, you can go with any similar colors. Let's get started. I have already taped down the paper using masking. If I'm using a size two, round brush, a logo, and a bit of crimson. Mix it well. To achieve orangeish mutate a local law. Applied this mix on top of the paper is wet on dry technique. Hence, we will achievable by blend looking sky. I prefer painting the sky is first it might be ending. That is like the base for everything. Note that I have kept my be put in a good position to allow the paint to flow in downward direction. Now we will apply clean water to soften the hard edges that is formed by the color mix. So in the bottom part, we are going to maintain a whitish color. So over time, this orange hue in the sky gradually vanishes to form whiteness in the sky. Apply water on the top half of the paper and we do not want to wet the bottom half. So the sky is done. Your letters spin the ground area. Mix Payne's gray and a bit of orange. This gives our darker brown shade. Alternatively, you can go with any brown sheet. Now, load your brush with this mix of concentrated Payne's. Now we will be performing dry brush technique. I'll write my brush is damp. I'm going to quickly slide the rush over the dry surface, just below the wet area on the paper. This accuser texture as if there's white snow over there, doubt brown. If you notice, the upper part resulted in a soft edge by now, that is because of partly wet surface. The lower area being Dre, creates a grainy effect due to the dry surface. How beautiful it is to combine simple techniques to achieve these dramatic results. We will leave it here for now and move on to pin the distant background. Since this area is already wet. So we can achieve some fluffy distant tree line. Use the same mix to create this continuous and dabs. This is going to depict the distance Tree Lane. And it doesn't have to have any detailed Drang or foliage on. The trees are blurred by the midst, set our link them. We know I'd indigo to develop some bluish hues for somebody that lives. Next, I'll apply a mix of indigo and Payne's gray. So this is a very darker mix. We Greek while doing this, if paper dries, then it is difficult to achieve though fuzziness in the mist. Once the beans are added, echo clean DEJ, and slide it horizontally for some good soft finish. We do not want sharp edges and the boredom of those trees. Make sure you have some empty space of white. This is to depict the midst and atmospheric way above the ground level. Acre damn brush and run all the pins near the white area to create a soft blend. Let us hold back to the foreground area. Let me just a couple of strokes, very likely to cover the larger areas of white green left empty are. Now apply clean water below the brown beans, just overlapping the pulling down the paint from the above layer for us smudged effect. Eight more bins in the brush and draw some loose diagonal strokes as shown here. This is a learned that is filled with snow. Next, let us introduce some bushes and grasses along those lines. We will add quick strokes of the brush through the big toe, partly visible landmasses under the snow. Make sure you have a damp brush whenever you want. Or external effect. Moving on, we will add some bushy trees in the midground area. In thicker consistency. Keep the beans take good to avoid blending with the underlying weight surface. This can make oil as dry on wet because the painter really pip. Next, let us add some concentrated paint on the landmasses of snowy pine trees around the central area. As I stood on brush your font finally the pills. You don't have. The details. Your, these trees are blurred by the fog effect of trees being covered with snow. Lift up pains with issue around this region. Now we will add some straight lines to the Pinto, bare trees. For our alert, it looks more natural to lighten the bottom part, which is mostly covered with mist and branches. Now it's time to fill out some details in the pines. It appears as though only some parts of the trees are covered with snow. I didn't more branches. So you can paint the branches called twisted way. We really maintain the lighter color in the bottom part of the trees. And there is no fixed number of trees as such. You can add as many trees as you want. Now let's add some more definition to the grasses in the foreground. In more grasses in the foreground. Going back to the trees to add more defined shape of branches. He was a fine liner brush for finer details. Let me hide those free flying birds in the sky. Next, we will apply clean water on the white area. Salma, diluted tones of indigo on the line covered with snow. This would be the reflection of this node. Otherwise, the area or the APR go flat rate. And also some diluted brown paint. At this point, the paintings papyrus complete to me at this time to remove the masking tape. So yeah, this is the final look of the painting. Hope you enjoyed painting with me and creating snow out of literally nothing. I'll see you soon in the next step, go keep painting. Until then. Bye bye.
