100 Day Project: The Art of Consistent Creative Practice with Watercolours

1. Welcome to the Class!: Have you ever been captivated by the way watercolors dance on the paper, creating worlds of color and light, the sheer joy of painting, the thrill of experimenting with pigments and the meditative calm it brings. That's what I want to share with you. Hi, everyone. I am G. I am an artist, an aerospace engineer, Mom to al, and a passionate watercolor, just like you. I also wear a few other hats? Media artist, a silver brush educator. Ambassador to White Knights Watercolors and CSR I'm Stationers India. But what I love the most is sharing my creative journey with all of you. If you follow my Instagram colorful mystique, you've probably seen glimpses of my paintings, my processes, and my love for all things watercolor. Now, I'm thrilled to invite you to join me on an exciting new adventure, my third hundred days of watercolor painting class, a brand new 100 day project. This class is designed to spark your creativity, build a consistent painting habit and ignite a lifelong passion for watercolors. But they are a beginner or have some experience. My goal is to de dive into the world of watercolor. Where we master various techniques together one day at a time. But it's also about so much more than that. It's about finding joy in the creative process, pushing your artistic boundaries and discovering the magic of consistency. I know firsthand how busy life can get. Trust me, juggling work, family, and all the other hats I wear isn't always easy. But I also know that finding just 1 hour a day to create can be a game changer. That's why I've designed this class to be approachable, fun, and most importantly doable. Unhandle all the prep work, finding inspiration, painting step by step tutorials, and editing everything ly. All you have to do is show up with your brushes and paint along with me. No matter your skill level or experience, if you're ready to embark on 100 day watercolor journey, grab your brushes, gather your paints, and join me. Let's explore the beautiful world of watercolors together and discover the joy of consistent creative practice. 2. Class Overview: Hey, thank you so much for joining me. I'm excited to have you here for this creative adventure. Here's a quick overview of what you can expect in this class. This class features 100 unique paintings, each covering different techniques and subjects. We'll explore 16 exciting topics over 16 weeks with six painting projects per week, just like the original hundred day project if you were a part of it. Then to give you some breathing room, we'll have a break day every Thursday. Use it to catch up on any mist lessons or simply re hart your creative batteries. And to celebrate our accomplishments, we'll finish off with four fun bonus paintings at the end, making it to a total of 100 paintings. Each day's lesson will be uploaded the day before. The entire class will be gradually unfolded over about 17 weeks. This allows you to fully absorb each lesson and practice at your own pace. This means that you will find all the hundred projects uploaded after 17 weeks from the launch date of this class. Now, I want to tell you a bit about my teaching style. I like to keep things spontaneous and conversational. So you'll see me paint and talk through my process in real time, including any mistakes I make along the way. So I highly recommend watching each lesson once before you start painting, so you can gather your materials and get a feel for the project and not repeat any mistakes that I may have done while painting. Although I have covered some techniques in the beginning of this class, if you're a complete beginner, then I suggest checking out my ultimate guide to watercolors and water control classes. First, because they will give you a great foundation in watercolor techniques, which will be super helpful in this class. Also, at the start of each project, I list all the colors used so you can prepare your palette or pre mix your paints if you have a limited set. You'll also find a PDF of my entire palette in the resource section of this class uploaded. I am so excited to embark on this colorful journey with you. Let us explore the wonderful world of watercolors together and see what we can create 3. Art Supplies You'll Need: Hey, hey, here. Let us have a look at all the art supplies that we will need for this class. First of all, beginning with paper, we would need a paper that can withstand large washes that we will do with watercolors. The paper that I am going to be using is this brand, Saunders water ford, and it's a coal pressed or not surface. We definitely need a paper that has got a bit of a texture, either hole press paper or a rough surface paper. This one is 300 GSM or 140 LV. Make sure you grab a paper that has got a minimum thickness of 300 or at least 270 GSM. You can see the paper is really thick. It's really important because otherwise, your paper is going to buckle and tear off, especially when painting with watercolors. So I have already cut the papers that I need into the size that we will be painting on, which is the small A five size. This might be slightly bigger than the A five size, considering that this is not exactly A four. So this entire sheet of paper is 12 " by 9 ". So I've just cut that into half. This is probably like a teeny, tiny bit larger than the A five size. That's all. But by all means, go ahead and use an A five size for your paintings. Just one suggestion would be that if you need to paint on a larger surface area, then I would suggest to try and invent more stuff into your paintings because The paintings that I am doing is on a smaller surface area. When you enlarge it into a larger surface area, you will feel that it has more space in between and lacks lots of elements in it, which is why you'd have to add more based on your intuition to get better off it. But if you're going to be downsizing, it's absolutely not a problem. My recommendation would be to obviously go with a paper that is at least 100% cotton, cold pressed and around 300 GSM. Next, you will obviously need water colors. So I will be using watercolors from various brands that I have here, such as Schmike, White Knight, Daniel Smith, Windsor and Newton, et ce. But I think most of them are now Schmike in my palette. Having said that, obviously, the next thing that you need is a palette to mix your paints. So this is my go to palette always, and this is the palette that I use in almost all of my paintings. If there are any additional colors used than there is in this palette, then it will be mentioned at the beginning of each class project, as is all the other colors that is already used in that. So This palette with all its colors is uploaded as a PDF into the resources section in case you need to check out what are the colors in my palette. And also, this palette is from Mijello Mission Gold classic. So this came along with the Migo Mission gold set, and I've been using it since. So you can see it's pretty much used, and this is like my most favorite thing because I like it because it's goth third to six wells, and you know, I can store enough paints in this one. So I've got lots of these paints squeezed out and ready to use, and I'll just squeeze more as I need them. Next, obviously, you will need brushes. I will be using brushes from the brand silver, mostly the black velvet series that you can see here, so some flat brushes and some pointed down brushes, and I might also use a liner brush at some point. So I would recommend having a nice flat brush, maybe even a larger one than this, if you can have it. This one is a three by four inch. You can also go for like a 1 " brush, and then a large point of down brush for your larger strokes, such as this one a size 12 or a size eight, or a size six. So I use all of these sizes interchangeably, but that does not mean that you need all of these sizes. I would highly recommend having one flat brush, then a medium size brush, such as a Size eight, and then a detailer brush, such as a Size two along with a liner brush. This one is a liner and it's a Size one brush. These are the main ones that I recommend, and I just interchangeably use all of these, just depending upon the mood that I am painting with, that's it. But these are the brushes that we'll mainly need. Will also need some white quash. The white quash that I'm using is from Windsor and Newton, and it's the permanent white color. You can also use the titanium white, which is absolutely amazing opaque white as well. The next thing you will need is a board to tape paper on to a surface. It's ideal if you can find a surface to tape your paper on rather than your table surface itself, because sometimes you might need to tilt your board in different directions. So I am using this plywood board. It's just a random plywood board and you can see it's being painted a lot on. This is one that I normally use. Having said that, we definitely need a tape as well to tape the paper on. This is a normal masking tape that I usually get from Amazon UK. But if you want something that's a really good brand and does not tear the paper, then I would recommend this one. This is empty washi tape. I'm using this one at the initial stages in the hundred da project and we'll see how it goes. If this finishes off, then I probably might shift to this one. There you go. Empty ahi tape if you need a brand for the masking tape. I would also recommend having two jars of water, just like this one. I like to use two jars of water because every time you go and wash your brushes, then your water gets dirty and muddy like this one, and you don't want to be picking up fresh water to add onto your paper or your fresh paint with this muddy water. I like to have another jar, which I always keep clean, and whenever I'm washing my brushes, I go over to the other one, wash it off, rinse off all the pigments on my brush and then pick up fresh water for applying onto the paper or for taking fresh paints from the other jar. We'll also obviously need a pencil and eraser. This is a netted eraser that I'm using. You could also use just the normal eraser. At some point, we might also use a ruler if there are some things that you just need to make some nice beautiful sketches. Last but not least, we will also need some paper towels to remove the excess water from our brushes. I normally use this microfiber clothes that I have. I have many of these and I just keep reusing them by washing off the paint from it because it's watercolors, it just washes off easily. You can either use a nice paper towel or a microfabric cloth or a cotton cloth for this purpose, and basically that's it. That is all of the materials that you would need for this class. If you're ready, let's get started. 4. Techniques: All right, in this radio, I'm just going to quickly show you some of the techniques with water coolers, is just like a recap for, if any of you are joining us as a beginner, a complete beginner to water Css. So here's my paper, all taped and ready. I'm just going to show you some of the things. So I am applying water onto my paper. Whenever I say we are going to apply water onto the paper, we need to make sure that the water that to be applied is just a sheen of water, that is just like a film of water and not too much water. So I actually, you at your paper under light. So you can see it through this camera. It's just a sheet of water. If at all, at any point, there's an excess, see, that is an excess amount of water. We always need to make sure that the water that we apply onto the surface is just a film of water like that. Let me get rit of the excess water, and now you can see it's just a fillm. You can always observe it under light and you will be able to see how much water you have on your paper. And I know that many of you may be living in dry conditions or a place where it's like, really dry so quickly, and your paper might dry while you're working. So there is a trick to that. If you're going to be applying water to the whole of your paper or like part of your paper, go ahead and apply water to the paper. Then wait kind of like 2 minutes or something until the water settles in and goes through the paper and the paper starts to dry. And you'll notice that like there's little to no water on your paper at all. After that, go ahead and reapply the water. The second time the paper is going to take longer to dry off. That is, the underlying surface of the paper has still the wetness. That is where the paper absorbed the excess water. It went through the fibers of the paper and it's still there. The second time around, it's going to take longer for it to dry. That is why this method is going to work. Now, why we apply the water onto the paper is mainly because we want to be painting with wet on wet. The wet on wet means. The first part of the wet is for the brush and the second part of the wet is for the paper. When your brush is wet, that is wet paint onto wet paper, that's what wet on wet means. Why we war the wetness is because we want a paint to spread. Let me just grab quickly color, and I'm going to show you what happens. Second you see how the paint is like spreading and not staying in one area. That is what wet on wet means. It also gives a softer edge. Like, for example, if I apply some strokes, you will see that once this dries, it has a softer edge. Let me show you the difference between this and the one wear doesn't have the softer edge. So if we're applying wet on dry, so here at the bottom of this paper, the paper is dry, and my paint is wet. When I apply, can you see we've got a really harsh edge as opposed to what this is. This is the difference between wet on wet and wet on dry. So we will be using both of these methods. You can see this one is wet on dry. So Another thing that I want to show is how you can continuously do some strokes and, you know, have a regular stroke of color. So what I mean by that is, let me probably grab the same color, and I'm going to go ahead and apply the stroke. So if I grab some more color, and you can see actually under the light, that this area is still wet. So before that area dries off, if you go ahead and apply, you can see that we got an even stroke without a harsh edge. But if it's after some time and if it's dried, then when you do it, you're going to get a harsh edge in between like that. Even then, if you probably go around it a little bit more, you would be able to reactivate that pigment and get rid of that harsh line. But once it's completely dried off, I think this may not be possible. It will be hard for us to get back that. The next thing I want to show while this is wet is to how you can soften the edge. Remember the entire edge of this was softened. But you could just use water and the brush to like you know, soften out the edge, and you can see now this harsh edge is gone. Now this side, we have a really huge harsh edge on that side. If I were to soften it, I can just go with my brush and a little bit softened now, then I wash off the pigment because I just absorbed extra pigment from there. And then if I go over it again, you might need a little bit of water on your paper and, you know, kind of soften and extend it outwards. And there, now you have a really nice, softened edge on both sides from our wet on dry stroke. So Now, you know both wet on wet, wet on dry, softening. Let's just look at dry brush stroke or dry on dry. So dry brush stroke or dry on dry. Basically just the name as it says, dry on dry. Your paper needs to be dry and your stroke needs to be dry as well. So how do you get dry stroke? Because your watercolors were not activate dry. So it's very simple. You can see that the paint that I've picked up right now has got a little bit of wetnes. But the more you apply, it's going to lack the water, as the water in it is going to be finished. Do not dip more water into your brush, but rather just pick up the paint and you will see at a point when it starts to become dry and see that texture that we're getting. This happens because of the grooves on the paper. So if you observe a watercolor paper closely, it's got this texture. This is why I recommended using a paper that's got at least a medium texture or a rough texture. So there are two ways that you can get the dry brush technique. You can start with a wet on dry stroke, and then like transition on to the wet stroke like that. And now you've got a wet dry stroke. But if you'd like to completely just use the dry brush technique. What I normally use is I use the pigment, and then I kind of like, make sure I know, rub my brush off along the edge and get rid of all the excess water. You can also squeeze out the excess water and absorb it using your tissue, and then I make sure that my brushes have started to come out dry, and then I go around onto my paper. Okay. This just happened because this is actually dry on wet. I'll come to that in a moment. So Here, my paper was still wet there. So see, now I'm getting all these dry brush strokes. So this is how you can do dry brush stroke or dry on try. Now, there's one more thing which is dry on wet, which means, again, your paper is going to be wet. Let me just wet this region again. Okay. I'm not bothered about all the color that's already in there. I'll probably grab a different color so that I can show you. So that area of the paper is still wet, as you can see through this camera here, and I'm going to grab let's say, I'll grab a little bit of orange. So I want to make sure that it's dry and not a wet pigment. So you will be able to see from the consistency on my paper actually on my palette. So this is still wet. If I just make sure, now you can see it started to come out as dry, and now my brush is dry and my paper is wet, and you can see you get a stroke where it does not spread out too much because there is no water for it to spread. It stays in that place, and that is dry on wet stroke. Okay? These are some of the techniques that I wanted to cover. Then there is also something called a splattering, which is basically, if you pick up a nice consistency of wet milky paint. Milky means the consistency is flowy like this one. I should probably have cleaned my palette before I showed you this one. Anyways, see this is milky consistency. And when there is a mi consistency of your paint. Usually, I hold my brush using these three fingers like that, and this finger is free. What I do is, if you tap on it, you will see that it releases that water. Plus the pigment onto the paper, giving them some nice platters. You can get dry splatters, which are the ones that are here and you can get wet on wet splatters. There's wet on dry platters and wet on wet splatters as well. So that was that. The more additional techniques. You can refer to my class on ultimate guide to Water CLS. And also, I will be explaining more techniques in detail as we go through the different projects in this class. So I hope that helps you. And I hope this techniques lesson was helpful to those who are a beginner or if you wanted to rush up on your watercolor skills. So I will see you in the next lesson. 5. Taping the Paper: All right, let us have a quick look at how we're going to be taping the paper. It's very, very important that we understand how we can tap our paper because otherwise, your edges will bleed and you will not have a clean edge. In order to get a clean edge, we obviously need to tape the paper. So I have a bunch of tapes here which I normally use for my paintings. This one, I don't even know the brand. I mean, it does say su name, but this is something that I always go and order from Amazon UK. It's been my go to tape because I've seen that it works. And as I always say, if you see that your papers tearing off or something's wrong and you're having a lot of bleeds, then chances are it's the paper and not the tape itself. But if you're using a paper that's really good. For example, you're using the same brand of paper I am and you find that it's tearing, then probably you need to invest in a different tape. Obviously, it comes down with trial and error, and you might have to find the best tape that's available in your region. Although I will leave links to these ones in the description. This here is another washi tape that I love. This one has a brand and it's from the brand MT. Empty washi tape, it's really really nice, and it's got like a glossy feel to it, which means that it resists water and it's really amazing. The fact that it resists water is also helpful because it does not allow water to settle on top of this, which can then back run and cause blooms or the cauliflower effect on your paintings. This is really nice. In this 100 day lessons, I am going to be using this one. This is MD washi tape. Again, I will have the links to these in the description. Let's go ahead and have a look at how we're going to be taping the paper. I know that if you're already an experienced artist, and you probably knew this, but I'm just covering this up for all the beginners who might be joining us. There, you want to extend your tape, and you want to tape it. For this whole lesson, I am going to be choosing somewhat like a 0.5 centimeters of a gap, nothing more. If you want to have more, you can go ahead and have more, it's absolutely fine. There, I'm just going to use my fingers to tear it off. The reason why I show this is because when we finish the whole thing, I will show you. Let me just cover up all the four sides. And as you can see, I don't use any ruuler or anything as in the tape, of course, because I've seen some people, they use a ruler to make sure that the tape that you're putting is straight. But I think your eyes are sufficient enough to, you know, look and see, for example, this is not perfectly straight. I can see that there's a little bit lesser on the side, and here is a little bit more, but that's all right, right? I mean, it's not a mathematical project where you need it to be like exactly the same, right? There and all four corners. Now, I'm just going to go ahead and do this side. Now, as you can see, all the four corners are done. But as I always say, if you've followed my glasses before, I make sure that my tapes are intact. You need to make sure that you run your finger along just along the edges so that if there's any tiny bit of air gaps that's wrapped in between, you get rid of that. Big is those air gaps might lead to the water being, going there, and when it goes there, then it might expand a little bit more, and that's how you get pleads. So we do not want that, which is why I run my finger along, especially along the edges because that's where usually it's more prone to like the paint spreading out. So I just make sure that my edges are nice and in depth. Sometimes when I'm using this masking tape, I do usually use a ruler to press it down a little bit more. But this MT washi tape is a little bit more on the softer side, so it's actually very um, handy to just use the finger and not a roller. There you go. That's how I would tape the paper. Here's a little tip. If you want to be prepared for the next day after a one day's painting, you can go ahead and have your paper taped down and ready so that when you come into your workplace or your studio, the next day, it's all ready for you and you do not have to waste time setting your paper and everything. That's something that I like to do because it eases up my process and I'm sure that it might help you as well. Let us now move on to the day one and have fun painting. So welcome to this challenge once more, and I'm so happy that you have decided to take this. Let's go ahead. 6. Day 01 - Rosy Peak: Hey, hey, hey. Welcome to day one of the hundred day project. And this here is what we're going to paint today. Trust me, it's very, very simple. Because I am breaking down the steps for you, you are going to be able to paint this. Okay. So first of all, I want to thank you all again for deciding to take that leap and join this project. So I hope you're able to complete 100 days of painting. Okay. So let's have a look at the colors that we need for this mating. Basically, for the sky, I have used Indian yellow or transparent yellow. If you want the exact pig number, that's B Y 150, then Quinacn rose or PV 29, then a little bit of a violet, ultramarine blue, and paints gray. Those are the only colors that I have used to paint this gorgeous mountain. So let's now get started with this one. All right. Let's get started. I am going to make the pencil sketch first. Here I am going ahead and using my mechanical pencils, and since we've already covered taping the paper, I will have my paper taped and ready for all of the lessons. Here's it ready, and now let's get started. We're just going to add in a mountain. Here, I'm just going to add in, le mountain. You can just follow along as in right after I finished the sketch, I will show it to you closely, and then you can pause it right there and have a look at that. Something like that. Then I want the front of this mountain to be going like that. There, I have got the pencil sketch ready. Now, let me show it you closely. There you go. You can pause right here and make your sketch on the paper. It's as simple as that and don't stress on the fact that you need to make all of these lines of the mountains just the same. Just observe a few points. This line is around one third of the paper. As if you divide your paper into one by third, is almost like a one by third position. The point on the right is a little bit over the top, not on the same line. This one come all the way down and here, do not make it go over to the tip or the corner. So these are just good tips that you can implement for composition, as in having your elements somewhere in the one by third, do not have elements going into the corners and things like that. Also, if you observe the top tip of the mountain, it's not at the half position of the paper, but it's more than half as in it's almost at the one by third position. If you place your elements or the points of peaks and things like that in the one by third position, then it makes it look more attractive. That is a reason why we're doing it this way. Okay. Now let us go ahead and start painting the background. Background in this case, is the sky region here and we're going to be painting that. Here, I have got my flat brush. I'm getting started. So a little side note from me. If you're thinking why my pallet is dirty on the first day of the class and I didn't manage to clean it, it's not because I actually painted another one, which I thought was going to be day one. It ended up being a little bit longer and probably tougher than the day one or day two, and I made it into day three instead. I am doing another one now for the day one. It's just a side note from me, some things that going on in the back end if you enjoy hearing these. Here, we are going to be starting. So I'm just going to apply water to the background sky over there. Just using my flat brush because it covers a nice range. You can always go ahead and use a larger brush such as like this one, which is a large round brush or even a size 12 round brush like this one that I have here. Either of these you can use or you could use a flat rush. Here I am using a flatruh. As you can see, I'm going over the edge of the mountains, and I'm moving my brush in such a w that this tip of the brush is able to cover bends and creeks that I have added. And because we're only applying to the sky, I guess it's easy enough for us to keep it wet longer. As in, I'm guessing it won't dry out before you can finish with your sky. But also make sure that your paper only has a shea of water and not too much. This shea of water, you'll be observing through an angle. If you look at your paper through an angle, you'll be able to see that it's got a shea of water. Also if you feel that there's too much and you've applied a lot of water, just tilt your board in the direction american flow. If you tilt it downwards, then the water will flow towards the mountain. At this time, so it up. So that any excess water can go out of the paper and out of our way, and that will make sure that there's no boots or excess water on our paper and that it's just a low sheen giving us a perfect way technique. Okay. There you go. I've applied the water. I think I'm going to continue with the same rush that I have here. And what we're going to be doing is we're going to start with a nice yellow shade. Here, I've grabbed a yellow shade, but we want it to be really, really lighter. I've just taken it in a very light amount, and we're going to be applying it right along that right edge. I think that's a bit too. I'm just washing my brush because I think I've applied a lot of paint now, but then we can use the same thing to spread it around and make it lighter. I do not want it to be too vibrant at this stage, which is why I'm lightening it up. Also, as I come closer towards the mountain, I want it to be even lighter. I can see it's lighter there at the bottom, then it gets into a medium range and then going into a darker at the top. Okay, so that's how I want it to be. It's a small gradient that we've achieved there. Now let's move on to the next color and the next color that I am going to be taking is the quinacrodon rose. This quinacodon rose, we're going to start applying from the left side. Just go ahead and apply a nice amount of quinacodon rose. This is a point where you want to make sure that you go along the edge and do not go over to the mountain. So you can see, I'm being really, really careful and not touching the area of my mountain. All right. And also observe the fact that there's a mountain there that I actually painted with the sky. That's because that mountain is in the background. So we'll let that be. Okay? And we'll add that with a subtle color later on. Here I've started, and I'm just going to go ahead and apply over to the right side as well, just using my flat rush and a nice edge, and we can go slightly over to the yellow and blend it up. See it's a slight blend, so that The yellow has a tint of like an orange, but it's blended there. Can you see? This whole area with our pinks, we need it to be in a subtle. The sky needs to be subtle here. We don't want it to be ibrant. There, I've added. Now I'm just going to go with another set of pink color towards the right side, right. Do not think that you need to do gradients here. We definitely do not want gradients. This is just different colors that we're applying and do not worry. You can see there's a bit of a darker toe there, then there's a lighter toe there, there's a darker toon there. It's fine. We are not looking for a gradient here. Although it does, I did say that the yellow was a bit of a gradient, but that was just to explain how it looked like. But it's absolutely fine if you don't have a gradient over there. The colors need to be really nice and subtle. That's why I am adding. So we've added some nice pink shades. Now I'm going to shift from my flat brush and I'm going to move on to my size eight rush. So it's the round brush that I'm moving to right now. And we're going to grab some violet, some beautiful violet shade. So here I have, but we need the violet to be in a nice and subtle amount, not too much. So we'll start with subtle amounts at first and observe the consistency of the water as well. So the consistency of the water here, as you can see, it's very very less, do not use watery paint. Because if you use watery paint, that you will not be able to do the sky, okay. So just going to add some nice violet strokes over the top. This will happen only if your pink is still wet. Make sure that it's still wet and not too watery. Here I'm just dropping some nice violet shades onto my sky. You can see that, what's happening and the same over to the right side, and then try and use the entire length of the brush and also observe where I'm holding the brush. There. It's very, very important that you note where I'm holding the brush because it gave out a lot of information as to the control that I'm using. If I'm holding right there, it means that I have very less control, so you can see, the strokes will be more on the random side and it's okay. See, just adding some nice strokes. I guess I want to go with a little bit more purple here. L et's grab in a little bit more violet and I'm slightly making it a bit more darker on that side. Not very dark just again, it's got to be subtle. See? That's it. Practically, our sky is done. It's as simple as that. Can you see that? Now that we're done with the sky, there's a little bit of the mountain to do. Let's go ahead and paint that ma ground mountain. I'm going to do that with violet itself and you are going to do it slightly with a bit of a lighter violet paint, your paper might be still or it might be a little bit on the website, which gives a little bit of the hairs on the mountain. You see, we've got a little bit of a softer edge. Do not make it too soft, I guess this amount is more than enough. There, we're done with that whole of the background. Now, all we need to do is to wait for this to completely dry out. I know that many of you may not have a hair dryer, but unfortunately, it's something that we do have to do like wait for it to try. Let's go ahead and quickly dry this up. There you go. It's all dried up. Now let's go ahead and paint the mountain. For painting the mountain, I am going to grab myself a larger brush because it's such a larger area that we want to cover. You can either start by applying water to the whole of the mountain or you can just directly do the wet on dry. I'm just going to quickly add water to my mountain, but I would also not go towards the edge and try to perfect the watering. Just going to keep it. At that and now I've covered almost all of the areas. The edges are not done yet, but I can do that with my brush. Just going to tilt my board and make sure that there's no excess water. There isn't, Let's go ahead and keep adding. I am going to be using ultramarine blue. Here I am grabbing my tomarne blue. Altimarne blue is granting, it's going to granulate on the paper, but that's okay. As you can see, as I'm taking on the mountain, I make sure that I follow along the edges. You can see because of this edge, it touches in the water. It's spreading. I actually picked up the wrong blue just right now, and that's Tal blue. So saved right before. I ruined it. Here just going ahead with my ultramarine blue, and we're going to add it to the whole of our mountain right now. In this layer, we're going to write ahead and go it add on to the top. See how that's turning out. Here along this right edge, we actually need to be very, very careful because you should not have any color go outside because if it goes outside, then it's going to mix up with the yellow and create a green shade. We do not want literally any greens on this mountain. It's a snow mountain, so we're supposed to be adding blues at this moment. Blue because it's a sunset time. At sunset, the colors of the shadow on ice turns to blue. That's why Here, just literally grabbing my ultramarine blue and adding to my whole of the mountain. Right now, we're not looking at the edge or the lines that we created and make sure that the blue that you're adding is somewhat on a lighter tone. It needs to be absolutely lighter. We can see. What I'm just going to do is, I think that I applied a little bit of a darker paint on this side. I'm just going to quickly try and lift off. This is where one of those points where I say, it's better to watch my lesson once before starting because I correct my mistakes and you don't want to be doing the same mistakes that I do. If you're watching this first, then just note, tow this right side, go ahead and try and apply a lighter tone, I would say. Just a little tip from me to adjust for the mistake that I did. Now it's a slightly lighter done and here is a darker side. But I think, no but. Sorry. Wait done. Let's just wait for this layer to not completely dry. It was just the mountains first layer. We will add another layer on the top, but now let's wait for this to dry out. There you go. I've dried up my mountain. Now we're going to grab the ultramarine blue again and we're going to create the darker edge. Here I'm just going to go over the left side again because now we need that to be darker, but now we're going to follow along this edge of the mountain. And the same. We're going to follow along this edge of the mountain where we did the pencil sketch. S, it's more on the darker side. Make sure that your paint is watery. Can you see how watery that is? Do not apply like a very harsh paint. We still want it to be on the lighter side. Somewhere along the medium range in the valley scale, I would say. You can see I'm just trying to blend those regions, and I've still got a watery paint. And you can see there's a harsh edge formed right there because we did not use the wet ont technique. But if you go ahead and quickly plant your next stroke right before that dries, then you still get a continuity just like a wet on, like a wet on wet stroke. Okay? There. See how I am continuing the entire thing without applying the water. This is something that I wanted to show you on day one itself because then from now on all of the lessons, you're going to be having an easier process. Also observe the strokes that I do, you want to be doing in a downward direction. Do not paint it this way or anything. Go with the flow of the mountain. This mountain, the direction is this way. That's why we're doing it that way. Here just picking up a darker shade of the ultramarine blue, and I'm just adding at random places right now. Possibly those areas, which has got more shadow and observe closely how I'm adding in this specific direction. Very important that you follow the direction. Here, it's this direction Even along this ridge, do not paint it this way, try and keep at it at that direction because when you paint tries, your brushtrokes are going to be seen and when it's seen, it means the hat, it'll be clearly visible as to how you painted it and that's how the snow exists. This one. I should have painted it like that. So sorry about that. Still adjusting it with my brush. All right. There you go. That is the F ground mountain done as soon as it is because we applied a wet on dry layer, this is going to out really quickly. All right. I am going to dry this. Hey, all right, this is now completely dry. Now we can get on to the last and final part, which is just basically adding some dry brush here. I am going to pick up my paint gray, and we need it to be in a dry manner. You can see here this is not dry. My brush is still wet, but we need it to be dry. What I'm going to do is, I'm just going to absorb the excess water from my brush using my towel. And then probably I can start. It's not completely dry yet. What I'm going to do is, I'm going to apply it into the areas, which I want it to be a little bit more on the wet side. See, it is somewhat dry but not completely dry, but that's okay. I will start along this edge where I know that I want some h or wet on dry strokes. Applying to those areas where I think I need the semi dry strokes. It's not completely dry yet. Now my brushes almost in the dry stage. You can see there. It's starting to dry, but still not enough. Let me just try this up. This is the dry brush technique. One thing else that you can do is you can try it out on another piece of paper to make sure that your brushes enough so that you start getting those dry. My strokes are now rely. And now you can go ahead and start applying. Then when you feel that your brush is no more doing anything, just go ahead and if a teeny, tiny amount in water and it should come back. There again, let's continue. These areas to be nice and dry. Again, along the edge here is where we're going to be trying our focus on. You can already see how the mountain is coming into focus. That's not dry enough. I'm just going to try it out outside. Se, it was not dry enough. I think that's a good point now. Remember, direction, always. So here, I'm just following along this direction. I've already mentioned the paper that we need is paper that has a texture because if it does not have a texture, you're not going to be able to achieve this. Make sure that your paper has a nice texture, which then will enable us to do this technique in a nice way. Want it to be somewhat darker here. I did my brush in a little bit of water so that it's a little bit watery as well as thicker paint and more. That's how you can keep adjusting the ratio of the water depending upon where you want your dark stroke to be. Don't think that you need to do it exactly the same way as mine. It's just randomly at some places, make sure that it's a dry stroke and some places it can be in a wet or dry manner. As long as you have a lot of variety on your mountain, you're absolutely fine. That's basically the all there is to it. Here, we need a nice darker zone here. Then I'm just also going to use the tip of my brush to somewhere draw like lines. Okay. Okay. I think I'm good with the way that area has turned out. And as you can see clearly, that area of the mountain and already looks so gorgeous. So these darker areas that I actually added with the to Marine blue, I'm just going to go ahead and add on top of it and make sure that I have a lot of these dry dry strokes. We done on that. Now the next thing is, I'm just going to add some dry strokes to this mountain, which we left it lighter, because it is on the background, but keep giving a little bit of those strokes. Now the same way to this mountain, but it's the same part of the mountain this side. Now when you're doing it this side, go ahead and follow the direction of the mountain. You can see I'm going for a subtle shade here. Do not use like a complete black shade. We want it to be nice and subtle. All right. I think that's good enough and we are done with the painting on the 30 minute mark. Isn't that great? I mean, look at that. We are finally finished with a painting It's looking, isn't it? I'm just going to make sure that the edges, because we just apply. So let's go ahead and the beau. I love love love the tape peeling where you get the cleanest of the edges. And I love this because I've used literally a small edge to it. Sometimes, when you look at it, both are amazing. If you leave a large gap and if you leave a small gap, but I think for this painting, the small gap is making it look really amazing, isn't it? All right. There you go. That's the finished painting. I know I should not marvel at on my own paintings. I'm the teacher. Okay. So sorry. There you go, guys. And thank you so much for joining today. I hope you enjoyed day one as much as I did to paint this. So I'll see you again for day two. 7. Day 02 - Silent Fuji: Hey, hey, hey, welcome today, two, and this here is the painting that we're going to be doing today. It's Mount Fuji, of course, and has a little bit of a misty valley in the foreground and a bit of a foreground grass and some dried up a tree there. I don't know what it's doing there, but it's completely a reference that I changed into my liking. So you probably won't find the scene anywhere. All right. Let's have a look at the colors that we need for this. For the sky, we need a little bit of a thalo blue and ultramarine blue. For the mountain, we need paints gray and a burnt umber or transparent brown. Then coming to the foreground here, we have olive green and dark green or sap green, and the tree is again with a transparent brown or burnt umber, which we've already covered. So that's it. Now, let's get started with this painting. All right. Let's get started. So we are going to do Mount Fuji today. I mean, you've already seen the final picture. So around one by third position of the paper. That's where we're going to add in the sketch. So the mountains going to be somewhat flattened over the surface like that. Then you will have the top part of the mountain extend like that, and it goes outward like that. I think that's a little bit too steep for Mount Fiji. Maybe you can go extend outward like that and there, and this is also needs to go into the same level and outward like that. Then we will have a little bit of a land area in the front, and a whole lot of these area are going to be under the mist. We're going to have a lot of lighter areas there, white. What I am going to do is, this is basically our pencil sketch. The rest of the things we are going to add with R um, brush, itself. So I want to make this region of the mountain slightly lighter. I know that it's not visible, but I'll show you what I did so that you know how light it is. See. That's it. You can pause right here and make your sketch. Now let's get started and paint this. What we're going to do is we are going to apply water to the sky region because we're going to paint the sky first. There you go, go ahead and paint the sky. Apply water to the sky right along the edge. And as I always see, make sure that there's no large pools of water, very important at this point. So there you go. I have applied the water nicely and evenly onto the whole of my paper. Did I say who of my paper? I meant to the sky part. Oh, my God, these statements that come out of me. They are natural to me because I always say it. Sometimes I'm not even thinking when I'm speaking because when I'm painting, these sentences are like default. That's why I'm doing so much mistakes. I'm sorry about that. Anyways, there, the sky is nice and wet. I guess it's a little bit too wet. I'm just going to tilt it and make sure that it's just a sheet of water because I could see a little more than a sheet of water, which is why I'm trying to get rid of it or I think that's much better. I've shifted back to my size eight brush. Today we're going to start with yal blue. Loading my brush with yal blue and we're going to apply to the skies. Starting at the very top. I want it to be nice and vibrant, starting at the very top. I'm just going to apply. You can see that I am leaving a lot of white gaps in between. Us that's what's going to form the clouds. So just use your brush in different directions and observe where I'm holding because that shows how much control I have, which is how practically none. And let's see, I now need a lighter tone. So I've just like washed my brush and picked up a really, really lighter tone. Not light enough. So let's wash it off. The Thero blue is actually a very, very vibrant color. If you actually pick up a lot, even if you pick up a little tiny tiny amount, then chances are it's going to be a lot. Surrounding the mountain, I want it to be a little bit more blue because the top portion of that mountain is actually going to be a snowy region. In order to depict that snow and make it stand out, we need the surrounding areas to be darker. Here, that's why I'm picking up a little bit more blue shade and I'm just adding. I think that should be enough. And I've added some nice strokes, and I'm just going to just make it lighter over here. You see, this is how we've painted almost other background. Just going to pick up a little bit more of my ello blue because I want to make the top regions a bit more darker. Another thing that you can do to make your top regions slightly darker is actually to add in a little bit of ultramarine blue. It is a slightly different blue and it's a warmer blue. Warm tones make your paintings come forward. As in warm colors come forward and cooler colors recede. If you actually apply warmer tones, then it'll look as though it's coming forward. With respect to perspective, the top potion is the part that's closest to us and also the bottom part. As you go towards the center of your painting, it's what's furest away. Which is why at the top, we need to have some colors, warmer colors. That's why I'm just adding a little bit of the ultimy blue to try and add a little bit of warmth to it. I guess that's enough, not too much. We do not want to be adding too much to disrupt how it looks. There you go. Now, the sky is complete. That's all for the background. Now I'm just going to quickly wait for this thing to completely dry up so that we can paint the mountain. All right. That's now completely dry. I am going to paint that mountain. Did I drop like some paint there? I did. Oh, no. I don't know how that happened, maybe from rush or I don't know. I don't know why I'm using this razor, but then it worked. Using the eraser to erase paint. Have you ever done that? I just grabbed whatever I could from right beside me and it actually worked. What we're now going to do is we're going to apply water. Now you're going to carefully follow along the edge and apply water onto the whole of the mountain. Yes, the whole of the mountain, even though I said that the top ocean was going to be dry area, not the snow region, but we're going to apply water to the whole of the mountain. Carefully apply water to the whole, and you want to be applying the water all the way up to the bottom. Yes, to the bottom, even on the foreground because we are not going to be painting the complete foreground, right now in this layer, but then it's good to have to get that misty effect on the mountain. Here, just applying to the whole of the mountain. There. I think I've applied a nice even coat onto the whole of my paper. Now, first thing I'm going to do is I'm going to shift to a smaller size brush. Here I've picked up a size two brush, and that's what we need. Smaller size brush, I would say, that's all. Don't stress just a smaller size brush, that's it. I am going to start with paincray. Here, just picking up nice amount of painscray, but also in a medium medium tone, you can see the tone, it's a medium tone. And we are going to add some lines. This would be like the shadow lines on the snow on that region. Also note, do not go and put your point over there. Always just make a stroke so that you get a line rather than what I got here. That was an absolute mistake. But a mistake worth to show you. Again, see this area is okay to have some like that, but other areas, go ahead and add these some lines and observe all of the lines as though they're coming out from that center point. All right. I guess that's more than enough, is it? I'm just going to give one shade darker at some areas. Just picked up a darker shade and giving a darker shade at places, too, as you can see there. I guess that's more than enough. Now I can shift back to my large size a brush and we can continue painting. The way that we're going to paint this is we're going to grab a nice amount of brown. And that brown, I am going to mix it with a little bit of paint so that it turns in a Darker brown. If you have a color known as sepia, then you can go ahead and use that, and that is the mountain. You can see because our paper is like wet, it spreads. That's okay. Let it spread and at this point, you're going and adding Not to the top region yet, we're covering the bottom part right now. As you go over to the top, you want to be careful and just leave lines. Also, these lines, try and start from the top towards the bottom. Because if you go and stop there, then you get a edge to it, which we do not want. Always make sure that you start from the top and move down so that your edge is there rather than over the top. I know you might think that this is stuff, but trust me, it's not tried out, and you will see the magic. Okay. Always also note the direction that I'm doing this towards this edge towards that. Always as if it's going towards that point. When you're doing over to the right side, over on this side, see that. There you go, added that nicely. I got to grab a little bit more brown. Then now we need that region to be nice and having what do you say, misty effect. There, I'm just going to water my brush and you can see that it's somewhat lighter tone now and this lighter toe not still enough. I'm just going to wash my brush because I think there was a lot of pigment in my brush and then I'm just going to pick up a tiny tiny amount of paint and we're just going to blend this region. And just add in some random strokes, because we want it to be a nice misty effect. But what I'm just doing is, I can see that my brush there at the bottom has started to dry out, not the brush, the paper. I'm just reapplying the water. You can always reapply the water. Just make sure that when you rely not apply it towards the top or do not touch the paint edge because that's where you're going to create blooms. I'm okay to apply until this point where I'm not touching any part of the paint that I've already added. Can you see that? Then when you want to bring it down, you can join the water. And the paint with your strokes. See that? If you join it like that, then it should be fine. We're trying to create a misty effect there. See, it's a nice misty effect. I'm describing a little bit more of my paint gray and the brown to add in some darker strokes at random places. Be we did not want the mountain to be in a perfect note. There are always details on the mountain, which needs to be shown. See that, and then you can always go ahead and add the misty region. There at the bottom is actually misty region, we'll paint that with our paints gray. And just adding a nice amount of mist. You can see, just added some strokes with my paints gray and a lot of white areas are left behind. Can you see that? We will also grab a teeny tiny amount of olive green, and you can add that at some places. Not all of the areas. We did not want it to be looking like a greenish stone. Some places to give a little bit of a variety. Can you see got a nice touch of the olive green at certain places. There you go. Now, all we've got to do is to wait for this to completely dry out so that we can paint the foreground. There you go. It's completely dry. Let's now paint the foreground. For painting the foreground, I'm going to start with a nice amount of my olive green, and adding that over to that region just as a nice line. Can you see? Let's just paint that bottom part with olive green. You can see I'm getting a good gradient because I'm not letting my previous stroke to dry out and it's as simple as that. Now, we need to create some depth. Here, I'm just gapping a little bit of a darker green and applying that to the bottom, but not entirely. Just Adding it as like a slight little line over the wet olive green, and you can see how that's turned out. Now I'm just making sure that my brush is dry, it's dry, so I just completely dried it up. Then going to grab my olive green. What we're going to do is, we're just going to create some upward strokes at the edges at some places. Observe your olive green is still dry, but the top potion is still wet. When you do this, you get the grass effect without having any darker edge at the bottom. We don't have any darker edge at the bottom, because the paint that we just applied, that is the olive green. That's still wet, but the top potion, like I said, is still dry. So you get a grassy effect. This grassy effect is completely optional. You don't have to do it. It's just nice to do because this area here that we're painting is right in the foreground, and it gives a beautiful effect because then you've covered the fact that this is in the foreground and then it has more details showing in. All right. So I guess when this dries up, we can just complete with that tree and we're done. That's it. At this point, you could actually call this painting completely done if you want. The tree is completely optional. You don't really have to do it. I like to do it and add, you know, a slightly more details to it, and I can see that I'm still on the 19 minute mark when I'm shooting this. When I'm editing this, it's going to be even lesser because all the drying process is gone. So let's see, I'm just going to add in over to the right. I'm just doing it with my brush itself. This is what I said. We can do it with our brush. Because it's optional, you can completely skip this. So using the entire length of my brush to add in a nice tree branch that goes over the top. And part of that branch also goes over to the right side, and then I'm just going to use the tip of my brush to create a thin stroke. Can you see that? That was the tip of my brush, and we also want to use more tips of our brush to create all of these strokes, parts of the tree. Let's have a nice branch out like that. This is a nice dark branch shade that I'm using right now, and you can see that. Iii. Oh Just adding plenty of those branches. It's best if you have a lot of branches, and you could spend all of your time trying to add as many branches you want. The more you add, the more prettier it's going to look and the more realistic it's going to look because essentially, even when a branch is dry without any leaves, it does have a lot of branches, especially teeny tiny ones towards the tips. So it's okay that you can go ahead and spend a lot of time adding, so many branches. And observe how I do it as well, the different diction. For example, I took one branch from here, but then I crossed it over to that side. I mean, trees grow in all weird formats, so there's no strict rule. These ones that I added over the mountain, I might need to add another layer over the top. Because it's an underlying layer of round there, it's not that visible, so I just wanted to make sure that I am able to see it. Added another layer over the top. When you're adding another layer of the top, it might be a little bit tricky because you've already caught a line and you don't want to double line, so you might have to be really careful when you do that. Thanks Tank. Thanks Tanks Tank Tank Thank Tank Okay. I think I am satisfied. I know I was silent for a long long time because I was just focusing and I was letting you focus as well and add those in. I just noted that the branch that I added on here are still way too light. I'm just going to go ahead and do it with paint screen now so that it gets a bit and we're able to see it. I guess the mountain is still so strong in its browns, and the brown that I applied was really not enough. Okay. I think that's much much better. And we are good to go. That's it. We're done with this painting. How cool is that? Can you see the contrast between the two here, the sky? I would have liked to have a bit more contrast. Maybe I should have used an even more darker vibrant blue there. So if you had done that, then you would actually get a little bit more contrast between the white. Right now, the contrast is actually less because there's a little bit of a white tone here in the sky, which is really overpowering this. But I think it still looks good, and you can clearly see that this is fugi because of the strokes that we did, and all of the shadows that we've added. So I really love it and also how we've captured like a misty region far beyond the valley of the mountain. Of this edge is still wet, so I've got to dry it up before I can remove the tape. All right. It's dried up, so I'm just going to remove the tape. There you go. That's the final painting. Isn't that gorgeous? Oh, my God. All right. So here you go. And thank you so much for joining me today. I hope you enjoyed this lesson, and I will see you in the next one. 8. Day 03 - Timeless Peak: Hey, hey, hey, welcome today three. This here is the painting that we're going to be doing today. It's the third mountain, and we've got a background mountain and two foreground mountains to add on here. First, let's have a look at the colors that we need for this. For the sky region, I have used an indigo color, and then for the mountains, it's basically just two more colors, which is paints gray and transparent brown. But I also need to mention that I have actually also used permanent white gah for some areas here on the mountain, and that's it. If you think about it, just three colors, and we can paint this. If you want to be adding some more beauty to this, you can add in a little touch of thalo blue to the sky as well. I mean, just to make it different. So you can blend yal blue and indigo over the top of the sky. Just giving you suggestions if you want to somehow change this and paint. All right. There you go. Let's get started on this one. First, we need to sketch out the mountain. I'm just going to quickly make a sketch with my pencil. You can follow along or right after I finish my sketch, just pause right there and make your pencil sketch. Here it goes somewhere right along the top. Find the one by third position on your paper, and that's where we need to start the mountain. That goes like that. That's the peak that I want. Again, the end point of the mountain, we want it to be around one by third from the bottom of the paper. This is because this is the most ideal thing for a better composition where we place the important elements in our painting at the one by third position. This right here on that point is going to be somewhere below the one that we made. Then we have a little bit of a four ground mountain to add here. That goes like that, and then there's another mountain coming right in the front pot. We do not want to start in the corner, but just start right there. Yeah, I think that's good to go. Now what I'm just going to do is, I'm just going to mark out some of the areas, which I know is a separation of the mountain, so that'll give us really the beautiful shape of the mountain. I know that there's a line there that is another separation like that. Just marking out the lines, which will help me in the end. There. I've just marked it out. I know that the pencil sketch seem like a little bit tougher with all of these lines. But as you look at it closely, it'll be really helpful. There you go. I'll show it to real nice and so that you can make the pencil sketch. You can pause right here and just make out the sketch on the paper. And it's as simple as that. All right. So once you've met our sketch. It's time to get started with our painting. So it's not that tough as it seems, but we're going to be covering a lot of techniques in this one, as in the basic techniques with watercolors, of course, but I really love painting mountains just because it has a lot of the techniques, the most basic ones, which is wet on wet, wet on dry, and the dry brush technique, which is my absolute favorite. So let's go ahead and start painting this. So we're going to be painting the sky first, so we need to apply water to the sky region. We're going to be doing the wet on wet technique. I'm going to grab my flat brush, but you can go ahead and pick up a large round brush or any other brush that you have. It's absolutely fine and I'm just going to apply water to the sky region right now. We are not going into the mountain region. So just apply water to the sky and simply wet the region. You might have to slightly do it multiple times because especially if you live in a place that's like a little b, then there's high chance that your paper is going to dry out quickly. But since we're painting this in sections, I think it's going to be okay. So just go ahead and wet your paper. As you can see, I am following along the lines of the mountain so that all the areas of the sky are covered. So we want to make this painting as beautiful as it can be. So let's just try and cover up the edge up under where the mountain is with water, where we'll be painting the sky. This is the area that I started with, but I'm just applying again. Once you've covered the entire area with your brush once, then it becomes easier because then you can just built your head and look at your paper at an angle. You can actually see the point where my light is from the top, so you can see there's water there. Because of the reflection of that light. You can see, that is what we want, just a sheet of water. Because we are applying to the top side if you fear that there's a lot of water or if it's creating a pool of water on your paper. What you can do is you can filt your board somewhat like that so that excess water will float up in this case. We're using the help of gravity to make sure that the water flows out of our paper, and we do not have any large pool. So That is something that we need to make sure that there isn't excess water on your paper because excess water means that your paint is just going to flow out a lot, but what we really need is a sheen of water. That is what creates the best wet on wet technique. I think I'm really happy with the amount of water on my paper. I'm just going to start painting the sky now and I'm shifting to my smaller size brush. You can absolutely go ahead and paint with a flat brush itself. But I just love to paint the sky region with my a round rush. This is a size eight round rush that I am going to be using, and we are going to start with a nice indigo color. Here, I'm just picking up a nice amount of indigo. You can see it's a slightly darker color, and I am picking up that indigo and I'm going to start. I am going to start in the corner there. You can see because of the water on my paper, as soon as I touches, it's spreading out, but it's also not spreading out too much because that is the amount of water that I have. It's just a sheet of water. Now using that, we are going to paint. Here, just started with the indigo over the top and Always observe when you're watching this, observe where I'm holding my brush. If you're holding your brush closer to the tip, then you're going to have a lot of control. With the sky and the clouds, we want lesser control. If you hold it further away from the end, which means it's a very less control and your strokes are going to be loose and flowy, and that's what we want. Also to not use your brush like that, but try and use it at an angle always so that you're using the entire length of the brush. That's really useful in creating a variety of strokes. You can see I'm just using my entire length of the brush and adding a lot of strokes. You can also see that any darker color is always towards the top. I want to make sure that as I come towards the bottom, I'm trying to lighten it up and you can clearly see that. I'm not picking up any more paints because I'm painting towards the bottom. I'm just using whatever is there in my brush. Here, we're also going to leave a lot of white spaces. Just going towards the edge now. Painting. Here I want to be careful along the edge. You can clearly observe because I wanted control over the edge. This just happened without me even thinking, my hand had already moved towards the bottom of the brush because that's where you have more control. If I was doing this and trying to paint the edge, I would have very less control. You can see That was just out of practice with me that I did that, but I guess with practice, you're also going to get that. Here, just going ahead and adding these beautiful strokes. Now I'm just going to mix in a little bit more water into my paint and dilute it because I want it to be lighter. Also I've gotten rid of all the excess paint from my brush and just going to use this lighter paint now. Because as we move towards the bottom, I want it to be lighter and here I've moved the position of my hand on the brush again because I want my strokes to be with a bit more controlled manner. You can see how I'm blending and adding these lighter strokes. It's very light paint, which means you're going to dilute your paint with water. You can also see the consistency of the paint in my palette, and you can see it's very, very less water. That water mixed paint is going to create these lighter tones, and that's what we add to the sky. You can see that. Now if I pick up a darker paint, I'll make sure that I apply towards the end. Do not apply darker paint towards the bottom side. Just going to apply a teeny tiny amount there. But I'm also going to immediately spread it out because can you see how weird it is over there like standing out? All you can do is just grab your brush and push the pigments and blend that region, and now you can see that weirdness is gone, isn't it? So, hey, so that's it. I would say for the sky, but although I can see a little part of the white region there, I guess it's not visible in the camera, but if you look closely, there's a little bit of a light area there, which I want to cover up. So I just picked up a little bit of the darker paint and I'm just applying. So that is the area where I want it to be nice and dark. All right. I am happy with that tune. So I think now we can go ahead and dry this up. I am going to be using a hair dryer to completely dry this up. But if you do not have a hair dryer or a heat gun, then obviously, I know that it's a tedious task and you might have to wait for it to completely dry out. That's okay because if you actually happen to live in a very dry climate or if you've got a fan on or something, I guess it will dry out quickly. So you just need it to be dry, touch dry. You don't have to wait for it to be completely dried, I guess, make sure that it's touch dry. I am going to be using a hair dryer to completely dry this up. All right. There you go. You can see that it's completely dried up now. And also, you can see that the shade the dry up light has become slightly lighter. That is because that is one thing that you need to know about watercolors, which is basically the fact that watercolors dry one or two shades lighter after it's dried up. So all the water on that that you just saw and because the paint is wet makes it look more vibrant. Whereas if you wear to dry it up, it's going to look a little bit lighter. If you actually wanted to look like the color that you saw earlier before it was dried, then you need to apply more color. And then you need to make it even more darker and more vibrant. Then after it dries up, it's going to look lighter. That is mostly applicable for the wet on wet technique because wet on dry, you're actually mostly applying a little bit of a wet paint but on a dry surface, so it doesn't have too much water in it to take off your attention of that color. So I guess, with wet on wet, if you want it to be vibrant, make sure that you apply a nice and a thick coat of paint. But for me, this is what I wanted with the sky because you can say it's a subtle a cloudy sky appearance that we've made right now, and the mountain is going to be our focus. Let's go ahead and paint the mountain now. I'm just quickly shifting to my size 12 brush, larger brush so that I can apply water to my mountain. Here, just going to quickly apply water to my mountain, the whole of the mountain. I think it just makes it easier if there's water, but you can also paint this in wet on dry. You can try that out. But now we only need like again, So forta. I'm using a larger brush because I know that'll cover a larger area quickly. But if you don't have a larger brush, then you can go ahead and use that flat brush again or smaller size brush, whichever you have, right? Okay, I think I'm, and I've applied almost all of the areas. I think it just missed this one as I was speaking, I realized that. Okay. There now perfectly covered all of the regions. Now we're going to start with a little bit of paint gray. I'm just using the same large brush because I think it'll up us cover a larger area, and we need it to be a lighter color. You can see the indigo and the paints gray is actually similar, but that's okay. Here I am just grabbing my paints gray and I'm going to fly. I'm going to start in this edge over here and I can see, that's a too color. I'm going to lighten it up again by adding a little bit more water. That's lightened up. Y, that's the color I want. Can you see it's very, very subtle and very, very light. It's a very lighter value of the paint spray that I'm adding. We're not going to be covering the entire part of the mountain, but just some of the areas. Go ahead and apply to this left region at first, and observe where I'm applying. I'm going to apply over here and then I'm going to go over to this right side up until here, then this right side over here. I'm going to try and leave that lighter and white. That region. But now again, we'll come over to this right side and I will apply. Actually, I think here my paint has started a little bit, sorry, no my paint, the water on my paper it started a little bit dry over here, which is why I got a really hard edge, which actually helped. Maybe you could wait for it to dry out a little bit, and then again here, applying nice stroke of the paint gray up until there, then I guess I'll also apply to this side. On this mountain, I did not apply as much water as I did for the sky, which is why you do not see it going and creating shapes like these, but you can still see some of the airs spreading around there. Over to this right side, I needed to be nice and filled up. Let's get that whole thing covered up. I think it's worth observing how my hand moves. Actually, I am noting this right now that with practice, my hand is actually doing this, where, when I'm trying along the edges, my hand quickly moves to the tip of the brush so that I get a lot more control. And then when I'm adding the whole thing, my hand immediately moves to the middle or the edge when I want it to be a bit more loose strokes. While I was trying to start with this class, I was thinking, what are those things that I need to bring your attention to? This holding the brush thing was one of it, and that's why I was deliberately trying to note these things. It's difficult because sometimes it just comes down naturally and it's not something that you can easily observe. See, I've just added those nice paints. Nice amount of a paint gray to those regions. Maybe now we'll go one shade darker, so I'm just picking up a little bit more paint gray and I'm just going ahead and adding to some of the regions. It's okay that your paper is still wet, but you're just adding now an extra shade over the top. Can you see that? We'll do that over the edge as well. Again, your paper is probably still wet from the pain that you already added, and you can see how all of those things are spreading and moving around. It's absolutely fine. Just make sure that the consistency of the paint is also important. So make sure that the paint that you're applying is knocked to watery. Because if you go ahead and apply a watery paint, then it's going to spread out the pigment and create blooms. So that is, I would say, like the 11 or the basic rule of watercolor painting. Which is, if you do not want your paints to spread out as in your pigment to spread out and create blooms, then you need to make sure that the paints that you apply onto your paper has lesser water than the water that's already there on your paper. Very important. That's the only thing that you need to think of when painting with wet on wet. So here, just added some. I'm just going to go over to this edge as well. I think this edge has literally started to dry out a little and I'm probably going to get some harsh edges, but that's okay. It's okay even if you get some harsh edges. We're just going over it multiple times on this edge. Here at this top region, now I'm starting to get harsh edges. I won't do too much. I'll just refrain from doing a lot and the same over on this right side here. I think that's more than enough. Now the next step is for us to wait for this one to completely dry out. I know there's a lot of drying process involved, but that anyway comes with water colors. Hey, there it's completely dry now. I'm just going to go ahead and paint this mountain in the foreground. We are grabbing a little bit more darker paint gran because that's in the foreground and that's a little bit more undershadow. I guess it's okay to paint that without using the wet on wet method. Just go ahead and apply and paint along the edges. With yours gray. You can still see it's not the des tone. It's like somewhere in the medium range. I've already shown you the value scale. Using that, you can see that this is in the medium range and not the darkest yet. All right. There you go. I've applied a nice starker tune. I guess we do have to wait for that to dry, but I have a little trick for you to continue painting if you can't wait for it to dry. What we can do is we can actually go ahead and paint that right side now. Here, I'm just going to grab my transparent brown or you can just use burnt umber or any brown, in fact, and that's what we're going to start with. Here, I'm just going to apply the brown on to that grow mountain. It's got brown there. Grabbing my brown and moving over to the edge. And you can see this is like a wet on dry wet on dry because we're using wet paint on dry paper and there. I'm just going to go over to this side and I've quickly washed that paint because I want to create a bright area. I'm just going to grab my orange and just going to apply that over the top. Not too much. We want like a orange plus brown blended area. Just quickly grabbing my orange and I've blended into my brown. You can see it's created a tone like burn Cena. Maybe you could use your burn CNA as well. But it's better when you have when you mix colors like this naturally because burn CN is not going to blend with that brown like that. Here, there's a slightly lighter tone, which you can see there. And I guess now you've got to wait for that region to dry out, isn't it? Because if you paint over there now, then this paint is going to spread out. So I guess let's wait and it's okay that you have a harsh edge with the problem there. That's okay. And I was really hoping that while I painted this, this edge would dry out, but unfortunately that didn't happen. Maybe it's not hot here enough. So, so I have to dry this up so that I can add the rest of the foreground mountain here, and then we can finish off with the dry brushing on this mountain. And a little bit of strokes on this one. I've dried that. Now I'm going to go with my darkest of my pain screen, and then we're going to paint the edge of that mountain, and you can see because it's dry, it doesn't spread, and grabbing that edge and there I'm painting. But now you can see I'm leaving some parts of the brown behind as in. I'm just creating lines like that and you're not blending it, but you're creating a dark line of stroke. It's going to be wet or dry there like that. So things like that. Then this region, you can go ahead and apply a little bit more of the pain gray. I've applied a little bit more pain scray. Region, I did not completely dry it up, so it was actually wet, but let's grab in a little bit more of the brown and you can blend it. Okay? There do not blend it completely, and trust me. Even if you're getting dry strokes over there, it's completely fine. Please do not stress out because it's going to look beautiful even with those dry strokes. Do not stress yourself that you're not getting a perfect blend. It doesn't need to be a perfect blend because it's okay to have a lot of dry brushing, and we will prove that in a moment when we add in a dry stroke over on top of this. So now let's go with dry paint and complete this mountain. Basically, you need your brush to be dry. Make sure that you grab your tissue or paper towel or whatever that is and dry your brush. You need to be dry, and then go ahead and grab your paint. When you grab your paint, it's probably going to be nice and wet, but then try it out on an edge or somewhere, such that you start getting in dry brush strokes. Here, if you observe this little corner here, can you see my brush is like dry. Here, I'll just grab my paint and it's a dry stroke, and I'm going to start with a nice dry stroke, and we're going to apply this dry stroke onto our mountain. Can you see how that stand out? Once you feel that your brush is too dry and there's nothing more coming out of your brush, then you can go ahead and dip your brush in a tiny tiny amount of water. You can see this wet paint here. It's a watery pigment. What I'm going to do is just touch the edge. It's enough to touch the edge because your brush is thirsty. It's going to absorb water. From that palette, and that's more than enough for you to create those dry brush strokes. Here, I've just grabbed in more paint and you can see, I'm starting to get those dry dry strokes. So I've already explained this. We need a paper that has texture. If your paper doesn't have texture, then you would not be able to create these dry brush strokes. So there, and we're going to keep adding these dry rushtkes onto the mountain. Now you can see, I'm drying a lot, but I'm still not getting enough dry rushtokes, which means that I do need to wet my paint a little, and I'm picking up. There's also another technique in which you can grab your wet paint. Here, I've grabbed a wet paint, but it's not too watery, so it's still some wet wet but not dry. What you're going to do is you're going to grab that and Oh, my brush is still dry. What I was going to say is let me show that. This is your wet paint. Now you can see that's a wet paint. What you can do is you can go ahead and apply that wet paint. But then even chilly, your brush is going to run out of water. When it runs out of water, you're going to get those dry brush strokes. It's going to be a blend of wet on dry and dry brush strokes, which makes it look beautiful. Here you can see that one is dry as well as wet and it's like a blend of those. See that. We're going to go around this edge that we added. And here I'm the of my bruh. So just using the of my and going ahead and adding those dry brush strokes. So just finish off all of the areas now on the mountain with as many dry brush strokes as you can. Okay? So observe where I'm adding those. We'll start at the tip as well of that mountain. Now, just observe where I'm adding the dry brush strokes and go ahead and add them. We'll have on those lighter areas, the white region here, and then we'll have some on the other darker regions as well. Okay? Along this edge, we want to be careful as in, not applying towards the edges and not going over that other mountain because that's a different mountain that's in the foreground, we do not want to be applying there. I mean, we do, but right now, Oh. Remember those pencil lines that I added. They are guidelines for me to make the dry brush strokes. I guess that's enough on that side. Now, just some random ones here and there and we'll be done with this mountain. I think that's too we now. I needed to be. B. B. We've added some nice strokes. I guess we can call that mountain complete. You can see how gorgeous that turned out. Now we'll just paint this mountain in the foreground. I'm just going to grab a nice amount of the paint gray again. I think I've got to mention this. If you do not have paint gray, you can use your black paint, but now we need you to paint the darker consistency. This is the time where you're going to pick up the last shade of the paint gray, which is basically, really dark. We're going to add over the top. I think this region is like dark, but then again, remember, we do not want to cover up the entire thing. It's just again going for some lighter strokes at random like that. Then now I think we can completely go for a dry stroke. I'm just drying my brush and towards this edge, we'll try and add some dry brush strokes. I want it to be like a mixture of the dry and the wet. You can see, I've put in and wet strokes. I love the way that mountains turned out. Just just look at that. We are done with that mountain as well. I think if you want to call this painting complete at this point, you can. But I want to show you something else as well. I want to show you something really beautiful that you can do in the foreground, just to make this tiny bit exciting. That is the reason this video is lengthy if you look at it. Okay. Here, I am going to grab a tiny, tiny amount of white paint. It's basically the white paint, the permanent white ah. I've already discussed this in the supplie section, but I just wanted to show you to again and this white paint, we are going to be using it. Here, I'm going to try my brush completely. We need it to be dry. Make sure that your brush is dry so that we can use a nice dry brush technique. Grab the nice amount of the white paint. Again, need it to be dry. We're just going to add that over the top of this four ground region. If you feel that it's too dry then go ahead and we need to actually get those dry brush strokes. This might take a multiple try, but as you can see, I always try it outside, just to make sure that my brush is actually getting it and there you can see, it's doing it. I'm just adding some dry strokes on there and let me try and lend it. I love that. It's like this foreground region. It's dried, but then there's still some remnants of snow on it. That's what that is. How gorgeous that stand out. That's it. That's all there is for the white part. Now just grabbing a little bit of the paints gray. What you're going to do is you're going to add that paints gray to some of the regions underneath the white. Not all the regions. Just a little bit here and there. They will act like rocks on the surface. Okay. It will be like the white is actually on top of our rocks that are sitting on top of the foreground. Basically, that's it. That's it. I promise that's it. I don't want to go over this again and I tend to do this in order to make the paintings perfect, I keep adding more and more and more details. There you go. That's the painting completed. I know that some of the edges here are still wet. I'm just going to quickly dry this up and then we can remove the tape. It's now time for us to remove the tape. Hey. So there you go. That's the final final painting. Oh, I love the way the Drive rush stand out, and also how we've painted that four ground mountain and then another four ground mountain in the top with a little bit of snow and rocky edges. I hope you enjoyed painting this with me. And thank you so for joining me today. 9. Day 04 - Galactic Majesty: Hey, hey, hey. Welcome today four. And this here is the painting that we're going to be doing today. It might look tough because there's a lot of colors in the sky, but it's absolutely easy to do because I am breaking it up for you. So let's have a look at the colors that we need for this one. So I'm starting with a bit of a transparent yellow, transparent orange, Alizarin crimson, hello blue, and paints gray. And that is all. That's all the colors that we need. So if you're ready, let's get started. All right. Let's start. I'm just going to quickly sketch out the mountain. Today's mountain is obviously you've seen it, it's a night scene, so I am going to just quickly sketch out that, and we want the top of the mountain to be Max one by third of the paper. Just for making it a better composition. So I'm just going to like quickly sketch out, like a random peak. This is totally random. It's not even from a reference. This is from my mind that I've done this. There is that mountain. That is the quickest and the simplest pencil sketch that we can do. There you go closely. If you want to be looking at that, then Now it's time for us to start painting, it's as simple as that. We are going to paint the sky first and then the mountain. The mountain is going to be nice and white. So let's go ahead and apply water. To the sky region. Obviously, like I said before, you can tilt your board and give an upward angle so that your paper, if there's any extra water, it can flow towards the bottom in this case because we're giving it an upward angle, and gravity can actually help us to avoid large pools of water on the paper. So there I'm just making sure that the water on the paper is even. I've held my hand on the other edge of this board and lifted my board so that any excess water can always flow down and it will not come over onto my mountain or stay on the paper as a large bowl. That is the last thing that we want to have extra bowls of water. We only want a sheen of water and that is why I add it that way. There just applying a flat stroke now and making sure that all of the areas are covered. You might want to apply multiple times, especially if you're living in a very dry climate and that's prone to drying out so quickly, then you might want to do this. There you go. I have applied a nice consistency of the water. I think I'm really happy with the amount of water and the way that I have applied it. Now I'm keeping the paper down. And I am going to grab my size eight or my size ten rush. I think today, I'm going to go with my size ten rush. It doesn't really matter. All you need is the next medium size brush that you've been using. And we can start. So Let's start with a nice amount of yellow. This is a transparent yellow that I'm using, and I'm just going to apply starting from this left side and we're going to use the entire length of your brush. Observe where I'm holding and I'm pulling it down like that so that we get some nice strokes and you can see where I leave it. It's just a little bit of a magical sky that we want to bring into our sky today. Then washing that off or maybe don't wash it off. It's absolutely fine because the next color that we're picking up is orange. It's absolutely fine. Even if you don't wash off your yellow because it can just blend and the same way using the entire side of my brush, just applying orange towards that edge and maybe a little bit on the yellow and some areas closer to the mountain. Closer to the mountain over on the top, just right above the mountain, I am going to be applying this orange shade. We have a little bit of a yellow there. Then we have the orange shade as you can see. All right. That is basically the light as far. Today, we're going for a magical scene. I mean, you've already seen it, but it's worth seeing. Then the next color is obviously a little bit of Alison, and that's what we're going to apply toward the edge. This Alison is what is going to turn into the transition between the blue that we are going to be applying over to the right side. I mean, you've already seen the final picture, so you know how it turns out. Anyways. So there, and I'm just going to probably add in a little bit of analizarn, just a tiny, tiny bit, and I want to soften this out a little bit, so I'm just speaking up a little bit of yellow. Observe how that's happened and what's made me to soften that. If you look at that, I applied a little bit of alizarin over there and you can see that I see a distinct transition between the yellow and the orange there, which is why now I'm just grabbing a little bit more yellow, and I'm just going to apply there. Now can you see I've blended that region and I've gotten rid of that transition. I think while we're speaking, the sarin over here is starting to dry out. Here I'm just grabbing more alizarin. And I've added it over there. Then the next color is our magical color, my favorite thalo blue. Picking up teal blue, we are now going to navigate over to the right side, and you're going to apply it on top of the Alizarin and create that blend. It's okay that it's going to create a muddy violet, actually, and the reason is because they're not in the same color temperature. If you know about color temperature or if you've taken my course on water color pigment properties, then you will know all about this, but that's okay. I do want to get these gray color. It's not muddy, it's gray. That's what I would term it and that's what the color I want here, which is why I have applied it that way. Now if you go ahead and pick up the blue apply it along the edge of your mountain, and we can go ahead and fill the rest of our sky. With this blue. Anytime that you feel that your blend is not smooth enough, go ahead and create a nice blend. For example, I've got some streaky lines here. What I've done is I've washed off all my to blue, then I'm picking up Alizarin, and I'm just going to go over it a little bit more and blend that region. Can you see now it's a little bit blended and those treaky lines, which was troubling me is now gone. Back to the blue. And I'm just going to finish off by adding towards the rest of the areas. So always what you need to do is to figure out a way to keep PO paper wet in areas that it's starting to dry. Like, for example, I went and soften that area. But then I quickly came back to this region before the end stroke that I did dried so that I can make it a smoother appearance just like I did here. There is something that I need. So you remember I mentioned about tangent engine. I can't remember if I did, but it's not best to have a painting like cross over right from the edge. That is why I want to bring in a little bit more Alis adn and not have the blue start from the edge, but I want to be starting from somewhere around that region so that we do not have a clear transition and it's not like a straight line going from there. So here, grabbing my Asanin, we're going to add it over to the blue. We already have some more here, and then I'm just going to add probably a little bit more, and you can see, that's a go just red shade over there, and I'm just going to apply a little bit more over the sky. Always observe the direction that I'm using and also the way that I hold my brush. Always I'm using the entire length of my brush and not like that. Would you brush like that so that you can do these streaky kinds of strokes. So you see that? Now, let's go ahead and grab paints gray so that we can add in the darker areas in the sky region. Here, adding the nice darker region, and I guess a little bit over here where it's actually joining, but not too much. I like the way that it is over there. Then now nice amount of the paints gray because I want this region on the right side to be nice and dark. The reason why we don't add paints gray as a whole over there at the beginning instead of the Taleo blue is because if you add the paints gray, then it's going to turn out lighter. But right now you have an undertone of the blue to it, which gives a nice appearance. Can you see it's like a blue light flashing in the sky and there's a fiery orange part as well. Go ahead and pick up as much of the paint gray as you want for this edge right here because you need it to make darker. And observe and look at your paper. My paper, the To blue is smooth, but if in your case, it's not smooth, pick up the Tal blue again and go ahead and blend it in the regions where the alo blue and the paints gray is meeting so that you do not have a harsh edge. In my case, you can see it's all blended, so that is why I'm not picking up anything again and adding, but always observe your. And also, this area that we just applied here, it's been a long time since we applied there. As I'm pretty sure that that is now completely dry. I do not want to go and apply to that region at all. The easiest way is to look at your paper at an angle. And if you see a sheet of water as in a layer of water, then you know that it's still wet. So the light in my studio is actually really helping you right now because you can actually see these areas where the light is being reflected because of the water there. And here, there is no reflection, which means that it's not wet, but it is dry, so you can already see where the areas are that's wet. This is really helpful, isn't it? Okay? So that is how we are going to go and paint. Okay? So I've just picked up a little bit of the blue here because I found like I felt that there's a little bit of a harsh edge there, and I want to get rid of that. So, I guess we are done with the sky on this one. All we need to do now is like wait for this to dry out so that we can paint the mountain and put some stars in, and then we're done with our painting. So let's wait. And in my case, I am going to use a hair dryer to dry it out. Hey, All right, so there it's completely dried up. So now let's go ahead and paint the mountain. So what I'm going to do is, I'm just going to quickly wet some of the areas of the mountain. You do not need to go edge to edge, because you can always just fill it up with the paint. So that's what I'm just going to do just quickly. Adding a little bit of water because we need to give a nice paint scray. It is a winter mountain as it is a snowy mountain, but then because it's a night scene, it's not going to be this vibrant white. It needs to have some dark element to it. That dark element, we are going to achieve with paints gray. Here, go ahead and apply the paints gray to the whole of the mountain. You can see I'm just picking up paints gray and I'm applying. Now when you're using the paints gray is where you want to go edge to edge and carefully blend it into the water that you've applied. Do not leave any white areas behind. It's okay even if you go over to the outside, for example, here, I've got some areas that I've overlapped into the sky. That's okay because we can cover them up with darker stroke, but it's difficult if you leave white areas behind. Well, actually not. You can cover up the white areas with black as well, isn't it? I'm being silly. Sorry. You can see I'm doing a downward stroke because that is the direction in which the snow is casting the shadows here I think I want to go this w. You want to do it in the direction that you think that snow or mountain. The and it's still wet. Only the regions that I applied water towards the bottom are what's dry. I am blending my strokes towards that direction if you can see it clearly. Like here, you can see, I'm blending it that way. Let me now grab in a little bit more paint sc to bring in some variation to the strokes. Like there, you can see that. The next thing is, I want to bring in a little bit of the light because this area is a little orangish. Can you see that? What we're going to do is now, you're going to do a lifting method. You're going to lift off some paint from this edge where you've applied the paint gray, you do want it to be having that gray stone, but somewhat lighter. That is the reason why we're using the lifting method over here. Just from that edge, go ahead and lift a little bit off the water. I've already shared this in the techniques, how to do the lifting. And you can also take the ultimate height to watercolors, basic class, which will show you how to do the lifting. We've done a little bit of a lifting. Now we want to bring in a little bit of golden shade to that mountain. Here, I'm just picking up a tiny tiny amount of the quinacrodone gold. What I'm going to do is I've applied a little bit, then I'm just going to soften it and give the mountain like a very, very subtle tone of yellow. Can you see? It's very, very subtle. Just a tiny amount and then you're going to pick up more of the paint gray and make sure that it's nice and blended. Then you can also pick up a little bit of the orange. That was a very harsh line, but that's okay. I can always just use my brush to blend it. Can you see? We've used a little bit of an orange because we actually need to bring that into the mountain so that there's actually the reflection of that snow e region. Okay? It's just light falling onto it. It's not a shadow. That is why we're not painting it in violet, which is the opposite color of the light over there. Okay? It's a snow reflecting that light, not the shadow. The shadow areas would have been violet. So I do not want to be using violet in this painting right now. So now that we've done that and added these details on to the mountain, let's go ahead and wait for this to try so that we can add the details as more rough details, the dry brush strokes and finish off with the stars. There you go. My mountains now completely dry, and I am going to start with the nice dry brush strokes. Here I am picking my paint cree, but as you can see, it's still wet. I've got to make sure that I dry it up, and now I like it. It's dry. And we are going to start. So you can start right at the regions. The top regions are where it has the dry brush strokes on this mountain. This is why I said that even if you've got like white or overlapped edge over to the sky, it's absolutely fine because you're anyways going to be covering it up with these dry brush strokes. We want to be doing over to the top and adding. You can observe the direction in which I'm doing my strokes. I think a lot of the areas of the top is where I want my strokes to be, most of them with the paint. Well, there's no color that I'm going to add, so yes, all of them with the paints gray. There is a split mountain there that we are going to depict with these brush strokes itself. Now I've covered all of the edges, but we need to come further down and add in a You can only see the beauty of the mountain when you do these dry brush strokes, and it looks really amazing with all that rocky texture on it. Don't you think so? Now, remember the direction. Here, I had done it this w, so I'm going that Buck and here you can see how dry my strokes are. Just almost going with a lot of dry dry strokes. Then maybe you can add in several dart structures like that. Then here is where I said. I want to give that mountain a bit more shape, so blended that. Now, for that bata, again, we're going to add in a dry brush stroke. But I'm going to make it and have that separation here between the two so that It does appear like it's the behind part of that mountain. Can you see how we did that? We can achieve the same thing probably here if you add in. A lot more lines and crevices like that. Now you can already see that the how the shape of the mountain is changed and twisted, isn't it? All right. There, I like the way it's ted. Now it's time for us to add the white stars and we done. Well, that was a quick one, don't you think so? So let's go ahead and add in the stars without any further ado. I've added. Now I'm just going to splatter these stars and you can see how they turn up in the sky. Really amazing, isn't it? I'm just basically holding my brush like that and tapping with my fingers. But I also want to get some teeny tiny stars, and for that, I will definitely need to use the two brush method because you only get random and teeny tiny stars when you actually tap it with another brush. I want this region to have a nice amount of stars. So I am trying to concentrate my star level onto that region and in direction. I'm also turning my brush as I do that. Oops, look at what I did. I accidentally touched my brush on the paper. Let me see if I can quickly take it off. I might have done a blunder. I'm just going to quickly adjust that. It's all a matter of just blending with the brush into the background. I guess that will make it look better. Yeah, I fact not bad. Looks as though it's part of the lightened area. When I cover it up with more stars, I might be able to salvage it. You see what I did there. Mistakes happen always. But I hate the way that the flat lines have a per appeared. I'm just going to try and blend them. As I blended, some of these stars spread and it's like the shooting stars like a meteor, not bad. Oh, I still wet. But I kind of like what the unexpected accident has created there. Okay. Now a lot of fly stars. Maybe it's for the good. You can see how it's got an unexpected turn of events there, and I've got a whole bunch of stars. Something unique to my painting, maybe. It's not what I intended, but I really love it. All right. So now we're done with the painting. As soon as this is dry, I'll go ahead and remove the tape. All right. I guess every region is now dry, so I am now going to remove the tape. That is the most beautiful part in the painting, isn't it? Have I been taking this dialogue every day? Maybe. And there you go, guys. Here's the final final painting. I hope you enjoyed painting this with me. And thank you so much for joining me today. 10. Day 05 - The Green Tranquil: Hey, hey. Welcome to day five. This here is the painting that we're going to be doing today. It's a beautiful background mountain and then another fogrowd mountain. I love the colors on this mountain. Let's have a look at the colors that we need for this one. The colors that I have used are Hello blue, olive green, dark green, paints gray, transparent brown, and transparent orange. If you're ready, let's get started. All right. Let's get started. I am just going to make out the pencil sketch. I want my mountain here to be somewhere going over like that. Again, not the exact half, but somewhere below the halfway point. Then the mountain goes over like that. Then again, it can have various beaks and directions going over this way. We don't want to end it towards the corner, but rather somewhere either this side or this side. And that mountain goes over to the right side and the same way is beak. I think I like that. That is like the foreground mountain. Now we want to sketch the background mountain. The background mountain, make sure that you draw it very, very lightly. Here I'm just drawing a very, very feeble line. You want to make sure that it's absolutely lighter. It's important that we capture it in a lighter manner. Let's have another set of pcro moot. There you go. That's the lighter sketch, all right at the back side. Let me show that to closely, but because I'm pretty sure that maybe you can see that part. There you go, that's the sketch that you want to make. All right. Now, let's get started. Shall we. We'll go ahead and paint the sky and the background first. For that, what we need to do is to go ahead and apply water. Apply water to the background mountains as well because we want to make the background mountains very feeble and really in the background, and that is going to happen when we painted with wet on wet. So let's see, just going to take around the whole of that for ground mountain and let me give my paper an angle towards the top so that any excess water can like flow over to the top. Oh. Nice and evenly onto that whole region. Make sure that you have your paper at a really nice angle there because we really do not want too much water on this mountain region. I think I'm happy with the way that has turned out. Now for the sky, I'm going to continue with this brush. I think it makes it nice if there's a little bit of a different stroke, which is why I'm going to try that. I'm grabbing my allow blue as the first color and we're going to place that into the sky. Again, make sure that you make completely random strokes. And add it to the sky region. You can see I'm just using the flat side and bending my brush in different directions to get random strokes, and we do not want to take any fresh paint because as we come towards the bottom, we want the color tone to be very, very lighter. You can see it's very, very subtle, and that is what we are blending. It's okay at this point to go over that background mountain and anytime you pick up fresh paint, make sure that you apply it towards the top region. Here I picked up a little bit of a fresh paint. Then I need to apply it at the top. Always make sure that you do that. Make sure that your color toe is gradually coming down. You can see I'm just twisting and turning my brush because it's a flat rush, you can paint it like that way, and that is the reason why I wanted to use this flat rush today so that I can show you that with my flatrush, sometimes I go for Straight edge strokes and sometimes like bended. That is how you can actually paint with a flat brush. There's a lot of things involved in the brush movement and the brush techniques. Just grabbing a little bit of my yellow blue because I want to make a little bit of color to this edge right here. Now we've done the background. So we still have that background mountain to paint. So I'm just going to change to a round size brush now. So I think I will grab like a size six or a size eight brush. This one's a size six, and we're going to paint that background mountain. Okay? In order to paint that background mountain, I'm going to try. I need to make it like a olive green color. There are two ways that you can achieve like aerial perspective. Aerial perspective is when you push things towards the back side. The two ways are a you can apply cool colors. When you apply cool colors, it recedes into the background and the warmer colors in the front, then you will be able to create that depth in the painting. The second method is to add a wet technique towards the background so that you do not have a clear cut edge to your objects in the background, but rather they appear like a bit of faded appearance. That is another method that you can do. So here because I'm applying a warmer green as in olive green is warmer. Then I need to go with the wet technique to make sure that it's faded into the background. Here I am grabbing my olive green. What we're going to do is we're going to apply. Can you see, B paper is still wet. It's spreading, but do not stop anywhere. Just go ahead and keep that flow going. Because the reason is, if you go and stop somewhere, then you get a really large amount of hair, and we do not want it. We want it to be softer, but on the less softer side. I mean more softer side. How do I even express that anyways. You get the point. S, it's more on the softer side. But I guess it's too light at the moment. I want it to be even darker. I've tried to mix it up with a little bit of dark brown, not working. I think I'm going to mix it up with a little bit of a dark green. O olive green and a darker green. I'm going to go ahead and do that. I have to create some more peaks at places where I've lost the peaks, grabbing that, then I think I will also mix in a little bit of a paint gray so that it's a bit more darker. Yes, I love that. You don't have to apply a single color. You can just keep varying your color on the mountain so that there is a variety just like I did here. I'm grabbing paints gray at occasions and then adding and over to this side, I needed to be slightly der. Here I grab my paints gray and I am applying. To the green and adding some areas, go ahead and give a different stroke to your mountain, that will really be in a background mountain with a lot of details. Can you see how that's starting out? Grabbing that olive green again. My brush still has a lot of mixture of the paints gray and I'm not trying to blend it. I'm just letting it be so that they looks like the stroke on the mountains. Because we applied water here, it's somewhat wet, it's not completely wet. You don't know want it to be flowing all the way towards the sky. This is the reason why you needed paper to be having just a sheet of water and not too much water. That's how you are going to prevent that from happening. You can see at times I'm grabbing the paint gray and at times I'm grabbing the olive green and my brush is almost dry because ear paper is wet and you do not want to introduce more water. You want to make sure that the amount of water that you're using is very lighter so that it does not spread out into the sky. Remember the watercolor one oh one, less water on your brush, than what is there on your paper. In your paper, you essentially applied a very thin sheen of water, if I'm correct. Then that means you've got to need very less water in your brush. There, we've got a nice ground mountain there. I'm just going to wait for this to not dry, but I would like to add that next layer of the mountain that we had. My pencil sketch is almost lost, but I can just use my brush to mimic the shape there, something like that, and that's going to be in a darker tone. Here, just grabbing paint gray and applying over the top. Like that. Now we have that darker mountain there. If not mountain, maybe it's like a darker area on that mountain doesn't matter, that it's still there. Just going to grab a little bit more of the paint screy and randomly add strokes on my mountain. I think I'm good with the way it looks, and look at that, our background, isn't it gorgeous? Now what we're going to do is, we're going to wait for this to completely dry out. All right. Everything is now completely dried out. So now it's time for us to paint this four ground mountain. So this four ground mountain, we are going to paint it in a different way as in not applying the wet on wet, but we're going to go on a wet on dry manner with paint screen. But let me just clean my paint screen now. It's contaminated with a lot of green and a no on green that mountain. Here is my paints gray, and you want it in a nice and lighter tone, so you can see the amount of water that I'm mixing to my paints gray right here. And that amount of water is what we're going to start with right along the edge. So I will start along the edge. Now you've got to watch this. We're not painting the whole of the mountain, and this is a wet on dry stroke. This is why you've got to see what I'm doing. I'm just creating lines like that, and we're going to leave it as that line dry edge, hard edge. I know it's scary, but this is what we're doing for today. But we've got to blend the areas that needs the paint spray because we do not want it to be in a harsh edge on that region, but just continue. So if you continue because you're using a bad paint, you would be able to clearly mix it up and blend it quickly. Can you see I've made a clean edge, I would say. On these regions, we want it to be nice and blended. If you want you can actually start by applying a little bit of water there if you feel that you would not be able to blend like that. Now that's a nice edge, isn't it? I'm just going to add in a little bit more here as well. Like that, but I'm going to stop right there. I'm not going to make it over to that edge. That's okay because you will see when we start applying the browns. Random strokes here. Last thing for me to draw do is, I'm just going to apply a tiny, tiny amount of water, but not touching this part, but creating some streaks there, and then I'm going to grab a little bit of a paint gray and apply. That region, you want it to be having a softer version of the paint gray. But only in the region where you've applied the water, do not go over to the edge of the water because if you go over to the edge of the water, then you will not be able to get a softer line. So the water edge that I applied is right there. I think you can cross over to this paints gray because it's still paints gray. At this bottom area. You need it to be in a lighter manner, and just having a little bit of a very subtle tone of pin gray if you observe right there. And that's it for this layer because now next, we are going to be adding a lot of browns and finishing this off. All right, we're done. Now we're going to be moving into adding browns. Here I'm starting with mini and gorgeous transparent brown. Go ahead and use a bunt umber or any such color. And we start with this corner right there. It's not a completely dry stroke, but we are going to do a transformation of the wet into dry, if you know what I mean. We're going to add in a lot of tiny, tiny strokes on the mountain. I think it's a bit wet. I'm just going to try and dry it up slightly ever so slightly. Using my clothe then now if I dry, yes, I'm starting to get that dry dry effect, but also some are really hh edge. Can you see that? And I'm going to come over here and have it joining this dip, then this edge is going to have nice brown areas and keep adding a lot of these brown areas, which crossovers onto the region like that. It's brown that we're applying, not paints gray, but because it's on top of a paints gray, it's going to look like a darker brown instead. And maybe lots of tiny, tiny, smaller dots and little 80 bits here and there. The same over on that side. Now, as I come into that full ground region, I'm going to mix a little bit of my orange to my brown so that my brown is like a bit of a golden brown. That's what we are going to start with. We will definitely add in darker details, but here you go, applying a nice amount of that golden brown on to here. As you can see, I've picked up a wet paint, and we're applying wet on dry. As you do it, these little gaps that you get with a white, let it be. Do not cover them up. Here, I have a lot of apps that I've got and sometimes you might want to try and get these gaps deliberately because if you don't get it, then we wouldn't be able to achieve the effect that we're trying to do here. There you can go over to that on top of that paint screen and also over to that region. That little gap that we added there. Let that be because that needs to be. Oops. I think I mixed the wrong color. I mixed paint grain to my brown there. Now I need to make it more brown. Here just grabbing my orange again and my brown again. Now we're going to add over here this region. O and bring out your strokes like that towards the bottom so that you can see what's happening and this is where I said that you are going to come on top of this area, this edge of the paints and it's absolutely fine to go over that edge transparent now, not a mixture, but a a of white spaces as well in between. O. Painting that edge there. Then at the same time, adding a lot more. You can already see how this is looking gorgeous, isn't it? I love this. I love this mountain and I love how it's turned out. I'm completely applying this at random, there is no rule at all, just trying to get rid of my pencil sketch over here at this end. I'm adding a bit more. Can you look at that? I love it. I feel like there is a single color here now. I'm just going to give in a bit more details. What I'm doing is I've taken a little bit of my dark brown now without the mixture of the orange, and I'm just going to add over on top of it so that now the rocky texture on that mountain has again another layer of texture, but again with just a brown shade. Remember to take care of to keep those white gaps that we tried to preserve earlier. Don't lose them. It's part of our bigger picture. Try and save as much as you can while you're doing this and adding your second layer on top of the first brown that you did. We can see. I've tried to preserve a lot, but then my browns have now a second dimension on top of it, giving it even more Now, if your brown is not coming as dark as this, you can go ahead and apply a little bit of a veins gray into that mixture and use that over the top at random places so that it's a bit darker. Can you see? I absolutely love how this has turned out. I am going to stop right here we're done with the painting and look at the soft background and that foreground with a lot of mountains. If you want, you can actually add in dry brush strokes like Um, let me make sure that it's dry there, it's dry and dry strokes at random places. It's not necessary. It's completely optional. I'm just telling you in case you want to create a little bit more details onto the mountain, that's how you would do it. I also love this little potion of white that we see there. It's like there's a ridge over that side of the mountain, isn't it? Oh, my God. Okay. So we're absolutely done with this painting. And it was actually quicker again, isn't it? I think I'm getting quicker and quicker each time. Anyways, let's go ahead and remove the tape because I believe all of the edges are dry because we were just using the wet on dry and we didn't have too much to what's the edges. So removing the tape. All right. There you go. That is the final painting. I hope you like it. And thank you so much for joining me today. 