8. Day 4 - Autumn Mist: Welcome to day 4 of the challenge. And this is our misty morning seen with colorful please. In the distinct land. You can see the trees with colors like being blown, etc. Which appears blurred due to the presence of missed. In the mid ground, there is a thick blanket of mist. And in the foreground, we have a giant tree and some fallen leaves on the ground. All right, let's talk about the colors. For the background, please. We use crimson buoyancy. I know we integrate. The purplish stone that you see here is achieved by mixing crimson and beans green. In the foreground. We use fulminant L0, born downward and beams great. For the misty area in the center. We are not using any color. It is the color of the white paper. All right. Let's get started. I have my staff paper on all the sides to secure the paper. Well, now let's apply clean water to go with wet on wet technique. I'm using a brush for and faster applicational Florida. Apply even coat of water and make sure that I know pool or particles of water in the center on the corner radius. Next, in the central area, we will apply some beans, The Big Bird distinctly eight Blimpson and apply in medium consistency. Then we'll apply once you are now on the other side, we are trying to achieve or don't, or foil waves, which is why we've been the colorful trees. Picker comes and beans to increase the intensity and this actuation add some more burnt sienna. So there is no strip. And as such, be a little playful and enjoy the process. I'd Payne's gray on either side and then apply on the middle area as well. When Payne's gray gets mixed with crimson, it gives us. So that's a new color here. In the center. We will apply smaller strokes in terms of height. So this creates further distance in the scene. Also, we will leave the white space on the upper part as it is. Good. The pig, that layer white guy plays a masking tape under your cardboard at the bottom part so that the colors flow down towards the upper part of the paper. Now data clean brush, and glided parties on believed to create a smooth MSDN atmosphere. Above the ground level. We will create some tree trunks for the district trees. So I'll be using my back off the brush to create this tree trunks. Plays on pressure on the back of the brush and create these word lines. This needs to be done while the paper is delivered. Moving on, we've really been the main ground and the foreground area. And leave some blank space to suggest a thick blanket of missed in the painting. We will apply permanent yellow in medium consistency. Since the paper is already wet, it helps achieving smooth and soften the edges. Apply diluted, burnt umber and blend with this a lot. This is an important step. So date picker and we will be in the fallen leaves on the ground. So the veins have to be realistic else it will spread with the background layer. This is a dry on wet technique, meaning we're applying thicker paint onto the wet paint, the shape of the leaves. The Places Concentrated a low pins on. Hello, ground area. Next we will go a mix of burnt umber and Payne's gray. So that will be closer to a black color. We will apply this makes add-on the leaves. We are draining the window. Nice contrast between the leaves and the ground so that stand out as the focal element. Next, let us blend the darker mix with the yellow paint. So you can see we are gradually building a transition here. So the aloe leaves that may have been GTR, the fallen leaves on the ground. Next, we take Payne's gray in thicker consistency and apply it on the lower part of the district tree. This will act as the tree trunk and also the shadows in the lower area. Now mix burnt umber with Payne's gray to form a darker mix. The underlying surface is still wet, so the colors are going to spread and create a bloody effect. And gently dab this doctor makes I don't this area. And then we will add some darker foliage as well, using the same color in the darker colors in the foliage and the shadows cast by the leaves. Also, we'll add in some diluted payne's gray. Besides just the gradual fading away of mist. Now slide your brush horizontally and on this misty area. We will leave it here for now and let it dry completely. I'll write the paper is dry. Moving on, let's paint some of dates on the fallen leaves. So here we have spleen and lower leaves. We will paint the veins using burn down with this adds a realistic attached to this element. Moving on, let's spin the bigger trees in the foreground. Aig, any darker color mix? I'm using a mix of Payne's gray and burnt umber. You can use black or CPR as an alternative. So let's paint the tree trunk. First we will develop the base of the tree. And then the limbs are the thicker branches of the tree. We will leave it at this point and then come back again. Now let's add another tree. This tree is much closer to w point. You can see the originating point of the trunk. It determines the distance from the viewpoint. I had some paint near the roots of the trees. Once we have the basic shapes of the trees, then we will paint the branches and the dynein. Paint the branches are different angles. I mean radius directions, beams, some twisted and group could shapes. This way we will have a nice, really tricky shape. You can observe the shape of the trees around you. They are never in predicted all uniform shapes. That's the beauty of nature. You can observe and follow along with me while I paint this tiny branches and twigs. We have been doing the trees. Yeah, let's take a minute to admire these giant UVs we have just created. The media looks a little cleaner. So we will add some beans randomly to create a sense of noise. A grassy look. So I'm using a darker mix of spins, credit and bond downward. This will look almost like the black palate. So again, no strip back the message to apply the bins. Just go with the flow and randomly add the beans. Also, you can add some tiny grasses as well. You can also slide your brush to achieve a slight texture. So this is dry on dry technique. Now, I have some backup alert lives and our own aloe leaves and go back to the tree structure. And I had more finer details. Even more twigs and branches to make the DRI long lens. And so it's okay to revisit and either the elements as you. If you do not want, then S3, then you can skip this step and keep your three simple and minimal. I think some more dynein grasses on the ground area. Maybe add some darker color. Just a grasses and shadows on the grasses. Grasses and big shows on the land was. Lastly, let this add a couple of flying birds in the sky. Alright, so we are done with the painting. Let us remove the masking tape. I hope you enjoyed today's misty or painting. Feel free to ask your questions in the discussion session below. I would be happy to help you. That's all for today. Bye bye.
9. Day 5 - Misty Riverside: Hello and welcome Professor project. In this series, this artwork contains Riverside. We'll bare trees in the foreground and some distant buying trees covered with these and missed. The moon is done with pale blue sky and use of orange. Near the river bank in the foreground. We have some Barclays of most drugs. Next all about being in. Now let us talk about, unless for the sky, we will use cobalt blue, yellow ocher. And same for the reflection of the sky in river water. Now for the distinct pine trees we will use in vivo and Payne's gray. You can also mix any blue with Payne's gray here. For the foreground, a riverbank. Good job. We will use sap, green and Romberg for the green gases. And what that reuse we will make some burnt umber with Payne's gray. For the reflection. And Barclays of most drugs, we will use Payne's gray, but bonds are more. Again. That's all about the colors. Let's get started with the building. All right, so here I have already applied the masking tape on all the sides and edges of the paper. This helps to give the paper secure. So let us begin with applying clean water on the paper. We will be painting this in a loose style. We define the shapes for the components. I wouldn't be sketching the element before. So the background wash is going to be wet on wet technique. You can use a larger brush for covering larger areas to make sure you apply. Even coat of water throughout the paper. The paper absorbed what DO for few seconds. Now, let us spin the Skype. A cobalt blue and the dark area for the sky. Paint some in the media as well, for the reflection in the liver. Next, I'm going to mix a yellow ocher with a bit of raw umber. So we will get this yellow ocher color. Let's apply it in the sky to achieve warm highlights and also leave some gaps in between. Next, let us makes raw umber provided low pain, some simple strokes in the sky. We do not want this guy to your slide. And thus we will apply this darker mix. Apply horizontal brushstrokes. Also, we will be in the same on the reflections. Now that we are using wet on wet technique, we can tilt the paper in a way to get even distribution of colors. Let us move on to Bento, distinct mysteries. With diluted payne's gray, draw vertical lines using your brush. We are depicting trees when they're covered with missed. So use indigo or you can make some ultramarine blue with Payne's gray. Draw the horizon line and then add some trees in a loose manner. Since we have water below the horizon, make sure you paint the middle elements as well. Here we are building on a wet surface. So we will achieve a blurry background. And that is really ideal to achieve a misty appearance. Now, we will lift some bins using. Damn brush. This is called lifting technique. It depicts the ripples in the water. Now, to add some dramatic effect in the reward, we will add some darker Payne's gray. When we have combinations of lighter and darker colors. It turns out early Nice. I had some beans grainy on the horizon to create a distinct separation between the water and atmospheric. I had some tiny reshaped using diluted in screen. Next we will be in the narco colored tree. You use concentrated Payne's gray and develop some buying trees. The trees are darker in color. So give them a misty look. We will have our tissue paper and liftoff DP. So this way we will achieve a misty look in the trees. The overall tree and deflection. It is painted on a wet surface, hence it will appear after it dries. So let us allow it to dry. Now. I'm using a blow dryer to dry the wet paint. Once the paint dry, we will add some binaries using wet on dry technique. This being painted on dry surface. It gives us a shop and please look through the trees. You can go no more than ONE if you are not comfortable painting the reflection. So when you compare the background trees and this tree, so you can see they're different, right? The background ones are blurry and this has sharp edges. And having that issue gives a misty effect. Now, let us wait the area below the horizon line. In the foreground. Elements with wet on wet technique. Apply clean water. If you are applying the key word there, you will see the batches when the water dries. So be mindful of that and also do not apply more water near the reflection bark next, letters makes sap green and raw umber. So if you do not have raw umber, you can use von downward as an alternative. The aim is to mix a brown shade and also it will look unnatural. So let's apply the paint. In US law be shaped. And this is, this is going to act as the base layout for the grasses aren't very well bank mix the raw umber and Payne's gray. This will give us our darker brown color. We will apply this color mix on the bottom part of the river bank. The bottom part of this floppy area will have a muddy and wet appearance where it touches the water. Next we will paint the reflection of these grasses on the water. So we will use Payne's gray. No specific detail as such for this layer. Just add some rough horizontal lines. Apply some brown paint in-between the greenish area. It's good to have a sense of variation in the elements that we create. I think more brown in the bottom part of the river bank. But I had a sense of dimension. This makes it look like. Okay, so the veins are draining, spin the trees. I'm using a diluted mix of Payne's gray and burnt umber. I'll first paint the tree when diluted color. And later on, we can add a darker colors. Being the branches of the tree in an irregular style. I'm sure by now, you must have improved a lot in painting trees because practice makes us both branches in an irregular way. That's how we will make the tree look natural. For the tiny to extend the trees, we will use a fine liner brush. I had some veins near the roots and blended when I use my fingertips to blend of beans. And so let's add another brief. I'm going to add more and more branches in this tree. You can follow along with me or follow your own part for the branches. You can keep it minimal. Have a look for the trees. That is no restriction to follow the same step that I show. Next we will take a concentrated, darker green mix and we will paint these tiny lines are the big grasses. I'm sliding my size two round brush and creating this extra on the grassy area, adding more darker colors on the sides of the tree trunk and the branches. This suggests the shadows. The lighter side of the tree shows the I laid and also the present soft mist. Now let's add some darker mix on the bottom part of this slope. Illegal bank. Adding darker mix at the bottom part of this rubber band helps to enhance the upper misty area. So when there is a darker shadow, it automatically highlights the lighter heart rate. We will add in some grass blades are some strokes for the big the grasses. Let us add some darker colors on the reflection. By sliding the brush horizontally. Moving on, we will partly so most drugs. So the level of what is usually low. So we can see these strokes. So let us begin the actual drop above the water surface using Dallas. And then we will add the reflection on the water surface. I didn't some variation in bone l values, gameboard lighter and darker tones so that it depicts the highlights and shadows on the rocks. Else is going to appear really dull and flat. So try to avoid that and have a little variation. Now to paint that reflection, we will first apply clean water. Right below the rocks are the stones that we have printed. Once you have applied the water in desired shape, then we will apply the paint in the shape of ripples, leaving some space in between lighter and darker colors on the rock. And also the deflection dry brush technique on the reflection part to enhance the shadows and add in some contrast in the painting. Now, let's add some darker shadows on the trees. This gives a nice dimension to the overall shape of the tree. And it also makes it look cylindrical. Also adding some darker colors on the grasses near the foot of the river bank. If we add these darker contrast in the foreground, the background will not be highlighted. Lastly, we will add some flying birds in the sky. So we are done with this painting. Let us remove the masking tape. Let us take a minute to admire the painting that we just created. I hope you enjoyed painting this with me. Looking forward to see your class projects.