11. Day 06 - Emberglow Peak: Hey, hey, hey. Welcome to day six. This here is the painting that we're going to be doing today. This is the last day of the mountain topic, and we'll be going on to the next topic in the next week. So let's have a look at the colors that I've used for this one. So I started with a bit of a Halo blue, a bit of a transparent orange, transparent brown, and lastly, paints gray. Four colors on this painting. That's all. So let's go ahead and get started with this one. All right. Let's start. So we're just going to quickly draw that mountain that we have there. So we'll add it in a different layer. So I don't want to start at the very end here, but somewhere a little bit there and it's like that. And there. That's the first mountain that we have. Then we'll go ahead and add in the next layer, which is something goes up like that and joints there. Then we just have one more layer, and that's it. There does not have many peaks, just small or smaller ones. But I guess more peaks would be here. Okay, that's it. To me. That's it for our pencil sketch. There you go. If you want to have a closer look at how it is going to be our sketch, and yes. Let's now get to painting this beautiful thing. Here, I'm going to grab my flat brush and I'm going to apply water to the sky region again. We're not going to touch the mountain at this point of time, just the sky. I will apply water. As you can see, I'm just using my larger flatbrush to apply any even done of water. Make sure that you just have a sheet of water, so you might want to use the help of gravity to built your board or the surface that you're painting on so that any excess water can always like escape out of your sheet. In that direction. We can't build it in the other direction, obviously because we've cut the mountain at the bottom area where we have not applied the water yet. But then this angle would facilitate the movement of water towards this side. Not much to paint on the sky. I really want this to be as quick as possible. So just going around the mountain for now and applying the water as soon as you see that you've got a nice sheen of water onto your mountain. Sorry, did I see mountain onto your sky. Then I guess it. We'll go ahead and grab a nice brush. I'm going to grab my size eight brush at this point. And using my size eight brush, we are going to start painting this guy. We'll start with a nice blue color. The blue that I've got here is like a Tal blue at first, so I'm going to start with a nice amount of yal blue. And you can see it's really really vibrant. Here, applying a little bit of the yellow blue. And then as I come down, I will reduce the pigment. Now I'm still picking up a large amount and you can see I'm going to be applying that towards the top. As you start coming down, we are going to reduce the amount of pigment. Also try and stick your strokes towards that right side because we need the left side. I mean, you've already seen the file pictures. You know how it turns out. Just going to go ahead and add, so you can add some tiny tiny random ones on to that left side there, and we'll keep going. Okay. So you can see, then maybe again, some teeny, tiny random ones over to that side. And I'm just going to wash my brush right now because I still have a lot of pigment, as you can see from these strokes that I just added. But because I washed my brush and I'm applying just water, I was able to spread it out and see. Now there is a very subtle tone. Okay. You always want the tone to be lighter towards that bottom region. So that's very, very important. And you can also see that I did not have too much water on my paper. It's just a sheet of water, which is what enables it to, uh, get these kind of strokes, okay? So I can see the color is probably a bit too much there, so you can always go ahead, use your brush to, like, spread it around. Okay. So my paper is too wet. So now I'm going to grab the beautiful orange that we have. Okay. This is from a completely different painting that I did. Taking that orange and just adding, do not touch the blue. So that is the trick for today. I know it's a mountain lesson and it's not supposed to be a sky lesson, but still. So the trick is not to touch any of the blue regions. We've got to stick to the areas in between. No touching any of the blue areas. Every time you pick up a fresh orange, make sure that you apply towards the top because again, towards the bottom, we want it to be as light as possible, ok? I can still see that's a lot of pigment, here, I'm just trying to reduce the pigment and here my brush is like almost not my brush, my paper is like started to really dry out. So I'm just going to have to quickly work on it now. So the trick is, when you start finding that your paper is starting to dry, reduce the amount of water that you mix in. So now when I'm going to paint, I will seriously use more dry paint. That means it does not have water on my brush, and it's still going to create a blend. So remember, the one oh one rule that I always talk about, that's what we want to think. Okay. Now I'm picking up a nice brown shade, and we're just going to add that onto some of the areas like ride on the bottom side of the orange game and at random places. So it's kind of acts like a shadow for our clouds. Can you see that? Yeah. I think that's more than enough. I don't want to add too much and ruin this thing. So I love the way the entire sky has turned out. And now we'll wait for this thing to dry out so that we can go ahead and fain this month, and I believe that this lesson is actually going to be really quick. Well, let's see. I always done out wrong in these cases. So I am going to quickly dry this out. Hey. Now my paper is now completely dry, my sky all dry now, so we'll go ahead and paint this mountain. We're going to paint this in a different style. You know that all of the light in the sky is like coming from this side. There's a lot of light is in. I know it's the clouds, but the clouds are illuminated orange because of a light source that's kind of like hitting on it from this angle. That's why it's eliminated orange, which means that even the mountain is going to have that same light on it. We need to depict that on the mountain. So First of all, what we're going to do is we're going to paint in some of the subtle shadows after which we'll start adding colors. Here, I'm going to grab a paints gray color, but you can see it's a very, very subtle here. This and it's a very, very watery pigment as well. All right? That's what we're going to be adding. As you can see, it's just simply wet or dry. It's absolutely fine and remember, a very, very watery pigment. Okay, watery pigment because we're just trying to lay down some nice colors and also keep some of the areas nice and light. Okay. Here, and then as I approach here, you can see I've left a huge gap of white there, and we'll bring that down. The same thing I'm going to do here here. I want a nice gap of white and careful as you approach this peak because it's a different peak, which again, we want some nice lighter area, and you can go outside of that mountain again and go ahead and add. Now, this peak that we added is below this one. Does say below I mean behind that one. So you can paint that entirely. There, and we'll go ahead and continue on this mountain. A very subtle color. I remember. So I was using kind of like a real, really light paint gray at this moment. And I'm going to make it even lighter and go over to this side. Okay. So this mountain on the right side, I've made it even lighter. Okay. And don't need to completely fill it up. So as you can see, a lot of lighter areas, absolutely fine. So that one we've done. Now, you don't actually need to wait for it to try. We are going to just start. First of all, we're going to mix up a nice color. Here, I am going to wrap my transparent brown or burnt umber, whatever you want to call it. And I'm going to mix a nice golden shade. So I'm going to grab in a nice orange shade. Here you go. That's my orange. And I'm going to mix that in with the transparent brown. Can you see it turned into like a nice golden brown shade? So that's orange and brown mixed together. I kind of love this color, actually. I always always use it, and that is what we're going to be adding. So we're going to be adding that over the top. Now, we're going to be adding it to the areas closer to where we added that light source. Okay. So There is the light. We're going to add it closer to there. Make sure you have more orange because I'd like it to be more orange than it is brown at this point. Don't bother about the other mountains. Definitely add darker shades to separate out the mountains. This is adding some nice brown shades at andm. I guess we're going to have some nice brown shades over there as well. You can see I'm grabbing more of my orange than the brown. In truth. I'm not going to paint towards that bottom region, which we will do late front. It's absolutely fine that you're not doing it right now. So here this mountain, let's actually drop it like that, and we've added a nice shade. Okay. So now I'm going to go grab more brown at this point. So more brown, and we're going to start at the bottom. Okay. And as you pick up more brown, now you're going to create a transition The orange that you applied is still wet. You're just going to create some nice strokes onto your mountain like that. The same f on this side, so leave a little bit of a brown light orange there, and then you go ahead and continue. I think that area, it's worth waiting for it to completely dry out. I won't touch that. The area where you want to get the edge of the mountain, it's worth waiting. Some strokes there. I guess I want some strokes on the top. Anytime you want to create a nice darker edge or some dark areas on the mountain. With the wet on wet stroke, you applied on the top, and if you have to wait for it to dry, then you wait. This area, I'd like to wait for it to dry and this area, I've added some wet strokes. So does this mountain. I'd like to add a little bit of the wet strokes like that. I think the remaining I will add while it is completely dry. I guess now there's no point. We've got to wait for it to dry out. All right. There you go. It's completely dried out now. We're going to grab at the transparent, the dark brown shade, and we're going to add it to that place where we say we added to create that separation between the two mountain peaks. There it goes there and you don't have to completely cover it up. Just read these random lines. And if you create like a edge to your mountain, now you can see there's a separation between the two, and this one goes behind because it's got that depth region there. And the same. I'm going to add actually to the front mountain here, some darker strokes along the edge. Okay. The same on that side. Where else, let's see, shall we add over on top of this as well. Just some nice random strokes. Maybe now we'll start going over onto the top again. As I go over to the top, I am starting to add tiny tiny strokes that actually resemble the dry brush strokes. My brush, you can see the paint consistency here. It's almost dry, very less water, and that is what creates these nice minute strokes that I am able to add. Se it's almost dry. I say almost because it's not completely dry, it's just almost, and now you can go over to that white region as well and start adding dry strokes. Those regions, they have light sources, but then they still have rocky regions, which makes it dry. Okay. And the same over on the top of this, but we will make that better. At the moment, I'm just going with the flow and adding. Then this mountain there, I'd like it to be darker. I think that's good enough. So now we'll go ahead and paint this four crown mountain, after which we'll complete with some dark brown strokes and that will be it. Did I say dark brown? Okay, what's gotten to me today? Paint gray, dark black stroke. First of all, let's get back to that beautiful orange shade that we did because that's what we're going to be starting with with a teeny tiny amount of brown, but more of the orange shade. And this top edge of the mountain that you see here, it's going to be some orange shade. After which are mountain. That four grown mountain is going to t transition to brown. Which is why even if you applied a lighter paint scram there, it's not at all going to be visible, so it's absolutely fine for you to go ahead and add it over the top. You can see it's not really visible at all. But you want to add the brown such that, you blend it into the orange. See that? We're blending it into the orange. I it's the fork brown mountain. We need a little bit more of the color variation. Here I'm grabbing paint gray right now, and this edge is going to be really nice and dark. You see. It's like it's the shadow region, and we've got some nice dark brown color over the top. You see, that really nice contrast between the orange and this black shade that we're applying right now. So that full brown mountain is done. So now the next thing for us to do is to go ahead and finish this up with a lot of dro strokes. So in order to do that, I am going to completely dry my brush, okay, and we're going to pick up paints gray, okay? Not the brown but paints gray, and you can see here. If you want actually, in order to get smaller strokes, maybe, I'll do that. Shift to a smaller size brush because I'll give really small strokes. This one is a size two brush that I'm going to be using. So get rid of the excess water and then start grabbing the nice paints gray and make sure that it's dry. If you think you've got excess water, you can always go ahead and remove the excess water. And there. Got some nice strokes, and I can pretty much see it's dry, right? And that is what I want to do. I'm going to start with the paint gray on this mountain, and you can clearly see the difference actually if you look closely, this is brown and this is black, so it kind of falls into the mountain behind. So you want to go and do it in a somewhat line over here, separating out those two mountains. And here, we're going to be adding more and you can transition and add more on to the back there. Onto that orange region. I'm covering more of the area there. Now as I approach this one, and I have very little on it, so make it more of white. Not as much as this one. You can see it's clearly nice and that we're adding. The direction in which you add your strokes matter. Because if you can see this actually forms like a ridge in between, going to grab more of the paints gray and we have more as to add, for example, this edge to add do not cover of the entire area. We actually need that white to be showing because that's what depicts the very nice light effect, and grab your paints gray and add it to this mountain. Wherever you think that, it would be nice to have some darker details, even on top of the already existing brown that you may have added. You can go ahead and add on top of that as well. If you think that, it'll look good. I want my strokes to be. Yeah, it's now. And now this is the foreground and that is the background. But can you see that it still does not look like as a distinction? We can clearly do that if you go ahead and pick up a little bit more round, and where it's the background mountain, go ahead and add, darker depth to that region. Here I am adding a nice round stroke. To that region. This is the moments where I'm going to be showing you softening. So I've quickly applied some brown and then I've washed my brush, and then I'm just going to grab some water, and we just going to spread that color on to my mountain there. You can see now that mountain there over at the top. Not at the top. It's actually behind the foreground one has like a shadow appearing towards that autumn region, making this pop immediately. Can you see that? Okay? That's what we wanted to achieve. And it's looking nice, isn't it? So this is it, basically, the painting is done. I know the mountain was a little bit tricky with a lot of wet on wedge wet on dry, and dry brush strokes and you know, trying out shadows and softening technique. But I hope you enjoyed this. So I'm going to quickly try this up so that we can magically remove that tape. Okay, I said I was going to try this up and while drying, I just realized that there's like this harsh transition on the mountain there. So I'm just going to pick up a little bit of the lack and, you know, not have a distinct transition of the orange there and just added some nice black stroke onto that mountain so that we do not see where the orange transitions, and that's it. And I do not think we need to dry now because all you want is the edges to be dry, which is almost dry. So feeding off the tape There you go. Look at how gorgeous that mountainous looking. I just love when you have, like these orange brown colors on the mountains. And today it's even there in the sky. So it's just beautiful, isn't it? So I hope you enjoyed painting this with me. And thank you so much for joining me today. And if you're joining this hundred day project Live, then remember that it's day six. So the next day is going to be like a break day, and we'll start with the next topic after that breakay. So if you're joining this cos later, then obviously day seven is already available for you to paint with me. So thank you again for joining this lesson. 12. Day 07 - Amethyst Sky: Hey, hey, hey, welcome to day seven, this week's topic is going to be nighttime with those beautiful skies. When we hear of nighttime, we think of like, what's night? It's just dark, isn't it? Not. It can have a lot of beautiful colors in so long as you look at the sky with that colorful creative eyes. So that is what we're painting today. So I day seven, welcome to day seven. This is what we're painting today. So it's kind of like the period where it's like transitioning from the sunset to the nighttime. So in the UK right now, it's like summer, so we've got the sunset around 930 at night, and this is probably the time. Around like 1030 when the sun's actually set, but then you can still see some of the bright colors in the sky, but it's nighttime. So that's what today's lesson is. And there's a little bit of a tricky bit to actually paint this orange and the violet together, but we'll see. So let's have a look at the colors. The colors that we need today are a bit of a transparent yellow, transparent orange, then violet, paints gray, and lastly, some burns in. So these are the colors that we will need today. And let's get started. All right. Let us start. So there is no sketch. We're going to directly a fly water onto the paper. So here you go. I'm going to apply water to the whole of the paper. I'm just using this lat brush that I have. Also, you can tilt your board in any direction to make sure that the water flows out and there's no large pool. You can see there is an extra bit of water there. I'm adding this extra bit of water initially, and then I will flatten it out because of the angle I have here on my paper. It will all be nice and even, and I wouldn't have excess water on my paper. Make sure that you have this angle while you're working, which will be really helpful. See how the phool of water is kind of flowing out, can you see? Like I said, if your paper is prompt to dry out quickly. Make sure that you apply water multiple times if you want your paper to stay wet longer. I've got my clothe here, which I am going to use to make sure that I absorb excess bit of water from the paper. There you go. It's applied nicely. Now I'm going to start applying to the whole of the paper. We are going to get started with a nice amount of transparent orange. That is our first color, and there I will apply it at the base. Can you see how good it's turning out? God. I will also grab a little bit of yellow. This is transparent yellow, and what you can do is you can just apply the yellow at some places. Let me there. Any place, you can see you put one, two, three, 44 strokes of the yellow, and then the rest of the area, I am going to cover with this orange. It's okay that you're going to go over on top of your uh yellow. You only need very teeny, tiny bits of yellow, can you see, but no white area at all. You've got to cover up the entire thing. I can only see a little bit of a yellow here a little bit here a little bit here, and probably this is going to get covered up by my stroke again. But no bits of white should be seen. That is how we want to do it. So there, and then as I slowly approach towards the top, I will start using bits little strokes of orange like that. Now the next color that we're going to grab is a nice violet shade. Using that violet shade, you are going to add it in between. I just dropped in a large amount of water there. Let me get rid of that. We can see adding a nice amount of violet. As you add violet, it's going to mix with the orange and give a brown tone, and that's okay. Can see, we've got a nice brown tone in some places, and you can use that to create some nice effects as well. That will automatically act as the darker areas. No white area should be remaining behind. That is the intention. Then now grabbing more of the violet, we'll start applying all the way towards the top. Just remember that even if your paper has started to dry towards the top, when you're applying your stroke, it gets wet again. Just remember to keep it wet and e a waterly consistency of the pigment so that you are able to manage the entire wetness of it. If you now look closely, we've applied. Now I'm going to go ahead and make sure to even out my strokes and you can see some lighter areas there. The light of the paper coming through. I'm going to make that better and start adding like tiny strokes into these regions. Can you wash that off and pick up more orange if you feel that you can get some more color in there, or your orange has seemed to lighten up in parts. Here, I would like it to have a more unique blend. Blending on the top. So every time you blend, it's going to create brown shade, but that's okay. Nothing to panic about. We've already seen that. It's going to create a brown shade. Let it do so. But having a nice background without white is our intention here and important point. You can see, see how gorgeous and vibrant that orange is. That's what we need to achieve. If you feel you've applied too much water, go ahead, use your brush and spread it out about, violet here because I felt that it's starting to lighten up. Grabbing more violet for these regions because I can see that it's starting to lisen up, but can you see the sky now, how we've made it? Oops, I dropped a little bit of water, and can you see that's happening? That is what is known as a bloom or a cauliflower effect. But cover it up again, and it should be gone. Here, I'm picking up more violet and adding that s towards the top, I needed to be nice and dark. It's typically that night scene where it's like transitioning from the sunset to the night, do you know? So that is what we want to depict here. Next color I'm grabbing is paints gray. Grab a nice amount of paints gray. It's almost finished in my palette and need to squeeze it again. Here grabbing that and we'll put that over to the top. To the very top region, needs to be black and blend that into the violet. So anybody who looks at your painting at the top region is going to be nice and dark and towards the middle transitions into violet and then into the grounds and oranges. See how that one stand out. Anywhere that you feel that it's lightening up, for example, here, I feel that my violet is starting to lighten up a bit. Every time I do that, I'm dropping water exes water. I feel really good and I love the way to stand out. Okay? If you're going ahead and applying again, where is this water coming from? It's coming from the rim of my brushes. Knowing how to adjust, the water control is what is very important in watercolors. You can see that I dropped in a little bit of water, but as soon as I saw that, I used my brush to spread it around and make sure that the water spreads out evenly so that that bloom that had formed on my paper, that's gone. You see, I'm able to control it nice and even to make sure that there is you know, an even stroke of paint. And all the orange and everything is visible. There is no blooms or anything. Can you see that? Now we've got a nice bright sky. We'll wait for this to try and we'll finish off with the mountain. Oh, my God, I cannot believe how quick this was. This was an exercise to make sure you know water control and how to get these nice combination of orange and violet, which is really tricky to get. But can you see the smaller clouds and everything that I've put on the paper? Try and see that if you're able to make it on your paper. Remember, to transition to darker bits towards the top. It's violet here and then it transitions to a dark black, which I've used paint screen to add there. Hey, hey, hey. You can see how it turned up after drying, and you can clearly see that even here, I'm lacking a little bit of a pigment. I should have added more and more of the violet there in these areas because it's like sunk into the paper. That's the thing with watercolors. The color that you see when it's wet, it's going to lighten up always. That is, if you wanted to look vibrant, the color that you see when it's wet, just remember that it's going to lighten up. You need to apply even more to make it darker. That's actually one thing that I always forget is evident from this one here. It's a bit lighter, but try and see if you can even make it more darker than what I have right now. So let's now start, and we'll add in a beautiful mountain. That is just directly going to be with our brush, and we will be done. All right. So I'm going to pick up some burn sienna, so here a nice burn Ciena. This burn Ciena is actually from the brand called Mijello Mission, and I can see I've crafted a nice amount, and we are just going to make like random mountain she, Okay. Anything that you feel at, just make it with the end of your brush and try and mimic it and then paint the inside of it. Use the entirety of your brush when you're trying to do this. Here, I'm going to try and make a beak. Let me see something like that and then I'm going to come down. I'm coming down because I don't want to get rid of all that yellow that we've added. I'll be a little bit careful about that because I'd really like to have that yellow, otherwise, what's the point of adding that yellow bit there. I've added a nice little mountain and it's already looking gorges. But if you want, we can give some darker areas. For that, I am just going to use the same violet that we used. Using that violet, just go ahead and apply in some random places like maybe one edge of the mountain and creating faces like that. With my brush itself, I created a dark edge to that region. Can you see that? That is just using let. I. Lend that in. So because we applied a wet stroke, and then we were able to reapply on the top of it with Violet before it dried out. We got this beautiful mountain that we see here. Can you see that? So I guess we're done, and that's it. So I think this was the quickest answer now, but I wanted to make it simple because of this sky here. It might take a little time to get that blend into the sky done. So I wanted to be sure that you're able to do it. So now I'll wait for this bottom part to dry, and then we'll add some stars. And we're done. Here's what I'm going to do. I'm not going to wait for all of this bottom part to dry because we can always go ahead and add in the stars. Here I've got my white paint, which I'm going to use now for creating some beautiful stars. I'm also shifted to a smaller sized fold brush at this point. And I don't want too many big stars. I want literally smaller ones. That is why I actually picked up a smaller brush, and we're going to be adding it only towards the top region here. And just going to make sure that the rim of my brush does not have any water. Otherwise, I'll be dropping that water in. Can you see? Because I'm using a smaller brush and I did not have too much water on my brush. I'm able to make these tiny stars and you only want it towards the top. Nothing towards the orange areas. Although one or two might fall down. Can you see that? That's okay. That is how we do the stars. How was it? Were you able to do that? I did show the slattering. Basically I hold my brush like that and. You can also use another method. Stroped a bit of water. Can you also use another method, which is basically to dip your brush in paint and then use another brush and ta ta ta ta like that, it would be. Like that. But that is a bit less controlled and it's going to drop in these platters all around. It might be worth using a tissue or something to hide the bottom part and then do that method. Otherwise, you're going to get stars even on a mountain, which we do not want. I'm going to quickly dry this bottom part so that we can remove the tape and finish today's painting. A, hey, hey. There you go. That's the beautiful painting turned out with the beautiful mountain at the bottom. I hope you enjoyed painting this with me. Thank you. We'll see you tomorrow. 13. Day 08 - Shadowed Abyss: A, hey, hey, welcome to day eight, and this here is the painting that we're going to be doing today. So it might look easy, but there's a little bit of a tricky bit to it. So stay tuned for that. The colors that we need today are halo blue, paints gray, transparent brown or burnt umber, burn Ciena, and olive green, and obviously of white. So or boy. Let's get started at this one. All right. Let us start. I'm just going to trace out the mountain at the first. Just the outline of the mountain, it doesn't need to be perfect. What we're going to do is some random shapes like that. Okay. Going to slightly increase towards the top as we go over to the right side. That's how we want it to be. Now you can see that is our pencil sketch. All right. If you want, you can just add a little bit of pencil sketch to mark out where the positions of each of the elements are going to be. For that, you'd have to pause where the end of the painting is and go ahead and mark up the positions. For me, I will do it directly with my brush, which is why I am not doing that. There you go. That is our pencil sketch. And now, let's just get started straight away. So what I am going to be doing is, I'm going to be applying water onto my paper. So you can apply water to the whole of the paper. You mountain area being on the watery side is absolutely fine. Just go ahead and apply the water. You do not need to stop where the mountain area is at the moment. Okay? Because it's obviously a night scene, everything is going to be pretty much on a darker scale here just a few go colors into the sky. That's what we want to achieve. Here I'm applying water to the whole of my paper, and I'm making sure that I have a tilt on my board in any of the directions to make sure that I do not have a large amount of water or a large pool of water on my vapor. Okay? So you can clearly see that. There you go. All right. No, I've got that. What I'm going to do is, I'm going to use my flatrush itself to go ahead and create a gradient on my paper. For that, here, I am grabbing my gorgeous alo blue color. I always like to start with an underpainting color of u low blue if it's going to be a nice and bluish sky that we have. And I will show you just what I mean. Here I've picked up a nice blue color. If you're thinking that this is a sky painting, I mean, a nice sky painting in white we're starting with the blue. That's because this blue is going to act like the underlying color. And without revealing too much of the white of the paper. But you can see here as I go towards the town side, towards the bottom side, I decrease the amount of pigment on my brush, and this is like creating a gradient. I'm not picking anything more. I'm just going and directly applying that. And obviously, I won't come all the way down. I stopped somewhere there, because we don't need to apply on top of the mountain at all. So this in here already looks like a blue sky and beautiful gradient, right? You could stop here and just add in the nice mountain here if you want to paint like a day scene. But because this is a night scene, now we have a lot of work to do. Now comes the work. And this is basically, we're going to start with a nice amount of paints gray color. Okay. So here I'm grabbing my paint scray, make sure that your brush does not have too much water. And there and that is what I will apply over the top. Can you see applying the paints gray over the top. Let me have my board tilted at an angle because this angle is going to help your paint to flow and again create the darkness or the depth. Every time you pick up fresh paint, start from the top because you do not want your paint at the bottom part to be any darker. Our sky is not supposed to be a gradient, it's supposed to be more colorful. I just applied so that you can learn to get a nice gradient. Now what I'm going to do is I'm going to shift to my larger size 12 pointed round rush and I'm going to start. I am grabbing my paints gray because we need it to be nice and dark towards the top. Any amount of dark pigment that you can grab to make it darker towards the top. With the light effect in my studio here, you can actually see how dark it is and how Nice and pigmented that I'm applying. Instead of the paint scray, obviously, you can go ahead and use a black as well and make sure that I like to have my board tilted at an angle so that my color can blend in towards the bottom. If you know what I mean. Can you see that? Think I'm going to need a little bit of a watery pigment. What I'm doing is I've applied a nice water, and what we will do is because of the tilt on our paper, we'll bring that water over to the bottom. Can you see it? Like getting blended. We need more. That blue, as you can see, was like an underpainting. The reason why I do that is even though colors like paints gray or black, you see it as black, but because of the properties of water colors, when it dries up, it's going to be literally lighter and we do not want that. And that is the reason why you give it an underpainting so that even when some areas of your paper starts to get lighter, then you see the underlying color and not the white of the paper. Now you can see, I'm bringing that black slightly over to the bottom, and you can see here like paper had started to dry out, so I will just grab a little bit of water and you can see dry paint, not dry, but vary less paint in my brush and bring it down. Here, even if you start getting a little bit of a harsh stroke, it's fine because you can darken it up later on. And we will be adding different colors on the top. Now I'm picking up like fresh pigment and adding that on because I really want my sky to be as dark as possible towards the top side. Anything that you apply towards the top side, make sure that it is nice and dark. You can see it's nice and dark. And then you can just use your brush to create more death. So this color that you see here, it's going to be very much faded, and it's going to lighten up thoroughly. It's going to lighten up a lot. So that is the reason why I am going to go ahead and apply some more. And I know that these regions, especially because there is even not much blue there, that blue is totally lost because it's all, what do you say, has flown out, not out, but towards the bottom and blended into the paper. So now very little. This is going to lighten up a lot. Anytime you're applying extra water, give your paper a tilt so that the water does not flow up, but rather it flows down, and that is very, very crucial in this painting. You can see how much I have tilted my board and created that angle. There you can see now we've got a nice transition, but I'm pretty sure that once this dries out, it's going to be literally lighter. All right. Now the next step is for us to wait for this thing to dry out so that we can add in our foreground mountain details. We've already covered mountain lot. This is why I wanted to cover something very simple in the foregrounds, but then having that sky to achieve this amount of darkness, along with an amount of lightness right towards the mountain is a really difficult thing. It seems simple, but trust me, it's not. That is why I wanted to cover that in this one. Now let us go ahead and quickly dry this up and then we'll continue with the foreground mountain. And you see what I mean by having an undertone of blue. Because if you do not have an undertone of blue there on top of all that paints gray that you applied, then definitely your papers white is going to come out. This area here with esa black would have looked like this because the black would fade. But now because there is an under painting of blue, it looks like an indigo background there. But honestly speaking, if you had just applied indigo, then it would not look indigo, I would go even lighter. This is one method that I like to use in my paintings to have an undertone of blue for the skies for night skies, especially. Now, let's go ahead and paint that nice fk round. For painting that nice fork round, I am going to be using a nice, darker color. Oliive green is like really warm color. But you can see, that is very, very light and br. That is what goes on in what do you say, a sunny day, isn't it? In order to make it darker, here, I'm going to grab a little bit of a paint gray and I'm going to mix it up with my olive green so that it becomes slightly darker, can you see, and we'll start with that and then we'll definitely add in more details. Here going to add on to my mountain with that. We're going to paint. There are different ways that you could literally approach this. Here, here it's just olive green pigment at the moment, or you could directly mix it up as well. We're going to start with this and we need to finish the entire mountain before our paint dries up. The way that you can do that is by applying a milky consistency of the paint. Do you see the consistency of the water here in my pallete? So make sure that you apply that, and when you apply that, make sure that the previous strokes that you applied are still wet. You've got to rework areas where you see that it's starting to dry. For example, harsh edge, and it's starting to dry. I can see that the edge over here that I did at the beginning is starting to dry. The more paint I drag through on the top of it, it's going to make that stay wet. So When you observe it to be starting to dry, go ahead, rep, reapply. The more I apply, I can see that it's starting to dry out. But this doesn't make any sense because it's all too bright in olive green, obviously, we have to adjust the colors. Here I am going to start with a little bit of a brown, maybe a bit of a transparent brown, also a bit of a burnt umber, and that I'm going to put on top of the olive green into the foreground. That a bit of the burnt umber, sorry, I said burnt umber. It's burnt sienna. A bit of the burnt sienna, and then it mixes with that olive green to creates like a natural rocky or what do you say mass M sand, rocky texture. That is the word. Anyways. Then now I'm going to grab pinscra, and I'm going to go over on top. You can see, I'm grabbing the paint scray and I'm going over the top. Now we're going to create the effect of a nice shadow. But then it's also going to be slightly dark greenish when you apply the olive green on the top, and that's exactly what we want because even if you're looking at a mountain in the dark, if you look closely, you'll be able to see the dark greenish side of it, and that's what we want. They're applying and then here, let's say, that's how the shadow area goes. And you can blend that in and then slowly blend the black in to the burns in. This obviously something that we covered in the mountains yet. But it's probably looking a little bit tough. Then what I observed here is that this olive green area that I apply is starting to dry out. I quickly pick up olive green and I go over it again. The simple trick is that, do not let your paint dry off and that's as simple as that. Here I'm grabbing my paint scray again, and now we're going to go over the mountain. Just going to now go ahead and blend in a little bit of that paints gray. Here we used a darker amount of paint and then I'm starting to reduce the amount of paints gray in my brush and then just going ahead and adding You can see. We get a little lighter area of paints gray and then it transitions into a darker area of paints gray. I know this looks rough, but definitely you can do it. Then here again, I'm going to do the same thing. Taking that and then here, grabbing that paints gray and blending it in. You can see, blended it in. And now it kind of this entire thing looks darker. Because of these darker paints gray and the darker details that we added on the top. Then we'll also go with a little bit of transparent brown color. Here I'm just grabbing a brown color, but I want it to be darker. I'll probably makes it a little bit of a paints gray so that it becomes color somewhat like sepia. If you have sepia, you can go ahead and use that. And I'm just going to add that reason why I add that is to create a rocky texture at random places. So round strokes and random rocky texture, it doesn't need to have a single color on the mountains. This is a night mountain, we've added a lot of rocky texture here. You can grab the brown and then you can drop in random strokes like that or you could blend it whatever you wish. I think I'm going to do a mix of both. I've dropped in some pieces like little strokes here and there and then I've also blended it. Grabbing that dark brown again, I want to give it under this attom area because I feel that it's it too light. I think that's more than enough and I love the way it has turned out, and we can see this end here, which just got the nice shadow areas and also some lighter areas. So I am going to leave it exactly like that, and then we'll finish up with the stars in the sky. So let's wait for this thing to completely dry out now. Hey, hey, hey. There you go. It's completely dr up now. You can see that. Now we'll finish off with the beautiful stars in the sky. So what I am going to do is for making those stars in the sky, I'm going to use a spare paper like this one, and I'm going to cover up my mountain just like that because our mountain is slanted like that, That's where I'll cover it up in that angle. For this, obviously, you have to make sure that your paper is completely dry. And here, I'm going to grab my size for brush, going to grab some nice bits of white paint, and I'm going to add in the splatters on to the sky. Can you see? We've already got some nice platters, you can add as many as you want. And here's the other method. This method is going to be noisy here through my microphone. But this is how you can do it. Also, one thing to observe is that the way you hold your brush, you're going to get like that like this, the stars in line. If you want to actually have it in a specific line, you might as well hold it in that direction. For example, I would like to have a line of stars in this direction. I'm going to hold my rush like that. See what just happened there. I just created a line. Then if you want it completely random, then go ahead and just rotate your brush. Wow. You can see how dirty your hands and everything gets. Even my plant Oh, my God. And all of these boards and everywhere. It's got the white splatters, but then it also is so beautiful when it turns out like that, isn't it? So, have a look at that. And that is basically all to our painting for today. That was quick, right? Anyways, you can see. And because we do not have anything towards the edges, and all of it has actually dried up, and the only thing that we added right now was just the stars, we can go ahead and remove our beautiful type. So I think I know it's day eight, and I should have said this before. But one thing I forgot to mention was that when you're peeling off your masking date, make sure that you're peeling off away from the paper, so that it does not tear part of your painting and does not ruin your painting at all. So always make sure that kind of like you're tearing away from the paper like that. Okay? That's very, very important. And here's another fun thing that I actually just remembered. So this was not started by me. This trend was probably started by some of my students in the previous hundred day projects, and they basically, some of them, saved up all of the tape from all the hundred days, made them into a huge ball and saved in. I think that happened for the first hundred day project. And then I did the same for the second 100 day project, and it was so so satisfying because you boil it up like that. And then the next day I mean, each day, this ball just gets bigger and bigger, and at the end of the hundred days, the ball of tape was like this huge, and it was just so fun. And, you know, it's just a fun element to it that you can see for yourself that these are all the tapes that you actually use for the entire hundred d project. Honestly speaking, there's no use other than that, you're not going to be able to save it or anything. Although, unless you have some right idea to do some craft with it, I don't know. But I am doing that again in this hundred days. So this is all the past seven, eight days of tape in there. Okay. So there you go. That's the painting for today. I hope you enjoyed painting this with me, and I'll see you in the next lesson. 14. Day 09 - Sapphire Silhouette: Thank you. Thank you Thank. Hey, hey, hey, welcome to Day nine, and this here is the painting that we're going to be doing today. Let us quickly have a look at the colors that we need. We will be using Palo blue, violet, A gray, and indico. Yes, four colors, but that is clearly evident here, isn't it? There isn't much colors that I have used. If you're ready, let's go ahead and get started with this one. All right. Let's get started. There's no pencil sketch for today. We're just going to directly attempt this with our brush. So I am going to apply water onto the whole of my paper. Okay. Ops, a little bit of a blue and paint spray from the previous days painting on my brush. This is what you need to clean your brushes regularly or this can happen, but luckily today's painting has somewhat similar colors. I'm glad. Anyways, go ahead and apply a nice even tone of water on to your paper. You can see that. I am applying a nice even tone of water and obviously, tilt your board or paper if you feel that there is too much water or to less water always. So there you go. I'm applying the water evenly and make sure that you apply the water multiple times if your paper is prone to drying and remember always that trick that I mentioned before, which is to basically let your paper soak in the water for a little bit and then to reapply the water again so that this time, the second time onwards, the paper stays or the paper takes longer to dry out. Now, we are going to have some fun. I'm going to start with a little bit of athalo blue here and I'm going to start at the bottom today. Starting at the bottom. Oh, you can see that's a lot of water. This is what I mean, but it's okay. Starting at the bottom, and what I'm going to do is going to go ahead and apply, but I'm going to leave like a huge not huge, but a little bit of a gap of white there, and then I'm going to go and apply the hello blue again in the surrounding areas. Right now taking my blue upwards, and you can see how I'm using the tilt of the board. Very important. And I'm tilting my board and then painting my way upwards. What we'll do is we'll paint around almost towards halfway point of the paper. There you go around halfway point. We've got a nice amount of white there that be, and then I'm going to grab violet next. That's the next color. And I'm going to blend that violet in onto my paper. That's a nice violet or purple shade and let's blend that in. You can obviously blend your violet and your purple together. D Isle violet and your blue together. There you go, going ahead and blending. This is the thing. You can see there's a lot of back runs on my paper because there's this extra water on the edge. One thing you can do is you can go ahead and absorb all those extra bits of water from the edge of the paper so that it never gets to go back into your paper. That's one thing that you can do. And then here again, I'm just going to grab the violet and I want to go ah and blend. That. Then I guess, the job with our flat brushes is done, and now we're going to go ahead and add in a lot of clouds and darker details. Now we've got to be quick before our paper dries out of Busy. Here I've grabbed my large size 12 brush and I'm grabbing my wilet. I'm going to start at the top of sy. And just applying, and then I'm going to start coming down and putting my violet strokes at random places, and this is what is going to act like the clouds and everything. You see just grabbing violet and we're going to add on the top. You're going to add on top of your blue as well and always observe the way I'm holding my brush. I'm holding my brush in different angles, somewhat like that, sometimes like that and then using the entire length of my brush, and then creating these nice clouds. Then I've washed my brush. Now I'm going to pick up the Halo blue and I'm going to do the same. I need my board to be tilted because I do not want my paint to be stuck at some places. Here, just using my alo blue now to create some cloudy shapes. What makes it nice and darker or the night sky is when we add in paints gray, of course. But here you can see, just adding tiny, tiny, um clouds. Also, just going to go ahead and rely a little bit of a paint here. It will be masked off when we add the mountain on the top. So that's why I was confident enough to go ahead and do it even though I know that it's different in the amount of water on my paper, and definitely going to create a little bit of a different color tone. But here, wrapping my violet again, and I'm going to add it to some of the areas here on some of the bluish regions as well. Just giving bit of a nice toe. See that. Now, time for a pain scre and make this in a night scene. Here, grabbing my pain screen and I'm going to go ahead and apply towards the top side. There, grabbing pain screen, and the top regions get the pains gray. Not draw it in a straight line, but rather try and do these strokes so that at some point, can you I know you can't see is of the light anyways. If you look closely, some parts of the violet comes to shine through, giving a nice blend of the violet and the paints gray effect on our paper. And it's really beautiful that way. That is why then here now I'm just grabbing my paints gray and you can see I'm using the entire length of my brush when I'm trying to add these strokes because when you use the entire length of your brush, you get varying strokes and you get a lot of different things and see. Now we've added nice bluish things towards the top. If you want, you can go ahead and add a little bit of the violet here because I feel like the transition between the violet and the blue is not subtle and slip bit too much. That is why I am going on adding a little bit more. But you've got to always make sure that the amount of water on your brush is less than what is there on your paper. Can you see? I put in a darker stroke, so I am trying to lighten that up slowly. Now I can't work on my paper anymore because my paper has started to dry out and it'll create blooms if I do anything more. So I can't. I am bound by the rules of for the control as to not use it and not paint anymore. Although the areas that are still wet, I probably can, for example, I just painted this color here, so I know that it's still wet. All right. There you go. So now what I'm going to do is I'm going to wait for this thing to entirely dry up. And I'm going to show you another tip. Here, I can see an edge here, which has got a harsh edge. Do you see that? That is a cloud that I cannot mask later on. Here is a brush that literally dry and got no paint or anything. And I am just going to use that rush to kind of, like, you know run my brush like that, and that softens it, and that gets off the h edge. Okay, I'm not bothered about this bottom part because I will be adding a mountain there. I was a little concerned about that mountain over there, which I've cleared and possibly a little region over there. This brush was typically dry, and that is how I achieved that. So the next thing for us to do now is to go ahead and completely dry this su so that we can add in that mountain on the top. All right. There you go. It's completely dried up. As it dries up, can you actually see how lighten it is and how that violet has come through? This is what I meant when I said that do not go for a flat line, but rather apply your strokes. Wherever I applied the paints gray strokes, they are all visible on my paper, clearly showing all that clouds in different formats to see that? This is what we wanted to achieve. Now let's go ahead and paint a bottom random mountain. I am going to pick up indigo at this point. Don't worry if you do not have indigo. You can actually create indigo if you remember the previous day's lesson, which is basically to mix halo blue and a bit of a paint gray or obviously black together, and you'll be able to create indigo color. I'm just going to go ahead and straight use indigo on my brush, and we're going to apply that. I need that in not a darker consistency like this, but a bit of a lighter consistency. I'm going to use it in a watery mixture. S, can you see that? Sure that it's nice and watery. Let's add, do not cover up this white region. We left that there deliberately. And adding a little bit of a mountain at the bottom region. You can see just using the indigo and added up a mountain. And then I know this is a little bit of a time consuming process, especially if you don't have a hair dryer. But unfortunately, if you would like to add another four ground mountain on the front, then you've got to wait for this to dry out. Let's just quickly wait for this to dry out, and then we can add another fog ground mountain. Hey, there you go. It's dried up now. Now we'll go ahead and add another four ground mountain right there. For that, I'm going to grab paints gray and we're going to do in a different manner, do not follow the same shape of the mountain. Follow and create another mountain peak right there. And this time, make sure it's nice and dark and also have a lot of little perforations and creaks on the mountain. Because the closer you come to the viewer, you are going to see more of the details. The further the mountains are, the further the details are. All of these little details will not be seen on the background mountain. But as you come toward the foreground, you definitely need to add in a lot more of these, see what I'm doing there. You got to do that for your foreground mountain. All right. I've added a lot and I'm just going to basically now fill up the area with paint gray. Now you need to make sure that it's nice and dark as dark as possible so that we grab in and create that du mountain effect. Okay, as you can see, I created this completely with my brush. So you can go and approach it in any way that you want. Now the only thing that's left for us to do is to actually add in some stars in the sky. This is still a night sky, so we definitely need some stars, not as much as we did for the day seven, but little extra. All right. I need to cover up my mountain because no stars there. I'm just going to use my paper again because it's still wet and I'm going ahead and adding the stars without trying it I'm going to hold it at an angle and not place it flat on the paper because if I place it flat, then this paint is going to stick onto my paper. Just going to drop in stars at completely random. You can always go ahead and do additional stuff on this. Like, for example, you can look at the places where there are literally the pains gray areas. And when you see pains grey areas, and when you see a star has been added on the top, go ahead and get rid of that star or try and wipe that star off because those stars are supposed to be behind the clouds. So that is why we're not adding too much, we're just adding a subtle amount of stars and also towards the bottom have very less stars because it's actually there is a very bright light soles there, which will not make the stars be visible. The stars will be visible only towards darker areas, which is why we need to apply towards the top. Now I'm going to quickly try this bottom. It's dry, now I am going to remove the tape. There you go. Can you see how that one stand out? I love it. And I hope you like it, too. And this was a record. I mean, this is, like, really quick, isn't it? So I hope you enjoyed painting this with me. And thank you so much for joining me today. I'll see you in the next day. 15. Day 10 - Distant Twinkle: Hey, hey, hey, welcome to day ten. This here is the hinting that we're going to be doing today. You can see it's pretty simple. Only thing difficult thing is to get these transitions between the sky and the land and all of these cloudy shapes. I wanted to keep it simple to get you to learn all these cloudy shapes. So let's have a look at the colors that we need in this one. The color that I have used mainly is aqua green from Windsor and Newton. So Aqua green is like a Turquis green color, and you can easily mix it up by mixing ello blue and yalo green together. So what I've done is I've mixed in that aquo green with my alo blue because I wanted it to be a little bit more turquis, bluish green color, so more towards the blue side. So if you're going to be mixing it up with your alo blue and the yellow green, I would recommend mixing more of the yll blue. So Hello blue, ello green, and paints gray. That is the only three colors that I have used for this clust reject. So there you go. Let's get started on this. Let us start. There is no pencil sketch. We are going to just directly start with this one. First of all, we'll start by applying water onto our paper. And I'm going to be using this large flat rush to apply water onto the paper. There, I'm applying water to the whole of my paper. We will need to work on a nice wet on wet method here, so we need to make sure that paper does not dry out in between. So we really need to make sure that our paper stays wet. Here you can see, I'm applying the water nicely onto my paper. I might as well do the technique of waiting around for a few seconds and let the paper soak in the water and then to reapply the water. Today, I'm probably going to do that method myself to ensure that my paper stays wet longer. I think I've waited for around 2 minutes now and my paper, if you can see from this angle, see it's almost started to dry out and all the water in it has like soaked in. I'm going to reapply the water again. This time, my paper will definitely stay wet for a longer duration of time. There you go. I'm applying the water nicely and evenly on my paper, and if there's any excess water towards the sides, I can always absorb it with a piece of cloth like this one. Here I am absorbing the excess bit of water and applying the water there. Now we can go ahead and start painting. We will start with a nice turquoise green color. The color that you want to be using is a mixture of a green and blue. You can actually mix it up yourself or you can use this acogreen color. This ac green color is from Winsor and Newton. If you do not have that color, not to worry because you can actually mix it up yourself and just makes a little bit of a blue yellow blue and thalo green to be exact. You can actually mix that up yourself. Let's go ahead and start. We're going to start from right at the bottom. Can you see, I'm starting at the bottom. I think I'd like it to be a little bit more turquisy. I've mixed a little bit more turkis blue. As in this acro green color, I've mixed a little bit of alo blue. If you're mixing our yellow blue and yellow green, make sure that you mix it up a bit of the alo blue more. That's how I want it. And you can see how I've laid down that color. Now, what I'm going to do is, I'm going to leave a slide gap of white. Okay. In that region there while I'm adding my paint, then I'm just going to go I picked up a wrong color back to the blue and the aqua green mixture. I'm going to go ahead and apply this to the whole of my paper over under to the top side. You might actually see me mixing the color on my paper itself at times or even on the palette. See here. Quite a nice grate in there, but leave that little tiny amount of white space. Nice amount of turquisy colors. You can actually see I'm lifting my paper a bit because I would really like it to the gravity to act on it and create a nice blend. I am not looking for a gradient, but a blend, if you understand. And make sure that the edges have a nice color and they're applying, such that, have an even tone. And over to this side as well. Let me just make sure that I've got a nice color. You can see, I'm grabbing the aqui green and the hello blue mixture and adding to my paper. In an even tone all the way. You can clearly see that. It is somewhat lighter towards the bottom. But it's not essentially a gradient as well. It feels lighter. That is because of that little amount of the lighter space that we've left there. Can you see that? That's why it looks lighter, but that's okay. Now it's time for us to go ahead and add in the paints create. So we need to be adding that before all of this dries out. It's just like the previous day skis we added. We're going to be adding paint scre over the top here. I'm grabbing my paint screy, and we're going to start at the top, and we're going to create some nice cloudy shapes, but this time, we're going to leave more of that beautiful color there. Start at the top and create some of these nice strokes. Can you see that? Same as you come down and going to create nice strokes. I honestly don't know when we get dark skies like this. Isn't that really, really gorgeous? Oh my God. Then I'm going to pick up a little bit of the aqua green as well. You can see grabbing the aqua green mixing into that that we hit like a darker green there. And we can add that on to the sky. As I'm approaching towards the bottom regions, I'm going to decrease the size of my clouds. Can you see that? You still add a lot more and you want to be adding all the way up to where that light source is closer to the light source, you can see how light I am adding. I'm picking up from where I mixed in my palette rather than fresh paint. That's how I've lessened the amount of pigment that I'm adding. Although at the bottom, we definitely will be adding some foreground elements. It may not be seen, but let's still just keep the clouds in there so that we know. Then I'm going to go back with more dark pains g because I'm going to hit the corners and the top region once more to get it to be more vibrant. Because you can see this is going to be even lighter. The thing is, this aqua green color that you see right now is going to be, more lighter. I just noticed actually through this camera, this side angle here, it looks completely bluish. Oh, my God. I think it's the lens of that camera. It's a different lens, and it adds a little bit of a saturation by itself. I can't help it. Well, if you can't see it, then definitely I've edited it out. I mean, try to match the color. But if you do so it, it's the lens, and I apologize in advance. Okay, added some nice strokes and you can clearly see. It's nine sky because it's really dark. The day the daytime sky can literally be never like this. Just going to go ahead and add those tiny cloudy shapes to the bottom as well. If you want, now, you can just add a shadow. Some of your clouds over here by dropping in little amounts of darker strokes cheesy like that. That becomes the shadow. Now that is for our background. I'm going to wait for this thing to completely dry out and then we will add in the foreground and finish with today's lesson. This is really a huge exercise to get all these clouds nicely and it's somewhat tough I feel. Let's wait for this to dry out. Right there. It's completely dried out, now we'll go ahead and add in the foreground. The foreground is actually quite simple, but there's one more drying time needed because we need to wait for that black that we're going to be apply right now to dry out. That's the only drawback Tusi. Here I'm grabbing a nice amount of pains gray. Just making sure that it's nice and just wet paint. We're going to be doing wet on dry right now. Here grabbing the pains gray. What you will do is no mountain or anything, just go ahead and add straight line like that. With the black slash bates gray paint, and it needn't be that perfect because obviously, there can be a little bit of a terrain difference. Just going to fill that up. Et me see I guess a little bit of a here. I know which it needed to be straight, but I have OCD. Yeah. There done with that part. But now we'll put in some kind of a little bit of a foliage on the side. Basically, just going to wrap that paint gray again, and I'm just going to drop it on to this site and form. Somewhat even tree shape. You see? That's it. But this is like the tree that's in the front. What I'll do is I've just like No, grabbed a little bit of a paint. This is known as the lifting technique. Grab a little bit of the paint from there so that the underlying bluish color that we had starts to show through and there appears to be a teeny tiny separation between the tree showing that it is the foreground. But the paint gray that we applied is still there we're not entirely taking it out, if you want to know what I mean. Go ahead and do this or more of the areas so that a tiny bit of the green starts to show through. Can you see? It is better to do it in the lifting method itself because then you are able to control how much of the pain to lift off. All right. There. Now the next step is to wait for this to dry out, and then we'll add in the lights and finish this off. All right. There it's completely dry. I'm going to start with a nice amount of white paint. But we shall make some gouges light colors. So it's not necessarily white. What we'll do is we'll try and mix in opaque colors. Here, I'm just going to grab in my white, and I'll probably mix in a tiny tiny amount of cadmium yellow to that. So can you see it's turned into a little bright yellow color, and that is exactly what we want. We're just going to drop it into that area there and create a lot of dots. So I'm going to start at the very end and some nice dot. Maybe some dots can be bigger already as soon as I'm adding these lights, you can see they look like lights, and then obviously, you can add cluster of lights in some places. Oh my God. Sometimes, it's really pretty when you add the tiniest of details. Do you think so. Here, now I am going to create some shapes. If you go and create a cluster of lights, sometimes maybe you can also create a runway or something. I'm not going to do that, but you can create the lights of a runway and it's going to look so so pretty. You can make some of the lights really big as well, for example, maybe, I will have a big right here. Using the tip of my brush at the moment to create these lights. B. B. There, it's kind of like a really, really far of city with the noice lights captured. I think that's more than enough. You don't need to capture anything. What essentially this was is. There's a far of city there, and then there's where we are standing and taking this picture. That's kind of like a tree, which is this foliage item. What you can do is if you want, you can go ahead and like you know, create the foliage to that tree again over the top of this area in wet on dry. So that it really looks like that tree is right there in front of us because we're seeing it in detail. If it was far off, you wouldn't see it in such detail and because it's a night time, that is why we have this foliage like that. If you want, you can go ahead and add another on the left, but I would highly recommend against it because it's always best to not have symmetrical objects like that, if you know what I mean. Another last thing left for us to do is to add in some um, stars into the sky. So I will tell you something about stars tomorrow night. I'm pretty sure that some of my students have already aware of this, but today, we're just going to drop in stars with a white paint. So all of it do mostly towards the top region. So there towards the top. I've added in the stars. But like I said, it's always best if you can just get rid of some of the stars on the black region, and one method to actually get rid of it is to go ahead and cover it up a little bit the paints gray itself because that region is actually paints gray, isn't it? Try and get rate of some of the stars. Honestly speaking, this is the only way to get the stars only on the clouds. Only behind the clouds and not on it. You really have to rub it off or add some paints gray over the top, tiny tiny bits over the top. Unfortunately what we have to do. No other option. I think this region is slightly wet and this region is slightly wet. I'm going to quickly dried it off and then we can remove the tape. There you go. It's completely dried off now, so I will go ahead and remove the tape. And there you go. That is the finished painting. I hope you liked it. Thank you so much for joining me today. 16. Day 11 - Starry Pines: Thanks Hey, hey, welcome to day 11. This beauty here is what we are going to be painting today. So I hope you really enjoy this one. Let us have a look at the colors that we have used for this painting. Yellow cer, Hello blue, ultramarine blue, indigo, paints gray, and lavender. Of course, not to mention white cos as well. I think that goes without saying, isn't it? Let's get started with this one. All right. Let's get started. I'm just going to quickly draw that foreground there. It's basically a little bit of the snowy region that goes at an angle like that. And our pencil sketch is just that I'm not going to even bring it closer to you to the camera to see. It's just literally that much that is all for the pencil sketch. That was simple. Now we're going to apply the water. But when we're going to apply water, we're only going to apply to the sky region. I was going to say for ground. Anyways. Because we're applying to that region, I am going to tilt my board upwards like that. I've got my hand under there, right on the top of that region is where we're going to apply the water. And then now to the whole of the paper. Take your time nicely to go ahead and apply onto the whole and tilt your poor upward so that it can flow down and not accumulate at any of the regions and there you can see. There, I've applied the water nice and even. Let's get started with the painting. I'm still keeping my hand under there because I want all of my paint to be flowing toward that side. That is why I will always keep that angle while I'm working on the sky region. It's like one finger under there under my board, and here, the first color that I'm going to grab is yellow occur. Yellow occur is an amazing color because I wouldn't say it doesn't, but it doesn't create very vibrant greens with blue paint, if you know what I mean. So that is why we're going to be adding yellow ocher over to this side into that sky region. There that's yellow ocher and that light can continue. Over on that side. We've got a nice light there and it's just a bit of a yellow ochre, and you can see, I've mixed it up nicely, then now we'll move on to the top region. Moving on to the top region, I'm going to grab my hello blue color, and I'm going to add it. What we're going to do is we're going to add it in the form of strokes. Do not apply like a whole thing because I'd like the strokes to be visible in the end when this dries up. Here, that is why. From the edge here towards the middle, from the edge here towards the middle, U somewhat like that. See, that is going to make the strokes be nice and visible when this dries up. That's very, very important and no white spaces. It's actually going to cover up the entire thing, but the purpose of the stroke was, like I said, to get these uneveness in the sky. If you do it apply like that, then you're going to get a really, really flat edge and flattened out structure, which we do not want. As I'm coming down, I'm going to stop with a yellow glue. What I'm going to do is, I'm going to grab a different blue this time. The different blue that I am going to be taking is ultramarine blue ops. My ultramarine blue is contaminated with some other color. Let's quickly clean that and there's my ultramarine blue. That ultramarine blue is what I will add. And I'm going to add it over to that region as well. You will see that it's not blending with Abdan again. It's not perfectly blending. Yeah, that's what you should say. It's not blending too much with that yellow occur to create a green color. Here, my yellow carsc like a little bit of a dried up. I just going to grab that yellow cur again. And wet my paper there. I saw that it's drying out. I needed to quickly quickly work on it and see, it creates a muted green, but not a vibrant green. Imagine if you were to have a very vibrant green in your paper, which is not correct, for a sky. That is Pi. We used yellow ocher here, and then here grabbing the ultramarine blue and lending that in to the sky. There using the ultramarine blue and blending. Remember, this is literally going to turn a whole lot lighter when we dry up. We definitely definitely have to make sure that this thing is completely in the color that we want it to be. Okay. So we're going to go upwards now with the same ultramarine blue. We have a base of the Hello blue and then we'll go upwards with our ultramarine blue. Can you see that? Now we'll start to create the shapes of clouds on our sky. All right. You can see, I'm going over some of the areas repeatedly to make sure that I get the color in nosey. From this tip as well and this dip towards the inside. You can also see the strokes that we made for the blue are also still there. The hello blue. This is why I said that we have to do it in that way so that we do not get a flat surface at the bottom. At the bottom at the underside. I'm just going to grab a tiny tiny amount of yellow occur again because I can see that this region is starting to dry out. I wonder why my yellow ocher paint is so drying up fast. It's actually some of the pigments as well, so some pigments dry very quickly and some takes a little bit of time to dry out. I guess, yellow occur is one of those colors that it's really drying up fast, but here, grabbing automating blue again. Add in multiple colors multiple times in order to get the level of darkness we are trying to aim for. I know this is the trickiest sit. L to keep the paper wet, all this while while we're doing all of this. It's really really tricky. Next color, indigo. Here I'm rubbing my indigo and I'm going to go over the top. It's not paints gray, so it'll lighten up eventually and that indigo, I will apply towards the edge. That's what gives the dark depth in some of these areas. And you can also take up the indico and then mix it up with the ultramarine blue so that we get like a darker blue, and this is what I'm going to be using as I approach towards the bottom. Can you see that? There you can see, just adding a mixture of those two colors, as we approach towards the bottom, You can see what we've done. There's multiple layers of color in there. Can you see that? And grabbing tram blue. You can also grab some more halo blue if you would like to add another layer. I think that's it. This is not actually the clouds, I guess. These are just like how do I say? It's like the transition not right. I can't explain this. It's not clouds, but it's just the magical sky as it is. The thing that I said that I'll show you today with stars is basically, we're going to paint some stars. So I am going to add some wet on wet splatters for the skies for the stars. So that Is going to look like the stars are like, you know, embedded within and you'll also get some depth with the stars. I'm just adjusting because I dropped in a little bit of paint while I was doing the stars, not paint water. See water is the one that's falling out. What is happening? I got to grab another color and rush and adjust it out because it's going to create blooms otherwise. Oh, God, I do not want blooms on my paper. Here, just grab the blue and lended that. Apart from white, all the waters flowing out of this brush. Where is the water accumulated? Yeah. There is the stars. Now you can see these are still falling onto the wet paper. They will get spread and a little bit of a softer edge to it rather than the stars that we were adding all this while. There's another thing that I would like to show about stars as well, but we'll discuss that in the next lesson. That is in tomorrow's lesson. Today, you can see how this is turned out. What I'm going to do is I'm going to add in a bit of a foliage at the very back side as well. I'm going to grab a little bit of the paint screen and I'm just going to drop it. There like creating little structure there like that. Maybe something towards the top. You can do some lines and like that, that it resembles some background trees or something. Obviously, you can see that that side, the yellow ocher starts to fade away. And I'm going to try and decrease that. Over to that side. Can you see? Done that. You can also see some of the stars there, they spread out. I might try to adjust and the spread out like that because there was water there. What I'll do right now is we're going to quickly dry this up so that we can add in the foreground and some beautiful stars. All right. There you go. It's completely dried up, so we'll go ahead and add in the foreground right now. For the foreground, you've already seen the final picture, so it's pointless. Keeping it as a surface or anything. The foreground, we're going to be adding the snowy texture at first. At the bottom goes ultramarine blue. So go ahead and add in ultramarine blue all the way at the bottom. The snow at night because it's dark looks bluish and that's the reason why we're adding the ultramarine blue. There, can you see, we're adding the ultramarine blue. That's nicely covered. Up to the edge. Now we need to create a shapes or like depth. For creating the death at the bottom part needs to be darker. There some lines. Now that already looks much better. Then we need to create a death in the area where we're going to be adding a tree. That is right there, where I'm going to be adding my tree structure, which will have its own shadow element. I've added a nice dark amount of the ultramarine blue. Now, again, we have to wait for this whole thing to dry out. But before that, because our sky is dry, we can go ahead and add in the proper stars now. So the stars that we added can see, they're really, really, really faded, which means that they're going in to the farnes. Now we'll add the stars, some more stars, which will show that they have more depth in those regions. I'm going to grab my smaller size brush. I've switched to my smaller size brush for adding these stars now. And there you go and adding, so you can see, just a lot of stars into the sky, and you can also do this. Remember, and it's going to be noisy right now. Added the stars. And can you see, it's like dropped onto some of the areas at the bottom. But because it's still wet, I will be able to completely get rid of it by quickly going through with my brush and it off. Because we do not stars on the snow we tune there. I was able to quickly get rid of all of that. Can you see that? Now we only have the stars in the sky and we also have some background stars. If you look at those ones, the faded ones, they are the background stars. Now that we're done with the stars, let's dry this up so that we can add the tree and finish this off. The ultramarine blue is dry right now. There's also another reason why I added the stars before waiting for this to dry out is because if you add the stars at the end after adding the tree, then you're going to have to cover up the tree or make sure that the stars don't come on top of the tree. This way, it's easier because now you can just use your paints gray or the colors that you're going to use for the tree to go ahead and paint the tree and you would be done. It's much simpler. That's why. Here, I'm going to grab the paints gray here. We're going to head in that tree. That tree, going to make it perfectly straight, but I think it's going to be around somewhere up til here. First, I'll draw the trunk. Like I said, it's slightly slanted and resting in there and we'll have another one as well. That could be a little bit on the smaller side. Maybe this one should be a little bit more longer. Now adjusting the thickness of that trunk in the middle. That's it. Now we'll make it up as the tree. It's a pine tree. What you're going to be doing is draw the trunk. Then some strokes, such that as you start coming towards them, it starts to get Aw, more foliage. Can you see that? The foliage that I like to add before my trees is basically to go and like these lines, straight lines. That's what I do. What like that. Also obviously leave lots of gaps in between because it's the winter season and many of the leaves may have fallen out, so you're not obligated to add too many of these? So shapes like that. As I come towards the bottom, I'll slowly start to the it's only pins that I'm using here right now. You can clearly see that and over on top of all of these, and it's typically wet or an Tank. Thank you Thank Thank you. This is where we want to create a line when we're adding these strokes. It seems as though there's a little hole there and this tree is growing out of that hole in the grass again, No grass, the snow. That's what I meant. I'm trying to focus. Then all of these stupid things comes out of my mouth. You don't have to add too much if you feel that you want the street to be completely dry, by all means, make it dry. We don't even need to do as much as I date for this one here. Just make sure to use a darker color than the one that's there on the background. It needs to come over the top because it's on the near side. That's it. There. I'm really going to stop right there. Now, another quick thing that I want to show you here because we are well in time and there's still time left for me within the half an hour mark that I keep for myself. We can add snow over on top of these pine trees. Yes. So It's not with white that we're going to be adding because it's a night scene. Remember, it needs to be with a color that looks like blue or bluish and still comes over the top. First, my paints gray over here is still wet. So I'm going to quickly dry that up and then we'll add in the snow. If you do not have these colors or if you can add it, it's absolutely fine. You can stop right here and you can see that your painting is still amazingly beautiful. Now I'm going to just add in a little bit of a snow for those of you who do have these colors and you would like to attempt it out. It's dried up now. What I am going to do is, I'm going to grab lavender. Lavender because lavender is opaque. The good thing about it is it's opaque as in it comes over the top. You will really be able to add that over the top of our dark black color. Here, just going to grab white quash. White ash is the only thing that I add in my paintings, which is not actually watercolors. Here, just going to mix up my lavender with the white quash, just to make my lavender a little bit more lighter. Now that is both an opaque color and it's really nice and opaque. Now, the snow color that we added was ultimarne blue. I'm going to grab my ultimarne blue and I'm going to mix it into that mixture. There. Now it's like a bluish color. Can you see that? This is what we're going to be adding over the top. You do not need to add a lot, only need to add in some of the areas. Let me show you, I've added into some regions there, and you can clearly see that it's not that visible over the top. But let me just add some like here and maybe here, it's covered in snow here, tiny bits, and maybe in this tree, it could be covered here. And a little there. You can see that, it's bluish, yes, but it's not that visible. What you're going to do is once you've added that, then go ahead and add white on top of it. Do you know what happens then? The snow on the tree that you added. It gets kind of like a dull toe color, giving it the perfect highlights and the shadow bit. So here, I've grabbed in the white, and I'm just going to add to the top of that one, and let's say to the top of that one to the top region of that one. Can you see? Then it has both like the highlight element. As well as the shadow element for those tiny tiny snow areas that you just added. Can you see that? That's it. That's basically enough. You don't need to add a lot more. I don't intend to add a lot of the snowy regions, just that much, and it's enough. It's already looking amazing. Do you think so? There you go. That is the painting for today. Because we haven't done anything towards the edges after drying it up, we're free to remove the tape. Let's go ahead and remove the tape. And here you go. That's the painting that we have done for today. I mean, isn't that gorgeous. I hope you enjoyed painting this with me, and thank you so much for joining me today. I'll see you tomorrow. 17. Day 12 - Sandstone Night: Hey, hey, hey, welcome to day 12, and this here is the painting that we're going to be doing today. So let us have a look at the colors that we need on this one. There are quite a few and I quite a few suggestions that I make to actually make the colors if you don't have them as well, the first color that we need is Aqui green, which we've already discussed in one of the previous projects, but if you want to be creating a green, On that I'm using is from Windsor and Newton, but if you want to create that, then mix alo blue and alo green together. This time, it's nice and dark greenish color itself that I am using, little bit of paint gray over the top, and then a little bit of orange here, transparent orange that I have added over here. Then on the rocky region, we have quinacrodon gold, transparent brown or ban amber, and a little bit of a white quash itself. The quinacrodon gold that we have used here, if you do not have it, then you can obviously mix up the quinacrodon gold by mixing a little bit of orange brown and a tiny tiny bit of yellow. If you make those colors together, you should be able to get a golden color, and that is what you can use on top of this. Then I've also mix the Quin gold with a little bit of a white to get the edges of this rocky region here. Then you can also use transparent brown or burnt umber and then paints gray as well. Then we have also used quinacridone rose, a bit of thalo blue or any other blue that you have and a little bit of cadmium yellow as well in this painting. That is up for a surprise. Have these colors ready, and then we will discuss it in the class itself. So Let's get started with this one. All right. Let's get started. I'm going to quickly trace out the shape of this. I think this is actually a very famous picture and you might have all seen it. I don't know where it is, although now I feel that I should have done my research and find out where actually this is. I really apologize for not doing that. I really should have. Yes, I know I should have. I'm pretty sure that if you actually Google this up, you might be able to find more information on this. All right. Then stops there. All right. There you go. That is the pencil sketch. I will show it to you closely so that you will be able to do the. There you go. You can past right there and make the pencil sketch. Some things to observe regarding the composition when it comes to making the pencil sketch. And place the pointed edge of this rock, which is right here. Towards the left side, not exactly in the middle. So I had actually traced this at first, if you can see the backgrounds there and I had to erase it and do it again. That's because when I did it at first, it was right in the middle and it was not looking that great. So the reason why it's not looking great is if you're doing such images always, it's better for a composition if some things are lined towards the left side or right side rather than perfectly symmetrical because perfectly symmetrical objects are really good in photographs, but not exactly the same when you're doing in paintings. Which is why for the best of the composition, I moved it a little bit towards the left side. Once you're done with your sketch, we can go ahead and start painting this. There are really various ways to approach this entire painting. And I'm going to be showing you one of them. You could apply masking tape over on this one and cover this up entirely. Then paint the sky and then paint this one, or you could apply masking fluid on this one and then paint the sky and then remove the masking fluid and paint this. Or you could go with my approach, which is the similar to a little bit of an opaque ache approach. So I'm going with the opaque ache approach because I do not want to be using masking tape for masking fluid for this method. As in, I could use the masking tape, but then it's really tricky to go ahead and create a shape and cut it in exactly this shape. So I do not want to be doing that. Masking fluid is actually the most easier choice for me, and I would have referred that. But I want to refrain myself from using masking fluid in this class because I know that there might be lots of people joining in. Maybe you don't have it or maybe you do not want to invest in it. But if you'd rather paint with a masking fluid and you have it, then go ahead and apply a masking fluid all on the inside of the rock and then we'll paint the sky in the background. That's what we're going to be doing and I know that it's really possibly tough to paint in the method that I'm going to be showing today. But that's okay. What we're going to be doing first is we're going to be applying water to the whole of the paper. You can To the whole of the paper, and when we're painting the sky, we will try as much as possible to save and salvage the rock regions, but it's not easy. Trust me. Here I'm applying water, and I've put in a lot of water. So I'm just going to tilt my board in one of the directions to make sure that I get rid of excess water from my paper. There I've applied water on to my paper, and we're going to start. We're going to be starting with a nice large size brush because it's easier and it covers a larger surface area. It's going to be similar to one of the projects we did one or two days before, where we grabbed in a color by mixing the ac green with the yo blue. Or if in your case you mix yo blue and yo green together. That's what we're doing here. Here I'm grabbing the green and this time no blue just the aqu green, which means that if you're going to be mixing, make sure that you mix a nice amount of yo green as well. And that is what I'm going to be putting into that sky region. You can see even though my paints go over on top of the rock. I can't help it. I will let it go here and there. But we are going to be applying the color nicely all around and leave a little space towards that bottom there and going towards the top side now. This is directly from my palette and I am applying onto my paper, very, very vibrant color. Here, keep applying and make sure the paving is nice and water y else you won't be able to blend it nicely because we need to make sure that the blend is even. Also here, I will apply towards the inside area there. Remember, we've left a amount of gap over on that side. Then washing that off and the next color that I will grab is indigo, and then I'm going to mix up the indigo in to that green there. Oh. H At the top region, you can see it's nice and dark and it's indigo. Definitely need to blend it up. What I'm doing right now is I'm laying down the colors. At that bottom there, I'm going to grab a little bit of an orange and I'm going to apply the orange. And the orange as soon as it blends with the green, it's going to turn out like into a teeny, tiny amount of brown color. And it's fine. Let it be brownish along this edge, and you can see I'm it flow and create that brown. What's most important is to try and create the blend. Here now grabbing the green back and you can see the transition between the brown area and the green area is gone, but now we need to create the transition between the indigo and the green regions. Here, just grabbing more green and lending that in, you can see, and now that weird transition between the green region and the indigo region is also gone. But because indigo has a tendency of lightening up in the end and you won't get the color that you intended it to have, you're going to have to add in paints gray towards the edges. On top of Indigo, more paints gray. That is what we're doing. There paints gray over to the top and blending. That at the top, we really have a nice and darker color. Can you see that? That is what is blended towards the top. You can clearly see what's happened. Some of the greenish color there is lightened up, I'm just going to go ahead and add in Oh green here. I need this region to be nice and green with a tiny, tiny amount of light on that side. So I know I've left, like, a lot of regent white, but then also the important areas of rock is kind of in the middle of the green, but that's okay. There's nothing we can do, and what you can do possibly is to, you know, go ahead and lift some from the middle, but you won't be able to do it too. Although I kind of liking the way, this looks like a glowy substance right now. It's really funny, I would say. Okay. Then the next thing that we're going to be doing is we're going to be grabbing some white paint. So it's a little bit weird, but a bit of a white paint. I've also switched my brush to a smaller size. What we're going to be doing is we're going to be dropping those white in some places like that, like that, and you're going to create like a line like that, right. That was just the white paint and adding. But obviously, you can pick up your colors again and blend it. The words each of the sides. Perfect. That is all that white is going to be very, very feeble when we actually dry this up. You might want to grab a tiny, tiny amount more and just add it to the center areas because it's definitely going to turn out a whole lot lighter than what you see here right now. It might not even be visible. Trust me. Now because we're done with all of these, what I am going to do is I, I am going to dry this up entirely. All right. There you go. It's completely dried up now, and you can clearly see that the paint scray that I applied. I did not apply to any of the areas where this rock here is. So I refrained from applying to those regions because I knew that in the end, if I add in paint scray, it's going to be darker like this, and all my pencil sketch is not going to be visible. Also see that very feeble line of white. Now before we add in the rock, actually, we'll go ahead and add in the stars, because in the end, then, we won't have to worry about the stars going on top of the rocks. The first business here right now is to go ahead and add in the stars. That is where I will tell you the information that I was withholding up until now. Oh, I wouldn't say withholding, but because I've discussed this in other classes, but if you knew here, then stars. So I don't know if you've seen most artists when you're trying to paint stars, you just pick up a little bit of a white and you do splatters, and that's the stars, isn't it? But why are stars white? Can you think of any reason? The stars, we paint them as white because when we look at the sky, we're thinking with our left brain and it looks white. That's it, right? But If we think with our creative right brain and if you look at the stars, you're going to see that it's going to have hinds of other colors on it. It could be a white bluish or bluish white star, a pink, white star, a yellowish white star, or a greenish white star or a purple white star. Literally, if you look at the stars, you're going to see a lot of these other colors. They are not just white. Trust me. Next time, you look at the sky, go ahead and have a look and if you look at it really closely and try to think of it as not white and think of it as what other color can I see in that star? And you're going to be seeing h, that one's bluish white. Oh, this one's purple white. So you see where I'm seeing. So in order to make your watercolors, like stand out in the crowd. The best thing that you can do is to have all of these colors in the sky. I don't mean going in to paint like splattering blue or white, but just a teeny, tiny bit of all these colors. If you mix into your white, you're going to get amazing amazing stars. First, what I'm going to do is, I'm going to put in just white color. This is where all my water comes from. Here, I'm going to splatter the white at first. Done with a lot of white. Now the next thing what I'll do is I'll grab my white paint here on my palette and I'm going to just grab a blue here. This one's actually royal blue. That's a very mixture. That one's royal blue, and I've just taken that up. You can also mix more white because it doesn't have to be that bluish, it just needs to have that really subtle amount of blue. See that. That is the mixture. Eventually, in the end, you'll probably never see any difference. But if you look really closely on the fainting, I'm pretty sure that you can see it. Se just added a lot more. The difference actually comes in when you start adding other colors than just the bluish color. Let me show that to you. If I'm grabbing that white, and I add it onto my palette here again, I'm grabbing a little bit of my yellow. Now this is what I'm going to add in. I need to make sure that my brush doesn't have water, and then I'm going to splatter this. Now, can you clearly see, it's very difficult to see in the camera. But I can see here on my paper that these splatters that are falling down, they are actually yellowish white. It's really gorgeous. Now, you want to make a lot of stars along this white line that we added. That is why I'm shifting to this two brush method and holding it in that direction, and I also more paint. If you can actually see, it's a little bit yellowish. But what we will do is, we're going to go one step further and not just yellow, but other colors as well. Here I'm grabbing my white paint. Opaque plus transparent color is going to give you a semi opaque color, which is equent to an opaque itself. Here, I'm just grabbing pink. And I've mixed that into my white. But as you can see, it's a lot white. And if you're not able to get these vibrant colors, by all means, go ahead and just use white quash. It's absolutely fine, I would say, because you're only using it for stars and nowhere else. Of all these water splatters coming out. See, I've splattered a bit of water there. So now my stars are in all of these colors, but I need to add more stars along this line. Oh. Can you see, I've added more stars along that line. You can also add bigger stars at some random places like, you know, by using your brush and making some of them bigger. All right. So you can see, we're done with the sky, and now the next task is to go ahead and paint this region here. So that is probably what we feel is the trickiest part because we need to get in some light colors on there, which is definitely going to be trickier. What I am going to do is I'm going to first attempt. I'm saying attempt because I'm pretty sure it's not going to work. I'm going to attempt painting on that with quin acdone gold color. Don't worry if you don't have the queen gold color because you can easily mix it up and you can mix it up by mixing a little bit of a yellow, orange and transparent brown, the transparent brown or burnt umber. Burnt umber, orange, and a teeny, tiny bit of yellow, if you make it together, you should be able to get such a golden color. I took a very, very vibrant amount of that golden color, and I'm applying that and I think it works a little if you see. I have applied that onto that region, and I'm also applying here along this I've taken a real really creamy mixture of the paint and that's why I'm able to do this, but I'm pretty sure that these areas, it's not going to work and I might have to add lighter paint later on, but I can always do that. Here, can you see it's darker, but I will add lighter paint, but I'm just going to work on this area right now. Up until that point, is where I want the lighter areas to be. Don't want this to dry off, so I'm just working on it again. Then I will go pick up dark brown color now. You see, picking up dark brown color. You'll just notice that I just mixed in top of a little bit of a greenish color that was there. But that's because I am least bothered the brown is not going to overpower. I mean, brown is going to overpower the green, so it's absolutely fine. You've got to look at your sketch now, so I can see it on my paper, which is why I am doing it. I think it needs to be a bit more golden in these regions. I'm just going ahead and picking up that golden brown color again, the croon gold color, and I'm applying that. We can see how it looks more golden and Be I'm taking a wet on dry paint and I've really added it on the top. That is why I'm able to do this method. What I am going to do is I'm going to cover up this entire region this thing with the golden paint, and then I can adjust and add the darker regions later on. Going to grab the golden paint again and adding. You can see it's actually golden, but because we added on top of that dark green color, that is why we got it like a color. All right. That's now really light. Now all we've got to do is go ahead and add in darker details over the top. I'm shifting just to a smaller size brush and I'm going to grab my transparent brown. When I say transparent brown, just remember it's bun umber. The one that I have is from cinar, and it's transparent. That is why I mentioned it as a transparent brown, and here. Now you've got to exactly follow the shade that I am doing if you need to get the shadows and everything correct. You might want to pause at the end once I've finished, and then just you can mimic the exact shapes. If you'd prefer that. You can see, just added a nice bit of there, then I want a little bit of a darker region. If it's more darker, I might apply pains gray just like I did right now because dark region was anyways a little bit dark and When you add these dark details, that's when the whole thing starts to make sense and look more even because that's where it gives it the highlights and the depth and the details. Here. This right side is in shadow. Also some of the areas, you can go ahead and add in s line details. I know this rocky part is the toughest part of this night sky, isn't it? Ly. Then over to the right side again, going to add in. I will also add over to this side, but then I'm going to create like a blend. If it's not blending, go ahead, pick up a little bit more of the quin gold and just blend it definitely do the blend. Se. I need color over the top region there as well. That would be Oh. Like I said, did you see that greenish color that was there actually? That greenish color actually needs to be more of the brown area. Here, I've added brown. The more towards this region. Because you want it to be more then you pick up paints gray. U. Grabbing paint stray for the extreme extreme darker details, which would be on this edge over here. Now, it's almost done. The only thing left is for us to add in a little bit more light and highlight. And that we're going to do by mixing a little bit of a white, with the same quin gold that we used. Here is the quin gold. And let me give you a little tip. If the quin gold that you have is real, really transparent and it does not work on top of that green, then what you can use is mix your quin gold with yellow ochre. So that's a little tip that I can give you. Because if you mix it up with yellow occur, then your paint actually becomes a little bit more opaque and you would be able to do it. Here mixing up the quin gold with an opaque white paint here and you can see what's happened. We got in a little bit more color, but I definitely want it to be a bit more darker as in not as dark as this, but lighter than this. We've got it. If you use that, and apply. Right now, it's very, very bright obviously. There are some things that we need to do. Watch out. I'll explain there and over on this side as well. Added the color. Now I'm going to do the softening method to go ahead and soften this bit. If you want, you can also grab in the golden color and soften it up using that as well. On to the entire region. Now can you see it's lighter and drighter, but yet blended in and not weird looking as how it looked when we just applied these lighter colors. Same thing, we'll do on all the sides, go ahead and soften the edge and blend that lighter color. All right. There. And we're really really done. I'm just applying a little bit of a paint scray there because my hand actually touched in that region, and I picked up paint in my hand right there. But that is mote. This area here is where the rock bends and isn't it that needs to be black. It's a cut over there and some regions over here. I think we're really good now, and I am actually way past over my time. It shows 34 minutes unfortunately because I really wanted to get this to perfection. But I am happy with the way this is stand out now, so I'm going to quickly draw this up and then we can remove the tape. Hey, right. Here you go. Let's go ahead and remove the tape now. And here is our final painting. Oh, my God. I think this is my favorite from til now. I hope you enjoyed painting this with me, and thank you so much for joining me today. I'll see you in the next day. 18. Day 13 - Heavenly Glow: Hey, hey, hey, welcome to day 13. And the next week. This week, we are going to be doing Northern lights paintings. I know it's all night and day. But it's going to be so exciting because I have some really amazing paintings coming up for you in this week. So the first one that we're going to be doing here for Day here is this one. So let us have a look at the colors that we need for this one. Basically, we need a little bit of a cadmium yellow, sap green, crodon rose, and paints gray. So those are the only four colors that I have used in this painting, and now let's get started with this one. All right, let's get started. What we're going to do is we're going to apply water onto the whole of the paper. There is no pencil sketch. So we might just get to it straight away. And for this, we need to make sure that our paper stays wet nice and longer. Obviously, Northern r lights are really, really tricky to paint, so you need to be really careful. And we have a lot of work to do. So I'm starting with a simpler one, after which we will transition into the more difficult. But yet more gorgeous gorgeous one. So here, you can see, all right. I'm applying the water and I'm applying it evenly onto my paper. Sometimes you can also drop in water like that. But then after that, go ahead, spread it out, make it nice and even. You can see it's nice and even. And any excess water, you can always absorb with your brush and take it out of the paper onto the clothe or the tissue that you're using. All right. I've got the water all applied onto my paper. With northern lights, we need to make sure that we have a nice tilt on our board. Always keep your hand on the board to tilted up as and when needed. Just make sure that you have it nice and ready. Then the first color that we're going to start with is cadmium yellow. It's not a color that we normally use, is it? But there we're going to use the cadmium yellow, and you're going to draw these strokes at an angle. Like that over to that right side. Then we can also do some over on this side. The color actually that I'm intending to make is not really yellowish, but a tiny, tiny amount of green is what I want to make, but a very light green. For that, I need it to start with yellow. I start with that yellow, and I'm going to grab my sap green, a little bit of a sap green and then I'm going to add that sap green over the top. Can you see because that sap green is mixing with the cadmium yellow, It eventually becomes a very lighter green. So you wouldn't otherwise be able to make such a lighter green. And the came yellow really helps because it is an opaque color, and that is what we want to add. You could actually do it on the palette itself, this mixing process and not do it on the paper like I'm doing. It's totally up to you, how you want to mix it up. But I enjoyed this method. Now, we're not done yet. We need to quickly go ahead and add in the next color in our case, which is going to be Qin acridon rose. Quin rose, I am applying and on to my paper like that. Make sure that you take a nice amount and also make sure that your brush does not have too much water because if it has too much water, then you will not be able to get the blend and here on a blend right there as well. Once you lay down the color, I guess you can go ahead and shift to a different brush and blend it out. Because now you can see what's actually happened. It's a weird shape in there, isn't it? Here I'm switching to my larger size brush and you can pick up more colors now and I'm just going to blend it up now. Here and I've blended it a little bit there as well. But in order to be blending it, you need to go ahead and pick up the color that you already had before. That is the colors that we applied before. So at this point, you could go ahead and mix both together as in the cadmium yellow and the little bit of a Sap green together and blend that in like that, keep applying. So can you see, once we blend that in, you get like that reddish transition And it goes like that. Here, this is what I said that you might have to work a little bit more and make sure that the transitions are even, and can you see how we're getting? But hold your paper always at that angle so that the line that you're doing, you get these lines, and also there's like a clean blend. It is really, really difficult. I know Northern lights are always the trickiest subjects to paint because of the way you have to create those lines and kind of blend it. But once you master that, it becomes easy. Here, I'm just using that to my lending here again on this side, want a little bit of the pink over to the side. I just applied. The moment you see that your paper is starting to dry out, go ahead and reapply to those areas where you feel like it is starting to dry out. See, I wanted to bring my pink blending into that region nicely. How I'm taking that. Can you see that? The angle that you have on your paper is going to really help for it to blend nicely. Yellow and a teeny, tiny bit of the sap green, and there it'll blend together. Can you see now? We've got that nice blend. Now we need to create a little bit of taker region on the pink there so that it resembles the sky. Here I'm just going to grab a tiny, tiny amount of paints gray and I'm adding it to that. Very end. That's it. Do not bring too much, and then I'm going to wash my brush, going to grab pink again and the pink is what I'm going to go ahead and apply to that region and blend it up. Now, I've blended it towards the outside. Now, if I go ahead and use the same brush and apply somewhere, see the dark pigment that I have on my brush, if you use that, you're going to be putting that pigment back onto your brush. Make sure you wash your brush again and repeat that process with pink again if you want to be. Going towards the outside and decreasing the amount of the paint gray. I think it's okay to have a little bit more, I guess. Just going to pick up more pink and lend it towards that region. But always this angle that I have on my paper, this is what is aiding me in getting these lines and letting them blend together because there is water on the paper and the water is always going to move around. That's what helps us. Now I'm just going to finish off by adding a little bit of a foliage at the bottom. The initial foliage that I will put is going to be with the wet on wet technique and it's just paints gray and I'm just adding that to the bottom. You can clearly see how it is like spreading. Also because there is yellow there, it looks like a little bit of a dark greenish color and that's okay. In fact, it makes it look nice because the foliage is essentially supposed to be dark and greenish, isn't it? Then I'm just going to create these upward strokes using the tip of my brush if you see what I'm doing. It's all with the wet on wet at the moment. Because my papers like to wet while I'm doing this. I think that's enough. The best we will do when it's completely dried up and with the dark dark paint. Here you go. I think I want to add a little bit of the paint at the very bottom here. I'm with that one. Now what I'm going to do is, I'm going to quickly dry this whole thing up so that we can add in the foreground. Hey. There you go. It's completely dried up. Can you see how lighter it is? This is what I was saying that even if you need your paintings to be nice and vibrant, you always need to make sure that it's at least darker and vibrant initially with the wet technique. Otherwise, it's just never going to look the way that we want it to be. Let's finish this thing off with a nice amount of foliage. Here I'm going to grab in paints gray, and that is what I'm going to be adding. I'm just going to put in lots of tree branches and etils. Can see it just using my brush. At the bottom, we need to be nice and busy at the bottom. I'm just adding a lot of upward stroke and make sure you always do it. The reason why you want to do it upward is then your ends will be tapered. I'm using the tip of my brush and then I'm using these upward strokes to get a lot of details here and also covering up many of the bottom regions. Can you see what I'm doing there? Lot to add on this region. I guess we could shift to a liner brush because that will give us thin lines without worrying about how the thickness of the brush is going to affect us. That is the best thing about line rush. You see, it's a liner and it's going to give out a long line and you don't have to worry about the shape. Can you see? It's given me really long lines. Adding those long lines. That is the advantage of literally using a line of brush. Go ahead and add smaller branches as well. For example, these ones, smaller branches you add, the more realistic its. Thank Tank. Thank Thank crabbing my brush and adding a very busy bottom area there. You can see the underlying strokes that we did are also still there, but faded into the background, which is exactly what we wanted. Go ahead and add in a lot more at the bottom. You can see how busy that is at the bottom region there. All right. So we've got to dry this bottom region and finish off with a little bit of a stars at the top. I'm guessing I'm not going to wait for that bottom region to dry up because I need only the stars at the very, very top. What I'm going to do is I'm going to grab my white paint here, rubbing my white paint. You can go ahead and add colorful stars, but at this point, I will only add white because our sky is already colorful here. I will go ahead and add just white stars. Going to cover that up and drop in some nice amount of stars here and there at random. There you go. You can see. I've already added in the stars, and this is looking so pretty, so I'll dry this up and then we can remove the tape. Here you go. It's completely dried up, and now we can remove the tape. And there you go. That's the final painting for today. I love these blends. That's my favorite part of this one. So I hope you enjoyed painting this with me. So we have five more northern lights or the Aurora Borealis paintings. It's not necessarily just the Northern lights. Maybe it's the Southern lights as well, I'm not sure. Anyways, but I will see you in the next day. 19. Day 14 - Celestial Waltz: Hey, welcome today 14, and this here is the painting that we're going to be doing today. So let us have a look at the colors that we need. The first color that we need is codon verse, and halo blue, paints gray, and a bit of white ash. That's it. Let's go ahead and paint this one. Okay. All right, let's get started. The previous day, we had two main colors as the light in the sky. Today we're going to have three colors as parts of the light in the sky. It's still possibly just two colors, but then we're going to be blending it in a different way today. It's a little bit tricky, so let's go ahead and do that. And hoops that's pink from yesterday's painting. I washed this brush and look at that. Luckily, going to be adding more pink today. Escaped, but then if I just spread it out more, it's not any more visible. Anyways, applying water onto the whole of my paper again by making sure that I apply evenly without having any large pools of water, always tilting my bore to make sure that excess water flows out. See, making sure that the excess water flows out of my paper. All right. Then now we are going to start. We'll start with a nice pink shade and observe closely real closely. I'm going to start right there at the top and then I'm going to turn around like that, and then I'm going to go back and mimic that shape again. All right. We are then going to keep adding that nice ping shade that we have, and adding that like that. Then again, going and creating that shape. Here's the pink added. That's the first color. Now we need to go ahead and add in the next color, and that is going to be Tal blue. But the thalo blue, we are going to just add a little bit as in and then something like that, and observe the huge amount of white gap that I've left behind. We'll also blend that into our pink. And go ahead and apply that yal blue to the whole of the paper again. And then over to the left side as well. We need to work on this really nice and quick there, and here is the large gap, a flying like that. This is just a really weird thing right now that you feel so. The next thing to do is to grab pink again and we're going to blend it outward. Obviously, you can see it turns and more violetish of color because we're blending it. Always start with the pink. Here, grabbing the pink color and adding the pink color towards inside, but then lending it towards the outward, that the violet color that you see here, it does not go towards the inside, but rather the pink stays pink, but the outside goes into that purple blue color that you see here. Obviously, you can always give a tilt to your board as well so that your paint can create the nice bleeds and blends. S. Then I've washed my brush off all the colors and I will go ahead and just use my brush to create. It will probably get rid of a little bit of the white color, but then it will not be completely blue. That's what we want. Here, just grabbing the blue again. Don't get rid of the pink. The pink is very, very important. Then as we move on to this side. It's turned into a nice darker color. Now we will need to bring in the darker areas. Here I'm grabbing paints gray and I'm adding. You can also see how I'm adding it. I've always have this angle on my paper, which is very important because this angle is what is going to blend your colors. Here at the edge, it's going to be a nice amount of paints gray. But then do you see these hairs forming? Oh, my God, they're gorgeous, isn't it? Give your board a nice amount of tilt in the desired direction. If you want your colors to bleed and blend perfectly. I would like to have a little bit of a pinkish region here as well. I've just applied the paint, but then what we will do is we'll grab the colors and we'll blend that. Now I want to have a bit of a light region on the pink area. Here I'm grabbing my white paint. That's the next thing to do, and we're going to apply that on top of the pink. Can you see how right and white that is along the same along these regions as well. Looks like a snake is That's but we will blend that now. The tilt on your board is always going to be helpful or your things to blend. Remember, do not pick up colors from the bluish region outside and bring to your pink. You have that light on the pink area and a little bit of a light there. This is going to eventually turn out very, very, very light. Trust me. Make sure that you apply colors nice and vibrant. This whole thing here, I'm pretty sure that it's going to turn out light, but that area is the mountain. That's fine. We have a nice vibrant color. This is again, difficult to. The thing is it's difficult to get these. The pink to not blend into the blue and create a very big violet, and it's difficult to make sure that the blue does not get rid of this white space that we have here. All of it really tricky and we have to really, really work out to get that to be working. Now I'm going to add in some stars, but this time the stars are going to be wet on wet as well initially. Very little and I'm not adding too much water because if I add too much water, then I won't be able to have. My stars will not spread. I've just added some stars, and you can still see some things going on over there. But that's okay, right. Now next thing is for us to wait for this to completely dry out. All right There you go. It's completely dried out and you see what I mean there. It's really lightened up and I don't know what happened here. Oh no, I've got I think some water had fallen over there and Luckily, I know how to fix that, Let's see. We will go ahead and paint the foreground, now, which is going to be the mountain. Here, I'm just going to grab my white paint and I'm going to draw the shape of a mountain. That's how we're going to be adding initially. Just using the white gash and drawing the shape of the mountain. There. That is how my mountain is going to be. Now let me just completely fill that up. You can clearly see that it disturbs the underlying layer at some parts and you get a pinkish color there, which is absolutely fine because your mountain is supposed to reflect the colors of the sky. That is why I really love it that some of the colors are actually. In fact, you know what I'm doing. I have all of these extra colors there. Side. I'm actually bringing it on top of my mountain because I'd like it to have that color there. So if this is not there on your tape that you're using, go ahead and possibly mix in with a little bit of rose shape and bring it on top of your mountain. I mean, can you see what I've done there? That was deliberate attempt to, you know, create, a little bit of the color reflection of that mountain there. Now it's time for us to go ahead and add in some darker details here. I'm grabbing paints gray, and we will add that on our mountain. But again, make sure that you create like these Subtle shapes. We will also add darker details, but this one at the moment, what I'm adding subtle on top of the bla itself, so that it creates like a did I say black white itself, so that it creates like a gray color. Can you see? Okay. And let's say the same over here on the top of this one. Add some ni shapes into that mountain, but we will create more darker depth with the dry brush technique. I'm going to quickly draw the subline. There you go. Can you see how the mountainous ky inflect reflecting all the colors of that sky there? That's because I added in a little bit of the colors from here. Now it's time for the dry brush technique, we need to make sure my brush is and grabbing my pain screening and just adding in some of the areas and see, especially here at some of the top regions, I want to add I'm getting the d dry dry straws. Very beautiful mountain, isn't it? So let's go ahead. Keep adding. I think that's more than enough and now we can finish this whole thing off with a lot of stars, and I said I'll show you how I can fix. Not really fixed, but in mask it. That's what I meant. I will show you how I do that. I'm just going to go ahead and add in a lot of stars. All of those stars that I added in the background are actually very fated, but there are some here. I can see anyways. But if I add in stars, I should be able to mask them and no more stars. Okay. And what I'm going to do is, I'm going to add in a very large star over there. It kind of looks like though that star is a star of the show and it is kind of like very bright in the sky, the bloom that I got there became like an aura, isn't it? Today, I'm also going to go ahead and add in a comet or a shooting star. So how you do that you're going to start at one of these points, one of the stars that you see, and then you're going to pull out and you're going to draw a line such that, you're going to make the line and then lift off at the end so that your end starts to taper. Let me show that to you here. I'm going to choose this star right there, and I'm going to do See that. And you can do that in multiple ones. I'll probably do that in the same direction, so I'll have this one p star was really small. I think that's enough, but don't want to mine. Anyways. You see, we've got some nice shooting stars there and if you want to make some of the stars bigger, you can do that, for example, I do want to make Some stars in the sky bigger. This one definitely bigger because it's the one that's shining bright and deep. I think that's it. I'm really, really happy with the way this is stand out. Because it was all dry brush strokes and all of these is dried, it's time for us to go ahead and remove the tape. And there you go. That's the final painting for today. Can you see how it's got a glow coming from the mountain, two colors, making sure that we blended along with the paints gray. That's what the trickiest part of this one was. Do you agree? I hope you enjoyed painting this one with me. Thank you so much for joining me today. I'll see you in the next day. 20. Day 15 - Arctic Blush: A Hey, welcome today 15, and this here is what we're going to be painting today. This probably looks a little bit difficult and there's a lot of water control involved, but I'm pretty sure that you will be able to do it. Let us have a look at the colors that we need. I'm going back to that same combo that we did for the first day of the North lights, which is basically the dmu yellow green and the quinacridone rose. Now I'm also going to add in a teeny tiny bit of Hello blue, ultramarine blue, indigo, and paint gray in this. Here you go. Let's get started with this one. All right. Let's start. I am going to start by applying water onto the whole of my paper. No pencil sketch today as well. All right. We are going to attend this straight with our brush. I know that you've already seen the picture, so there's a little bit of a foreground, water area, and you might want to draw a horizon line for that. But let's not let's try and do it with our brushes. It's going to be super amazing and fun to do that. Yeah, I'm applying the water. As you can see, I'm applying a nice even consistency of the water. But also, you might want to apply a little bit extra this time, but not as a pool like that. But just a teeny tiny little bit extra because this is in the northern lights painting, and it's really difficult to get those colors in our paper, isn't it? So that is why, and we need a lot of water in order for the paints to be nice and lending. So that is why applying that. Today, again, we are going to be making that mixture of the yellow and the sat green together because I need that really, really subtle green. So here I am mixing up cadmium yellow and a teeny tiny bit of the sap green together so that I get that nice amount of the subtle greenish yellow color, and here, I've got it on my paper, on my palette here, and I am going to start applying. What I'm going to do is I'm going to start at the corner here and I'm still using my flatbrush itself, you can see that and going to do something like that. You're going to do a turn. I know that it is probably difficult to do such strokes. But you've got to dry it up. Then again, over to this side and go ahead and mimic the same in the water region, which is going to be that, and then a little bit here on the right side there. We've put in some nice strokes. I think that's enough with the flat brush. I'm going to grab that larger brush again and using this larger brush, let's go ahead. The next color that I'm going to grab is pink. I know you've already seen this. We've already used this combination before. Here's that pink shade, and you're going to leave a nice large gap of white there. And just using that p. We're going to add in a little bit of a stroke there, a little bit of a stroke there, and a little bit of a stroke there. For this, go ahead and add the same onto the bottom part because that is the reflection. Now you can see we've added in the colors in. Now we need to go ahead and add in the sky part, which is again the trickiest part. Here, we're going to be using the indigo color. This indigo color, I'm going to mix in here. You can see it's going to mix in with our yellow to create a slightly greenish touch, but that's okay. And now is where I need the nice tilt and angle of the paper like always to get my colors nicely bleed and mixed together. So here I've added a little bit of indigo there, and also going to add in a little bit of indigo there. That's where the darker region is. But as quickly as I've added the indigo, going to grab in my blue, and I'm going to add that because that is what is going to be blending towards that bottom region ops picked up indigo again. Go back and pick up the blue instead. There, and let's go ahead and add that blue into the rest of the areas. Here, actually, it should be a very subtle blue because we need that color there a little bit of the color. When we add in the fork ground over there, it will come into the picture. But here now that yellow here. We're going to mix that up here and you can see the hairs forming here with my indigo and the yellow. That's okay but You mix it up, you get a very feeble yellow line over there, and I want to do the same thing and mix this over. You can see I am mixing it over and I'm bringing that color in. This is why I said that this entire thing is tricky. Also, when you add in indigo, it will mix up with the yellow to form like slightly greenish color, and that's exactly what we want. We want it to be not completely yellow. But we want it to be depicting the greens, greens, such that it's a different kind of green when you mix it up with the cadmium yellow, and that's what we're doing right here. You're going to grab that and blend in the green as well. Can you see how I'm blending? Yes, it is really, really tricky to get all of these colors to blend in. But everywhere that you have the color, you are going to have to slowly blend in. You see that. I am blending in right here. Go to put in a little bit more yellow blue there. Then going to grab in a little bit more of the yellow. I'm going to bend in there because it needs to dept whatever is there at the top region. Got some nice colors, and we have some nice blend here. It's got blend. I want it to be nice and white, so they're just creating a gap there. So long as you keep moving your brush and adding your paints, you should be able to get a nice let. Always look at your paper at an angle. I have my paper here at an angle and I can see the areas where it's still wet and the areas where it's still drying up. I'm always able to control the amount of water on my paper, and that's very, very important that we do that because otherwise, you won't be able to judge where it is that your paper needs the strokes. Here, I'm going to grab a tiny, tiny amount of indigo. It's right here on my palette but don't want too much, and I'm going to add just right here on the top because I'd like it to be slightly greenish. Then again, transition to the yellow part over there. The angle that I have on my paper is going to really help for creating those strokes. Can you see, and we have a nice amount of white there and here I've got a bit of a hair, hairy structure. Let me try and blend that nicely see. Then I definitely need a little bit of a pink again because this area is gone and this area as well because I know that what's going to happen is when this dries up, all of these pink and these shades that you see here, they are going to be literally light. I don't want that. I want it to be nice and white print. That is why I'm adding over the top again. Yep. Then let's see, where else can we add? I see that there's a very, very lighter stroke there. So what I'm going to do there is I'm going to add in ultramarine blue. But first, let me just clear on my ultramarine blue because it's contaminated with one of the previous paintings that we did together with a little bit of a white on the top. And here, abbing the ultramarine blue and going to add like here. In between that region, going to give a bluish stroke. I know that this is possibly tough again to keep mixing, but trust me, you can do it, wrap more yellow, if you see more hairs forming and you need to blend those hairs in. Can you see how it's turning out? The same across on this side? See that, see the blent, and see how the sky has turned out right now. I know it looks a little bit on the tougher side, but if you do it, and if you try it, if you practice it, you're definitely going to get it. It's all about controlling the water. And if in some areas, you actually see that your paper has started to dry out, then by all means, do not go and apply the paint. I'm still working on my paper because when I look at it at an angle, I can see that there are areas that are still wet and I only work on those areas. But if some airs are dry, then I make sure that my brush is dry. I have my clothe here. When I'm going out of the frame here, my hand is going over to the clothe here that I've get and it's drying my brush. For example, here, I am adding, you can see, and I'm using a dry brush to go over and blend that region. There and the paint that I'm picking up right now is also like A little bit of a dry state, not watery paint. Always know the amount of water on your brush and the amount of pigment on your brush. How much are you putting onto the paper et cetera? Here, I've dried out my brush again because I want to soften this line out that I just applied, and that is only possible if I dry my brush because my paper is now literally starting to dry out. You can see here how it turned out, or, see that. Now, our main job is to go ahead and dry this up. Before that, let me just go one more on this area because I see a lot of hairs. I guess that's it. I'm not going to work on it a lot more in ruin this thing. Now let's go ahead and quickly dry this up. There you go, see how it has turned up after drying. I really love it. These paintings I'm using the academu mellow. Can you see how vibrant that is because cadmium mellow is opaque. The opaque pigments have a little bit of an extra vibrancy to them as opposed to if you look at this yellow here, and if you look at this rose here, rose has kind of gone to the deeper edges of the paper as in absorbed into the paper, and it's very light, whereas the cadmium yellow is really, really vibrant here in all of these areas. See that. And I also love this white paste that we've left behind. So it's really tricky process to have this painted like this one, but I'm really guessing that you can do it as well, so not to worry. Then the next color that we obviously need is a nice amount of paints gray, but I'm just going to clear this bit here because that paints gray is a mixture of white as well, which I used in the previous maze painting, if you remember correctly. Just going to get that off my palette. All right. That's cleared up, and here I'm grabbing paints gray now, and you can see it's fresh paint gray, and it's really really watery mixture because that's what I want to start with, and then we will try and make it ta. You see the split where we created the reflection part, like this pink shade. That's exactly where we want the line of stroke to be. This is the reason why I actually did not make a pencil sketch because if you did a pencil sketch, then all these strokes that you just did, you would have to follow along exactly that horizon line that you made. Whereas in this way, you are free to now, go ahead and make that horizon line. There just going to choose it up and then now I need to make it straight. There. That's much better, isn't it? Then going ahead and applying. Do not pass too much over the top. Else you're going to disturb the underlying pigments. So we do not want to be doing that. Okay? So I've just added like a bit of a horizon line, but I guess it's a bit slanting here I can feel. I'm just going to try and ah. My OCD is making me do that. A. That is better. I feel. Now, going to grab in a little bit of ultramarine blue, and we're going to start over on this side, and we're going to create some strokes. The stroke that I just applied it's wet, isn't it? Now we're going to create the water element, and you are going to be doing that with just ultramarine blue and adding some lines like that. Start with bigger lines at the bottom, and then go ahead and make them teeny tiny, and smaller towards the tip. Can you see? Wash your brush after a couple of lines cause you're literally picking up paint as well because you're running over on the top. All right. I think I'm happy with the way that we have added the water. Now, all we need to do is like wait for this water to dry out before we can add in those little rocks and things in the water. There you go. It's completely dried up. Now I'm going to grab in pain in a nice consistency because I want it to be black. I am going to start. I'm going to start right here at the right side and create a Rocky texture here. A little rock there on the water. We obviously need to create some reflection, but we'll do that and maybe another one over here. That's not extending out. Maybe that's like a land region, something like that. Then I'm just going to lace in some more. What I'm going to do is, I'm going to try and create a little pathway of rocks. Remember, it has to get bigger as we come towards this side because guess what perspective. Not just rocks, I think it gets bigger because the landmass is also getting big maybe. Then again, so smaller rocks, and then you can add here as well. Let's add another one over there. You can see we've added in a lot of those rocks, but can you see how they are not real seems unreal. That's because it lacks the reflection. Now I'm going to grab paint, but I'm going to make sure that it's watery. I've added back the water and using that watery paint, I'm just going to go over underneath these rocks. And just add in with paint screen. Can you see As soon as I've added that reflection, it actually looks better, isn't it? Maybe join that bit and not to all of them. You can see. Just add in this one and definitely this one here needs a reflection. Now it looks much better, isn't it with all those reflections kicking in there. We're almost done. We only just need to add in the stars now, and we will be done. I'm going to go ahead and use my white paint and drop in some stars. As I said before, since we already have a lot of colors in the sky, I'm only going to do it with white, the stars again, and all of these stars, I want most of them to be on closer to this black region. Just randomly put in a lot of stars. I guess that's enough. We don't need to add in a lot more because it's the light sky, so there's are the stars that are actually showing through the lights. They rarely happen like that. We're done. Let's quickly dry this up and then we'll remove the tape. And there you go. It's completely dry. So now I am going to remove the tape. And here is the final painting. Can you see how those lights have turned out? So I know that that bit is the difficult part, and we've finished as well ahead of time. So I hope you enjoyed painting this one with me. And thank you so much for joining me today. 