10. Day 6 - Misty Sunset : Welcome to Basics of the misty landscapes challenge. Take some time and back your back. You have already covered 50 percent of the challenge. I hope you're enjoying the painting and also learning from it. We have this beautiful sunset per day. Let us have an overview of the elements. There is pinkish, vibrant sky having Sundays, baking from behind, embargo clouds. And at the same time, brighter sheets around the Sun. Above the horizon, we have a thick blanket of mist. And then there is another layer of masked neural dark foreground fields. And much closer to the viewer, we have bigger bear tree and some bushes. And of course we have those free flying birds in the sky while some are still testing on the tree. The colors required are permanent. Yellow, opera, pink. Payne's gray for this guy. Raw umber for the distant land. Some green and raw umber for the fields. And for the trees, we will use burndown book plus Payne's gray. Now, if you do not have raw umber, then you can go with Pantone book plus a logo. That's all about the colors. We would also need white gouache paint here. Alright, let us get started with the pin-pin. The paper is already a down and the process is exactly the same as previous projects. Let us begin with painting the sky. We will go with wet on wet technique and partially wetting the paper on desired area. I will take permanent yellow. You can use any warm a lawyer being the bright yellows Andres. We will paint a circular shape for the pig, the sun, and paint a yellow color around this area. And also, we can achieve the big true effect with this technique. We will let it dry so it doesn't interfere when other colors around it. Use a blow dryer for faster drying of colors. I'll read the paper is completely the. Next run. Clean water wash on the sky area. Gently apply the water wash. If we apply more pressure, it is going to lift the existing a local. Note that I'm not applying water on the lower half is just the 3 fourth of two people. Now let us begin the pink colors in the sky with the help of size eight, brush. Opera pink in color consistency. You can use any pink shade as an alternative, like crimson rose my door, or any pink shapes that you have. Okay, so we will apply this on the wet surface. Leave a little space as it is to create the effect of beatings. Andres gently apply though pins around this area. On the paper we have a warm yellow and a cool pink color. So when we mix these colors together, it gives us the oranges shade. This neutralizes the cool effect of opera pink. Now we will take Payne's gray in the color consistency and apply it about doping player. Since the background is wet, diaper pins, the colors will fade out after drain. Now add some gentle brushstrokes of gray over Skype or the pig some darker clouds. Also, when pink gray mixes together, it gives ROLAP shade. In the lower half of this area, apply some Payne's gray strokes. And blended with the blank area. This is where the misty layer is found near the horizon. We are creating this thick blanket of messed with just water and nothing else. Now, let us move on to pin the grasses and the horizon with the surface with clean water. Next, withdraw Amber. Slide though, brush horizontally and distinct grassy lines. Suppose you don't have this shared, then you can mix burnt umber, yellow ocher. Okay, Now a sap green and apply it over this brown area. Now we have a nice blend of two colors. The greener shade will be formed as green fields. After adding some details. Et us add some Payne's gray over this. Again or darker you. This green area will act as the base layer for the foreground trees and the brown layer will form as a dried grassy area. Now let us develop some distant trees on the grassy area. Before that, keeping the paper, our picture tilted position so that whatever you brown paints don't flow backwards towards the midst in the upper region. And this is basically avoiding backgrounds in the painting. With Payne's gray, draw tiny shapes of trees. Do you don't have to draw the details here since they are very far from the viewpoint. Do not mean these trees on the green area that is nearer to the, we were only paying them until the brown part. Repair a mix of sap, green, and a bit of raw umber. Use this to create partitions in the field. So we will apply diagonal lines like so. Once we have this diagonal lines, we will add some horizontal partition in the field. Let's develop a few more trees. These are made ground trees and they locate on the boundaries of the fields. These are closer than the previously drawn trees. So we will make it appear bigger and add some details to it. Painting a little horizontal boundary between the dried brown grasses and the fields. Alright, let us leave it for drying or just use a blow dryer. Now, domains are dry. As you can see, the trees look a little blurry. For the background it is okay. But when it comes to men ground, I want them to be a little sharp. So I will add some details using the same mix. I had some sharp lines on the fields to enhance the look. And I feel it's like a game changer. I'm using thicker paints to create the partitions in the field. And I would love some grasses near the boundaries of the fields. In the background. The trees need some gentle detailing. So let us spend some binaries using diluted payne's gray. Okay, now, let us introduce some crops in the face. These are drawn just as glasses. Developing some more tiny trees and shrubs near the boundaries of the fields in the mid ground. Simply dab your brush along with its belly. This creates what we call trees. I'm using a size two, round brush your all. Let's print the giant tree in the foreground. Taken a darker shade, I'm using a mix of Payne's gray and burnt umber paint. A tree on the right side of the other main trunk and its limbs. When you feel it's in good shape. Then I add in some tiny branches and cute little to x. I personally find it very satisfying to add these teeny tiny tweaks. Okay, So let it dry completely. Now we will try to achieve the midst in the midground area near the boundaries of the fields. At this point, I haven't left any empty space in the field area that can be developed as mist. But how do we add missed here? This is where gosh comes to the rescue. Like I mentioned in the warm-up session, we can use squash beans over the water color as our hack. Gently apply clean water to the area where you want the missed. Earlier in my beginner days, I didn't have bush beans, so I chose acrylics to add white highlights. But with acrylics, you have to be a little cautious because you cannot reverse the area again or lift the pins from the pimping. Okay, so a thicker consistency of white squash beans. Apply this mix to debate area. Make sure you're applying the pins within the wet area. It's okay if it looks very dense now, after drying, it is going to look just fine. That's one of the property of gosh. Leave some blank space for the trees. Do not apply over the trees because trees are in the foreground. We will apply some missed on the foreground with the same technique. Wet the paper and apply white paints. Now, we will allow the paint to dry completely. So this is how the MRTK looks. This approach can be used on other things as well. Now let us who embarks that are watching on the dream branches. Now let's add some final touches to the pimping. It's really important to seek improvement. I'm going to add more tiny tweaks to the trees. Use a fine liner brush for the detailing purpose. We will add a short but dream yada foreground. So it is totally up to you. If you want, you can add more trees or stick to this one giant tree. Now it's time to add some words. Free flying in the sky. Just some simple brush strokes like so we'll do the trick. Will make them look as though they're flying away from this tree while some are still perching on the tree. All right, We have arrived that the result we wanted. Now we can wrap it up. I hope you enjoyed painting this cheerful, misty sunset landscape. Also, let me know how you like the wash hack. Don't forget to share your class projects with me. I'll see you tomorrow in the next chapter. Until then, bye-bye.
11. Day 7 - Misty Pine forest: Hello and welcome to seventh project of the NDA challenge. This is a very simple yet dramatic painting. The sky is yellowish in color. There are lots of pine trees till the horizon. The ones that are at the back are blurred in appearance because they are covered with missed. Then there are another set of trees in blue. They appear to be hazy, which tend to be in the mid ground. And in the foreground we have dark and I increase. These are painted with good details. The colors that we will use our NO, for the sky. You can use any alternative, warm yellow color. For the misty background trees, we will use a diluted black color. You can also use Payne's gray as an alternative. For the midground blurry trees, we will use ultramarine blue and black. And we will use concentrated black color to paint by entries. Alright, so let's get started. Here. There is no sketching. So we will directly jump on to the painting with the paper thoroughly. I play even coat of water throughout the paper and make sure there are no pool of bottles of water. A permanent alone medium consistency, and apply some horizontal brushstrokes to depict the sky. Leave some white gap as when the clear sky is also visible you are. Now, let us spend the distant misty background. Here. It is going to appear very weak and can be painted in just one paint. I'm using a black color. You can also go with Payne's gray or Scipio. Since we have to create a wig tree line. So we will take medium consistency of the color. If we use a diluted mix, then it is going to create bigger blooms in the painting. And it will blend with a local or in the sky. Okay, so apply this mix gently and avoid blending with a low. Now, I'll take a slightly darker black and apply vertical brushstrokes. This adds a variation in the tonal value of the tree line. Add some whiskers brush strokes to depict the gentle disposal of waste into the trees. Try to not end up in a flat appearance when you do this. Now let's take ultramarine blue in medium consistency. Leave some wide gap and apply this mix in the bottom part of the paper. Dilute the paint, and build a gradual transition. As you move upwards. Leave some empty space between the previously painted the black layer. This emptiness is going to depict the midst between the layers. Now let's add some depth in the bottom part that forms as a word midground area. I will add some thin black beans. You can also use Payne's gray. You need to make sure that ultramarine blue is still visible. I had some simple and straight lines. These are going to be depicted as the blurry pine trees. In the middle ground, we will add some pine tree shapes using ultramarine blue. Since we are painting this on a wet surface, it is going to appear soft and blurry. Once it dries. You can add some pine tree leaves and needles. By now you already know how to paint the pine trees. So I'm just adding the repeated shapes for the pine trees. So these trees aren't really far away. These are in the mid ground. And the black color, the shadows near the ground level that I painted first already, IPOs soft. Let me paint another layer of foliage here. With this, the tree ends up with two layers of foliage. And the one previously painted appears to be covered with mist. I had some declines in the foreground using black color. It's okay to overlap the beans. When these two colors are mixed, it gives an indigo like she'd been in 10 to please with the diluted black as well. Now, let us allow it to dry completely. So the paper is fully dry. So here the tree is IPOs off and bloody. Now let's add some foreground layer pine trees using wet-on-dry technique. Because we do not want the soft edges in the foreground. That's our focal element. Pure. Soft edges depict blood and must. Use black here, draw, draw the trunk of the tree and then develop some branches of the binary. Paint, some irregular brush strokes and different angles and sizes. Do not paint them in uniform. If you are painting one big brush stroke, then keep the next stroke smaller in size, so that there is a variation. That you are the crown of the tree should have smaller branches and it should keep increasing as we reach towards the bottom. Let's paint another tree. Branches smaller at the top and keep adding wider branches as we reach the bottom. Again, keep it irregular. Non-uniform. Folk the brand juice. At some point, I had some filler brush strokes like so, just random ones. No strict button as such. I'll add some more around this area. We are of different sizes here. There is no strict rule to paint the same number of trees. That's up to your preference. You can incorporate other types of trees or bushes as well, but keep it complementing with the team. I'm going to add some vertical lines just as filler elements in the bin. Finally, let's add some free flying birds. These words are flying from light to the left side. If you absorb words up, purely optional, no compulsion in painting them. But you already know, I won't skip it. I'm not adding any details on the board. We are done with the painting. Let us remove the masking tape. There you go. This was a very simple looking painting. I hope you enjoyed the class. I see you tomorrow in the series, buh-bye.