21. Day 16 - Ethereal Dance: T Hey, hey, hey. Welcome today 16, this here is the painting that we're going to be doing today. Let's have a look at the colors that we need for this one. So we need transparent yellow, transparent orange, wencrodon rose, cadmium yellow, Sap green, paints gray, burn Ciena, transparent brown, and a little bit of violet and white quash. I know it's a lot of colors for today. But because we've got so much drama and magic in the sky, we actually need So here you go, Let's get started with this one. All right. Let's start. We're going to add in a horizon line for this painting is just because I want to create a split between the land and the sky part. So here, I'll probably add that one scale length as you can see. Just a tiny tiny bit at the bottom, and that's all what we need because the rest of it is going to be the sky region. And then now we'll start by applying water onto the paper. So we're going to apply to this top surface here. And I found my larger brush, so I'm going to just use this larger brush and apply water onto the paper at the top region. Above this line, not below. So we're only going to be painting above that line at this point. So go ahead, use the larger size brush you have and apply a nice consistency of water. Today, we probably might need a little bit more than a sheen of water because we have a lot of wet on wet strokes to do, and it's going to be quite difficult for achieving those blends. But we want to play with water. We're going to let that water move around and create those nice gouges lights in the sky for us. We really, really need the paper to be nice and wet. You can actually do the trick that I mentioned before, which is to wait for your paper to dry out a little bit so that all the water gets into the fibers of the paper, and then you can reapply the water. The second time onwards, it's going to take a little bit longer to dry out. That's one thing that you can always try out. Here observe my hand here, which is holding this paper at an angle towards the top. In this project, we're going to be definitely needing a surface to hold our paper on because you need a lot of twisting and turning to do. It's going to be really fun. Here, I am reapplying the water again, just enforcing it multiple times. Probably you want to take a little bit of a time to make sure that your paper is nicely coated with water. Stick a little extra time to do that today. It's going to be really helpful, but always no pools of water. That is why you need to have your board tilted so that if at all there is any axis, you can always go ahead and absorb it with a clothe and not have any back runs between the painting process, which is really important for us. Here I'm applying the water, and I'm applying it vertically upwards as you can see, but I will make sure that there is no pools. Don't need a pool of water. I just need the paper to be wet. That's all. There you go. Done that. Then I'm going to just grab my clothe and absorb any excess water along any edge. There you go. Now, I am going to shift to my smaller size brush. This is a size six brush. I would advise going to the lower medium size brush for this purpose. Now I've put my paper down for the time being, but then we'll have to keep lifting. Keep your hand ready to be lifted. I mean, lifting your paper and your boat, et cetera. Here, I'm going to be starting with a nice amount of yellow. Hey, look, I cleaned my palette today. We're going to be starting with a nice amount of yellow, and which is going to be adding that yellow over to that left side. First, let us add it in a line. Here, just observe the way I'm using my strokes, just doing these swift left and right motion. Keep your wrist free and your hand able to move in different directions. That is going to be really helpful for you. Then washing that of going to grab a little bit of an orange at this time. Here now adding orange on top of that, that yellow becomes really like a little bit of a streak of light at random places. That's it. Okay? There it is some orange. Now we need to get back to adding more things on the top. So if at all, you start noticing that your paper starts to dry out, go ahead and apply like, you know, once more. Never let your paper dry. That is very, very important. And now, again, go ahead, grab your board. Always have that angle towards the top. You can also put something over underneath and keep that angle always so that it is always tilted upwards, but in this case, I am just going to use my hand and, you know, hold. If you feel that yellow is lightening up sea, I feel that I've got a little bit of a color that's flowed out and gone down. Here I'm just going to grab the yellow again and I'm just applying it there and we'll start with the yellow as well. Again, over to the sky region and just grab the yellow and also I'm reapplying the water, but because of the angle on my paper, it's not going to flow down where I've already applied the paint to ruin any part of my painting process. It's fine that way. So we're just advancing one at a time onto the different kinds of northern lights painting. Here, I'm just going to add a little bit of yellow tone, and you can see, this is now going to spread towards the areas where there is water and because of the angle, it's going to flow towards that side. That's absolutely fine. Now we're going to grab again the next color. Here, we're going to grab a nice amount of pink shade. I'm going to put that on my paper. Here grabbing that pink shade and I'm going to go follow along like a line. There a little bit over the top as well. Here, I've added a streak like that. Do you see that? Then another streak again over there like that, and then another streak like that. We've got multiple streaks now, all right. Now we're going to grab the next color. We've got to work quickly in this. Here I'm grabbing a little bit of a sap green color. Here grabbing sap green. I should have probably grabbed the other color first, that's okay, which is cadmium ellow. We've already done this mixture before. Caddo plus sap green giving us a very nice lighter greenish color. I want to make that greenish again, but this time a little bit more towards the green side. This is why I'm mixing a little bit more of my sap green. I've got to make sure that I mix it up nicely, not have too much of my green, or too much of the yellow. There mix it up nicely, and then I'm going to grab that. I'm going to put that over the top. There, little bit over here and where else, I have a little bit there and a little bit there. That's a lot of color. Now there is something else that I need to do because the region here, which we painted has started to dry out. We need to go ahead and wet that again wet as in. Just reapply the paint and it should do. Here I'm reapplying the paint, and I'm applying paint on top of the yellow and the orange. That's going to be fine because even if you apply on top of the orange, it'll still be visible. B the orange is a dominating color, so the yellow is not going to get rid of that orange. Here, we've applies some nice color, and can you see the water accumulating there at the bottom, but you can always go ahead, use your brush, absorb the excess water, and there I'm absorbing it. You can also use your tissue or your clothe just to go ahead and absorb the excess amount always. We've got a nice sky at the moment, but we've lots of work to do. Here now I'm going to grab my paint cree. And we're going to apply it towards the end. Like here, going to apply along the edge. We're going to apply here as well, and this is what is going to create that depth in the sky. And We're going to take that paints gray over to the region where we've got that nice gray area here. Did I say gray? I mean, the yellow orange area here. We're still going to be making it a nice night sky, but when you mix it with a paints gray, you get a slightly greenish tote and that's fine because this is a northern lights sky. You're fine to get nice brown or a greenish stone there. Then here, again, grabbing my paint gray, adding it to the places. So you see, we've got multiple color strokes here, but always, I've got this angle on my hand. For the board that we're using. And just going to add. As you come towards the bottom, gradually blend it in and it's going to probably make a little bit of a greenish stone. That's okay, but just go ahead and blend that in. Can you see how I'm gradually blending that in? Then I've gotten rid of all the paints gray as I approach toward the center, and I'm just going to go ahead and make it subtle. And blend it. See, we've got a nice blend and we've got some nice lighter colors towards the horizon. Now, we need to work on this whole thing again and make sure that our painting is vibrant. That is what I will be doing now. I'm going to grab the color that we just used in all of the regions. Here I'm going to go back with my green here, apply more of the paint. That's the yellow, that's a little bit of a green mixing that nicely on my palette, applying here. There was this region. Then where we had this region, applying it multiple times, which is very important if you want your painting to be vibrant. Then done with the green, going to go back with my pink now. Here grabbing the pink. We'll add that. That's the quinacodon rose color. Grabbing the quinadon rose over here as well. So the tilt on your board is what is going to be helping. Also, remember, water control is very, very important. Now you'll see me reducing the amount of water on my brush. See, I'm reducing the amount of water on my brush, now I'm starting to go ahead and apply a, very, very creamier or dry consistency of the paint because I want my paper and my strokes to be blending because this ultimately is going to turn out very, very light in the end. And we've got to be giving it a little bit of opportunity for it to not dry out. I know this northern lights painting is probably a bit on the tougher side, but you can surely surely do it. It's just a matter of adjusting the amount of water on your paper always. Here, grabbing a little bit more of the darker color. What I'm going to do is, I know that I applied paint scra but then eventually that paint scy is going to turn lighter. What I'll do is, I'm going to grab a little bit of a violet shade and I'm going to apply to this edge here. That that edge really becomes nice and dark, but always make sure that the color that you pick up is nice and in a very, very creamy consistency without any water at all, because if you introduce water into your paper, it's not going to turn out in a uniform manner. See here what I am doing, just blending that region, going to grab the same paint and create a nice blend over here. And you can always get the help of gravity. Like I said, so see, gravity is aiding me to do that. I think I won't disturb it too much. I've got some nice little hay structures here. Can you see how it's like a hay structure and a lot of colors in the mixtures, and yellow strokes there. Just making sure that I am able to blend it. If after the first layer of paint, you are not able to blend it or your paper has started to try out, leave it as it is. Do not go ahead and reapply and try to work on it because the more you try, the more the whole thing is going to mess up on your paper, which we do not want to do. I'm just going to grab a little bit of the paint and I'm going to create a split between the green right here. There, I like that. Just going to create a blend with the green again. I just want that split to be very subtle. I love that. There. Now the whole thing is just very, very subtle. Keep your paper at an angle and make sure that you give it nicely and you can see, now that's work how that's worked out. I guess this bottom part where we had applied, the yellow is actually starting to dry out. Now you can place your paper back down and we will work on the background region of that. How we're going to work on the background is. You remember I put a lot of lighter strokes there. We're going to paint it with the wet on wet itself. But if it is dried out, it's absolutely fine. You can just paint it with wet on dry as well, it's fine. Do not panic about this process. Here, I think I can see that it is still a little bit wet. You can see a tiny, tiny amount of softness there, and that's what I'm going to be utilizing. Here I'm just adding my burnt cena at the center. As I'm going to go towards the left side, I am going to blend it with a darker brown. That darker brown is transparent brown or burnt amber, and there I transition to that darker brown shade, and I'm going to take it slightly upwards like that. It's just that those lights are casting a really lighter area in the middle, which is generating that lighter toe of Burnsena. You want to create a blend there right in the middle. The same along the left side. I think I'm along the left side. I am going to create a little bit more of a bushy structure, so see I'm doing this and just just a tiny, tiny amount. There. Then I'm just going to join that in and take it to the Persa again, blending that. Now you can clearly see it's the center area that's got a very nice light source. There. Can you see how we've blended that thing? So you can grab a dark color, darker darker darker transparent brown. If your brown is not dark enough, go ahead and mix it with a little amount of paints gray as well. So what I'll do is, I'm going to grab a little bit of a paints gray as well, and I'm going to put it along the very edge here because this edge needs to be nice and dark. I mean, both the edges. Here, just grab a little bit of a paints gray and I have applied it, so it transitions from kinds of black, which is beans gray, of course, to the brown to the burn Cena over there. Do you see that? Now, what we're going to do is we're going to wait for this thing to completely dry out, or in my case, I'm going to dry this out, and then we'll add in the foreground and everything. All right. There you go. I've somewhat dried it up, so now let's go ahead and paint that foreground. Be there is a lot of light there and because we want the foreground to be a little bit of a warmer tone right here in the middle, just like the burn Ciena, we're going to start with a nice olive green color. I'm going to put that olive green right there in the center. And that is what we are going to start blending with. Here, starting with the olive green right at that center, then we are going to transition in to the dark sap green. Here grab the sap green and go ahead and apply it to the other areas. But it's not going to be this bright with the sap green. B it's a night scene. When it's a night scene, your painting is supposed to reflect that night and the depth of the darkness. Here the olive green and this sap green is just meant to be like an undertone for now. Here I just grabbing my sap and adding and mixed it into the olive green. Now you can see there's a lighter, lighter, lighter tone there with the olive green right there, and blended. Then we'll go ahead and again, now start with paints gray, grab the paints gray and add it in to your paper and blend it. Like I said, that green sap green that we just added was just an undertone. We want to be using paints gray and it's going to be mostly darker. In all of the areas because it's night, of course. Here, just grabbing that and adding the color. As I approach towards the top, I've removed the paint scrap from my brush and I'm just going to go ahead and blend it like that. Can you see how I blended that entire thing? I think I'm going to grab a little bit more of paints gray and add it to the extreme bottom parts, and making sure that I blend it. Also to the edges here, I only want the center part right below the burnt CNR region. That's where we want it to be light. The rest of the regions, you can just go ahead and create a nice blend. Okay. But here you can see it shouldn't be that evident as well. So make sure that the blend is really smooth and does not have a clear cut edge to any part. See that. It's just a subtle lighter area, and that's exactly what we want. Just a very, very subtle lighter area. All right. Now that is done, and we'll just add in that for ground tree over there. I'm just going to quickly dry this up after which we can dry add in the tree. You know what? You can actually stop here if you do not want to add the tree, that's absolutely fine, but I'm just going to go ahead and add in the tree as well. All right. There you go. It's tried. Now I'm shifting to my smaller size brush and I am going to be applying white paint at first, as in stars. Because I just don't want to add in the tree first and then add stars on the top and then I have stars on the tree as well. This is why I refrain from doing that. What I do is, I'm just going to grab my white paint at this moment, some random stars. Maybe a little bit on this part of the sky. We want the stars to be mostly towards the black region. Black in this case is the region where we apply the paints gray, of course. A little bit here a little bit here. I think that's enough, not too much. Maybe one or two larger ones, but obviously, I'm going to keep that to my black region. You can see that. Okay. Just grabbing hold of one of the stars and making that bigger in the sky. There. We have got that done and now we'll finish off with the tree. The tree can be anyway that you want. It's completely your choice. What I am going to do is, I'm going to grab tree branch right in the center. Today, I'm going to go for the center. I know it's not that best for the composition, but I think it will look good right there in the center. Here and then let this go all the way up to the top. Can you see how I've tapered it all the way as I went up. Then we're going to have multiple branches on this one. Here. This one can have multiple branches and there it goes. Automatically, I created a split over there. That was not bad there. Just going to add another thicker branch over here. The thing is, if you're adding a thicker ranch, make sure that branch goes and makes another the bottom part needs to be always thicker than the rest of it. You can see I've clearly done that. B. B think I'm going to probably switch to my line brush at this point because this is starting to be a bit thicker. I'll just switch to my liner brush and grab hold of the paint grave, which will make it easier for me to draw a lot of tiny lines. Then just going to add without any thoughts whatsoever. Can you see? Oh. H added some nice lot of branches there. Now I'm just going to put in tiny dots at random places. I just don't want it to be completely. Maybe just a random places, things that are yet to be fallen. I don't know. Then once you're done with that, you're going to grow back my size four. I'm going to use that same paints gray, and I'm going to apply at the bottom there. Remember, we did apply a nice darker tone, but I'm just going to go ahead and put in little color. This is not the shadow. This is just a little blending of that bottom part because I wanted to make it look as though it's blended into the ground there. But for the shadow, you can actually just grab in pale gray and choose aside. I'm guessing this is the part where it's called the nice lighter yellow color. I'm just going to make that direction like something of that sort. You need not complete the thing. Just add in a bit of a shadow and blend that. I know this probably looks a bit tough, but I'm sure you can do it. There you go. Our painting is now complete. What I'm going to do is I'm going to dry this up because we've added some dark nice strokes here, then we'll remove the tape. There you go. Now I am going to remove the tape. And there you go. That's our final painting. I just love the light and these regions, how they lend into the sky. So I know the lights are really difficult, and if you're taking a long time to do the lights, just skip the tree and try to get that lights in action. So there is a lot of water control element here. And I know there are lots of people who actually believe that, you know, achieving water control is like an intermediate or an advanced stage. Trust me, it's not. It has to be acquired as a beginner and only then you can create even more advanced paintings. So That is why I wanted to cover this and I know that it's probably difficult, but get back to me if you feel that this is tough and I'll definitely try to help you out with that. Thank you so much for joining me today and I'll see you in the next day. 22. Day 17 - Purple Flares: Hey hey hey. Welcome to day 17, and this here is a painting that we're going to be doing today. So it's actually quite simpler than the one that we did the previous day. But I thought that, you deserve to break after the one that we did the day before. So let's have a look at the colors that we need for this one. So we need cadmium yellow, acroon rose, violet, lavender, and just white ash. That's it. So let's get started with this one. All right. Let's get started. So today, there is no pencil sketch. We'll just go ahead and approach it. Directly. So here I'm just going to go ahead and apply water onto my paper. Take your time to do this again because we do have a lot of lending to do. But I think probably it might be easier than the one that we did in the previous day, which was yesterday, of course. Okay. So just go ahead, apply a nice amount of water. Dil divot again if you want excess water to flow out of your paper, take your time and let your paper soak in the water nicely. Then obviously absorb any excess water. Here I'm just going to use my clothe. Absorb the excess bit of water here on the sides of my paper on all the four edges, very important because I did not want any back runs, and now we'll get started. So I'm just going to go ahead and grab my larger size 12 brush at this point here. Okay. So today, we're just going to be dealing with that large size brush, and probably the blending is going to be much simpler than the ones that we did in the previous day. So I just cleaned up my heaving because it was mixed with the green paint that we did from yesterday's painting. So now, There, I've got a nice clean slate of the cabin lido, and that's what I'm going to be starting with. Here, some strokes like that. Some strokes like that. Then onto the sky, something like that, maybe something like that. And another one like that. That's it. Then a little bit more down there. All right. That's it at the moment for the cadmium yellow. We might grab some more later on, depending upon how it turns out with the violet that we actually mix into it. Here, I am going to grab in violet and we're going to start at the end. Go ahead, start at the very tip. But then after that, once you start reaching towards the yellow, go ahead and mix your violet with the quin rose or the quinacridone rose. Here you get this beautiful red purple shade, and that is what you're going to be adding there. Can you see, and I blended that in. We're also going to be leaving a large amount of white spaces. Here I'm blending on top of that cadmium yellow that we applied there. A red, nice, red, purple shade. That's what we want. Here, as I approach the top, I'm just going to leave a nice gap, which is going to be white, maybe a little bit blending towards the top then back. You can also do it in another way, which is basically to grab your pink for now. I'll show you that second method now. Which is basically what you're going to do is, you're going to grab the pink and you're going to apply it onto the paper. Now you're going to apply it onto the areas in between. There I needed to be nice and watery, only then it'll start to flow in the way that I wanted to. Here, just grabbing that and adding the same these regions. Then I will also apply to all the areas at the bottom. So minute strokes. The strokes of yellow that we had are now really really gone, and we've covered up our paper with the pink stroke. But before we add in the violet over the top, we need to blend in the yellow and the pink. Here I'm grabbing my cadmium yellow again, and we're going to just lightly blend those regions together. But we need it to be more yellow than it is pink. Make sure that your venue blending, you have a lot of the yellow areas seen together. Here I've just blended. Then I clean my brush every time because I do not want to get rid of the yellow. Here, I'm just going to go with my brush and do that and wash my brush repeatedly, and then I have my clothe right here, which I'm using to get rid of the colors and see. I am going and creating that blend there. That can you see, it's more seamless. Again, on this side as well, need to create that blend, wash my brush because I'm picking up paint, the same over here. Every time you pick up paint, wash your brush. Some areas, you might lose the white of the paper, which we actually deliberately left behind. That's okay. But this one involves a lot of softening and matching the shades actually. Maybe this is the area where we'll actually leave the white of the paper behind. Can you see that? There blending. Now we've blended it, now we're going to go back and add in the hillet. Here, just going to go ahead and add in the viilet, but I want to add it away from the yellow at this point. There that area quite tricky, but I've added as a line. Now we'll spend some time to go ahead and mix that up. This is the second method I said where you can add in the pink and then later on add in the vilet over the top just like this one. Se now we've added a nice violet over the top. Let me grab some more violet for this edge right here because I want it to be nice and dark over on that edge. Now, done with the violet. Now I'm going to grab back the Queen rose and blend the regions where I applied the violet. I'm also going to use the tilt on my board to get the colors in. We see here, for example, just going to use the tilt on my board. And I love the way that these hairs naturally form by itself. Here, just going to blend a edge and let it naturally blend. Make sure that when you're blending do not use too much water and also make sure that you do not apply too much color. You need to salvage all of those things. Having that angle or tilt on your paper is really helpful because if at all there is any excess water, it flows around rather than when you keep it on the floor, on the surface. It doesn't get the chance to move around. But can you see how we've got that nice hairy structure. I'm just going to hold my paper at an angle like that. Even if I'm going to be drying this using my hair dryer, I'm going to keep this at an angle because then it would just having all of these hairs and everything. So if you're going to be waiting around for your paper to be drying out, go ahead and place something really large underneath your board and leave it like that for it to dry. So we're done with the sky now, so we're now going to be drying this whole thing. Hey, there you go. Our painting is now complete. I can't believe how quickly we've done this. I mean, this is really quick. Now what we're going to do is we're going to grab that violet and we're going to mix it up with the same color and we're going to create that red pupple shade. Here we're going to grab that queen rose and here is that gorgeous red purple shade and we're going to be using this to paint those mountains. Here we're just going to add a mountain shape. I'm going to do that with my brush itself as you can see, because it's not really important that you get perfect shapes. And I'm going to leave strokes like that so that that yellow at that point is seen. For that, what I'll do is, I'll go ahead and blend at the bottom like that. See what happened there. I've blended at that bottom area there, that yellow region where we applied that it's going to be still visible. That was one layer. We need another layer of mountains. We'll dry this up and then we'll add in another layer of the mountains. Right. There you go. It's dried up. The next layer of mountains is obviously going to be just pit violet, so I'm going to mix it here. Because I've grabbed a large amount of violet, even if I'm mixing it onto my red purple mixture, it's still going to be dominant violet shade. That is what I will start with here. My mountain is going to cross over onto the one that we already have. I'm just going to create a nice shape, go over like that, in like that. But still going to salvage my yellow areas. Here, the mountain goes something like that and joins there. That was a little bit too steep, but there you go. Then painting the inside part with the nice violet shade. Obviously, the some parts of the yellow over on that mountain area is going to be gone, but that's okay. Added the violet. But before it actually dries out, you can go ahead and continue with what we're going to be doing right now, which is basically, I'm going to grab in some lavender. Lavender is like an opaque version of the violet. It's just actually equivalent to mixed with violet and white together. If you do not have lavender, mix white with your violet, and you're going to get this lavender color. I'm going to use that and over to the top and create some nice strokes on my mountain. Going to be a little bit tricky. Some areas are going to be wet, some areas going to be dry, but that's exactly what I want. Can you see how that's done that? The same at the top. Not entire areas. Some of the areas. Now, over on this peak here, make sure that the lavender is towards the right side there. I will tell you the reason in a while. It's just because we've got the light source here, which is right there, so it's going to cast a light onto that mountain and all of the lighter regions are probably going to be towards that side, isn't it? That is we've got some nice lavender strokes over there. Taking some colors and adding. When we add it on top of the violet, it's going to be subtle at the bottom and not that light as it is at the top. That's because I painted the top fair, so it's had actually dried out, but the bottom is not dried and I'm getting wet on wet strokes. The wet on wet strokes are going to be light and they're going to be still darkened up in the end, and that's very good because the light is coming from the top. As you're approaching the bottom of the mountain, the light gradually decreases. It works in a favor. When you're painting the mountain, make sure you paint the top portion first so that that is the one that's drying faster than the one that is at the bottom. It's all about the timing everything. You can control so much with watercolors. You can just see like what I did there. I painted that first at the top because I knew that once I was painting at the bottom and everything, my top would dry out faster. Then when I apply my lavender, my lavender on the top of the mountain at that region would be more dry than the ones at the bottom. You see how that works. It's all about timing, and that is the biggest lesson I wanted to convey today's lesson. Then Now I'm going to grab a little bit of white. I'm going to go and give some nice white lighter areas. I'm just going to add that over the top again at the top, you can see just some of the areas. You can also go over onto the bottom. Now the bottom is now even more wet because you just added the lavender and you don't want to add it in all the places. You can also see how subtle and small I'm adding here over to the right again. When this dries up, it's actually going to be very, very light, trust me. Okay. Added a nice speak. Now, what I'm going to do is, I'm going to wait for this to dry out, and then we'll add in some more. There you go. I've completely dried it up. Can you see that even that white that we added, because we added it on top of lavender and the Tark illet. It's still not that pure white. It's turned into that subtle violet shade mimicking the colors of the sky, which makes it so perfect, isn't it? But let's put in a little bit more of the tiny areas of white. Okay. But this time it's going to be dry strokes? You can see the paint that I'm grabbing is really dry, and that's what I want to put over there. Okay. Just a tiny amount of dry stroke. In fact, I'm going to grab a little bit of cadmium yellow, and I'm going to place little bit of the lighter strokes there. I think that was a bit too much. Just going to grab that and blend it. Maybe I'll use the nice white and blend it. Then I'll just get a little lighter tone at some places. This is because you need to have the reflection of the yellow as well on the sky. Otherwise, it's not going to make any sense. It's not just a violet, that adds in the reflection light also has an effect on the snowy parts of the mountain, isn't it? Now, that is perfect because this light here is right there next to the mountain, and it's really dominant, so you need to have that yellow stroke on the mountain, and there it is. We're done. Only left thing. The only thing left to do now is to add some stars onto the sky. Done, lots of stars and all the mountain and everything done and there. Because there's nothing that we applied towards the bottom, and I think these have dried up. Oh, yes, we tried it. I actually forgot that we tried it up. Let's go ahead and remove the tape. And there you go. It's completely dried up and tape removed and all done. Oh, I just love this color combination. Somehow. I think paintings whether is yellow is kind of like my weakness. I love it. Okay. So there you go. I hope you enjoyed painting this with me, and thank you so much for joining me today. 23. Day 18 - Citrine Glow: Hey, hey, hey, welcome to day 18, and this here is the painting that we're going to be doing today. So it's a little bit more advanced as in building on from the knowledge that we did the previous days. Let's have a look at the colors that we need for this one. We will be starting with Qadim yellow, green, Indigo, a little bit of Hello blue, and finally, paint screen. And obviously not to mention white ah is needed for the stars. If you're ready, let's get started. All right Let's start. I'm going to quickly apply water to the whole of my paper. We don't have any sketch today as well. We're just going to apply water to the whole of our paper. I'm just trying to show you different ways in which we can paint the foreground and the background. You obviously know that there is a foreground in this painting, and I want to do that completely with my brush. That is what we're going to be doing here today. Here I'm applying the water onto the whole of my paper. So there you go. I'm applying and I will let that water sink in nicely. So you can have an angle to your board if you don't want the water to be accumulating at one area. So make sure that there aren't any large pools of water on your paper. That's very, very important, which is why I always have this tilt on my board whenever I'm applying the water. And I will also use my clothes to quickly absorb the excess water from the edges, which is here accumulated on my masking tape right here. Okay. So there you go. I have absorbed all of the excess water and now we are going to start. This is a little bit tricky again because now we're going into a bit a little bit tougher than the ones that we've done previously, but that is why I wanted to cover it like in a series where you're dealing with one kind of northern lights and then you go into a little bit more matured in each of the stages. Here we're going to be starting with a nice pink shade. And this pink shade, we are going to apply. Observe how we're going to be applying this pin shade. Here I'm grabbing my pink and I'm going to apply like that. And maybe a little bit over here. That's it. Then we'll go ahead and grab in our cadmium yellow again. We're going to make that sap green color again because ideally, I would use the talo green light from inular, which is kind of like a really gorgeous beautiful color. But because I'm refraining myself from using any other colors other than the ones that are here on my palette, I am going to just use these ones. Here I'm grabbing my yellow. What we're going to be doing is Instead of mixing that up green into it, we'll do that on the paper. Here, just going to grab that and I'm going to do it like that. Observe the direction in which I'm doing that. Then the same along here. Here, something along those lines, like that. Then maybe here, I'll try and create a line maybe there goes and another over there. Another over there. See, this is it's fun, isn't it? I mean not knowing how the end result is going to be. That's what this is, I feel. Then next thing we're going to do is we're going to put in Sacrin on top of that. Sacrin is not that working, so I'm just going to grab the dark green here. It's almost as equent a sacrin. So go ahead and use screen at this point. Here I'm going ahead and adding on top of that. See what I did there, and we're going to do the same thing with our yellow and green mixture, and I'm going to go ahead and add it over the top like that. And grabbing a little bit more and going to do the same over here on that one. That was hilarious. Now we'll go ahead and grab in indigo, and I'm going to put it into those regions or the gaps where there is no color. There I'm starting with indigo as you can see, and then I'll go over and apply along the edges. That we have on the right here as well. So I'm going to create these star like shapes. I don't know what I said stars, but what I mean is these pointed shape, and that's what we're going to be doing. See what I did there. Going to do that, and we're going to cover up all the white areas now using that method. Here and the same continue over the top. All right. Yes, I know this looks a bit tough, but trust me, you can do it. Just go ahead and put your strokes in this manner, and there. I've covered up that region as well. But careful as you come towards the bottom, you don't want too much. Here, grabbing my intego and the same Make sure that your entire paper is nice and watery, and it's still not dried up, because we are going to have to blend this. So you can use the angle on your paper to go ahead and mix these colors in. So first, let me finish that. Grabbing a little bit more indigo, but notice how I've lightened up my indigo as I reached into this part. Okay, very important. And then as I approach towards the bottom, I will typically decrease the color tone. What I'm going to do is, I'm going to grab that same mixture. But this time, I think I'm going to mix that yellow in there and I want it to be a little bit cooler. I'm adding a little bit of indigo as well. Not that great. Let me grab a little bit more *** yellow. And a bit of indigo. I want it to be a little bit more bluish. I'm not getting that perfect color that I'm looking for. Maybe I'll add a little bit more yellow blue in it. That's probably right. That is what we're going to be applying here at the base. See what I did there, just applying that mixture. That is indigo, plus cadmium yellow, a little bit of soft creen, and a bit of yellow blue. Oh, my God. I know it's a lot of colors, but that's what I've done, typically. So now we have all of these colors in the sky. We have got to go ahead and blend them nicely, okay? So here I'm creating a blend there. So keep your clothe in hand so you can really know what's happening. Maybe I'll keep my clothe there so that you know what I am doing with my blush, isn't it? So here, just grabbing that yellow a bit, washed my brush, drying my brush on the clothe. I'll grab in a little bit of paint gray at this point because I want this region on the left side here to be darker and so is the top region along the sky, that needs to be darker, washing my brush off and there, we go ahead and still blend this region. See how I blended that because I absorbed a lot of water, I have literally picked it up and then here we're going to do this with our brush like that and blend that. Because I absorbed water, I'm going to rub it off again and then go do the same thing. See how that's starting out, and Observe the angle on my paper at this point. I am holding this edge lifted. So we want to do the same thing. I'll grab in a little bit of the cadmium yellow because I want it to be more on the greenish side rather than the olive green side. Does the olive green, I mean rather than the indigo. There washing my brush and drying it off very, very important each time. Same along here. But do you see how we're deliberately creating those streaks and because of the angle that you've got on your paper? It kind of starts to turn and twist and you get those kind of kind of like a what do you line isn't it? Right. Keep going and here, adding. You can see how that nicely it blends into the sky here. Every time you pick up fresh paint or I mean, back from the paper, you've got to go ahead and wash your brush. I'm using the tip of my brush here to do this process. All right. That was a bit tricky, I'm just going to go ahead and continue doing that. I like the way that's turned out. W I keep doing that in some of the areas. And look at the natural bleed that it's created here. Do you see that? The color is subtle as well as we've approached this region and the sky and all of that is very, very subtle. Do you see that? I'm just going to try and blend this a bit more. I love the way it stand out in the sky, but I'm going to go ahead and grab a little bit more pink and add to this region here. Feel the color had lightened up. But need to wash my brush and make sure that it's not too much. The same here, isn't it? Here doing the same thing with the pink on to that yellow region. Got to do it some more. Working through it. All right. So there you can see, I am going to probably leave it like that, but if you want, you can hold your bruh des brush. You can hold your painting again in a bit of an angle like that and try to create some more of those hay structure. So this movement and this angle on your board is what is actually creating that. Okay. Then now, obviously, we said that we'd have a foreground element, isn't it? So in order to do that, in order to add that four ground here, I'm going to grab in pint grade. But make sure that the paint grade that you add is nice and really, really, really creamy mixture. We need to make sure that it's nice and creamy. Serve the consistency of the paint here, and that is what I will add. You know this line that we actually made for the foreground. So that's where we will add, and we're going to add upward strokes like this, which will depict like the background trees and some kind of plants over at the back because our paper is like wet but started to dry out. It won't spread too much. This is why you need to make sure that you're not applying a lot of water. Because if you use a watery mixture, then you're going to ruin your painting. You always need to make sure that what you're adding right now needs to be dry. This is dry on wet. The paint that I'm using is literally dry, dry paint, and that is what we're adding. It's just a little bit of upward strokes, trying to make it look like some of background trees there. There more upward. Needing more color because some areas are really spreading out and losing the color. It needs to be nice and dark pain gray color. There you go. I just noticed that this line is like a little bit not straight. I'll try and add a little bit more over to the right side to make it straight and here as well, a bit. But trust me, it doesn't need to be perfect because this is actually the background. There you go. We've worked on that. What we'll do now is we'll completely dry this and then we can add in some stars and the foe ground and we're done. Okay? All right. So now to the foreground, as you can see, we've just added some colors. So we need to add in a little bit more color. So here I'm grabbing my blue color, my talo blue, and this is what we're going to be adding. So we'll add it right up to the end where we have our the trees, and you go ahead and apply that dark color. Then we'll grab in a little bit of the darker indigo color because we need to give a nice contrast and create a little bit of a darker color towards the bottom to show the depth obviously. That's always needed. And here Now you can see, we've got in somewhat like a nice gradient, but we're not done there. What we'll do is we'll grab in a little bit of that indigo, and we're going to place it somewhere like right here in the center and another one there. These are the areas where there are the trees in our painting. I guess it's not the shadow. T me it's not the shadow, but it's just probably a ridge in the snow or something, which actually creates the which gives a gap for the tree to grow. So that's basically it. While that dries up. While that dries off. We definitely I'm just trying to merge that line of the foreground here, right there. While that dries up, I think we can go ahead and add in some stars. I'm going to shift to my smaller size brush, which is missing. There I found it. But that's the liner one. My size two brush is missing from my table. Okay, so here, I'm going to grab that. Okay? So this is actually Size six now. I can't buy my size two and my size four. Both are missing from my table. Okay, we're going to put in some nice stars, okay? I guess that should do, not a lot because like we've said, this is the Northern lights painting, and these are the stars like shining through so we don't need to show more. Now we have to wait for this to dry out, and then we'll add in some few for ground trees and wait done. All right. There you go. I've dried it up and I kind of und my size brush. Can't find my size two now. That's okay. We'll go ahead and add with our two brush now. Here, I'm going to grab in the color. Uh, it's paint gray, and I'm going to start right there where we actually made that ridge in the snow with the darker indigo. What I am going to do is, I am going to create like a branch that goes over to this sky. Okay. Region there. And then I'm just going to create some dry branches for this tree. That's what I am going to be doing. These are literally dry and make sure that you do it in different directions. Can you see, add it and then some dots at the end. That's what I am typically doing. And that comes over to the bottom and we get a solid edge there. We'll add in a couple more of the trees. I'm going to have one that starts right there and do not make any of these straight. We have got to add it they are not straight and I'll make this probably a little bit more longer and I've got to make it thicker towards the bottom as well, a little bit more thicker. That's how it starts at the edge and here, just adding prongs now. I think I'll probably add in a little bit more with the line of brush rather than this one. There was another one to be added here, isn't it? Like I said, remember, do not make it straight. I'm making this a bit slanted over to that side. Now we've got to adjust the trunk. Remember, the trunk has got to be deeper towards the bottom than it is at the top. Can you see now how that is definitely not a tree because there's something wrong with it. The trunk is thinner than the top regions, and that actually never happens. You should be always careful about that. What I'm going to do is, I'm just going to create some branches coming outward, like that, just like the one that we did here and then I'll put in some draw dots at the end, little teeny tiny dots. Doesn't need to be any kind of detailed. It's a little bit of a dry tree. All right. I love that. Now we've got to just add in branches. I'm not making it asymmetrical one and adding over to the left side. That's never my intention. Never go for symmetry when doing paintings. Now more of the branches. Okay. Tiny, tiny ones, towards the end. You can see how I'm adding them with my liner brush, which really helps for adding these branches. I think that's more than enough. The only thing left for me to do is to, you know what I always do, spread out the bottom little bit and blend into the background. So see what happens there. It's like the tree is again in the ridge. But then I blended the bottom part. I like to do that. All right. I think that's p it, what we're going to be doing right now. Is we will try this up so that we can then remove the tape. All right. There you go. Now let's go ahead and remove the tape. Hey, here you go. Here is the final painting. I hope you like it. And thank you so much for joining me today. 24. Day 19 - Winter's Gate: Hey, hey, hey, welcome to day 19. This here is the painting that we're going to be doing today. What comes to your mind when you see this? What is the topic of this week's painting? I know there's a lot of elements. There's snow, there's a sky and there's a landscape. What exactly is it? I'm sure that you're not going to guess it. But I wanted to in different elements, possibly something a little bit different from the previous hundred days. So this week's topic fence. Yes, exactly. I thought that it's also really good that we can cover different fences because this is in a straight line, but then when we deal with perspective, it's going to have so many changes, and perspective is going to come into play. So it's going to be really, really different. That is why I'm starting with this simpler one. You can see that the lesson is actually really quick. It's going to finish of faster, but then this is really fun, and it's really cute according to me, and all of these. So you can try it out. And so let's go ahead and have a look at the colors that I have used. So I've started with Hello blue. Paints gray, yellow ochre, transparent brown or burnt amber. And lastly, transparent orange. And that's it. Those are the colors that I have used for this painting. So let's go ahead and get started with this one. All right. Let's start. So with fast straw in the horizon line and then a little sketch of the fence that we want to add in. So the horizon line, I don't want it to be exactly at the center. So I'm thinking I'll go a little bit below the center point. This here is the center point of my painting of my paper. So I guess I'll go here and that is going to be my horizon line. There it goes like that. Something along those lines. That's my horizon line. Now, we need to sketch out the fence. Today, let's not put any complex perspectives into mind. Just going to quickly add in the fence the sketch of the fence. That's what I meant to say. Anyways. I guess I'm going to have that fence right here. Do not make it like perfect shapes, just a deny thing. I think the next one could be, it's not in different levels. It's just the snow underneath that's making it look like as though it's a different levels. Do you understand that? Here. Okay, that's too much of a difference. And then let's see the next one somewhere around here. Then don't make all of them straight. This one is slightly in a cropped manner. This one, let's say, it's again, it's cropped, so the string on it is kind of like pulling on it and making it slightly bent possibly. Okay. There you go. This is our sketch. The rest of it will add with our brush itself. Let's not draw with our pencil because then it will be difficult for you to go ahead and trace out on top of it. So let's go ahead and paint the sky part here. So applying the water evenly onto the sky region. Because it's not much over the sky region, I'm just going to rush quickly. I guess that's done with the water. I'm sure that that would be enough for me to draw in the strokes. I'm pretty sure that this painting is going to be super quick. Let's see. How much time I take. Here, I'm going to grab the thalo blue color, so that is what we're going to be adding a sky with. We're going to start right at the top. Then as we come towards the bottom, you want to re use and create lighter strokes. S, it's lighter as I come towards the bottom. As you can see, I'm applying more towards this right side. Then over to this left side, what I'm going to do is just drop in the tiny tiny shapes. I don't want it to be like lines, but rather some shapes like that. Then I'm going to wash my brush and to make sure I blend that bottom part in. We've got some nice clouds here, but I'm going to add in some shadow for the clouds. Shadow as in. These are the white areas that we see here are the clouds, but we need to give it a little bit of a shadow so that it looks more like clouds and we can add that with paint gray. I already have a little bit of paint gray here on my palette, which is what I'm going to be reusing, but we don't want it too much, so careful. So first, I'll just apply and then I'll probably spread it. See the way that I'm holding my brush at an angle, almost vertical to the paper and almost in the middle. Then just a few strokes like that, and then we'll be adding that into the middle areas of the white region. You can see how it spread and created those hairy structure, but I'm just going to a little bit of smoothen it out and blend it out a little because I don't want a lot of strokes as in too much color. This light light color that you see here is absolutely fine, and that's exactly what we need. Going to grab a little bit more of the talo blue to apply towards the top because I'd like that region to be nice and a bit more on the darker side. I guess that should do. We're done with the sky part and I think at the bottom here, I would like to add in a little bit of a background. I'm going to switch to my size six brush. Just the medium size brush. I was painting with the size 121, which is the larger size. Let's go ahead and add in a little bit of a background. I am going to grab yellow ker and that area, it's still wet. Here, what we're going to do is just touch your brush and add a little bit of these strokes. What's going to happen is it's going to blend into that water already there, and that's how we're going to be getting our strokes. I don't want to add in everywhere just in some places. You can see. I can also see that this region here has like dried out and it's not spreading. But I can always use the softening method and soften the top of it. See what I just did there, it was not softened and it was not completely spreading out just the way I wanted it to be, but then I softened it a little bit and achieved that effect. Abbing that yellow ochre again, I think here Again, the same effect here, got a little harsh edge and not spreading around. I'll just smoothen out the edges and if I now add a little bit more paint, then that should spread out more nicely. That's much better. I'm going to add in a little bit of a darker stroke. Here I'm just grabbing a little bit of my brown. And I'm going to put that in there at the base, giving a little bit of a darker touch. We don't want to do it in all the places just in some of the areas where it can be darker, like that. I think then I'll mix it up with a little bit of yellow ocher so that I get a slightly a darker brown for the other areas, but it's not the darker brown that we have already there. Okay, I think that's more than enough, and that is pretty much it for the background. Now what we will do is, we will completely dry this up so that we can paint the foreground. I told you this was going to be quicker. Oh, my God. All right. There you go. It's completely dry. As you can see, it's a very subtle sky that we have got, the colors have faded and that's exactly what we want. Remember, I applied the color again because I wanted a little bit more darkness towards the top. When I say dark, I mean to say it's in the value scale, not the night kind of dark. A little bit more saturated level of color there and gradually decreasing and then a lot of drama there in the sky and that foreground. And that background layers over there. Now we'll go ahead and paint the foreground. This time when we're painting the foreground, we need to think about light and shadow here. When it's a sunset and then what's going into the shadow areas, is going to be like a violet bluish color. But when the sky is this vibrant blue, it's not going to have an exactly blue shadow there. What we will give is for the snow region, we'll put in a little bit of paints gray color, but we want it to be very light as well. It shouldn't be too strong of a color. This today's painting, again, like a warm up session, completely going to be really easy. Here I've grabbed that paint scree that's already there on my palette and I'm just applying it. Can you see? I'll take that color gradually towards the top. All the way to the top and you can see how that color is completely reduced down. It's just a subtle stroke, but yet it's there. Now again, we'll grab that color in and we're going to put some more additional stuff now, and this is where it comes in. Just like right below the fence region. Just a little bit of a stroke, and then you can also add some lines or some extra strokes within. It's now that if you go on top of the fence, it's absolutely fine. Maybe a little bit of darker color, extra darker color because I know that this is going to be lighter and the color that I saw previously is the one that's going to be when I've applied this extra layer, so that's how watercolors are. We know that. So, let's go ahead and quickly dry this up. There you go. It's dried up. Can you see the color, how it's lightened up? The color that I mentioned would be the previous one. That's what it's turned out to be. Remember always, watercolor is dry one shade lighter. You always need to be wary of that. We'll start now to start painting these fences, but I want to give a good dull color tone to them. What I will do is, I'll grab a little bit of my orange. And mix that, but you don't want it to be this vibrant, more of the brown. It's like a little bit more light to brown. This brown is really dark, and that's why I'm using this slightly changed brown. We're going to paint that on the top. Oops ops, ops. My paper is not dry because I can see a little bit of a hairy structure. What I'm going to do is I'm going to quickly dry it up again. Okay, using my hair dryer and I can see that it's not dry. It's kind of spreading outside. I don't know if you can see closely, but it does a little bit of a spreading, which means my paper is not dry. Okay, I'm sure that's worked now. So I'm going to grab that brown again and go over the top. Yeah. That's much better because early on, it was like having a bit of a hairy structure, and I was like, Oh, my God, I panicked, you know, honestly speaking. So there you go. Adding that fence. But now what you need to do at the bottom is, you're going to have to create a different level or something, so that shows that it's there on that snowy region to see how the little bit of the paint scray color that we added is going to create that elevation for the snow on that area. Same way. This is actually quite fun, actually, you know, when we actually draw in those lines, that's the most fun part in this I assume. I'm kind of waiting to do that. Okay. There you go. We've added in the fence. And already, this is looking so cute, isn't it? I feel like this painting is like a cute one. Huny. Okay, now it's time for those the lines of the fence, okay? So it's a bit tricky because you've got to make, like, just normal. There are various ways that you can do this. Don't worry, you do not need perfect lines. Because as you can just like this one, for example, the lie the fence is actually a little bit crooked. The line can also be bent, it can be broken, it can be a lot of things. And while speaking, I just realized that I didn't give the shadow element for the fence. Let's do that first. Grabbing a little bit of a paint gray. We need it to be a nice and darker color, so here grabbing the paint gray, and going to add. What I'm going to do is now just over the top of this and you know, in some of the areas just add. I'm going to add on the left side there, gave it a darker area. Ops a little bit of a color from I think from the brush is a little bit on the wet side. Anyways, then go over this area as well. This necessarily doesn't mean that it is a shadow side, but it's also like the little how do you say that the design or the perforations on the wood. That's also what this actually covers. But I'm choosing the left side to do it mostly, but then all these perforations and everything, you will have it onto the other side of the wood as well, so you have to adjust that. There But over towards the top. If you can create that little bit of separation, then it would be much helpful to see what I did there. If you want to see, I'll show that to you up close. Now you can actually pause right here and see what I've done to all of the poles of the fence. Once you've done that, we'll go ahead and grab in the liner brush and start doing it. Again, we're going to be needing paint screen. Grab a no of pain gray. There you go in there. Nice paint gray. Then how about the fence? Either you can make it straight, you can make it crooked, you can make it broken in any kind of way. I'm just going to try and do it a little bit straight. What I'm going to do is start from there and that ones like that. Then obviously it's going to loop around or something, and then we're going need to connect the next one. There, again, loop around. The next one, what actually happens is it's going to skip this one over here. That's what I'm going to do. It's probably looped around and then it's gone one layer above, slightly taller than that one. And it's connected like that. Again, looping around and it goes out. That's what I am doing, but like I said, this doesn't have to be perfect. You can do it and in any way that you want, you can even have a broken one, you can it's barbed wires, it's absolutely fine. There's the next one. Now I can do it quickly. That, that one. See how I did that. We'll add one more just at the bottom region. See that. The fence is actually done here. But what I am going to do is, have you seen those little kink marks on the fence, little tiny tiny marks, which is actually the wire being folded and bent around so that cattle won't cross or hit because when it touches them, it pokes them. Not just cattle, maybe humans as well, but I'm pretty sure humans can jump around this. But it's actually meant for small cattle because this would poke them and they wouldn't go around. That's why it's been created. It's as easy as this. Let me show that you really closely. A little teeny tiny mark with the tip of your brush, and doesn't have to be equidistant or anything. Just try and do as you please see that. That's what we're going to be trying to do all around. So you can also see I didn't put all of them like in an exactly perfect line. So for example, this one has four, and this one has four as well, but the fourth one is kind of like here. This one has three, and this one has just two. So try and mix and match these things so that they don't kind of, you know, mix together, okay? And make sure this implies that the wire is being bent a and gone like that. Otherwise, that height difference is going to be looking a little bit weird, but like I said, nothing on this is not bad. You can do it in any way that you want. All right that was really quick, wasn't it? The painting is now complete. Let's go ahead and remove the take because I'm pretty sure the edges are fine. Hey, there you go. Here's the final painting. I hope you enjoy painting this with me. Thank you so much for joining me today. 25. Day 20 - Fence Line: O. Hey, hey, hey. Welcome to date 20, and this here is the painting that we're going to be doing today. Building up on that fence topic that we started yesterday. We'll go ahead and paint this one Trust me. It's not difficult. It's very easy. Let's go ahead and have a look at the colors that we need for this one. We start with an ultramarine blue, yellow ocher, transparent orange, transparent brown, burn Ciena, paint gray, and lastly olive green. These are the colors that we need for this one. If you're ready, let's get started. All right. Let's start. We'll first quickly make the sketch and mark out the fence. I want the foreground to go something like that, and then we'll have our main one somewhere around here. Don't use a scale or anything because we want to be making the, the wooden logs to be as natural looking so even if it has some bends and everything, it's absolutely fine. It goes like that. Then we have another and then a little bit of a bend towards the bottom. As you can see, I am not making the edge straight, but rather like giving a little crookedness so that it resembles like real wooden log and nobody's made it perfect. That kind of look. This is the focus of our painting. The other ones, implementing aerial perspective, or those things in photography and also the one point perspective. It's not ideally one point perspective here. It's actually two point perspective here. This part of the foreground is what is like here, and then the foreground is actually bending over to that side. That is why these ones are like smaller and it's on another side. I have one over here, and the nds like that and we'll have some more over here. First of all, I will have one over here. That's slanted like that. See what I'm doing there. It's slanted like that. Let's give it another surface. Here I'm taking it a slight upward angle and now it's got two phases, but you can't leave it like that because we've done it upwards. This one was downward, so we did not see the top of it, but this one is like that, so we need to draw the top of it and that is just that. See a little k mark over there. I mean closing that loop and it gets done. Then the next one, what I'm going to do is, I'm going to have the fence cross over here. This is why I wanted to build up on what we did the previous day and just add in a little bit more complexity, not too difficult. Trust me. Here again, we've got one edge and then we'll cover another edge. That's too much of an angle. I think that's enough. Now we've got another fence and let me see I'll put another one over here. As you can see, each time you add something, you want to make it a little bit higher. Something as of this is going like that, and then the wire bends like that. That is why we want it to be making sure that the height matches like that. Giving dual edge to each one of them. Then here again, we've got the next one. Ma all of them in different angles. Can you see that? Maybe the pencil sketch was longer part in this one. The rest of it is actually pretty much easy. There you go. The wire we'll draw that later. This is our sketch. Now let's go ahead and start applying water onto the whole of our paper. Just onto the whole of the paper, don't bother about sketch or anything because obviously the fence and it with a darker color. I mean, darker color than what we will apply for the sky. Freely go ahead and apply. All right. Apply evenly water onto the whole of your paper, tilt your board if necessary to make sure that you have an angle and gravity ads in the flow of water out of your paper without forming any pools. There. I think I'm good with that, but now what I'm going to do is I'm going to just going to grab my clothes and wipe the edges because you can see there's a lot of extra water there and that, if not careful, could go back into the paper after we've added the pigments and it can cause Backgrounds. We do not want that. Here, now my paper is all clean and I've got just water there. I'm grabbing my sized well brush. Because we've already done with hello blue sky. I think today I might go with an ultramarine blue sky. Ultramarine blue, if you have, the real pigment ultramarine, it's granulating, so it's going to granulate a bit on your paper. That's okay. Go ahead and let you know. Little stroke like that. You just see, I probably was not even focused on my paper. I just did something of that sort and just let it spread. Can you see that? Something like that, you do not want it to be absolutely perfect. But towards the top, obviously I want more ultramarine. Today we won't add any paint gray or sky for that matter as in the shadow of the clouds. It's just going to be the warm ultramarine tone for the sky. That's pretty much it for the sky part. I'm just going to bring that color down a little bit more. We've got a bluish touch there. That's it. Then now because we're going for a warm color theme. Now we have to go ahead and paint the foreground. So for painting that foreground region, I am going to start with transparent orange color. For now, in this layer, we'll do it with the wet on wet, but then we'll add in later on over the top with our wet on try. Here, I'm just grabbing my orange and starting and adding. This is like an undertone. This is not the color that we want for the foreground. I mean, you've already seen the final picture, who am I getting? So there. Put that in. Now after that, we're going to go with the next color. The next color is basically olive green. Well, we've guessed it because you know already the colors that we are using. Olive green over the top and we're going to apply that over the top, and you're going to see a softer edge forming. That's okay. And I'm going to put that over on my brown. Make sure you pick up Case brown on my orange. Make sure that you pick up a nice amount of the olive green. You can see it turns into like this golden green color, which is exactly what we want. Now, and then I'm going to add in depth areas. I'm going to grab my transparent brown or a bun number, whichever one that you're using, and I'm going to put that in. Here, just adding that brown. Now, as we add the brown, here's what we want to do. Over to this right side, I want it to be more darker and also having a bit of a height. Then what we're going to be doing is you're going to use the tip of your brush, and then you're going to do that. Just Do you see the motion that I'm doing like that? If you just keep doing that with your hand and then create the appearance of a grassy texture. Cover up the bottom for sure. Here make them less height. Increase the height as you go towards the right side. That is the initial one. We're not done yet. When we add in the four ground, this will be much, much better. I want to bring in a little bit more darkness to that area there. I'm going to grab my paints gray. I'm going to put that there as well and I will add in a little bit like that. Yeah, I've got a nice darker edge here right now. Can you see that? So that's it for this layer though, so we'll now wait for this thing to completely dry out, then we'll continue. All right. There you go. It's completely dried out now, so we'll go ahead and start painting the fence. I am going to start this with a nice yellow occur shade. Here, I'm just grabbing my yellow ocher. I think everything is now dry. Yes. So let's go ahead and add. Painting the one behind first. After that, I will add the one on the foreground once the one behind is dried because we need to have a crossover here. That is why I'm giving that one first so that it gives us enough time to dry. Also while we paint the other ones, this might be dry, else, I might have to use a head dryer, but then this is a little bit more quicker on the process. That one's done. Then I'm going to add the next one there. It's my yellow ocher. We might might. Actually, we need to give a dull color. Remember. We've got an edge to it. There. The next one. I'm just doing these quickly so that we can go ahead and add in the color on the other edge. I think if you worry that your color might dry out, I think I might stop with three of them. I'll wash my brush, I'm going to grab in a little bit of the brown shade. Here, mixing that on my palette, and I'm going to add that onto the right side. So Just adding that to the right side, can you see? Or maybe you can actually wait for it to try because you don't want it to spread to that side. That's possibly an option as well. I'll show you that way so that it doesn't all mingle around and merge together. We'll paint these ones first. Here is the next one. Let me tell you quickly a little set. You know, the first stroke when I'm painting this fence, I'll join in the next one as well. Do you know why I do a continuous stroke? That speak is, I know that I have another camera here, which is shooting for reels for Instagram. When it comes to Instagram, a lot of smaller strokes like this is I wouldn't ten of I could, but having one single stroke to show for certain elements is much better than having multiple strokes. When I edit, all I need to take is that one single stroke. I'll show you in the next one. For example, in this one. I'm going to do a single stroke like that. When I display it or when I edit the reel, I will probably put it as that single stroke. When you see this edited and put on Instagram, you'll understand what I mean. That is why some of those things I do like that, just so Now I'm going to do this one because I can see that the other ones tri. So it's just that even when I'm painting, I have all of these things in mind as to, like, a, I need to have a stroke that's easy to show for Instagram while I'm editing and things like that. I I think it's just coming in to practice all these years, how I've done it. That's it. Because this larger one is u what larger. I want to give a lot of multicolor areas to it. I'm just grabbing that little brown we have and I like mixing in to my yellow ochre, and I've just added a really nice mixture into it. You can see it's blended into the yellow ocur itself, so it's not one perfect color. Now I think I need to dry this up if I want to paint the edges. All right. There you go. It's dried up, so I'm just going to grab my brown. Or you could in fact also add burn. Here's my burn. I'm just mixing that into my brown. You get a slightly better version of the darker brown because I don't want it to be too dark. Like I said, the other edge behind first. There it goes. I've given a little bit of another color to that edge. The same I think now we can probably because it's a wet on dry stroke. It's probably okay for us to go ahead and add on the one that's on top of it, it's absolutely fine. And the same so it's always best if you can try these things with a single stroke because it's going to help you a lot in your hand movement and your brush control and everything. So just a huge lesson for us if we can do it. Now, same thing over to the right side off this one. Then this one, we didn't draw an edge, but I want to give a tiny edge. All right. That's really looking good. Now, we need to go ahead and add in a lot of tiny details on it. Here I've switched to my smallest size brush. Using my smallest size brush, I am going to my darker transparent brown. Blunt umber or Van dike brown or whichever brown that you're using. That's the one we're going to be using now. And this fence over here, I want it to be even more darker so that it comes over to the foreground. Can you see that? As soon as I apply a darker color, it comes and pops into the front. That's popped into the front. Then we definitely need to add in a little bit of a shadow there, but we'll do that once that's dried out. But now it's time for us to go ahead and add in little marks and everything that's on the wooden shafts. First, we'll do the darker ones and then I think we can shift to a bit more lighter ones. Here just some lines and little things that I have added. Can you see that? We'll do the same on this one. Just go ahead and add in a few lines and it's absolutely fine. Nothing has to be perfect. Remember that. Maybe here, I will give a little box structure, so it's like a hole. I see as soon as I added a hole I mean a box, it looks like there's a hole in that wooden region, and maybe a crack going from that hole. Over to this one, maybe another some lines there. Now I want to add in a little bit of a lighter line. What I'm going to do is I'm just going to crap my transparent orange. I'm going to mix it into that brown there so that it becomes a little bit more lighter and it comes like a brown, that orange is going to make it look like a golden brown. I'm going to use that to draw some lines and some details onto this. You can see I'm just using the tip of my brush and then immediately doing this with my hand. Whatever it gets created, I don't mind automatic happening. And maybe I'll put in a larger hole over here. First, I will paint that with the golden brown, and I'm going to go down and make some more. I think that's more than enough and I have added enough details. But just this hole here, I want to give a little bit more depth to that hole. As in, I know there's this. But if we add in a little bit of taco brown to the center region of that hole because there's too much light you possibly can't see. But there, can you see in that angle so that clearly shows how in depth that hole is. Just to the center portion of that box that we just added, if you go ahead and I add in a darker stroke. That's what we want to do. We've added in some nice holes there. Now it's time for the foreground. The foreground, first, what we'll do is we're going to use a nice flat rush. I would say it's fine. If you don't have a flat rush, you'd have to use the edge place it vertically like a flat rush, but possibly not going to get that perfect effect. But if you have a flat brush and dally, it would be best if you have a flat brush that is not thirsty for water. This one is actually thirsty for water. I'm using the wrong brush in this. But I wanted to refrain myself from using any of the brushes in this class. That's why I am using this. What I will do is I will dry my brush nicely like that. But I know that it is still thirsty, that's. Then I'm going to grab my olive green. Possibly mix it with a little bit of a brown, but grab my olive green. What I'm going to do is, I'm going to do these upward strokes. Here, grabbing my olive green. I'm going to do these upward strokes in the front. Can you see how B is the brush is got the hairs like that. Look at this. If this was actually a brush that's not thirsty for water, we would have got a little bit more flatter, I would say. Okay. Just at the base, we start with this and then we'll switch to the other brush. I want you to go higher as in go ahead and make the strokes come outside. Se like that, it's the grassy structure. We will definitely add more, but I want you to do this first so that we get enough grassy structure on there. Can you see some of these popping out? This is how we'll mask out the base of that fence and how it's going, how the base of the fence is literally not seen anymore. Can you see? There. You could actually call this painting done, but I done as in the foreground done, but I am a little bit of a perfectionist, so I'm just going to go ahead and add a little bit more. Here, I grab my olive green with my line brush at this point. Now we're going to add in a lot more. Just using the liner brush, I'm going to add inter a lot. Like that onto the front, can you see in front of that fence? We want a lot. Make sure that none of the areas of the base is actually seen. Nice and growing. Take your time to do this. It's not simple and always make sure that you do upward strokes. That is very important because if you start from the top. Wherever you're starting with, you're going to get a very thick stroke. But you want to do it you start from the bottom and then you lift off like that. See that. Make sense. But you don't want to refrain to just olive green strokes. We want to add in some others as well, so here, I am grabbing that mixture of brown and orange and I'm going to add some with that as well. Se it's going to be a little bit of a dry grassy areas at some point. When this whole thing dries out, you'll see that it makes a lot of sense and it looks really nice and we've got the depth captured for the areas in there as well. I think that's more than enough. Because everything is now almost dry, we can go ahead and add in the link to our fence. That we will do with paints gray. Here, just grabbing paints gray, putting it onto my palette and grabbing with the liner brush. We'll do that. How do we want to go? We want to go like that and like that? Remember, that's what I said, isn't it? It's going to go like that. Then it's going to connect to that one. Right. And then no it's going to bend the other way. From the back side of it, we want it to go connect there, and then it goes that way. So that's how this is. So we'll add a few more ones. Okay one more, and we're done with the line part of the fence. Okay. We're done with that. But then let's go ahead and add those tiny tiny marks that we did the other day, and we'll also do something additional on this one. So you know, let me show you what additional I mean. There's a little mark that we did, and then let's have the wire. Hanging like that. I will show you closely what I just did. Look at that. That's what I did for that wire. You can pause where I showed you that one and then do it. Then we can also have something different. Let's say that wire is turned and turned and turned there. Let's say that wire is connected to that one and turned and turned and turned. Something like that. See, it's just the wire twisted and turned and connected in different ways. Let me do that same here. I will show this to you closely one at the end, so that it becomes easy for you to pause and find out what you want to add. You can absolutely skip this. This is not necessary, but I thought that this is just fun to create that barbed wire structure. You just Okay. Look at that, I've got paint over my head from that base at in there. Okay. There. I've added in a lot of these. So here you go. This is what I've done. You can actually pause right here and try and make those same things, and that's it. That's pretty much it. Our painting is now complete. So let's go ahead and remove the tape. Oh, no. I've got some things here at the bottom, which are still wet, which is obviously I got my hand wet. So I'm going to quickly dry that up, and then I will feel off the tape. All right. There you go. I can see that everything is now completely dry, so now I'll go ahead and remove the tape. Hey, so there you go. That is our final result. I hope you enjoyed painting this with me. And thank you so much for joining me today. 26. Day 21 - Fading Barrier: Hey, hey, hey welcome today 21. And this here is a painting that we're going to be doing today. So I know it looks possibly simple and, you know, it's just a plain sky and a plain field. But there's a lot of elements here that I am discussing about perspective and about drawing these lines and things. I'm sure that you will enjoy it. And you will also see how I saved an area of my paper after I got ruined with some additional elements that was not meant to be there in the first place. Okay. So let's go ahead and have a look at the colors that I'm using this painting. So I start with Palo blue, raw sienna, yellow ocher, transparent brown or burnt umber, and I think a bit of paint gray. That's it. Here you go. Let's go ahead and get started with this one. All right. Let's get started. We go a and quickly sketch that fence. Here is where one point perspective comes into play a lot. The first fence that we're doing, the main one, that will be bigger and the rest of them, you will see that it starts to converge to a point. Also we're not going to be able to see those things. Let's go ahead and make that first one. This here is the first fence, and it's going to be pretty big because it's closer to us. So there you go. That is closer to us. So that's the one face of the fence. Because again, this is a wooden fence, so we don't need to make it perfect or use any scale or ruler. Okay? Right. There you go. Now, about perspective. The best thing to add the lines and perspective is basically, Let's say, first, we need to mark the horizon line. Let's say the horizon line in our painting is I don't want it to be at the center, which is why I've taken a little bit bottom toward the center, that is our horizon line. The fen we don't want it to go all the way over to the right, so we're seeing it in a very close perspective. Let's say that this is the vanishing point. That is where all the fencers need to go and vanish to, which means that if this is the bottom part of our fence, I don't want this to be the bottom, Let's say that our fence is this height and this here is the bottom part. From here, all the bottom parts of the fence should meet there. All assuming they're all in the same height secs, and all the top parts should meet there. This is the only area where we want to put in the fence. This is where really the one point perspective comes in. This is the one point perspective because it's all going into that one point. The heights of all the fences should be in between these. Let's draw the first one. The first one as in the next one after this. That would be going all the way down up till here, is its height? That is the height of the next fence. Then we'll have the next one. But do you see the gap that we created between the first and the second? That is more, and the next one should be closer because as it goes further away, it gets closer, such that we will see it vanishing to a point. That is the concept of perspective, linear perspective, vanishing points, and all of it. That one. If you take the same distance over to the right, that is the distance, but reduce a little bit and now your next fence is going to be there and so is its height. Not the height, but let's just assume that. Okay. And I will make that one a little bit more thicker. It's not thicker because it's of the perspective, the fence is actually thicker. That is why. I want to show you all these differences, which is why I'm covering it. This is a base. Now you see the distance, take the same distance to what's right, but the next one is going to be less than that. There it's going to be this close and it's going to come only up to that point. There you see the next one. If you take the same distance and reduce it. You are going to reach a point where you will not be able to see or distinguish. It goes like that. I all closer closer, closer and just vanishes up till that point. That's basically how it's going to be. Now the lines of the fence will also have to be in perspective, but we'll do that with our brush again. Now let's go ahead and paint this. This was the pencil sketch. Let me show this to you closely so that you can sketch it yourself and understand how perspective works with your sketch. And we'll go ahead and start painting. Here I'm just going to apply water to the whole of the painting. Here, the fence is in the focus. I want to blur out the background a little bit because I want to bring that foreground, which is the fence over to the front, nice and front area. Here I am applying water. There, I've applied the water onto the whole of my paper. I'll use my clothe to absorb excess water from the edges as always. It's really handy. Now, I'll start. Today, I think I'm going to use the til blue itself. I really love that for my skies. But what I'm going to do is I'm going to really do gradient wash. Here I'm grabbing my alo blue and I've created an angle on my paper as soon as you hear gradient, pick up your paper because that's what it is. In it angle. So that you get the gradient, see, I am just bringing down my stroke. All the way up to the horizon line. I can also go back upwards to cover up any areas that I haven't added properly. But this angle that you have on your paper is what is going to give that perfect gradient. Once you're done that perfect gradient, we'll go ahead and add in a lot of the foreground region. In this case, the foreground here, I am going to make it with the raw CNA because we want to make it the appearance of a dried out pros. We'll start with raw CNA at first. Again, observe the angle on my paper because it did not want it to be flowing upwards. If you do not have raw CNA, use a little diluted version of yellow ocher, that's absolutely fine as well. So see, adding that, I'm going to keep bringing down my stroke. I've added the raw Cena and you can see up to the horizon line and we also get a smoother line. Then I'll keep it back onto the paper, and now I'm going to pick yellow ocer because I want to add darker strokes in some places. If you used a yellow occur at the beginning, now is a point to go ahead and use an even more darker tone of it. I'm just going to create some variations Make sure that you t and do it towards the horizon line as well. Try and make things point towards the horizon line. That would be really helpful, not all. Just try and hit it at random. At the base here, definitely not. It's just grass because now we're approaching the fork round, so it definitely needs to be grass areas. Then I'll go ahead and grab the brown because I'm going to add brown there into the areas of the fork round. Here grabbing brown, and I'm going to add that in just like we did for previous days painting, and here as well. Just giving a little bit of a death at certain places. Now I want more in these areas, so I will take a fairly darker tone. We'll pick up a little bit of a paint gray as well for the extreme darker areas. Yeah, I think that is more than good enough. It's fairly similar to the painting that we did the previous day, but all there is the implementation of the perspective, which I wanted to show you. That's why I made this really simple so that you can learn perspective. And clearly understand that concepts into your head nicely. So I think it's time for us to wait for this whole thing to dry out. But also, I think it would be fun to add this. It always brings out beautiful effects. So I will take my round and I'm just going to splatter some onto the wet paper, as you can see, it's wet, isn't it? The splatters are also wet. Look what it did to the sky. You have to get that off, or maybe I'll put a bird over there or something. Because if I touch right there with my brush, I might actually ruin it. I think I'll put a bird over there, so this is what happens if you're not careful. I've got to hide those areas and then those splatters. That should have what I should have done in the beginning, but, I've put in some nice platters. These are all going to go away, but it's just nice fun thing to do. Let's go ahead and dry this up and then we paint the foreground. Here you go. It's completely dry. I'm shifting to my size a brush to draw the fence. Now, and I will grab in a nice darker brown color. We're going to be doing it with brown and black today. Unlike the colors of the previous day. Here going ahead and making that stroke. All the way that single stroke for the real, okay? Covering up this side. So if you know me, my comfort site is like that, so I'm just going to turn the paper around so that I can do that line in a proper manner. See that? It gives me an ease to draw the lines like that and without getting crooked areas. Right. They go covered up that one. We've got a few more ones to do, so that would be this one. B. B. I'm just concentrating and trying to add. Okay. So here you can see, I have added in the fence. But obviously, we have to make sure that the bottom parts and everything is covered. Okay. That's okay. So I guess I'm want to quickly dry this up so that we can add in another edge to some areas of the fence and then also draw in the lines. Okay, the that run it. So right there you go, it's, now I'm going to grab paints gray. And add it to this edge here so that this edge is darker. I've already told several times why I don't just add paints gray at the beginning because you're never going to get this vibrant of a color. You get a vibrant color with paints gray because it's got that undertone of brown with it. I won't probably add to the whole edge, but just a tiny bit on the right side. Almost all of it and the same if we can just grab and there. That's pretty much it. Now, we've got to go ahead before we add in the foreground grassy structure, we'll add in the fence. Okay? This is where we need to think about perspective. If it is that difficult for you, you can grab a ruler and I'll show you how. Here's a. So The topmost line, everything has to go into that point. If I grab and mark like that the see. This is the line of the perspective. I'm going to grab paints gray, and we're going to make that line. I'm not going to use the ruler perfectly. If I keep it there, that is the first one. See that. Then the next one, again, first look at where it is going to be on the height of the first one. Let's say we want it to be joining there. We've already set a point. No, I think I want the next one to go tilting upward as well. Let's say we'll have another one over there. That's again slightly tilting upward, but not as much, but see this is the point. I will go See the next one. Then we'll go around somewhere there as the next one. Always, all of those should go and converge to that point. See how the fence is going. We'll have one more that attaches itself. Again, that is also going to converge to that point, and you can see it actually goes towards the bottom side of our paper. See how that one worked out. Now we'll go ahead and add in I heard of these marks on to the fence over on this ones as well. I'm going to make it. Because this one is really closer to us and you can actually see what is going on. You might have to really make those ones slightly. See that? I made the cross marks slightly bigger. Es ones as you go further away are going to be smaller. See perspective into play. This one is bigger. The ones that goes further away needs to be smaller. Remember the bend wire which I was trying to add. Go ahead and add smaller ones to those regions, and these ones would actually be really small such that you can't see anything. But the ones that get closer to you, for example, this one, you are going to see a of the detail and they will be really big. See that, how we've done that. So we're down with the fence and everything. If you want, you can go ahead and give a little bit of a line or any details on the fence. But it's dark brown, so you're probably going to not notice that. But let's go ahead and make in the foreground and also some parts of the base. So I will try that with my round rush today. And what I'm going to do is, I'm going to grab my yellow ocher, and I'm just going to This is what I said, you can use the edge instead of the edge of a flatbrush. If you use a dry brush stroke and try these up by holding it like that and try these strokes. Here you can see, I'm just making these dry but yet nice upward strokes. That is what we will try and cover up the bases of the fence with. And then we can come over to the bottom and slowly add there as well. Then you can slowly use the top of your brush, the pointed edge of your brush and add as well. I guess I've added a lot of these ones. Now I'm going to switch back to my line of brush because I want to add in a little bit more pointed ones now, and you can use your brush to just go ahead and add not too this time. I want some really strong ones. I'm going to go ahead and add that with my darker brown and I'm going to do that here. Like here, some ones that are sticking out really over there. There. Then I guess we can just add few ones here. I'm just going to keep this one like a fern structure maybe. This one, I'll show you what we can do like that, maybe add in a little bunch or. See what I've done that. It's not wire, it's like the f structure. Add a few of those ones, not too many. Long as you add in the base using a dry brush like that and blend that into the background. You're good to go. See, I guess this is it. We have to dry the base and then we'll remove the tape. Oh, wait. It's just in my paper. I ruin it a bit in the sky, isn't it? What I'm going to do is, I'm going to add in a few birds over there. Here I'm just I'm going to grab my paint gray, and I'm going to put some birds on there. Now that I've started adding birds, I can't stop. It's always the thing with me. I keep adding and adding Here is the close up. What I do for birds is, it's usually this thing, but then I do it in all sort of forms. I do it like that. Then I do the same thing like that, then I do it bottom down. It gives the illusion that those birds are flying. You know what, to actually make it a little bit more interesting, you can even add some birds with clear white paint and it will look even more interesting. But it's good if you can add them onto the areas that are actually bluish areas, like for example, if I go and put some birds over there, mix it up. Like that, see. You can also give a dull tone for some of the birds that will also make it look interesting. Okay. See that? Now, that's actually better, isn't it? So I salvaged. What went wrong on my paper. So now I'll dry this up, and then we can remove the tape. All right. There you go. It's completely dried up now, so let's go ahead and remove the tape. And there you go. This is our final result. I hope you enjoyed painting this with me. And thank you so much for joining me today. 27. Day 22 - Golden Barrier: Hey, hey, hey, welcome to day 22. This here is the painting that we're going to be doing today. It's a fence again, obviously because we're going through the fence topic, and it's actually really simple. It's not that tough, but what I wanted to introduce you to was a different concept about perspective where other elements come into play when there is so perspective effect involved. So that is what we are looking at here. All right, let's have a look at the colors that we need for this. I have basically used transparent yellow or Indian yellow, and I've made it warmer by mixing it with a little bit of quin acrodone gold. Don't worry if you do not have quin acrodone gold because you can easily mix it up by mixing a brown orange and a yellow together, or the perfect way to mix it up would be to use Alizarin crimson, P R 83. And transparent yellow or Indian yellow, P Y 150. Because if you make those combinations, you're going to get the perfect quinacrodon yellow. Basically, just make pure yellow a little bit warmer. And if you still cannot achieve that same effect, just go ahead with the color tone of yellow, orange and red. The next color that we need is Alizarin crimson. Which ones did we say? We need transparent yellow, quinacridone gold, Alizarin crimson, burned Ciena, olive green, sap green, and lastly, transparent brown or burnt umber, and that's basically it. Let's get started with this. All right. Let's start. We'll first start sketching out just bits and pieces. The horizon line, I want it to be somewhere there. This is unlike the one that we did for the perspective one because yes, there is perspective involved, but what if the fence is turning and there's a possibly a height difference and all of it? That is what we need to consider now. So This is approximately where my horizon line is going to be. I'm not drawing it perfectly because I do not want a clear distinct line. We're going to make it like a misty appearance. Then I want my first fence to be somewhere around here. I'll sketch out the fences. That's it. There the first block and maybe the next one can be close to it, gates on the same level, but that's when it starts to turn around and go. Let's see, the next one I have somewhere around here. Then now all three are straight. I should start bending it, isn't it? Maybe I'll bend these ones. The one next one that I'll draw. I'll bend that. There that's bend down a bit. Then we need more ones. Now observe closely, these ones were really far away indicating that they're not far away. I distance is almost the same indicating that we're actually looking at it possibly at a same direction. Now when it needs to go into the further area, it needs to go and become closer to each other. The next one, I will make it possibly slightly slanted again. But then as you can see, it's starting to get closer. Also, there is a lot of what do I say, a lot of intricacies involved in this because it's not just that they are stacked in the same level. There's the involvement of a high difference. There's another involvement of the fact that they're going further away from you. Thirdly, there is also this fact that they may not have been spaced equally apart. For example, this one's really close and even though we're seeing it further off, the next one, I will probably draw it a little bit further than this one, but that does not mean that it's not in perspective. It just means that the fences have not been arranged in a perfect manner. That's it. Here, I am going to draw it. Now is where I will start implementing some height level difference. Here, and then see, it's kind of like the fence is going around in a different shape like that. As it reaches here, we see it more on a kind of like a similar line because again, it's possibly bend this side. That is why as we see it like that. Okay. Now I'm just Adding a little bit more, that's our sketch. Here you go closely if you want to have a look and sketch this out. Now this is what we're going to paint, but first of all, we'll put in all of the background after which at the end, we'll start painting the fence, of course. I am just going to quickly apply water to the whole of my paper. Here s grabbing my large flat rush and I'm going to apply water to the whole of the paper. So take your time to do this. We need the paper to be nice and wet for us to be working on the wet on wet background, especially also because today, this background is of a misty appearance. We need to make sure that we apply the water nicely so that we can give the effect of the misty appearance. Here, I think I am good, but obviously, I need to go ahead and absorb the excess water from the edges of my paper because you can see there's a lot of these droplets accumulated, and there are high chances that these will come and into back onto my paper and ruin the whole thing. I don't want that to happen. Here I'm just grabbing my large flat brush, which is a size 12 brush here, and we're going to start. I'll probably start with my nice beautiful, Indian yellow or transparent yellow. But I don't want it to be that vibrant a color. What I'll do is I'll probably take a little bit of the queen gold and mix it so that it becomes a warmer yellow. Otherwise, it's going to be a cool yellow. Here I'll grab that and what I want to do is I want to capture the sun there. Obviously, we've applied some water. What you can do is if you do not want it to spread into the sun region, just make a ball out of the cloth or whichever one that you're using, and go ahead and just touch a little bit and absorb a little bit of the water from there, and then go around with your paint. And create that circular effect. But do you see as soon as we did that, the paint does not spread to the inside because you've created like a nice the vacuum there. It's entirely vacuum, but just it doesn't have water there. Then I'll grab my quincodon, yellow again. Now we're going around with a much darker color. We started with a mix of this both this and yellow at first, but now we'll go ahead with more of the golden color. I've already suggested this many times as to how you can mix up this golden color if you do not have it. Go ahead and mix up a little bit for your brown orange yellow. Or the best mixture is to mix Alizarin crimson and your transparent yellow, that should give you this color. Okay. Here, I've applied that in a circle. Then the next color I will grab is in fact the very same lisin I'm going to put that along the end. So we will start with the Alisan we will apply that. You can see. But I want Alizarin to be just along that corner. Here I'll grab that golden color again. And I will add that. Now when you're mixing it up, you can see that your golden color starts to come inside and is your alizarin. Just try and create a nice blend. Can you see how we've created a nice blend of the alizarin? It's going to be very subtle. Very subtle amount of alizarin there. That's it. I think we can go ahead and grab the golden color some more, and we're going to fill up the rest of our paper with the golden color because that's like the base color after which we will add greenish stones on the top to make it even more warmer. As in warm grass. It doesn't mean the literal heat, but what I mean is the color tone. There, I think I've added enough. Now there's that horizon line. We need to depict some things behind the horizon line so that it shows that there's some a foliage there. For that, what I'm going to do is, I'm going to grab a size six brush. We were using the largest round brush that I have right now, but now I'm shifting to an even smaller size brush. We're going to add in a little bit of background there. What I'm going to do is I'm going to grab burned Ciena. This burns ina that I have is from Mijello Mission. It's like a very vibrant burns ina. In order to make this burns ina, what you can do is, if you have the normal bunsena from other brands, then just go ahead and mix that up with a tiny amount of orange. And that should give you a nice gorgeous bans in. Here, I'm just going to first mark along the horizon line. You can see it's like on the wet paper itself still. We're still dealing with the wet paper. I want this as you get towards the sun region, it needs to get lighter. Then I will grab this darker brown. It's basically the transparent brown that I always use. You can use the band umber or whichever one you want to use, but just make sure that it's a darker one than the brown that we just used. Then we'll put in some nice foliage there. Like that, Don't want it to be too much there. We've put in the nice background. I think now I'm going to go back to the size 12 brush itself. Maybe we could have done this with a pointed edge of the sized round 12 brush. That's okay. Here, just now I'm going to grab my olive green and we're going to drop in olive green towards the foreground. There. And going to drop in more of the olive green. Make sure you pick up the color nicely. Remember, the undertone was the golden color, the queen acroon gold, and then we'll drop in olive green. Don't draw it like a perfect line or something. I just wanted to create a varied texture and a lot of abstractness on the grass there. Which is why I'm applying my strokes like that, such that it's not a perfect looking thing. But I think towards this back side here, we possibly can make it a little bit more straight. You'll see the effect once we start adding more colors. Towards this, the back side of the fence make that like a line. But as you come towards the foreground, which is this, we will start to add in shapes like that, so that when it dries, you're going to be able to see these shapes. So I'll also grab in a little bit of a nice darker green or sap green and give that as well towards the foreground. See a teeny tiny amount at random places, but make sure that you use the tip of your brush and make smaller strokes wherever possible. So just adding. You can also create a grassy structure by using upward strokes like that. S. Not too much, just at random places. It's all working on the wet paper. As remember that, so we're still working on the wet paper, and we put in a lot of details, and we've also got everything I think, almost. But can you see here how my sons like not the area around the sun unblended. That's because there was water difference there, which happened because I absorbed the excess water. I've just picked up a very dry brush and what I will do is I will just go around with my dry brush and like that, remove that line and absorb any excess water. And try and get rid of any excess water. Okay. Now, that's done. Now that looks good to me. I also love the way the background turn out. If you want, you can add in some splatters of different color. For example, I think, into that foreground region, it would look really good if you were to give a few splatters of brown at random places. You can see it's very, very teeny, tiny at this point. Let me see. There. So teeny, tiny splatters. You can also do splatters with paint screen or you can also do splatters with the green itself. That's going to look even more beautiful. This is basically our complete background layer. The only thing left for us to do is the actual fence itself. That was actually quick, wasn't it? Let's now go ahead and quickly dry this up so that we can go ahead and paint the fence. All right. There you go. It's completely dried up now and you can see how very much lighter it is and how the colors have faded into the paper. This is why I always say with watercolors, you have to make sure that you make the paintings one shade darker than what you always needed to be. So let's get to it. We'll start painting the fence now. I am going to go with that panzana color at first because we need to depict the light of the sun on it and then to some of the areas give darker tones. We'll start with that first. I am going to start with one at the very end where we marked. These ones can be really small and tiny, tiny. First start with some tiny marks and then go ahead and create There. You can see how it gets bigger and as we approach towards. Well, you already have your pencil sketch. So you can just follow along and add in the first pens in a color at the moment. This is like the initial layer of color that goes in. You can also see that some of these have high differences again. It's because they whoever built the fence never used proper not equal equally cut wooden logs for this. Lots of factors. I just wanted to show you that even though perspective comes into play, but there are also several factors when we're painting the fence. That's actually why I chose this topic because I knew that there was so many variations that we could add to this. It's really fun, isn't it? Just two more, and then we've got to add in the shadows, and that's it. You can also see that I create really random shapes for the wooden logs, they do not have to be perfect. At all, they never have to be perfect. Do you see that? Now we've done with all of the fence areas. The next thing left for us to do is to go ahead and add in a darker tone. Here I'm going to grab my transparent brown, which is a little bit darker and we're going to add that. Let's add that in some areas. For example, on this specific one, I decided to go and add over at the top. And some of them you can add at the bottom. It's completely up to you. This is not based upon just a shadow element only. It could be the darker effect on the wooden log itself. There is a lot of intricacies involved, like I said. In this specific one, do not be worried about how perfect it needs to be or where the light is coming from because the lightness on that log that you see is not just because of the light on the sun, but also because the log does have a lighter color on it. It could be that. That's why a lot of factors involved. There you can see. I've put in a nice. Color, got to put somewhere here. Add it some nice colors. But now, the only thing left for us to do is give that page of the fence a little something because do you see it's looking as though it's like flying in the air or something? We need to depict something over there, isn't it? What I'm going to do is, I am going to grab my olive green and I'm going to mix it up with a little bit of a brown. Here. Just going to mix it up right here so that we get a brownish green color. See the color that I made because I've got the brown here and I mix it up with the olive green. That's it. What we're going to do is we're going to create a bit of a grassy texture all over, starting from the bottom and making sure that we cover the base part of our fence regions. First, I'm just going ahead and do along the edges. Also remember to make the grass smaller as you approach towards the further side. They cannot be the same size as these ones. These grass here will also act as like a separation. You don't need to add to the whole of this sit. It could be just that there is a line of grass growing along the edge of the fence, which creates this effect that we see here. See that? Along the edge. The ones that you add along this edge. Make sure they are nice and longer because they are the ones that are closer to you, isn't it? The ones that goes further away can be really small and teeny, tiny, so you never actually see it. There. Now the only thing left for us to do is add in that str or the wire on the fence. Again, that one, you don't need to make that perfect and you don't need to complete it. I'm going to be doing that with the same ground here, not going to pick up paints gray or anything. Just the transparent brown that I normally use, and we're going to be adding. Okay. Don't need to complete it. There's one thing that I always say to my students. It's that whenever you're doing with watercolor paintings and you have several of these lines to add, it's okay even if you have some breaks in between because whoever's looking at your painting, their brain is going to complete that line for them, and that's what makes the watercolor painting really beautiful. Like if you look, I'm just going to add. Here, I have a slight gap there and I'm not going to fill it up and create an effect or anything there. I'm just going to leave that. See how the fence goes. The same, I'm going to add. Again, I created a gap there. I think there should be enough. I'm not going to add anymore, and that is basically it. We're done with our painting. If you want, you can go ahead and add in a lot more grass and any details and everything that you want to add, but I am really happy with the way that it is done out. The fence is done and you can see it go further off. There's a mistiness to the background. There's a really like a sunset sun shining right there. This is actually looking good, isn't it? Because there's nothing left to do along the edges, we're free to remove the tape. Let's go ahead and remove the tape. So there you go. That's the final painting. I mean, the final result. I hope you enjoyed painting this with me. And thank you so much for joining me today. 