12. Day 8 - Gloomy Mist: Hi, welcome to date of the misty landscapes challenge. Let's talk about the components of this painting. This is a gloomy, misty landscape. The distant area is blurred out. And we can see some pleased speaking through them is in the foreground we have a pathway surrounded by dried grasses in brown that are pine trees on either side of the pathways, and some foliage appearing on the sides. There is also a broken wooden fence that you see in the mid ground. So yeah, that's all about the painting. Now let us talk about the colors required. So here I'll be using only two colors, which is burnt umber and Payne's gray. Now, let's get started with the painting. The paper is aimed down using masking tape. Now let us apply clean water wash using a large brush. Apply even coat of water and make sure there are no extra polar puddles of water on the paper. Note that the orientation of paper is portrait mode. Until the last painting, it was landscape mode. We want a misty and blurry background. Hence we are going with the wet on wet technique here. Now take Payne's gray and mix an equal amount of water to form a mid tone consistency. Now apply it on the midsection of the paper depicting the distinct misty area. So here I am randomly applying the paint. Don't worry about creating the exact shape. Now, a clean brush and blend it with the water in the upper part, creating a radiation from gray to white, suggesting atmospheric vapor and missed. Now let's assume that the sky is white. So let's not apply any paint there. Coming back to the bottom part of this misty area, Let's add some paints gray randomly to add a sense of non-uniformity in the mist. It suggests or irregular dispersal, which creates a natural look in the painting. So you can see I have left some white spaces in between. Okay, so this will act as the background misty base layer. We will leave it here for now. Now let's paint the ground grassy area. Assume this as dried grasses, so they appear brown in color. Now I'm using burnt umber. You can use any alternative brown shade, lake, burnt sienna, or raw umber. Any round shape that you have. We are painting the base layer or the initial wash applied to paint like so. In the middle area, I'm painting ago we ship in simple ohms, paint three triangular shapes, leaving some gaps in between. The blank area is going to depend though. But here I'm using medium consistency of this bond. Or bird. Also. Remember that the underlying surface is still wet. Next, mix Payne's gray with burn downward. It results in darker brown color. So apply this darker brown layer to add a sense of dimension in the grasses. Remember, watercolors look much lighter after drying. This is almost like dry on wet technique where we use dry paint on wet surface. So we have painted the dried grasses. Now, we will fill in the gaps between these grasses. So use diluted payne's gray. You can use black color as well. So apply diluted tone. Now add another layer of darker Payne's gray, which means thicker consistency of paint scree over the pathway to suggest the darkness near the foreground. So when you add darkness, it naturally adds a sense of missed on the other end of the road because it is lighter in color. Right? Okay. Now, let me add some concentrated Payne's gray on the grassy area. This will act. This will act as the cast shadow of the grasses. Let's go back to the background misty area. Now this area is almost 050, 60% dry. So we want though, spread the colors when we ask them. I had some word detail brush strokes to depict the trees covered with the midst. So doping retain their shape and does not spread over the other areas. If your paper has dried, then you can still add our diluted tone of things great, depicting the trees. I have some diluted payne's gray in the bottom of the misty layer and blend it with wet layer on the paper. Note that we are not applying any veins for the missed. It is just the whiteness of the paper. Here. I'll apply a very diluted tone of burnt umber in the background. Moving on, we will take a midtone consistency of Payne's gray and apply somewhat pixel brush strokes. Mid ground trees. Again, we will blend this into the misty layer. Now let us allow the paint to dry. Okay, So the base layer is dry. Let's add some details. Now. It got darker brown color. Now I add some tiny vertical lines to depict a kind of sense. We will feign these tiny vertical lines next to each other. Now to create a misty effect, I'm going to dab or tissue paper and lift off some paint. Now let us paint the grass blades. So I add some simple lines like so, the direction of the grass blades is important. So if you notice on the grasses inside the mid area, I have painted the blades facing the right, on the right side. And similarly for the left side of the glasses, though blades are facing left. Now on the left side of the pathway, not the midline, the grasses are facing towards the left. And now let's add a pine tree. But in the trunk of the tree first, and then we will add the branches. Here. We will be painting this pine tree in a slightly different way. I'm using a darker brown mix for this. Painting, the pine needles one at a time, exam time, and add these tiny details. You've got upper part of the tree should have tiny branches. Once you have finished adding these pine needles are the leaves. You can fill in some filler elements, just random strokes in between to make it look fuller. Let's paint another tree on the left side. The shape of the tree is a bit slant. Also blend the bottom of the trunk into the glasses. You can use your fingertip or a tissue paper. Again, we're painting the find needles one at a time. So not rush to finish the process. Take your time and have fun. Here. I have added the branches first. Now I'll be filling in the leaves are the pine needles. Once you feel it looks good enough. Then add the filler elements like we did for the previous tree. Moving on, we will add some pine trees. Now with the help of diluted payne's gray, we will add these trees in lighter color. Using a lighter tone helps us create a sense of distance. If you notice, though foreground areas are darker and the background areas are lighter. So this helps him creating natural distance. And the objects that are far appear lighter and hazy. And the ones in the foreground can be clearly seen. Adding some darker colors on the trees to make it more darker. You can always go back and alter the shape and color of the element in your painting. Adding some darker colors on the fins and developing more vertical lines to extend the offends. Paint some darker grass blades in the foreground. Now let's paint the trees that are outside the frame, but their leaves or foliage are inside the painting. Just adding in some random pine leaves. Us darker brown mix by mixing Payne's gray and burnt umber. I'm using pointed tip of my size eight round brush. You can even go with the fine liner brush if that makes you comfortable. Do not worry about attaining perfect shapes. It is okay. If you printed in your own way. While also add partly visible tree trunk. Use a darker tonal value because it is closer to w point. Adding another foliage which is out of the frame on the left side. And the outlet end of the tree add some tiny leaves. Lastly, we shall add some free flying birds in the sky. I think more tiny birds at a distance. All right, We are done with this painting. Let us remove the masking tape. I hope you enjoyed today's gloomy and misty landscape. Lucia, your class projects under Projects gallery. So I'll see you on day nine, buh-bye.