28. Day 23 - Mountain's End: Hey, hey, hey, welcome to day 23, and this here is the painting that we're going to be doing today. I know it looks a bit tough and it probably is. It's a little bit more advanced. Advanced is too much of a word, but what I mean to say is, I am building upon the knowledge that we've painted in the past few days. I guess this is going to be really simple for you. We start with the sky and then we just move gradually. I'm sure that it's going to be easy. Please don't refrain yourself from trying this out. You definitely need to try it out. Because I break it down into different steps and that's how we're painting this. So let's have a look at the colors that we need for this one. I start with a bit of quin acrodon yellow, and I've already mentioned this in lot of previous classes as to how you can mix up queen acrodone yellow if you don't have any, but I will repeat myself again. Queen acrodon yellow, you can mix it up with a little bit of yellow, orange, and brown, or the best mix is to use Alizarin crimson PR 83 and transparent yellow, B Y 150. Then queen acydone yellow and a little bit of violet. Also Alasarn crimson in the sky over there. Then here I have used Bciena. The Bncena that I use is from magelo Mission. I've got two of these on my palette. This one's burn Ciena, the normal one, and this is the burn Ciena from magella machine. Whenever I'm using the one from magellasion, it's a little bit more golden color. If you want, you can mix up your normal burncena with your orange and you should be able to get the same shade, or you can mix your transparent brown with orange and you should be able to get the same shade. We've got Bancena, then transparent brown, yellow ochre. Oliive green, dark green and paints gray. These are the colors that we need for today's painting. All right. Let's get started with this one. All right. Let us start with the pencil sketch. What I am going to do is we're going to add the fence and everything in our sketch so that it will be easy for us with the end painting. I mean, obviously, you know that. Here at the background, we will possibly have a mountain. But because it's the background, I'm going to make it very, very light in my sketch. You can see that and there goes two weeks that I will be adding and like that and like that. And here onto the mountain is a little pathway that goes over to that side and that obviously converges to a point. Then it comes and as we are coming closer towards us, the pathway gets bigger, so you can see it goes bigger like that. And here, obviously it's some kind of like grass region. I'm drawing it very likely you can clearly see that. But I will show you. This is where we will add in the fence. It's right in front of this pathway. There's a fence blocking the access to that pathway, possibly because it's a mountain region, so you don't want but they don't want people to go over to that region. That's going to be there's a strong rock or something over there at first, and then to which is attached and ice fence. There's the the part of the fence, then we have the next fence over here. This is like in a straight manner. You can see that. It's blocking all the way up to this end here. We have another fence and then let's say another pole there, which has been slanting. Then because the road goes around bending like that, then we have another one over there. This is the construction, but we also need to add the left bits. Here adding another line, and then this is like a proper fence, not a barbed wire fence. You've got wooden bits closing off the axis. Here is probably joined by something, and there's again, wooden bits joining on that part of the fence. It's not continuing over, so it's different wooden logs, that's what we need to understand. For example, this one is connected as well, but then it's connected at a different level, not the same as this, and also connected with thinner blocks, wooden blocks. That is the pencil sketch. I know it looks a little bit tougher, but here you go close if you want to make the pencil sketch. You can pause right here and make the sketch. So, let's get started and start painting this whole thing. What we're going to do is, since it's easy to paint when there's water on the of the paper, we'll just apply water to the whole of the paper, and then we'll start segregating different areas. So a lot of trying time involved. First, let's just go ahead and apply water nicely onto a paper. So there you go. I'm applying the water nicely. But we're going to be painting the sky area first. So it's okay, you don't need to apply as long as we did for the previous paintings. Here, I am going to pick up my size ten or a size eight. I believe this is a size ten, I can't figure out now, or maybe this is a size eight. Anyways, we're going to pick that up and this is we're going to start with. But before that, I almost forgot. But then as soon as I saw the water artlet, I realized that oops, I did not absorb the excess bit of water. I'm just going to go ahead and absorb the ces bit of water. Go and going to start with the sky. So, the sky, I am going to go with quin gold at first. I'm just going to start with a nice quin gold and create such lines. See that, and maybe a little bit over on this side as well. You can see on the water in the water, it spreads nicely giving us a beautiful effect. Then, I am going to pick up a little bit of violet. What I will do with the violet is, I don't want it to be this vibrant violet. What I will do is I will mix in tiny tiny amount of alizarin into my violet. You see it becomes like a red purple shade. I know that there's too much light coming on. So you can't see the shade probably. Let me see if again. So see this is the color that we made. That's violet and a bit of Alizarin mixed together, giving us a nice red purple shade. That is what we will apply into the sky region. It's going to mix with the queen gold and create a golden brown shade. That's absolutely fine. You don't have to worry that it's creating these shades, but always make sure that you're not taking too much. You can see how much are paint and taking it's very subtle and I want to create a very, very subtle sky. That's what I'm doing right here. Here. Applying that. That is basically it for our sky region. If you want, you can go ahead and grab a little bit more of the quin gold and blend in certain areas if you'd like a bit more color. But actually, I think I'm really cool and happy with the way the sky is at the moment because I'd like it to be subtle and not too much. Then the next thing that we're going to be doing is we're going to add one of the mountains with a wet on wet because we wanted to push it further away. In order to push things further away, you make it with the aerial perspective method, which is to make things softer. If I want to push that away, that means it has to be on the softer side. Let's paint that mountain first. What I'm going to be doing is, I am going to be picking up a This is panzana, but make sure that you make it such that it is almost like a dry wet. You want it to be in a very creamy consistency because you do not want it to be spreading to the whole of the sky. Always absorb the excess water from your brush when you're doing this. Using a synthetic brush also helps if your brush is like two thirsty and it's absorbing a lot of water and you're not getting the perfect strokes. Here you can see, just grabbing that and going ahead and adding we've added a little tiny tiny mountain shape. No need to complete that part because you wanted to be having that misty effect there. So long as you don't complete that end over there, I think it's going to be all right. Then if you want, you can give it a little bit of a darker appearance at one end. What I'm going to be doing is I am picking up a little bit of my transparent brown, making sure that I have the same dry stroke, and I'm just going to add a little bit of a dry stroke and of mixing a little bit of a darker color at some places. There. I think that qualifies as another mountain on my paper. That's actually looking good. That was unexpected. I didn't mean it to be like that, but I like the way it stands out. All right. Now we're done with the sky par and that background mountain. Rest of it will paint later on. What I'm going to do now is I'm going to dry this whole thing up so that we can go ahead and bring, bring our picture as in paint more things downward. I'm going to quickly dry All right. There you go. It's all dried up now, so we'll continue with our mountain. What I'm going to do now is I'm going to grab that burn Sena, and I'm going to mix it up with my transparent brown. We get a little bit more darker version than the burn sana color, and I'm going to paint that. Now you can see this mountain that I'm adding is like on the top level. That's why it's popping out, you can see. In front of the other one. You want it to pop out and you're going to obviously complete the other end. Make sure it'snice and watery because you want it to be nice and wet on wet stroke. Continuous wet on wet stroke. That's what I always say for these kind of ones. Okay. There you go. Then I'll grab in a little bit of the darker brown, and I'm going to make that pathway. There is the pathway and it comes like that. As we come closer towards the bottom, we want to mix it up with a little bit of yellow occur. Before that, let's complete that area of the mountain, the one over to that right side. Over to that right side, grabbing just the burn sienna now, and I'm going to just finish it up almost up to this very edge here. And you can see, it's a very lighter version almost finishing up to that area there. So just just do up until that point. Then what you can do is you can pick up the brown. And we will go ahead and add it for the pathway. You can see the pathway needs to go and turn, converge to a point over there. Just make sure that you have that and it converges to a point. As you start approaching towards the bottom, we will start mixing in the yellow occur there, so we'll start with the yellow occur. Now, one thing I would like you to do now right now. We're just bringing a little bit more complexity now that we've reached a lot of the days. You're going to grab your other brush and you're going to wet the bottom side. Not touch the area. If you touch the area, then it's going to spread. I guess so long as your paper is not too wet and you do not push water back there, it should be fine. Just applying the water there towards the bottom. Now we wet that region. Adopted a little bit of water there. We've wet that region, and what we're going to do is we're going to grab in the yellow cernal, and we're going to blend it on our road region This is like the pathway, isn't it's a first wheel pain that with the yellow ochre. You can see a left a slide gap there. That gap, we are going to fill it with a little bit of an olive green. Here, because it's like the edge where our grass is like growing. That's what I want to depict here, and that's why we are adding olive green. We can see just a little bit of an olive green layer, and then we'll come down. We'll go back with the olive green again, where we're creating the pathway. So now, filling that bottom part up, you see because we've applied the water, it becomes easy, and that's the reason why I've actually applied the water because it just makes everything easier to paint. And also, you can place a little bit of a foliage here at the base where the fence is actually growing. We can do that later on as well. So just grabbing the color and making sure that we add it along the pathway. Now we've got to add in darker strokes, just like it's already there on that region of the road. It's not going to be this perfect of a yellow cer stroke. Now I'm just grabbing my transparent brown and I'm going to add it to several places. First, I will add here. Then I will add here because there's a clear shadow from the sun region on these fences. It's not a perfect shadow. It's just a little bit of a darker area here, and also need to capture that at the base there. Now I'm just going to go ahead and put these random dots. So you can see it looks really weird. But if you go ahead and grab in a little bit more of the yellow ocher and kind of mix these up. Then it now that looks honestly much better, isn't it? So I'm just going to grab the brown. See. Now we've made it into a little bit of a pathway. I just grab a little bit more of the brown. I'm going to try and add it here, such that it joins the pathway and it doesn't look too disconnected. That's what I'm trying to do here. If you see that the water is not blending, you can just go ahead and absorb excess water with your brush, always. I think that's looking good. Now I'm going to grab a darker green color and I am going to put it over on top of the Olive green as in mix it with the olive green areas because this is where it starts to get into the foreground, so there's a lot of little greenish stones that we see even though it's like a sunset because we are closer to it, we start seeing these greenish stones. That's what's happening. You can also obviously create upward strokes like that to depict the grass structure. Upward structure like that. Whenever I'm painting grass in vara areas, I always try and create these upward strokes so that it helps. We've got a nice pathway established. This is like the pathway goes like that. It's probably a way like that, but there's also a pathway that goes over to the mountains, but that is prohibited, you're not supposed to go there. So here, just grabbing a little bit more of the darker green and I'm just adding in certain places. Wherever I'm adding, I'll try to create upward strokes, and in other places, it will be smaller dots and we also need to grab in and add in a little bit of darker areas here. You can see that darker area has too much of a contrast. I'm just picking up a little bit more olive green and mixing them up, then we'll also grab in a little bit of the transparent brown. And start adding along the edge that all of this does not look weird. Here, just at random. Remember, I said, we can add things onto the road at random places. You can see. Now, actually, that looks much much better, isn't it? Although I do not like the clear separation or how it looks over there, but I think it'll get sorted once we add the fence on the top. There you go. That's the second layer done, and the last and final thing is to just go ahead and add the fence and any eight e details that we have in the painting. Okay. All right. There you go. It's completely dried now, so now let's go ahead and add in the fence. What we're going to do is we're going to start with a color that's a mixture of that burn Ciena and brown. It's like a golden brown color. Can you see that? You can also mix it up by mixing a little bit of a transparent brown and orange if you want. This is what we're going to be starting with. It's basically simple just go ahead and fill up the shapes that you added for the fence. Fill up the fence areas that we added and make sure that it's a nice color. Because we're adding wet on dry over the top, it will be very easily visible. Here's that larger rock region that we added. There's another one of the fence. Added in the fence, now, you need to add in the horizontal ones. Just quickly finish off and add the horizontal ones after which we can add in any details. B. Okay. There, do you see the fence? It's kind of like in a wonky manner, but that's okay. So we need to add in a little bit of wire structure as well. But before that, let's go ahead and add in any darker details. Here, I'm just grabbing dark dark brown now, and we're going to add. Okay. Let's maybe add it in different places. I think I will add onto this region here, and then possibly some areas over there. On that one. Then the area where two of these fences join. Then also this, we need to create the effect of its different surface, isn't it? So there? Yeah. I think that's good. Now we can simply add some wire and connect everything. For that, I am going to grab my line brush. Here's my line brush, and I'm going to go ahead and add it with paints gray. Here I'm just grabbing my paints gray and they're mixing it up nicely. Let's see. You can add any kind of wire. Let's say that this thing's been wired all around like that. Try and make these not circular, but like twisting spiral. Shapes. Remember what I said, you don't need to complete it. These are spiral shapes, they're created that people still open the gate and cross over and also it helps to keep the cattle away. Then comes the next one and goes like that. I'll add another one there. Again, it goes like that. On this as well, we're going to add in that bart wire structure, so observe. I'm going to take it like that and something like that. Then you can also add the point where it's joining, add in some dot structure because the wire is obviously not perfect. Just random dots here and there, and you can have wire like hanging like that. So. That's a beautiful fence, isn't it? Now we're almost done. Just I am going to add in sin tiny details here and there. First of all, let me grab the olive green, and I will put some always hiding out the base regions of my fences because you can see it looks like it's in the air, isn't it? So just Add in bits of olive green at the bottom and try and mask out the base such that it doesn't look as though it's standing in the air. Bit of a green stroke here and there, and then we can also add a little bit of grass, real grass, that's sticking out onto the road there. You also add some in the center of the road because these roads are not perfect. They always have something growing over there, isn't it? So here, I've just mixed it a little bit of paints gray as well so that I get some darker. If I mix that olive green with paints gray, I get it like a darker green. I didn't bother picking up a darker green, but I just thought that I'll do this with my paints gray, and not just upwards, try and you can make the grass grow onto the road downward like that. Just make these circular strokes downward like that. From here. They all doesn't always need to be upward. You get that effect when you add it towards the bottom as well. Here, just grabbing that olive green and let's add some grass growing on to the road like that, see what I'm doing and how it stand out. If your olive green is not opaque and you do not get this effect, don't worry, mix it up with a little bit of a cadmium yellow, and you should be able to create the same effect. Now you can see the road, how it goes like that, and then there's a fence, which is blocked off being going to the other side as well. Now, there's one tiny thing that I want to do, which is I am going to pick up a, very creamy consistency of my yellow ocher. And just going to add it to the tip of this region. The reason being that area is another face of that rocky edge being shined by the sunlight here. We are seeing a little part of the lit area of the rocks other face. It just makes it look a little bit more original and natural and that's it. There, now we're done. That's pretty much it. I know the timing was less, but then there was a lot of things involved. You had to paint the sky and then bring down your strokes, which was really, really difficult. I know. But I'm pretty sure that you can do it. All you have to do is to make sure that always. Your previous stroke should not be completely dry when you apply the next layer. That way, you can always bring it downward without anything spreading around or creating blooms or backgrounds. So I think all the edges are now okay, so we can go ahead and peel off the tape. And there you go. That's our final painting. I mean, our final output from today's painting session. I hope you enjoyed painting this with me. Thank you so much for joining me today. 29. Day 24 - Bars and Beyond: Hey, hey, hey, welcome to day 24. And this here is the painting that we're going to be doing today. So yes, I know it's the topic fence, so why this, because this is the fencing on a balcony. You know, the wires that are attached to the fence of a balcony or like a window or something. It's still fencing or fence. That's why I wanted to cover that today. I like and love images like these where it's called the background sun and a lot of sun effects onto the metal, so that's what we've covered here. I'm sure that you are going to absolutely love this. Let's have a look at the colors that we need for this one. I start with basically transparent yellow, then move on to Quenacrodon gold. Then we also need a little bit of a violet, Alizarin crimson, burnt, Ciena, transparent, brown, and paints gray. Those are the colors that I have used in this painting. If you're ready, Cassada with this one. All right. Let us start today. We are going to need ruler to make our pencils sketch. There you go. What we are going to do is we're going to add those bars. I mean, you've obviously seen the final painting, so you know how it's turned out. Again, just make some lines. Here, I've added two parallel lines here. Then I will probably use the same distance that I have toward the right. I think that was almost one ruler length. You see that. I'll probably take the same again. One roller length from the left side and add in those bars. There you go, 2 bars. I think I slightly overdid a little bit on that side. Now they're both almost equal, then we'll do some horizontal ones as well. Again, I am going for the one by third positions instead of the, but also not in a perfect manner. You will see now. I believe that's straight, isn't it? Yes. There. We need the bars. So the bars on this side are more close together. We've got 3 bars. I mean, you've obviously seen the picture, so you know definitely what I am doing. What you've got to do is one, two, three, four, five, six, six lines over there. And then we'll add another six down here. Okay. There, one, two, that was a little slanted, got to make it straight. There, one, two, three, four, five, six. There you go. That's our simple simple simple fenc sketch. You believe it's simple, isn't it? Because we used the ruler, so it must be simple. Now we'll start with the background at first. Here, I'm just going to apply water with my large flat brush. Here, just going to apply water to the whole of my paper. Okay. There, taking the large size brush and applying to the whole of my paper. There you go. Now, obviously, I am going to quickly absorb the excess water from the edges of my tape. Okay. I mean, this process is now natural to you, isn't it because we do it every single day, isn't it? Here, now I'm going to start. I am going to start with a nice vibrant transparent yellow shade. We're going to create that sun raise now. Make the circle as big as possible because it will come towards the inside and spread out. That's why make the circle as big as possible. There's the circle, my sun circle. Now that is definitely going to come towards the inside and get smaller. That is why I will not make a smaller circle. Here, that is a larger one. Then go with the next shade, which is going to be quinacrodon gold. But make sure you blend it nicely and beautifully there, blending that nice and beautiful. Then I'm just going ahead and grabbing more quinacrodone gold now because that is what I want to add. Make sure that you do these circular shapes. Then I am going to go ahead and add in. More of the queen gold, and I'm going to fill up my paper with the Queen gold. Not to worry if you don't have Queen gold because I've already suggested as to how you can make up this mixture. Don't worry about that. So there you can see how I have blended in the whole of the paper with that just a quin gold, but now we need to create lots of beautiful shades in the sky. Here, what I'm going to do is I am going to grab my Alizarin crimson and I'm going to mix it up with a pilot. That is the same mixture that we did the previous day, I would say, so it's already there on my paper. It's like a red purple shade, and that is going to blend with the yellow to form a brown shade. That's exactly what we want. I'm going to start again and you can see, I'm going And I'm creating a circular shape there. But we need to create that blend. We'll blend the bottom part later on. I'm going to grab the quinacroon goals again and I'm going to blend it into that color right over there that you see. I'm going to take it over to the center like you can see here. Then as you approach the center, wash the brush again, go with the yellow shade because that's what we started with, isn't it. Remember I said that your son is going to come around and it's going to be turning out into a smaller one eventually. This is why that is. You've got to create that nice blend. Look at the amount of water on my paper. That's what actually creates all of these strokes, and that's what makes it spread nicely without the brush stroke being visible at the end. We need to be wary of that and that's what we need to do. Here, mixing up the Alizarin and my purple shade. We're going to go ahead and add more. Now, one you've added It all around like that, you can go ahead and make the shapes of some nice clouds, maybe like larger clouds and create nice shapes. You can see just adding some random things. And also smaller smaller, cloudy shapes. See that. Then as I approach towards the bottom, I'm taking a little bit of just the Alizarin more and adding. Remember at the bottom, it was just a quin gold, not the yellow. We're just mixing up with the Alizarin and creating these shapes as you can see. Just along the edge. That is basically the sky that we created. Oh, my God, it's such a sunning stunning sky for the entire thing, isn't it? It's so gorgeous, isn't it? One thing that you can do to prevent your yellow from spreading into that sun circle is to grab a brush that's completely dry. This is not completely dry because I haven't used it today. I'm just going to go ahead and absorb that excess bit of water from that center. Now there is no water in that center region for our yellow to spread into that area. That means that the sun area over there going to remain white and vibrant. Now, let's go ahead and quickly dry this whole thing up so that we can paint in the bars, and our painting would be finished. I mean, it's so quick, isn't it? All right. There you go. It's completely dried up now, which means now we can go ahead and add in the fence. When I said the topic was fence, it could be also the bars on the window, the fence, the fencing on balconies and stuff as well. That is why specifically I wanted to cover this to die. So we will let's start from the center because that is the most difficult one. And as soon as you get out of that zone, Everything else becomes easy. That center region, we need to depict that as the bright white color that we see there because the sun is obviously there, it's radiating that white yellow color. We definitely need to show that. We start with yellow tone. That's where we start with because even on the bars, it's going to be a vibrant yellow. This vertical bar that you see here, just along the edge, you will see a little bit of yellow shade. Like that, we'll draw the other ones later. Then it transitions into nice golden shade. You can pick up the golden burn Cena. I'm using the burn Cena, which is the golden one. But if you want to make that color, you can mix up your burn Cena with a little bit of an orange and you'll get the same color. Here, just mixing that up. My yellow stroke that I just added is actually still wet. Which is why when I add the burn Cena onto it, can you see how it just blends to create that gorgeous mixture? And I mean, it automatically just mix this together. The same towards the top, just apply a little bit of the exist of the burn CNA. Then over to the center over to the center a bit. Then you can go ahead and pick up a darker color, which in this case is going to be you've guessed it. It's transparent brown. I mean, that's obviously what's on my palette because I'm not using any colors for outside, that's it, isn't it? Then now we blend into the transparent brown color. This, you can go ahead and fill up the whole of the paper. That's what our bars are going to be. The magic happens at the point where the sun is, and that is what I really wanted to cover in this because otherwise, just adding bars with paints gray or a dark brown would have been sufficient. What's magical in that. The magic is to create this unique blend. Here, when you apply the dark brown and you've added it, go ahead and try and blend it into that burn CNO like that so that you see the transition there, see exactly how that's transitioning from the bright yellow to the burn CN to the dark brown, the same way, we'll do over at the top as well. We've got to do this for all of the bars that has the sudden rays radiating on it. There you go. If you want to make it a little bit more darker at certain places or at the bottom, for example, here, it's furest away from the sunlight, isn't it? What you can do is you can pick up paints grey. Yes, you've guessed it. I'm sure that at least one of you who is definitely guessed it because that's the darkest color on my pallet, isn't it? You can just go ahead and apply that paints gray and here. I'm just blending that in. So you can see the brown and the paint scrape blended way at the bottom and all the light there. I won't add paint scrape here because there's too little space and it's very close to the sunlight area. This one is really fine because there's no vibrant sun like that, but you still need to give it a little bit of a bansena because it still has this edge of the fence, it's going to radiate a little bit of the golden color. Because of the shape of the fence. The fence, if you see, it's actually like this brush here. Actually it is a very good example. I can show it to you right away, and I have got light here. If you look at this brush, This is the round shape of the brush. No matter how I hold it as in the light is coming from the top at the moment, but can you see that line of white color? This is better without the writing. Can you see the line of the white line in the middle like that? That is the light being reflected because of the round shape of the brush. It's exactly the same way, the fence is a round thing, which will radiate light, and no matter where the light comes from, the There will always be a highlight and there will also be a light in the middle section, and that's what we need to cover. Here, I am just going to apply burn CNA, but it will not be on the entire line. Same with the rush, if you note. It's only in some of the places and also depends upon the angle that we're holding it. It's depending upon the angle that our object is facing the light. Lots of factors here, obviously. Here I am starting with a nice burnt sienna. I've put that color. Down. Then obviously, we will go over on the top with the brown sheet. As you might know, I am comfortable reading lines when the vapor is tan. There you go, I've turned it because that's my comfort zone. I will do it like that. And I have a drop over on the other edge, definitely because it's definitely far away from the light source, and also I think on this side here is absolutely fine. It's almost at the center region where I actually want to depict a little bit of a light color. It's very, very subtle. You don't need show too much. Here just grabbing that color. Also, like I said, it's almost in the center that you want to depict. Here, see ale bit of a lighter color in the center. We don't definitely need to show too much and at the bottom, it's absolutely fine as well, so go ahead and apply the brown. You can also go ahead and apply paints gray towards the end like we did for the other one. There you go. I'll just grab a little bit of a paint scy and I'm going to drop it at the bottom and I've blended it. See. Now we've drawn the two vertical ones. Next is the horizontal ones. We'll start with the horizontal ones over there as well because that's the easiest to do. Then these ones at the bottom area sorry. These are the difficult ones to do and the ones at the bottom are super easy. Here, starting with my yellow because we've got the lights over there again, and I want the brint brint sun area to be seen. Here just applying the yellow first. Apply more so that you have enough to blend in. The next color that we need to blend in is obviously the burn Ciena. Paint in between the first two lines, then go ahead and do the same in between the next two lines. Then we'll again paint between honestly speaking here, it's not needed, but I'm just in case. Then grabbing the same burden. Let's go ahead, add it. This one, you can add to the whole of it because like I said, it's not needed. It's not the sun's color, just turning it so that it becomes closer to mine and I have an easy way to add it. Then here on this one as well. There, you can see that. Now once I have added the burn Ciena, now, I need to blend it. You can see it's a very, very vibrant color over there, but I need to kind of blend it into my yellow, isn't it? That's what I'm doing, using the tip of my brush and pulling that color in. If you feel that there's too color on your brush, which is being picked back up, go ahead and wash your brush, like I just did. How we create that nice vibrant blend over there. Then go ahead and pick up the darker color, the dark transparent brown and add it. Like here at the very end, it can be darker. And goes inward. Again, this is metal, so do not make it as perfect. You might see that some of my lines are wonky. This is because it's a metal that's been rolled into it. Nobody's made that metal absolutely perfect. You literally don't need to make it absolutely perfect. It's okay to have a little bit of a disturbance on the metal and uneven surfaces. That's the good thing about these fence. You don't need to make it perfect. There just adding onto here. Again, blending, though the same on this side. But like I said, just a teeny, tiny bit. Then I've got to go ahead and blend that in to my band Ciena way over to the center. This one, you can literally take it all the way. Doesn't need to depict There you go, and I'm going to grab a little bit of a paints gray and towards the edge. Here. Let me see that. See how we've made that. Although what I think I need the brown to be a little bit more towards the center because it's really further off from where the light is, so we'll make it a little bit more closer to the light source. There. What you can actually do is you can go ahead and soften the part of the yellow where the sun is. Softening is basically just washing your brush and then rubbing your brush along in that teeny tiny area. See that. So that the edge where the yellow is gets softened. You can do that with all of the areas where the yellow is, so that the sun's there shining bright and you also see the colors and everything, and it's all Can you see that? Now, the bottom ones, again, like I said, those are the simplest ones. And once we do that, our painting is like literally complete. What I'm going to do is, I am going to first start with a teeny tiny amount of burn Ciena on all of them. I don't know why I just a teeny tiny when I'm just literally drawing the entire thing with Burn Ciena. I apologize. I also realized that I think I have made an extra line here. Oh, no. One, two, three, four, five, 67. I did seven. I was going on talking and then I just did that mistake. How do we rectify that? Because it's over with pencil and I can clearly see that line there. Now I've got no option back to draw another fence. I'm so sorry. If you have not added an extra line like I did, please, you can stop with the three. That's it. It's absolutely fine. I did that mistake, and I got no choice. I had to get rid of that line. I had to do this. Now, back with brawn again. Nice dark consistency of the brown paint, and I'm just going to go ahead and add it just like we did. Along the edge st and leaving a nice shiny, burn ciena at random places. You can see some areas, I let the burnt sienna be as it is, and I don't take my brush over it. That is how we make it have a dull color tone at some places. For example here, see, can you see I left a teeny tiny gap of the burn sienna. I'll just pick up a little bit of the paint s gray and start again along the edge and blend it. Now, there's one area that we need to cover, which is to basically add in a little bit of a shadow element to some places. For example, right here, this part of the fence is like together and it's joined together. There needs to be a shadow from the top one on the bottom one. This is this. There will be a little bit of brown paint shadow like that, but do not add it all the way down, and then you're going to go ahead and just soften out that bottom bit. C. Now you've created that shadow joint. The same way for this because it's slightly darker, you can use a bit of paints gray and blend that, the same way, go ahead and add for every joint. Don't add for these two because they're really bright, and it's under the sun. But go ahead and add for these. Other ones. And actually, there you go. That's pretty much it. We've made the fence. So I hope you enjoy painting this. Let's actually peal off the tape, okay. So I guess we're all okay along the edges, although I know that some of the edges here are st wet, so maybe I should try up. Okay. So Here you go. And here is the final painting. Oh my God. I love it. I mean, I don't know. I have this very big fondness for yellow and home colors. I'm biased. I'm totally biased. Here you go. Here's the finished painting from today's session. I hope you enjoyed painting this with me, and thank you so much for joining me today. 30. Day 25 - Tangled Turquoise : Hey, hey, hey. Welcome to Week five, and painting number 25. I mean, can you believe we've already reached like one by four of this challenge? It's absolutely amazing, isn't it? Oh, wait. I didn't tell you the topic, but can you guess from this? It's electricos. You know, have you seen those sunset pictures where there's lots of criss cross wires in the sky and a beautiful sky in the background? Well, that's what we're going to be in this week. I start with a simple one because you need a good practice with a line of brush or a small detail of brush that you want to use. I'll explain all of it. Don't worry. We will need to do these thin lines, and it's really really amazing to get these thin lines and I also tell you how to do it. Literally don't worry, but first, we have to be in the sky, of course, isn't it? Actually, let's go have a look at the colors that we need for this painting. I have used I think just four no five colors. Let's see. Til blue. Hello green, indigo, transparent orange, and paints gray. Yeah. That's five colors that I have used for this one. If you're ready, let's get started. Let us start. We start by applying water to the whole of the paper. We don't need to worry about any sketch as of today because we're going to do that with the brush, and that is the tricky part for today. Also, if you actually do it with your brush, it's going to be a little bit with your pencil. It's going to be difficult because you'd then have to match the exact line with your brush. So this is the reason why we're not going with a pencil, but rather going to do it directly with a brush. So having a liner brush in your hand is really handy. But if you do not, then you can always go for a very small detailer brush, but make sure that it's nice and pointed. So something lesser than a size zero or size zero itself is going to be ideal. Those sizes where it's got three slash zero or five slash zero. Those are because it just means that it's one by fifth, the size of zero or one by third, the size of zero. That's what we're going to be needing. Here, I've applied a nice amount of water onto my paper, and we are going to start. First of all, we are going to start with a nice turquoise shade today. Just wanted it to be nice and different beautiful like very different sunset sky. These electric poles, you see them as this color only because when you have the sunset atmosphere. That's why I'm mixing a little bit of a theo blue, and I'm going to grab my alo green and I'm going to mix into it. Can you see the beautiful gorgeous turquoise shape that I have right there, and I'm going to grab that and I'm going to put that onto my paper. So S, just starting and I just put in some shapes. This is absolutely just what came out of my hand. No specific direction or anything. Also notice I'm mixing the color each time, so that when you do that, you are going to end up with a different shade each time. This is the reason why you definitely want to mix. You can see here. This is slightly more greenish in hue. When you add more blue, it turns into a slightly bluish hue. Today, we do not want any white areas in our sky. Rather, we are going to cover it up entirely with this gorgeous mix of color that we are adding. Okay. Even if you leave some white areas, we will cover it up later on. Remember that and mix up the paint nicely. Here I'm grabbing my tallo blue and I'm mixing with my tailor green. That's my tail blue. That's my tailor green. I mix them up nicely and I'm applying. If you actually have a turk with shade and you want to use that, it's absolutely fine. But it's really fun when you mix in the colors. That is the reason why I do this. And as you can see, now I've added in a lot of these turquoise shades. Now, I am going to add in a little bit of a darker tone at some random places. So what I am going to do is, I'm going to grab a teeny tiny amount of indigo. Okay, I don't know why I just teeny tiny. It's definitely not teeny tiny because I'm going to be adding like A nice color done at random places, and especially at the top regions. But I think what I'm going to do is, I'm going to mix it to the base color that we are added. L here mixing it with the yll blue and the Talal green so that I get a darker version rather than just the normal indigo color. And that's what I will add. I've added it slightly towards the base regions as well. Then I will wash my brush because we need to fill in the areas where we have white. What I'm going to do is, I'm going to grab a little bit of orange. That orange is definitely going to mix with the green blue color and creates a nice brown shade. But that's okay. And definitely we create some greenish shades as well. That's okay again. Here, just grabbing and mixing because I literally do not want any white space. Covering up the entire white space with the orange, you can also, in fact, lift your paper ever so slightly so that the excess water flows out and it also enables to cover up the white as needed. You can see. That is really helpful. Here, just grabbing that orange and blending in. You can see the areas where it actually blends, it creates a slightly greenish hue. For this, the sky that we've added today, it's absolutely fine to have that greenish hue in the sky and can you see how that's turned out? We have a tiny tiny amount of the orange hue in the sky. Then I'm just going to grab a little bit more of the indigo and add it towards the edges at some random places. This is going to blend in with the existing bluish turquis color and give us a nice background that we can work on. There you go. Now, I am going to grab a not a little nice darker amount of the intego, and I'm going to provide the base. This will be some of the bushes. You can also use paints gray instead because now we definitely want it to be a darker color. And we want it to be at the very, very base. This, just go ahead and add in some nice bushy effects. We can always add more with our wet on dry method. This is like the initial layer that we add. And observe where in some areas, I'm using the point to tip of my brush, do generate these. There you go. Now, we will go ahead and make sure we try this up so that we can add in the electric bools on the top. It's actually, very simple, isn't it? Let's go ahead and do that. All right. There you go. It's completely dry and you can see the effects of indigo. I'm not happy with this edge actually here. But I guess it's okay. There's nothing much I can do once the paper is dried. I probably have to be careful the next time that I use indigo. It's the pigmentation that's problem with this indigo and the way that it's mixed with these other colors. But okay, I have to get used to it. Next, what I'm going to do is I am going to grab paints gray, and we're going to add another layer of foreground. The one that we've already added is going to act as the background because it's got a softer edge to it. Now when you add a bit more over the top with your wet on dry stroke, it's going to look much more amazing. Just go ahead and fill up with random details. Can see just filling it up. The edge needs to be nicely covered. Now we have two layer of the bushes, and now it's time for us to add in the electric poles. Shall we go ahead and do that? I'm just going to tilt my paper. What we're going to do is we're going to draw a line first. Make sure that it's parallel to this surface of the paper. I'm just tilting my poor because it's easy for my hand to do so. Let's see. If at all, I go slightly misgled. I will just adjust it. And that is probably the heights that I want for my first one. Now let me adjust and then now this edge All right. There you go. Not bad. Then now we need the second one, which is slightly behind, but then because it's going to be in perspective, and that's the one that's behind, but it still goes further away on the bushes. We're going to make that smaller, and there it goes again, parallel to these ones. All right. I think we'll stop it there. There's only two, so you don't need to worry about more elements in perspective at this point. Very bad straight line. That's okay. That's part of the process, isn't it? Okay. There. Then I'm going to add a horizontal line to the top part and need to do the same for these ones. But this one, I mean, not the ones. I'm just trying to do the whole thing with brush for this one. For the next one, probably we'll just add in the poles with a pencil, but it's absolutely optional. You don't have to. Then now it's time for us to add in a little bit of the details of the poles. Have you seen this structure on top of the electric poles? That's where the wires are connected to. I will show you closely how I did that. So it's basically draw a tiny, tiny line coming out of each one and then draw some parallel lines. It's kind of like a wound wire. So that's why it looks like that, and you can probably give it another small layer as well. See that. We got to adjust the height level of this one. All right. There you go. Now the next thing is, I am going to switch to my line of brush and this is where we add in those beau poles. Very important. I mean, that what we're going to, isn't it to tiny lines. He. Just grabbing a nice amount of paint gray here and we're going to start. Observe closely. Now, definitely a bit of perspective. We'll start with the one over here. This one is going out of the paper and onto there. We've drawn a line. Now the next one goes above and like that. The next one, always do not draw it perfectly straight, give it a little bit of a slight curve because the wires are not taught. They have a little bit of a bend to it. That's what I'm doing. Add in a little bit of a bend and it goes upward like that. You see that? Now, to this, we need to join up to the next one. Again, big is we've drawn it in smaller lines. The moment you join it together, everything is going to turn out in perspective all by itself. Just watch out. Let's see how that's going to happen. If I take it from there, and try your best to do it in one stroke, please. It's okay even if you have a little bit of a break, this one, I have a little bit of a break, and that's okay because remember the theory where I told you that your brain is going to complete it for you, please let it be. Now the next one, let it go continue over to back. Do not do anything other than a single stroke. It's very, very important. Then again, we have a smaller one here. And I made that cross over. And we need to bring that smaller one. All right. Okay, I was practically holding my breath while I was doing that. But we're not done yet. So let's go ahead and add in a little bit more extra details. So what I'm going to do is from this pool. I'm going to create, you know, a little bit of an electric wire. So I just created a bit of a T shape there. And then from there, I am going to create another wire that you know, kind of this is what I said. Don't do that. I mean, I said, don't do it and I did the exact same mistake. I do really apologize. What I'm going to do is, I am going to make it into a dull line. See? You can always adjust your mistakes. I'm justifying myself out, aren't I? Anyways, another one of those poles going out from there. What you can do is you can add in connections like that. These connections do exist between poles. I honestly don't know what they are, and then I also need to add in wooden bars that actually connect together, like that. I probably missed the angle. Yeah, that's much better, need to do the same for this one. To bars like that. Then let's see, going to add in a few more. So a little bit of a de junction there and on that. And from there. That can go over to that one. Again, some C. I'm not going to complete a little space there because I think I will let the brain do it. Then again, I want to create some wires that are hanging. See that. A little bit of a detail. And these two wires, or they need to go out as well, isn't it? So they're going to cross over and go over to the other side. And maybe I will add in a little box shape there. Do you see how this whole thing has already out and how different it looks? You can go ahead and keep adding as many of these pools you want. But I think for now, I am going to stop, this because let's not ruin it. Here we've made our first painting. I will quickly dry this up and then we can remove the tape. Now let's go ahead and remove the tape. Here you go. Here's the finished painting. I really love the way these polls have turned out, and the electric wires. The only thing I'm not happy about is this corner right here, but if I ignore that, I love the rest of the painting. Here you go. Here's the final painting. I hope you like it. Thank you so much for joining me today. 31. Day 26 - Pastel Power: Hey, hey, hey. Welcome to day 26, and this here is the painting that we're gonna be doing today. So, do you see? Isn't it simple, simple, simple? Lots of line and brush work here. I mean, the small teeny tiny brush, so you've got to be careful. But I am sure you can do it. I mean, here you go. So let's have a look at the colors that we need for this one. So I start with acrode rose and lavender. And trust me, those are the only two colors in the sky. And then paints gray for the rest of this. That's it for this painting, so three colors, and you will be done with this. But I know it's a bit lengthy, isn't it? Because it's because of those delicate lines and pool lines and a lot of perspective in play here. Explained everything, so go ahead and try it out. Let's start. All right. Let's start. Today, we are definitely going to use a ruler, and we'll just sketch out the poles where it's positioned. So I am going to make a longer one over here. This is going out of the paper, this is an indication of where that one is going to be. We'll also add in a smaller one slightly over here. That's that smaller one. Also observe how I make the lines of the poles. A little bit of thicker towards the bottom. Can you see? This is Bs perspective again. We're looking at it from bottom up. The bottom area should look a little bit bigger and the top area looks a little bit smaller. Then I think I'm going to add in bit of a structure here. Like a triangular structure. I think it's some kind of supportive element or maybe it's a design on the road. Those triangular designs, not exactly designed, but you know other things that say, don't do this or don't do that, or, things like that. That's what that is. That's my best guess. Then you have the silhouette of a house really, really far away at the back. The same over here. We have a silhette of some kind of building at the back and maybe another one over here. A few other buildings again here. Right. I will show this to you closely once I'm done with a sketch, so you don't have to worry about it. And then I'm going to add in a smaller pool around here. And another one really close by. And maybe another one again, that's going far, so of perspective interplay here. Let's literally do that. There. These are the poles that we want to add in, but the lines, the wires, the electric cables, we won't add them now because it's going to be with our brushes. If you add those lines, then it's going to be really hard for you to trace over the exact same thing with your brush, so that's the reason why I'm not, whereas these are just poles and you could always add paint into it. These are again shapes on the electric poles. Okay. So when we add in black on these areas, it'll make much sense and it'll look much simpler, I guess, again. Okay, I guess this is it. This is the pencil sketch. Let me show this to you closely. You are going to make this sketch. We're going to paint this beautiful thing. First of all, obviously, let's go ahead and add in the beautiful, beautiful sky. I'm going to start by applying water to the whole of my paper. Obviously, don't bother about the bow lines and every just be there as it is, and that will still be visible at the end for us to add. Okay. There added. Now I'm going to absorb the excess obviously with my clothe running all around the edges. Right. Let's get started. Shall we? We are going to start with a pink shade, and that is what we will apply at theo. Can you see a nice pink shade? And we will gradually take that pink shade over to the top. Let me just grab a little bit more pink because I think there are some areas that's going to be literally lighter. This is quinacudon rose. That's the shade that I've picked up. Then the next thing from the top, what we are going to use is lavender. Picking up a nice consistency of the lavender. Lavender is an opaque color. Notice how that is going to blend in with the pink. The color, the pigment is dense in lavender. It's going to be slightly different than when mixing your violet or other colors. Also try to make it this slanded. We do not want a perfect gradient, but rather I am looking fo kind of like a slanded blend between the two colors. And can you see how we've got that blend and that some of the areas where you've blended in lavender with the pink tends to become a little bit of a violet shade. Can you see that? And if not, go ahead, grab more pink or the queen rose and make your sky nice and beautiful and vibrant. Make it look gorgeous. Oh, I love that ping shade. So I'm just going now ahead, and I picked up my pink and I added it over to the top. Okay, can you see the areas where it's kind of blended in. So Shall we make the sky as simple as possible? I think we shade, right? You deserve a break from all those different skies that you've been trying to do, right? So maybe this will be your break. So just adding the pink some more because I want to make it more vibrant. That's my intention. All right. And just going to add in these streaks of pink in to the lavender so that you get these go just pink shades. Can you see that? See that plant. That's what we're going to do. You can obviously pick up more lavender, and you can also see the angle that I have on my paper. It's very, very important if you want your colors to blend nicely. When I pick up the lavender, I try and apply it into the areas in between and you can see how it creates a nice granulation effect. Basically, that's it for the sky. We do not want to do anything more because I really wanted to make it simple. We're going to be adding a lot of details the pole line. So that's where all the secret comes into in this picture. It's going to be really quick, though, I guess. I mean, I know I always say that, and then we end up doing a lot more. Okay. Let's see how this goes. So I am going to quickly dry this up and we'll see how it goes. All right. There you go. It's completely dried up. And can you see the beautiful granulation of our lavender right there. I kind of love the way the sky stand out. It's kind of looking like, you know, the scattered, teeny, tiny clouds low, height clouds that form really close to the surface. They form to be teeny tiny ones. So it's looking like that, and I absolutely love it. So now let's go ahead and add in the poles. This is where all the fun part begins. So go ahead, grab in a nice amount of paints gray, and we're going to start. So first of all, let's go ahead and paint the houses that we added. Just go ahead and add paint inside them. It's going to be re, really simple to do this one, process because all you have to do is like coloring inside your sketch, if you know what I mean, Okay. So we're done with the houses at the bottom. Now we need to go ahead and do the polls. So I'm going to do my magic and turn my paper because my hand is still that way. As in my hand really likes things that way. I get to draw straight lines when it's done like that. And see, I already did a mistake while trying to explain. But I've quickly resolved it as in made the bottom part thicker and the top part thinner. I mean, that's how it should be, right? I just explained it. Now we'll go ahead on to the next one. So I'm really using the pointed tip of my brush to achieve this effect, okay. They go seriously. I'm holding my breath when I do these. Okay. A, they go. So more. And on to the main big one now with the triangular symbol. Oh. Okay. De with coloring that one. B. B. All right. Done. Now there are these tiny bits that we added, and I also think I will add a little bit more. The horizontal bars electric poles or electric wires are actually attached. So we haven't made them that we can add. K. Thank you. Talking about these horizontal bars and other lines. I will add in all those tiny tiny things right now. For this one, need a horizontal line over the top and then that little thing at the edge, then the same for this need horizontal bar there, maybe another bar there. Let's try with this one, I think the color of this bowl may have faded a little, so I'm just going to darken it up. Yeah. That looks much better. Now let's go ahead and do the fun part of painting the electric poles. Let's do it. So just grabbing my liner brush and I'm going to load it up with a nice, nice, literally nice amount of my paints gray here on my palette. You can see I try and make it into a nice and a consistency between creamy and milky. Not so flowing yet, but also really, really dark and vibrant. That's why I drop in water and introduce a lot of pigment into it. Can you see? Then let's start. First of all, to get a bit of a practice, you can try a free hand without touching any of the lines or anything. For example, we'll add one from there to this. It needs to be a not straight, but remember, it has to be a little bit of a hanging one. Let's do that. My hands are literally shaking at this moment. See, I couldn't. Like I said, if it's rigging, not complete it. I mean, do not go ahead and touch it, just complete it because that line will be completed by a brain. Another one. Okay. Now I need to definitely add in a little bit, but as you can see, I did not touch and join it. I think that's okay. I've added two there. Now I need to add one from there to here. But I need to add a little bit of pole, not pole, but some bars on there. And then one of my cables going from there to there. Then what else? Okay. Another cable going from there towards the outside. Then I need to have a cable. Oh, my God, this is honestly scary. So a cable going from there towards the outside, okay? So what I'll do is, I will take it broke broke broke. So I know that I said even if some of them breaks, try and, you know, but you will see I don't try to join them, but I just try to fill that gap in between, so not try to join them. It's very, very difficult if you try and join them. And then you can create any tiny details. I'll show that to you definitely closely. So I'm just going to create a few more ones. Oh. That one is amazing. It turned out really well. I need to draw another one, going over to this one. That one was amazing as well. Okay, There honestly and really, really, really holding my breath in a lot of these, you know? Now, I need to add one from there. So that is kind of like the wire wound together. So that's why it's a bit thick, but now I need to cove and join it with the one that I draw over there. Okay? So the line needs to be real thin. Where's my thin line? And join there. Can you see that was against Gary, I've just put in a little bit of a drop there to show some kind of wound wire structure. I think I need a horizontal bar over there as well and another wire going out. Something like that. Then we have a lot over here as well. F this poll going outside. Let's see, where else? From this pool, it needs to go from here to there, I need to add one more there and it needs to be thin. Okay, see how I made that really, really thin so I used a point a tip of my liner to achieve that. Then I'm going to do like a horizontal one that goes all the way to this one. It's just a criss cross between all of these wires. Don't worry too much about which ones, which or how it should be. So just try and connect all of these different ones together. See now, I try to add one there, but the height of this pole was not sufficient and I can't bring it any lower, so what do you do? Increase the height of the pole, and you sorted. See that? Okay? See how we've added that. Then from there, go ahead and add something vanishing into the far off region. Can you see that? Now, this is a place where it's joined. Then let see. I need to add a. Okay. I love that. Then to make it really look original, we need to add these little symbols. I think I don't know what they are cols, but if you look at the pictures of electric poles, they are definitely going to be there. And so are these tiny structures and things that you see and they'll be like wires and lots of things hanging. So I've added one like that. Now, I need another horizontal one that goes from here to here, and the end of that needs to be a little bit thicker. Okay? And this horizontal one can join like that. And let's say, how do we connect that? So I want to connect, something like that. There it goes. There's more connections. That one, let's connect to something over here. But wait, we haven't added lines of cable onto that one. Oh, that's remaining. That's fun one. That can be a little bit thicker, so I've grabbed in a little bit more extra pains now. I said this was going to be quick and look. These poles took so time, isn't it? As the case with me, the poles go like that. Can you see again how I did that in perspective. The first line like that. Each time they're converging out, but again, with the same hanging structure that it has, see how we do that. Lots of things here. Just remember to keep all those things in perspective. I'm just adding a little bit of a shape and some things there, and then we'll have a pole going from there. I want to make that pole multiple lots of wound wire. Can you see that? See, very thick cable going on there, and that is where I want to create a connection. These ones there need to go and converge to the pole over there, and they need to go in outward from there as well. Then let's see what else? This is for I said, isn't it? These ones need to go and go somewhere and join. Oh. Again, observe how it's a little bit closer here and it goes outward as it comes from there. See those two, and I'm not going to be filling that gap. It's absolutely fine. You don't have to. Now, you see the crossing between those two. These wires we are going to add little bit of connection. See, something like that. These are the things that actually makes your paintings look real. Okay. See how the three of them are connected. So we've added it there. We've added those lines, lots of ols, criss cross here. I mean, you could just really go on adding forever and ever. So I think we'll put a stop to it because I don't want to confuse you anymore unless you feel like, Oh, again, I should add. Just like I am doing right now because somebody put me on a stop me. Somebody stopped me. Literally. Oh, wait, I just noticed something and it looks weird and empty. These two poles, they need to go out. There you go. And maybe a little bit of a eta and some pole lines here. Yeah, I think that's enough. I won't do anything anymore. Oh. That was really holding the breath moment for a lot of these pole lines, but I guess all of the edges are now dry, so let's go ahead and remove the tape. And you know one thing extra that you can do to these paintings are to add birds on these poles. I mean, Oh, my God, they are next level. But let's not complicate this anymore, so I'll go ahead and remove the tape. Hey, here you go. There's a final picture. I hope you enjoyed. I really love using that line of brush and doing these lines. I wish I could do a lot more. I am definitely going to create a painting with a lot of these lines. Definitely, and I'm going to do it on a large scale. So this is what's in my mind right now. Here you go. Here's a finished painting. I hope you enjoy doing this with me. Thank you so much for joining me today. 32. Day 27 - Sky's Network: Hey, hey, hey, welcome to date 27. This here is the painting that we're going to be doing today. You see that? I know this looks simple, and probably you're looking at the time and this is like what 20 minutes 20 1 minute lesson. You'll be like, Oh, this is too simple. But trust me, just only the sky is simple. My purpose of teaching this lesson is absolutely to get those lines, those electric wires in having them in perspective, having them in an angle to each other, and then also placing these teeny, tiny birds in different positions. It's not that easy. Well, no, it's easy. Okay, let's go ahead and paint this one. Let's have a look at the colors. The colors that I have used basically, I think I've just used only three colors in this, and those are transparent orange, paints gray, and burns. That's it. That's absolutely it. Here you go. If you're ready, let's get started. All right. Let us start. We'll start by applying a nice amount of water onto the whole of our paper. So we just needed to be nice and wet because we need to create a nice gradient at the top and a little bit of sky at the bottom with a nice bright sunlight. You've already seen the final picture, so you know how it's going to turn out, isn't it? Let's go ahead and do that. Here, as you can see, I'm applying water onto my whole of the paper. And obviously, I will absorb the excess water from the very edges so that it doesn't cause too much trouble and there you go. That's done, then now we'll get the painting. Here I am starting with my large size 12 brush because I think it's okay, we can just directly go ahead and start with our size 12 brush, and I am going to be grabbing my transparent orange. Go ahead and pick up a nice orange that you have, and this is what we're going to be using. So also, we need the center portion to have a nice glowing sun region. What I'm going to be doing is, I have picked up this orange shade and I'm going to draw a bigger circle. We definitely need a bigger circle because a smaller circle means that the paint will always flow inwards because the whole paper is wet. Always remember that. I'm going to have it somewhere around here. So here, a bigger circle, and I will not make this bigger circle smaller, but what I will do now is I'm going to paint around it along the rest of the areas because I know that this orange will anyways spread and go inwards decreasing my circle. I would always be able to work around. Also if it doesn't get decreased, I can always go inwards and decrease it as well. That's what this is about. Here, as you can see, I am blending with a nice amount of my orange. I can see it did not blend too much. Probably I was talking too much and my paper started to dry or something. But I want to go ahead and make the circle. Smaller now. Can you see, I've made the glowing sun nice and small, but obviously, we need to get rid of all these. Can you see the circular color? I don't want that. That is why I am going ahead and using my paint and creating the slander light. Closer to where the sun is, I assume it's okay. It will spread and it will be fine. Now we've got a nice round area for our sun. And if it's not round, you can always just go ahead and use your brush to absorb excess paint and create a nice round shape there, then the next color that I'm going to use a paints gray, and I'm going to start with paints gray right from the top. This is just a very, very simple sky, in fact, you can see that. We start at the very top. And we're going to come downward, and then we're going to come and join into that orange region. Every time you pick up fresh paint, make sure that you apply towards the top and towards the bottom, you're going to reduce the paint, and you're going to come over to the orange and blend it. Do not come all the way down to where the sun region is. You want to keep it simple and try and blend it like that. I was going to say also you can pick up the paper, but if you didn't pick up the paper, your sun area is going to bleed in with the pigment. No, you can't pick up unfortunately. Here, grabbing my paints create again. I'm going to go for a, not much darker, but this will eventually be lighter, as you may already know, I want that to be reflected and I don't like perfect gradients always so I try to mix up some and create a little bit of a stroke. I'm going to do that only towards the right side here. Not too much. I got to pick my orange and go back and create some nice blends. Oops. I went too close to my son region with my stroke, was not being careful honestly. There dry my brush. I'm going to keep my son intact by going around and lifting mate. Again, I think that's pretty much it for the sun and our sky. The rest of the details we're going to be adding over the top. I mean, this painting is actually really simple, but what I wanted to get you in, it was regarding the practice of those lines. You've seen how the lines is now adding them in perspective, adding them with the same distance and that is what matters, and that's not easy, that's really tough, so we are going to achieve that. Let's go ahead and quickly dry this There you go. It's completely dry and you can see the paper where we applied the paints gray. It's so light. It's completely light, isn't it? This is the reason why I said that you need to apply a darker tone because your paper is going to suck out all the vibrancy out of your painting and it's really going to get lighter. Which is why we really need to be having those vibrant colors in on our painting. Now let's go ahead and start painting the foreground. Obviously, again, for the foreground, we're going to start with paint gray, but this time a darker consistency because we needed to be almost as dark as black, and I'm going to put in those tiny tiny details. There. Going to fill that up. But observe closely, I fill up at the bottom because this area here, I wanted to have a little bit of a light from the sun. Just at the bottom, we'll finish that off. I think we'll continue that later before it dries up, we have to go ahead and finish that off. Here I'm going to grab my burner. It's my burns inner and I'm going to go ahead and apply. Using the tip of my brush at some point and then adding these tiny strokes. You can see that. That's how I make and then obviously blending it towards the bottom and blending it in to the paints gray so that it creates like a blend, but can you see that light is, it's right there. Then we'll go back to the black black obviously the paints gray color and finish off until the very end. Then the tiny bushy structure. So you use the point at tip of your brush to create that tiny, tiny bushy structure, okay? In any manner that you want, there is no absolute rule as to how you're supposed to be doing this. This is meant to be really simple and give you more practice on those lines. In fact. That's my intention with this week so that you are going to be so confident in creating lines like that. Now that you've done that, I think we can switch to an even smaller size brush because I want to make some poles first with my brush and then we'll go ahead and add in the lines. So here, using mini brush, I'm going to add in some pulse vertical ones there, that is added, another one there maybe. Some of them thinner, some of them thicker. Now, I am going to add in a really larger one, but observe how I'm going to add it. I'm going to make it dwell color, and that is an important lesson here. Here, I'm going to make it closer to where the sun is, and right from there, I'm going to start, and I'm going to use the pointer tip of my brush. Hold your brush. I've made one with paints. Next what I'm going to do is I'm going to load my brush up. With the burns in and on the same line. On the same line, we are going to continue it closer to the sun. See that, that is, very tricky and really dangerous. But can you see how closer to the sun, it's like gets a lighter color, and that's what we want to achieve. I think we've covered enough poles in there now. It's time for our electric wires. Now this is the tricky part. This lesson is going to be so quick, isn't it? Oh, my God. We have a little lo others. Let's see. We're going to start right from the top and we're going to make this in perspective. Remember. We've also got to change colors in between, and that's the tricky part again. I'm going to start right there and added one. See that. We're going to go again and continue, but this time like that. See each time, you're going to have more space, but all of them are going to converge closer to here, but the space here is going to be a little bit larger. That's how it's going to be. Remember, nothing straight. It's okay to have a little bit of a slight bend and it's okay to be straight as well. If you want to draw it perfectly straight, that's absolutely fine as well. See that. Then just going to keep adding a lot of these lines. Now it's time for us to draw more and this time when we are adding all of these lines, they need to converge closer together. There you go. This is the tricky part. Now, I always say do not break up your lines and do not stop. But when you approach closer to the sun, you're absolutely going to stop. Let's see. Okay. You see what I did there because we are going to complete it, and this is where the tricky part is. This is what we have to absolutely learn. Yes, it is difficult. Let's go ahead and grab the burnt color. Make sure that it's in the same consistency as to how you picked up p now using the pointed tip of your brush and observe where I'm holding the brush as well because I'm holding it closer. That's because I want to have control and we are going to go ahead and grab the end of that line where we did. It's going to be a little bit tricky. But then we're going to have to make it go ahead and join. That one was absolutely not perfect. You know what I'm going to do. We are going to create a dull line there. You can always improvise and change things. Just understand that none of us are perfect and we are never going to get those perfect perfect lines, but that's okay. You just learned to improvise, that's it. Now those ones were outside of the sun. Now we've got to draw all the ones in the sun, and that's actually better because what you're going to do is you're going to have the lines, but then you're not going to complete inside the sun. You are going to leave it white. Because the sun is that bright. That you can't literally join it up. See that. Now we'll draw some more with brown paint because it's closer to the sun, isn't it? But then you can see how I do not touch the sun region. There you go. You can see how that stand up. Now I'll go back to my paints cray and I'll start adding some more pole lines. Adding on to that one. It's okay to have some broken lines. Like I always say, your brain is going to fill that up. See how many lines I added there, when I add in a few more. That was a lot, isn't it? He a few more there over the top. Then, I am going to add some lines there, some dot structure onto it. But today, what we're going to add is, we are going to make some tiny birds. The birds are going to be really tiny on these ones. Then in further further lessons, we will try and make larger birds. Let's see how do we make the birds actually. Don't need to use a line of brush for the teeny tiny birds. We could actually shift to a size two brush instead. There just wrapping my paints gray color, and we're going to start. You can start with adding first birds in flight. See the birds in flight at random places. Then you're also going to put birds on there. The birds on there is like just put a teeny tiny structure there. See that. A little bit of a structure towards the top, and then something towards the bottom. That's what the bird is. Literally, that's it. Then not all of them would have towards the bottom as well because there could be tilted and lots of factors affecting the way these birds are sitting. Because these lines are so tiny, it's a mac, just going ahead and putting these smallest stuff. Let me show that to you closer so that it becomes easy for you as well. Here's what I'm doing. I'm putting something like that. And then maybe a bit, something like that. Or you could just go ahead and do that. There's three birds sitting in a row. You see that? So it's absolutely fine. You don't have to create perfect ones, but remember to add birds in flight. Lots of birds. I just love the way it looks. I think that's enough, and I'll just place one or two birds on these ones. Not a lot. They are at the horizon and they are actually really far away. Remember to bring down and if there are any birds at the bottom, they are going to be tiny so make them smaller. I'd like to add some closer to the sun. Here I'm grabbing my burnt sienna, and those ones near to the sun will be with the burnt sienna color, and we honestly done. So that there isn't much, but adding these teeny tiny birds and getting them in control with the lines and also with the pointed brush to get these birds is actually really really tough. That's what I wanted to cover today. Let me just quickly dry this bottom part and then we can remove the tape. There you go. It's done. I am going to remove the tape. And here you go. Here's the final painting. I hope you enjoyed painting this one, especially with the birds and the poles and everything and the electric lines, of course. So thank you so much for joining me today, and I'll see you in the next day. 33. Day 28 - Electric Evening: Hey, hey, hey. Welcome to day 28, and this here is the painting that we're going to be doing today. It looks easy. But it's not. And maybe it looks difficult for you. I don't know. It's based upon different people's perspectives, Anyways. So the colors that we need for today is a little bit of a transparent yellow qua croon gold. If you don't have, mix the transparent yellow with orange, and that should be fine. Then Alice Aden Crimson, burn Ciena and paint. So that's it. If you're ready, let's get started. All right. Let us start. So we will do a Quick pencil sketch for today because there is literally just a lot. I mean, you've seen the picture. We will go ahead and add in some of the poles. This is where it starts to get complicated, so that's why I'm doing that. Here, adding that pole and just making it a little bit thicker at the bottom and thinner at the top. Then it's going to taper little towards the top after it has a I don't know, some kind of a hook there. Okay. There you go. Then again, it's going to have, like, a vertical thing right below the hook. Okay? Did I say vertical? I mean, horizontal thing? Go. That's the horizontal one. Then we're going to have another horizontal thicker cable. I believe that's a cable, but I'm not so sure. Let's see. And then another building building, but a box k element here. There is a box of element. Then continuing on from the box. Many of the things we can actually add with our brush itself, so it's not necessarily necessary that you make the picture. But let's just do. That's it. Another pole right here. It's on a bit thinner side. Then have another one right here. It's slightly than the one that we just made previously. There, then what else? Yeah. I need a horizontal one right there. Okay. It's going to go and attach to this one. Then I guess more details on this, we can add later on. Or if you want, you can draw with your Pezzel as well. Like, I think just a little bit more of the rectangular shape that I want to add here. Another structure that I have added here, let's see, maybe part of a tower in the background. Yeah, why not? That is the tower. It's far off and that's why it's tiny and small, that's how we've got to make it as well. There, can you see lines and then we'll add in the horizontal lines on the tower. Okay. There you go. I think that's enough. The rest we will add with our brush. It's on a complicated scale. All right. There you go. Have a look at it closely, and this is what it is. Okay. So we are now going to go ahead and paint this one. Okay? All right, so let's go ahead and apply water to the whole of our people, okay? So we'll go ahead and apply the water nicely onto the whole of our paper. Make sure it's nice and wet because we need to work on the wet on wet technique and create the background sky first. So we need to create the area where it's going to be the sun and then the other colors bleeding into the sky. Okay. So here, I've used my large flat brush, and I've applied water onto the whole of my paper, and I will absorb the excess bit of water from the edges like always. I mean, you're used to this by now, aren't you? Right. There you go. Now I'm going to start with my sky region. Just like the previous day, we are going to start with a nice yellow color. But today, I wanted to be a little bit on the warmer side. So here, I'm going to mix my yellow with a little bit of the quin acrodon gold. Quin gold, if you don't have, remember, just mix it up with a little bit of a orange color, and you should be able to get somewhat of the similar color, and there is my sun region. Okay. So Then I'm going to grab my quin gold. There you go, just grabbed my quin gold color, and this is what we will paint all around. Immediately, getting rid of the circular region because we do not want circular strokes, and I'm just going ahead and applying the quin gold now to the whole of my paper because this is going to be like the base color that we want to work on. Now, I will pick up an even darker tone. Now I'm picking up a very, very darker tone. So if you're mixing up this color, make sure that you make it in a nice consistency such that maybe mix up more of the orange in so that you are able to create this darker version. And can you see, I'm creating blend at random places. Okay? But this is going to eventually lighten up. You obviously know that by now. So we are going to put some beautiful colors into our sky. So I am going to grab my Alizarin. So the sun's right there, and as you can see, some parts of my sun has gone away. So here I'm grabbing a dry brush, oops. My dry brush has some kind of grain in it. Okay. I think this is definitely dry there, and I want to grab and try and absorb a little extra. Absorb the excess paint from the center and pl your brush around like that, and that is what is going to create. The nice gap. You can also do another thing, which is opposite to the lifting, but then dropping the water. Y Because when you drop in the water, it pushes the pigments away, but then you've got to immediately also absorb the excess water because otherwise, what you're going to do is you're going to create a large bloom over there or the large dark harsh edge over there. Okay. So here, now I've grabbed in my lizain, okay? And we're going to put that onto our paper over on this side as well. Okay? As I approach towards the top, I gradually blend it in and try and create these slow slow? I don't know what I was thinking, so what I meant to a small, not slow. Small strokes like that, and blend it in. You see a bit along the edges. More sarin always when you pick up, put it at the base and gradually come up towards the top. Because you want more towards that base and a very little as you go away from the sun's region. If it's not blending properly, go ahead and pick up more of your color that we started with initially, which is the quinacrodon gold. And just start applying at random, and it should lend a nicely. There you go. Now you can see that's our sky part done. Now we'll go ahead and quickly try this up, and then we can go ahead and paint in all of those details. I'm just going to try and make this s a little bit more hurling around just to make sure that I have a nice glow over there and no harsh edge. So if you're going to be using your brush, make sure that it's nice and dry and okay. All right. I think that's good enough for me. Now I will quickly dry this up. All right. There you go. It's completely dried up. So today, what we are going to do is, we're going to work with two brushes. Okay? So I'm going to show you how we can work with two brushes because there are certain areas of the sky that we need to make sure that there's the light of the sun being reflected. And so we need to be adding two colors. Obviously, you know what it is. It's burns and paints gray that we need to add in there. But we're going to be working with two brushes simultaneously. Be the areas that we need to be adding the burn sienna is kind of lesser. I'll use the smaller brush, which is a size four, and for the other one, I'm going to be using a size six brush. So I'll start with the burn sienna. Here I'm going to load up my brush nicely with burned. Ciena. Making sure that it's not too watery. I did pick up a tat too much water. There you go. That one's really closer to the sun. Going to grab it and put that in burn Ciena. But as it approaches towards the right, we need it to be darker. I will load up my brush with obviously. Pains gray. Here, load it up my brush with paints gray, and that's what we're going to be mixing. We need them to be blending and mixing together without any harsh edges. This is the reason why we are using two brushes. Hold one in your hand and keep switching between the two. See how we've created a nice effect there. Can have a little bit of the burn over to the top because you only need it to have the beautiful gorgeous golden shades slightly over to that region. I keep forgetting, this is the bruh. Then again, I will apply slightly over on that side. Then switching my brush. You only need like a very, very subtle line. That is why. And just going to fill that up now. Okay. My brush hair kind of split up in the middle and created like a perfect line. Oh. Right. And over on to the top as well. There, one pole done. Then just a tiny, tiny bit over the top of these ones. Okay? I will tell my paper because as I said, always, it's my most comfortable position to have the lines, you know, my brush follow a line over like that. And the same over here, a little bit of a burn sienna at the top. So I'm going to bring it over to the same line where we actually ended the burn Ciena on the other line. But then again, I see that the blend is not that perfect. Okay. That's actually good. Then over to the next one and continuing that. Now blending into that burn CNL. So let's see it closely. Can you see how there's a little bit of a glue over at the top. We need to do the same thing to this little box structure here. Okay, of burned CNA to start with at the top. Then at them, we can complete that with the paints. Keep utilizing the two brushes and making the two brush method to achieve all of the strokes. It's going to be more tricky when it comes down to the electric poles themselves. But we'll make it work. Don't worry. Just adding a few lines and cables on there. The cable over here is twisted like that. Multiple cables twisted, in fact. I now, twisted cables all around. A huge thing over here is this pore line that we did goes through the center. Do you see that? Then the other part of it can go and continue using just the paints. I think these ones towards this side is absolutely fine. It can be just black color. It's a little bit far away from the light source, isn't it? And so is this? This is okay. Absolutely fine. So just go ahead and fill that up. So if you want, you can switch to a smaller size brush to draw in these this tower, or you could use the pointed tip of your brush, or you could use like a marker like you know those little fine point tip markers. So I am going to challenge myself and use the pointed tip of my brush. Okay. And I also like the effect I get these broken lines and it's not completed. I like you let the brain to complete those strokes, but if you want your paintings to be perfect, and have those strokes be like exactly a straight line, then by all means, go ahead and add it. And look what I just did because I was putting my finger there and pulling upwards, and then this happened. Okay, I know how to fix that. It's absolutely fine. Okay, the initial part of the poll is done. That was the most shocking part, isn't it? Okay, it's time for the cables. Oh, wait. Before that, I just found we have a little bit more of the things to add over here, a. And also, like, a little structure on top of this. Then the one in the middle. That can be done with the paints gray. There you go. Just adding details. Now, what we will do is I'm going to wash my brush because now we have to work with the line brush. That's all the liner. There's my liner brush. I guess we'll go ahead and do the ones with the burned CiNA at first. The ones with burn CNA are, first of all, I want to draw the detail here. There's like a cable that goes intertwined. But first, that cable goes intertwined on this cable. Now grab the Burnsen one. It's kind of like a sine wave where it's intertwined like that. Can you see? Then grabbing See how that is done. I know it's very, very tricky, isn't it. That really was very, very tricky indeed. So let's continue on. So on to this, I need to attach to some elements here. First, I'll just pop that by Bern Siena and I will add color later on because it needs to go as the reference this is being joined to here. That's where it goes. This needs to go all the way there. The next one obviously has to be with Berciena. Because it's like right in the middle, closer to the sun region. Can you see as you approach, do not row inside the sun? Leave that, leave that gap there because it needs to shine right like that. Then we're going to add a few more cables. Stop where the sun is. We've already covered this part in the previous day. I think that's all the ones that are there with the sun. Now we can go ahead and freely cover in the rest of the areas. Like I said, we need to make up the spools, make that into black. There. And now the tricky part. You are going to have to trace on top of the one that you already did and add in lack. Okay. See how I did that. Next one as well. This one introduces a whole lot of, okay? And the same with this one. There you go. That's very, very pretty, indeed, isn't it? Then these ones need to go out of the paper. Then let's add some details on there. The birds, but they're just like I don't know, some kind of marks on it. Now, on to this little thing, draw Dany tiny xis. It's best to do with your liner brush because the liner brush literally has a pointed it. But if you're not going to be doing with your brush, you can do that with a marker as well. But I prefer to do it with my brush, so that's why I'm adding tiny axis. Can you see that? Because that's part of the tower, isn't it? The teeny, tiny excess go in there, okay? And I guess we need to do that all the way down, but then I'm going to also add in multiple other details and lines onto my Tower region. B b. Then there are so many poles there at the front and that is what we're going to add in those lines. Let's see, those lines need to be going to point on this main pole here. You're going to create structure. See that and three of them because we need three lines. And then they need to be going somewhere there. So start from outside of the paper and join to those lines. Okay. So remember, I said that I know how to correct these ones. So what I'm going to do is I'm just going to add in a little bit more paint, and probably just going to add in a few cables that go over to this line there. And then here, let's have, I don't know where this is, but this is like a of wires, you know, like being bent and wound over that region. And again, over here, as well, let's have a lot of cables round. Just trying a lot of criss cross and lines in different directions. Okay. And these ones that we added, go ahead and add in a loop. Okay? See that. Now, when you're adding all of these, can you see how it does look like these cable lines that you've actually seen in pictures and as such, right? So just added another one and a little bit of a mark there, and then lines going out, and let's do a thicker line there, and then I'll add a thinner line there, and let's have this thicker line meet this thinner line. Something of that sort. Then let's see, another line going like that, and another line going in parallel. But what's going to happen is something is wound around those. You're going to create these spiral spring shapes connecting those two parallel ones that you just added. Just like a C shape in between them or maybe write an E in between with your brush. That's what you're going to be doing an E or a C with your brush in between. See that, how that's bound together, and a little bit of a connection there, the one that connects it to it. Then let's have that line continue over to the right side as well. Again, some kind of a C in between. There you go. Then what else I have that sin wave there, which I really, really love. Okay. Let's add in a little thing for the tower. Then what else? We didn't have much connections onto this one, isn't it? Let me just in a horizontal line and maybe another horizontal line joining onto this one. And then you can have cables going from there to there. And these cables can go over to there. Okay, I know that was a lot, and we are way past over the time. So I guess this is it. You can keep adding more to your liking. You can keep adding another sine wave kind of cable there. You can, you know, like, modify this. You can add birds on top of this. The possibilities of adding all of these details are like endless and you can keep working on this for hours and hours, and nobody can stop you. Like, I have to stop because I try to paint within constrained time. But it's not the case for you if you've got the time, isn't it? This is a class for me, so I've got to stop. Uh, so let's go ahead and remove the tape. I think all the edges are safe. Yes. So here you go. Here's the finished painting. I hope you liked it. And thank you so much for joining me today. 34. Day 29 - Urban Twilight: Hey, hey, hey, welcome to day 29. And this here is the painting that we're going to be doing today. So I wanted to keep this simple. Because the one that we did the previous day, it was quite a bit lengthy and also a bit tough with all those lines and everything. So today, I thought, I'll give you a little bit of a relaxation and you rest and do just a simple sky and a simple light one for practice. Okay that's it's really simple one today. So let me tell you the colors that I have used for this one. I have gone for ultramarine blue, quinacdon rose, transparent orange, ins gray for the cables and the pole, and a little bit of a cadmium yellow and white gah for those lights. That's it. If you're ready, let's get started. Let us start. We'll quickly draw in the pencil sketch of the pole over on the right side. There, it's just quick pool, some kind of structure and it goes over to the right. Then there is a box on the right side, and an extension at the bottom. Then again, another box on the right side. There you go. That's pretty much it for the pole region. Now, a little bit of a house structure at the bottom. You can either use a ruler for this or you can just go directly like I am doing right now. That is another pole that I have drawn. Maybe use a ruler chest for that. Then like a tree figure there, which we will completely to run. There you go. That's our pencil sketch. Let me show that you closely. There you go. Let's get started. Let's paint the sky first. What we're going to do is we're going to apply water to the whole of our paper. Like I always say, take your time to do this because you want your paper to be nice and wet. Make sure you apply the water n and evenly onto the whole of your paper. I guess I've applied the water evenly. I'm going to grab my size 12 brush because obviously it covers larger surface area and it's very easy. Then I am going to grab and start with ultramarine blue. That is the blue that I'll start with over on the sky region. I'm going to grab that blue and observe what I'm going to do. I am going to apply that blue way over at the top. As I come towards the bottom, I will have a decreased color all the way to the bottom. It's like creating a gradient with our ultramarine blue. You can also have your paper lifted like that and then apply so that the color will flow down and we'll get a nice gradient. Definitely need to make this into a sunset sky because otherwise the electri pole lines will not be black. How do we make that? First, let's just fill up the blue and then I will show you. So here we are adding the blue nicely, and you can see, it's a very, very subtle blue as I come towards the bottom. Now, I'll place my board back on the paper on my table, and I'm going to grab in quinacrodon rose. This is what he is going to make our sky liche and have that pinkish appearance. Plus a little more of the other colors. We're going to add in the pink. Can you see, but it's going to mix up with the blue to form like a slight dint of purple shade at random. Can you see that? We will apply that. But remember to pick up very, very subtle amount of the pink, you do not want it to be vibrant because we want the color to be more of the blue undertone there. I picked up a little bit too much of the pink even though I was saying that you should not. What I'm going to do is I'm going to grab my brush and Take out the xs or just keep mixing it up. See that. I think it actually helped because in case, if you did apply a lot and then you want to take it out, so this is how you would do it. Maybe my paper was doing it on purpose so that I could show you guys how it's done. Then I'm going to grab in a little bit of a orange and I'm going to add that there now at the bottom. Now we've got plenty of sunset colors as you can see. Orange, go ahead and pick up vibrant color only at the bottom. But as you start aploing to tiny tiny areas over at the top, make sure that it's a very, very subtle and lighter tone. See that? Just some hints of orange at random places, and that's pretty much it. I'm just going to grab a little bit more of the ultramarine blue and add it because I want the top side over here. To be slightly more on the darker scale. If your paper has dried out, make sure that you pick up a very, very light consistency and see what just happened there. I think I had water on my brush and I dropped it there. If this happened, it's okay so long as you are able to mix it up and blend it. Just make the water and move it around such that it's able to go ahead and blend with the other areas on your paper. It should be absolutely fine. See? That error that happened is gone on this paper. Today, literally, lots of errors are happening and I think it's meant to happen so that I could show you what is the remedy or the solution to those problems. Don't you think so? That's the sky for today. We're going to completely dry this up and then we can finish off with the simple pole lines for today because obviously, like I said, I wanted to make it simple after yesterday's longer one. All right. There you go. I've completely dried it up, so now I am going to add in the pole. Okay. So first of all, what I will do is I will add in the base where our buildings are. It's much easier to add that at the beginning. Filling up the space that it. There, you can see, filled it up, starting from the left side. Then remember, I said that over here is going to be like a large tree, so we can put that in. It's a tree there. Right. There you go. Also going to add in some brunch kind of tree. Okay? The something of that. I think that should be enough. That one, obviously, I didn't do it with my pencil sketch because it was absolutely unnecessary when we could easily do that with a brush. Go done with that poll. Then we have part of this house to complete. Right. Then the next thing left is obviously that poll there. Obviously, tilting my paper because of my comfort zone. In that larger structure. And another one over on this side, isn't it? An Tank Tank Tank Okay. There you go. That's some nice structure fitted. Now, it's time for us to add in details with a line of brush. Switching to my line of brush and we'll start. Here, grabbing my paints gray, and I'm going to add in a line over here at first. Going to make that straight, and I did break up, so just connected it. It's okay if there's a little bit of a pump or anything because we are definitely going to be adding other details onto there. Okay. Adding some more lines. This one today, I'm going to have risk crossovers. Then I'm going to obviously have one that's going to join the top there. Another one that's going to go over to there. And again, another one joining over there. On this, going to add a little bit of a detail. Some elements. Maybe like a cable hanging and connected onto that one, and there's a cable going from there. And let's see, over here is where I want of gables hanging. What I just did there. I just did a lot of circles around, and even if your circle is going towards inside part of this pole, it's absolutely fine, isn't it? This is all about getting that practice with doing all of these little shapes with just your brush. It's very difficult to actually do with pencil because if you do it with your pencil, then it's going to be easy for you to replicate on top of that with your brush again. This is the reason why we're trying to do that with your brush. A lot of cables there, lots of Now, on this is where we're going to be adding those lights. That's going to be. It's going to connect over like that. Make these little arcs and have them join over and the part where it joins just put a little bit of a structure. See that? So I guess we can add in another set of lights over here, and those lights don't have any line just runs through this one. Okay. There you go. Those are those lines. Then I guess we can have lines going. Now, time for the teeny tiny lights. I am going to switch to my size two brush, which is actually the smaller size. Shifting away from the liner size to my size two brush. Where is it? Oh, it's missing again. There it is. Size two brush. Just going to grab in the color because we're going to add in a base where the light can actually hang. That's the base, the hanging part, then that's the base. You're going to add that in all of the areas, Now, that's the base done. We're going to do the same here, but now this needs to be tinier. Then the one that you did above, because these are way over at the horizon. They are smaller. Remember that. Now, time to add in the light itself. How are we going to do that? What we are going to do is, we're going to first grab in yellow. I guess what you can do is go ahead and grab cadmium yellow at first. We're going to add in cadmium yellow at first. But I think the cadmium yellow is a little bit too yellow. What I will do probably is I'm going to grab white, and I'm going to mix it with my cadmium yellow. Here, just taking my white paint, and I'm going to mix it with my cadmium yellow so that it's slightly on the lighter scale. I think this much paint is actually enough. And I am going to put something right there. I know it's not clearly visible because it's very, very feeble. But that's the light. Oops. My brush literally was going to fall down, but I caught it and I would have dropped the pain somewhere. Oh, my God. That was the biggest accident that could have happened. Averted. Crisis averted. There Okay, see, lots of lights added. But we definitely need to give a very glow of the light. What we're going to do is we're going to quickly dry this up and then we can add in the glow on it. Right. There, you can see, now I've completely dried it up, and then I'm going to pick up my white mean. This time, just a white no mixture. Totally just a white, and you're going to place that right in the center of the yellow that we just added. Okay? And the same here. This one is just going to be a teeny tiny dot because as you can see, the light itself is too small, so the teeny tiny dot will suffice. Then, I know that you can probably not see it in the camera, so I'm going to show you to closer. This is how it looks. See those tiny dots and lights and see the lights yellow and inside a white circle or a tiny light. You see how that's as a glow in the evening sun. Okay. So since there's nothing around the edges, we're right on time today, and we finished early also. So let's go ahead and remove the tape. So here you go. Here's the finished painting. I hope you enjoyed painting this with me. And thank you so much for joining me today. 35. Day 30 - Golden Grid: Hey, hey, hey. Welcome to day 30, and this here is the painting that we're going to be doing today. So it's easy again, but there are certain concepts that I wanted to actually include in this one, which is having a little bit of a blurry edge and having a b in the focus ones. These four lines that you see are blurred, whereas the ones in the foregrounds are really in focus. So that's what we're going to be today. Okay. So let's have a look at the colors that I have used for this one. So I start with transparent yellow, then quinacrodon a yellow, then transparent orange, Alizarin crimson and Ciena, and lastly, paints gray. So if you're ready, let's get started all right. Let's get started. So I'm just going to quickly add in that four there over on the left side. It goes way outside of the paper. That's it. And then we have a little bit of a house structure on our paper as well. There you go. Then just got to add. As you can see, I don't mind how the criss cross elements are because it's actually just a silhuee. So we are free to do those things, right? All right? That was the pencil sketch. You want to say it closed. There you go. So let's get started. So I'm going to start by applying water onto the whole of my paper. We're going to do go go sunset sk. There apply the water n. Now let me just go ahead and grab in the Xs water. From the edges, and now we will start. The color that I'm going to start with is a bright and beautiful yellow. Here see that. What I will do is, I will add in this yellow color as a base onto the whole of the paper, and then we will add more colors. Here adds the beautiful gorgeous yellow added. There, the beautiful gorgeous yellow added onto the whole of the paper. The next I am going to grab my quinacridone cold color, and we're going to add that on top of yellow. At random places and and add in streaks like that. It's just a subtle yellow color that's appeared over there now. Then I will go ahead and start with my orange shade. And that orange, obviously, more orange at random. Can you see how I'm applying the orange? More at the top. We're going to build up the layers. Here, covered up more and added orange there at the top. Then going to build up over on that again with my Alisan now. Adding more and more colors. Here as you can see, adding Alisan over the top of the orange now and adding that. You can see how we build up the colors gradually and creating these strokes. I'm going to grab a little bit more yellow to blend along in this region. Then we're going to grab and burn Ciena now to give an even further darker area towards the top region. Right here at the top where I want to make it slightly more brown red appearance. You can see now we've got the nice dark depth immersed sky there. Now you can see what we've done on papers. I'm just slightly tilting it so that my clouds can blend together a little bit. I'm also going to use my brush to blend in some of the areas because there is literally something that we want to do with this wet on wet method. Okay. So what you're going to do now is you're going to grab your liner brush. Okay, pick up the liner brush or the detailer brush, whichever one you've been using to draw those lines, the electric poles. So the theory behind what we're going to do right now is that we're going to have some poles that are like out of focus on the picture. So have you seen those images where There's a blur in the background and there's a focus on some of the objects in the front. This is what we're going to be doing. The electric pole lines, some of them are going to be blurred in this picture. In order to do that, you're going to grab paint such that it is in a very thicky and creamy consistency, not too much water. Dally, what you would call as dry on wet because your paper is wet and you brush. Sorry, Yes. I got confused there a bit. Your paper is wet and your brush is dry. You can see the color that I'm picking up here at, really highly pigmented color that we're picking up and your paper is wet. And very, very important. This lesson here is absolutely important. You are not supposed to stop somewhere in the middle. If you start somewhere, then go until the very end. The point where you stop on a wet paper is going to spread out. You should not spread out until you reach the end of the paper. Let me just show it to you. I am going to start here and I'm going to end there. But I am going to make sure that I do not stop in between. The point where you stop somewhere is going to spread. This is the reason why you should not stop anywhere. Just going to grab the color and even if I didn't get to fill it up, it's okay, but you're not going to touch anywhere in the middle and fill that line. Because if you go ahead and add in a there, then it's going to spread out and we do not want that to happen. See that, how we're adding it on the wet paper. These lines, as you can see, because of the wet surface is going to slightly spread out, but that's what is going to give us the out of focus effect. We're going to add in a few more. I did stop this is the effect that I was telling you about because I started from outside. It spread out a, I did that mistake myself. I'm adding a lot of ones that end here and not with the outside of the paper because there's a horizontal bar here, which I will add later on. So I think it's okay for now. So I know where the position of that bar is going to be that bar is going to be right here where both of these line up. So make sure that you add in your strokes like that. There. Those two are completely with the dry brushing method. Can you see? Once your paper has completely dried, then there's no point at adding anymore because it's just going to be your normal at on dry effect. So we do not want that, so let's go ahead and dry this up. All right. There you go. It's completely dried up now. I am going to make that poll at first. I'm grabbing the nice paints gray color, tilting my paper for my hands sake. Also just for my hands sake. I'm just going to clean this edge out here because when I place my hand over there, all of that paint is going to get on my hand, and then I'm going to put that hand somewhere on the paper, and it's going to get ruined. It's my usual thing, isn't it? That's why I'm going to be cautious today. Here, let's go and do it all the way to the top. Oh, I thought I would do it all the way to the top without stopping, but unfortunately not. Okay. Now, I'll tend it to the other side so that it becomes easy for me again. There. Okay. Nice, big pole completed. Okay? Let's go ahead and add in the base now. That's pretty much easy, isn't it? A There. Completely finished that part. I'm just going to add in a bit of a horizontal bars to my bowl, and then I will be done with that brush, then over to liner. Here, just a bit of a bar there. Then now I'm going to add in a bar that goes slanting like that. Then I need a horizontal bar here, and another horizontal bar here. Okay. And then what I'm going to do is I'm going to have another like a slanted bar joining these two. This one slightly longer. So that I can add in this structure at the end, the same way over here. The horizontal bar is attached in this manner. There you go. Now when we add in lines with our line of brush or the detailer brush, all of these other lines that we added are going to be faded in the background. That was the whole purpose of this one. Let's go ahead and add in. Here, can you see already that's popped up in the front and how it's staying on top. I've added that one intertwined, but every place where it joins, you're going to add in something. Then it's going to have lines hanging, very bad wiring, indeed, isn't it? And I'm going to have another one. Just go past, another one going past like that, then lots of ones. Hanging like that. We can say. L et's have lots of wires. Very, very bad wiring. I wonder where this is. Some of them intertwined together. Just going to have another larger one there, go over like that, and maybe another one there going like that. That's a lot of wires added. But can you see how the ones that we added in the background has like faded backwards or these two ones are faded, and the other ones are like popping in the front. So this is pretty much it that I wanted to cover. Also, I just thought of something. I would like to add in, like, a little plant or something at the base. So what I'm going to do is, I'm just going to add like a little bushy structure, something like that. There, see? It's kind of like a plant. Oh, I added another one with this brush. This is a size four brush. Can you imagine? Oh, my God. Okay. This is pushing even myself to the absolute limits, I would say. Anyways, so that's pretty much it. We're actually done. So now, what you can do is, if you want to work longer on this, you can actually add in births, birds in flight, birds on the poll lines, lot of details. It's all completely up to you. But I stop here. My intention was to show you those out of focus and in focus pole lines. Okay. So I'm going to try this up, and we remove the tape. All right. Here you go. I am going to remove the tape now. And there you go. That's the finished painting. I hope you enjoyed painting this with me. Thank you so much for joining me today. 36. Day 31 - Silent Dessert: Hey, hey, hey, welcome to day 31. And this here is the painting that we're going to be doing today. So can you guess the theme of this? It's probably really, really evident, isn't it? I mean, it's a sky, it's a barren land. And what else could it be? It's dessert. So we're going to be doing some really cool dessert landscapes and I mean, dessert paintings for the next few days. So I know that this looks really simple, and you're probably looking at the time and thinking that, Okay, that's really simple. It's just nothing. Okay. Yeah, but I'm starting with this. That doesn't mean that all of the next days are going to be this simple. We are going to do some really amazing cool desert landscapes. I'm just starting with this one because we're going to build a base for this week, and then we will get into more exciting paintings. Consider this like a warm obsession. As we look at the colors that we need. I have basically used yellow blue, ultramarine blue, quinacridone yellow, yellow ochre, transparent brown, and span CNA. You could also use paint gray for some of the darker regions if you want, but I've only used a transparent brown. So let's get started with this one. All right. Let us start. I am going to quickly mark the horizon line and then do a little pencil sketch. So I think my horizon line is going to be around one by third of the paper. I'm just going to quickly just use a ruler to make that horizon line. I believe that straight, and There's my horizon line and then going to have a little bit of mountain in the background. It's not mountain. I think it's like a sand dune. This is the shape that I'm going to do because it's a sand tune, I'm going to do some shapes like that to make the shape of the sand tune, see how that went. The same here. That's basically it. Then I think the rest of the thing I will probably add with my brush itself directly. Here you go. That's the pencil sketch. If you need to actually see this closure, so there you go. All right. Now that's where we're ready. Let's go ahead and paint this. Now what I'm going to do is I am going to apply water just to the top part. To the sky region here for to die. No onto the whole of the paper. Here you go, applying the water right above the mountain and tracing out the shape of the mountain because I want it to be wet, and I will lift my paper and give it a nice tilt towards the top so that any excess water can always flow out of my paper. They're grabbing my nice color and going on applying. There, I think I have applied enough now now on to my quick absorption along the edges. Taking really care. I'm going to just use this same rush that you see here, which is my flat rush to go ahead and start. I'm going to start with a nice Halo blue shade and I'm going to start at the top with my Halo blue. Going to like uh, create some random shapes, and going to grab in a nice vibrant amount for the top region. Then as I come towards the bottom, going to reduce the amount of pigment and just apply very less pigment towards the bottom. Can you see it's a nice bluish tone. Here, I'm going to grab more pigment for the areas at the top. Because at the top, I really want it to be nice and vibrant. We will also give it another color tone just to get a nice vibrant look and also to give the aerial perspective. Aerial perspective is basically where you depict the objects that are closer to you in a in a manner such that they appear closer to you and those that are further away seems further away. The blue that I have applied right now, the Tulu blue is a cool blue. I am going to apply a warmer blue, which is ultramarine. Ultramarine blue is warmer blue, and I'm going to apply this warmer blue onto my paper at the top because the top potion of the sky is what is closest to the viewer. If you know perspective, At the horizon line is the furest point in our painting. As you go further away from the horizon line, that's the closest. The closest points to the viewer are at the top here and at the very bottom. At the top here, I'm just going to give it a little bit of a warmer tone. Altra maarine blue is warm, which is why we can go ahead and add ultramarine blue. Just go ahead. And mix up a tiny, tiny amount of tomarne blue into that blend right there. You can clearly see now the sky is already changed and it's got that warm tone in the sky over there. Now, I think that's it for that layer. We can paint the mountains later and since there is a clear split between the two, we can go ahead and paint this one, and then if still then the sky is not dry, then we can dry it up. I'm just trying to ease of the process and make this whole thing quicker. So what we will do is we will go ahead and quickly apply water to the bottom part. Now. Ideally, you want to paint from top to bottom, but here because there is a clear separation between each of the elements, you're free to go ahead and just paint the bottom part. What I'm doing is, I've shifted to my sides 12 brush and I'm applying water to the bottom side right here as you can see, and we are going to grab some color. I'm going to start with yellow ochre, and this is what we can apply because it's a dessert landscape obviously. It needs to be the color of raw nothingness. You can either use cena or you can use yellow ochre. Here I'm just going for yellow ochre here, and this is what I will apply. See here a flat tone of yellow ochre. Now, once you've done that, let's go ahead and put in some random details and disturbances that's actually there on the dessert floor. Here, now I will grab a nice amount of the yellow walker, and I'm going to mix it with my transparent brown. I already have a little bit of a transparent brown here on my palette, and I'm going to reuse that. This is one of the reasons why I actually don't wash my palette because some color on my palette or always turns out to be really useful. So there, then I'm just going to do and add it over the top, see that, and then I'm going to do is I am going to create some pathway or something. See what I did that, I did like a zig zag stroke with my brush, that and made it pointed as I reached towards the top. Do you see what happened there? Then we'll give some more random details and some strokes and Anything basically that you want to add. I've just grabbed in a little bit of my transparent brown again. I'm just going to apply it to the base region here. Because it can be darker at some places. It's absolutely fine. Okay. And here, we just do that color. Just giving again tiny bits of color at some dom places and maybe drop in some paint like that. All of it absolutely fine. Let me see this area of my sky. No dry yet. What I will do is, I will go ahead and quickly dry up my sky, so we can paint that background and finish off with our dry trees. All right. I didn't dry it completely. I mean, the whole paper, I only dry the sky art because I thought why you Um waste time because anyways we have to dry up after this, then I might as well do it then. Going to use my Quinld now because that's the texture. That's the color of the sand that we want to depict. The color of the sand dune. Go ahead and put it in that golden hue color. See, that's why I am using quin gold here. Going to do right along the horizon line. First, what we will do is, I think we'll go ahead and fill it up to the entirety of the horizon line and draw it like a perfect straight line, and then we will do the sand dunes. If I fill this one up completely, There. That's the complete gold part done. Now we need to add in the part where there are the sand tunes area. I'm going to dry this up again, and then I think, anyways, we've got to dry it up twice. I'm looking at the time and Oh, my God, this is actually so quick, isn't it? We've already reached the stage. Probably will take some time to do the tree. Let's see. There. That's now. Just going to take my quinacrodon gold again, and I'm going to apply on to the area. In the shape where we made the sketch. There. Not bad. See how that's turned out. Then we also have a little bit of an area here, the color that we added. That region there. What I'm going to do is, I'm just going to blend that. That there is no distinct end to that, but then there's a darker color towards a top region. See how that one turned out. That's pretty much it. While we wait for that to draw, actually, probably to say time, what we can do is we can go ahead and draw in the other shrubs and smaller details. So I'm going to grab my small size to brush for this purpose because we definitely need a tail brush. You can also use your line of brush if you want. I'm going to first try with this size two brush and if I fail, I will switch to the line of brush. I like a challenge, maybe. Transparent brown and a little bit of a burn here now. That's what we're mixing together here again here right here on my palette. What we're going to do is we're going to add in teeny, tiny structure like far off. I don't even know what I did. Have a look at that. This is like a real dried up tree that I made there. Do you see that? Okay? Let's see. Let's add another one right there. What I'm going to do is going to have this area of that sun free to add in there. Then let's see, another one probably over here. And that ones got a bit of a height. Making it a little bit thicker at the base. I'm going to grab some more and now we're going to add in the larger one. I believe this area is now dry, so we can definitely go ahead and add in the larger one. What I'm going to do is I'm going to switch to my I think I'll go for my size six psh for this purpose, and I'm going to start with the burn CN and brown mixture at first. This is where I'll have my first tree. I mean my lone tree. I'm not going to go for a perfect shape, but I am going to slightly bend and twisted. And there, break it off. Let's assume that it's just broken. Then that tree goes up straight again. And continue to add you can see that it's a very, very bright burns in a color. I think we can add another branch there. I want to split that up as well. Then we will continue that. Because we've got that much thickness there at the top, the bottom part is going to be real thick. Okay, approaching the bottom. Then what we're going to do at them is you're going to create like tentacle kind of structure. See that. It's really weird, isn't it? Anyways. We're almost done, and I can't believe it. 16 minutes. My clock shows. Obviously, account for all the drawing time and everything as well. It's probably even lesser now after my editing. I mean after I've done editing with this, here going to add in a little bit of a paint screen now. Choosing over to the right side. You can also just use a darker brown instead. We started with a nice and Ciena. Right and then adding the dark brown over to that right side, and then we will add it over to this side as well. Little bit on this side, and then taking it. Just adding random details and you can see how I'm lending it together. Picking up that darker tone and taking it all the way to the bottom. See that. Now we've got that lone tree all done. We've got lots of details added. Now, we're going to do something which makes this a little bit more dessert dessert type. I've now switched to my line of rush, and I'm only doing this because we've got so much time left. But if you want to stop right here, you're welcome to do so. It's absolutely fine. But what I'm going to do is, I'm just going to create these little marks and lines. Like a broken line and you know and you only need to do them closer to the surface. It's because it's a dessert and there's literally no water. There's a lot of crack on the floor, not the floor on the land area. That's what this is. You don't need to draw perfectly and obviously, make sure that it's smaller and less visible towards the top region. S's just tiny amounts all together. Obviously, on the roads as well, it can crack. You can see they get smaller. As you go towards the top. You see very little of it and you see more of it towards the bottom region. That's what's happening. Towards the bottom, you can add some thicker ones to depict like bigger cracks. See that. I think that's pretty much it. We're actually done. This was really simple. Honestly speaking, you could go ahead and add in more detail, a more work on this whole thing. But you can also stop at any place that you want. It's absolutely fine. Okay. There. I'm just going to I feel like this brand that I added was like too evident and had a split in the tree so that I just blended it up. Now, we're almost done. I am going to dry this whopping up and then we can remove the tape. Right. There you go. It's completely dried up, so now I am going to remove the tape. And there you go. Here's the final painting. I hope you enjoyed painting this with me. And thank you so much for joining me today. 37. Day 32 - Cactus Kingdom: Hey, hey, hey, welcome to day 32. And this here is the painting that we are going to be doing today. So as you can see here, it's actually very easy. I really fun to paint this because I love some of the aspects that I have done to this painting, and we also do a little bit of a nice abstractness in here. Toward the bottom part. Let's have a look at the colors that I have used. I've started with yellow blue for the sky, then raw Ciena and yellow occur. If you do not have these two colors, you can use either of these, but just make sure to use it in the right consistency, whether lighter or darker. Raw Ciena is lighter and yellow occur is in a darker scale. I've used yellow cur at the back and then asana at the front. Then for some of the foreground areas, I have used sap green, olive green, transparent brown, burn Ciena, and lastly, pains green. If you're ready, Let's get started. R Let us start. We will go ahead and do a quick pencil sketch. It's going to be quite easy, nothing rocket science here. Just going to add in the horizon line and some details. There you go, something like that. Then we will have our dessert Dessert plant. I'm going to call it dessert plant because it looks like heats, but I don't know. The first one right here. There you go just going to add something of that sort and then comes and extends a bit towards the bottom, gets a bit bigger, as you can see. Then from there starts the next prong of it. Okay there and another one right over there. This one can go like towards outside the paper. There you go, that one. Then we're going to do a lot more. Let's see, I will have one over here. And then it's branch coming over like that. Let's keep it to that. Then we'll have another one there, and I'll probably make that a bit smaller. And another one, which is further away. That's why it's going to be very, very thin because it's further away. This one can have another one on it, and then maybe a lot of smaller ones, maybe another one here where we see only the top portion of it. And another one further along there. All right. There you go. That's your pencil sketch. I will show this to you closely. There you go. This is what we're going to be painting. First of all, we'll go ahead and paint the sky. In order to paint the sky, we're going to apply water just to the sky part. This right here at the bottom part is where the horizon is. There are further stuff as in there, I will draw a line or something, just to show that there are some dry arid land there, and this is like a heli region right in the front. That's what I did just added a line there. And we're going to apply water to the area above that line. That's where we want to be painting the sky. Look what just happened. I dropped in a large amount of water there. Which is why I always insist an angle on your paper is good because there nothing wrong goes. I mean, nothing wrong happens and we're able to apply the water such that, you get a clean part for the sky. See how I'm getting an even and nice and beautiful and a clean stroke for the sky here. There you go. I've applied the water. Now I'm just going to absorb excess water from my tape, the edges of my tape as usual. I mean, you know, the drill by now. I mean, I do this every single day, isn't it? Now, I am going to probably grab my size six brush, and we're going to start painting the sky. Here I'm going to grab my tailo blue. So it's the same loom that we used on the previous day, but today, we're going to be making a lot of different cloudy sheaves in the sky. I'm going to start like, oops, do you see that? Even after holding that angle, I've got literally an excess amount of water. What I'm just going to do is I'm going to quickly absorb this excess amount of water because that is really not helpful for us. I apologize for my own error. Anyways, Here just going ahead and I'm going to make Really nice cloudy shapes. I think probably over to the right side. I am going to add nice paint and then decrease the color as we come towards the bottom. See here, I'm going to just use my brush. Now over towards the bottom, I will not pick up too much paint. We want the clouds to be lighter as you come towards the bottom. We need a gradual decree, so make sure that the clouds there has a really nice and gradual degree. Now you can see, I'm only just grabbing water when I go away from my paper because there's already a lot of blue paint in my brush, and that is what I am going to be reusing. Up to the horizon line. I'm also now going to get rid of all that paint because I know that whatever is there on my paper is sufficient enough for me to go ahead and create a nice gradient type. So just going to give a little bit more color, a bit dark there, a more color over here because I can see that it looks as though there is literally a lot of darkness towards the top and then it's too light towards the bottom, so we need a gradual color. I'm just giving a little bit more color to these areas. I think now it's actually nice. It looks prettier. That's pretty much it for the background. But what we're going to be doing is, we're going to continue that area of the fork ground because this is not a fk ground, it's still the background dry added climate area. What I'm going to do is, I'm going to grab yellow ocher and I'm just going to apply there right at the very end. And because you've got water there, it's going to slightly spread, can you see onto the wet area there and it's going to create a really dry spread. That's okay dry plus a little bit of an upward stroke, but it is the background, so it's absolutely fine. It's good to have a smooth edge. I think that's pretty much what I wanted to do with the background. If it's spreading too much, go ahead and absorb with a brush, and it should be fine. The key is to not have a very harsh edge on the horizon. If if it's spreading a little on to the sky, it's absolutely fine. But can you see there's no distinct line because that's like the further end in our paper, which is the horizon. Now that we've done this, I am going to quickly dry this up. All right. There you go. I've dried it up completely, and can you see how our sky has turned out all random clouds here and there. Now we'll go ahead and paint the fkground. Painting the fkground, what we're going to be doing is we're going to grab Rosana. If you've been using Rosana instead of yellow ochre, at the moment, what we need is actually a very lighter tone. This is the reason why I am grabbing asiena. Yellow Ochre is on a little bit of a darker site. If you're substituting your yellow ochre with asiena, which I had suggested before, Then go ahead and apply a very, very lighter tone right now. That's what we need. I want it to be really lighter. This is the reason why I'm grabbing just the raw Cena at the moment and applying onto my paper. You can see it's really really light as compared to the dark yellow ocher color. Apply the asiena. Now I'm going to pick up my yellow ochre, and I'm just going to add some areas at the top and just create a nice blend, especially towards this bottom region here. That's because the yellow ocur is darker. Again, if you've been substituting or if you do not have yellow ocur, just apply a very darker consistency. That's what we are looking for The next thing is for us to add in a lot of t i need details. In order to do that, we are going to do some splatters. In order to put some splatters, we need to make sure that that doesn't go over to the sky region. Here, I'm just going to grab a spare paper. I don't know if you recognize this. This is one of the skies that we did for the Oobyals, the Northern lights week. I was actually testing out the colors on this one, so this is my sc paper for now. And I'm going to just hold my paper there and I'm grabbing my transparent brown and I'm going to put in a lot of splatters, a wet on wet splatter. You know that this region is wet. We want to put in a lot of splatters there. Se. Because they're wet on wet, they're going to spread out nicely and create this uneven of texture. Plus you can see this a lot on the paper and on my hands as well. I'm going to do is next going to grab some olive green. Before I grab the olive green, I need to switch brushes because I want these olive green strokes to be t, tiny. Here, just switch to my side brush. I'm going to grab olive green. What we're going to do is towards the bottom part of the sketch that we've added. We're going to just put some olive green strokes. Don't make too much because this is the dessert, so it needs to be still having dry dried up plants. These are not like plants or the grass, but it's just dried up. That's the reason why I'm using the olive green. We will add some more colors later on. But here as you can see, I'm also adding a little bit of these upward strokes towards the very edge. Just random. Then in order to depict the dry ones, what you're going to now do is you're going to grab your A burnt Ciena. Then we're going to mix that burn ciena with a little bit of an olive green color. It's like a dried greenish brown there. Can you see this, we're going to add on top of the green ones that you've added. Its majority of it is like brown, but then you also got some green bits here and there. Again, they are not grass. They are dried up flora that grows in the dessert region. That's what we're trying to depict here. Just a lot of clean tiny details. See what we've done there. Now let's switch back to our size six brush or whichever ones that you're using. Dally, I wanted my size eight brush, but unfortunately, I can't find it. Is it this one? This looks like a high ten, or maybe that's it. Anyways. Here. Just grabbing my size six brush, and now we're going to add in these plants. I see that the bottom part is dried up by now, so that's why I'm going to go ahead and add them. What I'm going to do is, I am going to start with this nice gorgeous sap green color. But I needed to be a little bit desaturated. I am going to mix it with this brown over here. Another way that you can desaturate it is you can mix it with a little bit of a red color. It's going to desaturate the color because red is opposite in the color wheel and it's the opposite color of green. That means it's going to be desaturating itself. But here I put a lot of green brown on my palette right here, so I'm just going to use that and desaturate it. I think we'll start from the left, I always have this mistake where I start on the right side and then make a lot of paint on my hand there. If you're someone from my first few hundred days, you will definitely remember this mistake that I always used to do and then used to laugh at myself and ugh and have a little bit of a fun joke about it every time during the hundred day project. I still remember that. Anyways. Here, just going ahead and applying that green tone. On to our dry arid cactus plant there, and we'll take it right to the bottom where we add it. Can you see that? Go ahead, grab the color, put it nicely, and fill it up then. Again, I'm going to add along the side shape as well. Going to do the same thing for almost all of the ones. We're not done yet. We do have a lot of tiny, tiny details to add. Here, you can see me grabbing the brown from all over the place. They go and over on this side. Then the one further away, which we actually made it thinner, remember. Okay. Let's go over. Done by that. No, there's only one more let, one, left. So did I say? Maybe it is cactus. I'm not sure, but I'm going to call this. You can clearly see even if we have paint the sky color and everything, our green just comes over the top because we're painting wet on dry and plus, it's a little bit of a darker shade that we're applying than the sky color that we already have there. It's absolutely fine. Okay. The best thing about mixing paints is that if you're constantly mixing and grabbing color, then every time you mix, you're going to end up with a different color. For example, if I mix the green there, I'm grabbing a little bit more brown, whatever is there on my palette and mixing it up and always, it's not going to be ending up with the same olive green kind of color. I mean, the desaturated green color. It's going to be varying. Here, I can see that there's a little bit of a tone and here over to the right side, it's a bit more greenish. Here over the top side, it's a bit sap green kind of color as well, so you see how mixing it up really helps because you are not getting the same color always. Added a lot of these tiny tiny ones. Now we're going to give some more details over the top. What I'm going to do is I'm grabbing my burnt sienna, and I'm mixing it up with the same color there. Green. If you want to mix it up, it's actually mix of transparent brown, sap green, and burn sienna right now, and here I'm grabbing the pains from my palette as well, and I've just mixed it up. You can see it mix of a lot of colors, and this is really I honestly do not wash my palette because I love reusing colors like that. They create a beautiful combination. What I've done here is, I've just taken to one side and added like a line structure there for this dessert plant. Along the edge, I will run along and create a line, then leaving a slide gap and adding another line. My characters might still be wet, might still not be wet, might still have a little bit of a loose structure, but then that line. What is going to do is some areas it's going to be spread out, some areas is going to be a straight line. And that effect is exactly what I'm looking for. So I'm going to do the same thing over here. Going like a line, adding more lines. Okay. Lots of lines, the same over here. So this one probably will have only one or two lines. Let's have a look at the next one. This is where you will actually see what is happening. So here I've drawn and add it like a line. I am really trying not to make it perfect and mix it up. Here at the base, you can see that it's wet. I mixes together. And more lines. The added some nice lines. I'm going to do the same thing to the ones on the side. Again, the lines, you have to follow along the shape of it, and that's very, very important. That was really, really tricky, wasn't it. Anyways, just adding a little bit of the grassy structure, using the same paint, adding like grass or the dried plant structure, giving a right at the bottom and at random places. Now it's with the wet on dry and using the point at tip of my brush, adding more tiny details wherever possible. If you want, you can also add wet on dry splatters on here. All right. Then what I'm going to do now is I'm going to grab transparent brown. I'm going to put that there on my ballet again. This transparent brown, what we're going to do is we're going to try and add right there. This is the point where the cactus actually started like here, just marking a little bit of a dark depth region. Marking, this one is behind, so you do not need to do that over on that side. Maybe for this one again, we'll do the same It starts from there. I want to depict the point where it starts. Second, you see a little bit of a shadow indicating that this area is where it starts like right here. P landing in. Can you see how we've got how that little branch is joined on this part of the cactus and create a little bit of a trot dot and random details on it because the plant is definitely not perfect. I think I am now, We are definitely definitely done, but, can you see how we've done a lot of details and look at the teeny, tiny details on the cactus plant. Isn't it looking gorgeous, ok? So now we'll go ahead and quickly die this up and we'll remove the tape. All right. Let us remove the tape now. Hey, and there you go. He our finished painting. Isn't it gorgeous? I mean, I love this character plant, but also the way that I've tried to join it right here and how it actually has that three D effect. That's my favorite part in this painting. Anyways. Thank you so much for joining me today and I'll see you in the next day. 38. Day 33 - Sands of Time: Hey, hey, hey, welcome to day 33, and this here is the painting that we're going to be doing today. As you can see, there's lots into the sky. Then there's a lot on the sand dunes. This is not a mountain. This is the sand dune actually, so it's like a desert landscape. Well, we're painting desserts, isn't it? Let's have a look at the colors that we need for this one. We need a little bit of a transparent yellow Qin acodon gold, transparent orange or any orange in fact. Then quinacodon rose, ultramarine blue, and lastly, burned Ciena and a little bit of a violet. These are the colors that I have used. If you're ready, let's get started. Right. Let's quickly make the pencil sketch. We're just going to trace out the sand dunes. We'll make it around one by third of the paper, and along the top side, it would be the sky. It's just going to be an easy one. There something like that, then a sand dune like that. Then let's have the next part of it go and we'll have a peak. It's not a mountain, it's a sand dune, remember that. And there, something along the back side there. Maybe another one, something like that. I will show it to you close because I know that I'm drawing it very lightly and the image is not at all visible. But you always know by now that I try to draw my pencil sketch in a very, very light manner. There you go. That's a sketch, although, I want to rub this line because I would like to bring it a bit more downward. Something like that. Maybe a little bit more of the curve I feel. I think that should look good. That's it. Here, I will show it to you closely and I know now you can see it this is the pencil sketch. Now if you're ready, let's get started. We'll get started with the sky first and move downward. Because we're just going to paint the sky, go ahead and apply water only to the sky region. You can skip all of the other areas. Just along the edge of the mountain, did I say mountain, along the edge of the sand tune. You're going to apply the water. Just go ahead and apply, take your time and apply. All right. There you go. We've applied the water nicely. We will start painting the sky. Here I have got my size six brush and we're going to use the size six brush and directly paint the sky. I am going to start with a nice, transparent yellow color and make it warmer, so slightly mix it a little bit of an orange or lazain crimson. Here I have some green cradon gold on my palette and I'm just mixing it with that. What we're going to do is we're going to start with that nice yellow shade along the edge right here. You're also going to leave a little bit of a white space there. That is where the sun region is going to be. Just go ahead. And apply this golden shade, something like that. Let's add a little bit more along the top that. You can see I'm grabbing that extra color already there on my palette. Well, it's quinacrodone gold. I started with the yellow then our a little bit of the inacrodon gold. Then let's get to the next shade. I'm going to go ahead and grab in a nice orange shade now, this orange shade is what we're going to apply right here along the very edge. You go, you can see just applying the orange shade. I want those orange shades to be all of them pointing towards this peak. Let's make it like that. There, something like that. Then I'm going to do along from this side as well. Again, for me, they are going to be booking towards this peak. Just for a little bit of a fun. Now we'll go ahead and paint the blue areas. For the blue areas, I'm going to grab ultramarine blue and you can see. How I just applied the ultramarine blue. Just wondering why my ultramarine blue is a bit on the darker scale there. I think it was contaminated with some other blue in the beginning, but that's okay. Here, just going to grab the ultramarine blue, and I'm going to drop it along. Can you see and all pointing towards that region, the same along here. But along here on this side, I want it to be a very, very light and subtle tone because you did not want it to blend with the existing yellow to create a green shade. Here, just grabbing the ultramarine blue. And some more shades. I'm losing a little bit of a water there. I've just applied a bit of a water. I'm going to grab a little bit of a pink shade. We're just trying to create a go sky with a blend of all these colors. You can see here I'm starting to get a dry shade. But that's okay. So long as you control the amount of water on your brush and mix those areas together, you should be fine. Here, just going ahead, I've washed my brush and I'm applying a little bit of our water. And blending through. You can see. I'm going over the color again, already existing color, already existing area that we've added, and I'm wetting that region with my brush so that the paint blends through. You can see along this area, I've mixed it up a bit, but it does not create any worse green color. It's because ultramarine and the yellow, it won't make such a huge effect on the green shade, on the sky when you're adding. Here more ultramarine starting from the very edge. Then I just want to go ahead and blend and smooth in this region again. Because again, we've got a nice blend, but not that perfect. Now along that edge, what we're going to do is because it's got a blue, we want to blend it with a little bit of a pink. If you go ahead and apply a little bit of a pink and take that on top of the blue that you have, it's going to turn into a little bit of a purple shade and that purple shade is going to be what your blend is. Use the same purple shade to create a bit of a purple sky. This actually turned into a sky lesson, isn't it? Anyways, just go blend it a little bit. If you do not want to create such an adverse sky, it's absolutely fine. Just go ahead add in simple sky and try to make the sand dunes. You know, what we're supposed to be doing because this is actually supposed to be the dessert. I just wanted to show having a nice vibrant sky as well. Because painting the sky is never, never enough is what I feel. You always have something to learn about clouds in the sky. Here, I've just grabbed a little bit of violet and I've mixed it with the pink on my palette, and I'm just going to go ahead and add in some strokes because I feel that the orange there was a little bit dominant. Just adding a little bit of a stroke like that so that the orange tries to, um, tore down or reduce there. I think that's much much better. Now that the sky is done, what I'm going to do is I'm going to wait for this thing to completely dry out because this bottom region is still wet and I don't want my paint to be flowing there, so I'll wait for it to dry out. There you go. I've dried up that bottom part. Now we're going to paint the whole of this region. What we are going to do now is we're going to have to paint this in multiple aers. Also there's this light region here on which the mountain is also I don't know why I say mountain. The sand dune is also going to have some lighter areas. We'll start with that light being reflected there, that's yellow. That's why it's got a nice light reflection. Then go ahead and grab quinacrodone gold, and that is what we will cover up the mountain with. There, see that. Then go ahead and add in the quinacrodone gold on the whole of your mountain region. Now as you can see, am painting wet on dry but making sure that always my previous stroke goes around to the next and my stroke does not dry out and I do not get any harsh edges. So long as you do it continuously, and so long as your brush is nice and wet. You can see that whenever I'm picking up the paint, it's nice and wet and there's a lot of water. I introduce a lot of water onto my paint because I want the floor to be continuous and not dry off. You've got a harsh edge here. But that harsh edge before it dries out, if you go ahead and add an extra paint, now the harsh edge is moved downwards. This is how you can create like a continuous stroke. See what I did. So the yellow paint that we added is now fading. Now we're going to have to create a light zone there. What I'm going to do is I'm going to immediately grab my size foe brush and I'm going to start absorbing a little bit of a paint and I'm going to create a little bit of a light effect there. Just add in a few lifting strokes. Lifting is basically run your brush along in the direction that you want to lift, then go ahead and absorb the excess paint or wash your brush and dry your brush again. See the process. Here I've absorbed. Now I wash my brush, rinse that color off, and then I wipe my brush. Let me just add one more in this direction. See that. Now there's pain, the yellow paint that I just lifted off, so I wash it, and there it's gone. Now, all of the regions that we just added, make sure to go ahead and add a little bit more if you feel that it's going to dry out, do not let your paint. Dry at this point. Just let it go over the top. Now, we need to now add in a darker color. I am going to grab Ben Ciena. Here just grabbing Ben sienna and I'm going to go over onto the top. But now is the point where you want to be careful and you don't want to apply closer to the already existing lifting part that weighted there. Because it's okay that your pain is going to be lighter over there because what do you say, it's the lighter region where there's a lot of lights being reflected. Again, going ahead and applying to the areas like that. King brush. I think I'm going to switch to a larger brush because that will give me a larger coverage. I'm just shifting to my size 12 brush. Here now is the time. You've got to follow along the same direction. I'm going to follow along this direction for my pancN a strokes. All of them towards this peak here. If you are drawing lines like that, make sure that you try and follow that peak. Forget about that extra line that we added, separating the dunes. We will cover that up later, that's fine. The next thing I want to do is I want to make sure that I blend in the quinacdon rose and the pensana area here. Just blending. We might have to do a little bit of a lifting again together. But let's see how that turns out. Yeah, the color that I wanted is gone. But I can always go ahead, quickly craft the brush again and do the lifting. Multiple amounts of lifting. But if you hadn't done the lifting before, then it wouldn't be this light and the quinacodon goals would have been harder to get off. You probably would have to do the lifting multiple times, in order for this method to work. All right. Now we've got a nice blend plus, we've also got the color in and all of it looks nice. You're going to grab the Burnsen again now, and we've already added these strokes. But now what we're going to do is, you're going to use the tip of your brush, and you're going to make these small tiny tiny lines. You can also shift to a smaller size brush, but I'm just going to retain and use my size 12. Like this. Don't make the lines exceptionally perfect. Go ahead and have a little bit of a wriggle and add it. And like I said, follow through along to the top of this mountain. That's how we want it to be. As you approach here, you can increase the distance between them because it's more closer to where actually the viewer is. There you go. Added in those strokes, just going to go ahead and make those. Now, next thing, we are going to have to create some footsteps. Again, these footsteps are supposed to be on a wet paper. The next thing that I'm going to do is, I think I'll shift to my size six at this moment because even though the foot steps of the closest point are darker, the ones further away needs to be lighter. The footsteps are going to be with a nice violet paint. Here, I'm just grabbing a nice amount of violet paint, and we're going to add these footsteps. It's over the top, something like that. Going to use the entire brush. See that and add, these are bigger ones. Then as you go further away, make them closer and smaller. See closer and smaller, and then they start becoming like a small dot, and they're walking away, walking away. In to the wilderness to the further end. Let's see how they are a really big ones at the bottom. That's how the footstep works. Now, there is another thing that we need to do as well. You can either do it after it's droid or you can do it right now, which is basically, we have to lift something. The footsteps are the darker areas that you've just drawn, are the places where it's the footstep and it's a darker region in there. But it also needs to have a lighter area, which is basically the region. In which the light is hitting and the arrest is the whole. If you go ahead and do a bit of a lifting along this one side. See, I've done a bit of a lifting there. Let's do the same along this end. See that, do the same along there. I've got to wash your brush each time you do the lifting. There. As you may notice, you only need to do it along the ones that are closer. Some of those ones, if it's too wet, you might have to do multiple times. If your paper is completely dried off and your footsteps are not, then all you have to do is make sure that your brush is damp and then just run your brush along multiple times like that and like a bit of a scratching, then you would be able to lift off the paint. Trust me on this. Now we've got the footsteps in, we've got the mountain background mountains and everything in. So now what we have to do is to wait for this to completely dry out. All right. There you go. It's completely dried out. Now what we're going to do is we're going to add another extra layer of dark details. What I'm going to do is I am going to grab my burn cena. Here's my burn Ciena. And to that, we're going to add in a little bit of the violet. That gives a little bit of a darker color, and this is what we're going to put in some of the background really background mountain, the sand dune. I keep saying around mountain. Then we're going to grab the same color and now we're going to paint the inside part and give it the effect of the sand dune. This is where the pencil sketch that we made comes in handy. There it is, and then we're going to fill that up and cover it up. Time to fill that up and create the effect of the shadow area of the sand tune. As you can see, it needs to have some darker areas. For those darker areas, now that two people are wet, you're going to grab in a little bit of a violet, and you're going to blend that in along with the burn Ciena. Here, I've described in a little bit more burn Ciena now after applying the violet and You're going to create a little bit of a darker effect over the top. When violet mix this with the brown, you get a dark brown color. See, even if you don't have the transparent brown shade, in fact, you could actually just mix it with the violet. This is brand new information. I should have told this from the beginning, isn't it? Uh, I just remember this. Then I'm going to grab the violet again and I'm going to actually give it towards the end of this mountain as well. It's like this mountain also has a little bit of a darker edge and see how we've unified the whole thing together. All right. There you go. Honestly speaking, our painting is absolutely done, I believe because we've added the footsteps. But if you want to create a little bit more naturality to the footsteps, you can go ahead and give an edge with the burns. But if you feel that you might ruin it, then you can completely ski it and not do it at all. So let's go ahead and completely dry the up and then remove the tape. By the way, while I was drawing, I just realized that I had missed something actually. There's this edge of this part of the mountain here, which we had not drawn it. Oh. Here, I'm just going to grab my violet and I'm going to add it as a line along there. This is the separation of that mountain and here I've added it, but then now we need to soften it. Even though that's the separation, the top parts needs to be lighter because it is reflecting the sunlight on it, just like we've added the sun's rays. See, I've blended that in and mixed it there. Now you can see the separation of the sand dune as well, isn't it? That's how it's going to work. Here, just taking that little bit of a violet and adding along the edge there. But as you add along the edge, the rest of the areas need to be nicely blended. You don't want the edge to be like a straight line. Just make it blended. See, now that's blended in and now you can see the separation between the two. I apologize for that error and not telling you about it earlier, but there you go. I'll just quickly dray it up and then we can remove the tape. All right. There you go. Now let us go ahead and remove the tape. Hey, hey, hey. There you go. Here's the finished painting. I hope you enjoyed painting this with me, and thank you so much for joining me today. 39. Day 34 - Rocky Sands: Hey, hey, hey, welcome to day 34, and this here is the painting that we're going to be doing today. So it's really interesting because when I started this, I thought that this was going to take really long, but I can see that. I did not take long, and this is probably like after edit. It's going to be turning out what 20 minutes or something. I'm not sure. But this is one of my favorites in the dessert one now. Let's have a look at the colors that have done. So the colors that we need for this one are cobalts blue. Croton rose, a little bit of a violet, burn Ciena, yellow ochre, and olive green. Yeah, that's it. If you want, you can use a little bit of a transparent brown as well, but these are the colors that I have used in this painting. So there you go. Let's get started with this one. All right. Let's get started. Let's quickly make the pencil sketch. So we are going to have that rocky mountain. Okay. Long here. This is like some of the desert areas in the US. I don't know where exactly it is, but I know it's in the US because I've seen many pictures of it. Something like that and then another little beak going over there. Then we've got some green bushes. Around here, and this is probably the base, something like that. Then we've got more rocky edge here. There's a rocky edge. Then there are many rocks on the round like that. That's basically the pencil sketch, Let me show this to you really closely. There you go. That's it. Now we are going to paint this. First of all, we'll paint the sky, of course, and I will make it rather quickly, really simple this time. Here again, go ahead and make your sky surrounding the mountains. As you can see, I'm actually not like going edge to edge because I know that the bottom colors of my sky are going to be in a lighter color and my mountains are going to be slightly darker. The rocks, I mean, the mountain rocks are going to be slightly darker, so it's not going to be a big problem there. I will make that much easier in fact. We'll go ahead and start painting the sky. In order to paint the sky, I am going to use Cobalt blue today. But I want it to be slightly darker, so I'll probably mix in with a little bit of an indigo, but here's Cobalt blue, and I start with my cobalt blue right there along the sky, and then I'm going to grab in a little bit of quinac rose and I will ap that. As you can see as the quinacodon rose mixes with the cobalt blue, it turns into a slight purple shade and this is exactly what I want. Then back to more cobalt blue, and you can see it again mixes with the pin to create a different of a purple shade. Yeah, maybe you can actually just use the pup the mix of those two as well, rather than using Indigo. I was initially thinking about just using indigo, but this works. Hey. Well, that's more than enough. Here, quinacrodone rose and a little bit of a cobalt blue. Adding that over the top. You can see all of the darker colors goes towards the top and as I'm approaching towards the bottom, I have actually now washed my brush off, and I'm only going to pull down the pigment like that because I want it to be nice and light. Although I think here I'd like it to be a little bit more pink, but again, very subtle pink. I've just reduced the paint to water on my brush, and it's a very, very thin color at the top. Sorry, at the bottom. That's what I meant. Oh, my God. What am I saying, isn't it? If you want, always pick up a color and go ahead at light towards the top and as you pick up color, you can bring it over towards the bottom and see how I'm just adding like tiny, tiny, cloudy shapes along this side. I think that should be enough. I've got my sky completely done now. Like I said, it was a quick sky, isn't it? Now we have to wait for this whole thing to dry up if we want to paint the rest of the painting. So let's quickly dry this up. All right. There you go. I've completely dried it up and you can see clearly how very subtle and almost, dried up, it is. Now let's go ahead and paint the whole of the bottom part. What I'm going to do is, I am going to apply a little bit of water there. I think I still have residue of some bans in my brush from the previous day. Luckily, today, we're still going to be adding brown, so I'm not bothered. I washed my brush and look at all that pigment still releasing. It's very surprising, isn't it? How brushes hold still a lot of paint in pigment even after you wash them. This is why you've got to wash it with soap, and I didn't do that the previous day. Okay. I'm just quickly dropping a little bit of water, which will aid me in doing the wet on wet technique easily, or rather the wet on dry itself. The reason why I not doing with a wet on dry is it's a large surface area and I do not want my paint to dry off quickly, so that's a reason. Here, I will grab burn Sana, and this burn sa also observed when I applied the water, I didn't go all over to the edge of the mountain. Just up to some area, which I can then connect to the wet region. Along the tip here, I had not applied the wet paint. You can see when I apply here it's not wet and then as I come towards the wet region, that's when it starts spreading. See that? This is probably the way that we want to do here. Ing along the edge, and you see all that pink and blue parts that we had on our u mountain, which where the parts of the sky paint are none because you're applying a very darker paint on the top. It's not going to be affecting much. Here, just going ahead and adding and Cena. Same along here. We'll keep applying. Remember I had drawn in some shapes for some trees and pushy shapes there. I'm going to leave that and knock paint on that region there right now. Let me just finish off this rocky part of the desert mountain. Now, I've washed my brush. What I'm going to do is, I want to quickly grab a little bit of an olive green and drop in. So bushy shapes along there, just along there. It's still a dried up grass effect that we have. Now I'll go back to my CNA and then I will go ahead and create an edge with my brush along the region where I marked the place where the edge of my mountain is going to be. There. Then the rest of the region, we'll go ahead and continue with yellow ocher. Ignore the stores at the bottom right now, we'll paint that later on. It's absolutely fine. You can still see it. Here, just grabbing the yellow ocher, and I'm just going to go ahead and apply that. A nice consistency of the yellow ocher. Ticking that and applying. Also, I'm applying to the rock part on the right side because again, like I said, it's fine, it's not going to be that visible. The pencil sketch that I added is lifted off because our yellow occur is actually a thick pigment, it tends to push away other pigments. I've got to add my bsna a little bit more. What I'm also going to do is I'm going to drop in like some random bits of paint at different places along the place where we just added the yellow occur, and blended. Okay. Just like we did in one of the previous days, we can also drop in some, what are you saying, splatters as well. In order to do my splatters, let me just grab my spare paper because they did not want it on my sky or other regions. There, and then I'll drop in the splatter. Okay. There, that's like unnecessary details. I don't know why I said unnecessary. It's kind of like those, some random bits and blobs on the aa. I love how it spreads. In fact, in my paper, this is totally random ok, it's spreading upwards, kind of showing some kind of dry twig or something, sticking out of the surface. Oh, I actually love it. I didn't intend it to be like that it was a happy accident. I'm enjoying it, though, and I know you might not be having the same happy accident. Um, it's okay. Now the next thing is, we're going to grab in darker color. I'm using my transparent brown, but you can also use go ahead and use a bit of a violet if you want. We're going to create some lines and ridges in between. And this is what creates that rocky texture on the mountains. See that? We're going to add some in between like that, there's a little bit of an extra water there, so that's actually pulling off my pigment. That's. Here again, create some nice lines and rocky edges. See how I just added a little bit of a dark shape and blended in there. My olive green is faded a bit, so I'm just going to go ahead and add in a little bit more of the olive green there. Yeah. I think that's enough, not added in fully, but just a tiny tiny bit and that should work. Now I'm happy with the way these things have turned out. We'll dry this up and then we'll add further details on the top. Here you go. It's now nice and trider. Now what I am going to do is, I am grabbing my barnsN, and we're going to create a separation between these two mountains. How we're going to do this is we're going to just just create some ridges in between. I'm using the entire length of my brush and then I'm just doing some lines and some abstract details like that. Bring that mountain down and let it go like that. Then you can also add some darker details at random places. If you grab in the darker color and add in between S. Some rocky edges. You can also in fact give some dry brush strokes. See here my brushes now dry and the strokes that I'm adding are like dry. Did you see that? Now, that was for that area. Now I want to get a little bit of a darker edge to that these ones behind. For that, I will grab the same color, which is the burn Na, and we will add it on the top with the wet on dry method. Because you're using the wet on dry, it will be faded, but then you will still have those ridges, but not with the darker shade. Okay? And let's see, a nice little gap between these two. There. I love the way how that mountain stand out. Now we'll go ahead and finish off with the details on this little rock there and rocky some rocks on that dessert floor. That's a large rock and here, that's another large rock, and there was a large rock there as well. Let's add. Here, adding a smaller one. You can add multiple. I'll probably add one that's stain together with it. Another one there maybe pain, my tape was lifted and I actually pushed my brush underneath the tape, you know? All right. There. I think that's well enough, but since we've added a lot here, now I'm thinking of adding a lot more there at random places. I just put in a lot of drops in some rocky shapes along there. Then we'll go ahead and fill up this rock with the paint. This is just typically the wet on color with the band sin. There filled it up. Now I'm going to just grab a little bit of a violet and I'm going to create some dark ridges. Add in some lines and some darker details over the top. As you can see, this is again the wet or wet method and along the edge ing the edge to create a h edge to that one. Give it a nice blend. And now I'm just also going to grab the grab the violet and add in like a darker edge to each of these rocks because, like I said, you need to have shadows everywhere. So adding the dark brown to the bottom parts of the main ones, which will give it like a duel to C as soon as I added that it looks like a little bit of a mountain, right? What am I saying? Like a rock, right? And we did all of this in just 15 minutes. I can't believe that. That was really quick. Then I'm going to pick up a little bit of olive green now, and I'm going to add a little bit of grass structure at random places. It's still the dry dessert, but then some areas, there are some little flora growing. That's what. Just go ahead and put the upward stroke with the olive green at random places. You're going to do that. You can do it right next to the rocks and rocky areas and make sure that as you go further away, you make them smaller and the ones that are really close like these bigger rocks. There you can have bigger ones. See how that's worked out to be. There maybe a little bit of, bigger one there, see like a little bit of a bigger one and along these areas. It's also mostly where some of the pencil sketch is being visible, so you can mask off that pencil sketch using this method. See that? Hessly speaking, I thought this was going to be tough, but we're actually honestly done. Oh, wow. So I'm just going to quickly dry this one up because this is again a still wet and it's along the edge. So I'll dry that up, and then we can remove the tape. But let me see if after drying this up, we need to add any more darker lines on it. All right. There you go. I've dried it up, and actually, it's fine. I like the way it is. It's just like a little bit of a rocky structure, and I don't want to add anything more. So we can go ahead and remove the tape and I'll show you where I actually poked with my brush on this side. Actually funny. It's as though this rock is ticking out of the painting, isn't it? Really funny. I was originally intending that I will cover that up with a little bit of a white ah. Here's a trick. If there are some bleeds and you want to cover it up, just use a little bit of a white ah on top of it. But this one, I am septical about adding it because if you look at it, this looks as though this rock is falling out of the picture and it looks interesting. I'm going to leave it like that. Here you go. Here's the finished painting. I really hope you enjoy painting this with me. Thank you so much for joining me today. 40. Day 35 - Dreamy Desert: Hey, hey, hey. Welcome today 35, and this here is the painting that we're going to be doing today. Again, it's a nice sunset sky Gorgeous desert painting. Let's have a look at the colors that I have used for this one. We're going to be starting with Queen acro, violet, Cobalt, blue, Burnt Sienna. Well, no, that's it. That's all the colors that I have used. Oh, no, I actually did forget something. There's quinacon golds over here. Either transfer yellow or quinacon gold, and that's pretty much it. That's all the colors that I have used. Let's get started with this one. Let us start. We will quickly start with the pencil sketch. We're just going to have a little bit of mountain. It's not mountain. It's like a dessert rock again. But today, a little bit of a different color scheme. That's what we're going for the dessert region that we're trying to do here. Maybe, another bit of a background mountain there. I don't know why I say mountain. It's supposed to be like a rocky desert area. Then again, more parts of the fork ground. Okay. Something of that sort. Let me show that to you closely. This here is the pencil sketch that we need for today. Let's go ahead and start painting this whole thing. So we are going to start with applying water onto the whole of our paper today. Go ahead, apply water nicely onto the whole of the paper. Just make sure that you uh, take your time to do it. You have enough time to work on the sky without the paper drying off. So make sure that you apply the water nicely and evenly. Toth your board if you feel that, you need the excess water to flow out of your paper. So like I'm doing right now, you can see, I'm tilting my board, and I let the water flow outside, and that gives me an even goat of water on my paper, if you can see. All right. There you go. Now I will go ahead and a absorb the excess bit of water from all the edges or four edges. Let me see if I need to tilt the board a bit again so that if there is any excess water, I can absorb that. All right. There you go. I think that's more than enough. Now we'll get started. Here I am grabbing my size ten rush, and this is what we will start with. We're going to start with a nice ping shade in the beginning. And we'll start applying that pink shade. Observe how I'm holding the brush at an angle. We don't want to use the pointed tip, but rather, you're just going to place in different cloudy shapes. Make it such that all of them points towards this peak region here. You want the mountain area. It's okay that your paint is going over the mountain. Just let it go. That's absolutely fine. Right here as well. And some more here. Then coming over to the top side again, now I'm adding smaller ones with the pointed tip of my brush. Now you can get to the pointed tip. You want to keep varying your stroke such that, sometimes using the entire length of the brush and then sometimes using the pointed tip. Now, we done with that. Just going to quickly rub again on this side because I see that it's a bit of a darker tone. Make sure that you soften out any parts where it's a darker tone. Then the next color that we're going to be using is a mixture of violet and Cobalt blue. Let me see first. I will create a little bit of a gap on this area here so that we can mix it up. Let me see cleaned that. There you go. Now, we've got enough space there to do the mixture, so that's a bit of a violet and going to grab Cobalt's blue. You get a bluish violet tone. See that? This is what co be adding. We're going to add that along the edges in between such that, you do not want a lot of the white areas to be seen, so go ahead and fill up all the areas in between with the color, and also you can blend in to the pink because the color that we're just adding right now is easy to blend in and you can always go ahead and mix it up. It's not going to turn any unnecessary color in our sky. Feel free to blend it. There, then I'm going to grab a little bit more violet now into the same mixture, bit more of the blue. Now making darker mixtures of the same And where does darker over the top. At the top region, it's going to be darker colors. That's where we're going to be applying. Remember aerial perspective always, where darker regions towards the top and the color starts to decrease towards the bottom. Remember that. Let me wash that off, going to grab a little bit more pink to mix in these regions. Any place where you see that it's got residues of white areas, you can go ahead and add that and it's going to create a reddish blue or a reddish purple kind of color because it's mixing with already existing color that we have right there. But you can see how it turned out. Okay? Just make sure that you have enough water on your brush and that is what is going to create this. Now, here see some lighter areas that we have left behind. I want to add a little bit of a yellow there. Here I'm just grabbing a little bit of a yellow. You can also use quin gold because that's a bit on the warmer side, and that is what we're going to be applying to that teeny, tiny region there. It's going to blend with the pink to create an orange reddish area, and that's fine. You can go ahead and grab a little bit more pink. Head over the top because you only need a very subtle part of the yellow, a little hint of the yellow there. That's it. Now the next thing, we're going to grab our pink again and now what is that? That's from the brush, I think. Anyway, it's going to grab that and add pink to the whole of our painting now. All of the areas, go ahead and fill it up with a nice amount of the vibrant pink color. Fill it up, go ahead and completely fill it up here at the end, just trying not to get rid of the yellow. And there fill that up. Wherever I think might need a little bit more yellow or pink to make the whole thing vibrant. That's what I am doing. There you go. I think that's more than enough. And now we wait for this whole thing to try so that we can go ahead and add in a lot of background and then the foreground. All right. There you go. It's completely dried up now. You can see how very very light it is. I am going to use this same mixture here, but adding a little bit of a water and a little bit of a violet to that so that it's slightly more, on a violet scale. Now I feels too violet. Anyways, then that and this is what we're going to be adding for our background. The background mountain area that we just added, that's what we will add with this color. Follow along that little mountain, the other mountain line that we added and go ahead and make that background. The same along on this side as well. Se that. That one's the ultimate background. We need that to dry to make the one in the front. That's why I've made it slightly lighter. Observe these things very very closely. That one is a little bit on the lights the scale because I have to add another one in the foreground. I'm just this is probably going to take 2 minutes to dry because it's a very smaller area. You've got to wait 2 minutes if you're not using a hair dryer. I'm just going to quickly use the hair dryer and dry that little bit up. There, that's now dry. I'm just going to grab a little bit more vibrant color to go and add to the base of it so that there's a clear difference between those two colors and it's a little bit more vibrant. Can you see that? So that's what I'm doing and there you go. That's the next range added. We've done with that. Now we've got to go ahead and paint that mountain over there. But before that, let's go ahead and do something, which is now for painting this bottom part, we needed to be in a slightly wet manner. What I'm going to do now is I'm going to apply water. To this mountain. I don't know why I see mountain. It's the rocky desert, but in a sunset mood, that's what we're doing today. Here I am applying water and re wetting that region. Obviously when you're applying water, you're going to be disturbing a few of the pink regions in your painting, but that's fine, absolutely fine, nothing to worry about. You can see I grabbed pink back from my paper there. You see that. But that's okay because we're still going to be adding lots of details and things. First, I will grab the pink itself, and we're going to go ahead and create some darker strokes. So lines, and So random lines like that. Then we go ahead and grab that pink, put that into the mixture that we just made. You see that coaches red purple shade. This is what we're going to be adding towards this side. You can keep mixing those two colors together to vary the red purple that you're using. I wanted a bit more darker shade. Here I've grabbed in a little bit more purple, added into that mixture and created a darker shade there. Need a little bit more darker. Here I'm just grabbing purple and adding into that mixture along the very edge. Let me wash that off from my brush, grabbing that and mixing it up. Then now, I think it's time for us to go ahead and add into some of the other areas. We definitely have to add once this is dried up as well. But let's leave it at that for now, and then we go back to that area there where we want to add the mountain part. I start with Bena Ben Ciena because I want that area to have a little bit of a lighter area. Big is y, Big is we've got a little bit of a sunny region here. No sunny, but the light. The light source is apparently there, isn't it? You've got to depict the light. So all of the right areas of the peak, where the light can hit upon. That's where we add in this and CNL towards the light side. Then over to the left side, we'll head back with this shade. That's the red purple shade. Here mixing up with the pink to get that red purple shade, and then we cover up with that red purple shade and see that. Only that area shines bright. With a little bit of can you see a brightness towards that side. That's because of the light so obviously. In this region towards the further left, you can reduce it, but you can still see that there's a hint of color because the color that we using is slightly different. Something like that, and then taking off that mountain. I'm going to apply a straight line there. That's where the division of that rocky part comes in. Oh. Joined it there. Now what I'm going to do is I'm going to lend in a tiny tiny part of that area, and now we have that nice dark mountain. You can go ahead and add in darker details, either by using paint screen or you can just use the violet itself. You know what, I think I'm going to use the violet because I'll give a darker effect to the same color tone that we're using. Here, just using violet, we're going to add in darker bits. This is the darker part of that mountain. Then again, that was too much of the violet that I picked up anyways. There some lines. Details, see how now that already looks so pretty isn't it. Now that we're done with this, we are going to wait for this to dry out to add in some of the dessert strokes. There you go. It's completely dried up. No. Now you remember the area where we added the pencil sketch. That's what we're going to be working on. Go ahead, grab your pink and make the same shade. Pink and there's my red purple shade. Along the edge of the line that we just added, go ahead and put it up. But we're going to have to immediately soften it out, so make sure that you paint this really quickly. All right I've added like a line. I think I want a bit more heavier on the side. Going to wash my brush and get rid of the pigment. The next thing is to go ahead and soften up along the entire length of it. Here. I see the edge had started to dry, but as soon as I run my brush over like that, it starts to get rid of that line. But we still have a line, so we still need to go ahead and soften out. Each time I soften, I wash my brush, I rub my brush on my paper towel or my clothe, trying to get rid of the water excess water and the pigment that I actually just pulled out. Just trying to unify the whole thing with the blend. But now see how we've got a nice softened approach. There you go. We've added an extra layer. Now you can go ahead and fill it up a bit more n and soften it out a bit more so that the color seems to Appear as though it is the blended. See that. Another way that you can do that is now you've softened it, you can go ahead and apply water to that region. It's not going to ruin your painting because you've anyways softened it, so go ahead and apply water over that region. You could actually start this by applying the water, but I wanted to cover the softening method as well. And I'm adding more colors at the end, trying to unify the whole thing. There, I've applied a bit more water, pulling that off onto the mountain. Be at the mountain area, that we the rocky area. Even if you have some a disturbed or raggedy shape that's okay because it's just going to give away to the texture of the mountain itself, so that's fine. Then here now grabbing more. I'm going to create some shapes. Let's move violet, need a bit more pink and make that pink purple shade. Created a nice little arc there, and then I'm going to now spread out the arc shape, and see, now we created the softer edge of the sand dunes, and that's exactly what we're looking at. We're going to do that at multiple places. Just create like softer sand dune edges. It's as if the sand is reflecting all of these colors during the sunset, and you have these elevated areas at random places. See that? I actually looks like even water is flowing or something, isn't it? Well, let's know what it is just a sand. Honestly speaking, I love the way it's turned out. And I think that this painting is actually done at this point. If you want, you can go ahead and add in some maybe some cactus plant or some kind of dessert plants further away in order to make it look like a dessert. Actually, You know what? Let's do that because this is actually looking like a little bit of a water structure, and I want to remove that and make it look like a dessert. Let's do that. All right. I've dried it up. This was not part of my plan initially. I'm just improvising and adding it right now, but I think it'll look good. I'm just grabbing violet at the moment. What we're going to do is we're going to add in some dessert, cacti or some kind of plant on there. So There. You remember this the thing that we did already. You know the shape and you know the drill. Go ahead and add some shape. Here I've added some there. Now when you're adding it further off really further off, make sure that you make them smaller. And all of them don't need to have it in the same divction. Also you can lighten some of them. Here I've watered down the paint so that it's not that heavy when we're adding. There another one over there. Tiny one over there. I think, yeah, that's good. If you want, you can go ahead and put some random dots and those dry twigs and shapes that actually have you grow in the desert. Along this edge, going to put some grassy shapes. Now that makes it look like the water, isn't it? Okay. I think that's more than enough. I've added enough details to make it look like a dry arid land with some of these cactus plants and everything, so that's enough. So I was actually picking up a, a dry usual habit, but there's nothing to dry because this is a little tiny tiny thing, and all the edges are dry. So let's go ahead and remove the tape. And there you go. It's completely dry, and we have Gage sky with Gage dessert already in place. I hope you enjoyed painting this with me. Thank you so much for joining me today. 41. Day 36 - Sun-kissed Dunes: Hey, hey, hey. Welcome today 36. And we're back to my favorite yellow theme. So we're doing a beautiful sunset, yellow dessert with a lot of sand dunes and a lot of details in the background and some beautiful sky effects. So let's have a look at the colors that I have used. The colors we need to are transparent yellow, Quacrodon gold, Quinacrodon rose, Burn Ciena, transparent brown, and paints gray. Here you go. If you're ready, Let's get started. Let us start. Today, I thought we will make it as simple as possible, so we'll go ahead and add in the lines of the dessert region. Although I said it is simple, but then we still have a lot of drying to do in between layers. That's what makes this possibly difficult. Here we start with the first sand dune, then comes the next layer, which goes like that. Then more layers in between. This is unlike the mountain ranges that we usually do if you've followed along my previous projects and everything because these lines, they need to be like in a curvy manner, whereas when we were doing mountains, we would have a lot of little disturbances or what do you say? Little small peaks and a lot like that, but these ones are going to be the perfect curvy shapes because that's what a sandune is supposed to be like. See, that one goes like that. But then for this one, let's add in a part where have you seen the part where the light hits and the other area is shadow because of the way. The sand folds in. That's what basically that is and another one there. Again, for this one, we will add in a little bit of a line like that. Then we're going to go keep approaching and add in a lot of these smaller smaller ones. Then until further we approach at the very back and more at the very back again. This one, although the curves are there, but then because it's very, very far away, these curves are congested together, and then we see a lot of disturbances. This is the opposite concept of a mountain. For example, in a mountain, the the slayers are in a very loose and not structured manner. It is loose in here as well. But then when you're drawing these little curves, as you go further away, these curves are congested together, so they appear like a teeny, tiny slight disturbances. You can see here. That is why I've drawn in like a very disturbed area. It's completely opposite concept of mountains for these sand dunes. Here you go. This is the image that we are going to try now. And it's back to my favorite favorite color scheme, the yellow, orange, brown red kind. Let's go ahead and apply water to the whole of our painting. Make sure that you apply water nicely. Think for the first layers, actually, you probably can do it really quick because this one, we're going to be doing it in completely multiple layers. That's what we're going to be doing. Here, I have applied the water nicely and evenly onto the whole of my paper, and obviously, I will absorb the excess bit of water from all of the edges. There you go from the edges, water, absorbed all of it. Y. I think I might want to tilt my board a little as well because I feel that there are some areas that's got to Es water, and I do not want that. That looks good to me now. I'm just starting with my large size brush, which is my size 12 brush. What we are going to do is we're going to have a nice sun region over there. Very light. First of all, before even adding any pint, let's do some lifting to create the gap for where the white color should go. I've just created a circle on my paper and absorbed the pigment. Did I say pigment, absorbed the excess water. Here, I'm going to grab my yellow paint now and I'm going to go ahead and apply across in a round manner along that exact same round area that we just added. See, grabbing my transparent yellow and adding. Thing up until the very edge, you can go ahead and add in yellow. For now, forget about the mountains or anything. Then we will grab Quencrodon gold. I love the Quencrodon gold warmth. We will be adding that. Here, adding the queen acrodon gold right. This quin acrodon gold, we will go ahead and add to the whole of our paper. There and also now coming down to the bottom. Okay. That's where my everything gets unified in this color. And let me just filling that up and there. It's a nice, gorgeous yellow shade. It's as if we've painted the whole thing, isn't it? But we have to leave a nice little gap of white there. And a nice little gap of yellow paint over there, a lot of yellow paint. All right. Now we've got to go ahead and add in nice clouds. For adding them in the clouds, I am going to shift to a slightly smaller brush because the brush that I was holding is obviously size 12, which is quite large. I've now shifted to my size six and I am going to grab quinacodon rose, but before that, let me just clean it up. It's contaminated with violet from the previous painting that we did. There. Now that's my quinacton rose. I'm going to put some nice clouds over the top. The funny thing with acoton rose as you add it is Because you've got these warmer shades on there, it's not going to turn rose, but it's going to rather appear as what am I saying appear as reddish shades. I was just thinking of pink in my head and I blotted that loudly. But you see my point, it's going to be all come as red shades because you're mixing it with a warmer yellow. Then it tends to like done into a warmer toone. Here, you can use the entire length of your brush to create some nice cloudy shapes. You can see. No don't make them all lines, but dry and rather vary down the strokes that you do. Then I will grab a little bit of my transparent brown. What I'm going to do is I, I am going to mix it with my quinac rose again, this is now what we're going to add to the top to create some darker tones. Do not mix the transparent brown directly onto the paper because I think it would just become a very darker stroke as opposed to the mixture of the brown and rose pink shade that we see right now. I prefer this as opposed to directly applying the brown onto the paper. Now, grabbing the same round toe. I am going to calm downwards and create some more nice cloudy shapes. Can you see? And reducing the color tone as I approach. It's a very, very lighter tone. Obviously, a sun has almost gone. But obviously, you can bring them back by dropping in water and then doing some nice lifting. See how I lifted off the color again. The brought back the white. So I can just drop in a little bit more water there, which will then push the pigment away and then I can use my brush to rotate around and create that area back again on the paper. Do you see that? I've got the white back on the paper. And we've got some nice strokes. Now the next thing for us to do is to go ahead and paint that background mountain. The background mountain, we're going to be doing it with Ben Ciena while the paper is too wet so that it has a little bit of a loose edge to it because that is like the ultimate background. Here, which was the line? That's the line. I'm just going to grab my Burn Ciena this time. And just going to fill that up. See how I'm doing it, using my burnt CNA. I'm going to skip that center part because I want that to be in a different tones in that is going to be a little bit more lighter because of the reflection from the sun. That's what we want to do. There you go. Now I'm going to grab the quinacrodon gold, but this time, grab it in a nice thick consistency so that you were able to do this and now see how you've blended it together. And grabbing the bantena again and making sure that I paint the edges well. See? Now this is our background layer. Way down with the background, I'm just going to make sure that my son is visible again. It's getting out of control again. I'm just going to drop in a bit more water. Water will push the pigment away. But before it gets like a harsh edge, you've to go ahead and absorb the excess water from the paper. Otherwise, you're not introducing back the white, but rather creating a harsh edge. A bloom, a big bloom. There you go. Now that's much better. Now I will go ahead and completely dry the su. All right. There you go. I've completely dried this up. Now we'll get on to the next layer. This is where the tricky path comes and we're going to paint each of this in multiple layers. It's really handy if you've got a hair dryer in, but I know that many of you may not have, but unfortunately we have to have a little bit of a waiting time for this if we do not have a hair dryer or a heat gun to dry your paintings. The color that I'm using is basically a mixture of transparent brown and burnt Cena and see how gorgeously a nice brown that paint is, and we are going to add that into the next layer there. Can you see this, like I said, go ahead and have that nice variation because it's further away. Then as we approach the center, we'll go ahead and add quinacrodon gold, and then back to the burnt CNA mixture for the extreme background. They're just grabbing that and mixing that. It can have a slight color variation, which is what I am doing right now. There. You see it gets lighter towards this region and then it stops there. So if you don't have a hair dryer, I think I'll go with that process so that it becomes easy for us. The next layer of the mountain, let's keep that for now and we'll add it after the current layer has tried. Let's do the one below so that it becomes easier for us. How are we going to do it? First, we're going to be adding just the burn sienna now. Here, observe, I'm just scrapping the burn Ciena and I'm adding it over onto this mountain. Oh, I don't know why S mountain onto this sand dune region. There, we'll paint that part. That part is now done, but we obviously have a line there which we will make, so not to worry about that. I just need to adjust the shape of this because my brush ski slipped not skip. Lots of layers there. We have a layer here, so I'd not want to mix them up. I guess now it's time for us to this is, this is closer. The sees they're all entangled together, so I have to now go ahead and paint the bottoms one. I'm using my transparent brown for painting that one. Here mixing my transparent brown. We're just going further wet on dry stroke directly. You're free to go ahead and add like that. Here grabbing the color again. That area needs to be darker. We'll start with the transparent brown and then you can add paints gray over the top. If you just add paints gray, then like I've always said before, it doesn't look dark enough. This is why you've got to start with an underlying color tone for paints gray always. And do not use black. I honestly do not prefer it, but if you do not have paints create, then you can also use black. That region is now almost as dark as black. Can you see that? I'm wondering if that area is ded. It's not dried yet. What we can do now is, I think we can grab the brown and add this region over here. Is this region seems to be fine, but we've got an edge over here, but I'm seriously worried. There. So that's how it's bent, isn't it? And it goes like that following that line over there. But then again, you can add in some darker details as I describe in a little bit more of the brown and add some strokes like that. See, I've added an extra line of stroke, and it appears as though it's the shape of the sand dune like that. And now I believe we definitely have to dry this up because I want to draw in the other areas. Here you go. I've dried this up, now we're going to grab the Quaker dune yellow. This region here because I want this area here to be nice and lighter. In order to make that lighter, you definitely start with the quin acrodone gold. See, I am adding the quinacrodon gold and this is what we will follow along the brown and black brown paints gracia that we actually added. Then Fill that up. Now once you fill that up, that area is this area, this whole entire area is now wet, isn't it? Let me just show it to you. This area is wet. Make sure you wet the whole region. If it's starting to dry, make sure you apply a little bit of a paint again and that region is now wet. The next thing that I need to do is bring in a little bit of a darker stroke. Here I am picking up my burnt CN and I'm adding something like that. Just blend it in and add it in like that. Then onto the Barcena towards the edge, I want it to be even darker. Grabbed my brown and wend with it. Now, the whole area, we need to unify it and soften it. No soften, but blend that whole region. There. I like that much better now that we've blended it. But I need the brown a little bit more towards the top side as well. Yeah. That seems much better, but we can always go ahead and adjust it a bit more. There you go added that. Now I think that region since we tried it up is dry. We'll go ahead and grab in the transparent brown again in a nice quantity, and that is what we will start with. Here the transparent over there. Covering that region. Then towards them, I will blend it with bn So that is now done. There's a lot more that we need to create and join. So let's do this now because I assume this top portion has almost dried up. So what we will do there is we're going to start with burn Ciena. So it's like a mix of these three colors, the burn Ciena, the transparent brown, and the quinac gold. If you and mix it up in varying ratios and positions, then you get these sand dunes. Here, this is what goes there. But then towards the bottom where the separation of these two is, it's an ice brown shade. See that. That variation shape of the sand dune and add that to the separation, see how what we've done there. This is what separated and we've got some. Then the next thing is we still gas in between. Let's go ahead and fill that up so I will start with C now for that one. There, adding that and almost filled it up. I just filled it up, but we definitely need to add darker tones over the top, but we'll have to wait for it to. Meanwhile, w that dries up, I will pick up my the transparent brown, and I will fit that in between. Get that darker region sorted there. Now I think if we dry this whole thing up, then we may be able to add in a lot of these different sand dune shapes. All right. There you go. I've tried it up. Now I'm going to start with a nice brown shade, but I'm going to already mix in a little bit of a paint to that one, and that is what we will add. This is because I want this region here to be definitely than the brown over on the top. And remember the line that we added. That goes on to create the separation of the sand dune, that's where we will paint this. Once you've created the separation over the top, you can wash that off and you can grab just the brown shade and fill up the rest of the part. Because you don't want the whole color to be just looking like black. We just created a separation there. Do you see what we did? Okay? So I know that this is probably really, really confusing to you. What you can basically do is probably pause this at the very end of the painting process and try and make the shapes. So here, the next thing is, I've got to paint a little bit more band CNA over here. I've added in the Barcena. Then over on the Barcena I'm adding like these lines that will depict the sanduns again. See that. Then back to my brown, and there is a separation there as well. Okay. Now I see it. There's lots that we've done. Then I'm just going to grab in a little bit of the quinacrodon gold and apply it to that region. There's already the golden color there, the vibrant golden color. I mean, there's a lot of things that you can actually do to this, but let's keep it as simple as possible. So I think this is it. So we're literally done. I know it looks how do you describe it? I know it looks a little bit weird, but then with all of the sand dunes and the separations. This is what it looks like at Sunset if you have a closer look at it obviously. Now that you've done, I think I'm going to just dry up everywhere and we'll remove the tape. All right. There you go. Now let's remove the tape. And here is the final outcome. I hope you enjoyed painting this with me. Thank you so much for joining me today. 42. Day 37 - Twilight Tide: Hey, hey, hey, welcome today 37. And this here is a painting that we're going to be doing today. So I the topic evident already? If not, the topic is water. It's time for us to get into the more difficult topics or difficult. Maybe but a bit more advanced and intermediate stages because I am covering water now before sunset. Be, I have some more things flat in the head. We are going to start with water this week. This is the first painting that we're going to be doing. I know it looks difficult and probably it is. I break it down and it's going to be really easy for you. Trust me. Let's have a look at the colors that I have used for this. I start with Quinat rose, transparent orange, a little bit of a lavender, then Yeah. Then the next only color that I've used is acogreen, but don't worry. Acogreen is basically turquoise green. What you can do to make that is mix thalo blue and to green together, and you will get the gorgeous aqua green shade. There you go, and if you're ready, let's get started. All right, Let us start. We'll go ahead and add in the part where the water line is with all its ripples and the wavy structure. It's going to be around one by third of the paper and that's where I've added it. You can see there. Then we'll just mark out for your sake, some positions of where the water strokes are going to be. But you can totally skip that and we can do that with our brush itself. There you go. This is the pencil sketch, literally as simple as that. That's the pencil sketch. We'll get started and we're going to paint the sky first. Not too much detail, just a simple beautiful pastal sky that we'll try to cover in here. Here I'm just applying water to that region, using my flatrush and applying water to that top region there where we will be adding the sky. Now, we'll go ahead and paint the sky. For painting the sky, again, we'll make it as simple as possible. We're going to be starting with quacrodon rose, but I'm just rinsing my quacon rose because it's filled up with what color is it? I can remember now. I think it's violet or nos Quinacon yellow, I think, mixed in there. Anyways. We start with a nice pink shade and we go over and we go along the edge. You can use your flat brush itself to try and mimic the shape and we created some flash flat strokes. Seriously, just some flat strokes. Then I will go as you can see, I have a tilt on my board. I'm grabbing a little bit of an orange shade and I'm going to apply that orange at the very bottom. Not to worry, it's not going to ruin the existing color. It's just going to give tint of an orange plus a tint of red to your sky as you can see. Back to the quinacton rose, if you add and B of the tilt that you have on your paper. It's just going to blend in nice and smooth. Then, the next color that I'm going to grab is lavender. Here, just going to finish off the top part with lavender. This is why it's going to be like a nice basil sky. Lavender is like a heavy pigment, so make sure that you have that tilt on your paper. Otherwise, the heavy pigment is going to push out the pings that you have. We do not want that to happen, but rather you want the ping to be pushing away the lavender and blending into it. This is why keep that tilt. I have this hand on my one edge, Dilting the paper. I've created a nice gradient, and as you can see, I have that hand there, which created that perfect gradient for me. Honestly speaking, that's it for the sky, creating a very simple sky because we've got some work to do with the water region, which is the trickiest part in here, isn't it? We'll go ahead and dry up the sky, after which we will go ahead and draw the water. We have now completely dried this up, so let's go ahead and paint the most interesting subject. Water. We're going to apply water to the water region. All right. Here we apply water nicely, water that down nicely, take your time to do it and make sure you reach towards the edges as well, but careful, you do not want to disturb the paint. Now because we're painting the bottom side, you can actually have a tilt on your paper and apply the water onto your paper nicely, make sure you take your time to do this because we definitely need A nice wet surface for us to work on. Once you've applied a bit of water, I'm going to shift to my size 12 brush to cover the edges and apply the water nicely perfectly because you get more control with a pointed round brush, and that's what we're doing here. See that. And applying all the way towards the bottom. There's an accumulated excess bit of water there taking it out of my paper. This angle that I have is going to help to move the water outside if there is excess bits. See how it's moved outside. Now, because there is that excess bit, I am going to absorb it from the paper itself. See that. Can you see the water droplets there on that side? Going to absorb that as well. We've got an nice accumulation here at the bottom, which I've now grabbed. We've done the water. Because of the tilt, you might feel that the water at the top region has started to dry out. This is because the water is flowing down and you also absorbed the excess bit of water. Now that you've done that, we're going to start painting the water. This is the interesting part. What I will do is, I think I'm going to shift to like my size a six brush, which should be enough for this, I suppose. Alright? And we're going to create a nice peach shade like what we have in the sky over there, okay? So that peach shade, Oh, I don't have space. Let me create the space on my palette. I apologize. But, you know, by now, why I don't clean my palette because I always reuse these colors, and I feel really guilty if I'm, you know, taking out any color, which is kind of what my feeling right now is that I've wasted all of that precious pallette paint. It's what we are, isn't it? So you probably know me by now and know how I react. Anyways, Here a nice amount of the pink and a nice amount of the orange ops. That's a little bit of a too much orange. I'm going to go ahead and mix it with a bit more of my pink shade. And pink pink. Yeah, I turned into a reddish color, but that's okay. But as soon as you start applying it in a very lighter quantity, you will get the color tone that we're looking for. Here, grabbing that, and we're going to start. What we're going to do is remember that line that we did there. Let's follow along that line. There. Something along that line. Then let's create another wavy shape. See how I did with my brush, our paper is wet and I create it like a wavy shape. We're going to do some more, I'm going to follow that line. Then I'm going to do another there, some smaller ones. Then let me see some smaller ones there. As I come towards the bottom now, going to add some larger ones, and these larger ones extending outwards of the paper, and again, another larger one then another larger one. This is aerial perspective in play here. We are seeing reflection of the sky on the water. But as you come towards the bottom, that reflection is going to get larger, this is the waves structure. The waves are going to get larger towards the bottom, and that's exactly what's happening here. The other color that we're going to be mixing onto the same thing is a turquis green color. This turquis green that I am using is actually aqua green from Windsor and Newton. You can make it by mixing your yellow blue and your hello green together and see how I'm creating. Now in between the wavy structure, We want to go ahead and add in this shade in between. See how we've created that. The same way. Go ahead and apply. Once you've applied in the color, then we will try to refine the same more with more of the wavy structure. First, we need to go ahead and fill in the colors. Kind of what we're doing right now, filling in the areas in between. As you can see, my top region has probably started to dry out now, but we will make that quicker. And it's okay to be lighter towards the top. It's definitely lighter towards the top because of again, aerial perspective in play. All right. Now we've created some nice baby structure. What I'm going to do is, I'm going to grab a bit of an orange, we're going to put that orange at random places. But make sure that you apply it over the pink and the green shade that we have added. Now that you've filled in all of the areas, it's time for us to go ahead and add in tiny tiny details. That is a dry on wet brush. Make sure that you dry your brush nicely completely. Then go ahead and pick up a paint. Your brush is now almost dry and now you're going to be adding details with that. The wavy structure. Here I pick up that, I'm going to create a little bit of a wavy structure. Again, over on this one. Using my brush and creating these lines in the water. Do you see that? Always dry brush because your, your paper is wet enough for you to create the dry brush stroke. Then another large wavey structure here, and then have these tiny tiny lines joining to the wave like that, which gives the appearance of the water moving around in different directions. Do you see that? The same way here. I think that turned out to be a little on the darker side, but that's okay because it's the very edge. See how we've created the nice flow of the water. I know this looks stuff, but once you try it, you're definitely going to get it. Try to follow along the direction of the water, very, very important. But as you come further down, also, the stroke that we're adding increases in size. Here it's a bit on the side. Can you see? It's larger than the ones that we have there, isn't it? You always need to make sure that the strokes that you add are larger as you approach towards the bottom. And larger and also darker towards the bottom. That is the most important point. Also notice the amount of water that I'm using. It's a dry bruh, dry on wet brush still that we're doing here. Now darker color at the extreme bottom part. Now we can go ahead and grab a brush and try and blend in areas of the pink and the color that we added. Can you see the hairs here? We do not want those hairs. In, what we will do is, you can either grab the pink color again, or you can just use water to blend it up. I using a method where I'm using both. Bit of a pink and little bit of the water to blend those strokes, see. I've got to blend this region, going ahead. Maybe pick up a little bit of the pink and blending that. Always make sure that you control the amount of water on your brush. If there's too much water on your brush, then you're not going to get these effects. There now we've applied the strokes, we've created the wavy shapes. It's just as simple as following the shape of the wave, and that is what is going to help. When you added the wave shape at first in the beginning, then the next medium strokes that you add, go ahead and add it in between, such like waving in between and then make sure that the color as you go towards the bottom, is increasing, that is the total value of the color, is increasing. That is what is important. Here, just going ahead and creating the nice wavy form again, but making sure that my color is more. See that? It is definitely going to mix up and create a little bit of, like a gray color. But that's okay and that is because do you know why it's creating the gray color? Because the turquis green is like green, obviously. The quinacon rose that we added is rose, which is red sheet, isn't it? They both mix together to neutralize and cancel each other because they're complementaries, red and green, obviously. That's what's happening here. But you can see how we've depicted a lot of these intricacies in the water region. So just going to I'm going to try and create a split in between this region. Yeah. I think that's much better because I do not want it to be together and a huge wave seemed abnormal. That's why I created a split in between and added in the paint cray there. I think I'm pretty happy with it, and we're actually done way quicker than what I expected. I think this actually gives you a lot of time, for example, if you set aside 45 minutes for today or something, then you've got a lot of time to go ahead and practice this because I know that this is a little bit a difficult complex, but I wanted to introduce that water into your painting process and now we're going to be adding a lot more of them. Let's get started and go ahead and paint water, lots of water every single day now. So I'm going to quickly dry this up but then we can remove the tape. All right. Here you go. It's completely dried. So let's remove the tape. And here's the finished painting. I love the pastal colors and how it's reflecting onto the waves there. So I hope you enjoyed painting this with me. And thank you so much for joining me today. 43. Day 38 - Nature's Mirror: Hey, hey, hey. Welcome to day 38, and this here is the painting that we're going to be doing today. So please don't panic. This is not tough. Look at the time scale. I mean, look at the time of this entire lesson. It's so quick and easy. It's complete random strokes, and your painting is not going to turn out like mine, but it's going to turn out beautiful and different, and it's very, very easy. Tt me. Let's have a look at the colors that I have used for this one. So the colors we need are basically yellow blue. Sap green, a darker green, then hello green, a bit of olive green, then indigo, and a bit of alza and crimson. These are the colors that I have used. I know it's a lot of greens as in, we've got hello green. We've got sap green, dark green, and olive green, four different greens, and you may not have all of these different greens. That's absolutely fine. Gas, you can just use the sap green and you can mix it with a little bit of a paints gray or indigo to create a darker green. Completely skip the darker green if you do not have that, then olive green. You can also mix in olive green by mixing your sap green with a little bit of a brown color. It will turn into the warmer olive green shade. Tal green, unfortunately, the run alternatives, although like emerald or viridian, I wouldn't say exactly the same, but you could substitute that for the yal green. Now that you know the colors that we need, let's get started with this one. Let's get started. We'll go ahead and put in the pencil sketch. Just make it as a tilted. This is going to be a bit of a weird angle that somebody's captured. So a little bit of land region, something like that, and there's a lot of reflections in the water. And this is where you actually see part of the underwater structure. Just two lines like that. There you go. This is a pencil sketch that we are going to be doing today. So we'll start with the sky region, of course. In order to paint the sky region, we are going to apply water to the sky region. Just quickly go ahead and apply water along the very edge of the line that you've added, and apply. Here just adding the water and there nice water added. Then we'll go ahead and paint the sky. Let me shift to a smaller size brush because that's a very too big of a size brush to add in. Es water removed, crisis averted. And now Halo blue, as simple as that. Go ahead, use Halo blue in different format and put that into your sky and create. Just adding that in a completely random manner. This is what the sky will be like. I've washed off the blue as well because I want to bring it onto a very, very lighter tone towards the bottom. That is our sky. Then now we've got to go ahead and add in the foliage, and that's very simple. We're going to be doing it as simple as that with our sub green and go ahead and add it in a wet on wet manner because it's further away at the horizon, so you do not really want to add in too many details. Just grabbing my screen and filling it up like that. Go ahead and adding. Added in the nice green structure. And you can see how it spreads and create that beautiful hair kind of structure isn't it? Then I'm going to grab my dark green and I'm going to put it at random places, especially at some of the areas at the bottom, but you also going to fit that into the middle areas. This is basically the shadow areas. And Yeah, that's it. We've added like the background region and we've put in the sky. Now it's time for us to paint the water. But before we can paint the water, we need to make sure that the sky region is dry. Let's go ahead and quickly dry this up. All right. There you go. I have dried it up. Now we'll go ahead and apply water to the bottom part. Right where the water region is, go ahead and apply water, all the way. Apply water onto the whole thing. Take your time to do this. Remember, we have a lot to work. So make sure that your paper is nice and wet. All right. Now that you've done that, go ahead and grab your largest ie brush because that's going to be easier for us to work with. A, like the previous day, I am going to clean this up, again, it makes me very, very sad that I'm wasting all that beautiful pastel shape that we mixed in and we'll start. I'm going to start with a nice amount of yal blue. The previous day I used acogreen directly and I told you that you could actually mix up the Turkos screen. Today, we're going to mix up the Turkicreen. Here it's Tylo blue and yal green together, and there is the go go go Turkicreen color. This is what we're going to be adding. Let's start and go ahead and add in. As you can see, I am not going to add it in a perfect manner. Observe closely how I am adding, and this is the way I'm holding my brush. And when to add it like that, and you can see I've left some gaps. Okay. You've seen the final picture, so you know how it turns out anyways. Here, go ahead, then add in the color along the very edge. Let's fill that up. The edge is fine, let's fill that up. As you come here, again, fill that up, and you can go ahead and fill the bottom part as well. But those are the areas where we left some gaps, but we can improvise and add more there as well. Then going again and mixing up the color. But this time I'm mixing a little bit more green onto it and then I'm going to add. And what we're going to do is we're going to create lots of different lines like that into the water. See that. But before we do that, we have to fill in those white gaps because if we do not fill in the white gaps, it's going to lack the water or the water is going to dry up. Here I'm grabbing olive green and I'm going to mix up that olive green into the same mixture. I need more olive green because I need it to be, warmer. This is still warm enough, it's turning into a sub green color. There you go. Actually, I have an idea to desaturate that. You can mix in a tiny tiny amount of alizarin. There you go. I've done the work of desaturating the green vibrant green that we had, and this is what we're going to put in between. Go ahead, add and put this color in between. This is like the underwater details and everything. Then I'm grabbing a little bit of an indigo to the same mixture. There's indigo and the dark blue and the halo green there and we will add that. We're going to put that in different format. See. Even on top of the green that we just added, remember the paper has to be wet and this is why we're doing this method. I know it looks difficult, but go ahead and just put in a lot of these strokes, and then as I move towards the top, going to add smaller lines, and smaller waves again, following aerial perspective, the waves towards the top will be smaller. You can skip or possibly skip a lot of those center regions because they will not be visible once we add in the details. Maybe a little bit more intego into that mixture. So see all the different greens that I am trying to create here. It doesn't have to be unified or anything, just trying to create a lot of griffin greens and going in that manner because I think that's how the flow of the wave is. If you create something like that and there as well. The bottom part is actually the underside of the water itself. Skip that for now. Let's not do anything. If you're happy with the way this turned out, you can go ahead and completely dry this up. These details that you've just added are the things that you can see the details underneath the ocean. Because it's a clear water, you're seeing that. Now let's go ahead and dry this up. Here you go. I've dried this up. Now we'll paint the bottom part. For that, I will switch back to my smaller size brush and I'm going to grab indigo and add to that same mixture. Blue, and where's the hallow green into that and see the color. This is what we will add here to add that separation. Remember the separation that we added. That separation is there. Then go ahead and, you know, add in, like, a few lines or ripples, something of that sort, okay? See? With the brush, little bit of a line like that. Then towards the bottom. Now we need to go ahead and add in the these stones in detail so that it's more visible. What we're going to do is we're going to apply water right at the bottom. Obviously, this water that you apply right now is going to down a little bit of the color from the line that we just added and that's okay. That is the intention. Here I've watered down the bottom hard Now we're going to grab in the colors. Here, first I start with a little bit of an olive green. What I'm going to do is I am going to create these stone shapes, see, a lot of these shapes into the water. Go ahead and create those shapes. Then we need to add in darker details to some of them. Here, just grabbing the darker color and adding to some of them. Then you can probably add in a little bit of Alizarin, which will desaturate the same thing. Then I need to grab in the blue again and add it in some of the places. We're done with the bottom part, and while it's actually drying, we can go ahead and add in the reflection of this green region. For that, we're going to grab in the same color, which is the green, but this time, take in a very creamy consistency of the paint. And you're just going to add in these little details there. Right from the very edge, go ahead and add in lot of these zigzag lines into the water. That's basically what we're going to be doing. Use the pointed tip of your brush, sometimes press in on the region, sometimes just add it in a lose manner. But do you see what's happening there? Let's bring it down more. See how I'm grabbing the green and adding. This is also the point where if there's anything that you do not like in the water region that you've just added, go ahead and cover it up with these ripple reflections. See what I'm doing there. B. B. Added in these go, just reflections, a lot of them. But just grab in the darker green for the sake of adding and add in between some of the areas that you've already added. It's best to add to those areas where you see that it's actually still wet, so go ahead and put in a little bit of the darker green so that it's not a single color, all of these reflection areas, but then it has multiple colors. Like here, I want to give a bit more of the details and a lot of ripples in that region clustered together. I think that's pretty much nice. I love the way it's turned out and I love the way how the water regions turned out. So let's go ahead and dry this up, and we will finish off with one simple thing. Oh, I cannot believe that even such a complex water thing, I have drawn it so fast. There you go. I've dried it up. And as soon as it's dried, now you can see that this is what this actually looks like, isn't it? So what my intention now is, we're going to put in little amount of bubbles bubbles in the water. Under the water to be precise because don't confuse. We're not going to have bubbles on the top layer. But it's underneath the water, which has the bubbles, which makes it look beautiful, isn't it? Let me grab my paper. Neat my paper because I'm going to be doing splatters, not a lot, one or two and adding a few bubbles. See, a little bit of a bubble structure there. I think that's more than enough to not add too much because then I don't know, then it might not look good. I am stopping right there and because we only finished with the bubbles, I think everything else is looking so perfect. So let's go ahead and remove the tape. That was really quick, wasn't it? So here you go. Here's the finished painting. Oh, I love this. I've never painted water painting like this one, so this is actually very I don't know. Some seems really good in my standards. So here you go. Here's the finished painting. I hope you enjoyed painting this with me. And thank you so much for joining me today. 44. Day 39 - Reflected Glory: Hey, hey, hey, welcome to Day 39, and this here is the painting that we're going to be doing today. So I've tried to make this as lose as possible and that you don't feel it as, you know, something that's really tough, and which is why you can see that my lines are really, really loose in a freestyle manner. I did not want to make it to be too perfect. So that's why I've done it this way. So I hope you do enjoy this. So let's go ahead and have a look at the colors that I have used for this. So I start with transparent yellow and inacro done gold, then a little bit of a transparent orange. Then I also have transparent brown and yellow ochre. Then we have lavender and paints gray. So that's it, all of the colors that we need for this one. So if you're ready, let's get started with this one. All right let us start. First, we're going to add in the horizon line, and then we'll add the elements in the water. Let's say, I want to have more of the water space. This is the halfway point of the paper, so I'm just going to lift up a little. So it's almost like between the one by third and the halfway point. That's where my water is going to be. This here is my line. Let me see if it's straight. There we go. And then we will start adding in the mountain. Going to have a mountain like that, and then let's have another one going way higher like that, and another one in the front of it. Then obviously, let's give this mountain littleit of the dimension. Something like that. I know it's possibly not visible to you right now, but as I bring it closer, there you go. That's the pencil sketch that we want to be doing. Let's get started and we will paint with the sky first. In order to paint the sky, it's going to be absolutely easy because all you've got to do is go ahead and apply water to the sky region. Make sure that you just wet the sky region. Nothing else. I've got residue of pink on my brush. I don't know if it's visible to you guys, but it's visible for me on my paper. I'm literally getting a little bit of a pink. Oh, my God. Anyways, bringing that. Now along the edge of the mountain as well. There we go and like that along the edge. Taking hair, really good care along the edge. Even if some little bits of water does flow into that region, it's absolutely fine, nothing to panic. So I'm just going to tilt my board and give it an upward angle. There we go. Nice upward angle and absorb any excess bit of water and create a nice wet surface for the sky to be painted on. Then we'll just go ahead and start painting. I apply water with the large, the largest the size ten brush, but I'm going to switch to a smaller size brush because I would like to get a little bit of a smaller cloud. Here, I'm just going to switch to the size for brush. Using my size for brush, I am going to start and I'm going to start with a little bit of a yellow. I want it to be warmer. Here I'm mixing it with the quinacrodon gold here right here. Now that's a warm warmer tone. This is what I'm going to place into my sky. Something like that. Take it over to the top. There a little bit of there. This is why I'm using a smaller brush because I would like to get some nice shapes in my sky there. Again, coming down, as I come down, I am completely just using my quincne gold because I would like to have some nice golden shades right there closer to the mountains so see. I applying some nice golden yellow shades, closer and at the tip of that fountain there. Then I will wash that pavement off and I'm going to grab the next color, which is going to be a little bit of an orange. We're just going to give a total tint of orange at some random places like there, then maybe a little bit on top of this one. Let's see, little bit there. Not there, maybe. I just want to have some area where it doesn't have the orange. Here, then a little bit of an orange there coming over to here. You can see how teeny, tiny brush I'm using and adding these shapes into the sky. Now, let's paint the other regions. At the other regions, it's going to be re surprising for you because we are going to be using lavender. That's a really weird color. If you mix it up with the yellow, you're going to end up with a muddy color. We don't want to be mixing up too much, but even if you have a little bit of A yellow color mixed with the lavender, it's going to be like a slight gray color and that's absolutely fine. This was what I am going to apply to my sky. You can see it mixes slightly with the yellow and the orange to create a really subtle gray color, but that's okay. That's what we're looking for. Here, just s grabbing the lavender and you can see how I'm applying it. Apply closer to all of those yellow regions and also wash your brush. And remember, we've got to met this in the water area as well. You've seen the final painting, so you know how it's going to turn out, isn't it? Here, just grabbing the lavender and adding in all of the areas. Here I applied a really huge amount of lavender, but then I can just easily spread it up with my brush. You see what I did there, I just spread it up and It's done. We've got the nice gorgeous clouds, all blended and mixed together, you can mix in a little bit of the yellow blended into the lavender. It's only going to be turning a little bit of a gray color, I suppose, and that's absolutely fine. Now, this gray is a lighter gray and the lavenders that I used is also light. Now I want to create some real gray clouds and I am going to use paint sra for that. Here I'm grabbing from my palette right here. If you've got it on your palette, you can use that or you can create a fresh ones. But we want it to be very light. Here, Just go ahead and create some gray clouds at random. I create some here as well. Along the orange areas that we've added. Se some nice gray clouds. The reason why I'm adding all of these clouds here, even though this is supposed to be a water painting is because I want to create the reflection of this and that's exactly what we're learning isn't it to create nice reflections. There, we've got some nice strokes in the sky. I've blended out a little bit of the paint gray that we added, but we still have lavender strokes in the sky. Let me just show this to you closely, see how that looks. Now let's quickly dry this up so that we can go ahead and paint the mountain. All right. There you go. I've completely dried it up. Now let's go ahead and paint the mountain. For painting the mountain, I'm going to wrap real nice amount of lavender now for this region there because I wanted to look like a snowy region, but it's going to give out violet shade because of the yellow color in the sky. Just use the lavender and go ahead and paint that part using the wet on try method as simple as that. Then you can just go ahead and add some more colors on this side as well. But then on that side, you can go ahead and blend in with paints gray. Here, it's going to be slightly more of the darker shade. I'm just grabbing paints gray and adding There added the paints gray. I don't want it to be to perfect, so I will do a mix of the lavender and the paints cray and create a subtle color tone there. Do you see that? It's a nice plant. Once the other side destroyed, we'll also add in some details to depict the mountain air such. But now let's go ahead and fill in the rest of the mountain areas. We have a mountain here and I want that to be on the darker scale. Let's just go ahead and add it in a darker tone. Observe closely. I forgot to mention that. I did not paint at the bottom part of that mountain. That is because I want to add some other colors there. Adding the colors without reaching up to the horizon. There. And the same along this one, we've got a very dark mountain area there. Again, just paint it up until that bottom region. Now let's see what we're going to be filling up with that bottom part. At the bottom, I am going to be adding some nice brown shade. But brown such that I wanted to be slightly in how do I say like a dried up grass kind. I am going to mix it with yellow occur. Here I will grab yellow occur, and I'm going to mix it up nicely. See the kind of color that we're getting. It's a slightly muddy done. This is what we are going to use for the base Area of our horizon. There and don't try to make it perfect, act as though it's like some dried bushy region, see how that is going. All around up until the very end. Make the bottom flat, of course, because that's where the line of the water line is. That has to be straight, as straight as you can, of course. I can see I've got a bend in the middle. Okay. That's much better, isn't it, even though I do still see a bent, but I'm not going to bother about it too much. Then I'm going to grab a little bit of the darker brown now back to taking a bit of the darker brown. We're going to give some darker details. Obviously, we need to give darker depth and details. Okay. I think that's probably going to make it straight because it was bothering me that it was slightly bent. Yeah, that's much better, isn't it? Here again, some random darker details towards the bottom. Now we've got that color. Now, all of that looks perfect, isn't it? Let me see if my lavender is dried. Yes, the lavender has dried. Let's go ahead and add in the rocky texture as well. Here, just grabbing my paints gray. Remember, your brush has to be dry, so dry it up on a clothe or somewhere, but I'm already picking up very, very dry paint if you look there. This is what we're going to be adding. If you look, just go ahead and see, even then it's not dry, I assumed it was dry and I was wrong. There, not much better, and going to create the dry brush texture and line at random places. Now it's looking like a mountain, isn't it and looks much better, isn't it? There. I'm going to pick a bit more of the darker color and going to give this mountain a bit more texture and details at trandom places. Se along this side. Now along with all the darker details, we have a little bit of a nice looking mountain at the back over there. That was our background as in the sky with the mountain. Now we need to create a reflection of this into the water. That is the trickiest part, isn't it? Now let's go ahead and quickly dry this up so we can add in the reflection. It's completely dried up. Now we're going to work on the reflection. The first thing we're going to be doing is apply water to the base. I will go ahead and apply water to the base to the bottom parts in an equal amount, which is why I've crafted my larger size brush and then I'm going to tilt my board and give it a downward angle like that. And have that nice. And in a good manner, so we have a lot of strokes to do. Make sure your paper is nice and wet. Do not let it have any dried up areas. You definitely have to apply water multiple times if you feel that your paper is going to try out quickly. There, I think that's really good. I'm just going to absorb the excess spate of water from the edges because I did not do that the previous time when we painted the sky and can you see the back round there? This is back roun because I did not wipe the edges and water just sped back in creating an edge like that and see how it's got a weird back roun there. I did not want that to happen to my water area. I will make sure that I absorb all of the excess bates of water. Okay. Making that mistake again. I usually do white but today I didn't and see what happened. Let's quickly get to painting the water. We need to create the sky that we created up there at the bottom as well. Let's start with that yellow, golden color. Let's see. We've got a little bit of an emptiness there, but we also don't know what's towards the top side. But that's okay. We can fill it up because this is based on our imagination, isn't it? It extends a bit like that. Then we have this larger portion there, which extends like that in to the area. Then we've got a little bit coming over here, which is the one that's below there. Then we've got a tail of that going and expanding over to this side as a big one. This is what we painted. Then we also, we have more. Yes, we have these ones at the bottom. Those ones at the bottom are very close. There's the mountain. So you leave like a gap for the mountain. Even if you don't leave, it's ally fine because then you can always create that. With the darker paint. Since we're using darker paint, it should be fine. That's where the mountain is. This area is going to be covered with the mountain, of course. Then we're going to quickly paint with the orange and go ahead and add in the orange strokes. There's a huge chunk of orange on this one. No orange on that one. There's a huge chunk of orange right here. Then over on this one, we have the orange a little bit of an orange here at the top, not much of an orange on that side. We've got added the orange. Now let's fill in the rest of the areas with the lavender. It's supposed to be the lavender here to not mix it too much with the yellow because then it can turn into a green shade. There comes the lavender and filling up the rest of the areas. Like I said, do not mix too much. Otherwise, you're going to end up with a nice and a huge amount of a green shade. You can see already some parts of green shade, but as soon as you if you cross over and create an empty space rather than making it green, I think it should be okay. L see how I blend it, such that it's not green and it's not yellow or lavender either. Try and get that color mix over there. Okay. We've created the bottom part. Now it's time for us to go ahead and create a reflection over there. How do we do that? Let's grab in the same paints gray color, and we're going to look at the mountain. The mountain goes like that, there's a peak right there. Here, I'll grab that. There's a peak right there and that peak goes like that. Then there's the other mountain. We obviously need to add in a lavender. Let's go ahead and add in. But remember, leave a tiny tiny gap there along the edge. You're going to do that. Then again, this mountain comes like that, there's an upward curve, another upward curve. And we are doing this with our brush and not the pencil and y is that? Because you want to get softer edges. You wouldn't get softer edges like this if you were not doing this method. Also remember that slight gap. I know this looks a bit tough, but you are going to be able to do it. We add that and then along the edge. What I'm going to do is I am going to soften the edge. Soften, such that it's joined together and there's no h line there. But then there is like a little bit of a lighter area as opposed to this dark paint gray that you have there. There. Then grabbing my dark brown pigment that we just added. We will go ahead over the top. Just make sure you leave like a slight gap. Even then, you need to leave that slight gap. There you go. Okay, there. That's the thing added. Then I'm going to grab in the lavender because this is the lavender edge of the mountain. All right. There. So we've made the mountain. Then we have a little bit of the darker mountain there to depict, and the lavender need to go over to this side. Yeah. That is the mountain all re all of it created. You can use the dark paints gray to create the lines that we had on the other one. Not too much, just a tiny tinal, subtle amount. Now, we've created the reflection just like up there at the bottom. There's just one last thing to do, and that would be after this one has dried up. Let's go ahead and dry this. All right. Now let's go ahead and paint that part. The last bit of the process. We're just going to grab the dark brown paint, and we're going to create some nice lines, and you're going to start at the very edge, and to this. First, let's go ahead and start at the very edge. This is why even if you've messed up that region, it's absolutely fine because you are going to be doing this anyway. You're going to create some nice lines with the tip of your brush, like that, leave some lines. These are the water lines, the reflection lines. First, we do with a brown. Then what we're going to do is we're going to do that and complete that with the paints gray. Because this region is like paints gray, so go ahead and create some absolutely amazing lines. You can see it goes, extends like that, there it comes. Needed to be nice and a little bit of a more black. See? I'm trying to make it a bit more loose and easier for you to draw, which is why I've not drawn it in kind of, like a perfect manner, because if I make it too perfect, I feel that, you know, you might feel that it's too much and too difficult, and I did not want to do that. Alright. So there you go. Completely done. I'm just going to quickly dry this up, and then we can remove the tape. There you go. It's completely dried up, so let's go ahead and remove the tape. And here you go. The finished painting. I hope you enjoyed painting this with me. Thank you so much for joining me today. 45. Day 40 - Scarlet Ripple: Hey, hey, hey. Welcome today 40 and this here is the painting that we're going to be doing today. It's a nice crimson paints gray sky with a bit of a ripple in the water and the ripple area is what is actually reflecting the clouds in the sky. Isn't that gorgeous? Now let's go ahead and paint this one if you. Let's have a look at the colors that we need exactly very simple. We just need Alizarin crimson, paints gray, and a tiny tiny bit of violet. That's it. Here you go. If you're ready, let's get start with this one. All right. Let us start. We'll just quickly mark the horizon line, which is going to be around one by third of the paper, and that's right there. That's basically it. For the pencil sketch, it's as simple as that. Now we'll go ahead and start painting the sky region. Let's go ahead and paint the sky along with the background. I'm just going to quickly apply water to this background region here and there you go, you can see I'm applying water right above the horizon line. So there just right above the horizon line. We'll apply the water nicely right above. Then once you've applied, obviously, I've got to go ahead and absorb these extra bits. Otherwise, it's going to cause back runs on my paper. You've already seen that happening before, so I don't want that. All right. There you go. Then let's get to painting. I think I'm going to grab a size eight Probably, that looks much better. Honestly, I need more space on my palette, and I should have probably thought of it before I started, I didn't. There I've got more space now because I've just cleared up this little area here and that's more than enough. I've already told you many times why I actually don't clean up my palette because I re use a lot of paint. If you know me, you know me. You've seen me do that. We're going to start with a nice amount of Alizarin crimson today, and that's what we're going to be starting with. We start right at the horizon line. Forget about the final painting effect that you've actually seen. When you've seen, you know that it's got black details there. But we don't want to go into that yet. Here we're going to add this Alizarin along the horizon at the top. There Then going to go ahead and start with my Alizarin and all pointing towards the center, like that. Make sure that you apply nicely and try to keep the paper wet. Grabbing my Alizarin now, going for more thicker colors as I approach towards the top, a bit more darker colors towards the top, I would say, can you see? And get rid of any white spaces, do not need white spaces. White spaces is not what is going to cover up by sky, but rather the color that we're going to use there in the sky is paints gray. Here I'm going to grab my paints gray and just going to add that in a subtle lighter amount over the top and cover up that region. Now you can see how I've covered up the top. You can clearly see I mean the paints gray that I have used as well because you can see it's very, very light and I actually grabbed it from my palette right there, which is why I say how I reuse the paints in my palette always. Now I will grab a little bit more extra paints gray, but I needed to be in less watery consistency because we're going to be add the effect of clouds over the top. These clouds are going to be from the outside, going over to the center like that. Some smaller teeny tiny ones along here, then we'll start adding a bit more over to that side. And start giving off the color. Then let's see some more here. See how we've added a n, the kind of a nice cloudy effect onto the sky region. Now, before everything dries out, now we've got to go ahead and add in the background. That we're going to be using with a very dense dense and darker pigment of the paints gray. You'll observe me grabbing the paints gray in a really nice dark manner. In order to make it a little bit more darker, I'm going to grab a little bit of violet. That's going to be nice and dark because paints gray on its own is going to be turning lighter eventually and I want it to be nice and dark. Which is why here, I've grabbed in the nice dark and can you see how that's dark now? Now, because our paper is too wet, you're going to go ahead and create a bushy structure, and this is what is going to act like the bushiness along our horizon line. There just creating these random shapes. Let's see. I'm going to in it down as in reduced the height around the middle. Then I think slowly, I will start creating more bushy shapes. There. At least I've filled up that space, and then now all I need to do is go ahead and fill up in the middle of it. If you want to give a darker color, just go ahead and pick up paint scra again and add over the top. If you feel that it's lighter and you're going to not get the color. We've done with the background. Isn't that go? Isn't that beautiful? Now we'll go ahead and quickly dry that up so that then we can paint the water region. All right. Here you go. It's dried up and I love the sky, the color combo. I mean, it's just I love it. Now we'll go ahead and apply water to the bottom part. Here I'm applying water and also note the tilt of my board because I want the water to be flowing down and not accumulate as a pool or even go towards the top. Which is why I need to make sure that I apply the water. Only at the very bottom of my horizon line. Again, going to take a while just to go up to the edge. Go to the very edge of it. For this one, because we have got to do the ripples. Just go ahead and apply water multiple times. If you want to go ahead and apply water, then wait for a little while for it to dry and then reapply the water. Then it'll be really helpful. I think I'm probably going to do that. I'm just going to wait for a while for this to like the paper to soak up the water and then I'll reapply because I really want my paper to stay wet longer. Meanwhile, I will do the absorption along the corners. I know that I'm still going to apply, but still you've got to kill time. There you go. Now, I will probably reapply the water again. Obviously, another trick to keep your water. I mean, your paper wet is to use your strokes as well. If your strokes is enough, water content in it that is going to reintroduce the moisture. That is another way that we can do that and I need that tilt. And now I will absorb the excess water from my paper. Here, or the four edges. Four, three edges, right? There. I've got the water absorbed now. So now, I'll shift to my largest yebrush, just to paint the whole extreme background area right at the first. So I will start with a little bit of a paint gray color. Okay, I don't have gap there because I've mixed it with violet. I don't want it to be violet. So here, I'm just going to mix it up there. And there is my paint scray. While I'm adding my paint scray, you will notice that I'm leaving a slight gap, a teeny tiny amount of gap. It's spreading onto that region is fine. Here we start with a little bit of a paints gray. Then we'll go back to the Alizarin. Here I'm grabbing my Alizarin. There and we go and apply. As you know all around the closest part is a nice amount of Alizarin, and we've got to create the strokes in the opposite direction, obviously, all of them are like that towards the center. Make sure that you add that there. That's nice amount of Alizarin added. The black clouds that we know, those are going to be what is going to create those ripe shapes. Before that, let's fill up the bottom part, which is going to be with the paints gray again. Here paints gray at the bottom, which is this gray at the top. Let it go ahead and blend along with the Alizarin. Okay. Blending along with the Alizarin with random reddish shades. B is this is the water region and we need to debate the depth more pains great or darker colors towards the bottom. Make sure that it's nice and a little bit towards the bottom. I'm just going over it once more because the Alizarin pigment that I have is from Daniel Smith, and it has a tendency of, like, absorbing all the moisture. I don't know what it is doing. Is it eating the pigment? I mean, it's kind of not the pigment, sorry. I mean, is it eating the water? I mean drinking the water, I just takes away the complete moisture from my paper. Now I'm going to switch back to my size eight rush, and we're going to do that background, uh the reflection of those. But when we're adding the reflection, make sure you leave a slight gap and then follow along. Here, it comes around like that. Then it goes Make sure you leave the gap, very important. Goes like that. First, actually, what you can do is you can go ahead and paint along the edge like that at first, and then just try and mimic the shape. This one is a little bit bigger. This goes like that, then we have the smaller one, two smaller bits like that. Then this one gets slightly bigger here. We've got a big one, another bigger one there. And another bigger one over here. We've actually now created the nice reflection, and now is the time for the tricky trickiest bits of painting. Here, I'm going to grab my size for brush and using the size brush is now where we are going to add in those cloudy shapes. Here, I will start grabbing from the paint. It's okay. It's got a little bit of a violet mixture mixed in. I think that's fine. The clouds. Let's see. We start with a nice elliptical shape like that. It's not perfect, but that is the shape, and then we will follow along more. It will make sense when we finish off in the end. There. I've added some more See, we're going to create these elliptical shapes. Now, once you've added that elliptical shapes, then you go ahead and add in in a zig zag manner, the clouds. That is actually this thing that you just added is the reflection of this, but because it's in the, it's acting like the ripples reflection. Did you get that? That's a very tough concept, isn't it? Again, let's just fill up more on that region. And those ones there, they go and join the ones at the back. Then here again at the center, these one comes all around at the center, then this one starts again there, and we're going to do the same thing towards the right. There it goes like rippled reflection, and we're going to have more rippled effects over here. See that. This all of it, we have to make sure that our paper is wet while we do this, and this is why you had to apply the water multiple times, I'm just going ahead and creating a bit more of darker spots and creating the ripple effect. The ellipse. I think maybe the ellipse could have been a little bit more round and then it would have made sense, is it anyways. That's okay. Here, just going ahead and placing of the clouds which are supposed to be feeding towards the center part. And honestly speaking, that's it. We've made the ripples. We've made the reflection of the clouds. Okay? So here, just going ahead and making sure and reinforcing some of the strokes for my ripples at the back and maybe a little bit more over here. Oh, I love the way it turned out. It's a nice ripple in the water, isn't it? There, making sure that I've mixed in nicely, and I've got all the colors in. So now we'll quickly dry this up. And this is our painting. Oh, my God, I cannot believe that I actually finished this in what? 17 minutes on my clock. And that includes the drying time as well. So in the end, it's going to be way lesser, I suppose. All right. So let's go ahead and quickly dry this up, and that would be it. All right. There you go. It's completely dried up. So now I will go ahead and remove the tape from all the four edges. And here you go. Here's the finish painting with the ripple in the middle and is that looking gorgeous? I suppose so. Anyways, here you go. I hope you enjoyed painting this with me. And thank you so much for joining me today. 