13. Day 9 - Hazy Mist: Hello and welcome to Day 9 of the misty landscapes challenge. Now let me explain the components of this painting. There are some hazy, misty hills in the background. It is covered with mist and cool breeze. There's a partly visible misty forest in the mid ground. In the foreground we have various trees like pine trees, bare trees, and some palm trees. And some foliage appearing at the top of the flame, whose or trunk and the branches are outside the painting flame. And of course, some lovely free flying birds in the sky. Alright, that's all about the components of the painting. Now let's talk about the colors required. I'll be using viridian hue in diluted and concentrated tone. Note that I am not using any pace still green shade. It is just too diluted tone. And for the darker area, I am mixing Meridian you with Payne's gray. And also I'll be mixing viridian you Payne's gray and burnt umber for dark guests sheet. All right, that's all about the colors. Now let's get started with no painting. I have already mastered paper. Apply clean water throughout the paper. This is to go with wet on wet technique. Apply even coat of water using a mop brush or a large brush. Once you apply the water Electric soak for a few seconds, it will help you retain the wetness for a longer duration. Moving on. Maybe take a large brush. I'm going with size 12 brush. You apply Payne's gray in medium consistency and depicts the color of the sky. Wipe off the extra pins using a napkin or a tissue. Now take viridian hue, use a diluted or a mid-tone range. Apply their pains in the center to depict the or distant hazy area. Now leave some space and apply aware of our amounted relationship. So this gap will be depicted as the mist in the atmosphere. At this point, you may not predict the exact shape it is. Okay. Just keep going. Like this. Add some more paint. Let us add some more definition to the district. Mom. We've covered the bottom area with very dim view. Like this makes viridian hue and Payne's gray. Because going to result in dark go to greenish gray shade. Apply this makes in the lower half to depict them with ground area. Blended well with the background by pasta, extra water using or tissue or a napkin. If you have more water in your brush, you might create a bank runs. So be mindful of that. Moving on, let us add some darker colors in the foreground area. Make sure to leave some blank space in-between the two layers to depict a sense of missed in the midground area. Apply a combination of meridian and Payne's gray separately. Trying to have a variation here. Use a concentrated so that it remains dark once it dries. In the sky, looks slightly lighter in color. But that's okay. Let it remain like that. Now let's paint some partly visible foliage in the frame. The body of this foliage, that is the trunk. The branches are outside the painting frame. Use darker color for the same. Paint. Some random shape of leaves and foliage. You can paint any shape. Feel free to explore your creative side, your right, some tiny tweaks and leaves. Next I'm adding some very Indian on the left side of the frame. Again, this is another partly visible tree. So here I'm adding light blue color because once it dries, I will be adding some darker colors. And this will act as the base layer. Adding some more leaves on the right side using diluted colors. Okay, So let us allow it to dry. Now though, paints aren't fully dry, and you can observe that they have dried a little lighter in color. Now let us add some trees using wet on dry technique. As you all know where it Andre creates sharp edges so it is ideal to pain the detail trees. I have mixed Payne's gray and burnt umber to create a darker shade. You can also use a black shade here. I'm adding some binaries your we shall paint a variety of trees. Let us also add some where trees. So you can even add your favorite tree style. I have a whole class on painting or more than 50 plus types of trees. You can check that out if you want. The idea is to fill in the foreground area in order to create a sense of distance in the rest of the painting. And as many trees as you want. There is no restriction message. Here. I'm using the pointed tip of my size 8 brush. You can also go with any fine liner brush that you have. The point is to create fine branches and that reshapes. Now let us, that took some details on the upper foliage. Having a base layer and hence is the overall effect of the foliage. Try to create an impression of tiny leaves and foliage. It should look like a bunch of leaves. Here we are adding another layer of spins on the base layer. This is called glazing or layering technique, which helps to enhance and add a sense of dimension. Paint tiny leaves and twigs to depict the foliage. Now, let's also add some palm trees on any site. I'm painting them on the right side of the painting first being the tree trunk first, and then add the family use like so. Pindar basic skeleton and then add in the leaves one-by-one. You can paint any number of trees, no fixed number as such. Don't rush through the process. How fun and enjoy the process. We will also paint some palm trees in the central foreground area. Like I said, you can add as many views as you want. Now let's add some more definition to the bare trees. Some teeny tiny twigs and branches. You're going to use a fine liner brush for fine details. I add in some simple and straight lines as filler elements. This will make the foreground area look fuller. Now let me add some birds. This is my favorite part, like I cannot stop myself from adding boards in any of my paintings. So use a diluted own to depict a sense of distance, which means they are far from the viewpoint. Are adding darker colored birds, means they're nearer to the viewpoint. Step backwards and have a look at the painting from a distance or through your camera lens. This helps to gauge your inverter and also helps in finding mistakes. The painting looks fine. Let's remove the masking tape and wind up today's painting. I hope you enjoyed the class. I'll see you tomorrow on the last day of this challenge, buh-bye.