46. Day 41 - Ripple and Reflection: Hey, hey, hey. Welcome today 41. And here is the painting that we're going to be doing today. It's a nice, beautiful horizon with a rocky edge at the bottom and a lots of rocks extending toward the viewer. So let's have a look at the colors that we need for this one. So I start with a little bit of quinac done yellow, a little bit of an orange. Then a bit of olive green, transparent brown, cobalts, blue, quinac rose, paints gray, and indigo. So here you go. I know it's a lot of colors, but it's pretty easy. If you're ready, let's get started with this one. All right. Let us start. We'll first start with the horizon again. This time, the horizon is going to be really small, so I'm going way upward. And just adding a line for now because there's some more things that we need to add. I am going for a rocky texture at the horizon line, and then it can go up in a hily manner like that. This rocky texture again is going to come down here we have a little bit of the ily region extending downward, and this rocky texture also continues there. And more of the rocky texture coming downwards as well. It's going to be basically this has got lots of rocks, but it's going to be darker, so it doesn't matter. You can just paint it in a taker way. Then we're going to have a lot of the rocks in the water. Just go ahead and mark out a lot of rocks. Another big rock over there, another big rock over there. Just a lot of rocks, and then we can add a lot of tiny tiny ones as well, which we can add with our brush itself. Maybe I'll add a larger one over here, such that it's got like a surface maybe and a two rocky structure. There you go. This is the sketch that we want to be doing. And we will start. We'll start with the sky, of course. Let's get to it. Let's apply water to the sky region. It's going to be easy and quick because it's at the top anyways and it's a very lesser surface area that we have to cover. I'm just grabbing my size six brush, and I'm going to go for my usual quinac yellow, warmer yellow color toe at the beginning at the very bottom part. That's where I start and I start with a nice yellow color. Then I will quickly shift to my orange, at the top. So that's orange. Need the orange to be very subtle. Then I will add a teeny tiny layer of pink. The pink is just for the sake of the blue there. For the transition to the blue. That's why. Here, I am going to grab Cobalt blue next. I think I've just dropped in some water, which is made a little bit of a bloom effect there, but that's okay. Here grabbing the Cobalt blue and adding onto my paper. Then the Cobalt blue is what is going to mix up with the pink orange shade right there. See here. A little bit of a pinkish stone, grabbing the colors again to make sure I can blend them. And from the top the nice blue color. There, the cobalt blue at the very top. And blending that in. Such a simple sky, isn't it? Don't you think so it's very, very simple. Then on to that simple sky, we'll just put in some random clouds and that is going to be with paints gray. Just towards this right side here, go ahead and put in some clouds. I'm just adding the clouds because it'll be really good to add in nice reflections onto our water area. Because if there's no clouds, then the reflections are not going to look that great. The sky itself will not have too much drama for us to recreate on the water region. There a little bit of a paint gray and that's pretty much it. Towards the sun region, you can actually create the clouds with maybe more of the nice orange shade. I've created some nice clouds with a little bit of an orange and that's it. That is our sky region. Then we'll go ahead and paint that land area. That is supposed to be a green area, but it's not going to be this vibrant green. I'm using my olive green, but it's not going to be olive green as vibrant as it is, as you can see here because it's the sunset. You've got to mix up with something. W I mix it up with a little bit of a paints gray and you can see how darker I've got it and that is essentially it. Here, Just grabbing that dark green and it's going to create a softer edge as well because there's water, and that's absolutely fine to not panic at this point. Here going ahead and applying. This spreading will also act as though it's got a little bit of a bushy structure, which is exactly what we want. It's absolutely fine. Then next thing, we've got to go ahead and add in the rocks. Here I'm grabbing my brown. I know that there's very light paints gray there, but that's okay. Which is why I'm just going ahead and adding. Here, I will start with the brown and obviously the edge is going to spread out a little bit, and I'm completely okay with the way that it's going to spread out. Which is why I am doing this. Remember that little shaky thing that we added, so we're going to do the same and we're going to add it, and you're going to continue that at the bottom as well, and you're going to continue that over to this side. We haven't yet reached the water. This is still All right. There, I have added some nice brown strokes for now. We will keep it at that, and then we will dry this up quickly after which we can go ahead and add in more details. Okay All right. There you go. I've somewhat dried it up, so now I'm just going to go ahead and apply water to the bottom part. I have not touched the edge for now, and we don't have much to do, actually, so it's fine. Let me just go click, grab the excess water from the edges. Right. There you go. Then I will grab my large size brush to just fill up along the edge because I could not cover that with my larger flat brush. So I will just make sure to cover that up and I will tilt my board so that my water would float down rather than towards the top. Here you go. Add the water. Now Get back to painting. Here is the quin acrodone gold that we started with and we will apply that right there. That is where the Quin acrodone gold color is. Then we went with an orange layer, isn't it? That would be the next orange layer on our painting. It's like we're now tracing back again and creating the reflection. Obviously, because we've got more surface area towards the bottom, it's going to be more of the color. Then on to the pink. That created the separation between the cobalt blue and the orange. Then on the beautiful cobalt blue, starting way at the bottom and we will take it upwards. Let me absorb the excess water that I see there because I know that this is going to climb back up back into my paper. There, now, let me take the cobalt blue upwards, but I'm going to keep that tilt on my board that anything that I add will eventually flow downward rather than going upward and blending too much with the orange. Are. Can you see how I've applied, and I'm using nice flat strokes to get the effect. All right. I'll probably use in a little bit more of the pinkish shade. I've had a little bit of a bleed there, but I know how to fix that, and I will hoy. I actually like it. It's kind of like a nice expansion. Let me see if I can just use a bit of a yellow to cover that up. Yes, and then I can cover the rest of it. Weight and nice color tones. Okay. So we're going to grab my size four brush now, where we do want to create some ripples. In order to create the ripples, here, I am grabbing my indigo paint and make sure that it's nice and in a gremy or a dry consistency that we are going to be adding, and we're going to create that ripple right here next to this rocky area that we've added. First, start with a tiny tiny bit of a center, then go ahead and create a longer elliptical structure. See how long the ellipsis, then again, Something like that. So Along the other edge, the pos are going to be closer together. The added a bit of a ripple. We're not done yet because our cobalt blue is now very light. We need to give it the effect of the darker area at the bottom. Can you see it's just a unified color and there is no effect of water appearance, and that is because we have not given a depth. I added a little bit of indigo. Now I'll go back with the cobalt blue over the top and take it right up to where the ripple is, and then towards the top, I'll start adding small lines like that, which will depict the movement of the water. Let me grab in a little bit of the indigo, and we're going to do the same along here. Darker indigo to us. This edge, color getting lighter towards the top with just the cobalt blue, and we also have an icy. Now it actually looks much better, isn't it? Now the only thing for us to do is to add in the rocks and everything. We'll wait for this to completely dry out, then we can add in the rocks. Although, let me see if I can just go over the ripples once more because I feel that it's gone and subsided into the paper you see. There you go. It's completely dried up now and it's time for us to add in the rocks. We do that with a dark paint gray. Here I'm just loading my paints gray, and we're going to create the shape of the rock. Start along the edge and create these sm teeny, tiny shapes. Consider like a small arc around the top and that is what is going to depict the smaller rocks at the horizon, just these tiny arc shapes. Then as you approach towards this region, maybe you want to create slightly bigger ok again. So we can see some of them will extend along towards the water. This is where I said, that little portion that was ruined, we can always go ahead and add in smaller rocks in the water and get rid of that little bloom that I accidentally created. Some of these are large bolder kind of sizes, so that's why they are big. It's okay that you don't have to fill up everything because there will always be a e to these rocks because of the light from that region. So just keep the brown color at some places. Then now on to the rocks that we actually painted. Did I say painted? I mean, the actual rocks that we made the sketch. Oh. Right. I was supposed to create a lighter edge with our one. That's okay. Anyways, now we'll go ahead and add in lots of smaller ones with our brush. This is what I said that we will definitely add in a lot of these smaller ones. Towards the very very edge. Can you see there's a lot of smaller ones that we can create? There I like how the way it's turned out, maybe a little more here. F. We're almost finished. Can you guess what's missing? I know you've seen the final painting, but can you still guess what's missing? It's the reflection of these rocks. We'll just add that into the water because it's the water obviously, so it needs a reflection. Here I'm using a diluted paint gray to add in the reflection. Here, reflection would be obviously straight down into the water. In a light manner. Now, can you see it's actually much better, isn't it? Okay. Not for all of them, only as much as you can add because the one tiny, tiny ones further away, do not need such a huge reflection. You can see, now there's a little water pole, there's a lot of reflection elements and lots of details that we added. We will finish with adding a little bit of the light effect onto the rocks. But for that, I assume my rocks have to be dry. They're still wet, so I'll go ahead and quickly dry them up. There you go. They're all dry now. What I will do is I will pick up a little bit of my yellow ocher. Here getting a nice amount of the yellow cer. Remember I said that this phase one will actually have a two stage rock, and I did not add that. We can always go ahead and add that by adding a bit of yellow ocher into some of the areas. See what I'm adding there, a little bit of a lighter tone. This is only one color tone at the moment and I feel like we definitely need to add in another. This is the ultimate lightest of the areas. In just another color tone. That would be a little bit of a brown? Go ahead and add that to these rocks. That there is a lighter area and there is a median light area and there is a brown area. I just realized we did not give yellow occur to this one. Make sure that the yellow occurs are all to the edges where the light can actually reflect off the surface. Can you see? Then grabbing the brown now here. Mixed in there. Can you see this rock actually looks nice? I like it because you can actually feel it as a rock. I mean, of course, it's personal preference. Yeah. I'm actually done with this painting, and I love the way it's turned out. So because there isn't much that we have done to the edges, we are free to remove the tape. Again, another one on time, isn't it? So here you go. Here's my finished painting. I hope you like it. Thank you so much for joining me today. 47. Day 42 - Sunset Split Dance: Hey, hey, hey. Welcome to Day 42. This here is what we're painting today. So can you see? It's just gorgeous water. I think this is my favorite. Let's have a look at the colors that I have used for this one. I have used a warmer yellow. I've used ginkroon gold actually, but then you can also substitute it with transparent yellow. Then transparent orange, cobalt, blue, ello blue, transparent brown, paints gray, a little bit of indigo, and violet. These are the colors that we need today. If you're ready, let's get started. Let us start. We'll start with the horizon line, which is going to be around just below the halfway point, somewhere there as you can see. That's basically it. For Apena Sketch as simple as that. Now we will quickly go ahead and start painting the sky region. Here I am going to be apply water to the whole of my sky. Make sure that you apply the water nicely onto the whole of your sky. You see how I've applied. Okay, making sure that my edges are fixed in there. And I think that is more than enough, so now I will go ahead and absorb the excess water now. Okay? Probably also tilt my board there so that any excess water can be absorbed. I think that's pretty good. Then now I will start. I'm going to grab my size six. I think this is my size eight. Si is eight brush, and I'm going to start. So I like to use a warm yellow, which is why I always start with the quinacn gold these days. But you can also start with just a nice transparent yellow if you've got a very vibrant warmer yellow. I do not want it to be a cool yellow. We want this side to be on the warmer side. Here, just going to drop in some nice yellow tones. Go ahead with more yellow tones towards the horizon region like that just along the line there. Feel that up, I'm going to make it a little bit more warmer by mixing with my quinacone gold. Here, you can see that. Just added mixture. That's the yellow on that part. Then now we're going to start with a nice orange. Orange towards the top of the yellow and this orange is what is going to cover up along with the blue. Here, taking that orange and going along the horizon line. That filled up with the orange. Then the orange can go a little bit towards the top as well, somewhat like that. Then now it's time for the blue. Which blue do you think? First, we'll start with a nice pals blue. Here, starting with a nice Calt blue in this case. I'm starting with Copalt blue mainly because I actually want to use the Hello blue, but if I use the hello blue, then it's going to mix up with this orange shade and create like a greenish stone because of the green hue in the Hello blue. It's got a little bit of it doesn't have green pigment as such, but then it does have a green hue, which I do not want to be bending in. Here I have got That nice blue applied. Let me take it a little bit more and apply. Probably what I'll do is to unify the color, I will go ahead and apply the cobalt blue along the whole of my sky. There you go. We've got the cobalt blue covered up along the whole part. Then I will wash my brush and then I will grab my tal blue, and I will add the tal blue over the top of the Cobalt blue along the top region. So We're going to create an amazing reflection in the water. We actually need a lot of different colors in the sky because I want a lot of reflection to be evident. Here, I've added the sky now, but we're not done yet. The most important thing to do here today is to add in the clouds. I'm just going to shift to a smaller size brush. I think I'm going to go with my size fo brush, and we'll get to start with the clouds. For the clouds, I'm going to go ahead with paint scray. I already have some paint scray here, I'm going to grab some more But I want it to be a nice mixture, so I will add in a little bit of our violet. It's going to be like a violet mixture to see that, and that is going to give our clouds a beautiful appearance. We start from the very top there. See that, and we're going to make the clouds such that they form like that over to that center region. We do not want any clouds in the other places. I mean not towards the center at this point. Let's grab in. The reason why I mixed in with a little bit of the violet is also because when it mixes with the orange, it's going to create a orangish brown glow there actually, which makes sense because it's the glowing region which needs to have that, isn't it? Here, just adding, go ahead, add as much as you can. See. Now, do not go over to the yellow region because at the yellow region, you're going to need some other color to create the clouds. That is basically using a burnt sienna because then your clouds will have that orangish glow. See. Some nice orange glow and clearly my yellow has started to dry. Just wetting that region quickly, the whole region if I wet it, then it should work. There you go. That's too much water. I'm just going to keep adjusting before it dries off, but see the whole thing, if you blend it, then you're not going to end up with any problems. Here grabbing my burnt sienna to create some darker clouds along this region, then probably a little bit of a darker cloud here. Then as I move toward the top back to my paints gray and violet clouds. I need one set of the violet cloud also coming down from this side, and make them smaller as you approach the horizon. See that. Then let's see another big chunk. There and probably a little bit there at the horizon. Smaller ones towards the horizon that's how you're supposed to do it. See, we've got some smaller clouds towards the horizon, larger chunks towards the absolute top. Honestly speaking, I want to create some white clouds as well. I'm just thinking how we can do it. Let me try with the brush first, if not, Yes, it works. I dried up my brush. Absorb all the water, then wash up the pigment that you just absorbed. Dry the brush. And then you're going to go ahead and do a little bit of an absorption. That's already too much because I can't get back the white. Now I've got the pigment in my brush, wash it off, absorb excess pigment, go back and create some white clouds. See how I've done that. Then again, wash the pigment off, then let's go ahead and again repeat the process to get some nice white clouds. You're doing some lifting here at this point. Each time you touch your brush, picking up pigment back, so make sure that you absorb the pigment and then wash off the brush. Just randomly creating some nice white clouds as well. Can you see how beautiful it is? This probably should have been a clouds lesson, isn't it? I never included a cloud week. Did we have a sky week? I can't remember at this point, but there you go All right. I think that's more than enough. We've got a really magical sky at this point. Can you see there's a little bit of a bled here at the bottom where I blended in. That's okay because you've seen the final picture, so you know what's going there. We have a little bit of a background bush. It's not bush. It's like a further of mountain shape to add there, isn't it? Now let's go ahead and quickly dry this up so we can add in that background. There you go. I've tried it up. Now we'll paint the background. The background, we are going to do it with paint screen. You already know that. My black apins gray. Here, just going to do that. You're going to do it such that, use the pointed tip to create some edge to your background like that. Then I'm also trying to reduce the height as I approach towards the center, but don't make it like reducing in a super uniform manner. You can see I've got a little bump there, and then it reduces the uh, maybe a little bit over here. Then I'm going to have it increase a little bit. It's completely random guys, you can just go ahead and do it to your liking. You don't have to do it exactly like me if you need to change it. You can you absolutely can, it's fine. Here, can you see, adding another way that you can do is probably just do upward strokes like this, which will also give you some beautiful tree effect like the kind of Tips of pine tree. Probably it's like a very pine tree background there. Then I'm going to go ahead and create a bit of a flatter one towards the right side. Now we've done that. A we've got to do is go ahead and fill up. Fill it up inside. That becomes the absolute background. Now I've got to be straight along the horizon. Using the pointer tip of my brush, adding that there, you can see that. U. There, we've added the background. Now it's time for the trickiest part, which is the water of course, isn't it? Let me go ahead and quickly dry this up because when I apply water, I do not want it to flow down. All right there. It's dried up now. What I'm going to do is I am going to just apply water to the pace like that. This one, make sure that you apply the water multiple times, very important that you have the water applied multiple times. Very important. So let's keep at it. I am going to keep applying multiple times right up along until the very edge, and just keep going. Keep going, keep going, keep applying really nicely apply. You can see some of my colors come out there, but imagine if it was too wet and the whole thing would have just blown down, isn't it? Which is why we needed to dry that bit. There you go. Keep going, keep going, keep going. Okay. I think it's probably enough. I've applied a lot now, so now I'm just going to go ahead and absorb the excess water as usual. It's my usual process. You know it by now. All right. There you go. Now we'll go ahead and paint the water. So let me grab my size six brush, somewhat bigger in between the size eight and eight and four. So I know that mini int has such large amounts of brushes and everything, but that's okay. Please do not panic. As in, you can just do with whatever brushes that you have. It's Just I am used to shifting brushes like this and that's why it comes naturally to me. But for example, when you don't have such a lot of brushes, then you are also used to using minimum amount of brushes. It's going to be fine. We're going to apply yellow. Start at the tip, go ahead and join the black region there. We apply the yellow orange and apply it such that the same angle area. I think there, that's more than enough. So you see the how the split is there and this split of the clouds is also something that we are going to have to replicate in our water. Now here, the next thing, grabbing my orange. Just to make sure we need to apply now a little layer of orange at the very end then start with the orange and start leaving some lines when you do add into the yellow. The yellow needs to be visible, but only very teeny, tiny amount in these further off places, can you see? I'm just adding lines and add lines such that they all come slanting towards. That's how the waves are. See. Then as you approach the bottom part, start increasing the size of your strokes. See here my stroke sizes are increasing. Towards the edges, I try to keep it to a minimum. Then as we approach this side, there is no more yellow, all of the yellow was on that side. See here now filled up with the orange. If you feel that your paper is starting to try out, don't let it try, just go ahead and apply water. See, I'm applying water, but I'm making sure that I did not touch the part where I've already painted. We've filled this part with the nice orange and the colors. We're done with that part there. Now we need to go ahead and start with the same color that we used, which was Cobalt blue. Before I add the Cobalt blue, in order to give it a unified and The effect of the reflection. What you must understand is you remember some of the orange strokes that I placed there. Those are going to be reflected into the water as well. See here along the very tip, we place in the orange. The yellow part is now done. You don't have to worry much about adding any more details on there. That is the orange comes up until the very tip. Then let me soften that part, and then we blend with cobalt blue. There you go, blending with cobalt blue. And then go ahead, blend. Keep blending, Make sure that the angle is somewhat like that. Then we need to give the effect of the waves, and that we're going to do with our sal blue. But I think we need to mix in a little bit of indigo with the alo blue probably so that we get a little bit. That's the area over here is going to be. B. Go ahead and apply over this region. As well, we will unify it. Hold on. Grabbing my yellow blue and my indico. Now is the time where we start in to add in little shapes. The waves in the water. Here along this side, start towards the top, and as you go towards the top, starting. Then it becomes straight as well. Just like on the side, it starts to become straight. There, can you see, and then it goes and becomes like lines along the top region. Lots of lines there. Starts to become nice lines. Picked up the hone color. There indigo over this side. Can you see how we've created the effect of the water? Now on this side, we needed to pick those clouds that we added. So we go back to the sure of the paint, make sure that your brush had do not have more water because if you introduce more water into this region, this is going to. Now blend along in this corner to depict the cloudy shapes. But again, in a wave manner C, like that, it goes like the wave itself, and it decreases as you move towards the top, it starts to decrease in length, and it becomes the wave itself. See, too much water in my brush, absorbing the excess bit of water. And just adding and it becomes straight and smaller. As you go further away, see what we did there. Now to unify the color on it. I'm picking up a little bit of a brown shade and I'm adding over the top. That this region has a little bit of a warmer tone for the clouds also because it's on the orange region. Then back to using the paints gray. Absorb excess water because now at this point, you really do not need any excess water. Here you can see. Then what we're going to do is we're going to create the effects of those smaller clouds in the water, but along the lines of the waves. Can you see how that's going? Lots of small lines at random places. Can you see this major line is acting as though it's a wave in the water. Do you see that? That is what I wanted to show today how I created that over there. Now you can finish with some larger strokes at a random, which will be like the strokes on the water. My brush is really dry. Observe the paint here. This does not have water. See that. It's completely dry paints that I'm picking up because these strokes that I am adding, I want it to be in a very dark manner, but almost in a dry effect. See that. And then just going ahead and adding some more nice. A lot of the white areas will actually provide for the white clouds that we added, so we actually do not need to add too much of it. Here just giving some nice white clouds, and that is it. We're done. I mean, my clock shows 22 minutes right now as when this is done. Can you imagine how amazing this was this has turned out? Oh, my God. It's nice, isn't it? So I'm going to quickly try this up, and then we can remove the tape. So I just noticed that this camera was showing along in this edge. Probably you can see here. I apologize for that. But let me see if I can move it out of the way. It's okay. I hope you'll apologize for that. Now let's go ahead and quickly dry this And there you go after it's been completely dried up, so now let's go ahead and remove the tape. There you go. Here's the finished painting. I think this is my favorite one from the Water Week. It's still so gorgeous, isn't it? And I hope you enjoyed painting this with me. Thank you so much for joining me today. 48. Day 43 - Green Gleam: Hey, hey, hey. Welcome to day 43. And this here is the painting that we're going to be doing today. So can you see how it looks? I mean, isn't that gorgeous? So can you guess the topic? It's actually evident, isn't it because we've already covered water, and then the only thing that's there in this is this, like, rain. Isn't that water again Yes, but I wanted to show you some beautiful, rainy scenes. Are we starting with a simple one. So yes, today's I mean, this week's topic is going to be rain. We're going to be doing a lot of rain strokes as in rainy paintings. And let's see. Let's have a look at the colors that I have used to this one. You'd be surprised, there's only three colors. A bit of a surprises it because it's actually evident. It's paint green. Then you've got sap green and dark green. Lastly, of course, a little bit of a white ash and that's it. This is very simple that we're starting with because I know you've had a hot week with the water paintings, isn't it? This is why I wanted to keep it simple and manageable. Then we'll get into the difficult ones as time goes by. I hope you enjoy this. Let's get started with this one. All right, let's get started. So we're first going to need to add the horizon line again, which is what's going to be somewhere around below the halfway point. We'll add in the horizon line, and there that is the horizon line. Let's go ahead and apply water. To the top of the paper. Just at the top. Because it is raining, it's actually going to be easy to paint because we're going to be adding a lot of it in wet on wet and completed in a misty appearance, because obviously, as I said, it's raining. It's got to have that misty appearance because the rain is what is going to be in focus. Let's go ahead and apply. The water there. I've applied the water. Now quickly absorbing the excess water from the edges. There you go. Now it's time for us to go ahead and paint the background. I'm starting with my largest rush. This is not my largest rush. It's my largest rush, my size 12. There you go. I was right there, and you could even see it on the camera and I didn't see it. We're going to start with paints gra. This is what we're going to start with because we needed to be in a nice and watery manner. Here I've taken a watery mixture, and this is what we're going to start with. A long the whole. That's too much color, so I will blend that with more water, S, move water and the whole color is just reduced. They're taking up the whole thing right up to the horizon line. Added the paints gray because we just need to be having a cloudy appearance. Now I will give it a little bit of a cloudy effect. Here I've grabbed the paints gray again, we're going to make it over the top and create some deadly cloudy effect. S. That was as simple as it could be, isn't it? Now I need to draw in the mountain, but also this is too much water at this point. I'm going to have to probably wait for a bit for the water to sink in and as soon as I see that it's start to dry out, that's when I need to go ahead and paint it. So let me see, I can tilt my board and see that it's still nice and wet. Probably, you can tilt your board upwards, and that would give the water a push as well to dry up and will create some more effects with the clouds. As it dries up, it is in the water and the pigment is just going to flow in the direction that you're having that angle on your paper. It's still still wet. So what we do, we wait. Unfortunately, there's nothing to do rather than wait. I'm starting to see that it's started to sink in, so now we'll go ahead and grab in paints gray. But we needed to be in a lighter color, but yet it needs to be lighter, but then it needs to also be not in a watery consistency. So That's the trickiest part to obtain because when you are taking up very lighter paint, that means it's darker pigment, isn't it? But the trick to do that is to make sure that you pick up a lot of paint and take up all the water from your brush. Then if you take the pigment, it will be lighter as opposed to the dark paint. Here, just going to see, that's still dark, good, I don't want that such a dark paint. Just going to go ahead and create mountain shape, see that. That's much better. In the water. Can you see? Now I'll blend the bottom part because I don't want it I want it to be in a misty appearance. Another large mountain effect here. And that can go way to the top and take up there. Again, this can be in a mystical effect. Here, I've added the pigment and then you just go ahead and blend the pigment to the bottom so that it becomes like a softer edge and there is no mountain there. It just becomes a misty effect. Can you see that? This qualifies for misty lesson as well, isn't it? Now next thing is we'll go ahead and add in the background bushes. I started with light green, darker green at first, and then I decided to go with a nice sap green color in the beginning and that this is what we are going to add. Just go ahead, keep some edges like that. Let have, again, a whole of it is still wet on wet. Nothing to worry about. Go ahead, place it in the water region and make sure to fill it up. This is why along the horizon line, I'm not worried when there was there's a line difference or sh edges like this because I knew that I was going to add in the ren there. You see. Before I complete that, now I'm going to grab my darker green and I'm going to put it there because that is again a little bit behind, I would say, and that is a misty region. In order to depict the mist, go ahead and like soften the edge, soften the edge of the stroke that you just added and blend it towards the bottom. And you see now it looks like a misty region, and you're going to do the same thing. Then now we need to give darker accents for the shadow areas. Just go ahead, grab the darker green, place it at random places in to your Sap green areas, especially at the base, the base the depth, the depth because that's the denser part of the bush is, isn't it? There's of the depth happening. So I don't know what happened here, but I've dropped in a little bit of a paint. Okay. Not bad. I have got rid of it. That was amazing. Let's try and create a little bit of the mist over to the left side as well. And maybe a little bit of the misty side on this one blend in the mist onto that region. Can you see how I just you can either drop in water so that it creates a bloom effect, but then don't it spread out and take it devoid of the pigment, but rather let it create like a a bloom sorry. What am I saying? Let's create like the mist instead. Ah, there. Now that's much prettier, isn't it? The only thing first to do is now to paint in the bow ground, and then we can add in the rain. Let me see here. I'm just trying to adjust and see if it's possible because it was too much of a hair and it was looking weird. But the more you work on it, it's going to get bad because then you might be introducing water back onto your peeper. I think I will stop and I won't work much. Although I cannot control because my mountain looks weird. I'm just trying to see if I can add in a little bit more strokes and pull it up together. Damage is done. I mean, I'm okay with it. Stop add. Now we'll go ahead and add in the water region. All right. There you go. It's completely dried up. Now we can go ahead and apply water. Make sure that you apply the water nicely because again, we've got to add in the waves. I saw that we've already done the water, so it's going to be easy with this, isn't it? Because now you know how to do the waves and the water and everything. Just go ahead and apply water evenly to the base part. Absorbing excess water from the edges. White. Now it's time for me to paint in the water region. I'll start with my paints gray there, starting with my paints gray. I will make sure that I go up to the very edge and more color towards the bottom because it's the water and reduce the color as you move towards the top. That's how it works, isn't it? See, we've got the color added, now we need to go ahead and add in waves. Waves again, with the same paint screen, more bigger waves towards the bottom, wavy structure. Then as you move towards the top, reducing the length of the waves and making it straight, lots of waves. Leave a slight gap at the very top. Do not add more. Any darker pigment that I pick up, I will put it towards the bottom. Then as I go towards the top, I will just draw lines. Now, usually the reflection, we would add that in wet on dry, isn't it? Today, we're going to be doing that in wet on wet. Because it's rainy sen. That needs to go into the ground. Here, I'm going to grab my darker green. Dark green, and we're going to add that. Again, you need to leave a tiny amount of gap when you're adding in that reflection. Go ahead and add in the reflection all the way towards the right. Then along this side, you can go ahead and add in. Just make this reflection over here denser. All that waves that you added, you're probably thinking that why did I even bother to add those waves? Well, you're right, but can you see the little areas that you see through in between, those are important, which is why we had to do it this way. Now, go ahead and like this at the end is just going to be a few lines. S. There. Just lines as you start approaching towards the very end and that's how the end is created towards this side because it's a very misty effect. You don't need to add more, but also make sure that now you need to add in over there as well. Now I'm just grabbing my green color and adding some nice shapes over it. Can you see? Now it looks much better and like a reflection, isn't it? So we're done with all the things. Now it's just to add the rain. So let's go ahead and dry this up, and then we can add in the vein. Everything is now dried up. Let's go ahead and add in the rain and that's easy to do. We're going to be using our white wash paint. Here I've got my white gash. I'm going to take that up. Here's the nice consistency of the white gash, and I've also switched to my smaller size brush. This is going to be tricky because you want to add a lot of rain. And probably you can start in one corner and try to keep the same angle. Well, that is the most difficult part. But if you rather not do it randomly, then you will be able to keep the same angle. But rather if you do randomly, for example, if you do one here and then one here, those two lines, the angle might seem different. In order to keep the same angle, the easiest thing to do is follow along in a line, but then try to make it as zig zag and not zigzag, but not continuous and random as possible. See. I'm doing these rain lines that. Then they all now follow the same angle. See that? And also try to make them not of the same lines, if possible, as in same length. Try to vary it and you're going to do this on the whole of your paper. Just continue along on the whole of your paper. Because it's wide, it's going to probably lighten up and that's okay. Some of them will lighten up, some of them will be nice and visible. It's okay. So you don't need to Make all of them lighter. It can be on varying consistencies. For example, I think these ones over here has really faded, but then the ones over your trees are going to be nice and visible. Some of these can be longer. If you diluted too much, then it's going to get lighter, but then if you make it with a thicker paint, then it's going to be visible. Which is why continue along the same line, which will make it even more visible. Just go ahead and add it to the whole of your paper, keeping the same angle. Okay? Very important. Add it in a lot. Now we'll finish off with some splatters, splatters because there can be rain droplets, which are tiny tiny as well. Just go ahead and add in many of these splatters. Among the rain, the splatters are not going to look like any snow or anything. Don't have to worry about that, see how it st adds a little bit of beauty to our rain. Do you see that? There you go. We finished. Because we've not painted anything along the edges for a while, we can go ahead and remove the tape. All right. And here's the finished painting. I hope you enjoyed painting this with me. Thank you so much for joining me today. 49. Day 44 - Violet Storm: Hey, hey, hey, welcome today 44, and this here is the painting that we're going to be doing today. You can see it's gorgeous raining scene again, but with some lightning and it looks nice, isn't it? Let's have a look at the colors that we need for this one. We start with a transparent yellow, a little bit of orange. Green act rose for the background, violet and paints green for the sky. Then in the foreground, we have olive green, and that's it. O coe that's obvious, isn't it? If you're ready, let's get started with this one. All right, let us start. We'll first draw in the horizon line. It's going to be around one by third of the paper and draw in the horizon line. There you go, see, the horizon line is done, and now we'll go ahead and start painting this. In order to paint this, let's apply water to the whole of the paper. And because this is like a rainy day, go ahead and apply water to the whole of the paper because we will have softer edges all around. Just go ahead and freely apply the water. Apply multiple times if you need because that's very important that your paper stays wet for a longer duration of time while you do all of the strokes. Make sure that you apply the water evenly and nicely. Okay. There you go. Now I'm just going to quickly absorb all the s water from the edges as usual. There you go, all done. Now we'll get to painting. I'm going to grab my size ten brush. I go for a medium to larger brush for this purpose, and I start with a nice transparent yellow shade. I'm going to put that nice transparent yellow shade right there in the middle. That's what I'm going to start with. Then let's grab in the next color, which is going to be orange. I'm sure you know it by now, all of these colors that I usually use. So they're nice and pretty orange shade. We just need a tiny, tiny amount of yellow over there in the center. The rest of it, you can go for this orange shade along the edge, of course. Then next color that we are going to grab is the pink shade, quinacdon rose. Obviously, as you apply it on top of the orange, it's going to turn into a slightly reddish hue, and that's okay. Here now going on applying the quin acodon rose over to the top there. Let's go ahead, grab the quin acidon rose more of the quin acidon rose and start filling up the sky over to the top the whole way over to the top with the quincon roles. This is what forms like the background. Now we have all of these colors blended in and now it's time for us to add in the tago clouds. Obviously, we're going to do that with a nice amount of violet. Here I grab my violet. You can see, that's a very nice vibrant violet that I have got here. And I am going to start. We'll start over the top of the pink region and we will start applying it in the shape of clouds. Go ahead and fill up the region. You don't need to depict any of the pink there. It needs to form like an underlying layer. You can see when some of it lies comes through then it will have that pink layer. It's going to be like a night scene, which is why we see the beautiful lightning popping up. You've seen the final picture, so how it's going to be turning out. This is why I mentioned lightning, although we haven't added the lightning yet. As we calm down, go ahead and add in these smaller smaller clouds. Air. As I'm coming towards the bottom as well, I'm decreasing the color tone and it can turn into like an violet, yellowish brown shade as well. There, then let's go ahead and create these nice smaller clouds and then those clouds go over to the top. Now you can see, I'm making it denser and denser at certain places. That's what we need to do. We've got that nice. Now let's start making it darker at some places. Here I've just grabbed paints gray. This is what will make it darker. Start applying the paints gray over the top. Again, in some areas like this. Here is the paints gray going and adding Grabbing violet again in case you need to add it at some places. Let me wash off the brush of all the pinks gray. Then I'm going to grab violet again because I need a little bit of of the violet shade along here. Then as I approach towards this region, I start to make the clouds tiny, tiny, and small because at the horizon, the clouds need to be smaller. See, we've got a nice set of clouds and it's depiction right there. I guess the bottom part, it's still wet, but at least it's not really too wet, it's just enough wet for us to go ahead and start adding the the foreground. I'm just going to tail to my board because I do not want my green to flow upwards. I'll hold my board like that, and then I will start with olive green, olive green because there is some light region there and I want to have that depicted in my grass region, see, but then because I've got this angle, it's not going to flow upwards. That's what we're doing here. Then I'm going to grab more of my olive green and I'm going to fill up the whole region. Let me just make sure that it's all set, that is the softer side, we filled it up with green. Is going to be this vibrant of olive green there mainly because you know it's night scene. We only need the light towards that top region. The next other regions, go ahead and apply paints gray starting from the bottom and take it upwards. As you go upwards, you can see it turns into a slightly darker green and that light area stays lighter. See that. Here, I'm picking up more of my paints gray, and I will apply that at the very base. At the base part, it can be as dark as it can. Then as you go slightly upward, such that you get an even blend of color. See that. You can see. We've got a nice lighter area there for the yellowish region, and then nice dark region at the bottom. You can make it even if you take in more paint and apply it towards the base. There you go. That's all done. Now it's just time for us to wait, add in the lightning and Um, probably a little bit of rain. That's it. Let's wait for this whole thing to dry and then we will add in the details on the top. All right. There you go. It's dried up now, so let's go ahead and add in the lightning. I am going to add in the lightning with liner brush and my white ah. But let me tell you there is another option, how you can create that. If you have a jelly roll or a gel pen, which is really thin, you can use that as well. Let me see. No Mine is actually not working, I guess, because I have not used in the last four years that pen I have not used. That is why it's probably not working anyways. You can either use that. That will give you more precision because it's a pen, but if you want, you can do it with the brush as well. I am going to do it with brush because I just love it. Here, we start and you can start it right along the edge and then keep a shaking hands like that one. That is what is going to help because when you do a shaking hand, Then you get the shape of the lightning like that. There. Now, let's start creating out branches for the lightning. The branch goes like that. Then you need to have a lot of tiny branches as well. It's like a tree branch, but the only difference is that, when you draw the tree branch, it's not going to be as shaky as this one. That's what makes it slightly different from the tree branches. You can see, I'm really concentrating. That's when I go really, really silent. We obviously know that by now. Okay, there we've added in our gorgeous lightning. Let's add a probably another one from this side. This one, and something unlike the tree branch is that it can runch out larger from even a smaller branch, and this actually does not happen with a tree branch. In a tree branch, it would always be smaller as it gets away. But in the case of lightning it's not see how that happened. Now that that's done, let's go ahead and add in the rain drops. The only difference here, what I'm going to do for the raindrops is, I did the lightning with a very thicker paint, but the rain itself, I am going to do that with a very diluted paint. That's how we will try and differentiate the two. Let's do it just like we did in the previous one. But I think you can go for a little bit more random and a bit spread out in this case. Oh. I can see. I'm a bit more spread out in adding these ones. Also you can see, always go ahead and make sure that you follow along the same line. Try and concentrate most of these rain lines towards the bottom. Some of these ones can be really t, tiny, small ones as well, so do not make all larger ones. Try and make smaller ones as well. Remember, they needn't be all at the same length. All right. There he go added that. Now, the only thing I'm going to do is I'm going to finish with a few splatters along here at the bottom. Just at the bottom, not at the top for where the rain is falling. There you go. Now it does look like like a heavy rain tare all the lightning, isn't it? Isn't that coaches? I think because we haven't painted anything towards the edges, we're actually free to remove the tape. Oh, my God. That was again, actually, very quick, isn't it? I didn't expect these to be really quick as this, Anyway, since we're done, let's go ahead and remove the tape. And there you go. That's the finished painting. I hope you enjoyed painting this with me. Thank you so much for joining me today. 50. Day 45 - Secret Drops: Hey, hey, hey, welcome to day 44, and this here is the painting that we're going to be doing today. So it's actually really simple and the s some concepts that I wanted to teach you in this one, which is to negative paint. That is what we're going to be learning here. And the only color that I have used for this painting because this is a monochromatic painting as evident. So because I did not want to use paints, I've used indigo. Although this actually does look like paint scrap, I should probably have just go ahead and used in some kind of a blue, I think. The reason why I used Indigo was to get that bluish touch, but it actually looks like paint scare at this moment. It's funny. Anyways. So here you go. If you want to try this out with a different color, you can maybe like a dark blue or a prussian blue. Prussian blue would be actually really beautiful for this painting a feel. So if you want, you can go ahead and try it with that one. So if you're ready, let's get started. All right. Let's get started with this one. There is no pencil sketch. Literally no pencil sketch. We are just going to start applying water and start. Okay? So apply water to the whole of the paper, make sure that the water that you apply is even. This is just to ease up the process I'm just applying. So it doesn't need to have a lot because it's just one even stroke of the wet on wet. Actually, this might be the easiest painting that we have done so far, trust me. And I hope it's going to be quick, although, let's see, because we need to do all of those ripples, it might not be that simple. But, there you go. Okay? Then, I'm just going to grab a large flat brush to apply my stroke. And this is like an even single color toe painting. But because I wanted to, like, change the color toe a bit, probably, that is why to make it it is monochromatic painting, but to make it a little bit attractive, I am going indigo. Here, describing indigo. And what we're going to do is we're going to apply indigo to the whole of the paper. So, I shouldn't have started in a Zig zag manner. But I think this is how we want to apply the indigo onto the paper. On the whole of the paper, just go ahead and apply and even wash of indigo. There I start with indigo, and let's do a watery consistency of the paint. All right, there. It's a nice watery consistency. And just go ahead and apply the indigo. Right? Let me just make sure that the paint is nice and even and observe the tilt on my paper. I'm using that tilt because I want the whole of my indigo to be nice and uniform and not even have any of these lines. Okay. Those lines will be gone if you actually have the tilt on your paper because then all the whole of the paint is going to kind of like flow out and create that even wash on the paper. Okay? There, let me see. This is going to turn out very lighter after it dries up, which is why it's completely okay. I have done an even coat. Now, the only thing that I need to do quick is to go ahead and absorb the excess water from the edges. Because do you see all of these droplets, these droplets could actually go back into my paper and create a bloom along the edges. So I am going to just absorb these from the very edge. Because when I use my head drier to kind of dry this background layer, then there's a high chance that all of this is going to, like, you know, see back into my paper because of the uh air coming in, and then it's going to create like a harsh edge, and I don't want that to happen. Okay. Let me tilt the board in this direction as well because all of the bins pigment has kind of like accumulated at the bottom, and there's like a darker colored hair at the bottom. But eventually, that's okay, I think, because we're going to have a lot of dark retails over the top as well, isn't it? Okay? So there you go. Now I'm going to quickly drive this up. All right. There you go. It's completely dried up. So this painting is actually probably really, really easy with ash. Okay. So I want to try this with watercolors, and let's see how it turns out. So the next thing that we're going to be doing is we're going to add in a lot of ripples, but we're going to do that with a lighter tone at first. So here I am grabbing my indigo, but then we're going to dilute the indigo. So you can see, I'm dropping water there onto my palette and see the diluted mixture of indigo that we have here. Okay, and this is what we're going to start with. So it's really, really diluted. Make sure that it has very less pigment. Let me see. Okay. That that's still got a darker color, I would say. All right. So maybe some more water Sh dilated, because I want it to be in a very lighter tone. Okay? And now using this lighter tone, we're going to add in the ripples at first. So go ahead and try and tractor circles. I think this is the best way for us to tractor circles using the brush itself. So no pencil, no nothing, no A compass or anything? This is just circles. And these are circles for the ripples because we're viewing it from top down. If you're viewing the ripples at an angle, then that's when it forms an ellipse. This is not an ellipse because we're viewing it from top down. So here, let's start, and I'm going to start with a circle. So I'm going to start with a semicircle here at this point because then it's easy. You only have to do the semicircles and also don't complete in all the places. So you probably want to do like breaking up. So here, I've created a break in between. Can you see that? Okay? Then do the same for the next one. I broke it up into three parts there. Did you see that? Then the next one, I probably won't complete it. This one, I'm not going to complete it. I'm going to leave it at that. Then we'll have another ripple over here, but then this time this ripple is going to face this way. As in, it's just a run cycle, but we're only seeing part of it, which is why it looks as it's facing that way. Again, here is the ripple. I broke that one into three parts. Now, the next one. I think I'm going to have a s. See, that's a lot of paint. We do not want that much paint. I'm going to add another one over here. And obviously, you can cross over some of these ripples. We've added some nice ones there. Let's go ahead and add in a. We have a lot of details to add at the top, but that we will do when we're picking up a darker paint. Which is why I just wanted to go with normal one at this point. See. Some lighter toes. Then I think I'm going to have another circular one right here. So don't worry about perfection or anything, okay? Try and make a circle as much as you can. Sometimes it doesn't work out, and sometimes it's absolutely fine. I mean, perfect. It's okay, okay? And also don't create it in the same distance like CVs ones here. I made the one, two, three, the third and the fourth a bit closer. Do you see that? That is why don't make everything along the same lines. You already see how these triples are coming to life, isn't it? When I have a smaller one over here. This is completely random out of my head, let's do it. Larger one like that. This larger one is probably the further off ripple of this one. All of them, they don't need to complete. They could be parts of ripples that existed before. Things like that happen. Have you seen water ripples before? Then you will definitely know this. All right. Then we're going to have another one over here. I think this is the one that's going to actually take a longer time for us to add in these ripples. This is probably the time consuming part. Do you think so? So then we will have another larger one. There. Okay. Oh. All right. That wasn't it then lines here and there at random. Then let's see here. Okay, I think we are good with the lighter tone. Now let's go ahead and add in the darker tone. So for adding in the darker tone, at first, what we're going to do is we're gonna. Why might be? I forgot. We're supposed to be doing this monogrammatic, isn't it? So just indigo. Okay. Go ahead. Pick up the indigo and start painting along the edges. Okay. So here, grabbing indigo, painting along the edges. Now this is very, very dark pigment. So I want to come around until there and that's when I start changing things up. So what we need to do is kind of like negative painting. So negative painting is, we need to create the ripples, but we need to create the ripples using this color. So we paint it negatively. And how do we do that? You are going to draw the circles again. Okay, probably shift to the other brush because it's easier, isn't it if you have a thin brush to work with. There you go. There's a thin brush. I was looking for it. There. Now, go ahead, add in the ripples. These ones, the inside parts are what are going to be the ripples. Okay? So what we are going to do is you're going to add in and the edge of it, go ahead and join. See this one that we created. See how that created a negative factor. We're going to do the same here. B See that one. That was a negative effectle, isn't it? Let's do the same. We're going to do some more negative effectorples here, maybe along the same circle of this one. And maybe some along this side. Go ahead, join the ones that we've already painted. See how I've unified that and created a little part of a ripple there. Then I guess we can have more ripples. Coming along on this side. I guess there's more for this one. That's how I can manage to blend that area. Then let's see now here's where the actual there's overlaps here. I probably I am going to use two brushes, you know, B then it would be easy for me to create larger strokes like these ones, and then also the smaller strokes. That's probably easiest, I think. And in areas where I do want to create the ripples, I think probably some of the areas I can do with with my brush like this. Yeah, that actually works. See, I'm using this larger size brush itself to create these arc kind of shape. Okay? Otherwise, it would be really, really difficult for us to cover these ones, you know. So now I'm just going to place a larger one here. Here, I've created a nice circle Remember how we are actually painting in negative. Very, very important that you understand this. We are painting in negative. This is why, for example, here, I've joined that because this is supposed to be in a negative painting. An gap in the will need to be the darker paint. See how that turned out. All right. I think what we can do is we can have part of another report going this way. Okay. See that? Okay. That is probably tough. Is it tough? I mean, you tell me. There at it more over there now on this one. I mean, like I said, with quash, it probably would be very easy because you can recreate these lighter ones directly with just the same pigment or white pigment, in fact. This is why with watercolors, it's so difficult and painting this with watercolors is satisfying, absolutely satisfying to the core, I would say. See how I have created a lot of those in the negative format. I'm going to have another larger one here. Okay? And you can see clearly how intertwined, messed up lot of these are, ok? Oh As I approach towards the edges, I am trying a bit more to create a lot of lines along the edges. As we approach the edges, can you see it's no more looking like a perfect ripple or anything, but now we have approach towards the edges, so you don't need to paint the whole thing. You can go and create these random shapes. They will be the reflection of some kind of u element, that's above the water that's actually reflecting. Okay? Go and, I guess we've finished with the larger brush, and we can switch back to the smaller one. There switching back to the smaller one. A, there's the larger area here to be painted. Should have not switched yet. This was yet to be painted. Okay, but that's okay. All right. Now that makes much more sense. Now it's time for us to go ahead and add in a lot on the already existing ripples that we have added. Like many of these ones that we created, so I'm going to create more smaller ones. See, created a ripple there, then you have as many smaller ones. There. So keep adding. Now there's a lot of these smaller lines. Then remember the ones that we already added. Now we're going to go ahead and paint in along those lines. Along the same ones that you've already made, make some of the strokes. In that. They are already going to have some areas. For example, t's pain the center portion of that. Then maybe a little reflection inside along some more lines there, another line there. See, not all of them, but that ripple exist along with that, we've added a FF on the top. Probably going to do the same to some of them. Here painting along the center. This is the reflection. Here adding some nice strokes in the middle, then go ahead and paint some of the areas. There you go. Make them nice and closer. These ones at the bottom. You can just have a random one or two part because they're like further away, so there isn't much of the reflection. This black lines that you see are actually the reflection, and the other ones are the ripples. The ripples are the reflections are within the ripples. That is why we see it this way. That's what we want to depict. Remember, these are the reflections, not the ripples, the black ones. And that's why we see that like that. Like, for example, here, there is some kind of branch or part of a tree that's sticking out and creating those ripples. See that. Okay. I think we are good enough. And actually, that's pretty much it. So we've done that. To paint this with watercolors, like I said, is absolutely difficult. So in this one, my main focus was to show you how we can negatively paint those ripples. These ones were actually quite easy. The difficult ones were these ones with the negatively painted ones. So I'm going to quickly draw the stop hard, and then we can remove the tape. All right. There you go. We've completed this one. So let's go ahead and remove the tape. And here you go. Here's the finished painting. I hope you enjoyed painting this with me, and thank you so much for doining me today. 51. Day 46 - Raindrop Stream: A Hey welcome today 46, and this here is the painting that we're going to be doing today. Also, I need to apologize for my sound. I've caught a really bad cold in my voice. It was worse the previous day, so I didn't do any recording. It's a slightly better now. I mean, I absolutely have no problem with my throat or anything. It's just that my voice is this. That's it. Let's have a look at the colors that I have used for this one. We start with a nice amount of indico, a bit of il green, then a dark green, sap green, and a little bit of transparent yellow, and lastly, white quash. If you're ready, let's get started with this one. All right. Let us start. We'll do a quick pencil sketch, and we need to make sure that the pencil sketch is as light as possible. Because this is like a rainy scene, so we did not want the pencil sketch to be really prominent. We'll have the sky there and then we'll have the mountain there, which is supposed to be further off. There, that probably is the line of the horizon, but none of these need to be in a very dark manner, make it as light as possible. There you go. We've got the next mountain. You can have another mountain at the back. Then what is most important is this stream coming towards us. This stream, as you can see, it comes with us and it gets bigger and bigger towards this side. Again, there's a lot of green space there and it gets vanished in between that green space. And there's the stream, it does and it gets bigger around here and goes there. I know this is very, very light, so I will show it to you closely what I have done. I don't know if you can see. There's the line of the mountain, there's the other one then the line of the mountain behind. Then there's the stream, if you can just follow my fingers. I know it's very, very tough. But there you go. That is our sketch. Now we're going to paint this because like I said, again, it is a rainy seen. We have a lot of wet on wet working to do. So it's going to be a little bit tougher. Yes. Let's go ahead and apply water to the whole of the paper. Today, we're going to make sure that we apply the water multiple times and let us take our time in doing that. We need the paper to be wet for a longer time, and we have a lot of working to do. We will start from the top and work all the way to the bottom slowly. Go ahead and apply the water nicely onto the paper. Okay. Here I have applied the water. I'm going to absorb the excess water from along the edges, and then I will wait for it till I start soaking in the water and start drying, and then I will reapply the water. That way, my paper will really stay wet longer. Today, I am going to adapt that method as well. Okay. So I'll have a tilt to my board, just to, you know, have all the excess water flow down and get absorbed because it might have formed any pools on any of the sides, right? So now I've got to wait for it to like sink in and start drying, and then we'll reapply the water. So give it another one or 2 minutes, all right, and then wait. I mean, and then go ahead and apply the water again. Right there. Around 2 minutes have passed, and it's like literally a sheet of water, and it's starting to dry out. So now I'm going to reinforce the water on it and let it soak up a little bit more. I think having a tilt on our board is going to be really helpful. So here I have that beautiful tilt, which will allow the water to kind of move down. All right. There. Let us keep at it. Letting the water flow down. All right. And you can see there's a lot of accumulation at the bottom, which now I am going to absorb with my cloth. So here first along the edges. This edge now at the bottom. If I just create a small pathway, then the entire thing can flow out. All right. I think that's good enough. We've covered it up nicely, but I also don't want too much of the water, so I need to make sure that it's just a shed of water, but a shee of water which will not dry out so quickly. Here's what I'm doing, just running along my brush and making sure that I absorb excess water. This brush that I am using does not have water, but rather it is making sure that there is only a sheet of pater on my p. Yeah. That looks good. If you look at under light, can you see it's just a sheet of water. Now this is what we're going to be using for starting or painting. I am going to start with my size six brush. This is what we're going to be starting with. Now I am going to start with a nice indigo color indigo because we Baked the nice, cloudy dark rainy sky. This indigo is what we're going to be putting that on to the paper right from the top, so go ahead and make these random strokes into the sky. We also don't want it to be probably too dark, which is why you can see how I'm adding. There picking up from whatever's there on my palette and adding, then at the bottom, try and make smaller clouds. There. Now let me grab a little bit more indigo. Make sure that you mix it up nicely in your palette so that it doesn't form any denser colors. Because if you take directly from wherever you're loading your paint and apply, it's going to be something as dark as that. But then if you do that on your palette, it's going to loosen up a bit more and it's going to reduce its color scale in the value scale. That's something that you can do to reduce the color scheme. Here. All the darker colors just towards the extreme db. Always while you're doing this, if you feel that your paper is like starting to dry out, you can give it a nice build to your paper and then just reapply the water towards the bottom, because we're painting from top to bottom, so we want to keep our paper wet. This is something that you can do, sharing some tips as to how you can escape and keep your paper wet a bit longer. Now that we've done that, let's go ahead and paint. Next thing, we'll go ahead and paint that background, extreme background mountain. I am going to take my hello blue color. And I'm going to mix it up with my indigo. See here, I've got a very dark did I say talo blue Oh my God, talo green color, and I'm going to mix it up with my indigo. I get like a darker green, but make sure that your brush is semi dry because if you take too much water in your brush, then it's going to spread out a lot. But we want it to be staying at one place and try and make it like a single stroke, just like I did because the point where you lift off, it gets a little bit spread out like that. But then if you do a continuous stroke, just like this one, Then it's not going to spread out, but do you see the end where it spread out, but that's okay because that's onto the next mountain there. We've added the inside part of that mountain there, the mountain that we made behind. Then now we'll add the mountain in the front. Here I'm going to grab my darker green now. I should have used the side of the palette, it's already there. Anyways. Here you go, grabbing my dark dark darker green now, and again, make sure that you mix it up and that your paint is in a creamy consistency, very important. Here again, going to do it in one stroke. Here taking it and then going over. Let's continue over onto the other side as well and finish it off outside the paper. L et us if you go and do this, then it's going to spread out and we don't want it to spread out, that's the reason why we're doing this. Here, taking it along and there is the horizon line where the mountain is actually the trees are actually. See here now we've got everything in a softer manner. It's completely a rainy day. Here, I'm just grabbing my dark clean again, I'm going to place it at the bottom. You can mix in a little bit of indigo to make it slightly more darker, and then towards the front, go ahead and add in these little strokes. But see how it's mimking the effect of some pine trees at the back there. See that. We're going to do the same thing over to this side. You can just do with your brush, hold and do that. See how we've got a beautiful effect already there. Now, again, in between the process, we've got to lift a paper and go ahead and wet the bottom region if you feel that it's starting to dry out. The reason why you're lifting your bore is because if you do it flat, then there's a high chance that the water might flow up and ruin your painting. The thing that you've already done. But in order to keep the bottom part wet, the best thing to do is to make use of gravity and let that do the work. There you go, applied the water. Again, towards the bottom where you see that it's starting to dry out. This is one way that you can keep everything just wet without ruining the rest of the painting. Now that you've done that, let's go ahead and grab a darker green sorry, Sap green now, so it's a little bit more lighter green. It's a slightly different green. Can you see that? This sap green, you can start applying towards the base and there you see how it gets lighter and now you can see a clear distinction from where the mountain starts. Then we're going to grab this sap green and we are going to add. Now, remember the pencil sketch of where your water area is going to be, and that is what we're going to be painting along. Here grabbing my sap green, and then I am going to follow along where my water region is. This is the area where I had added in the line for the stream, and here taking it there. There you go, here, and then along here, you can add some upward stroke, which will actually depict some of the grass texture there. Then again, over to this side, we have that. That's where the stream is then the stream pens like that and comes this way, isn't it? But as we move towards the front, we want it to be slightly warmer. Go ahead and grab in a nice yellow and start with the yellow there. Just start applying a little bit of the transparent yellow there, then go back with the green and blend it along. You can also use a little bit of olive green because olive green is like a warmer green. Here, just grabbed in the sap green and I'm mixing over on top of the yellow and I've added it. You can see that it's a little bit of a light green there. Then mix in a little bit of the darker green with the same sap green and start to add in these upward strokes along the edges. See what I did there just using the tip of my brush, added these random upward strokes. Se along the edge. This is what is going to act as though these are grass are growing out, same along all the edges. See that. Now, we've got the stream in picture. Now we need to create the stream itself. The stream is actually going to have the reflection of the sky because it's water, isn't it? This is what we're painting. It it's rainy day with the water, and that is why it's all blurry. Here, grabbing indigo. I got to make sure that it's indigo sky, had a mix of a little bit of a green you go mix of indigo, and we're going to start. Again, grab the indigo and mimic the sky. We actually did some random strokes like this. This is what we did. Just go ahead and do the same into the water. Go go ahead and do the same and then start adding these random strokes. This is why I said, we need the paper to be nice and wet for a longer duration of time. Then as you go upward, we want to reduce the color of the indigo that you're adding towards the top. And ops, that's a little bit of a darker color. Here I'm spreading that out. Then as you go towards the top, you want it to be completely lighter and almost as white of the paper, but it's not entirely the white of the paper. You see that. Again, here going along the edge, do a nice blend. There. Now that is nice effect, isn't it? Now, I know it's going to be a little bit tougher for you to do this, but we need to depict wet scene. It's a rainy scene. What you're now going to do is go ahead and grab the smallest rush you have. This is the smallest brush that I have, which is my size two. Then I am going to dip that in water from the top a b over the top, I am going to splatter water onto it. I don't want too much water. I'm just taking the excess water from the u the body of the brush and then we're going to do some splatters. These splatters are going to create a little bit of the blooms. See here where it dropped. It's going to create a little bit of the blooms to give us the effect of the rain. And use the smallest brush because if you use a large brush, then it's going to splatter too much and it's going to be ending out badly, and we don't want that. Here we've got a nice greenish area, and I should have actually done this before we added the splatters, but that's okay we add the slatters again. Here just grabbing a little bit of a darker green and we need to give ale bit of the darker green details at random places. Here I'm just grabbing the darker green and putting Uh, some more edges and some grassy shapes. Mostly, we want them closer because the further the things are, it gets smaller. If you're drawing and adding things tow the further end, make sure that you make it teeny tiny. Let's see, these teeny, tiny details along the edge of the stream actually makes it look nice. I'm just going to add it like some da effect there and then it vanishes. But it vanishes because there is tall grass there. It does not mean that the stream is vanishing. It just means that because of the effect of these tall grass along that side, you are not able to see it. See, I'm just grabbing my darker green and I'm just going to add more a little bit of detail. This is not a detail, so this is like a il region there. This is the reason why the stream is vanishing behind it. If that is done, we can add a bit more splatters and have that rainy effect on our painting. I think that's well enough. We're done with this part. Now, all we have to do is still wait for this whole thing to dry and then we'll add in some ripples in the water and finally the rain. Okay. Hey, all right. There you go. It's completely dried up. Now we can just finish it off with the rain and the ripples. We'll start with the ripples at first. Here I'm loading my brush with indigo. You don't want it to be extremely dark, you want it to be slightly on the mid value range, which is why I'm mixing a lot of water there, so that will be slightly in the mid value range. Then use your smaller size brush because we need the ripples to be really small as well. We're not going to be adding larger ripples. Again, since we're viewing this from an angle like standing there and looking and not the top view, we need to be creating ellipses. Teeny tiny ellipses. Go ahead and create these tiny ellipses. See that. Along the further end, they are going to be even smaller because they are like towards the further end. Then as you come closer to where the viewer is, they can be slightly longer ones. See that. S are longer ripples, then smaller ones, smaller ripples. Here, we can have a longer one because it's absolutely towards the front. Then again, because it's the water scene, go ahead and add the reflections and lots of random lines. These random lines. Just adding lines like this. This is why we covered in the previous day how we were painting a lot of the lines with indigo. Remember, This is the water scene. Just adding. Then as you go further away, make sure that you make them extremely smaller. Not going to be visible too much into that region, but go ahead and add in a lot more ripples. There we go. We've added in a lot more ripples. Now the last thing to do is to finish off with a nice amount of rain in Painting. Just go ahead and grab your white paint and we can finish off with the rain. Here, I've just loaded some extra white paint and I'm going to start. Taking up the white paint in my brush. It's wash obviously, and now we're going to add in the rain. Don't start too much from the top. But all of these strokes are going to be more visible over on the green anyways. It will not be visible on the on these white regions here. Try and follow along one direction. Actually what should have done it in the other directions because we already covered this angle in another lesson, isn't it anyways. I've started with this, now I've got to keep up with it. I've got no choice, so I will just continue in that direction. I know I said, don't do too much at the top. But then I realize that it's not from these clouds. It's actually from as a person's perspective who's standing right there, he's definitely going to see cloud. I mean, the rain coming from the top, isn't it? I had to do this contrary to what I what I just suggested. You don't have to do a lot. We can just split it up a little bit more, and obviously, you need to think about perspective here as well. Oops. That was a little bit of a bigger one. I can't help it now. Now, let's have some droplets over to where it's the elliptical places where we add it. But you don't have to add to all of them. We've got the rain covered and now finishing off this thing with slats obviously, have the slatter towards the maybe. You can see the background splatters that we added, giving that blurriness effect, and you can see the rain and then you can see the foreground splatters and everything which makes this look like a completely rainy scene and also the talk dense clouds and its reflection. See that. Because we've not done anything towards the edges, I think it's okay for us to go ahead and remove the. There you go. Here's the finished painting. I hope you enjoyed painting this with me. Thank you so for joining me today and I will see you in the next day. 52. Day 47 - Wiper Droplets: Hey, hey, hey, welcome today 47, and this here is the painting that we're going to be doing today. Isn't that gorgeous? I mean, looking out in front of the car window with the wipers on and with all the water droplets, a completely rainy day with a blurred background. This is amazing, isn't it? I mean, you're going to be able to paint this, isn't that so cool? So let's have a look at the colors that we need for this one. And you can obviously see my sound is still the same better yet. But, the colors we need for this one are We start with a mix of paints gray and indigo, then we have Hello green, Sap green, and I guess actually yeah, that's it. Those are the colors that I have used in the fainting. If you're ready, let's get started with this one. All right. Let's start. We will add in the sketch of the bers you can use a ruler. It's going to be somewhere here on the right side, something like that, going outside of the paper. And again here this one again, going outside of the paper here like that. Then we can have the next one, which is again further off. We can have it come to around this point here, which means that this is going to extend out like that. That will be the viper of that side, but let's move it. So there and remember the same angle. You can use your ruler and then just push like that to get the correct angle, see. The initial angle that I had drawn was not actually correct. I had to do that and Oh. There's the sketch that we have to do, then this very lightly just draw an arc. All right. There you go. That is the pencil sketch that we have to be doing. Now let's get to painting. Again, let's go ahead and apply water to the whole of our paper. Don't worry about the sketch as of now. We'll just go ahead and paint the whole thing. Okay. So apply water onto the whole of your paper. Make sure that the water that apply is nice and even without any large pools of water. See here, I have a tilt on my board because that makes sure that I don't have any pools of water forming on my paper because all the excess water is always going to flow out of the paper. There you go, and now I will absorb the excess water first from the top, the edges, and then at the bottom, there you go. Absorbed all the excess water. And there. Now we'll go ahead and paint the whole thing. I'm just going to use my larger brush at this point because this is a really very heavy rainy day creating a lot of droplets on in front of the car. We've got to mask it off. What we're going to be doing is we'll start with a little bit of a paints gray and you can mix it up with a little bit of indigo, or you can just use indigo itself. It's absolutely fine. Here's what we are starting with. Just a little bit of the indigo and if you want, you can have it like a slight tilt on your paper so that it starts to like angle down and create these hairy structures, which is really good because then it depicts the nice rain. Here rainy cloudy sky I mean. Here I'm describing a little bit more of the indigo and applying to the very edge because I want a little bit more a dark color towards the edges, and you can see the nice hay rainy day depicted. All right. I love that. See the effect that it's created on the paper. Now we'll go ahead and paint the extreme background. We'll use the same color as in, we need to create it such that it's at the back, so we need to use a cooler color. I'm going to mix up indigo and my tallow green together. Okay. There you go, and I'll probably mix in a little bit of my darker green as well because I want it to be a slightly this darker shade and then this is some further off land or something at the very back. This is really rainy and more. What can we say blurred than the previous one that we just did? That is why this is like Really blurred and you can literally not see anything. That is the effect that we want to create here. Then next thing, we needed to pick the road. Here I am grabbing my paints gray. Here's my paints gray, all right, I'm going to keep that angle on my paper. The road is along the side because this is actually the car, isn't it? The view from the car. Then the road obviously needs to go into some kind vanishing point. This is why we're doing it completely with the brush because all of it is in a blurry manner. Again, there's the road. Going like that. That's the road. Let's go ahead and paint that. Then this is I think I want to make it in the US, it's going to be driving along the right side. Just go ahead and create a little bit of a negative painting to create these markings on the road. See what I did that. Negatively, we've added that line on the road. The rest of the road, just go ahead and paint it. I'm pretty sure that the white mark that I added is going to be filled up really soon, but that's okay. Here, other end there. Let me fill that up. There you go. Now, need to give some darker edges. I'm just grabbing a bit more darker paints gray and doing this follow along the direction and make sure that you follow it on to the scent Very important that you do it. Here, a bit more darker pigment. Remember this gets lighter. That's done. Let's draw that background a b one that's remaining. That's a bit of a green space along the edge. Go ahead and apply green color. Again, on this side as well. That is the edge of the road, isn't it? Just grabbing all the sap green in my palette and making sure that I follow it up until the end of the road. This is what gives the one point perspective for our road. There. See that. There you go and you can see how we've done that. Now, if the part of your road has blend together, the white area, I mean, what you can do is you can use a dry brush like this one to absorb the excess paint and probably create a nice dry area. But remember to do that in a straight line. This has to be in a straight line because this is the center portion of the road. I can probably go ahead and create a little bit more. Remember, it has to follow along the straight line over in to that vanishing point. Okay. There you go. That actually makes much sense, and everything's looking gorgeous, isn't it? So now, this is kind of like our background work, the blurry thing that we are adding at the background. All right. So then we have to completely try this up. Alright. There you go. We're done with the background. So now we'll go ahead and paint the p. So for painting the vipers, we're going to start with a paints gray color, but I'm going to start with a lighter color at first, and I'm going to paint the whole thing. With that paints gray at first. You can clearly see the pencil sketch if you've drawn it nicely. All right, go and let me fill that up. That's that wiper. Then let me grab in more paint for the next one. So let me see, that's Now, we will grab darker paint now and leaving a little gap at the top for it to be white. Go ahead and paint the rest of it with darker paint. That will give the effect as it's got a bit of a surface at the top. It's a little bit of a rounded shape, isn't it? This is why we're doing it this way. I guess this is, I've got to dry it. This one was dry by the time I had done this. This is actually not dry yet. It's dry now. Then again, following the same method, taking the paint and leaving a little bit of a gap there. You can also add in some white paint lata. We'll do that. But let's first do this and filling up the entire surface now. With the paint. Then go ahead and add a joint in the middle. The same for this one. A joint like that in the middle. Now we've got all the vipers done. Now, remember. Next thing. This is the trickiest and the time conceiving part where now we have to go ahead and add in a lot of droplets. You can either do with your size or a size fold brush. I think I'm going to go with my size rush because it's got a nice pointed edge and now we need a lot of these paints gray. You can either start at the top, or you can start at the bottom, wherever you want. It's as simple as drawing some random shape like that, and then give paint one edge of it probably. See, then let's see another edge, painted something like that. Create maybe a larger droplet, paint one edge, S. It's actually looking like droplets, isn't it? This is what you're going to do. You can draw it in any direction. You don't have to do it in one specific direction. See that. Go ahead and make a lot of teeny, tiny shapes like that and fill any of the edges. The reason why I use this brush is what I can really do is, I can use the literal tip of my brush. Here, I'm using the tip of my brush and then when I want the thickest edge, I will just press my brush a little and then again continue with the thinner line. See it's easier that way than making the shape first and then going ahead and drawing this. I am going to literally zone out and add as many droplets as I can all the way up to here. He as we reach this point that we have a lot of changes to do. So let's go ahead and see what we're going to be doing Also, remember to add lots of smaller ones, lots of bigger ones. So don't hesitate to add add it in any manner that you want, actually. There is no rule to this. There is no any what can I say? Literally. There is no rule to this. That's the t. I just added a large one. This is like showing where you have these water dripping out. We seen those ones. That's what we're trying to show here. You can have ones that are going out of the paper. Obviously, this is the time consuming one. I honestly just going to one out and add a lot. Tanks. Thank k k Thank thank you. Thank you. Thank you Thank Oh. O Tank Thank Remember to add a lot of these in such an angle direction. This is because the car is moving, so there's high chance that there's a lot of wind because of this rain. All of these droplets could actually be flowing in an angle if you've noticed when the rain droplets happen, when it's a rainy day and you're driving, you're probably sitting as a passenger in a car. I hope you must have noticed such things. As you come down careful, do not go paint over to the bottom. Let me just fill up this right side as well, still remaining, isn't it? As we reach here, you want to do that in an arc. Try and see. This thing is the piper, It goes like that, isn't it? Let's see. This is the angle. If you can place your brush or maybe not loaded brush. The unloaded brush and this is like a dry brush of this moment. If you place that and then try to swivel it down and see what is the angle. That is the angle. Let's actually do this mini at the point. There and then it goes like that. And then it come like that. And downward that. To many accumulating at that point, just literally cleaned up. There you go. Nothing below this because this is just wiped it. Now, go ahead and repeat the process. You could actually use a different brush to get the effect that you just saw and use that swiveling method to find out where your droplets are going to be accumulating. See. Lot of droplets, tiny, tiny ones as well. Make sure that you add in lot. See, See all the rain droplets. So in the other places, also, let's go ahead and add these lines and add in a bit more extra because you can see there's a bit on that side, isn't it? I want to make sure that the uniform throughout. You don't want it to be raining this side and on towards the other side. The patient as I was adding towards the top region to come towards the bottom, so I didn't add a lot. But now, this is something that you can just keep adding on forever and fill up your paper with. If you've got time, add if you don't make it more separated apart, it's absolutely fine. Totally depending upon the time that you have that you want to do this. If you don't have much time, just skip it and make it more really further apart. O. Of the rain. Also observe that most of these when I am doing, the angle that I do for the droplets is moly towards this side. At the top, I have done a vertically, it's not going to be always thee. That's what we need to be depicting here. That is why some of these I have added vertically downwards. It's kind of like sometimes you may have seen. When it tries to fall down, it actually falls in this way. But then some droplets mingle together and then they form a line. So that are these ones over here. That's a lot. Now I'm going to finish off with a lot of st. But again, make sure that you don't get any splatters in that region, you can actually cover that bit out and ad, let me add it in this manner. There you go, see, it's nice and rainy. You've got that covered. Now, there's just some tiny tiny bits to do, which is, we're going to grab a white paint. You know those regions which are closer to the white area there, go ahead and add in a little bit of the white paint. This is to show how the light is reflected from what's there in the background onto the rain droplets. Here white reflections, some white reflections there, some here. Then we also need more reflections of the same color that we used for the background. Go ahead and make that same color mixture. What was it? A little bit of athllo green and indigo. That was here, isn't it? Now, go ahead and try and fill in some of the regions. With that color, especially onto these white areas. These are reflections. They're reflecting what is there at the back. It would necessarily not be reflecting at the point where it is. Maybe some other droplets, the way that it's facing on the car could reflect the light from a completely different area. That's what that is. Here, just adding that. Then you can obviously go ahead and pick up a little bit of the sap green and add the reflection of the sap green. We see the added a sap green. Some of the ones at the top are re, reflecting a little bit of the sap green. These are just extra ine details that I always add isn't there. Now, there you go. We've got the road covered and all the vipers. The car is going forward. We can see the center line, you can see how blurred the effect is. It isn't looking cogs. Because we have not done anything towards the edges, let's go ahead and remove the tape. And there you go. Here's a final painting. I hope you enjoyed painting this with me, thank you so much for joining me today. 53. Day 48 - The Umbrella Effect: Hey, hey, hey. Welcome today 48. And this here is the painting that we're going to be doing today. So this is, as you can see, it's kind of like a rainy sea, and a person is holding an umbrella and walking towards the other side. And there's a lot of mist involved, which is why you cannot see a whole of his body. So I hope you like this. Let's have a look at the colors that I have used for this one. So the colors you need. Yellow ocher, transparent brown, a little bit of cadmium yellow, and lastly, paint gray. So if you're ready, let's get started with this one. All right. Let us start. So we'll start quickly with a pencil sketch. It's probably going to be a little bit tougher. With the sketching process, I mean, you've got to draw the umbrella first and then the person. So let's see. It's going to be. What you can do is you can go ahead and create an c like that to depict the umbrella. Then once you've got the arc, you can go ahead and try and get the shape of the umbrella right. The umbrella goes like that. We can see a bit like that, and then at the top, there's like a slide dip. Then again, it goes upward and at each place, try and have the bend. These are the places where the umbrella folds down. Then again, the place. Let's see. The umbrella at the top is going to be like that Then we've got the place where at the center it's joining. Something like that, then again, this is where it joins. This one was actually the other end. We've got to make sure that it's at a slight angled. So it's going to angle out like that, like that. Then again, here's the umbrella going one there, one there. There, that is the umbrella. Can you see now the umbrella is done? We need to add in the person. Here's the person. There's the center parking that needs to come down from the center here anyways. That's a center line. If we can take down that c line of the umbrella, It becomes easier if you can visualize and paint all of these things within the umbrella. There. Now that is the line that joins the umbrella and gives that shape. See that. Then now we need to draw the person. The umbrella comes over up to the shoulder of the person, so he's holding that somewhere along the right side is So it's a rainy scene, you don't need to try perfectly. There is the shoulder coming down. This is probably useful if you know, obviously the anatomy of the person. I recently studied complete anatomy of the human body just for learning figures and portraits, of course. The shoulders actually stoop down from the length from the neck. Then you've got the neck of the person there. But then if he is having a collar, it goes up like that. Then again, there is the stooping down of the next the other side. There the person goes like that, and there's the hand of the person. Again, the hand needs to come down, and now he's wearing a long overcoat or something maybe. There. Because it's a rainy day, you don't have to focus much. There you go. Now obviously, he needs a head. This is a headless man. That's the neck, but at the back, you are not probably going to see so much of it. This would be the back of the cranium. I'm sorry, I'm going into too much of port turns. This is the head of the person, and he's probably wearing some a scarf or like there. So all of this is going to be a completely dark thing, and that's his hand part again going and joining his body. There you go. That is the sketch that we want to be doing. He has a scarf surrounding his head. You don't need to draw it in detail because all of this is going to be in a completely blurred manner. In order to make it blurred, make sure that if you can lighten up the sketch, actually, sketch lightening, should be using a netted eraser like this one. If you have a netted eraser, go ahead and make the sketch as light as possible. So see. I've lightened up the sketch, but I can still see it. It's there isn't it. So this is our sketch, and then we'll start painting the whole thing. Okay. There you go. Let's start painting this. So we're going to paint the whole thing as in obviously, like I said, it's a rainy day, so just go ahead and apply water to the whole of the paper. We're going to quickly do some washes. In order to do that, first, let me just absorb excess water as usual. My usual crosses. Then I will grab a flat brush. Using this flat brush, I'm going to first start with yellow ocher. I should have probably wet the yellow ocher first if I needed to get a nice color there. Then using the yellow ocher, I'm going to first draw in the middle and give it a nice wash towards the bottom. Can you see what I've done there? Vertically downward wash off the yellow ocher. Just grab the yellow ocher and make those downward washes. Doesn't need to be most prominent or anything. Just grab the color oops. What am I getting in between Getting some brown shades in between. I think my yellow ocher is probably contaminated a little bit, so that's why I'm getting those colors. But anyways, here's the vertically downward strokes. Think I want it to be a little bit yellowish as well. Here I'm just grabbing a bit that's probably still too much I feel. Just reducing a little bit and adding a little bit very teeny tiny amount of cadmium yellow. Then I'll grab the yellow ochre back and then add it on top of the cadmium yellow and mix it there. You can see that center part has got a little bit of the yellow region. Then now we'll go over to the part where we we have the depiction of some distant buildings or something. Here I've grabbed a little bit of my dark brown. But what we're going to be doing is we're going to be adding a completely vertically downward stroke like that. Because it's a rainy day, you don't need to depict anything in detail. Here goes the brown vertically downward. Like that. Also, if you can tilt your port, then whatever paints that you add towards the bottom will have that effect, and we'll do the same on the left side. For the left side, I am only going to do on from the top like that, then I'm going to mix my brown and my paints gray together, and I'm going to create a slightly darker shade, and then I'm going to do another building, but this time I'm going to reduce the height of it, and add like this is now the building right next to it. See how it's coming vertically downward. This is a very rough ptclor effect that we're trying to do here. Now that you've done that, if you can actually switch to an even smaller flat brush. This is a smaller flat brush. This will be helpful for you to add in any doors and windows and such into a painting. Here, using this flat brush now, what we are going to do is, we are going to add some vertically downward strokes, make sure that you do it in the same line. See that. That acts like some windows in that building, which is facing us. In here again, you can add You see what I'm trying to do. Because it's a rainy scene, you don't have to do much. There, it's completely rainy, so let it go on. Then the next thing that we will do is we will wait for this to dry out. Although I don't like the fact that the bottom part of my painting is dry. What I'm just going to do is I'm grabbing a little bit of the paints gray and I'm just adding at the bottom and probably we'll grab a little bit more of the yellow ochre and blend it at that bottom region. I'm going to need to blend that into the bottom. My paper had like really started to get dry here. I'm going to have to do this quicker. I'm on the person. It's absolutely fine, but it's actually towards these other building regions or see what I've got. I think I'm going to be probably ruined it now. But of course, I know how to fix that. I'm going to start from where my umbrella is and then I'm going to because the umbrella, we're going to be painting over it again. Here, I pick up my yellow ochre and I add that. All of these shades that we just saw, it comes on top of the umbrella region and not anywhere else. That's fine. The same thing. All right? Okay. I think that's not bad enough, but I can see where I've literally probably ruined it a little bit. I should have started with that angle in the beginning, but then. I can do is I can still make it like there's a lot of wash there. I like it. It's not that bad. Then now we're going to completely try this up. Right. There you go. We've tried this up, so now is the time where we actually need to draw the person and add color on top of it, and we're going to be doing that with paints gray, of coe. Here I am grabbing paints gray, and we're going to start with that umbrella region. So you can go ahead and add in a nice color over the top. Like that, but observe how I have not painted along that edge. Then I come over on this side and I will paint this edge in a nice dark manner. I will come here right here and I will again paint it. And also observe that my paint here is slightly diluted. Then I completely wash it off and I'm going to pull my pigment over and just do a slightly blended color there so that it becomes a lighter version on that side. See how I painted that one. Now I need to dry that up or not paint. Let's go ahead and paint the head of the person. I might actually be helpful. Here we will go ahead and paint the head of the person. And I probably did wrong with the body because I feel that if the head of the person is this long, then the body should be at least maybe not bad. There, like as we said, he's having an extra scarf in his head. You can use watery pigment, you can use dark pigment. Now as we come towards the bottom, you want to make sure again, we are adding the paint. Filling it up because it just needs to be in a darker manner. Then as we approach the bottom, you want to be using more water into the mixture and making it into a lighter version. You can actually have the tilt on your board again and have the per towards the bottom. Oh. See how we've done that, and created a nice lighter version towards the bottom. Have it more. Then again, we can have areas separating. Right along the neck, go ahead and put in der colors. See that and that flow in the water. Then we have the area here separating the hand and the body. Put in some darker strokes like that. Then we need a little bit of a darker color for the head and maybe. See that, how we've added the person. Again, you can add in darker stripes or some darker details towards the bottom and see how that is very light color all into the misty effect. I can see that this area is still not dry. I am going to now completely dry this up. There. That portion is now dry. What we're going to do is we're going to take dense black color, not black. I dense black color, which in my case is paint clay, and we're going to apply there. Because this is the inside part of the umbrella, it's going to be lighter than the one there at the top. That's how it is. We're going to have to depict more darker areas over onto this side and then go ahead, make it nice and have that pointed edge. Go ahead, paint the inside part. Can see how we're doing this. Then more again, as we come here. But then as we reach closer towards the bottom and towards the head of the person, we want to try and blur it out again. This inside portion is. It's not blood. It's getting lighter and because of there's a misty effect. Se and along this side, it's definitely a nice misty effect. You see, but it still has to be darker than the top potion. Which is why I grabbed a little bit of the pigment. Then you can see it's not completely black. It's like a smaller value scale within the paints gray. And then going around the head, and adding the color. See that now, how we've done that. I can see how I've messed up the part of the umbrella here. It goes like that and goes like, that's much better. We've marked those things. Now, that inside part has to be. But then there's the sin tiny portion along the top, which we can freely go ahead and paint. Also, you remember the line on the umbrella, which I said that goes from the center. You can do that as well. See you don't need to do complete lines to some random bits. Now let's just wait for this whole thing to dry a bit ago. It's completely dry. Now the only thing left is to add in that part where he's holding the umbrella. That comes down from the center I remember and from there, it was going over to his shoulder like that. You need to do that with an extremely dark and this is possibly nine in the value scale, only then it'll be visible on top of everything else and goes towards the center. See how he's holding that umbrella and how we've got the center portion there all done. There you go. This painting is actually done. I just wanted to make the scene where we create a bloody person holding an umbrella in a misty scene. Now you know how you can create these blurred edges and everything. That's just one thing, I want to make this edge a little bit more darker. I've added the paint, but now we definitely got to soften out the edges. There. Yeah. I think that's much better. See that. All right. Now let me just quickly draw this up because I want to see how it looks without all these reflections from the light. There you go. I've completely draw this up, so now let's go ahead and remove the tape. All right. Here you go. I just love the person where his body is completely blended. Looks really nice according to me, Of course. Maybe you don't like it at all. But let's see. Here you go. I hope you enjoyed painting this with me. Thank you so much for joining me today. 54. Day 49 - Rocky Shore: Hey, hey, hey. Welcome today 49, and this here is the painting that we're going to be doing today. So any guesses on the topic? I think it's pretty obvious. You definitely guessed beach or ocean, right? So this is going to be a beach week. So we've ventured into water reflections, and now it's time for beaches. So a lot of sand involved. Ocean is completely separate because it's not got the sand part or the cliff part. So it's going to be beach and apologize again, my sound is still not better. But like I said, it's actually getting worse, but there's literally no problem with my throat or anything. It's just my sound. It keeps on going. I hope that it doesn't completely go, like it had been some time back. So here you go. This is our beautiful painting that we're going to be doing today. So let's have a look at the colors. We need. Hello blue indigo, Hello green, then a little bit of raw sienna, transparent brown sienna, and paint gray. Let's get started with this one. All right. Let us start. We'll start by applying water onto the whole of our paper. Make sure that you apply the water to the whole side. There is no pencil skate. We'll just approach the painting directly. So go ahead and apply the water nicely onto the whole of the paper. Take your time if you feel that your paper is going to try out in between. But since we're going to be painting this as a whole, I think it should be okay, and we've covered a lot of wet on wet technique right now, so I'm pretty sure that you are going to be able to do this. Here I am grabbing my size 12 crush, and we're going to start. But before that, obviously, I forgot something. I forgot to wipe the excess water from the edges. We've got to do that, haven't we? So here wiping the excess water from all around. The edges. Making sure that the water is completely even on my paper. There you go. It is. Now we will go ahead and start painting. What I am going to do, I'm going to create a turquoise blue or a turquoise green color. For that, I am going to use my Turquis blue itself, my halo blue. This here is actually a mixture of halo green and indigo, which we did in the previous day. I'm just going to use the same thing because I know that the color that I'm going to be getting is almost the same as is there on it. Here mixing my halo blue, and then I'm going to grab the halo green. Here I've mixed my halo green into my halo blue, and you can see the color that I have got. This is what we want. I'm going to start ending. Here I am applying it onto my paper and I start from this right side here. Then I'm going to slowly go to the top And as I move towards the top, I'm decreasing the color. This is because adal perspective. We're looking at it from this direction. Anything that's towards that side needs to be on a lighter toe. There you go. I've just gone ahead and added a lot of color tones as in the same color toe, but making sure that the depth of the region is going to be here at this bottom right here. Then obviously, I'm going to spread it downward. What you can do is you can have a slight built to your board so that your color starts to flow down. Let me wash off this brush and then I'm going to slowly pull down also some of the pigment because I want this area to have some of the colors, but then in a very, very a lighter and subtle manner. Don't bring it all the way to the bottom, especially because it's silo blue. I can ruin our painting if you do that. Then we are going to grab Indigo next. This painting is going to be super quick. Trust me. We're going to grab indigo and then we're going to add that into the water region and just some darker random spots in the ocean to depict that that is what we will use this for. Go ahead and use that and try and create these random shapes. Then let's go ahead, grab the thalo blue again, and then you can give bluish noes. At random places. Make sure that the color decreases as you go further away, S. You can also use the same indico mixture to add in lines like that. These will be random lines in the ocean. Then now we'll go ahead and paint the fork ground. Painting the fork ground, you can either use yellow occur or raw Ciena. Here, I think I will go with raw Ciena because we've been using yellow oc for a long time isn't it. Also I'm going to switch my brush because my brush is literally contaminated with a lot of the thalo blue. Also because thalo blue is a very dominating color. There's high chances that my brush will be having that color, which is why I am going to be using just another brush. You can see as soon as I add in the acena. This is now already looking like the beach, isn't it? Can you see how it's magically looking like the beach? Now, while you're drawing this part, you want to tilt this portion of your board, so that your paint can flow in that direction and meet the area where it's the beach. All right. I'm getting rid of the excess water. I'm just going to go ahead and blend along in this region because you don't want the water to be of creating any blooms or the cauliflower effect by spreading the water out. We don't want that. We actually just want the ocean. Oops, I picked up rows yellow occur in between. My mistake. I apologize. Now, we've added a bayone of yellow. Now, let's give it some magical colors in between. Here, I'm just going to grab a tiny amount of my burn CNA. What we're going to do is we're going to add like you. Lines and strokes like that. This is to depict the water that is receding into the ocean. But don't make it too dominant, just a des tiny bit, like that. If you feel that it's too dominant, go ahead and wipe off some of the areas. But can you see it's a subtle very subtle tone into the beach area. Then obviously, you can also go ahead and add in more details as in, I, I am going to add in some splatters. Here you go. Just grabbing my brown paint, I'm going to mask the ocean area, of course, not enough water. And All right. There. I've put in some nice splatters. So I guess that's enough and we can dry this up, and then we can use our white paint to add in the waves and everything. So I think let's go ahead and dry this off. All right. There you go. It's dried up now. Now you can start with your white paint. What I was doing was because this is gash and it has dried up. Um, while I was drying my painting, holding in one hand, I used a little bit of water onto this one to loosen up the pigment. It saves time. So this is some easy things that I do. Now along here. What you want to do is, you want to use the tip of your brush and to try and create these abstract marks onto the beach area. You don't want to do it in the water region, but you want to do it onto the beach area because this is like the form that has come on to the beach. You don't have to have any continuity as well because you can literally have a lot of breaks because like I said, again, it's the form that has broken off. Then obviously, we need nice and dry brush, which is why I'm completely drying my brush outside now. You can see that. There you go. My brush is now dry and then we're going to use this dry brushing. See. Now that creates the effect of a form in the water. Go to need a tiny bit of water. Then again, boom going back on to my ocean region to my peach region and adding in. Make sure that the pain that they're using is nice and in a very creamy consistency, only then you will be able to get the dry brushing stroke. Not even creamy, should be like this is creamy. This is the effect that you get if your brush is not dry, that's okay. Right getting on, continuing on. Like towards this end, I want it to be very lest again. Like I said, because this is the further off region, so we're not seeing much. We see more and detailed version of the form as we approach closer to the viewer, which are these areas here at them. We've got to go ahead and add. Here, let's go and add in another wave. See how we've made the gorgeous ocean. Pain needs to be nice and white it's going to fade out, and also we've only applied a very lighter color towards the bottom, so it's definitely going to fade out. Then obviously, you can go into the water region and add small mas. And actually this painting is now almost complete. Because we completed this well within the time, not even within the time. I see 12 minutes on my clock and which means that includes the drying time as well. That's way lesser time. Let's add in some fun objects onto this. Additional objects which will actually make it better. What I'm going to do is I'm going to grab a little bit of my bands ina and I am going to apply that on to my painting and I'm going to create a rock. Just a random shape there. I've created one. Let's do one in the water as well. Let's see, we'll do one over there, so make it into a rough random shape. Then another one along. Something like that. I've added two rocks, but now we need to add the shadow region and also the highlights onto it. Here I'm picking up my darker paint. Darker brown and I am going to create an extra surface on here. Now you can see how this looks. We still haven't added the highlights. It's only the mid tones and the darker tones now, we will add the highlights. There that is the base built up. Added that part. Now, we definitely need to add in the highlights. We can do that. Starting with we can give two ranges of the light effect on it. First, I will start with a little bit of yellow ochre, and I will shine a little bit of the lighter area onto the top there and the s along here. I can see the lighter area. Now we will add another little bit of lighter area on the top, and I'm using my white paint for that. Here, just adding a little bit of the white paint over the top. We can do the same over on this one as well. Now we've added two parts of the rocks. But because we've added the rocks, there needs to be reflection on the water and and a shadow on the land area. Here I am just grabbing a darker paint here. This is paints gray mixed with my transparent brown and just going to add something like this over to the bottom. That is the shadow of that one, then a little bit of a reflection needed. Here, just grabbing the color that we painted for the ocean and I'm just going to add that. That's a little bit dark. I think cops probably we mix it with indigo, isn't it? Just going to grab that and put that there at the base. See that, add something. But now we need to add in a little bit of white again. Let's actually wait for it to dry so that we give it a little bit more form. I can see that my color is fading a little bit, that's probably because I'm using paint that's dried up. If you use fresh quash paint, then it should probably be better. Here I'm loading up from directly on using the tube. I'll just go above some of the strokes that we already did so that it becomes a little bit more dominant. There, grabbing the paint, making sure that I get it nice and dry. Now over to where the rock is, remember. We need to add in a bit of form over on that region. Because the come and onto the rocky region, creating a surrounding it. That's what happens. Let's just create a bit of a region surrounding that. B. There you go. It's actually done. Although I do not like the way my white is like, lightened up. That's probably because I'm actually looking at the screen here in front of me, and that's where I see it's lightened up but on my paper, it's not that lightened up. I'm guessing it's just the colors on the screen. I don't know how to solve that. But anyways, this is our ocean painting, and now we'll go ahead and move the tape because we haven't painted anything along the edges. There you go, guys, you can see when I actually tilt it, it's actually more visible, isn't it? There you go. Here is the Ocean painting. I hope you enjoy painting this with me. Thank you so much for joining me today. 55. Day 50 - Breezy Black Beach: Hey, hey, welcome to Day 50. Oh, my God. 50. Literally, we are halfway through the glass. Can you believe that it's 50 because it's day 50, we're going to paint this Gorgeous gorgeous ocean painting. I mean, Bach, of course, it's a beach in Iceland. I'm literally transporting you to Iceland today. Right. This is what we're going to be painting. Let's have a look at the colors that we need for this one. We need paints gray and intgo for the sky just very subtle. Then over to the water region, we use the same pigment mix we used in the previous day, which is tell blue, Tello green, and indigo mixture. Obviously, the colors are ello blue, ello green and intco. Then we need a little bit of transparent brown and there's more paints gray, and also I mixed in a little bit of yellow ochre there. Lastly, obviously white gash. Those are the colors that we need. If you're ready, let's get started with this one. All right. Let us start. We need a little bit of a horizon line to die. So my horizon line is going to be around one by third of my paper right there, and I'm just going to go ahead and add a straight line like that. You can use a ruler if it helps like there you go. That straight is, and that is the line of the ocean. Then we're going to have our beautiful rock like that sitting right there in the middle. There you go. Then we have another one towards the right side here, and then another one over to the side. Okay. And maybe another one here, which is like further off. That is our pencil sketch. Let me show that you closely. There you go. That is the pencil sketch that we want to be doing today. If you're ready, let's get started with this one. Here I am going to apply water over up to the horizon line. There up to the horizon line is where we are going to apply the water because we're going to pain in the sky first. Let me then absorb the excess water from along the edges. All right. Then I will grab my size eight brush and we'll go ahead and paint the sky. For painting the sky, I am going to grab my pain. Let me just clear this portion up because it's mixed with a bit of brown. Then just paint that is what we need. There you go. And I'm going to start and start adding. I'm going to start there and place in a nice amount of the paint scray. There you go. I'm going to go ahead and add in randomly like that. You're probably used to adding the clouds and everything in the sky. Now, isn't it? So this is probably very, very simple for you, I suppose. Okay? Then I'm going to pick up darker colors. Oops. That was a drop with my brush. I didn't mean to do that. Thank God, I didn't drop in entirely. Otherwise, it would have been a completely darker color that I didn't intend to have on my painting. Anyways there. More darker colors towards the extreme top like always. See More dark. Any time I pick up dark paint, I will apply that to the top region. I love when watercolors do these strokes. It's just magical, I would say. Once you've done that, let's give it a little bit of a color. Here I'm just grabbing a teeny, tiny amount of indigo, and I'm going to add that over to the top as well. Okay. Maybe a little to some random pass. I guess that should be enough. That's it with the sky, so we'll go ahead and completely dry this up. My goodness, look at that gorgeous sky. Oh, my God. Now let's go ahead and paint the bottom part. The bottom part we'll bring in a little bit of color. This mixture here is hello blue plasto green. I want to make it a slightly darker, so I am going to mix it with a little bit of indigo. And a little bit of paints gray, but now it's lost the greenish touch. I'm bringing back my teal green a little bit. You see the color there, that is the kind of green we want. It's like a dark turquis green color, and this is what we're going to be adding. You can add that along the horizon line. I'm not painting over to the left side because that is literally the rock. You can actually skip it. But now along the horizon line, you are going to draw using the tip of your brush and make the E horizon, that is the further end of the ocean which we are seeing. There that's done, then literally just wash off the pigment and go ahead and next thing, we're going to grab just paints gray. I think also it might be probably easy if you could just apply water to the bottom part. Now that you've only applied at the top, it's okay. Just quickly apply water to the bottom part. Then we will grab the paints gray. Can see just the pains gray and bring it over to the bottom. There now at the bottom. That's how you blend the two colors. There is that touch of the turquis shade at the top, but then you've got the paints gray and now you apply the paints gray over to the bottom. Then the paints gray that you're applying, make sure that you apply such that they all converge towards this rock right here. There we have the rock there. Remember. Make sure that it ties and converges to all of it to that rock. That's how we want to add the color. Now we want to darken certain areas. Here, I'm just grabbing dense dense paints gray and I'm just adding here along the edge. We only want to darken along the edges. Do not push this darker pigment over to the center part. Otherwise, it's going to be really hard for us to paint in the form region. That is not push its the center just along the edges of the paper. Here, that's the extreme dark region, just pushing it. Taking up more of my paints gray where needed and pushing it. You can see just literally dense pigment. There you go. You can see it's a lighter area there. You can see it's light because of the water reflection there. The water is reflecting because it's got a lot of water there, which means that it's completely having looser pigment in it, isn't it? I'm going to dry this up now. There you go. It's completely dry and you can see the part the two parts of the water that I had applied came about and it's created like a dark edge there. This is the kind of d hee that I say you must prevent on your paper, but today I didn't bother about that one because we're going to be anyways covering up that area. This is the reason why I did not bother and I seriously did not take care. Now first, we will go ahead and paint all those background rocky regions. Here, I am literally grabbing my darker and umber or the transprim brown in my case, and I've gone ahead and added that over the rock at first. See that A is the paint. Then over to the next one. We've got it right here. Then over to the next one, which was this one behind, isn't it? That one again, I've taken Dn pigment. Ns pigment of the brown, then the same on here. This is where it comes a bundle here, and this is why I said that the dark edge that we have is already gone part of it. The rest of it is going to be covered in form as well. You've seen the final painting and it didn't have this darker edge. There you go. Now that you've done that, go ahead and grab paints gray. We're going to add paints gray over the top and the brown is only going to be visible in some areas. Leave it lighter in some of the areas. And go ahead and fill it up. See added a darker color over the top. The initial color over the top is going to be the paints gray itself, but we added the brown at first, that do not cover it up entirely all the brown. Just try and leave random spaces where the brown is visible. I don't know if you can see. You see it's got random rocky texture. That's because some of the areas are left behind as brown. As for this at the back, make sure that you leave most of it brown. This needs to be lighter than the one this. That means this needs to be more brownish than the ones behind. Now this is our main center of attention, isn't it? Go ahead and add in. But again, leave a lot of lighter spaces. That is lighter in the sense, white spaces. I mean, brown spaces. What am I saying? Okay. Now, that's one big chunk of the work done. Now we've got to go ahead and literally add in the form. That's a very huge task in this painting, but we're still only 15 minutes in. I mean, at least that's what my clock shows. So We can get started. Here's my white paint, and we can get started. Here, just going to grab the nice white paint, and we're going to start right along that edge there, and you're going to do something like this, get it all the way towards stat center, then leave a slight gap and then come out again and do this and let it go outside of the paper, and come back. Then again goes outside of the paper. Then here, this place where it went outside of the paper, we are going to slightly thicken it. We definitely need it to be a nice white paint because we're literally painting over black. Can you see that? Just go ahead and add over it. Sometimes you may have to go over it multiple times. In order to get it to look this vibrant white, I am pretty sure that my paint is going to lighten up and be very faded when it dries up. There add that. Now we need to go with a lot of dry brushing. Here, let me make sure that my brush is now dry. I'm going to start getting dry brushes. Here adding the dry brushing from the outside towards the inside towards the center part of this rock. A lot of it added there. Then coming over to this region. Remember this was the beach. First, try and add in a lot of lines like that to depict, then there's the huge wave happening there. That's the huge wave there. And as we come along the edge, we've got more foamy regions. It's getting thicker and thicker. The form literally gets thicker and thicker and as you reach here, there's a lot gets thicker. Now we need to make sure that we are following along the edge of this rock here. Here and you can leave lots of gaps in between. Obviously when you're doing the dry brush, you're definitely going to get lots of gaps anyways. But now, again, the direction of the dry brushing. That also matters because that is clearly evident in your strokes. All of the dry brushing towards the center here. This rock is our focal point. Have all of your dry brushing focusing on that region there. The center region is like literally covered in a lot of form. Can see what I've done here. Along this one, as you join along the edge, we want it to be dry brushing. See how that's opened up now. Now, we're going to grab the color that we mixed in, just a tiny amount, and you're going to mix in a bit of the white there and we're going to put that in just along the edge. This is where the shadow in the water is going to be like. You're going to use that just a tiny, tiny amount to depict shadow regions. But again, remember to have it in the direction of the flow. Like that in this direction. And only towards the most white regions. That looks nice. Now, the only thing left for us to do is I'm just grabbing a little bit of white paint, mixing it up the brown and I'm going to give some lighter areas on to our rock. Can you see the rock area getting lighter. Needed to be more brown and maybe slightly yellowish. I'm mixing a little bit of yellow occor that is a better shade. Oh. A little bit of that onto the rock and it actually shows where the high lights and everything are. See how that's turned out. If you feel that your white is really starting to dry up, then you can go ahead and add over the top and add some more. There. I'm just grabbing and adding, but make sure that you do not cover up any of the turis shades that you added earlier. That would be a disaster if we do that. Okay. I think that it looks pretty good, and I am really happy with the way this has turned out. We have the beach area, we have the area where the form is literally covered up the front part of the ocean. And because we have not painted anything along the edges, we're free to remove the tape. And there you go. Here's the finished painting. This was I mean, I really liked the way the former stand out and turning like that, and then all focal point to that center rock, and then the highlights of the rock and everything. Okay, as not boast. Here you go. I hope you enjoyed painting this with me. Thank you so much for joining me today. 56. Day 51 - Pink Purple Paradise: Hey, hey, hey. Welcome to the 51, and this here is the painting that we're going to be doing today. Isn't that gorgeous? Such a beautiful gorgeous beach with a nice reflection and everything? Let's have a look at the colors that I have used. I start with a transparent yellow, then a bit of transparent orange, quinacridone rose, violet, Bcena, transparent brown, and paint gray. Of course, we need white as well. If you're ready, let's get started with this one. All right, et start. We'll quickly add in the horizon line. The horizon line for us, in this case, is going to be around one by third of the paper. From the bottom, check one by third and there is our horizon line. And that's it. That's all there is to the pencil sketch. The rest of it, we can do with our brushes itself. Let's now go ahead and start painting the sky region. Here I am going to apply water to the whole of my sky. Just careful above the horizon line. Here I'm tilting my board upward. All of the water can flow towards the top portion. All right. You can see how I've done that. Now we can absorb the excess water and we'll paint the top part. I'm going to grab my size six rush. And we are going to first start with a nice beautiful, transparent yellow color. This yellow is what we're going to be painting, and we're going to put it right at that base region there. We've painted plenty of skies already using this method, so it should be natural to you right now. There you go just above the horizon line. Then here I am going to leave a teeny tiny white space. Then going to go ahead again to at the top. Like that. Then going to grab orange, which then with the orange. Go ahead and add tiny clouds or just random strokes. We want the yellow to be visible nicely, but then we also want the orange to be dominating along the edges. This is because when we're adding in the other colors, the orange should be the leading color in that area. As in, this should be what separates out the yellow from the rest of the colors. Then here, I will grab my pink shade. I'm going to add this pink. You can also have your separation with the pink, as you can see now here. I have added the pink onto that region. As soon as my pink touches the orange and the yellow, it starts to turn into a reddish shade, if you can see that. Then here going to keep adding my pink. This is my quinacodon rose color, and I'm adding that. You keep adding. Now I filled it up with quacrodone gold. Now I want to create some beautiful golden colored clouds. I'm going to grab my burn Ciena. I know it's quite a lot of procedure at this moment, isn't it? That's okay. Here you go, you can keep adding. You can see those are t tiny clouds, and we can add some more over on this side. Maybe few over to this side. I think that should be it. Do not add too much. Then next, we're going to grab our violet shade. Let me do it over here because I don't have space in my violet. Now this violet over on the pink shade. We're going to be mixing this violet over on the pink shade so that we have a red purple shade. Not too much of the violet. If you get too much, then make sure you blend it along into the pink. Such that it's like a red purple shade. You can see I'm also using the edge of my tape as a literal mixing palette, not palette, but to reduce the color tone. You can use that as well. And see now I've got the gorgeous colors in there. Here, that was the violet, and I'm going to take a bit of thing as well and that's created like a red purple shade. Can you see that? This red purple shade. Let me bring it a little bit more over to the center because I'd like to Um blend that and then you can use the same red purple to create like tiny tiny clouds instead of the burn sin. You could also use this method. That's it for the clouds and the sky part. Now we're going to completely dry this up so that we can paint the bottom beach part. There you go. We've completely dried it up. Now we can go ahead and paint the bottom part. So at the bottom part, we are going to have to do the same thing as we did with the sky. So a lot of colors depicting the beautiful thing there. We are going to grab the violet and then mix it along with the queen acon red that we get a red purple shade, all right. I think it's best if we water it down so that it makes it easier. Here I am just applying the water all right and right at the base of the horizon line. That's where we want to apply the water and create a wet surface. Not apply too much because this is just to aid in for our wet on wet. The rest of it, you can do with your paints as well. Having an initial surface to start one is a really great thing. That is why we did that. You can also see the space right below the horizon is actually not having any color, so I haven't added any there yet. Here is my color tone, and I'm going to place that right below, as you can see. And I'm going to go ahead and create. But as I approach to that region, I'm going to stop rather. Now I'm going to grab in my transparent yellow with a little bit of orange, and I'm going to use that and continue along with that. We will make that better. I may show you, let us finish off that region at first. There. Now let me blend along these. Grabbing the violet, just the violet. Make that we have to make sure that we unify the color. Here taking a little bit of the same color mixture, and you can see that slide gap over there. Build that up. Now that seems better, isn't it? Then, let's just blend along, making sure that there is no harsh edges. So long as you use a nice amount of water in your brush and you bring down the pigment. My paper actually started to dry out already, so I'll just apply water to the base. Just make sure that you are applying the water to the base and not towards the top region at this point. Here, just grabbing the violet and we will keep adding. Only towards the top, we want it to be nice and pink, then we go with the violet. Here I'm adding violet, as you can see, just along this side. Now towards the other side, we need it to be the other colors. Also, I think we can give a little bit of a violet to this side because we've got a nice color there. What you can do is go ahead and do this, make sure it's all pointing towards the center like that, see that. All pointing towards the center. Then let's see, let's go ahead and create that light effect first. Here I'm just grabbing my yellow paint again and I'm going to do it right beneath the sun region. I'm adding the yellow. This is actually the difficult part in this painting because you've got to achieve all of these color mixes and not create any muddy colors. Here now, the next thing, grabbing orange because remember, that was the color that is blended along. Here blending or along the edges and the same thing orange along these edges. But you don't have to do it too much and worry too much as well because you always have the option to add in waves and we will be adding waves over the top, so do not worry too much if you do not get this correctly. Honestly speaking, do not worry too much. Here I'm grabbing my pink and blending it along Adding the pin on there. Let's add in the pink over on this side as well so that we get the color directly. This is not the shadow. This is actually the reflection. That is why it's having the same colors. We've always got to remember that. If it was the shadow, then the opposite color scheme would have been used. That is the opposite color scheme of the yellow and everything. Underneath the yellow, it should have been violet and where it's wild, it should have been yellow and things like that. And a cooler color scheme as well. Go ahead, grab in a little amount of that. Burn CNA or you could use the other mixture that I mentioned as well. But go ahead and create that unique mixture. And then now we can create darker edges. Here towards this edge. I want it to be slightly darker, then maybe here as well. Let it go and blend along nicely. Here, you can blend in the violet. It is just going to create a dark brown shade and that's okay. Nothing to panic here. Let it create that dark brown shade. It will just act as though it's the darker shade on the beach. Then make sure you blend in all of these. Describing a little bit of orange because I felt that there was a bit of lack of pigment there. Now once you've done that, now we've got to make sure to get the reflection of that sun there, and how are we going to do it? We're going to do it by lifting. We need to retain the white of the canvas, although this transfer that I have used is kind of very staining pigment, but we can still achieve that. Right there, if you go ahead, and try and absorb. Each time you absorb, wash the brush, dry it off and do that. It doesn't have to be perfect, see, but how absorbing the pigment like that. You can also make it like nice dark yellow color instead, at some places, and some white in between. Guess I need a bit more white oops. What did I do there? I think my brush had some color and that's what I put back. But if I blend it, it should actually go away. There. Now that's almost absorbing and we've created a nice reflection. You can see that. You can create the reflection right from the extreme top. No need to leave any space. It's right where the extreme top is. Now we've got a nice reflection in place. We have the beach effect already done. If you want, you can give some more darker colors. Let's see. Let me try some more. Yeah, I think that's much better using a smaller brush because then I have a little bit more denser pigment in my brush rather than the more number of water with the other brush effect which I was getting. Here All right. I think that's much better. Then at this top region is I want it to nicely blend in grabbing in the colors and blending in. I think that's more than enough. Now we can go ahead and completely dry this up to add in the further details on the forefront. There you go. You can see it's very subtle and almost all dried up. Now we'll go ahead and start. We're going to create a little bit of a sandy area. But because it's the sunset time, it's going to be in dark brown shade. You're going to use your dark brown and you can just create like something like that, a random area, like that. Then it will look as though it's the sandy region, and you can also add some here. These are the areas where the water has not reached and so it's not reflecting any of the beach. This is actually the beach area. The rest is a place where it's actually reflecting the light because it's where the water has receded, so it's still wet and it's reflecting out. Then we'll add in two rocks and then we can finish off with the form. The two rocks. Let's start with a nice burned CNA. I'm just using this dark mixture here mixing it up with the brown that I have there and just using burn Ciena, and that's what I will start with. I'm going to put that burned CNA. This is what will give me the lighter color. I'm pushing that burned Ciena on the top there. I know that I don't have to complete it and then I need to go in with a darker color. Here I'm wrapping my darker brown. This is what I will add at the base. Something of that sort, go ahead, blend it up. Now, this region needs to have an even more depth. That is where you can actually go ahead and grab pains gray and add that over the top. When you add in pain, See that how that rock has got a lighter edge. We can also create some more of the texture by describing the darker brown and adding it over to the top. Now that's one rock done. Let's do one more. Actually, let's do that behind this one. I like that, a bit more on the steeper edge maybe. And then that one is the rock. Here I added the top region started with paint screen. Going back with the brown. I love adding objects directly with my brush because it just gives me a lot of practice with my brush to create without any second thought and I just feel it's magical to do that because then you have you're free to create your own shape. If you have and add all of these with a pencil, then you're limited to that shape, whereas with a brush, you really get to explore a lot. Here, just grabbing paints gray and along this edge, if you apply the paints gray nicely, then you should have a clear distinction between the two rocks. Once this is try will be more evident. Plus we can also add in some lighter shades, once this is tried, or maybe not. You can actually add it over the top as well. Let me just clean up that yellow occur. But from previous days painting. There you go, that's cleaned up. If you go ahead and add it over the top, in random areas. Just maybe a little bit of a reflection of the light. You can also add in some white paint later. That's totally up to you. All right. Now we've got to wait all of this to dry so that we can finish off by adding in the form and then this thing all of it will make sense. There you go. Can you see after drying and after there's no reflection from my light so for which I apologize. You can clearly see how the rock looks and how it's got a darker surface towards the bottom and all those light areas towards the top. Although the yellow cry that I added is just vanished into thin air. Now let's go ahead and paint the form. For that, for the further further away region, I am going to start with lavender. But let's not just use lavender, but I'm going to use it up with a mixture with my white gh. Here's my white gah and I'm going to mix it up slightly with my lavender so that it's like a light lavender and in case you don't have lavender, lavender is just a mixture of violet and white together. You can just mix more white in case you're mixing up this color. The first and foremost thing we're going to do is we're going to create lots of vy ness in the water. See that. Just create a lot of lines. First, with the lavender, just keep adding. Then as we approach closer, we want to start adding dry brush strokes. This is where we definitely need to make sure that our brush is and we start adding dry brush strokes. But then here now, the dry brush strokes, you need to make sure that they are not to the rock at all important. Oh. Then over to the white side. Do not continue over to that yellow region. We'll do something else for the yellow region. Then mixing up with more white now. Just grabbing my white here and we'll come over to this side here adding right the rock. Ops, that's okay because it can look as though it's like the splash. Now I've got to make sure that my brush is dry and we start making those dry brush strokes. But before that, we can create the nice edge where the dry brush strokes actually start. As you go over to the yellow region, make sure that it's more of white color. Here that was white. Then we have the beach Extending outward like that. Then dry brushing now time for the dry brush strokes. Definitely, if you need it to look white, then you're going to need to use wash paint. Here, I will squeeze out some fresh wash paint. Otherwise, this method is not going to work. We learned that the hard way isn't it. There you go. Keep going. Thank you. T. Thank Tank Always, also remember the flow. It needs to be like that in a horizontal manner. Don't forget that. As horizontal as it approaches the site. That is what I'm doing. Over to the right side. Again, we have added a lot of lavender there already. But that's okay. We're going to go together with it. See how we did that along this region. Remember I said that closer to the yellow, we want it to be and that is what we will do. Here again, most of it should be in perspective. It's as though all of these are going to converge somewhere here. Make sure that you follow in a similar manner, such that they're all going to converge somewhere over there. Then many of these have grown lighter. If we can just go ahead and add in some over the top. Then that will give it the effect of dull color on it. Can you see just tiny bits. Okay. There you can see that. That's much better, isn't it, okay? B. B. Add it in a lot more of the dry brushing. There you go. I think that's more than enough. Now we have the beach effect almost done. If you want, you can finish off with some random detailing on the beach, rocks or other areas. If you want, you can also do laters. But I think what I'm going to do is just drop ins of dots and random details like this. There you go. I think that's much better, isn't it? We're actually done. Because we haven't painted anything along the edges, we're ready to remove the tape. Okay. That was well within the time, isn't it? Let's go ahead and remove the tape. Here you go. Here's the finished painting. I hope you enjoyed painting this with me. Thank you so much for joining me today. 57. Day 52 - Coastal Canvas: A Hey, hey, hey. Welcome today 52, and this here is the painting that we're going to be doing today. Isn't that gorgeous? Such a nice, beautiful beach? And my favorite part in this is actually these broken waves here. I mean, the teeny, tiny details that you add at the end, so watch out for those. Okay. Let's have a look at the colors that I've used for this painting. The colors I've used are Halo blue, paints gray, Azarin, crimson, Rena, O olive green, transparent, brown, Halo green lavender, a bit of dark green. Oh, my God. I mean, that's a lot of colors, isn't it? I know I said paints gray twice. Didn't I. So But I've literally used all of those colors in this painting, many of which are in hiding, for example, where is the Eli sarin? You'll see that soon. If you're ready, let's get started. Let us start. Let's go ahead and add in the pencil sketch. Around one by third of the paper. That's where our horizon line is going to be. There you go. That's the horizon line. Then Along the horizon line today, we have a far off land or a mountain object. Then today's beach has a grassy region in the front. Then there's the beach, the beach, we won't trace out the beach. Yes, that's it. That's the fencel sketch. Here you go closely. If you want to have a look. Now, let's go ahead and finish off the sky. This is going to be pretty quick and also very easy, I suppose. I mean, you've painted a lot of skies by now, so I'm sure that this is going to be super easy for you. Right. Here, just going to go ahead and apply. Only applying to the top region of the horizon line, do not touch the bottom part for now, paint this separately. Here you go applying the water nicely on to my paper, where these hairs coming from? It's not even from this. Rush. Where is it picking up from? I've got no idea. That's all of it added. Now I've just got to go ahead and absorb the aces from the edges of my tape, and I will start with the sky. For the sky, I am going to grab my size six brush, and we are going to do that with a nice tal blue color. Let's go ahead and add Tyalo blue, but before that, I think there was an excess water here, I could literally see that. I've absorbed that with a dry brush, and then Tyalo blue. There. Starting at the very edge. It's really fun to go ahead and add all those Halo blue randomly into the sky, isn't it? I absolutely love it and always enjoy it. Here's what I'm going to do. I'm going to be adding the Halo blue like that. Every time I pick up fresh color, it's going to be over the top. Then as I come down, I'm going to reduce the color done, maybe even wash off the excess figment in my brush because I'm just going to use whatever is there here and use that to bring it down all the way up to the horizon line. Towards the horizon, we only want it to be very, very subtle. We do not want the color to go ahead and match the color of the sea. And that's something that you have to be really careful. Be careful of what you bring down. Then once that is complete, we will add in a little bit of a cloud. I'm going to use paints gray, but I'm going to mix in a tiny, tiny amount of alizarin. That was too much. But then if we go ahead and mix in more of the paints gray, that should do the work. There you go. I'm going to add in the paints gray at the top. Can you see? That's a little bit of a denser cloud there, but then we start to get lighter and get these random cloudy shapes. Can you see how gorgeous it's turning out? When you have these random shapes intermixed in with the blue. The reason why Alizarin mixture is there is because can you see how this color is. When it spreads out, it discharges some of the Alizarin, giving it a beautiful dull tone effect. You will be able to see it on your paper if you've mixed in with the Alizarin. It will not be that visible like probably on the camera, but then definitely it's going to be more on your paper when you look at it with the naked eye. That's the beauty of it. Now, added in a nice amount of the paint gray. Next, grab in a very, very subtle amount. Tiny tiny amount of raw sienna, and you have to make it very subtle and make sure that you put this raw sienna, just in some places into those white regions. As you can see, the color, the term adding is literally not there. But then after adding that slightly lighter asena can you see how these regions glow? It's as if there is the sunlight being reflected on that region. If you compare this white and you compare this white, can you see how a little bit of yellowish it is, although it's still white? That is why a very tiny, tiny amount of the ciena. That's what we've added. Then once you've done that, that's it for the sky, let's go ahead and dry this up. There you go. It's completely dried up now. Now let's go ahead and paint that background mountain. That background mountain is going to be with a darker greenish brown color. Here I'm grabbing my live green and I'm going to mix it up with dark brown plus paints gray. Paints gray, more paints gray because I needed to be dark olive green color, but in a brown effect. There you go. That is the color, and that is what we are going to use on to our mountain. The mountain is further away, so you do not need literally any details on it. Just go ahead and add and then fill up the mountain, but make sure that you stay above the horizon line. Grab your brush and make sure that you go along the horizon. If you believe that it's difficult for you to get perfectly flat lines. What you can do is you can put a tape underneath and then just freely paint above and then remove the tape later on. That should make things easier for you. If in case, it's difficult for you to paint just above the horizon like that. Just in case. Then here grabbing my paints gray now, just going to give it a little bit of a dull color at the base and mixing up at a certain point. Just at the base. And there. So that's again, the mountain part done. Let's try that as well because otherwise when we paint the water, it's going to flow down. We do not want to do that. Okay? All right. De. So now let's paint the water. Again, for the water, we are going to start with a blue color, but just a moment, apologize I have lean of this part of the palette because I don't want this color to be mixing up right now with the colors that I am trying to make. Today, there was no usage of this paint, sometimes, but you know how I keep reusing all of the paint in my palette. I feel always that that's the beauty of my paintings because a lot of colors get in mixed together. Anyways, they blue and they green together, you get this gorgeous Turquis green color, and that is what we're going to be using. Straight up at the top, go ahead. Create a flat paint of this color. At the very further end, can you see some tiny amount of white areas that I'm leaving? I don't know if it's visible, but let me show that you closely. Can you see some white gaps that was deliberate. You want to leave those teeny tiny amount of white gap. I've got to do once more because the paint is now. Then we're going to go with green next. Go ahead along the same and at the edge of what you've already painted, go ahead and put in green now. The next is all going to be green and the green is going to be somewhere around until here, and you can join that up to the edge. Now, let's join all of this. Let me give my paper a slight tilt so that water can mi. The nice tilt done, then going to break down the edge. If you've got a harsh edge just rubbing along your brush like that, should do the trick and break down the edge. We need the edge broken down because we needed to be depicting the sandy area. So holding your board upwards like this should do a trick. And then blending along in that direction, S. These lines that you are at are also useful because they will be like the waves in your ocean region. Then for the sandy region, go ahead and grab in raw sienna, add a little bit of pthalo green. Here mixing up with my raw sienna. In fact, you can go over the grass that we've painted and just literally add in the raw sienna. Adding in the raw asena and mixing it around. Then I'm also going to create a subtle some other color. Here, just grabbing a little bit of a lavender, and you're going to put that onto your racena. Then it creates like a somewhat a little bit of a muddy color, but that's okay. That's because see how it creates the muddy effect on the beach. This is fy, a little bit of the rosin mixed with the lavender. Then I guess it's time for us to wait for this to dry out and then we can finish off with this the foreground. There you go. It's dried up, so now we can paint the foreground. For painting the foreground, I will start with a nice amount of olive green at the beginning. I mean we're going to be using a lot of olive green itself, but then start with it, give the nice initial layer there. Then as we go over to the top, we want to be using the tip of the brush and we want to be creating upward strokes to mimic that of the grass. You can also use the edge of the brush like that and do this. See what I'm doing there. Make sure you do it above the pencil sketch so that your pencil sketch is not visible, all right. This is why sometimes I say that having no pencil sketch is literally a boon. Be then you would be able to do a lot. Then actually as you go further away, decrease the height. Mainly because as you reach further away, you're not going to be seeing the grass as detailed as it is on this side. Perspective, very important. Added in the nice olive green. Now that's a lot of the foreground done. Now we have a lot of intermediate details to add in. For that, here, I grab in my brown, and I'm going to go in between like that. Then I have a very dense brown reg that I want to depict. Then I will grab in ale bit of the darker green and I will that maybe a little bit of a paint sy into that dense bunchin There you go. That was the initial layer. I think a little bit more brown won't harm the picture. What I'm going to do is, I'm just going to use my brown paint again and I'm going to add in a lot lines like that over on the top, that and lend it along. See. This, like I said, is still the inner part. Then let's go ahead and dry this up and then we'll add it over again on the foreground. All right. There you go. It's dried up now. What we will do next is we're going to grab in our liner brush or a detailer brush. This is where it's going to be really tricky. Because we've got to do a lot of these grass texture. Here, grabbing my liner brush, and I just tried out grabbing my cadmium yellow, I mixed it into the brown and the pain scream mixture that I had right here. I've gotten it like a nice olive green shade, but I think I need a little bit more brown into it. Here I'm adding more brown. And this is what we're going to be using. You're going to use this and we're going to create a lot of grass texture. Let me make that a little bit more watery. Maybe a little bit more olive green. All of those colors mixed in together. Then using that, go ahead. You can also mix in mum yellow at some point and use that and create a nice grass texture, such that all those brown plane that you added, they go one layer behind. Make sure that you go and create various directions. There is no wind or anything blowing at this point. We don't want to depict it moving in one direction. You're free to go ahead and in do it in various different directions. See how that denser region that we added goes behind. You can also keep changing the color that you're adding by adding more cadmium yellow to your mixture. You don't all have to start at the pace. You can also start somewhere in the middle. And see how that is now looking. You can also use a little bit of a green at times. And over to the edges. Start adding smaller ones. Combined with the ones that we added earlier, it's going to look really amazing. Remember, as you go further away towards that end, it needs to get lighter. Lighter. It needs to get. That's what I meant to say, and then I said lighter. There you go. Can you see how all those brown that we added has gone like behind, and it looks as though it's some detailing there. Let me grab some more brown, going to make it a little bit darker at some places. You want to grab and it different colors. Maybe even completely yellow colors are accepted. Cuts more than enough and it's looking good. I'm just going to grab the same color and just going to go over to the very edge where I said that it's now supposed to be smaller towards that edge. I'm just using my tip of my brush to along that edge. I think that's more than enough. Now we need to go ahead and dry that up. But maybe we can see if it dries up on its own while we paint the white region. Here just grabbing white paint. That would be there. You can add it as a brush and you can also add it as a m one, whichever you prefer, but just make sure that they go and follow along that line always. But obviously, you can have little bend where it creates the wave effect. I'm going to create the wave. The wave is bigger on the side. Here, it's started to break down. How you do that is if you do a little marks down like that, and then keep going over to the edge like that. Let's see how gorgeous it looked when it looked as the had started to break up. I think that would be enough and I know that the pain that I just added is getting lighter. Going over the top of it. Right. There you go. That's really, really done. So let's go ahead and dry this part up. Although I say it's almost dry, but I just want to be sure and dry this up, and then we can remove the tape. All right. There you go. It's dried up. So now let's remove the tape. And here you go. Here's the finished painting. So I hope you enjoyed painting this with me. And thank you so for joining me today. 58. Day 53 - Sunset Shore: Hey, hey, hey, welcome to day 53, and this here is the painting that we're going to be doing today. Isn't that gorgeous? I know this is a little bit of off on the tougher side, and it's also a little bit lengthy, obviously, you can see the time. But it's worth it because this is absolutely gorgeous, and there are a lot of techniques that I have covered in this one, which we haven't done before. All right. So let's have a look at the colors that we need. The colors we need are transparent yellow, queen acrodon, gold, burnt sin, transparent brown or burnt umber. Halo blue violet, and here down here is lavender, halo green and white gash. That's it. Those are the colors that I have used in this one. So if you're ready, let's get started with this one. All right, let us start. We'll go ahead and add in the horizon line at first. The horizon line is going to be around one by third from the top of the paper. I guess it would be somewhere around here. Just at the one by third mark. We will go ahead and add in the horizon line. Then we will also mark out the part of a mountain or a rocky mountain, in fact, something there at the background. There it goes and then there's the cliff that extends into the water region. I guess this is it. Let's not add too much, or maybe just just a cliff part that's going to be here. There's another extra set of cliffs that is going in to the ocean area. There you go. I think I wanted it to mask off the part of the ocean behind. Let me just rob that off and I will make it closer. What I'm going to do is, I'm going to have those rocky areas closer like that. There now, this is where will extend into the ocean. It goes like that is a peak there, and let's see, this is the base of this land area. Then this is extending into water there. I know it looks weird and it doesn't make much sense. But when we add in the sketch, it will make sense. Let's say this end here, then this comes a joint. These are all just like parts of us. Imagine if there were some small cliff regions in your beach, but literally small. I thought that the pencil sketch was going to be limited, but then then I had this idea that I will include these much as well. All right. There you go. That is the pencil sketch. Don't want to confuse each much. There you go, if you want to have a closer look, I mean, that's it. Now let's get to painting. We will obviously paint sky first. Here because it's a smaller region, is going to quickly apply water sky region. It's literally quick because obviously very, very small region, and we can easily cover it up. And I'm going to grab my size six brush, but before that, obviously, excess water, do you see the water dropped it there? Need to remove that. Then I will start. I'm going to start with a nice warm yellow. In order to make my yellow warm, I'm mixing my transparent yellow and my quinacdon yellow together so that it gets into an nice warm sheet. Okay and this is what we're going to be applying. Right above the horizon line, just go ahead and freely add it. There you go. You can see how warm the yellow is and right now I'm going over the mountain, but that's absolutely fine because we're going to be painting with another darker color obviously, so it's absolutely fine. There you go, then I will take my color over to this side as well. Um, something like that. Then at that left side, we need to give not only just the left side adding the other sides as well. We need to give it a little bit of nice cloudy appearance. Here we just adding a tiny tiny amount of orange. I guess I'll have a little bit of orange over to this side as well. Then let's have the orange come over to this side. There. Now, the separating areas need to be obviously orange. There you go. A little bit of extra orange here because we've still got some yellow. Don't want any areas to be just the orange. Now that's done. We will go with the next top region, which is going to be with blue. There's a blue region, the sun is almost set towards the bottom, which is why we see more blue towards the top. We will draw the sun in just a moment. Let me just go ahead and fill up the sky area with more of the blue. There's the blue dun. Now we'll add in some clouds. Adding in the clouds here, I'm grabbing violet and violet, as soon as you add into the orange, it's going to turn into a brown shade. Let me just scrab a little bit of burn CNA as well and I'm going to mix it with my violet. I get these gorgeous brown shade and I'm just going ahead and adding these cloudy shapes. I will also try and make most of this side to be in a cloudy space. Let's add some nice clouds over to this area as well. Oh These are some low clouds. You go going to wash my brush, grab some of that yellow again and let's just blend in that region. Now you can see all the gorgeous colors. Then maybe grab the violet again and you see some white space there that I have left behind. That's okay because it will still just act as clouds. The white area as well. This violet that I'm adding right now will be like the shadow of those white areas. I mean the clouds, but having nice shades. There you go. Now we need to draw in the sun. I'm going to do some lifting now for the sun. Here is where my sun is going to be. What I'm going to do is, I'm going to drop in a tiny, tiny amount of water. That area, if it's still wet, then it will spread out the pigment and then you will be able to do some lifting. Just like I have done right here. I will drop in. Use the point at tip of your brush, do not drop too much. Just a tiny tiny amount of water. As soon as you've dropped in, do not leave the drop there. You've got to go ahead and absorb it. The more you absorb, you see the white of the paper come through. Now we've got the nice sun there. Now I'm trying to make it bigger and bigger. And there later on, if you want, you can add in a white paint in that center. But make sure that you dry your brush completely when you're doing this biase you want to make sure that rest of the paint doesn't create any blooms. There. Now we've got a bright beautiful sun there. If you want, you can also do some lifting for the ra. Try and go in all of the directions. It's going to be tough if your paper has dried out. Then if it's dried out, then you need to use water, if it's still wet, then you can just use a dry brush. That is how the trick works. Can you see how I've created the sun there. It's shining bright. I'm unable to lift towards the bottom region because I think it's completely dried up. Now we'll complete I was going to say dried up, but I can see that it's literally dry, so maybe you can just go ahead and paint the bott part. Or before we paint the bottom part, I think we can paint the mountain, but if we need to paint the mountain, then I think I need to dry it up, but it's almost dry, but I'm just going to give it a little bit boost. There you go. I'm pretty sure it's dry now. Let's go ahead and paint that mountain. For painting the mountain over to the right side because it's closer to the sun region, grabbing my burn Ciena. And adding over to that edge. Like I said, because it's closer to the sun, so it needs to be nice and gold and brown just like I'm adding here. There you go and up to the base where it can be nice. And golden over on this side. Then as soon as you step into the left region, go ahead and grab in a darker brown. Here, over to this left side, I'm using my transparent brown and it's darker. You can go ahead and add in some random lines and details. While you do that. Here come over as obviously. Also honestly speaking, you do not need to make it a straight line. Yeah, let's not make it a straight line because it's actually the end of the mount and it's not a mount and it's just a rocky edge which you can see clearly. Let's not actually make it literally a flat line over there. Then we've got to paint this cliff region as well, so the inside part of the cliff. Start with the transparent brown again, and here I add. Over to the base. This top reach in there, its the area. Make it nice and dark towards the bottom part. Even if you've got a little bit of a lighter area towards the top, it's absolutely fine. Then I'm going to make it towards the top. Then as soon as I reach over to the right side, I'm going to grab my burn Ciena again and we're going to put in a burn Ciena because you see it's right below where the sun is, so it needs to get lighter. See, that's where we've added up until the end of the cliff. We've got a few more to add large rocky bit. And another large rock. Here. Again, this is a very large rock. I've just painted the bottom part, then I go ahead and wrap my burned Ciena again and I add that you can also add a tiny tiny amount of burn sa over that edge. Now we've actually done of the rocky bits and we now need to paint the other areas. We can do that easily by applying water and painting it in wet on wet. Here I'm using one of my larger brushes, which is my sized well to go ahead and apply water. You could use your flat brush also, but then I have to go around many of these shapes that we've already done. These ones, I wanted to be in a very strict form and shape, which is why I did not do that in wet on wet. This is one technique that I wanted to show you today, which is basically to show you how we can create some objects like these. And then have a complete wet on wet method around it. Make sure that you apply the water nicely. There you go. I'm seeing that some of the areas that I had applied the water initially has started to dry. Maybe we should apply a little extra, keep adding more. You can see I'm not touching any of the areas that we've already painted, but I'm just literally going around those objects. We don't need to touch them. Okay. There you go. That's a nice amount of water applied, and I think I'm going to stick to this brush to continue my painting. We start with a nice lighter color. We'll start with a golden quinacridone gold color and you see how it's giving that gold beautiful gold color. This is what we're going to be applying. We're going to apply that right at the bottom of the mountain. The rocky edge of the mountain, then over until there. I say here, go ahead and continue and these ones as well. This is what is like the sandy region reflecting most of the light along the edge of the cliff. There, I can apply there also. You can have your paint go over to the brown region that you've added. It's absolutely fine because it's a very light paint. It's not going to dominate the brown, it's absolutely fine. There. Keep adding. Gorgeous quad gold shade. See here, grabbing the golden shade again. I think we can have the golden shade come up until around here. Then grabbing more of my golden shade and that will also come up around here. Right at the base around there and right up until there. We've already added one shade there. Before the right side dries off, we can actually go ahead and paint that right side. The right side, we are going to add in a turquoise color. Here, this was already halo green there. I could see a greenish shade. Here I mixing. Hello blue and Halo green color to create that turkishade. But before that, I just remember we have something else to create, which is the reflection of the sun. Here, let me grab that transparent yellow and right below the sun region. We need to go ahead and create just a yellow region. There it goes and keep coming. That's the reflection of the sun. We can make it whiter later on. But until then then we can continue You go, I'm continuing over, and it's going to create a slightly greenish shade and greenish hue at this point. That's okay. Come closer and go ahead and add in. Then towards that further end, it is going to be more greenish. And possibly go ahead and add in a little bit of violet. That's what we're going to start with at the end. We've already used all of these shades. Start with the violet and let it blend in with that greenish shade. Now going ahead and can you see how I'm trying to blend in the color? I think that sun's reflection, we might have to do some lifting. That's okay. We can definitely do it. Here we've got the greenish blue color that we wanted. I think I'm going to extend that greenish blue a little bit over to the side. Need it to be a little bit more blue, here I've just grabbed in a little blue. Let me see. I want somewhere here as well. You can see I've left some colors there over to the same color. Now I'm going to mix a denser version. You go grabbing my dark blue, probably a little bit of indigo into the mixture. That's a little bit denser and then using that, I am going to create pines in the ocean in that direction. Something of that sort. Something like that. Let that be. Now before this whole thing dries up, we have one more area to fill, haven't we? We've got this area to fill. Oops, I just dropped in a little bit of violet there. Let me soften that up immediately. Then going to go ahead and grab in my violet, add it over to that re al A. Around the horizon line, it's going to be a nice violet. Now, before our quin gold dries up, and if it's dried up, it's absolutely fine because you can just go ahead and add another layer of paint over the top and go ahead and blend it. I can see that it had started to dry out, then I'm just going ahead and adding a layer of paint again, and it should sort itself. See that? There was this edge here which needed to have paint. I know this is probably a little bit of the tougher side, isn't it? Then go ahead, grab in a little bit of burn Ciena, and we're going to add in a little bit of burn Ciena. This is why I said that you need to make sure that your paper stays wet. But we have been doing this for how long now. We've been doing this for a long time, you've learned water control to its extent, haven't you? Then a bit of a burn here, again, that would be the reflection See that. A little bit of a reflection of these stone region, and abstract details. Then back to my Quin gold, a teeny tiny region remaining, which is this region. That is also the sandy region. And just paint that. There you go. We've covered many of it. Now the only thing remaining is for us to go ahead and do some lifting. If lifting doesn't work for you, then what you can do is you can add in white paint at the end. But here observe what I am doing. You see the area where we had actually added in lighter yellow shade. If it's not that visible, then you can go directly down. And just lift off paint. Make sure you follow in the vertically down direction. It's very important. See how we're adding its vertically. It's okay. You can stop somewhere there because it gets marked off in the dense water. All right. There you go. Created a nice reflection and all that. I think this is good enough for the background work. I'm just blending this region of the cliff. When we add in the waves, it will make much sense. All right, let's go ahead and dry this up and then we can finish off with the water region. There you go. It's completely dry now and you can see how everything turned out to the mountain with its clo, the clouds behind the water region and everything. Now, let's paint in the actual waves. For painting the waves that are further off, we are going to use lavender, lavender because this is now the waves. The waves are going to have shadow areas. On the water, it's not The reflection is going to be the exact same color. But the shadow areas are going to be the opposite color. The opposite color of the colors in the sky, which are the golden hues are basically yellow hues of. Is violet and having it in a lighter version means lavender. That is what we're going to be using to create the waves. Here right along here, you can start and it's going to create the wave shapes. You can see, use your brush and create these wave shapes and you can use it. And it's going to come down all the way here. Up until there and observe perspective here as it comes towards this side, it gets bigger as well. You can use multiple brushes if you don't want to wash it, so this has got nice lavender pigment. I'm not going to wash it off. Then we're going to grab a little bit of violet, and we're going to give it a little bit more shadow element. What you're going to do with the violet is just at the base of the lavender that you just added. Go ahead and add a little bit of violet. That gives the wave an extra dimension for its depth because it's now got a darker color. See a little bit of a darker shade, towards the bottom part of that wave. If you apply too much, you always have the lavender in your hand to blend it, S. Then what I am going to do is. The next thing we need is white paint. Here's my white paint, and what I am going to do is, we're going to grab some white paint and we're going to blend it in along with the lavator as well. What happens is, we get the effect of the shadow. And the wave breaking off, but now the lavender is intermingled with the white. See that. Now that is the wave breaking off. We're not done yet. We will continue. Going to continue on with my lavender. Let's see, going to add in another line of detail there. Then I think towards this region, it needs to be lighter. Let's go ahead and add in more shape. We can add in waves or these random lines in the ocean. With your lavender. Drop them there. You can already see how this is actually going to be looking good, isn't it? What I've done is, I've got some of my white paint right here because I wanted to mix it with my lavender and create a lighter tone. See here. This time we're using white but in a very subtle amount. This is why I've already kept my lavender right here and my white right here, and this is what we're going to be using. Starting right where that rock area is. As the rock, then let's bring it. Bring it on. It goes like that. Then again, I think it needs to go over to that region, then it comes down here. There, it comes over to this side and as it comes this side, it gets slightly bigger and goes over vanishing over to the side. Then let's see now, the same color, we can use to add in some more wavy shapes. Let me see. I will have another extra set of. Waves on this side. Now I'm just trying to follow along the line of the water area that we just made. Let's see. Here, we can have another break in the ocean wave. Then coming over to this side, this is where the cliff and all its regions, isn't it. Here you go. Go ahead and add it. Literally adding over the top. Now along the lavender. With that lavender and the violet remaining there. I'm going to add my white over the top. If you're thinking, then why did I do all of that in the beginning? That's because when the white dries off, it's going to reflect that lavender. The white definitely over on top of this lavender and let mixture is not going to whiten up. It's going to stay lighter. The underlying color is going to just literally pop up. See how it's still there and we can see the color one. Now, literally just keep grabbing the white paint and we're going to be adding a lot of strokes. Here it's going into the areas in between. It's got these rocky areas, but it gets stuck onto the rocky areas, the form, obviously, Always remember to do it in the direction of the ocean. See that? It's absolutely fine to have it just leave it blended out like that. You can also observe how I'm making literally just bruh strokes extending out into the ocean area like that. There. Like I said, we had another extra line there, isn't it? That was almost gone. Keep adding the form region. As I approach towards this bottom part, I want to reduce the has reduced over that region. B. B. Buck. Now you can have additional lines there like that. Then let's see. Maybe mixing in a little bit more lavender at this point again. This line that I had done is faded, so I just want to go on top of it again because I definitely needed to be white. This is the thing with it ash. If you're not using denser pigment, then it's not going to come at all. I'm also going to add on to the water region there. Basically just going to add it in the form of lines and some things like that going into the center. Can you see? It's a dry brush. Can you see? All the drive rushing into the water region. We'll finish it off by adding now some random detailing. Here, I have got a little bit of a illet shade that now I'm going to use. Where are we going to use this pillet? We need to create some shadow areas and where those shadow areas are going to be right below where this wave is at the horizontal positions. Can you see as soon as I added that, it gave a dimension to the water. You won't add it to this line, but end it there because now the wave is like mending this side, so you don't see it. Then as soon as it starts turning again over to the horizontal side, if you add in a little line like that, it gives volume to the length of the water. Shows that there is more water over there. You see that, how that's there. That's what we can do. There you go. Now we can do the same thing. I know this one has overrun a little bit with its time, isn't it? Oh, no. There you go. We've got some nice waves. I'm just going to give a bit of a volume to this one as well. Now you can see that wave has got volume as well. The only thing left to do is to make sure that wave has a little bit of water receding. There. This is usually, you know what this is. So this is usually the water has actually hit those rocks and it has come back receding back. So that is why it's got volume over to this side. So do you get that? All right? Well, we're absolutely done now. So if you want to put in some random details like dots or some details at random places, then you can always go ahead and do that, and you can also you know, add more detailing to the cliff. M cliffs at that point got a little bit lighter. Here that's why I'm adding. I added a little bit of extra brown there. All right. But that's it. Here you go. That's a painting. We've got a nice reflection if you want. Like I said, you could put a little bit of a white paint right there in the center so that the sun is more glowing, but that was absolutely necessary unnecessary. Now let's go ahead and remove the tape. And here you go. Here's to finish painting. I know it was a little lengthy, but what to do? It's just that gorgeous, isn't it? All right. So there you go. I hope you enjoyed painting this with me, and thank you so much for joining me today. 59. Day 54 - Peaceful Panorama: I come to day 54 and this here is the painting that we're going to be doing today. Look at that. Look at the time. It's literally just less isn't it? That is because after yesterday's painting, I thought that you deserved a break. When I say break, I don't mean the break day, I meant that you deserve to make a smaller painting. That is why we're doing this today. But also I lost the camera view. I don't know what happened. It's just the roll today, but I know how to probably fix this. I'm going to fit in some closer views from the reels that I made. It's going to be a different camera today in this painting, but because this is literally easy, you will be able to paint this. So let's have a look at the colors that I have used for this one. We start with a little bit of a raws, transparent yellow, and hello blue, and then there's Alizarin and paints gray in the sky. Transparent brown there. Reflections are the same, and in the water, we have hello blue, hello green, and indigo. Obviously, a little bit of a white gash as well. So if you're ready, let's get started with this one. All right. Let us start. We'll go ahead and mark in the horizon line. It's going to be around one by third of the paper from the bottom up. But you can make it a little bit higher, but just not in the center. The center of the paper is approximately here. I'm making a little bit at the bottom, not at the center. There you go. That is the horizon line and you can have a little bit of a mountain or little bit of something there at the back. That's it. That's your pencil sketch. Literally, yes. Okay now, let's go ahead and paint the sky. Here you go. I'm painting the sky. In fact, you know what? I just thought of it while I was painting the sky. Let's go ahead and apply water to the whole of our paper because we're going to approach this in a completely different manner. We're going to use a new technique. I just realized while I was suggesting this. There you go. Let me just apply water to the whole of my paper. There you go. We've applied the water nicely, now we'll go ahead and apply I mean, Uh, take off the excess water from the edges, you see, all of those water bubbles at the end, not bubbles. What do you call droplets? Yes. There you go. I've taken all of them out, so now we can go ahead and paint the sky. I'm going to shift to my size ten brush because it'll cover a larger surface area, and we're going to paint this with a gouge color. Let's start this with raw Ciena. Here, that's too much of a color, but we only want it to be a very subtle color, a little bit of raw Ciena. Maybe a tiny amount of yellow. That's too much, but if you apply in a lighter manner on top of the raw Cena and the same thing because we need to create the reflection of it. You've seen the final picture, you know how it turns out. There's the t tiny amount of the raw Ciena and it's reflection added. Then we'll go ahead and grab in the fresh colors, which we want to be obviously adding, and that is the Halo blue. Here, going ahead and adding thalo blue, and we're going to bring it down all the way to the bottom the way we intend to add in the cloudy region. At the edge, then we have another cloud coming all the way down, then like that, here is a large chunk of cloud, and here it comes down again. Over to this region. Over on this side, again, oops, I did pick up a heavy pigment, need to reduce the pigment because at that side. But we can make this obviously darker and it should work out. Anyways. Here should be more bluish over to this side and make sure that all of them are following into this middle region. Do you see that? Here, now, very lighter pigment over to the center, and it's going to makes slightly greenish. But because we applied it with raw CNA, it won't be that much of a darker green. Here, just making it slightly more darker over on this side, I want it to be nice and dark for these ones here. Now, the same thing towards the bottom, but going to use my hello blue and do that over up to the center. Okay. Comes over like that over to the center, same thing along the edge. Keep taking all of the paint toward the center. It's okay that if it's going to take and make some greenish hue, absolutely fine on the. But what we need to create is the reflection. Over to the center at the center. At the center, it will be up straight. It's like all of it is pointing towards the center. See how that's turned out. But we also don't need these lines and shapes at the center, get rid of it, go ahead and flatten it out those regions. See that we just did. I'm just going to grab a little bit more hello blue and add it along the edge and create these lines. There you go. Now, not finished yet. Last, finishing off with clouds. Here for my clouds, grabbing a little bit of Alizarin, mixing it with my paint gray. Remember this mixture. Sarin and paint gray, we're going to use the same and now we're going to use that to create clouds. Here comes the clouds. The white are the clouds. This thing that we're adding right now, it's the reflection of the clouds. Don't confuse that together. The clouds are actually white, but what we just Adding is the reflection, so very careful about that. What did I say? Reflection, the shadow. So sorry about that. What we're just adding now is the shadow of the clouds. Adding then let's add some more clouds. Here at the bottom at the horizon, these are now clouds, not the shadow. Towards the top because it's got more light. It's actually the the shadow there, which is in this color, but with the bottom areas, it's going to be the clouds. You can see you can add in a lot of these bottom clouds. Then now to give the shadow of those clouds that you added, go ahead and just pick paints gray and add it to random areas on it. See. Now it's got a dwelt tone and the same over here. I'm just going to add in a few clouds. Se So teeny tiny clouds add it, and we've done with a lot of areas at the bottom as well. Like I said, this is literally going to be simple, very simple. That's it for our entire background. Now we need to create this into the beach. Looks like something, but this is not the beach yet. What we will now do is, actually, I forgot something. We needed to create the reflection of those clouds, isn't it? Here, just grabbing the same mixture and what you're going to do is you're going to do add But make sure that you add it, add them in a slanting manner, and now these ones there, of this one. This one actually goes like that, isn't it? We have this one here, which again, follows this direction. Then we have this larger one over on this side. This one, you can just go ahead and blend it into the blue region. See what I did there, you just blend that into the blue. Now for these words at the bottom. Again, just go ahead and add some. That should definitely do. Now we're going to dry this up and we can finish it off by adding the ocean and that background region. There you go. It's completely dried up now, so now we can finish off by adding this little foliage region. For that, I'm just going to use my dark brown color, and you can fill that up. Okay. T using my brush and stay above the horizon line because below the horizon line, we have the beach as in the ocean. As I spoke, I myself ruined it. I think I can adjust out with the water. Let's see. Anyways. There goes and All right. The reason why I make these mistakes is for my hand to draw these lines, I need to tilt my board. Because I'm shooting sometimes, I literally refrain from turning my board, thinking that it's going to be difficult for you, and that's when I create all of these mistakes. Now for the ocean there, but before that, we need to dry that region and let me try and fix this mistake that I just did. I'm just going to try and run my brush along and flatten out those regions so that when I apply paint over it, it would be gone. You go. I've literally taken off the color there. Now let me go ahead and dry this up. It's dried up, so now we can paint the water region. For that, I am going to mix my yellow blue and yellow green. This mixture here is already the mix of yellow blue and hello green, but I want it to be more bluish. It's going to be a turkis blue rather than a turkis green. Here, that is why I am mixing more blue into that mixture. It's a turkis blue. Remember that, not a turkis green shade. This is what we're going to be using, and we're going to put that right at the base there. And like I said, I've gotten rid of the mistake that I did with my tiny tiny amount of brown beat. You're going to add this along the horizon line like that straight. But what we're going to do also is we only need the beach to be a very smaller region. Just go ahead and add something like that. You see it's very tiny, tiny, because the rest of it is just the water region. Then grabbing the same paint now, what I am going to do is we're going to create several lines towards the end. This is like It's depicting where the ocean ends and we start seeing the waves and everything. But because it's further away, you do not see what kind of detail is happening. I will show you how this is going to make sense. But for now, just use the tip of your brush to add several lines like these. See that. More over to this side. If you're unable to paint with such a larger brush, you can use a smaller brush to do the same. Then I'm grabbing a little bit of a darker color. In my case, here it's indigo. You can also use paint gray, mix it into the same mixture and I'm going to do some lines over in the water as well. Again, using the point a tip of your brush and add it in the water region. Do not do it further off, but make it as close as possible to the viewer over on the site. Those are darker bits now. Now we're ready to finish this off. The only thing left is we're going to use smaller brush and you can use white paint. Oops, my brush has brown. There, grab in white paint. I already have some white paint here from yesterday's painting, which I mixed it with lavender, if you've seen that. That is what I'm going to do and take, and we're going to add it over on top. So go ahead and add in these abstract lines over on top of some of the areas. You can also create a wave effect. If you just go ahead and add these tiny marks, it looks as though it's a crashing wave. See that effect. This one, what I just did, It looks like a crashing wave, isn't it? Let's do some more. If I do another one over here, That's a crashing wave further down the line, isn't it? See that. It's like very further, we're standing so far away. This is it's showing the reflection because the beach this area is still wet from where the water has receded or something like that, and you still see it as all of these water, and that is why it's reflecting. So just add in a lot of these white and see how it makes a lot of sense as to how the water is breaking off and creating the wave structure. Just use it to your advantage and there. We're actually. We're literally done with the painting. Oh, my God, that's 17 minutes on my clock, obviously when I edited, let's see. Because we haven't done anything to the edges for a long time, let's go ahead and remove the tape. Here you go. Here's the finish painting. Isn't that cute. I hope you enjoyed painting this with me. Thank you so much for joining me today. 60. Day 55 - Emerald Embrace: Hey, hey, hey. Welcome today 55, and this here is the painting that we're going to be doing today. Actually, can you guess the topic? I'm pretty sure you're not going to guess this one because it's actually really cool. I mean, cool. As in not the cool cool and the warm. Okay. What am I saying? The topic, I just literally though we've been doing a lot of blues and different colors lately, so we haven't used green. The topic is literally green. So anything that's green as in, a lot of beautiful green landscapes such as meadows, and beautiful greenery, grass, and all that. I thought we haven't done much of that, and I wanted to cover that. There's a lot of greens in this painting, and that is why this week's topic is going to be just green in coats, green. Let's have a look at the colors that we've used this one obviously apart from greens, we have other colors as well, which are Starting with the top, we have tale blue and altamn blue. Then in the sky, we have paints gray and Alizarin crimson. Then we come down, we have indigo and talo green. Then we have sap green, dark green, and live green. I know you're going to need a lot of greens over here. But not to worry, I think talo green and sap green, not really sap green, but you can actually make sap green by mixing a little bit of yellow and blue, but Tello green is somewhat a difficult color to mix. You might want to really have that in your palette. Olive green is easy to make. If you have your sap green, then try and mix a little bit of yellow and little bit of brown, or the easiest mix is to mix a complimentary color. Let me just quickly show you that. If you've got your su green. This here is my mixture of sat green. I'm just going to show you quickly, and if you add in a complimentary, which is a bit of yellow. See how that's desaturated the color tone and that's become an olive green color. If you do not have olive green color, the easiest mixture is to mix it with red, that is the opposite color of green and you'll get an olive green color because it desaturates the value of the sat green color. Now that you know all the colors that we need, let's go get started with this one. All right, Let's start. We'll first sketch out our elements. There's going to be that beautiful meadow in the front, the main green, then we'll have a little bit of darker something bushy at the back. Then we'll have the mountains at the back side. That will be something like this. Then let's have another mountain going like that. You can have a faded one in the background. That would be a pencil sketch. Here it is, if you want to see closely, I hope we can see those two. They're very, very subtle ones that I have added, isn't it? If we're ready, let's get started. These ones, the ones there at the background, there at the background. We're going to be painting them softly. Which means that we are going to apply water right above those areas. So here, I'm going to grab my flat rush and apply water just to the regions above that mountain. If you want, we can tilt the board towards the upward direction and then apply the water right above this one. See how I've applied the water. If it makes it any easier for you, then you can also just apply the water right up above the meadow because the one that is below that region is going to be with a darker color anyways, which means that we can always add over the top. I guess, let's go ahead and apply right above the meadow. See that? And let's just go ahead and apply the water. There you go applying the water onto the whole of the paper. Should I say the whole of the paper? I meant up till that point. Okay? All right. Then just going to grab my cloth. Absorb the aces from the sides. There you go. I've absorbed the excess water and everything. It all looks really good. Now I'm going to grab my size eight brush and let's start. Here, I am going to grab my ello blue color. That nice, beautiful Halo blue color, and we're going to add that to the sky and we're going to create some beautiful clouds in the sky. We've done this many, many times, isn't it? Now with the Halo blue creating the background like that. I think it should be honestly really second nature to you by now. So there you go and just adding. I'm just adding a little bit there. Then I guess I'm not going to come all the way down. I'm going to leave it at that. Now, I want to give a little bit of a warmer color to the top. I guess what we can do is we can grab a little bit of our ultramarine blue and go ahead and add it on top. Of the thalo blue just at the top. That it will have a little bit of a warm tone at the top. Can you see how that stand out? Then now we'll go ahead and paint a little bit of the background clouds. Here I am going to grab my paints gray. Like always, I'll mix in a teeny tiny amount of alizarin to it so that it gives a beautiful red purple shade. This is what I'm going to. That's a little bit too much Alizarin, here. Let me just mix up. Little bit of my paints gray more. Ah, that's much better, isn't it? Then I'm just going to add that and put it into my cloudy region. See that. As I come towards the bottom, I'm not going to pick up more paint, but very less paint at this point because we need the clouds, but we also need it to be very subtle towards the bottom. Here Can you see how we've added. We've added in the nice clouds. I'm just going to try and spread out a little bit of this blue here. That's much better. Then now we'll go ahead and paint that ultimate ultimate background thing that I spoke about. That one, we will start with Indigo. But then because it's the background, it also has to be very lighter in tone. Observe the indigo that I'm picking up, it's very color, a very, very lighter amount of indigo, and that you're going to add that with wet on wet itself. See the amount of subtle color that we're applying, and that is what we're going to be doing. See there, a very subtle amount of indigo added. Then now we have the next layer of the mountain region to paint. This is where we start with the green of our green topic. That because it's at the back round needs to be painted with a cooler color. Cool green is what is that? It's alo green. Here I'm going to grab my alo green Because I want it to be at the back, I'm going to mix it up with a tiny amount of indigo. There are a tiny, tiny amount of indigo. That becomes a dark turquis green color. Again, observe the consistency of the paint. This is almost nil water because I needed to be wet or wet, I needed to not spread towards the top, a lot of these things needs to happen. Also, I'm going to give a tilt to my board like that. Here I've grabbed my green. Now look for where you have added your pencil sketch. My pencil sketch is right there, and I'm just going to go like that and add. Like I said, you can go up to above the meadow. It's absolutely fine because that's not going to affect it. Then here my pencil sketch goes. U like that. Comes down there. Then we did add another extra line in the front. In order to depict that to be at the front, make sure that you add a tiny, tiny bit more of indigo. That makes it a little bit on the darker edge. Also your stroke that you do with your brush matters because the more directional your strokes are, that's going to be visible. Because I've done this stroke, you can clearly see that this mountain is above the other one. See that? You can paint up til the edge of our meadow. As far as random detailing goes, go ahead and add in random, things like that. You can also fill in and give a little bit additional color to that, it's just going to look as though these are some detailings of the mountains. But see how you can clearly see that this mountain is over the top of the other one and the other one is really faded into the background, which is exactly what we wanted, isn't it? Completely faded one, isn't it? Although I'm just grabbing a little bit more indigo because I can see that this edge here is turned into a little white. I hope I have not ruined it. And introduce more water into the paper. But anyways, this looks nice at the moment. What we're now going to do is we're going to dry this up. You can see all the clouds and everything and how it's like a softer touch toward the sky and the background. Then we'll add in the foreground to a beautiful screen. Let's go ahead and dry this. There you go, it's now dried. Now we have that tiny, tiny amount of the extra fkground area that we need to paint. But because it's still not the foreground, but it's actually the background, we're going to have to paint it with a cooler color. Here, I'm mixing the same mixture indigo plus my alo green, but in somewhat darker consistency, you see that. That's more indico and more of mytilo green, but now see the consistency. It's a very, very nice and creamy mixture, nice and watery, and also darker. All of these factors affect. Now because you're going to go over the top of it, see the color. This is by I said that even if it goes on top of the meadow, up until the meadow, it should be absolutely fine. Here you go. We're going to add that over the top. Now, if you need to add any random detailing or bits or to give any darker edge, pick up indigo and just add it at random places. See how when I add indigo towards the pace, increasing in color as in the depth of the color. See that. Now we can go ahead and paint our foreground, and that is going to be with our none other than our beautiful gorgeous sap. I don't think you need to add any water to the paper. You can just directly go ahead and paint. There you go. I'm just grabbing my s green. You can also just grab a little bit of olive green at places, and let's just go ahead and led it. I know that this region that we just painted is probably not dry and your paint is going to flow down. But I guess it's okay because it's just going to mix up and unify those greens and not create a huge harsh edge. I mean, that's what I feel and also observe the color consistency. Oops. I touched the paper and observe the color consistency here. As in, can you see, I've added a slightly darker tones towards the bottom and we're going to add some more. Is at the bottom is where it's like the foreground closer to us. It needs to be somewhat darker. Here I'm grabbing my dark green, and I'm just going to add that over the top. And apply that completely random. We don't want to blend it up and create a perfection. Here, I'm just don't make it like water, but also don't make it like a completely blended surface. But see how it's got a random mixture of those two colors. And honestly speaking, we're done with today's painting. Oh, my God, this is probably the quickest, but I think you honestly deserve that break after that whole water week and whatnot, isn't it. So I am going to dry this up and then we can remove the tape. All right. Here you go. Here's how it looks after it's tried up, so let's go ahead and peel off the tape. All right. And here you go. Here's a finished painting for today. I hope you enjoyed painting this with me. Thank you so much for joining me today. 61. Day 56 - Silent Meadow: Hey, hey, hey, welcome today 56, and this here is the painting that we're going to be doing today. A isn't that really gorgeous. I mean, look at the sky, casting colors onto the grass and you've got the warm bits right there where it's actually casting the light. See that. That is what we're going to be depicting today. Let's have a look at the colors that we need for this one. It's basically, we start with Tal Blue and Indigo. There's Alison and Pins gray. Then there's Indigo. Again, Talo Blue I said Tulu blue already. Yes, I did. There's Sap green, olive green, and dark green, and that's pretty much it. Those are the colors that I have used in this painting. Here you go. If you're ready, let's get started with this one. Let's start. We are going to have our meadow in the front. Go ahead and choose the horizon line at about one by third of the paper. Approximately, you don't need to go ahead and measure or anything. All right there go. That's the horizon. Then we're going to have an obviously a little bit of a bushy structure so that you can just go ahead and do that with your pencil, some random thing. But at the back, we'll obviously have a nice mountain at the back, and that's pretty much it. Now, let's go ahead and get started. I thought I don't know if you can see it and Ops have got to show you closely. Here you go. That is the pencil sketch. What I was going to say was I've got a little bit of color drop here. I don't know what happened and how that happened, but I'm hoping that it will go off with a lot of watering or I might have to cover it up with color on the top. But, I'll do that. Anyways, here you go. I am applying the water nicely onto my paper. Also, you can just go ahead and apply right up above your horizon line. Apply a flat wash of water right up above your horizon line. I think officially those paints are like those droplets are dried up and it's not going. That should be okay. There, I have applied the water nicely. I'm just going to go ahead and absorb the excess water. There. All the excess water also absorbed, and now we'll get to painting the sky region. First of all, let's go ahead and paint the sky. We'll start with a nice mixture of thalo blue and indigo. I'm just going to grab my thalo blue and then I'm going to mix my indigo. But then I've got to be careful because I have a little bit of a green mixture in my indigo. Let me just get rid of that off and that's gone. That's a nice amount of the alo blue. Need a denser nice amount. Of the Halo blue to start with, and nice amount of indico as well. This is what we're going to be putting into the sky region. There you go adding that to the sky. I can see that my paper is not wet enough. While I was mixing, it's probably started to dry off. I just reapplied. I did not touch the area where I had already applied. There then leaving a little bit of a gap behind. I am coming down Now applying, see how I am applying. Now we'll grab more of the blue and as we come down, we will increase the amount of the Halo blue in brush. You can see there are random bits of the white white of the paper remaining. That's okay. Come all the way down up to the mountain. That mountain region is all going to be covered in the Theil blue, but do not make any straight lines because like I said, your brush strokes are always going to be visible. We want brush stroke. Be visible at this point. Then we're going to use the same mixture, a little bit of the Alizarin and my paints gray and create some nice cloudy shapes along the edge. At random there, fitted in nice cloudy shapes. Just blending these ones, need to grab the color for the very edge. While that is done, go ahead and pick up a flatbrush. It's okay if you do not have a flat brush. What you can use is a very large brush and then use the edge of it to do this method that we're going to do right now. Using that flat brush at the moment, it's so I'm not going to wet it at first. What I'm going to do is, I'm going to pull down the paint. At certain basis, we're going to do that as in. Pull out the paint like that. Now your brush is definitely wet and it's got the color. Wash it off, then rinse off your brush, absorb all the excess water using the clothe or whatever you're using and do the same. This is going to be a nice sun's acting on two R, like the clouds. It's like the sun coming out after a rainy day or something like that. Bring it all the way down, then at the edge, go over to that side. See what that's done. Do a bit over on that side. Because it's the thalo blue, it's actually quite difficult to lift off. Be it's a very, very staining pigment, and that is actually the fun of it. Also it retains the slightly bluish thatch and not the complete white of the paper is revealed and that's exactly what we want. We do not want the complete white of the paper to come out. We want it to be depicting this way. So I know that this is supposed to be all about green, but I just wanted to cover this up just in case you know. As we've covered a lot of different skies. I tried to cover up different skies in different each time, and that was my motive behind this one. Now that we've done that, let's go ahead and paint that background mountain, which we're going to be doing with a nice amount of indigo. Your paper might be dry now or your paper might be wet. It's absolutely fine whichever way either it is. It doesn't matter. You're still going to paint it. If it's dried, it's going to be wet on dry. If it's wet, it's going to be wet on wet. But nevertheless, always pick up a creamy consistency of paint. Make sure that the paint that you're using is not watery and your brush is also devoid of water. Make sure that you absorb all the excess water out of it. See what I'm doing. I think my paper is somewhat wet, not too wet, so it works out. Just only up to the area where we marked our bushes are going to be. That's where you're going to do this. Because we need to add in the bushes. You're going to add in the indigo, only up to the area, where we marked in the bushes. And observe how I'm not picking up any water, but just the paint always. Okay. My brush is literally getting dry at this point, but I'm still not going to pick up any water because controlling the water is very, very important. Goo. Now is the point where I'm washing my brush. Now you can actually go ahead and use a little bit of a wet paint, which is basically to use in darker green. This darker green actually let's mix it up with a little bit of indigo so that it's and you're going to put that darker green above the horizon. This dark green is what is there. Right above the horizon line. And just fill it up up to the whole above the horizon. There you go. I know it's a little bit darker at the moment. But what is going to happen is it's going to lighten up when it's dried. It's not going to have this much color. But if you still worry that it's going to be too dark, you can always go ahead and do a bit of absorption to strike a d, so that gives a bit of a texture. But don't worry too much about it. As you can see, my sky is going to take sweet time to dry. But because we've come down to the bottom now, I think we can go ah and paint the bottom part. Directly without wasting much time, I'm just going to lay down some water. My brush has a little bit of a blue tone, that's okay. But as I lay down the water, I will not go touch the blue part with the water. We can touch with the pain, but not with the water. All right. That's the color added. Here we go. We start with that sap green and we're going to add the sap green way over to the edge. Now when you touch the dark green it's absolutely fine, it's probably going to pull out some pigment or it's going to pull out pigment over to the top, that's absolutely fine. See here one line of sap green, but we're not done yet. Now, after that sap green line, what we're going to do is we're going to add an nolive green line. Remember how I mentioned how we can mix up live green if you do not have one in the previous day. Just keep that in mind and now we're going to be adding the olive green. Go ahead and add in olive green all the way to the bottom at first. This is going to be like the base color. There added olive green. Now we get back to the sap green again. That's the fun part. Here, just grabbing my sap green and I'm going to add my sap green. Now, after we've added the sap green over there, now we're going to go over to the top and we're going to observe where add the sun's rays. The sun's rays are coming down there, that one's gone. This one is almost over there. Then this ones there. Wherever There is no sun's rays. That's where we want to put in the green. It's like the negative region. Do you get me? The region where the sun's rays are coming in, those needs to be light and that means those needs to be the areas with the olive green shade. The rest of it can go darker. Here is a darker region. You can like Don't put completely like a dark region, but just try and randomly put in the colors. See what I'm doing? There's lots of lighter bits to see the olive green areas remaining over there. The very edge is fine because it's not getting any suns rays because of the shadow of these mountains. Okay. Not reflection. It's the shadow. That is why I've put in a darker color over there. We can go with a further darker tone. This is for perspective, further darker tone towards the bottom, which would be with the darker green. Se. Just place in this further darker color over to the top. And see how it's coming together, blending together and we have this lighter area of the indico over there. Then the next next and last thing left to do is to create a lot of glossy texture. For that, we're going to grab our darker green. You're going to create a lot of upper stroke. Upward strokes, upper. Upward strokes like that, making the shape of the grass. Yes, it's going to be on the wet side, but that's okay. And you only need to add it towards the bottom. Not too much. If you feel that it's too much, go ahead and blend in some. I felt that that was a little bit too much. Then also, we're going to grab our green and we're going to put some random detailing. These could be like division in the field. But if you draw one line, and if you want to add in another, make sure you follow perspective. Always starting from the same line. See that. Something of that sort. See that. All right. I think that's now well and good enough. We've added in the lines of the fields. We have the background all done. We have the sky all done. I'm now going to dry the sub. Actually, I can't believe this painting is complete already. That was really quick, isn't it? Now let's go ahead and dry the sub and then we can remove the tape. All right. There you go. It's completely dried up now, so I am going to remove my tape. Can you see the effect now? Now you can see the green, you can see the backward backs indigo, and you can see the strokes of some areas at some areas lighter. It appears as though it's the colors on the mountain as in the depth of the mountain. You can also see how the sky is like casting out colors, and you can see the warm areas in the front where the sky is casting out the colors, all those grassy bits in the front. Isn't that looking gorgeous. Here you go. Here is the finish painting. I hope you enjoyed painting this with me. Thank you so much for joining me today. 62. Day 57 - Olive Oasis: Hey, hey, hey. Welcome today 57, and this here is a painting that we're going to be doing today. Isn't that gorgeous? Let's have a look at the colors that we need, which is basically lavender, paints gray and olive green, a darker green and then transparent brown vent umber. There you go. If you're ready, let's get started with this one. All right, Let start. We'll quickly sketch out the areas of the mountain. We're going to have a few lines like that, lines like that. Lines like that, and this is where our mountain goes over to the top like that. Then we have the background mountain, which is, of course, go ahead and add in something random like that. This is going to be quick again. Be, I just wanted you to have a relaxing week, whereas if you're lagging behind, you could catch up, you know, that's why. Here you go. This is the a pencil sketch that we want to be doing. Now let us go ahead and add paint on the top. First, we're obviously going to be starting with our wetting paper and painting the sky. For painting the sky, I am going to go ahead and paint up until that portion there. Can you see that? We're not going to be painting the foreground, but just the sky region. Here I am applying water onto my sky region there. There you go nicely applying the water. And once I have applied the water, we'll paint the sky. Here, the sky area today is going to be a gorgeous lavender color, and that is what we will add. Here I am grabbing my lavender, as you can see, I'm popping that into the sky region. Oh, my God. Look at that Gorgeous go goes color. Nice color over to the top. You can have an angle on your paper so that your color starts to flow outward, downward, I mean, as you come towards the bottom, we want it definitely to be lighter, and I just realized that I did not absorb the excess water. Do you see how this bit of water there literally flew back into my paper? I mean not flu, but came back onto my paper. This is the thing that I keep warning you about why you have to like absorb the excess spate of water. There you go. Now I've absorbed and now you can see what's happening. We'll grab in a nice amount of the lavender. Put that over to the top. And we let the rest, come down. Also, I'm not trying to create a very uniform, which is why I never paint like a gradient. I don't know why, but I rather prefer it this way. Here, just brought down the paint. We don't have to paint over up to the bottom, but it's ops. Water had a little bit of a mixture. That came back with the brush, imagine. Now the next thing for us to do is to completely wait for this thing to dry so that we can paint in the background, and then the foreground, of course. There you go. As you can see, it's all dried up and now we'll start painting that background mountain. That background mountain. Now, what we have to observe here closely is it's a violet color in the sky. What is the not the warmest, sorry, what is the complimentary color of the violet? Would be yellowish, which means that we need warmer tones on the mountain. Even though that's a background mountain, it needs to be slightly warmer because of the opposite side that needs to be reflected on the foreground and all the elements in our painting. This is what I wanted to convey. Here, we are going to be using a mixture of olive green. It's got an olive green here right on my palette there. I'm going to reuse that. And because it's in the background, I'm going to make it slightly in a harker scale because it's like a moody appearance and also we get this lavender sky when it's sunset. The sun's already gone down and that's why there is such a color in the sky. For that reason, we have to make sure that that background there is completely almost nearly as black. That is why we're mixing the olive green with the paints gray. There you go. I've mixed it with paints gray and that is what we are going to start with. So you can just go ahead and mimic the shape. Just make sure that none of your strokes, the end of your stroke should not dry out. That is why make sure that your brush has enough water. See, I am going back back again to the same portion where I have already added the paint. This is because I do not want any of these edges to go dry. Keep that in mind while you're doing this process. Do not let any part of your painting dry out. There. Now is the time where I'm going to come down and I'm going to start using water to spread down my paint again. You can have a tilt to your board so that none of the excess water that you're applying do not go over to that top region. Also. Now I've washed my brush and what we'll do is we'll grab a little bit of olive green because we're coming into the for not foreground, but towards the front, and it can depict some of those lighter colors. Here We take that and that is what we apply over to that region along the edge. And give that mountain a nice direction. Can you see? Now we've got that olive green and then black towards the top as it approaches the peak towards the lavender sky. Isn't that gorgeous? That's what we've done. Unfortunately, we have a little bit of a trying to do again, which means we have to dry this up now. That is something I know it's a drawback, multiple drying process. Definitely a drawback. I know we have to do that. There you go. It's all dried up and now we will start adding some pine trees in the background. For that, I'm going to start with a very dark green color. I'm starting with a mixture of paint gray and a little bit of a dark green. If you've got perane green, you can actually use that as well. This is my Perine green here. It's almost exactly the same. You can see that. There you go. Mixing my dark green with pans gray and that is what we're going to be using. What we will do is, we're just going to add some pine tree shapes at random places. Can you see that? There added two of them. Let's add a few more. I'll leave a few gaps. What I'm going to do is, I am going to have all those pine trees up until here and here, obviously, make sure they're vertically upward, do not bend it such that it's bend outward. They need to be vertically upward because they are on a mountain. Remember that. They all grow vertically upward and not towards the side. That is something that we have to take care. I'm fitting pine trees all until there. Which means my pine trees are going to be like denser, you can make it denser at the bottom, which is why I just literally put color like that. Then you can just go ahead and create these upward strokes and whichever ones are sticking over to the top, you can create branches for them. Yeah, that one's sticking towards the top. Definitely adding for that. Make sure that they are darker than the backgrounds that we have there to not make it lighter. That's a very big tree over there. Our There you go added pine trees all up until that point. Now it's time for us to paint the foreground. Let's just quickly go ahead and do it and I am going to be doing that with my olive green color. We start with Olive green, like I said, a nice warm hue, a warmer tone. It's okay that if you're going to be touching the pine trees. Yes, I know some of it might just flow outward and create a darker green. See what's happened here. It's spread out a little, see how the paint spread out a little, but I'm honestly not bothered because my intention at this point is to completely cover this up. I'm grabbing my paint. My nice olive green color, and I'm just going ahead and covering up the entire thing. Remember, it's not wet on wet, it's wet on dry, which means that we need to make sure that our brush has enough water because we will be adding some wet on wet strokes now as in this paint that I just added is now wet, which means now I can go ahead and add in darker paint on the top. Here I'm going to grab my paint gray and this is where we're going to be starting and adding some random details. See here, I'm just creating these details on the mountain. Using my paint gray. There. These will be like little ridges and edges on the mountain. Remember the pencil sketch that we added. You can use that and see how the gorgeous paint is like spreading and creating. Then you can go over here and add a bit more. There. Then as I approach towards the top, what I'm going to do is I'm going to shift my brush and I'm going to grab in a nice brown color. Then using my brown, I'm going to go ahead and create some strokes. Now it's more of the brown shade. You can also mix up some brown along the edges on the areas where you've added the pines gray so that it gives now as you've added the brown see how it's looking as it's ridge in between the mountain. That's what we want to do. Go ahead, put in some brown on top of the paints gray, such that it makes that region a little bit on the darker side and also gives the brown a beautiful look. And see how I'm adding a few brown strokes, and go ahead and add in these brown strokes at random. All right. There you go. That's kind of part of the foreground done. Now we just have some dy tiny details in the front to do, which we will do after the paper has dried up. Let's go ahead and dry this up. All right. There you go. Our paper has now dried up. The only thing left to do is to add in some dry brush strokes. First of all, I'm going to start with a nice brown shade. Here I'm grabbing my brown, but making sure that my brushes also dry and seeing not right yet. That should do. Then the dry brush strokes, we are going to add and you can add them in random places. Let's see, most of it if you can add it closer. I mean anything is already beautiful without those dry brush strokes, but then I just feel that I always believe in the tiny tiny details, which is why I do that. The next thing is a little bit of a detail with white. Make sure that your white ah is nice and in a very creamy consistency because we are going to be doing dry brush strokes. Just Anytime, do not do your driver strokes on any of the darker areas because those are ridges, a sin, how do you say, they are like end of a cliff. For example, if someone comes in there, they can fall into the ridge. Those are like holes or some ridges in the mountains. Do not add it on top of those regions. Instead, go ahead and add it in the other areas. This is probably like when it was a snowy day and the snow has dried up revealing the most of the white of the mountains. That's what this is. There you go. I think that's enough. I am happy with the teeny, tiny details that I went ahead and added. Because we've dried up everything, we can now go ahead and remove the tape. There you go. Here's to finish painting. Isn't that? I mean, it's simple, but yet so beautiful with the color scheme, isn't it? Somewhat different color scheme that we haven't used till now. Here you go. I hope you enjoyed painting this with me. Thank you so much for joining me today. 63. Day 58 - Hilltop Haven: Hey, hey, hey, welcome to day 58, and this here is a painting that we're going to be doing today. I know this looks easy, but there are lots of things that I have introduced, lots of teeny, tiny details and everything. Let's have a look at the colors that I have used. I start with Hello blue ultramarine blue, then there's paints gray, Alizarin crimson, olive green, Sap green, dark green, and brown ban umber. If you're ready, let's get started with this one. Let's get started. First of all, we will go ahead and add in that foreground a mountain slanting all the way. Observe no edges and starting at one by third, not going towards the edge. It's very, very important, and then the horizon line way at the back, and there it is. Then we will have our tree here. Maybe that there is the main trunk of the tree, having side trunk like that. Something like that. That is our pentel sketch. Have a look. Here you go. If you're ready, let's get started. We're going to start with the sky, of course. I am going to apply water to the whole of my sky up to the horizon line and on top of the mountain. All right. So here up to the horizon line and on top of the mountain right there, then on top of the horizon line. Here you go and obviously, you can tilt your board so that you can have the excess water flow out of your paper. There you go. Then I will absorb all of the excess water as usual. You saw yesterday what happens when I don't absorb the excess water, it just flows right back in and ruins my paintings. Which is why I always do it now. Then now it's time for the sky. For the sky, I'm going to start with a nice yal glue color. Here, I'm just grabbing my yal blue and I'm starting at the very edge over there. Here, starting at the very edge. We want all of the clouds to be pointing toward the tree. What you will do is, you're going to have your clouds. The gaps in the clouds all pointing towards that tree. That tree is our focal point in this painting. I know I haven't talked much about focal point in any of the paintings before. Maybe today is the day finally. There, all of the clouds. The clouds are actually the white spaces, obviously. All of the white spaces you want to be targeting towards the focal point. All towards this tree, obviously, as I come down, decreasing the color toe in my paint. My blue paint, decreasing the color tone hoops that was an extra color on some side of the brush that I had. But it's okay. I can always spread it out and see how I've decreased the color tone, and then bringing my blue downward, and also I could see that my paper at this part had started to dry, which is we I'm unifying with a stroke of color. Grabbing more of the denser color to go towards the top, all of the denser colors at the top. Now, you can make this better by adding a tiny amount of ultramarine to the top. Just the top regions. It gives a warmer touch to the edges. Now we'll go ahead and add in some clouds today. I'm only going to be using the paint spray and not my Alice Allen. Here just going to be adding oops that's a little bit too much. Just reducing the color tone. There going and adding the paint sra, remember, all pointing towards the tree. Then as I approach towards the bottom, I want more clouds there. Here, just grabbing my paint scray and now all of the clouds are just Going to be almost in a straight line. At the horizon, make them like a straight line. And we're having more of them, I think maybe a teeny tiny amount of Alizarin at that bottom part there to give a little bit of a color difference from the other clouds for the ones on the horizon. Then you can use a little bit of a darker paint for the shadows obviously. See, a little bit of a darker paints gray for the shadows. All right there, see, added in a lot of these small clouds all towards the bottom region. Okay? Now we're done with the sky, so we'll go ahead and dry this up and then we can add in the foreground and then the first background, and then the foreground. There you go. We have completely dried this up, and then now we can go ahead and paint that little part of the background there. For that, I am going to be using a mixture of my olive green and paint gray, which is right here, but then I did add in a darker green over the top, so I'm going to have to wipe that off. Now, there you go. Oliive green and paint gray. Remember that we use this color mixture in the previous day, so this is what we're going to be adding. We're going to add that over to the background. Onto the furest regions. Just go ahead and add that, but then obviously fill up up to the foreground. There you go. I have filled up the area. Now, you can use your paints gray at random places. What I'm going to do is I've just picked up a little bit of a paint, darker paint, and we're going to put that along the edge and maybe in some other places like and clots. This is the extreme background, but then where the land area split into different plots and as such. That is something that you can do with this, also putting a little bit of a bushy structure and everything. Just making sure that Moz horizon is straight, right. Now we'll dry that up and then we'll add in the foreground. There you go here now you can see where I've added in the paint gray. I know it was not visible with a light on, but now you can clearly see it. Let's now go ahead and paint in the beautiful foreground mountain. Here I'm just grabbing my sap green color right now. That is what we will add. Nice watery mixture of the sap green, make sure it's nice and watery. Then as I approach this region, just going to give a bit of an olive green color right there. Then back to my screen mixture. See a bit of an olive green. You can do that in another place. It doesn't have to be exactly the same place where I have added. I'm just trying to give a little bit of a color difference to the areas where we have the green and we do not want it to be a unified single green. That is the reason why I have done that. See how we've got a little bit of an olive green color there. Then obviously need darker colors. Here just adding a little bit of the darker green and here along this edge as well. But do not add your darker green to the olive green region. Just a little bit of a darker green at random places. All right. Then I think the next thing is for us to wait for this to dry, but let rise out let's add some background elements. Those background elements are basically going to be white dots that you can put into your painting. Just so to depict maybe some further of house. These are not lights, but they are like the rooftops or houses or industrial buildings and such. That is what you can depict. Just maybe some dots scattered dots like that, and some of them could be arranged in a row as well to not add your dots to the paint gray areas. Maybe here, I've got slightly longer building, possibly. And then further off, they're going to be even teeny tiny. See how I've made that even teeny tiny. I think that should do for that ground region, and this is still not dried, so I'm going to have to dry that tree up. There you go, that's dried up. Now let's go ahead and add in that tree. Here, just going to grab my transparent brown. I'm going to make it like a sepia color. I'm just going to mix it up with my paint so that it turns into a darker brown color and this is what we're going to be adding. Here is my tree. That is my main tree, adding it there, having a side branch split out. This one obviously having another split, another split that we added there. See that? Right. Added in a lot of these splits and as such. And now it's time for us to add in the foliage. So the foliage, just go ahead and add in some random bits and bobs, and we're going to using the same color. That is because the sky is so bright. And from where we are looking at, All of the colors on the tree are just going to be like somewhat darker. We will put some greenish stones, but let's start with these dark toes in the beginning. See just some foliage like that. Wait Let me add in some more branches so that we can put some foliage. All of these foliage, what I am doing is adding some random bits and bobs like that. If you can see it, see that. This is what we are doing. You can have gaps in between so that the branches kind of see through. There, add it in the nice branch. The next thing is we're going to grab in a darker green. Let's put in a nice base. Then go ahead, grab the darker green again and this darker green now, you can place it at random places on top. It's still going to be the dominant brown color and do not fill up every single one of those gaps, but then you're still going to have uh, some of the areas having the green reflect through. So this green is the original color of the tree. But then because the sun is shining from the back side. It's casting so much light. That when you look through that light source, you're seeing it as almost as black. Okay? It's not black, but you're seeing it like that. But the green here on the front is that green because obviously it's shining over to the top, but this tree is in the view like in the front view of the viewers. That's why you see black, whereas this is where the viewer is standing on, so it's like the top view where the lights discsting, and it's got more greenish hues on there. Okay. Hope that make sense. I don't know. Anyways, this is our painting for today. And because we haven't done anything on the edges, I think it's a for us to remove the tape. And there you go. Here's the finish painting. So I hope you enjoyed painting this with me and thank you so much for joining me today. 64. Day 59 - Lush Landscape: Hey, hey, hey, welcome today 59, and this here is painting that we're going to be doing today. A isn't that go, just look at that, isn't it? So we have a lot of lessons here because we are completely going with the usual cooler in the back and warmer in the four ground theory here. Just introducing something really new to you. So let's get to that. First of all, the colors that we have used in this painting. This is Qua yellow, then Alison plus paints gray. There's blue at the back, and there's olive green, transparent brown, sap green, dark green. And Cadmium yellow finally. If you're ready, let's get started with this one. Let's start. Around one by third of the paper is where we're going to make the pencil sketch. Just go ahead and have you sketch the background mountains. They like in the background. You can see that it's really further off. Some background mountains and right there along is where we are going to have our foreground. L et's me have my foreground go towards the front like that. This entire thing is the foreground and that there is the mountains. We're going to have a lot of greens and obviously, you've already seen the final outcome, so you know how this is going to turn out. Let's go ahead and apply water to the paper. Just going to grab my larger brush, that small brush. It's just going to waste a lot of time. Here, I like to do things that ease up the time. If I need a larger brush and it does the half the work in half the time, then I always use it. This is how I always like to save my time and work around stuff. Here you go, just adding and there you go. Wetting the paper, making sure that my sky region is nice and wet, not applying anything to the background as yet. So yes, it's a background, but we'll probably do it in a softer edge later on. I just observe now or tell you what, I just decided against it. Go ahead and apply water up till the foreground. By the time you paint the sky, then the mountain region is going to be dry enough where we can go ahead and apply it. Here I've applied the water. Now, it's the time to absorb the excess water from the edges. There you go, from the edges, and I can see there's a little bit of an accumulation here at the edge, so that's why I've tilted my board over to that direction so that I'm able to absorb it. There you go. Oh, I can still sees a lot of water. Okay, that indeed worked. Now it's time for me to pain in the sky. I'm just going to grab my size eight brush, and we're going to pain in the sky. For painting the sky here, I'm grabbing that quinacrodon yellow color, but not too much. We only want it to be like a subtle amount. Here, just adding Then, what we are going to do is, you're going to leave some white gaps and you're going to have your color go outward like that, S. This is going to create the rays of the sun. At the moment, it's okay that you're going on top of the mountain region. It's absolutely fine. Then washing off my brush, we grab a teeny, tiny amount of orange for this side. The sky needs to be really very subtle. That's why we're doing this. Then we'll go back to now painting the sky. Here I'm just going to grab my cobalt blue color. And I'm going to place that into the sky. Can you see we've added in a lot of cobalt blue color, but make sure that none of the cobalt blue is going to touch the yellow areas. See the entire amount of gap that I left there. So see that was cobalt blue. Coming down. Want a denser color toward the edges. Just giving a nice denser color towards the edges. Then washing that off. Now we need to add in the clouds. For that here, I grab my paint gray, tiny tiny amount of alizarin as usual. That's my favorite mixture for painting the clouds and there we go. Now, we add in the clouds. This clouds now is going to act like a tiny tiny amount of separation between our yellow and the blue. Here You can see some larger clouds in this region. Let's put some more larger clouds. You can see I'm adding it on top of the blue as well. Just a little bit more here and maybe some smaller ones towards the top there. Now giving a little bit of a dual color to some of them. Now we've got our nice lighter region here. If at all it spreads, then just go ahead and absorb the excess bit so that you do have that nice sudden rase over there. You can also do a little bit of an absorption like that and create some ras well into the Clouds, see how I did that one. I think that actually looks nice. Not too much, just very subtle, just like the one that I have done now, and you can clearly see what's happened. We know now that that is the gorgeous sun right there. Let the sky be as it is, it's going to be a very subtle and lighter sky, but let's go ahead and paint the background now. For painting the background here, I'm going to grab my olive green. Now, why olive green is a question isn't it? We are going to be using olive green because even though it's the background, that is the warmest part. It's casting a very warm light onto the mountain. In this painting, everything is going to be literally the opposite. We are going to paint the mountain with the olive green. Here, just adding the mountain with olive green. There it goes. That's the mountain, the ground mountain with the olive green right there. I started with the one in the front because I want to add some colors to the one in the back. Then to the one in the back, I'm going to mix in a little bit of a paints gray because it's at the back and I want to give it a teeny tiny hint of little darkness, and I'm also going to mix in a little amount of my brown. That's a different brown. That's olive green plus paints gray, plus brown color. That is what we use in the background one over there. See that. That is what goes into the background one. Then probably grab in a little bit more brown. Here's my brown already. I'm just grabbing that and we can add that to the one again at the background. Because it's warmer. Then as you progress towards the right side, go ahead, add in more of the paints gray and try and blend it along. More paints gray because the sun is there, so towards the right, it's really darker because it's lost the light. There is no light on that region. It's getting darker. Now, this foreground mountain that we have added, we definitely need to add in some details onto it, not details, but it can't be as like a perfect mountain like that. We've got to add some strokes, which is what I'm doing with my mixture here. We're just adding some random strokes onto the top of it on top of the olive green. Now, see how that's blended in together. That's basically with the background. We've done a lot of greens there. Now, it's time for us to go ahead and paint in the foreground. I know that the background is not dry yet, but that's okay. It's absolutely fine. We can still go ahead and do it. So now we need to create still a warmer tone on the foreground where the sun is right there casting light onto that. This area is where the sun is casting the light. There, I'm going to start with a nice yellow tone at first. See right there at the edge. This is where the sun is casting the light. It's not going to be yellow. I mean you've seen the final picture so. This is where we start with with the yellow color. But before the yellow dries, go ahead, grab in your sub green and start on the top right there. And mix it with the yellow. Go ahead with your sap green on top of the yellow. You see how that's a little bit warmer. But then it's a different color to the olive green that we have there at the background. See how both of these colors are different, yet it's still warmer. This is why we added that yellow. Now as we come towards the bottom, we want to make it cooler and darker. Why cooler and darker because it's like opposite part of the sun, so we're staying away from the sun and Any warmer color that we applied in the front, we need to go with the opposite words as you go away from it. This region is now furthest away from the background. That region is going to be where the warmest colors are. Let's continue on C with the sap green. Do not let your end of your line dry up. I'm not letting that dry up. I'm going to grab my darker green now. There that's my darker green, going to go with that one at first, and then I'll make it cooler. Let me show that to you. If I grab in my darker green, and I'm going to blend that there at the bottom. Go added my darker green. You can just go blend that darker green and create texture at the bottom. You can either use your hello green to give it that cooler green color, or you can go ahead and mix in a little bit of thalo blue or even indico with that. I am going to go with a hello blue right here. You can go with either of those. It's absolutely fine. It's not going to turn bluish, it's just going to turn into a warmer green color, just a slight hind there at the foreground. You can see that. You've got that bomber toone in the foreground. That's all done. Now the last and final step is for us to make the foregrounds really look like the foreground because we're missing a lot of these green strokes, I would say, like the real grass se structure. Here, I'm just grabbing my green and mixed in a little bit of a yellow color to it. For going ahead and applying onto that background. I'm going to make some upward strokes like that on to the edge. Make them smaller, do not make them too pick because this is also a little bit far away from the foreground. The foreground is right here at the bottom. Anything further off should be smaller. Just giving a little bit of a texture to the end right there. Making sure. Now you can come over to the bottom, and again, you can add in some strokes. I mean, you can also use a liner brush for that purpose if it actually helps because it would get a thinner line. Let me try and use a liner brush. Going to pick up the same color literally and and do that. Actually, it's much better because we're using the liner brush and we get to add these. So You paper might have start to dry off at this point, and that's when you want to add these. As you go towards the top, you need to make them smaller and towards the bottom, you can add larger ones. See how we're just adding a lot of these. Then to give a little bit of foreground and a highlight. Go ahead and grab in cadmium yellow. Here, I'm grabbing my cadmumula. I had a little bit of green in my brush. It's actually mixed and contaminated my cadmiumula at this point. I honestly not bothered now, I'll clean it up later. Here, go ahead. Put that cadmium yellow over to the top at some places. Observe and also make sure that you have the grass growing in all the forms. You do not want to be all of them sticking out from the bottom, but rather it's growing out of places at several different areas. See that. B. B. B. See how we've done a nice grassy structure and given it nice shape and everything. You can go ahead and do a little bit towards the end, fix any broken edges. I'm getting the line from my pencil right there and I'm honestly not liking it because you see the line where we broke off in between. Possibly, let me see how we can fix that. If I grab in a little bit of a yellow and try and blend that together, maybe. But it's too late for that area now, so I don't want to ruin that up. I think we're almost done. Now let's go ahead and dry this up and then we can remove the tape. All right. There you go, thank God, it's not that bad after it's dried up. I was afraid that this was going to turn out really bad at that point. But thank God, it's not. You can see all of our grass and everything there, all the cadmium yellows that we added. It's also gone ahead and blended in. It's looking really nice, isn't it? Now let's go ahead and remove the tape. And here you go. Here's the finish painting. Can you see how the clouds are subtle, the light, casting its rightness onto that foreground and we're getting darker away from the light and all that. Isn't that gorgeous? I hope that you've enjoyed painting this with me. Thank you so much for joining me today. 65. Day 60 - Pine Paradise: Hey, hey, hey welcome today 60, and this here is the painting that we're going to be doing today. So I know you're asking me, where is the green? It's supposed to be green and it's a lot more of the other colors, isn't it? That's okay. That's because we have a different mixtures of green for each of these pine trees, and I just wanted to show you how you can create a of depth in your painting and everything. All right. These mountains, if you want, you can go ahead and paint it with like a greenish stone if you want and do the same thing with the background again. That's okay. First of all, let's have a look at the colors that I have used for this. We start with a little bit of a quinacdon yellow, and there's quinacdon rose, violet. We've got Indigo and cobalt blue. Then we've got a bit of lavender. Right down here, we have dark green, cadmium yellow, and sap green. I know it's a lot of colors isn't it. But if you're ready, let's get started with this one. All right. Let's start. We'll start with sketching a foreground. So it goes like that, then assuming that it goes down something like that and that it goes up again, then we want to sketch some background mountain, but not entirely. Leave some gaps, see that, and this mountain is going to go up. Like that. Again, do not complete it. Then another part of the mountain behind it. Again, do not complete it. In fact, you could actually do this with our pencil. I mean brushes itself, so it's just optional. There you go. That is the pencil sketch that we're going to be doing today. Let's go ahead and paint. Shall we? This is the for ground. Rest, everything is the background. Let's go ahead and apply water to the whole of our paper. All the way up until the four ground point, which is right there. See how I'm applying the water and there it goes. Make sure that you cover it up nicely. You do not want your paper to be drying out quickly. We've got a lot of strokes to do. Maybe not a lot. We can actually do this really quick. One good layer of water should do. Then as usual, let me just absorb the excess water from the edges. There, I've absorbed that. Now we go ahead and paint in the nice background. I've grabbed in my largest sized 12 brush. We're going to start with a little bit of a very, very diluted amount of yellow, something right above that mountain. See that. It's very, very diluted. Do not bother to apply a very darker tone and see how I'm lightening it. Then next thing is we're going to grab a little bit of the quinacdon rose. There just grabbing the rose shade and we want to applied on top of the yellow region. S and getting that all there and coming down and applying that there as well. Maybe a little bit over here as well. I think that should be enough. Not too much. You saw the amount of paint that we're adding. It's very very subtle and very light. You've got a little bit of a yellow there. You can also blend in the yellow because we only want the yellow to be very light as possible. Then I think I'm going to shift my brush now, so I'm shifting to my size six brush. This by size six. Making sure that I clean it up. And now we're going to add in some beautiful clouds on the top. The clouds on the top, going to make it with violet, but do not it to be too bright. Here making a very very diluted lighter tone of the violet, and just going to add on the top. See how I've added that. Make sure that you always mix on your palette because if you apply violet directly from the palett then it's not going to be lighter, but rather it's going to be too vibrant, which we do not want. Here again, coming down. And adding you go still adding the violet and some beautiful clouds. Let's add some over here over the top. Nothing over the yellow region because remember, violet is the opposite color, the complimentary color of yellow. You risk creating a brown there, which we completely do not want. Here taking that up and adding and I remember, let's come over to this side as well, but this is going to be masked out by the mountain areas anyways, but it's. But I'm still going to try and add, we will see how much of it we can preserve. Here that is a mountain again, a nice amount of mountain. This is like the pinkish region we've added there. You see that. Let's still add in those pinkish region. There That is the mountain bit added. Now, the top parts of the mountain, we will paint that later. But the bottom part because it's still wet, it's good to paint that right now so that it'll blend in with the clouds and not disturb later on when we add in over the top. That bottom part, what we're going to be doing is, let's grab a mixture of cobalt blue and indigo. Here is my indigo. It was already there on the palette. That's why I mix it up with that and cobalt blue, and I'm going to apply that here. It's going to be in the areas in between and you're going to fill it up. All right. There's the Co Baltz blue. Sorry, the Indigo and then there's the Cobalz blue, and this is what I'm going to be adding. Eco, grabbing that and I will fill it up up until the bottom region, there you go. At the bottom, I've picked up a little bit of a talker tone, as you can see, and we will just paint along the very edge there. But then make sure you go ahead and blend it and fill it up nicely. See. Then over to the top. Now, again, as you can see, my paper has started to dry, so this is almost a dry stroke that has applied there. We cannot let have a dry stroke there. What you can quickly do is go ahead and grab in another brush and go ahead and soften those regions, but do not put too much water in softening because if you put too much water, then you can disturb that region over there. But you also don't have to worry too much because we're going to cover this area up with a lot of trees. But we still need that base to go in there. That's why we did that. Then where else? I see that there's a little bit of the area there, which needs to go and have the bluish done of the mountain, it's white. That area is still white. Let's grab that and fill that region up up along the edge. Make sure, I've dried my brush and I'm just going to make sure that I of blend that into the colors that's already there. This is why we need paper to be wet. I think that should be enough. The rest, we will paint the mountain when it's completely dried up, all of it. Now the next step is for us to go ahead and completely dry this up. There you go. See, it's completely dried up and it's turned very lighter as well. We now start with the mountain. For starting with the mountain, first, what we're going to be doing is we're going to grab the same mixture, the indigo, and the cobalt blue mixture. Right there, but make sure that it's not too dense. We just want a little amount on our rush. That's what we start with. But watery mixture, I'm adding a bit more water, and we start with a nice watery mixture, see how we start with that. And again, water, try blend towards the bottom. As you come towards the bottom, we need it to be more of the water because it needs to go as if there's the clouds and it's blended into the clouds. See that? That's what we want to try and depict. You can also grab in a little bit of lavender and we're going to put in a little bit of a lavender, just giving a little bit of a dull color. This whole thing. See here, more of the cobalt blue coming over to this edge, and there it goes over to that edge. But again, let's blend that in. I'm going to slightly use a larger brush to blend that in. The see how that mountain tried there. Then you can just grab in the color and add in at some random places. There. And blending that such that you do not get any edge. When I say blend, I mean softening the edges. That's literally what we're doing here. There you go, grabbing a little bit of a lavender and adding that to some of the areas. There you go. That is the first part of the mountain done, which is why we only made the pencils catch up to that. Then we'll dry that up because there's water in this region. When we paint this mountain, we do not want it to be wet. Let's just go ahead and dry that region. That is now dried. Now we'll repeat the process with the same the next mountain. You're going to go ahead and you're going to paint something as a whole. But before you can go over to the top or before it can dry off, make sure that you go ahead and soften the edges of that region. Se softening so that the edge blends into the background. See that. We wanted to be blended into the background there. Then I'm using two brushes in my hand. Again, now going over the top, blending a little bit along this region needed to be a little on the lighter side. Then same color again here. Let's take it to the top. The top, the peak is nice and visible. But remember the areas that we've actually added in the bubble shade in the background. Try and keep that the same. Coming down. Then here grabbing my brush again and we'll try to spread this around. You can try and spread and bring all of those water to this edge over here, but you also don't want it to be just the edges. That what we will do is we'll grab in the same color toe and we will start adding more to some of the areas. Because you need to depict the mountain. Here again, you have a large bunch of white area. Let's just fill that up. But see how I've got a harsh edge there. Avoid all the harsh edges by softening towards the bottom. See how I've softened and I've gotten rid of that. Then coming over to this side, yes, we did apply color earlier on, but that's okay. You can still apply more over the top and softening. And filling that up. That's our like our background mountain. You can add some darker details by just grabbing a little bit of indigo and adding some areas at random. Here what I'm doing right now. If you just go ahead and add in some darker regions. There you go. That was the background. Now, we just have some trees and the foreground to do. Let's go ahead and dry this up. I know that you might be wondering that we're supposed to be doing green this week and then why all of these colors? But obviously, you've seen the final picture and you know how many greens there are on this one. I guess there's nothing to worry about, isn't it? Let's just go ahead and start. I think we'll start on the left side and start adding some beautiful trees. Let's go ahead and start with a dark green shade. Because everything in the background is so light, which is why you also need to make sure that the background is lighter. Do not make it with a wet on dry appearance. It needs to be lighter so that these greens that you're adding is going to be visible over the top. We're going to grab the green color and we'll start making some nice pine trees. You can add them at any length that you choose. The first one, I'm just going to go until there, and just have these. Little branches like structure, but you don't have to do a lot as well. You can have those pine trees dry if you'd prefer. But see what I'm doing. I'm also not giving too much. You do not want it to be too heavy as well. There. That is my first bindary. You can see it's not that darker green. Sorry, it's not that lighter green. It's a little bit of a darker green. But now I'm going to create one with a little bit of lighter green. For that, I'm going to grab my cadmium yellow, and I will mix it with my darker green and you see what happens when you mix your cadmium yellow with the darker green, you get various different kinds of green and see that is a completely different kind of green. And we're going to do the same and create a pine tree. But if you look at this one, this is absolutely weird. It's a little bit on a different scape, isn't it? Which is why now you grab the, the darker green. Just the darker green and you're going to add over the top. That's a bit still wet so we can do that process later on. Here my green again, and we need to mix. This is already got cadmium yellow mixture in it. I'm going to add some more trees. The I'll add another one over there. Probably we can leave that little gap. My trees are, as you can see, quite dry, I'm making. I'm not making them denser. I like it to be dry. But if you'd like it to be more dense, you can do the same. You don't have to follow the strict process or any. There's absolutely no roof for this. Bit more admi Mello, trying to vary the greens. Our topic is green, isn't it? I'm completely trying to vary the greens that I am using. Each time when I make, I have a different ratio of the green in there. There you go. All right. There add it more. Let's go ahead, grab again, adding dark green to it. This pine tree over here, I'm going to make that really tall also because it's right there. It makes sense that your pine tree is going to be taller. It does not mean that it's taller than the mountain. It's just that it's in the front of the mountain, because we're viewing it from this side, it appears to be taller than the mountain. It is not taller than the mountain. Do not misunderstand it that way. Very important. These concepts. Herein. Adding. I like my pine trees to be loose like that, which is why I do it this way, but if you'd like to have denser and more detailed pine trees, you're always absolutely welcome to do that and make your paintings uniquely. Do not hesitate to do such things. All right. We've added some nice pine trees. See, that's a beautiful greenish color, isn't it? The one that we added earlier, it's starting to try out, so here I'm just going to grab my green going to add over the top. O and just add It gives the appearance of a dwell tone or something. You see that. Now it's easy to go ahead and paint in the foreground. Shall we do that and we can complete this painting. We do not want this to be lengthy. The foreground, absolutely easy, just go with a nice amount of sap green. There you go fill in with S green. The background was the tricky bit in this painting actually. But with the green areas, it's actually easy, isn't it? Here over on this edge as well. Just going with the green There you go, but we also need to give in a little bit of our depth. Just grabbing my darker green, put it onto the top like that. All the dark areas to the extreme bottom part, and there we go. We have our painting completed actually. Let's go ahead and dry this up and then we can remove the tape. There you go. It's completely dry now, so I am going to remove the tape. Here you go. Here's the finished painting. It seems as though there's very little greens, isn't it? But when you look at all the different mixtures of green that you've done, it's a lot, isn't it? Here you go. Here's the finished painting. I hope you enjoy painting this with me. Thank you so much for joining me today. 