14. Day 10 - Misty Canyons: Hello and welcome to Project end of the series. Today is the last day of the challenge. Now let's talk about the components of the building. We have a soft and clear sky. There are several distinct mystique anions. In the mid ground. We have a partly visible Canyon which looks covered with missed. And in the foreground, we have giant canyons which are clearly visible from the viewpoint. We are assuming that the same is viewed from a higher point. There are some lovely flying birds in the sky. Now let us talk about the colors. We will use. Diluted yellow ocher for the sky. And for the distance. Mystique anions, we will use Payne's gray again in diluted form. Now for the midground canyons, use Payne's gray and burnt umber together. For the foreground Canyon, we will be using burnt umber, Payne's gray and some green. That's all about the colors. Let us get started with the painting. I have already mastered paper using a masking tape. Now let us apply clean water to go with wet on wet technique. Take a clean brush and apply the water evenly on the paper. Make sure there are no polar puddles of water. Once the paper is wet, allow it to So quarter for a few seconds so that it remains wet for a longer duration. Now, it's a low ocher in diluted consistency and apply on the top part of the paper. Here, I'm using a size eight brush. This, This guy. Next we will take Payne's gray in diluted consistency. We will apply a wave-like pattern to depict the distance. Daniel. Note that the background is made so it creates softer washes. Leave some gap and paint another canyon with a slightly darker tone. These two are constitutive canyons. With the slight mistake in between. The paper is wet, it creates a softer look. Moving on, we will paint the mid ground cannons, a concentrated Payne's gray, and apply it somewhere in the center, leaving some gap from the previous layers. Now we apply a bone number. Keep her darker tone because we want our darker midground area and add some water in the lower area to create a transition into the background white color of the paper. So on the peak of the canyon we have darker color and then create a smooth transition. We will repeat the same thing on the other side as well. So these two layers will be depicted as the main ground canyons pulled up and down using pooling technique. Apply some diluted paints in the same that ADI has been. Now leave some white area in between and randomly covered the bottom area with Payne's gray. This is dilute their tone, create a smooth transition. Make sure to leave this white gap. We will also add some burnt umber overlapping the pins. This acts as the base layer for the foreground. All right, now we will allow it to dry completely. So you can use a blow dryer or let it dry naturally. Okay, So the paper looks dry now. Next, let us premix Dupain's required to paint the foreground. I'm going to mix burnt umber and Payne's gray. This results in darker brownish color. Now, take a small amount of this mix and add some water to it to make our diluted. Don't. Now load this diluted mix and wipe off the extra bins. We are going to perform dry brush technique. So our brush should be done. Now, glide the brush vertically and create the canyon like shape. You should be achieving this grainy texture. If you're not achieving it, then it means your brush is not dry enough. Note eighth, note a clean water and our nato over the grainy texture. This will help to form a basic shape of the canyon. Once we have painted this, we will allow it to dry completely. Next, we will use this now, makes very little amount of paints to perform dry brush technique again. Slide no panes on the same layer and create the textures. Try to create appointed a depicting the peak of the canyon. Keep the O pins darker in the lower part and less texture on the upper part. This depicts the highlights in the Canyon. Now add some details using a fine tip brush, some vertical lines to make it more dimensional. Next clutter spin though, foot off the canyon and also some smaller canyons surrounding the bigger ones. Let us add more definition to the canyon by adding these word lines using a pointed tip brush. Next, we will add some darker shadows on some of the sites of the canyon. Next, let us paint some trees on the cliff. So makes sap green with burnt umber and Payne's gray. This results in our darker green color. Apply this mix in the shape of tree foliage and NOPs. Just dab your brush to create the impression of trees. It's not so tough. You can also paint some binaries if you like. I'm adding some tiny leaf-like shapes to suggest or natural tree line. Okay, so I will let you absorb while I paint these trees, you can follow along with me. Now let us allow it to dry. Okay, so the paper is dry. We will add more details using the same darker color mix. This serves as a layering technique where we add more details on the same layer. Also add some tiny twigs and branches using brownish color. It doesn't have to be exactly same as mine tried to depict our tree or a forest shape in your own way. Now, let us add some birds in the sky. Use a darker color mix to paint the boards. And also add some tiny little boards to depict the distant boards in the painting. Now, maybe we'll add some concentrated Payne's gray using dry brush technique. This enhances the overall look of the canyon. I laid. Let us know the masking tape and see the final look of the painting. I hope you enjoyed this challenge and had a fun learning session with me. I'm looking forward to see your class projects under the projects gallery. And also there will be a small homework or assignment for you guys to test your skills on misty landscapes. I'll be posting them under the resources section. Thanks for joining my class. Bye bye.
15. Bonus - 1 : Mist by the Lakeside: Hi. Hello. Hi. Hi. Hey. Okay. Okay. So Let's see. So let's begin. Okay. Hi. Okay.
16. Bonus 2 : Sunset in the Misty Mountains: Right? Yes. Hi. Okay. Okay. Hi. So to speak. Let's see. Hi. Okay. Structure. Okay. Okay.
Shanan Subhan, Fine Artist | Art Educator