66. Day 61 - Purple Lagoon: Hey, hey, hey, welcome today 61. And this here is the painting that we're going to be doing today. So Any guesses on the topic. What do you see? A lot of mountains, a little bit of an island in the front and water body water body, which is actually a lake. And that is our topic of this week. Lakes. We are going to draw a I mean paint a lot of different lakes. We've got our first one right here, which is a gorgeous ping purple sunset and some beautiful land area depicting some of the greens and coming forward with the greens and backward, with the purple shades and all that. This week, we're going to explore a lot of lakes. So let's have a look at the colors that I have used for this one. We start with a quinacon rose, then there's purple or violet, and then a dark green, sap green, transparent, brown and paint gray. These are the colors that I have used in this one. If you're ready, let's get started with this one. Let us start and we'll start with our quick pencil sketch. We're going to have the horizon line around one by third from the top. There's the line, the straight line, and I'm not completing it because we're going to have some for some mountains in the front, and there's like a background mountain. There it goes like that. Then you're going to have another layer of mountain right there. Again, do not complete the end of it. Be we're going to have another mountain right there in the front like that and this one, you can come like that and go there. Then over on this side, again, you're going to have another mountain that extends outward like that, and it can come again over to this side. And we'll have a little bit of a land area, something like in between the lake, some places. There you go. That is the pencil sketch. I will show it to you closely so that you can make it yourself. There you go. Now that it's clear. Let's go ahead and paint this. We'll start with the sky region, of course. Here I am just going to go ahead and paint over on the sky region. In fact, what I just realized, we could actually paint the whole thing at first. We're going to do that. Because we can paint it in a subtle way and then have the others pop into the foreground. So go ahead and apply water onto the whole of the paper. Here I am using my flat rush and I'm going to apply water to the whole of my paper. There you go, applying to the whole there. Then let's see. Absorbing the excess water from the edges. There you go from all the edges, absorbed the excess water. Once you've done that, we can start with a nice pink shade. Obviously, going to have to clear up a little bit of an area on my palette here now. There you go. Here, grabbing a teeny, tiny amount of pink and this is what we're going to start with. Go ahead, leave a lot of white spaces at random. As much as possible, try to stay away from the mountain areas, but anything that spreads over onto it, it's absolutely fine. You don't have to stress to make sure that it really doesn't spread. Here, going with the pink shade again. And coming over to the bottom now at the bottom, we will definitely go ahead and fill up the entire thing, but always observe the light light light tone that I am using here. Here we've covered up everything. It's just a very subtle lighter tone that we have started with. Then next thing is we'll go with a nice purple shade. I'm going to mix it right here on the same place that we've mixed up the pink. That's okay and here going ahead. And adding in the purple. Using the purple, we are going to add a lot of clouds. Into the sky. Here grabbing that and creating like a cloudy structure. Closer to that mountain, can you see added in that, then I'm just grabbing a little bit more of midtone of the violet. We put that over the top. Then maybe a little over to some of the edges. Then let's go ahead and create some Smaller clouds, leave a lot of white space there. I think that white space, let it be there. Let's not cover it up. It's going to look good. Here a little bit more of that. Now, as we approach to the bottom, we want everything to be in a blended manner. It's not going to be a clear reflection day, but it's because of the water is not clear, it's flowing water, and this is the reason why the reflection is not going to be clear. That's how it is. We'll go ahead, grab in the let and go ahead, push it along in the direction. This is like the flow of the water like that, all of the water is flowing that way. In lakes, you might be thinking there isn't a flow, but this is like the water is just not clear and that is why it's not flow. I might be wrong. But it's just a in lakes, the water is not always clear lakes. There's always some kind of disturbance. Some lake waters are clear, sometimes it's not. We're trying to just depict a water kind that is not clear at this point. Et you go adding that, but leave a lot of areas in the center to be as as with the pink shade. We don't want to be covering that up. Maybe if you want, just like here is the pink. I'm blending that into my violet area there. See how I blended that pink into the violet area there. The rest of the area seems okay to me. We've got all of the white spaces and everything. Then we have these background mountains to paint, I'm wondering, let's not do it with the wet on dry method. We'll do the wet on wet itself. Let's go ahead and dry this up now. There you go. It's completely dried up now. My papers got a bit of a slicing problem. You can see see how some lines and no lines have popped up. But that's okay. I think Now over to the back side because we're going to be painting way at the back, we are going to be using a very diluted amount of the same violet that we used for the sky. Using that same violet here. That is still too much color. I'm just diluting it and this is what we will use. That's much better. We don't want it to be too vibrant, and that is what we will use for that background mounting. You can see it's really diluted. And we want to paint right on top of the horizon line as a straight line. You go. This is going to be super easy. There isn't much reflections to be added on this one yet. Here, just grabbing a little bit more of the violet. Just going to grab and put in some extra colors at at random places. Little pop of color at places. We'll paint that one in the background later on. Let's now bring in an extra layer of color with the violet for the next one. This next one is going to be a little bit more darker than the one that we've painted over there. Little bit more on the darker side. But as you start with the violet and as you go over to the back side, we want to then start switching to this greenish tone. See, mixing a little bit of a greenish tone, a little bit of a violet. This is because you're going now further away from that sunset region, you're coming towards the foreground. You start seeing the greenish tones. That is basically what's happening. Here I've put green here. I know in the camera actually looks a little bit black. It's not that really black. Then here go Back now again with the violet, I will grab on to this color here. On this very edge here. Starting with the violet, but then towards the foreground as we approach. I will switch to the violet. Sorry. The green. Here's my green. Start mixing up. I think the green is much more visible here, isn't it? But the areas where it actually mixes with the violet. I know it's not that evident and not visible. There's where the green is. I'm starting with the green that's on my pallet right there and that's like a bit of a sap green at the moment. We will add darker colors on top of it, so not to worry. That's too of a bright Green. Here I've just grabbed in my dark green and that is what we will apply. You can also make it darker by adding paints gray because here at the base, it has to be darker. We're not going to be seeing this vibrant greens at sunset, but it still needs to have a greenish touch. See that much better. Then now we'll go over to the next one at here. There's another mountain there at the back. I know, but I'm just going to go ahead. I'm just waiting for this one to dry off. Until that tries off, we can always go ahead and paint the ones in the foreground. Here, just put in a little bit of brownish strokes, going to grab that darker green and that is what I will blend along. Here, just taking that. Grabbing the darker green and applying. Here, I've just completed along with the darker green. I think this needs to go a little bit like that. Then just taking my paints gray now and we're going to apply it at the base. The base needs to be definitely. Here, just applying more towards the base. I think this is too m of a turn. Maybe I will do that. Just adjusting my pencil sketch as it deems fit. There. I need a bit more depth and darkness towards the bottom there. Now we have this part here to paint. For that, here, going back to my nice green color applying. As you've come towards the real foreground now, we can go with a very vibrant green at this point. But obviously we will be adding darker tones, not to worry about that. Yet and this over here as well on this edge. Then a little bit a s, tiny, smaller one over here. Now, you can see it's two too vibrant. We definitely now need to go ahead and add in darker tones, but the darker tones, especially and adding towards the base, what we're going to do. This is actually the green land area there. Because this is really closer to us, you're going to be able to see the lakes. What you can do is, if you can just like create some bushy structures like that, that is going to look as though there is a vegetation. There is trees and everything on those areas of the lake. See that? Okay. So we're going to do the same thing, and you can pop over to the external part of the lake as well, and towards the outside of the land area. Like for example, here, the bushy area that I'm going to add is going to be towards the vertically upward region, such that it looks as though it's like a tree growing, and you can literally just make it look like a tree as well. Se. I just added something there and that actually looks like a tree, not a lot, so just creating a lot of bushy edges and Over to this side, I'm just going to create a lot of bushy edges. I just feel that now that actually looks vertically as a lot of vegetation is growing there onto that area of the lake, isn't it? Same around here. Just going to add in lot of that. We'll do the same over to this side. S. Now that actually looks like a lot of vegetation is growing over there, isn't it? We could do the same thing to some of the areas here at the bottom. But because we've applied a darker color, if you want to create the effect of some vegetation or anything, you need to go with paints gray and nothing towards them of the outside. Here, just grabbing paints and adding such a de like that, which will actually look like the foliage. So there you go. We're actually almost done. I feel like we could go ahead and add in some more little islands if you want, if you were to add one with a pencil, I'm going to add one here because I don't like the sizing of my paper over there. I'm just going to mask that out with little island there and maybe A little bit of a green like that. That looks a little bit flat, and also, I do not like the shape of that this one. I'm just adjusting that now because I've ruined the shape, I need to create the foliage again there. Yeah. That actually looks much better. We're almost done. We only need to paint that background. One there, just checking to see if this is dry. Yeah, that's dry. That area there, we're going to do it with the red purple shade. Just mixing the same quinace rose with my violet, and you can add with that. That will just be a slightly different purple there. Giving us a little variety in the color mix for that background mountain there. Can you see because it's got a little bit of a purple mixed in. That is what we're going to be doing. There you go. Added that background mountain. I know because it's wet, it's got a reflection there. The only thing left for us to do now is to add in the vertical areas of the land region. There's a lot of land region here as you can see. We also need to add in a bit of a reflection because this looks really awkward at the moment with the lake and no reflection at all. This will make sense as soon as we add in the vertical areas. I mean, vertical as in the height between the land and the water area. Here, if I were to grab this brown and I give it like a edge of that sort. Let me see. Let's grab in a little bit of a lighter color. Here, just grabbing that and give the Each of the land areas, like an edge, something like that, a little bit of a height difference. The same, if you can do. This is like where sometimes it's not a high difference For this one here, we're actually looking at it almost at a side top view. This is essentially the area on the closer to the lake where it has the surface where people can walk over to the part of the lake. The same thing, probably, you can do. Yeah, Just blend it in, maybe over on this one as well. Maybe on this one, the area is extended. See that. We're almost done a little bit of a surface to that one there. Just a vertical surface to that one there. There you go. Then lastly, we'll just add in a little bit of a reflection. I said there is no reflection, there isn't, it's not too much. We need to make that a very subtle of reflection that in a blended manner. This reflection that we added is almost gone. That is why we're adding some more. If you just grab your violet, go ahead and add it. What you're going to do is you're going to make it softened out. See that. Just blend it along. And soften it. Now that area is a little bit darker. This is why I said, It's not an exact reflection, but just just a darker color to implicate that there is a reflection. There you go. The same thing here, applied the violet and I'm just going ahead and blending that region, right? We have this region. This region, all my reflection is going to be in a bit of a different manner. If you go and just apply a tiny amount of water to that base region, whatever you grab, just go ahead and apply it like that. That is going to depict as the reflection of the foliage that we drew over there. See that thing like that there. All right. There you go. I think that's more than enough. Add it in all the reflection and everything, and the lake is done. So we'll now dry this up and our painting is complete. All right. It's completely dried up now, so let's go ahead and remove the taste. So here you go. Here's the finished painting. Isn't that looking amazing now, so you can see all the blend of the colors, the violet, and the greenish colors pop in this beautiful sunset, isn't it? So I hope you enjoy painting this with me. And thank you so much for joining me today. 67. Day 62 - Sunset Swamp: Hey, Hey. Welcome to day 62, and this is the lake painting that we're going to be doing today. Isn't that gorgeous? A lot of things in this, a lot of lessons in this, lot of reflections and everything. It is not tough. You can see from the time we completed it way less than the 30 minute mark. It's really really easy. Let's have a look at the colors that we have used. We start with Cobalt blue. Then this is Cadmium orange, not transparent orange. Keep that in mind. Cobalt blue and Cadmium orange. Then we got transparent brown, Oliive green and Well, that's it. That's it. I'll say once more, Coupal, blue, cadmium orange, transparent brown, and olive green. Those are the colors that I have used in this painting. If you're ready, let's get started with this one. All right. Let's start. Around one by third of the paper is where my horizon line is going to be. Here, I'm just going to draw the horizon line straight as it is. Mr. Part in the center. There you go, added the horizon line. Then you can go ahead and make the mountain. I think that mountain is going to have a dip in the end and then it's going to go like that. There you go, we've added in the mountain. Then now for the fork ground area. This is where it extends outward into the lake. There it goes like that and comes around more parts of the lake. You go, then here over to the foreground again. And No along this edge. Let's go over there. This is the lake. This is the land area, this is the background, and we have the sky over here. Here is the pencil sketch up close for you to make that. You can pause there and you can make the pencil sketch. Let's go ahead and paint the whole thing now. We're going to approach this with a whole thing again because it's nice to have a reflection all done in the leak. The best way to achieve that reflection along with the four ground strokes that we want to add is to make a unified painting. This is why I am going to be applying water to the whole of my paper right here. There you go applying water to the whole of my paper. Then here, just going to absorb Oops. Thank God, I didn't do it on top of my paper. There you go. Now we'll go ahead and paint the sky. I'm going to grab my size stem rush, a size state 12 doesn't matter, whichever you can get. Considerably a larger size is what I would recommend. We're going to start with a nice cobalt blue shade. You can just put in the cobalt blue. Observe that I started somewhere in the center. A tiny tiny amount of cobalt blue. Then today instead of the transparent orange, we are going to go with a little bit of the cadmium orange. And this is what we're going to be mixing it with. The reason Cadmium orange because it does not mix too much with the blue to create a greenish stone. We do not want a greenish stone, but rather it will just mix with the cobalt blue to create pins gray colors, which is exactly what we want. Here All right. Just go ahead and add that. Again here, don't bother about the mountains at this point. Let it be then here. Next, I will grab the color denser at some point and start adding denser towards the top. Now you can mix in a little bit of the cadmium orange and the cobalt blue together to create like a brown tone, see. This is a brown tone. More orange, that's when you get brown. If you put more blue, it's going to be a little bit of a gray color. This brown tone, I am taking over to the right side. Need a little bit more cobalt blue now, but we say the Cobalz blue. You go then grabbing the cobalt blue, and just adding into these areas in between. It just means it's a lot of bluish regions and a lot of orangish regions. That's basically the sky. I think I want this region to be a little bit more bluish. I did a mistake there. I feel like this is stuck in the center and it doesn't look good. I apologize for that. Uh, here you go. Grabbing a little bit of the bluish stone and adding over to that region. There that actually makes much more sense. Then now, I think the lower parts of my painting has started to dry out, so I'm just applying a little bit more water there. You can always go ahead and rewet. Make sure that you do not touch the top regions. Otherwise, water is going to flow back upward, and you're going to end up with the blooms or what's called as the cauliflower effect, which we really do not want. Okay. Now, back on to the bottom, we start with the same colors again. We need to create the reflection. Here, I'm just going to go with micro bolt blue way over at the top region, until there, then In between, I am going to add the cobalt blue just like we did in the sky region. You go that is Copalt blue at random. Also, we're not seeing most of the area here, we only see a little portion of the sky. Which means that there is indeed a lot of the areas that's we're missing out. Forget about the land for now, it's just something that we'll add later on. For now, let's create the reflection. There's the reflection, the orange coming through. Remember, it's Cadmium orange. If you use the transparent orange one, this is going to create greenish color, which we do not want. This is the reason why I'm using the cadmium orange version. There you go, added in the nice reflection. Now, about those darker colors there which we created, that was with the cobalt blue and the orange was in it. There you go that's the bro that we created. If we can go ahead and add that and observe. This one was angled w. This one needs to be angled. They all need to converge because it's actually the reflection. It's not converging, it's just the reflection of it. Just bending in. Yes, I think I've covered most of the regions. These wide spaces are not bothered because that's where actually the land area is. We could actually skip that because we're going to be painting that later on in a different way anyways. That is the background, the reflection all done. Now all we need to do is now to go ahead and dry the up so that we can paint the background moundin and then the foreground. Okay All right. There you go. It's completely dried up, so now we can go ahead and paint in the background mountain. The background mountain, what I'm going to do is, I am going to start with a nice transparent brown, because it's a sunset scene and it's okay. We're just going to have a lot of darker background anyways. I will fill it up with my transparent brown. Let's just go ahead, make the line of the horizon. There you go. There you go, the horizon line. Added. Then let's fill up the areas of the mountain. Then, like I said, that mountain goes up like that. Okay. And there we go. That is the mountain. Then obviously, the next thing is, I'm just going to grab in a little bit of an orange because we're going to give some colors to that mountain that we just added. Wait. Before the orange, I feel that the mountain that I added is still just light, just going to grab in a little bit more of the brown, going to darken it up because I think I applied too of a lighter color of the brown. I needed to be nice and vibrant and dark. Also it's the sunset scene, so it needs to be darker. Yeah, I think that's much better. Now washed off that pigment. Now is the point where I will grab in my orange. There's my orange paint, and I am going to add this. My brown is still wet, but I'm going to add this orange. This is not any reflection. It's just a little bit of like a Rocky texture on the mountains, if you've actually seen them, go ahead, blend it with the brown and make these lines. It is a rocky texture. If you just add, once this dries up, it's not going to be this orangish. That is why this rocky texture is going to be looking so good when it actually dries up. You remember we used to paint. This is the opposite way of doing where we actually used to paint with a raw CN, sorry, not cena, the burn Cena, this burn Cena and then we add in the darker brown details on to the top. This is a different way of doing it. This one is basically where you add in the darker color and you add in an opaque color on the top. There are two ways of painting this. Just in case, if you do not want to be using this method and your cadmium orange is not this opaque, the next method that you could use is to go ahead, start with a lighter tone. Then you would be painting in a different way. This is where we applied the lighter strokes. Later on. There you would be applying the whole mountain with burn CNA color, then over the top, you would be adding the darker details. I think we've done this in a lot of different lessons before, so it should be fairly straightforward for you all. Then before we move on to the four cron part, we need to create the reflection. That is obviously another tricky part, isn't it? There you go. The tricky part, how we're going to achieve it is, go ahead and pick up a flat rush. If you don't have a flat rush, the larger size brush that you have, and you're going to go ahead and You're going to do is, let me show you with this large brush now. What you're going to do is, you're going to hold your brush like vertically downwards to that mountain, and you're going to roll your brush around like that, so that it wets the paper. Roll it around like that. Do not press it and apply, even with a flat brush, just one stroke. That's it, not too much. Very important. Then go ahead, grab in the color, but then once you're applying the reflection, you're going to leave a slight gap. See that gap. Always leave that slide gap. There that is the slide gap. Then Now you will try to create the shape of the mountain onto that reflection that t sketched. There the mountain comes there. Then we have a little bit of a height here, and then it goes up and goes like that. That is our reflection, isn't it? Then a little bit of the same colors. Remember, this is this way, these strokes would be this way. See that, and this is this way. Se. Now that is the reflection. There's a little gap in between. Once you've done that, we've painted all of the other areas, it's time for us to go ahead and paint in the land area. Let's do that for ground land area. How are we going to do this? We are going to do this with multiple set of colors. We need to be ready. Let me just clear up a nice area of my palette for my olive green. We're going to need two brushes. H two large brushes. This one is a size ten and a size 12. You can also use like a size ten and eight. It's absolutely fine. One brush with a nice brown color. The other brush with a nice olive green color. There. See that. That is the color that we're using. And we're going to start right there. Start at the very edge, and we will go ahead and apply. But it's too much of a lighter color. That is why you're going to grab in your brown and you're going to put brown strokes in between. This is a little bit on the softer side because of the reflection that we added. I did that deliberately. Even if yours has dried up, it's absolutely fine. But because that's further away, it works in our favor. So here now going ahead with the olive green again. You can see here, this is not softer because we've got harder edges now, and we're getting these harder edges because obviously this area, we never wet that region. Here, just grabbing that and now going over to the edge. Where else? This comes over like that. You go. This comes over like that. Let me just probably add in the olive greens first. If you start to see that your olive greens are starting to dry out, then you need to go ahead and add in the browns over the top. Do not let your olive greens out. We need to have these brown strokes over the top. Here, just adding and you can see. It doesn't look good if you actually mix in the color. Then because now you can see there is actually a mixture of the color there, which is what makes this look good, isn't it? Some areas like our olive green, some areas are like brown. It's like a complete mixture of color, if you know what I mean, and we're going to keep it that way. Then again, no brown. There's my brown brown. Okay? Back to the olive green. There added that. Now back to the brown. Let's add in a lot of these browns now. They need not be perfect lines. These are just like random detailings that you're going to add onto the olive greens. There you go. We've added some nice strokes now. Let's clean our brushes. There's something more to do, but for that, we need our paper to be dry now. Now let's go ah and dry everything. S, it's almost right up now. The next thing that we need to do now is to create an edge for the horizontal areas. You can see this is a horizontal area. That actually needs a edge only then, it's going to look as though it's like an elevated surface from the lake. Remember, we covered that. Again, this is a horizontal surface. It doesn't need to be in a straight line or anything, just create a horizontal some line. That now appears as though this is in the elevated part of the lake. You see that? The same way across here. Now, along here, what we're going to do is observe closely. Here, it is the elevated surface. But as I come towards the right, I'm going to decrease it and almost decrease down. I like this is the elevated surface, but then it's the land, it's like blending into the lake region. See that. Then again, we've got a little bit of a horizontal region here. Something like that. I'm going to create a little bit of a thicker horizontal region over there. Then let's have another horizontal region, which is again going to be a bit thick and I'm going to it as I go there. S decreased. Now, not done yet, the last bit of the work is a little bit of a dry brushing. Go ahead, pick up the brown. Make sure that on your paper, you start getting the dry brush strokes. You can absorb the excess bit with your clothes absorbing the excess water. Let me see if I start getting the drys. Yeah. Then I'm going to just go ahead and along the edge of these ones. We're just going to create a little bit of dry brushing detail onto the edge of this. Along here as well. If you go ahead and add in. It's like some areas extending outward of the lake. Along the same on this side as well. It's a little bit of a dirty track extending outward of the lake. This is like a dirty area and we see a lot of detailing in the front. We don't see that towards the back side. That was almost the last bit. Now, the only thing left for us is to add in a little bit of a detailing, a little bit of a net picking here and adding some things. That would be, go ahead, pick up a nice darker bronch sheet and I'll switch to my size to my smaller size. Brush. What we're going to do is you're going to put some vertically upward grassy structure into the lake. But everywhere that you add, go ahead and add in reflection of the same. See what I did there. There. Something like that. If you do that, then you need to do another bigger one like that and a few smaller ones like that. In a lot of places. First of all, just go ahead and add these little twigs and stuff sticking out of the lake, and then you can go ahead and add in the reflection for each of them. There you go. I think that's more than enough. Just some honey details that we wanted to include. I think the edges are now safe and try because we did not do much along the edges now, so we can go ahead and remove the tape. If you're happy. There you go, that's our painting completed. I hope you enjoyed painting this with me. Thank you so much for joining me today. 68. Day 63 - The Serene Green Lake: I Hey, hey, hey, welcome today 63, and this here is the painting that we're going to be doing today. Isn't that gorgeous? Look at the lake and all the green areas. The way that we capture this is atunningly amazing because it's not something that I've covered in all of these days yet. It's completely different ways that we're going to be doing this? There's a lot of movement in the rushrokes. Watch out for that one. Let's have a look at the colors that I have used. Basically, it's paints gray, sap green, dark green, and olive green, and indigo as well. These are the colors that I have used. If you're ready, let's get started with this one. All right. Let's start. We'll go ahead and make the pencil sketch as usual. We're going to have a mountain in the front. I mean it's at the back, but there and that mountain is going to come off like that, something like that, it goes and then this mountain, it's going to have a valley area in the front. This is part of the mountain itself, but as the mountain flows down up to here, takes another turn and comes over there. We'll make that turn all visible through our brushtrokes. Then here we have a cliff like area. This is what we need to make for the front. Then again, this thing that we sketched that is where it goes. Then here we can have the next part of the cliff again. This is like a cliff. Again, more parts of the cliff, more green areas there. Then here again, that's part of the cliff. That is the pencil sketch. I know it's quite a bit difficult, isn't it? There you go. This is the sketch that we want to make and this is what we are going to paint. Let's get started. We are going to start with the mountain at the back. I mean the sky region at that back side and because it's such a lesser area, you can go ahead and apply water using any larger rush that you have, and just go ahead and wet the paper there. It's going to be a sim simple simple wash that we are going to be doing right there. Doesn't have to be much detailed or anything. My paints gray is contaminated with a lot of green. Let me just clean that up. There you go. That's cleaned up. That's what I am going to be using. My paints gray, and you can see, it's just a very subtle tone is what we want. Nothing dominant. Make the entire sky into a subtle tone. You can have a tiny, tiny bits of darker tone towards the top, right there, like a bit towards the top. There you go. That is basically what is for the top sky layer. Then Because that is wet, we can paint that mountain later on after this whole thing has dried up. Let's leave that as it is, and let's see what else? Can we go and paint? How about we go and paint this green area there because it's nice and separate from all of the other regions. Yeah, we can do that. We'll paint this green area now. In order to paint that green area, starting with a nice olive green because it needs to be warmer toward the top. There you go, starting with olive green, then gradually digging on to the darker green. No the darker green, this is actually sa green. My mistake. And then as you approach towards the cliff, you want to change the direction of your strokes. All of these was like this. Then as you approach the cliff, you want to change the direction of strokes. See how I've changed my direction there. Like that, and we are now coming vertically downward now. Anyways, we'll be adding a lot of darker strokes to depict the rocky texture, but we can still go ahead and add. This comes vertically downward all the way here. Just observe and note that carefully. All of these are vertically downward. Up until around there. Then as soon as you reach that point, you want to change the direction again. This is something new that we're learning today, where we're trying to change the direction of our brush stroke depending upon the flow of the valley or the land area. Observe this one is vertically downward. But as soon as you cross that region where we marked the pencil sketch, It has to go along in this direction. Also then these ones are in this way. Again. Note that all of these very important that we capture the direction. Go capturing the direction of these ones. I'll make more sense when we add in the darker detail. Here I'm grabbing my darker green. I'm just adding onto that. See a lot of darker green and it's flowing in that direction. Here again, we want the green areas to be flowing in that direction. Then many of the green details over here vertically downward. Then again over here as well. It's okay if your paper has started to dry out. Trust me, it's absolutely fine. No need to panic over here. When you're adding these vertically downward strokes, your paper has dried out and you're getting these dry brush strokes. This here, see that, it's a bit of a dry stroke, and I'm not panicking. It's absolutely fine. Because it's going to be anyways going to be a rocky part. We are going to be adding some rocky puts over there, so there's nothing to worry about. That is, again, part of the cliff added. We'll go back to adding a nice cliff area for this one now. Okay. Again, with the sap green, just filling up the entire sap green region. There, then grab in a little bit of a darker green and you can drop them at random places. Then we're going to grab in paints gray paint gray is what we're going to add in to create that vertical region where it's going to act like the downward portion of the cliff. See that. Now, can you see how clearly, and we do not want a clear demarcation between. That's why I added the paints core right there. There no need of any demarcation point there. I think we can now gradually move upward as well. Here, because this olive green region that I added is now dry. I'll go ahead, grab my sap green again and take it over to that region. And observe the flow here very, very important. The flow here, I did a little bit of a stroke there on that side, but that's okay. Now the flow of these regions. First of all, what you can do is let's go ahead and fill it up. Then you can change the flow within. You can also do that in that manner so that it doesn't disturb your automatic flow of the painting process. Observe here, we've added that, then to change the flow or to add in the flow of how we want the mountain range to be, just go ahead and add these strokes over the top. That should definitely be visible. Here just going to grab in a darker green, and this darker green is going to come down like that there from the top like that. S, your mountain will have these strokes clearly visible when you do that. Then here going back with the sac green. Going to take some sap green over areas over onto the mountain. It's where the mountain kind of blends in. I think they have that set. Some lines I have added now, again, to create a clear demarcation. Remember, again, go through the same process. Only until there. This is the line where we added, where it's coming down and following that line structure. Make sure you still Do that. We still have the rocky texture to add, but this is something that we've added in between. There you go, that's all done. I think these areas are now dry. Although this a little bit of a paints gray there is still wet, but that's okay. We're still going to add in the lake. In order to add the lake here, I'm grabbing my paints gray and I'm going to go with my paints gray. That's a little bit too dark, but here I just mixed it with a little bit of water and we will add in. Here along the very edge. I think what we can do is we can also grab in a tiny tiny amount of indigo and mix that in so that it gets like a slightly bluish touch. And this is what we are going to take along the edge. Now I'm just grabbing indigo. We started with paints gray along this edge, but then now I'm grabbing indigo. I've got too much water on my brush. Let me get rid of the excess water. This is indigo right there. That's again, too much of water or too much of paint. There just grabbing, and let's fill up the white spaces. This is a completely different way that we're painting this aren't we? We've never painted it this way, all of these in these different paintings. Isn't it? Every day? It's a different thing, isn't it? There you go, grabbing and adding the indico. When you're adding, just always make sure that your previous stroke is not dry. That way, you get a continuous stroke without any harsh edges in between, and that is the simplest trick. Just make sure that your previous stroke hasn't dried up. See what I'm doing, previous none of my previous strokes has dried up, and this is why I'm able to achieve a continuous flow. Now this does not look like I added it in a wet on dry manner. It's as simple as that. Always for the water, make sure that you're doing these horizontal strokes, nothing vertically downward. Keep at the vertical strokes, like that, all of them vertical strokes, like that. Here now I'm describing a little bit more indigo, going to give a little extra base there, another extra base there. Because that is the reflection of that height region. See that? Any water region, we've already added the water region. Now the only thing left is actually the mountain and the rocky bits. The mountain area is a little bit tricky because I can see that this green that we applied is still wet. What I'm going to do is I am going to dry that up. There you go. That mountain part is actually dry. What I'm going to do is, I'm going to start with a very lighter tone of paints gray and I'm going to add that lighter tone of the paints gray just at random places. But observe that I will leave white spaces at random. And it's a very, very lighter tone. You can clearly see, I was just saying it's a very, very lighter tone, and see what I did. Anyways, I can always absorb that. It doesn't need to be wet or anything. We're going with wet on dry strokes and there at random. We'll have a lot of white strokes as well. That is done and I think we still need to dry that paint gray stroke that we just added. Let's go ahead and dry that up. There you go. We've dried that up. Then we will go with a nice amount of paint gray, and now we're going to use that and we're going to add onto the mountain. Here taking over the nice tip of the mountain and we can go with a lot of dry brush strokes. See, getting dryer. You can also leave a lot of white spaces. It'll be just be parts of the mountain where it's the snowy region. There is no reflection onto the mountain at this point on this painting, so that is why it's all shining bright, white in color. There you go. Adding. You can also see the point where it's growing and the vegetation is growing and continuing on to that mountain part. We're still not done yet. When we add in the whole thing, it is going to make a lot of sense and it's going to look amazing. What I'm doing is some of my strokes are and some of them are wet. I do continuous of stroke. See that. And coming over to a lot of dry brushing there, then maybe some denser areas. There you go. That part of the mountain is done. Now, we need to definitely add the rocky bits. Starting with the edges here. Let's just go ahead and place in a lot of rocky texture. Basically what I'm doing is C, adding like that, then we can add over on the top of these ones as well. Let me see another extra rocky bit there, some a lot over there. Then let me see another, going to have a huge amount there. See, that's a lot of rocky bits. On that part. Then where else here? Yes. We'll have the rocky bits at an angle there. Then this is where I said, we'll have the nice separation, isn't it? Where is the separation? This is kind of the rocks are giving a separation to that part of the mountain. See now how the mountain came all the way until there and now it's got like groove and valley there. That's very interesting, isn't it? How we achieve that. Now you can add in tiny tiny dots here and there, which is depicting the rocks, of course. We're almost done. Now is this part of the cliff again. Here, just grabbing that and the cliff comes off at the very edge there. All the way down. You can have the vegetation growth in between, that's where it's happening. Again, this rocky edge. Remember to follow along the edge of the cliff. It's been a there. Then as it reaches the point where it's bending down, it's imagine as if the water is flowing. It's still the rocky part, but it's just like that. The vegetation is grown all up until there. The rocky part. See how we've created the effect of the nice cliff there. We'll do the same along this edge. I want to have another bit of the cliff there. But again, a little bit of a vegetation growth in between. And the on this one. Remember denser paints gray, not the one that we've used for the water region. Careful about that. There. Little bit more. What I'm going to do is, I'm going to try and put some rocky bits. Maybe that's a row or something. So there to the edges. See that none to this foreground there. That's where it ends. The rocky bits. That is also nice and green. This is also nice and green. Maybe a little bit more along. This edge. I think that is good enough, and I'm honestly very happy with the way this has turned out and I don't know what happened over here. I don't know if you can see it closely. If you can. I think I dropped water at some point over there. But look at how this whole thing has staned out. Isn't that gorgeous? I mean, I just love the way. We have the lake and all of these green areas surrounding it. So I guess I'm just going to quickly dry around the edges because I'm not sure if they're all dry yet, and then we'll remove the tape. Ah, there you go. It's completely dried up, so now I'll go ahead and remove the tape. And here you go. Here's the finished painting. So I hope you enjoy painting this with me today. And thank you so much for joining me. 69. Day 64 - Dirt Lake: Thank Hey, hey, hey. Welcome to day 64, and this here is the painting that we're going to be doing today. So see, it's a Gorgeous lake view again with a nice reflection of the sky and some mountains in the background, some land area in the foreground, ready for us to paint. Let's have a look at the colors. We start with yellow blue, this paints gray. S green, olive green, dark green, and of course, transparent brown and cadmium yellow is optional. These are the colors that we are needing. If you're ready, let's get started with this one. All right. Let's start. We'll quickly sketch out the sketch. We want this time. For the first time ever, we will go with around halfway point for the horizon line. It's actually not the horizon line, it's the end of where the mountains ending, so it doesn't have to be perfectly straight, and then we have the mountain there, which goes up all the way there. Then another mountain, which goes behind like that. There you go. Then we have land in the front, which extends like that. And comes around there and another bit of a land area there as well. This is our pencil sketch. Here you go. I will show it you closely. This is what we want to be making. Now we'll paint and start with the sky region of course. Because again, it's a very smaller region. I'm just going to apply water to just the sky region and we can quickly complete the sky. There you go, just applying the water over to the sky region. Then I will start with Halo blue color, just a second washing it off because it had some green mixed in there, so just be careful and The grabbing my tale blue color and that's what I will start with. There you go. Nice tale blue color over to the sky and going to reduce the color as I approach towards the bottom. Here the color is reduced towards the bottom part, and closer. That's it there. Then going to go with not cloudy, but part of the shadow on the clouds as usual, what we've been doing. Game. Here, just grabbing the paint screen and adding to some of these areas. Do not cover up all of the white. Let it be there as the white parts of the clouds. There we go. We've added the nice ref the shadows in the clouds and everything. While that rise up, we can go ahead and paint the water region. Here again, I am going to apply water. To the water region. That's so nice to here, isn't it? Water to the water region. Anyway, so there you go, going to apply right there. And right along the edge, always make sure that you're careful There apply the water nicely. Now again, back with the same color tool. But for the water, we'll give it a little bit of a denser touch. Here more of the tailor blue, and we want to take it more closer to here. You can skip some areas where it will be the clouds, I mean the white areas of the clouds. Here, just adding randomly. As you go further away, let's grab indigo plus the bright blue mixture because those areas are actually not the reflection, but you're actually seeing the water itself. Here along the end, you're actually seeing the water area itself. Right along the edge over there. There you go. Just filled that area with the water strokes. You're actually seeing the water itself over there. Let's put in some darker strokes for some of dir parts of the water. The water is like a little bit. That's what I want to deck. That's why I've picked a paints gray and I'm just adding to some of the random areas over there at the top. You can blend it alone. With a bit of the nice color. There you go. As we approach closer, we are having the clouds. But again, for the clouds, remember the shadows. Here, I'm just picking up my paint screen and adding to random areas to fill in the s for the clouds. So now we've added the sky and we've added the reflection. In order for us to paint anything else, we now need a whole paper to be dry. So let's go ahead and dry this up. There you go. Everything is now dryer. We're going to start with that background region. What I'm going to do is I'm going to mix my olive green with my darker green. We get like a sap green color, but a little bit on the warmer side, and that is what we're going to be adding to that little teeny, tiny amount of the flat land there where it extends towards the mountains. There you go, grab that color. Then you can have the mountain extend over to the top like that. Go grabbing the color and the mountain extending, so sops. That was a big mistake. All right saved up. There the mountain going over to the top. Then what we're going to do is we're going to grab a brown paint and that is what we're going to come down from the top. This is like the darker parts of the mountain. We're going to come down from the top region and onto the green areas. Blend it in like that. See. Now we've added in all of the colors as added the whole of that mountain there, but now is the time where we need to actually add in darker strokes. Here I'm grabbing the darker green and you can go ahead and create darker strokes on the mountain, especially at the base. But leave lighter areas, see. And this line there at the horizon. It's not horizon, so it doesn't have to be flat. Just remember that doesn't have to be flat at all. Then darker strokes, wherever you find it visible. Then we will also add further darker strokes on the mountain on top of the brown area. That would be with the paints gray, of course, if you've guessed it. Then using that paints gray, we're going to have strokes come down. Those would be like the rocky areas. See, we've added that one, and I guess this area is already starting to dry out, so we can go ahead and paint that bottom part. Again, with the same kind of color mixture, but today at the back, I'm going to be using a little bit of olive green. There just adding a nice bit of olive green giving that color tone. But you can see just giving an angled approach like that. B is, I am going to finish off with brown from the top. Here again, the same thing we're going to be doing. Grabbing the mountain area and adding the brown onto the mountain over to the greenish bits, but more to the greenish bits. The mountain has more of the brown areas than the green on this one. We can see very little of the green is what we want to capture. Then over to creating some darker bits. Just grabbing paints gray and heading over the top, I guess, and along this ridge as well. I want to create a darker edge. And there you go. See that. That's now created two splits or two parts of that mountain. Then we'll get painting now the foreground, this part of the ground there. That one we start with a nice sap green. See how we're using different parts of the green. We've already covered a week where we were doing just greens. This is why now I'm going with a lot of different greens because we've already covered. That isn't it. Here you go. Once I've applied the satran, now over to the front regions, I am going to continue along with a nice warmer tone, which is basically the olive green. I applied a little bit of olive green. Now we need to get a little bit more lighter. I'm going to go with a bit of yellow ochre. Here just grabbing the yellow ochre and mixing into that a front bit there. You can see it's a little bit of a nice lighter area. Then more olive green towards the extreme foreground region right here. There you go. We've painted all of the foreground and everything. Now it's time for us to add in darker details. Sap green again for this edge here, a bit of darker, darker green for the further down edge. We marked out all of those edges. Now, let's see, let's put some dirty land area onto the water region. I need my brush to be almost dry brush effect. That's why I've extracted all of the water. What we're going to do is you're going to create that into the water region. See that. Like that. It's going to be almost like a dry brush effect. See that a little bit of a dry area. You can create some more random places. There I've created a lot of them. Now, this one, we need to give it a nice edge. I didn't even realize that I was painting this whole thing with just my size 12 brush. Sometimes, this is what happens. I just get in the flow when I just paint. There you go. Just using my larger size brush. You can switch to a smaller size brush if it helps. Along the edge, want to give it a nice edge to my paintings. Then again, want to put in some dart in the water region. Just adding dry brush strokes along this edge, can you see a little bit of a dry brush stroke. That's that done. Now it's time for us to go ahead and add in further details. I'm switching to my size two from the 12 directly onto the size two brush. Here, go to grab in the darker green in a nice quantity because I want to create the grassy structure because this one is literally right in front of us in the foregro. We need to definitely go ahead and add in a lot of these grassy structure. Along the edge, go ahead and add in a lot. We can see just adding in along the e, these strokes, because it needs to be clear and evident where all of these coming from. Just ad, keep adding as much as you can. Obviously, you can have gaps in between, you don't have to completely overdo it if you know what I mean, then, remember these areas that we added into the water. You can go ahead and details like that on top of it. As you go further away, you can add but make sure that they like smaller ones. Maybe a little along this edge, we can add. That's done. Then I'm just going to go ahead and add in some rocks at random places. Let's say there's a large rock here or here. See they are random details in the water. You can clearly see how I'm placing them. There's no strict rule. We're not adding any reflection or anything at this point. We'll add in the reflection later. Add it in these black spots, I mean brown spots. Now we'll go ahead and add inner reflection. For adding the reflection, grab in a very lighter tone of the pain, go ahead and add it below each one of them that you've done. The small ones actually you can skip, just bother about the larger ones. These ones, remember to capture vertically downward, see those. There captured vertically downward one. Let's see. There were some that we added over here as well, isn't it? Vertically downward. Again, grabbing that same color. Just going to add in reflection along this edge with paints gray. You can see it's a hard edge, it's a harsh edge at this point here. That's okay. Don't have to bother much because it's a lot of a dirt area there and you can see how I've made that reflection. There is the reflection of I missed the reflection for this one or did I not. See, we've added in the nest reflection, we've added in the lake and it's having all of those things depicted. We have the gross area in the front. You can add as many as you want or you can skip. If you want, we can add in a little bit of a lighter ones as well and that is obviously with a bit of a cadmium yellow. This is absolutely optional. Only if you want to do it, you can totally skip this one, Cadmium yellow is optional in this one. All right. There you go. Also, you can add some instead of cadmium mellow. If you want to make them seem a little bit on the drier side. You can also push in some rounds in there. Here, just adding a little bit browns. The brown ones would be such that these are the dry ones over. Now we're almost done. I'm just going to dry this up and then we can remove the tape. There you go. It's completely dried up. Now I am going to remove the tape. Here you go. Here's the finished painting. I hope you enjoyed painting this with me. Thank you so much for joining me today. 70. Day 65 - Pink Sunset Lake: Hey, Hey, Hey, welcome today 65, and this here is the painting that we're going to be doing today. So let's have a look at the colors that we used for this one. It's a little bit on a different color scheme as in the combinations, you might guess that transparent brown is there, but unfortunately not. So let's see what that color mix is about. Okay. So first of all, we start with a bit of a transparent yellow or in acrodon gold, and we have burned Ciena. Quinacridone rose and Violet. Oh, my God. Yes, that is the ho colors that I have used in this painting. Let me see that again. That would be transparent yellow or Qin acrodone gold. Qin acrodon rose, violet, and burns again now. That's all. Here you go. Let's get started with this one. All right. Let's start. We'll first start with the horizon line. My horizon line is going to be around one by third of the paper. There you go. I will add the horizon line. Okay. So there, then now I'll have a little bit of a mountain or something. That's a mountain because it's a lake obviously, so that's why we have the mountain at the horizon. There. Then obviously, again, we have more of the fo ground seeing here. That literally is our pencil sketch. Here you go, have a close look at it. If you're ready, let's get started. We'll start with the sky region of course. Here I'm going to apply water to the sky region. But I will only apply above the horizon line because we anyways have that mountain split over there. And we can add in the reflection later. That makes sense. Here you go. I'm applying water over onto the sky region. There you go applying very evenly and nicely. Now absorbing excess water from along the edges all along the edges. There you go. That's done as well. Now I'll grab around my size eight brush and this is what we're going to be starting with. And we can start with a nice yellow shade. There you go. I call a nice yellow shade. I've got to clean it up. I just observed that my yellow is mixed with a little bit of a green possibly from some other painting. But here you go if I mix in a little bit of Quinacon, gold, it becomes warm anyways. I can use that. Here just going to add in a little bit over there. Little bit over there. This is like the underside of the clouds where it's actually being glowing. You've already seen the final picture, you know how this is going to turn out. Then here some more of the strokes. There you go. Now washing that off before everything dries out, we can move on to the next color, which is basically going to be my pink shade. Here, just grabbing my pink and you can clearly see, I apply it. All of the areas closer to my yellow. This is going to be our transition areas because we do not want to add in purple to any of those areas. That's why we're using pink in all of those regions. Here grabbing pink. Again, go ahead and grab in pink and add it right above the yellow region. There you go. Let's add in some more. Then now let's go ahead and grab in violet and now is the time where we're going to add in violet to the rest of the areas. Here you go, adding my violet paint to the rest of the areas, blending in along with the pink. There you go. You can see it's nice and blending. As I approach here along the yellow, I'm just going to not go ahead and touch the yellow. Also not going to do this because if you just like touch and leave, then your pain spreads. Rather if you just go around with your brush without lifting at that point where the yellow is, then your pain is not going to spread out that much, and that is what you're going to be doing. Here, grabbing my violet. Again, closer to the yellow, I'll just go ahead and keep moving my brush. This is very, very important because like I said, if you go ahead and leave your brush somewhere, that is the point where you are going to end up. With the spread out strokes. Now that we've done that, let's go ahead and create some more blends. Here, just scrubbing my pink again. And I'm blending along. This is just trying to create a random magical sky, if you know what I mean. Here just grabbing a little bit more of the yellow because we want to blend it with the pink shade. Then this is vilet right here. I could we use that. Just realized. I'm going to keep it and take it over at the top. Going to create the shape of some clouds. What we have there is already the clouds and we will make that gorgeous, but let's again go ahead and apply at the top. White. There you go. Now grabbing that being again, going to grab and add it to some of the areas on the edges. This is then, we have multiple shades of the clouds in our sky. Now I'm coming over to the bottom, I start and I'm just going to add in these smaller strokes. That will make the appearance of another layer of clouds again. You can see how now these are clouds and over the top of it is also the clouds, but these areas are regions where it's actually glowing underside of the clouds is gluing. I honestly don't like how it's like C and made this twist of a shape. Let me see if I can fix it, if not, I'm not going to be too worried about it. The easiest way to fix it is to grab inspo and see what I did. I just dropped in a lot of water there. But because I was able to pull it off quickly. E scape. Here, I think I can do it. Just got to make sure that there isn't too much of that yellow as if it's going around. Here I'll just make these regions a bit more reddish. That should help. We're going and having our strokes move onto the mountains and that's fine. B on the mountain, we'll add some darker color anyways, so it's absolutely fine. Have a look. I think that's okay. And this is what I want my sky region to be. Now we'll dry this up and then we'll paint the mountain as in we're going to go from top to bottom here. There you go. Our paintings now dry. Now we'll go ahead and start adding the mountain. We'll start with Quin gold color because this is the light light region as evident from the light at the bottom. These are the light cast by the sun onto the clouds. That's why it's lit. But when there is light way at the horizon, that means that the sun is right there. The yellow part showing here, which means that the sun is somewhere around here. Which means this edge needs to be glowing. That is why the color along the mountain on that region is going to be with this nice Qin acodon gold shade. Start with that and then we'll transition onto the darker color. Darker color, obviously, the next big darker color, what we're going to grab is the Ciena. Here, start at the bottom and grab in the burned sienna and transitioning over to darker region. See that. Grabbing that, making sure that I have a nice transition. Now, as we're approaching towards the right, we're going to mix in the violet along with the Bncena. Y violet because violet essentially actually mixes with the Bcena to create Gorgeous bro itself and see how it's actually blending, so take that in together. See how the mixture of the violet is actually helping. We do not need the transparent brow. Violet mixes with the burn Ciena to create a very darker brown indeed. This is actually more of the burn Ciena than the violet itself at the moment. As we approach towards the right side, we will have more of the violet. There. Now that's more of the violet, and you can see how it makes the right side look more darker. And let me actually wash my blush completely because I'm just going to grab violet and I'm going to blend it in. All right. So that's just violet and nothing else. I need to make sure that it's popping is brownish and not d violet. But like a brown violet color, a gorgeous blend of brown violet color. That's what we want. Just go ahead and blend that in like that onto your mountain. Now you can see how the mountains glowing this side and as it gets towards the right side, it's getting lighter. Do you see that? Alright? Now let's get to the lake part. Let's go ahead and dry this sf because it did not want to pull down the paint. We're going to completely dry this up. There you go. I've dried it up just enough so that my paint won't come down. As I apply the water. Now I'm going to apply the water, but I'm going to make sure that I do not go and pull down the paint. You can go up to the very edge to the bottom part of the horizon line. But just make sure that you do not pull down any paints. That's very, very important. Now, if we've got to mimic the shape of that sky here. You can see I said don't pull down the paint, but I did do it. That was not deliberate, that was accident, but it's okay even if you have accidents like that because actually those are the same colors that we need to bring down. For example here, You need to depict the sky over there. You need to start with the yellow color itself and then we've got a transition to the pink. Let me just wash off the yellow and then grabbing the pink shade or direction. This is like that, which means it's going to go like that. See that. That is a transition. Then even here, you can start with the pink because we will anyways be adding the reflection of the mantin. Just go ahead and add pink for now. It will be a darker part of the reflection anyways. There, this is going to come round like that, then over to the sky exact reflection. That will be getting that gorgeous violet shades in. Let me show you, we'll apply the violet shades there then let me just go ahead and grab that yellow shade where we have some of the cloudy shades. Not too much. Just a little bit of yellow hint. Then we can go back to adding the pink. Adding the pink. This front region is not going to be that evident anyways because we'll be adding foreground there. Not to worry too much. We just need to get in mild reflection there for now. Now before this completely dries up, we need to go ahead and add in the reflection. How do we do that? We start first start with the same color that's over there, but you need to make the reflection. We started with the quinac gold over there. Next, when we need to make it a tad darker, we mix in a little bit of the bancia as well. And then leave a slide gap. Probably your paper might have dried up a bit, and that's okay. Even if you've dried up, just go ahead and add in these are teeny tiny lines and observe that I'm using the pointed tip of my brush. You've also got to make sure that you follow along the shape of the mountain. You can see it's a like that as light there, and then it increases and now we'll grab in more of the Ciena. Grabbing more of the band Cena as I come over to the right side. You can just do these movement as well. Nothing has to be continued. Now again, the mountain goes up there. Then going over to the right. We'll grab in. Remember the violet, which we mixed with the Banza. Grabbing that and adding over on the top. We on that right side, I can see my paper is actually still wet. That's okay and here is going to take over. This is really a tall, as you can see. I definitely needs to show the tall part of the mountain as well. I'm adding these brown lines. But then also because of the denseness of this region and how dark it is, you're also not supposed to see any of the pink through it. Just go ahead, now grab in the darker violet paint and go ahead and add it on top of the pink shade. This will be like lighter brown plus a darker brown shade. More of such a reflection. Add it in that nice reflection, and also I can see that the bottom part is starting to get dry, but unfortunately, we do have to dry it up if we need to add in some foliage. Let's go ahead and dry that up. There you go. I have tried that, now we'll go ahead and add in the foreground. Here again, I'm just grabbing that cone gold shade, adding the foreground with that. Over to the right side, my foreground is going to be with my burnt CNA. Remember, you need to make as many details as possible because it is the foreground. It's not going to be a flat shape like that. Go ahead and have these upward strokes. My making a grassy texture that region. S. There you go. Then over to the bottom filling that region up and in order to give a darker depth, use the same but miture of violet at this time, and same over on all the areas. See then how I have added in some nice violet. Now you can also add in some random grass growing out, and we will add that by a mixture of the darker color that we made. That would be violet plus burn CNA. That's a very, very darker brown and that is the color that we're going to be adding for the f let. You can either use a larger brush like this one. Se dandom ones. You don't need to add too many. Absolutely smaller ones places. I think that's more than enough for that part of the foliage, and we're actually done with the painting. I need to dry the spot and part up before I can remove my tape. I'm going to dry that up. There you go. It's completely dried up. I am going to remove the tape. Now. Here you go. Here's how it looks after it's completely dried up, is in the lake with the sunset views. I hope you enjoyed painting this with me, and thank you so for joining me today. 71. Day 66 - Lake Subtleness: Hey, Hey. Welcome to day 66, and this here is a painting that we're going to be doing today. Let's have a look at the colors that I have used. We start with Hello blue, then Alizarn plus paints gray, my usual clouds mixture. Then we have cobalt blue. Then we have sap green, dark green, and a bit of cadmium yellow. Those are the colors. If you're ready, let's get started with this one. All right. Lets start. We'll add in the Hizon line again and this time again, around one third of the paper is where the horizon line is going to be. Okay. And then we are going to have several smaller mountains. Way at the back, and then we're going to have one mountain that's over there right at the front. There you go. Then because this is the lake view. The foreground is going to come around like that, turning around and then it goes all the way along to this edge. That there is a pencil sketch. Have a look at it. All right. Then now if you're ready, let's get started with this beautiful foreground. Again, we'll apply water only to the top side over on the horizon region, the sky, but you can apply over the whole part of the top. Just go ahead and apply nicely because we have a nice bit of a sky to paint. There you go, take your time, yes. Now then the next thing is, I am going to apply water There you go, apply water, and we'll now start with the sky, of course. For that, I am obviously going to start with this hello blue color, rubbing my Halo blue, and I'm just going to start along and we're going to create a lot of cloudy shapes. There you go. I'm just going to do many random strokes. Let go. Then maybe a lot of smaller ones here. Remember what we add are not actually the clouds, but the sky that is seen through the clouds. We always need to remember this part when we adding the blue bits. Let me grab a little bit more blue. I needed to be darker over the top. Here. Here again, Then we'll go ahead and add in the clouds and over to my favorite mixture, Alizarin plus a little bit of the paints gray. There you go. That's the beautiful gray, but we don't want it to be too much. Just making sure that I have very little in my brush. That's still not very. There you go. And nice amount here as well. Always adding to the base of the white region. Observe that closely. Always to the base of the white region. Be to the top is where the sun is and glowing. There, that's our beautiful sky. But we need to continue painting. Before the things about the horizon line dries up, we need to paint those background mountains because they're in the background, and we need to pick up with a cooler color. How are we going to do that? Obviously, we're going to add in a nice cool shade. How do we do that? Let us grab in a nice amount of cobalt blue. A to that, you can probably add a tiny tiny amount of green. The color I added is sac green, and you can see that it makes a very, very cool cooler green, and this cool green is what we're going to apply in the background there. As I've got that color, I think over to the back, it needs to be more cooler. Here I'm just grapping a little of the pure cobalts blue at first, and I'm going to go with that on the back. Again, remember what I said on the previous day do not stop at any point because the point where you stop Is where you're going to get the blooms. We do not want the hairs to be spreading out. This is the reason why you're not going to stop. You're going to create the shape of the mountain like that, and you're going to continue on. Anytime wherever you stop is where you actually get those bloom strokes. Then again, here I grab my next color, which was the little bit of the green mix sin together and see that you can apply over the top. There. Now you have still a cooler mountain, but with slightly different color. I did not fill up the cobalt blue completely. Here I just grab more of the Cobalt blue and fill up this part of the mountain right under where it ends. Then here grabbing a the greenish toe. Then as you come towards the bottom, we needed to be more greenish. Here, just added a little bit more green into my mixture and added that and that is what we filled it up with and you can give the mountain a little bit of a nice retailing. Also make sure that whatever you apply, your brush needs to be in a very, very semi dry consistency right now. Over on the Cobalt's blue as well, if you want, you can give small tailing onto the mountain. Like that, the way I'm adding now, you can do the same with cobalt blue. What I added was a little bit of indico. But if you want, you can just go ahead Nat in just the cobalt blue itself and see how that mountain has stand up at the back side of there. Just making sure that this mountain is popping forward still and not receding towards the back of the bluish one. There? That's much better, isn't it? Once that is done, we need to paint this one, but this one is in the foreground, so we'll let that dry completely. Now all of us, ki and the absolute background is done, then we'll move on to this four ground one. There you go. Now we can start with that big mountain over there. But do you see how this peak is behind this one because I added that line there. Deliberately to show you that this is actually in front, and this is again like a behind peak. We definitely need to pick that and how do we do that? Again, a little bit of a cooler tone, but still warmer than this one. That's what I'm mixing here, see the color. It's sac green plus cobalt blue, but it's even warmer than that because it's got more sacren in the mixture. Does that make sense? I hope it does. Okay. I mean, the sap green that is mostly a warm color because it tends more towards the yellow and cooler greens would be like the hallow green and all those colors. You could actually use hellow green there, but instead I chose to do this mixture here now today. This, again, like I said, it's not quite on try, so we'll just continue on. We've got to add right above that mountain there. But then as you approach towards the bottom, you can go ahead and start mixing in more of the sacrin and just add that if it makes sense. Here, that is the mountain, and just go ahead and add more of the sacrin. Let me grab in and add in a line. Me sure that I did not cross my horizon over to my lake region. There you go. That's filled up, but then also we have to completely quickly paint this. Otherwise, we're going to end up with that line over there and that's too risky thing. We did not want that line. Literally do not want that line. Now, when I approach that mountain over there, I'm just going to grab in my darker green so that it stays in the and see how that has stand up. It's still like a mixture, but that's okay, and now grabbing the same color mixture. Let's go ahead and keep adding ops ops. This is what I want what happen. Here I'm just getting rid of it by going and adding quickly, making sure I get rid of that line. That popped up there. Now we can also have darker edges. Darker details at random lass because it's a mountain. It's got to have darker edges and details. There you go. That was the absolute background. Can you see now various layers of mountains as we have painted them? Then now we can go ahead and paint the lake region. The lake region can be painted in a much softer way. We do not want to get an exact reflection. It's absolutely fine because sometimes if the lake is clear, that's when you get the exact reflection, but if it's not a clear lake and if it's got a flow in the water, then you do not get an absolute reflection. Here I'm just going to the very edge and I know that some of the greens is going to flow down. That's fine. Like I said, because it's not going to get an absolute reflection, so it's fine. I have added in that. Now we'll start with the bright blue or the hello blue for getting the reflection of the leak. There you go. Starting with that, and I'm just going to add in random colors. Go, and then you don't need to make it perfect. Go ahead and leave a lot of gaps. There and over to that horizon region, I needed to be more nice because we anyways are going to add in the reflection. There that's closer to the horizon. Now, let's go ahead and add in the reflection. Reflection, it's going to be as simple, grab the same green, put it along there along the very edge, where you started with the mountain, go ahead, create the reflection shape of the mountain, you go goes like that, goes like that. Then just fill it up completely. That's why I said. It's not a perfect reflection, but that's fine. This is what we want to be. I needed to be more showing the lake colors. All right. Now, we've added in the reflection. We've got some nice again, a very, very darker color. I don't want that. Se a very lighter value of paint gray, which gives the reflection of the sky on to the land region. We've done the reflection of the mountain. Now we've got to add in a reflection of some of the foliage that's actually what we're going to be drawing. We haven't added that foliage yet, it's going to be a little bit difficult for us to go ahead and add that. But trust me on this, go ahead and make in a little bit of vertically downward strokes for some bushy shapes like that. They need to be at the horizon not horizon, horizontal points. This is a horizontal line. This is a horizontal part and this here is another horizontal part. That's why we're adding a reflection. See how we've added the reflections in there. When we now add in the proper foliage there, these reflection is going to make sense, complete sense. Now that's it, that's all there is for the lake part. Let's go ahead and draw this There you go. I've completely dried it up. Now it's time for us to go ahead and add in all that four ground foliage. There's the green. Here, grabbing the green and we're going to put it right there. In order to make that a little bit popping on top of that, what we're going to do is our usual mixture, a little bit of the cadmium yellow, and that makes it opaque. See that. A little bit of the cadmium yellow. Gives it a little bit of a bushy appearance, but don't add too much because then you can ruin all that background mountain that we added, and we do not want that, do we? Here, just taking the green over and adding. Now you can understand what we did over with that reflection there. S it's actually showing the depth within. Let's get that in there. Then now coming over to the foreground. You can add in random bits of darker regions just to make sure that you get some darker areas. L grab in a little bit more of my cadmium yellow for this parts of the foreground and making that slightly lighter mixing in together. What we need is a lot of color variation, and that's exactly what we're adding here. Here, because it's the foliage, remember, Go ahead and make sure that you do not make it simple. We need to make sure that a lot of the grassy texture is visible. That's exactly what I'm doing here over to that edge. You see how we start seeing that grassy texture. Do not go ahead and paint it first like the entire thing and then try to do the grassy texture. Because by the time you come back, that solid line is going to be there, and then it's going to be difficult for you to get rid of the solid line and depict the grassy texture. At the grassy texture as you come towards the right side, the grassy texture is also going to increase in height. Why is that? Because this is the closest because it's at an angle, those things are a bit further away. Again, make sure that it's nice and see how it's like increasing the height over on the side. Nice and increased height. You go getting that in there. And making sure. Now then darker paint at random. For the foliage, you can also put in yellow at random to create highs, I think that's more than well enough. Just going to grab in a little bit more darker paint for along these edges. You can also give some of dark grassy texture because not all of them has to be super light. They can be in different colors. You can also even, in fact, if you want to give um, with academy though, but I'm just going to skip that. It's absolutely fine. All right. This is actually the painting we're done. Now we'll wait for this edge to try before we can remove the tapes, so let's actually wait. Hey, there you go. It's completely dried now, so I am going to remove the tape. There you go guys. Here's our finished painting. You can see all that reflection that we have added. It's very subtle, like I said, because the lake is not that clear and it's probably not stagnant lake as well. There is probably a little bit of a flow, so that's why this is great. Here you go. I hope you enjoyed painting this with me. Thank you so much for joining me today. 72. Day 67 - Deep End: Hey, hey, hey, welcome today 67, and this here is the painting that we're going to be doing today. So what do you think is the topic? I mean, this completely looks really weird, isn't it? But I think it's just easy to guess. What is the foreground element? Think of it. This cliff right here, isn't it because those are background. The Sky's background obviously, there's a little bit of a water element. So what exactly is the foreground? It's a cliff, and there you go. That dears. Is the topic for this week, which is basically clips. I know it's a weird topic, but I wanted to cover those we topics in this class. We're going to be painting a lot of clips this week. Different scenarios, different ways. We start with this basic black one and this painting is going to be easy, which is obvious from the time of this painting. I mean duration of this painting. Okay Let's have look at the colors first. We start with yellow plue and there's Hellow green, Sap green, darker green, transparent brown, Indigo gray, yes, there's yellow occur as well. Those are the colors. If you're ready, let's get started with this one. Let's start. We'll go ahead and make our pencil sketch real quick. We'll add in the cliff in the front at first. There you go. You can see it's not really straight shape or anything. Just make it as vobly as possible. And it goes like that, and that's where it splits and we're able to see from the top. Someone's taken this photograph like standing on the next cliff, maybe, something like that. That there is few mountain there and that was not a straight line. But there you go. That area is the water. So it's as simple as that. There you go, have a look. All right. And now this is what we're going to be painting. Okay this is going to be super easy. I mean, you deserve literally deserve a little brick after all that tough paintings we've done with the Lake week, especially the previous one, which was kind of like a lot of sunset and reflections and all that. So I wanted to kind of make that simple for you. Okay. So go ahead and apply the water. I guess it's okay for you to go ahead and apply to the whole of the paper. I mean, it's completely your choice if you want to leave that cliff aside and not apply the water there, but these mountains here at the back, we need them to be on a softer scale. That is why we are adding water. To the whole thing. At least this mountain, we definitely need it to be softer. There you go. I have applied the water and now go ahead and absorb the excess water from the edges. There you go, absorb the excess water as well. First thing first, we'll think that sky. Simple basic sky for today, not so complicated. We'll just make it a nice bluish sky. Here, just grabbing my yellow blue and adding just in the form of a few lines. You can see getting lighter as I approach towards the horizon. Darkest parts at the top and felt that this is a little bit darker, here I'm just absorbing that. And this is basically sky. Don't want to make it too much. That's why I've literally reduced the color tone. Now we'll go ahead and paint that background mountain there. For that, I am literally going to start with my tto green. I've got some basic greens at the back there. This is something that we used in the lake week. You know me for by now. I rarely clean my palette because I like the subtle color changes that comes along with that. That's what I'm going to add. There you go. Just going to add to that mountain over there. This is like the background mountain as you can see. There you go. Now it's a little bit too blunt. We'll try and make that a little bit more interesting. For that, I'm just going to crab my indigo. You can see just adding random strokes onto the mountain. All right. I think that's fairly good enough starting point for now. Then we have that other mountain at the back to be done. I think we can do that with still the wet on dry method itself, but it needs to be a little bit more dry as in my paper is like literally to wet and here, just getting that shape ready there. Now coming over a little bit towards the foreground, aren't we? This is like black in color, but this now needs to be starting into an nice greenish tote. That's why we are going to grab green and start applying that onto the mountain. There you go, go ahead and apply green, Skip the water. Do not go ahead and apply to the water. But here we can see how we're doing the mountain up until that point. Now, let's add darker details. See how I just literally added the darker details. I will add them at the base as well. But don't draw it as a straight line. We obviously need to make sure that it goes and depicts a bushes on the mountains and such. Because we're now seeing a bit more closely. That is why we need to show it like that, and make sure it also looks like a mountain. I guess we can probably do that later on once we've added the other details. Just to make sure that it does look like a mountain and not a flattened out meadow. We will definitely do that. You can grab in a little bit of the darker brown. To bring in some rocky areas to the mountain, and that should definitely make it look like, not the meadow part. See here, I have added in a little bit of rocky areas, especially to the top. I can add some more. No that definitely makes it unlike the mountain. I mean, the meadow area. Here then we have the water area to paint. Here just grabbing my hellow blue again. And adding that into my paper so you can see the bottom part had now literally dried up. But I'm just going to add in a little bit of a reflection, something like that. Or you could also add in a reflection with like a darker stroke, and also want to create, I do want to create division along the horizon line. For that, what I will do is I will grab a smaller brush and try and lift off little paint. Like that. Of course, it needs to be straight. If it needs to look like the horizon. Yeah, I guess. Then along that part, I want to make it look a little bit rocky. Here I'm just grabbing my yellow ocher and adding that. Okay, I think that should be okay now. All right. So I know that our paint is like spread onto this mountain, but that's absolutely fine because we're going to be painting it with a darker color anyways. So this is kind of like the background. We'll add more stuff onto it. All right. So now let's go ahead and completely dry this up for now. There you go. Here's how it looks after is completely dried up. Honestly speaking, I thought while it was wet that I might need to add more details to actually make it look like mountain. But after it has dried, it looks literally magic. I mean, it's already literally looking like mountain and then water area at the bottom. You see that? Worked out in our favor. D. Here, just going to grab paint gray at this moment, and you can see how watery mixture is. That watery mixture is what we are going to use and we're going to paint the cliff. See that. And literally, if you want, and if it helps, you can actually go ahead and wet that region. If it helps, there you go. I think it would be easier for you to control the wetness and make sure that your paper stays wet for as long as you're adding details, okay? And you want the edge to be nice and black. Otherwise, your greenish totes are going to be showing through underneath which we do not want. For this cliff, just make sure that you're using vertically downward strokes at all points. Like that, all vertically downwards only. That's clearly what we want, vertically downward strokes. There you go. I'm just going to grab a little bit more darker paint and start along the edges. I've added in the base work of adding in my paints gray. Now we're just giving it a lot of darker details. As long as the edge is dark, and even if the little green is showing through inside, it's fine because of what we're going to do right now. What we are going to do right now is we're going to grab that green, any of the green that you have, green, dark green, whichever, and we're going to put that in as vertically downward again. It's like a little bit of a mossy structure moss growing on top of that. That's why. Then back to grabbing paints gray. Okay. And adding. Remember, vertically down at some point, now you can definitely go ahead and add in literally darker strokes. I'm just going to add in darker strokes. Here we're going to make it nice and dark. This is not dark just spreading it out. The darker points are there. I mean, you can also do that once the paper has dried out. Literally we can also do that then. There you go. I know I've not painted that top part yet. We'll do that. Let's go ahead and dry this up because this is like now the cliff part in the front. There you go. It's completely dried up now. Now what we're going to do is we're going to paint that top heard. For that, I'm going to grab my paint sc to that, I am going to mix in yellow ochre. Well, that's a strange combination. We've done that before. It's going to turn into a like a muddy color, and that's exactly what we want. A muddy muddy color to take over the top. See that? That is the top part of the cliff, which we can actually see. Then while that ries out, go ahead and add more detailing onto the cliff with the paint gray. Here, just grabbing paints gray, and I'm just going to add in track shapes. Let's see some lines like that. There coming over to the edge. Added some more cracks, and now it's actually looking like the top portion of a cliff isn't it. We'll also add in a few random cracks in there. There you go. Something like that. Go ahead and blend at the top. See how it's got a little crack, maybe another one over there and this area and be even darker. You can add these dry brush strokes over on the top. Depicts the details on the cliff maybe. Honestly speaking, we're done. I mean, we could literally stop there and be done. But what I'm just going to do is you know that background mountain, which we said we might add in some details. I'm just going to add in a little bit of a dry brush with my yellow ocher. You can also probably do a little bit of a dry brushing with your white paint. If it helps, just to add in a little bit of a better appearance. We will also do that with our cliff as well. Just random white areas. These are not the snowy bits, but just the texture on the rock. Be aware. What we are trying to add, it's not any snow or form or anything. This is uh, just depicting the rocky texture. See how we've achieved a little bit of the rocky texture. I mean, we can work on it at, lot in detail and create as much rocky texture as you want, but I do not want to waste time, and I think, a short lesson for the first lesson sounds like a really good thing. There you go. We've done with the first cliff. Let's go ahead and dry this part up so that we can remove the tape. And here you go. It's completely dried up. So let's remove the tape. And here you go. Here's the finished painting. I hope you enjoyed painting this with me. Thank you so much for joining me today. 73. Day 68 - Rocky Way: A, hey, hey welcome today 68, and this here is a painting that we're going to be doing today. So it's again, a cliff with a little bit of our foreground. But then there are so many things on this cliff. Look at those small rocks. See that. It looks like rocks and we elevated that on top of this cliff mountain, isn't it? Let's learn how we're going to be doing that. First of all, let's have a look at the colors that we need. We start with paint gre, then we need sap green, dark green, transparent brown, and olive green. I think a little bit of a yellow ocher as well plus white gash. These are the colors that we need. If you're ready, let's get started with this one. All right. Let us start. Today's cliff is going to be a literally a different kind of cliff. We're going to have a mountain shaped like this. Just follow along the shape because it's a bit of a literally weird shape, I would say. Okay. Then there's some foliage there right at the front. Yeah, that's it. Here you go if you want to have a closer look and want to sketch this out because I said just follow along because it's really difficult to describe the steps as to how to do this. That's why I couldn't probably do that. Now let's get going. Show we. We'll go ahead and paint the sky region first. But even why we're painting the sky region, just the sky, because it's going to be a misty scene. What I am going to do is I am going to apply water to the whole of my paper. So just apply nicely onto the whole of your paper. And go and let me absorb the excess bits of water absorbing all the excess It's now we'll start painting from the top right from the top. It's like a misty scene, like I said, and probably like a stormy scene. We're just grabbing paints gray and we're going to bring it down. Here just grabbing the paints gray and making sure we bring it down in a very uniform manner. All the dark paint that I pick up will be over to the top. But we also do not want it to be too dark as if to create a night scene. Just basic level of darkness. No darkness, but it's just depicting a very cloudy, moody sky. That's what this means. Here coming down. If you have that angle, then you should be able to get that perfect radiant. I brought that darker color downwards, but my intention was something else. Let me show that to you now. Now we're going to grab that darker color, and we're just going to add that right there, and just along the edge. Don't create any shape of a mountain or anything, but just a little bit of a darker color over that horizon. It's going to look like once we've painted this. This is going to look like as though There is a mountain there at the back, which is all gone in the mist. That's what this is going to look like. Now that we painted the sky, let's go ahead and dry this up. It's a simple sky. You can see that, literally see that. Let's dry this up. There you go. It's all dried up. We'll start with that mountain over there. Today, while painting this, we are going to adopt something different. We're going to need two brushes in hand. Get ready with two of your brushes. One of them will have green color and one of them is going to have paints gray color. Right. Here. That is the one that paints gray, but make sure it's nice and diluted and the other one is literally going to have a green color. There you go. That's a nice green color. I'd like it to be a little bit more warmer, so I'm just going to mix in olive green to that. It's been a while since we've painted with olive green as well, isn't it? Just going to grab olive green, adding it into my sap green. That should make it nice and vibrant. There. That's got olive green plus a green and that's got paint gray. This is what going to be starting. See that's still a little bit on the darker scale. I do not want my color tone to be that dark. Here, just painting along this edge. Going to paint this in sections. I painted until that region there, then I'm going to grab my olive green, going to paint along this edge and also over to the top region here. As you can see at the top, it's definitely going to be literally the wet on dry stroke with getting a harsh edge separation between the two, and here as we come along, we want it to be more greenish as well. There, then we go back So the paint green now and we're going to go ahead and add in randomly you might get some white strokes like that. Honestly, you know what? Completely ignore it. In fact, those are nice. Those are really nice. It's going to help us in our painting. If you do accidentally create white spots, as I was adding, and maybe some of them go ahead and create them deliberately if you can. It helps. Here. And not worry about any edge getting dry or getting harsh edge because any harsh edge, anything getting dry, it's all going to contribute to our painting. Don't worry about your rocky area getting dry too fast or not drying too fast and all of those things. Completely do not worry about that. Switching brush again, a little bit of a green in this area and along the top. Then back to my paints gray. There. You can see again how I'm creating a nice split and adding, again, a little bit of a green and we can have more greenish area towards the top. I guess this old region can be green as well. I want to have a little bit more green in this region. I have there. Now, back to the paint gray, diluting that because I just added a little bit extra. See. This is what I did not want it to be as dark as that turned out. They're just adding in between in those areas. Like I said, if it's creating a white caps in between, absolutely ignore them, that's fine. Let them. It's okay. Now, we need to go ahead and create darker strokes at random places. Here, just grabbing my bean screen. I'm just going to create a little crevices and edges. It's a cliff with It's not a mountain. We have to be careful about that, and I think this is probably not going to help to create those thin lines. I'm going to switch to actually this smaller size brush, which would in fact help. There. I think that's much better. Then here again, as I come over to this side and some vertically downward strokes. More over here. You can see how it's turning to be semi strokes, exactly what we want. Go and now over here. Go and adding. Now, I've washed that off because now the next color that I want to add in there is my transparent brown. Here we're going to grab the transparent brown, and let's go ahead and add in some random bits of detailing in there. Just at various places. We can add them closer to the ins gray areas as well. Then we will also add a few ones with yellow ochre, just to get a nice variety in there. C. We're getting a little bit of a nice variety of strokes. Then what we're going to do is we're going to paint this part of the foreground, which we left. There. Then now I will start with the ultimate, which is just going to be a large region. Since it's just a bushy region, we're just going to cover it up with the green paint. Go just covering it up with the green paint. Fill up all of that green nicely. But obviously, it needs to be darker than the one that we added there at the p. That's why just picking up my darker green and adding over. That will also get rid of the paint line along that edge. We want to blend in with our darker green. There you go, just go ahead and blend in. Added that nicely towards the front. What I'm just going to do is just going to make sure that I go up a little again. I don't want it to come down and create that weird shape. Also just going to make that awards the bottom. I'm just grabbing a bit of to give a b at the base. See, added paints gray towards that pase region so that we get a little bit more depth in that area. We literally are not done. We have a lot more detailing to do in here. We're going to grab in the paints gray again. Now we're going to use the pointer tip of our brush and we're going to add lots of small lines. And getting the literal cliff shape. And wherever it can get. See that split. Now that's acting like a split in the mountain, isn't it? I just adding a lot more details.'s the rocky texture. Take your time to do that. The texture on the rock. It's literally going to take a lot of time. But we're still only 14 minutes into our painting process for this class, which means we still have a lot of time. I'm just going to work on this a bit more. Then I am going to grab my white paint next. Just going to grab the white paint. Nice white paint. Need to get dry strokes, just making sure that my brush is dry. Yeah. That is what goes on top of the greenish areas. But also, you can add certain darker shapes, like for example here, I'm just going to bubble up there. It's going to look like a rocky texture. We will make that look like a rock soon. Just follow along right now and add in a a lot of rocks on top of those green areas for now. You see here, added a lot of rocks and these white things that I'm adding. They are not snow or anything. They're just the top potion of the rock, reflecting a lot of light or maybe they're just lighter in color over there. Again, and here on the mountain as well. Go ahead. I mean, it's still a mountain and it's still a rocky cliff, isn't it? That's exactly what it is, and we are going to depict that. So where else, I think I can had in a little bit of there. Add it at a lot of these places. You know those areas on the greenish bits where we add it in the rocks. Now we need to make them look like rocks. And how do we do that? We are going to add in the base of those rocks or like the shadows of those rocks. That's how it looks like a rock. Here, I'm describing a little bit of a pain and we're going to add tiny tiny bit. The base of that one and see how that looks like an elevated thing on that grassy texture and how it actually looks like a rock. See that. See? It could also be far off cattle grazing, but no, no, it's not it's literally rocks. So just go grab your paints gray and add these random marks right at the base of your greenish pits, and you can also add it to the areas where you left white gaps. If you go ahead and add in kind of like a base structure, those should look interesting. Like these are all elevated, elevated rocky areas. See how that's turned out. We've got a very nice cliff in front of us, haven't we? There, how does that look? Now, it's a misty scene, so there's no point adding. Can you see how that little dark mark there is looking like is a mountain that's covered in mist. Now there's only one last detailing for us to do, which is to go ahead and basically put some bushes in. Bushes on the top of the surface. Here, I'm just going to literally take my sacren and I'm going to make these bushy structure over the top, extending outward over to the top. See that? We'll do another one right here. Wherever you decide to add. If it's vertically upward extending outward, it really looks like a bushy structure. For example, you can literally put like a bigger bush. See that? Now that looks like a bush. But because you've added a bigger one, you definitely need to add in a base of darker color so that it looks as though it's got. Don't ever forget depth in your paintings. See some bushy shapes along there. We've got the dense forest at the bottom. We've got a very busy, busy mountain cliff there. All right. So it's almost done. Now let's go ahead and dry this up. Let's remove the tape. And here is the finished painting. I hope you enjoyed painting this with me. Thank you so much for joining me today. 74. Day 69 - Ocean's End: A, Hey, welcome today 69, and this here is a painting that we're going to be doing today. It's another cliff and another beautiful painting, but there's lots of intricacies in that. For example, look at this wave breaking off. Look at how we've achieved the depth with these cliffs. A lot of these things that we're going to be covering in this one, let's have a look at the colors. We start with paints green, transparent orange, transparent brown, and Ciena, Oliive green, Cobalt blue, and violet in this one. If you're ready, let's get started with this one. All right. Let us start. We'll start with our horizon line, of course. Horizon line is going to be somewhere just below the middle and just don't put it right at the middle place, but somewhere like below the middle. We only needed to be around halfway point because the top part is going to be as in this part is going to be some cliffs, which is of course our topic. Let's go ahead and sketch in the first cliff right here. We have another one. Of course, behind it. These are some rocky cliffs that we want to add. You want, you can go ahead and add another one behind. But then I need to remove the horizon line because this is not at the horizon. The horizon here is the ocean, so you're not going to have a cliff at the horizon point. Keep that in mind. You've got three levels of cliffs here. See that. Okay. So now, if you're ready, let's get started with the painting process. So it's going to be quite easy. Let's go ahead and apply water to the sky region at first. I'm not bothered about the left side there. That hop of my cliff going to get the color of the sky that I am going to be applying. That's absolutely fine. Just go ahead and apply water to that region. Then now we're going to start. Obviously, we'll start at the top and I'm going to start with a nice paints gray shade. I need it to be nice and watery. What I need is just a very, very subtle tone of paints gray. It needs to be very, very light, not at all dark, S. It's just for the matter of having something there. That's it. Then from the bottom up We are going to have orange. There you go. I'm just going to go ahead and apply orange just at the top of the horizon line there. I will try a maximum to stay out of the cliff area. But even if my paint spreads to that region, I'm absolutely fine with it. There you go. Over to this left side. There. Now I will tilt my board towards that top direction so that my paint can flow in that direction and blend in with my paints gray, if you know what I mean, see that. That's as simple as there is. It's the simplest sky of course. It's very simple, it's t. Now let's go ahead and dry that up. All right, there we go. We have completely dried that up, and now we'll go ahead and paint that ocean part. Before we paint this cliff, we'll paint the ocean. Go ahead and again apply water to the base right there. Again, as you reach the horizon, just make sure that now that you're careful because you did not want your paint to go over to the sky region and disrupt your orange paint that we've just applied over there. Just there you go and apply the water in that region. Careful again, just taking up to the edge. All right. I think I like the way I've applied the water right now. That's done. Now it's time for us to paint the ocean part. I'm going to shift to a smaller size brush. I think a size four would be perfect for this purpose. Here you go up a size f purpose. Or maybe size six. I think size six is better. Something between the eight and four is what I wanted, but go for a medium to small kind of brush for this purpose. All right. Now, think about it. We've got the sunset sky. We need to make sure that the colors in the ocean that we add are not too much vibrant because it's getting darker so you're not going to see the beautiful shades of blue as in as vibrant as that. What we are going to do is we're going to create that subtle color. Here, I am going to start with myco bald blue, and I'm mixing it with violet. So you might be thinking that, is this a subtle? This is not subtle. Well, when you lighten it up it's definitely going to be subtle. Here, I already had violet on my palette, and I'm reusing that by mixing it with cot blue. Back to mixing a little bit of a violet again and just making sure that the pigment that I have in my brush is vary less. And we'll start right at the base. What we're going to do is you're going to apply, but you're going to leave a lot of white spaces. All of those white spaces are going to be like the form in the water. Can you see how when I'm touching my paint is like spreading and creating. We want that. Then over to this right side, maybe I will apply a bit more paint. That. Then the same along this direction. We'll have more paint at the base because you need to have a reflection of cliffs area, which means we'll have more paints below. And here as we are going further away from this foreground region. We are definitely going to have more paint. But here in this case, it's going to get lighter and the reason it's going to get lighter is because it's the reflection of that orange is going to be right there. Grab your orange now, a t tiny bit, not as vibrant as we did for the sky, just a tiny bit, and you are going to apply that at the base there. See right at the base there, go ahead and Start with the orange, then go ahead, put in your violet. Also, as you reach towards this region, you need to make sure now that your strokes are flatter, not unlike these. You're going to start making small lines, depicting the areas in the ocean and there slowly slot blending into that orange. See that. Then we're going to grab a tiny, tiny amount of paints gray, and we're going to add it at random places in between because the form, even though it's there, it's going to have a little bit of a shadow areas, and that's what we're adding here. Now, I'm just going to add in a few lines in the water with a little bit of a darker paint, not too much. So soap was a bit dark. Okay. See starting, then here will be at an angle and then the angle will slowly decrease as you go towards the top. What's happening there. Now the angles decreased and it's almost like a straight line. There, it's more straight lines and the lines will be smaller and closer and stacked together. Dow the top. As you approach the further top side, there won't be any lines at all. As soon as you've added those lines, it's actually making sense, and this is looking like a wave and you see how our ocean area is getting a little bit of a dimension now. Okay. That's why these strokes are very, very important. I was angles here, and then you start to make it straight. Again, for this, you can go ahead and add in some darker darker strokes. Again, we're done with the ocean part, then we need to do the cliffs and then we can probably add some rocks in the ocean. We'll see that later on. Let's go ahead and dry this part so that we can make the cliff. There you go. That part is now dry, and we can draw in the cliffs. The cliffs, this is where it gets brachio So what we're going to do is we're going to paint that in a nice different kind of clip. Here I've just grabbed my orange and this here was a mixture of violet and Banzena. If you remember, we did that in a previous painting. That is right that one, and I'm mixing my orange into it. Essentially, what you want to do is mix in orange and banziena, and I would rather not have the let in there, but I think it was still less, but this is the color that I'm looking for, like a blend of orange and banca. That color is what we're going to start with. I think we can do the one in the front because were the ones at the back to be a little bit on the lighter side because we wanted to pick and give the effect of the depth as well. There I have applied a little bit of that brownish stone. What I'm going to do then is I am going to wash off my paint, and then we're just going to pull down. As much pigment as you can and then see how it starts to get whiter and lighter. I'm going to let it be that at random places, I will then go ahead and draw and make these marks with my brush. I pull the paint and because I had lack of water in my brush, it started to start making these dry brush strokes. Did you see that? Then now over to the top, I will go not at the top. I mean at the base there, I will go back with paints gray stroke. That again, I need to have a lack of water in there. Here, I'm just going to dry that up, and then I'm just going to pull that upwards. While you do that, grab in a little bit of olive green and drop it in there. This is the moss because of the water repeatedly hitting on the rocks on that cliff and giving very What do you say, mossy texture? There we've got that one. You can go ahead and grab that paint again and like you draw some lines. Not adding much. Then the same mixture now, but adding a little bit more orange to that and making it a little bit more watery here, and adding that. At the top there, you can see wave added to the next cliff, but then it's going to be a tad lighter there. Again, the same process, we've added the orange mixture. Wah it off and now we need to pull down the paint, make it appear dry, get that dry stroke in. Go at the base with the in gray. I think that was a bit dark, isn't it even though I said it should be lighter. Let's lighten it up. Just applying wet brush onto it and it's lighter, grabbing a little bit of olive green and stuffing that in there so see. Maybe that's greenish brown. Some lines and some random stuff there. Then now is the one at the back. One at the back, we're not going to be seeing so much in detail. We're just going to see a very, very lightened version of everything. Here I'm just grabbing that and I've mixed it with transparent brown paint. But I think this area is still wet. What I'm going to do is, I'm just going to dry that up. That area is and I'm just going to put this paint there at the back. Just need to make sure that it's a very lighter version. That is why I adding a very lighter version, but make sure that at each part of the separation, it needs to be clearly evident. Maybe grab a tiny tiny amount of pains create too much for the base. That's again, still a bit too much, so going to naturally lighten that up. Yeah. That is a much better appearance. Now, see how we've got the cliffy look. But we can obviously make this much better. You can add in more dry brush strokes. Like for example, on this one, you're licking a lot of dry brushing or tiny, tiny details. Se, I'm just putting in details in there and you can have vertically downward lines like that. See that looks like a separation in the cliff. And some rocky edges. Any kind of detailing that you do does not matter. You can do anything. See what I just did there. Now that you've done that, I think the only thing left for us to do is grab in a little bit of our white paint. Grabbing in our white paint, we're going to put that at the base and you can also go ahead and put that over onto the region there because you need to create where it's splashing and creating the form, if you know what I mean. See how that's creating a form, you need it to be drab rushing. And create the fall. It can be very, very light and subtle as it is now, so don't bother. Remember this wavy structure that we did. Let me dry my brush. That wavy structure, if you go ahead and add in a little bit like that, at the top of that wavy structure that we did. Now it's looking like it's b that wave part is breaking off, isn't it? So just keep adding randomly. Again, over the top, you can add that random as well. But there you go. That looks nice, right? I mean, we've added how that wave is looking like it's breaking off the cliff, and everything. Isn't that looking amazing? Okay? Honestly, the painting is done. That was really, really quick, wasn't it? It was. My clock shows 16, and after it's been edited, it's definitely going to be even lesser. All right. So let's go ahead and move the tape. No. I see that probably this was not dry and had a little bit of an accident there, but that's okay. But here you go. So here's the finished painting of our cliff three. So I hope you enjoyed painting this with me, and thank you so much for joining me today. 75. Day 70 - Gigantic Cliff: A Hey, hey, hey. Welcome today 70. This here is a painting that we're going to be doing today. Let's have a look at the colors that we need for this one. We start with Hello blue, t to Marine blue, Indigo, Racena, Sap green, dark green, olive green, transparent brown and cadmium yellow, and paints gray. That's a lot of colors, isn't it? Yes. Let's get started with this one. All right. Let's start. We'll start with Let's see the horizon line. The horizon line again, somewhere below the halfway point. Again, don't complete it just like the previous days painting. And the cliff is going to start right from the top, going to go up there. And do something like that, and then it's going to come down. It's a huge, huge cliff, and then again, go ahead and you see that. That's a very huge cliff, isn't it? Then this portion, let's have a split. Cliff obviously is essentially a mountain itself. I hope you know that by now, isn't it? That is what we're going to try and create here. There that is part of a mountain. Then I'm going to have a shadow part in there. Again, some movement within like that, and Then maybe a little foreground that can go like that there. There you go. I know it's a bit tough. But here you go. That is the pencil sketch that we want to be doing. If you're ready, let's get started and start with the sky, of course. For the sky, what I'm going to do is, I'm just going to grab my largest size brush and apply water to make it quick, and I will try and skip the area of the cliff as much as possible. So there you go, going up to the horizon. In fact, you know what you can go ahead and apply towards the water region as well. It's going to be fine. Just apply. And they're taking over the top of the cliff. We're trying to create a gradient here. That is why we need the whole surface to be wet. You've seen the final picture so you know how it's turning out as well. It's okay that you've got water here at the base. Then we are going to grab yellow blue. I'm going to start right at the top. With the tail blue. See here teal blue, but going to give my paper that beautiful angle that it deserves so that all the tail blue like, come down, see. Now, this is a very, very tricky way to do the gradient, isn't it? Because you've got to go and still do along the edges of something. It's not a very flat surface. So Just take care and add it along this side, it's completely still blue because obviously it's that part of the sky where it's the top side, so you can leave it at that blue tone. But it is towards this bottom region as you approach that we need to actually decrease the color tone and create a gradient. Now here, I have washed my brush completely, and I'm just going to bring down this paint, all the way down. Se bringing down this paint, grabbing very teeny, tiny amounts as I move towards the bottom. See how it's coming down, it's coming down and we've got a gradient there now. See the gradient that we achieved. Just make sure that it's nice and even, and this angle that we have on our paper is also going to be helpful for creating that beautiful gradient. Any darker color that you pick up, make sure that you put it towards the top region, a, very important. There we have our gradient coming towards the bottom all the way towards the bottom. And that's just literally beautiful, isn't it? That's the sky done. Well now do is, we'll go ahead and draw this whole thing up. There you go, guys. It's completely dried. And you can see here what's happened. There's a little bit of a back run. It's because I never actually wiped the edges of the tape and see this is what I always talk about how you're going to get back runs if we do not Wipe the taps. Just drop the. I mean, the brush. What am I saying? Now over to that water area. We're going to paint the water and we're just going to go ahead with ultramarine blue. That is what is going to be at the edge right there. Have an angle for your paper and go ahead again along the edge of the cliff. And paint that water. Just make sure that the water that you add is in a uniform manner. This edge was not dry, so it's spreading towards the top. I'll probably just make sure that I have an angle on my paper and there. Again, do not paint that way. Always make sure that you are doing it vertically so that your water looks like water itself. I've just washed off the paint a bit and I'm pulling it down. We do need the paint. I'm just making sure that it's got a uniform stroke. There you go. Then as I approach towards the bottom, I think I will go for a dark color as in a little bit of an indico color towards the base. Again, make sure that you are horizontal. Even if you apply a vertical stroke at first, you definitely need to convert it into a horizontal stroke. There you go converting it into a horizontal stroke, and then I'm going to wash my paint. Then I'm going to blend that ultramarine there in to that pigment color that we just added. There you go. Now you can see it gets darker towards the bottom, but then that color is also uniform. Also this angle that I have on my paper is also going to be highly helpful. That's that. So let's get to painting the mountain. I think by the time we reach towards the bottom, the alta Marine would have tried out I suppose. I am going to start with Ciena now. It's a color that we don't use, isn't it? Here you go, grabbing raw Ciena. And that is what I am going to put. All right. Go ahead and apply. It can be dry. It's absolutely fine. Start with a asana and let it have all those dry strokes. Don't think about having perfection with this. We're trying to get the texture of that rocky surface. It's okay for us to have my cena just went outside because I'm just talking and concentrating on that part. There, right. Got some colors there. I think towards the left, we do not need. But maybe let's just go ahead and start and then we can fill it up later. And remember the direction. Here, it should be towards the bottom and here it needs to be in this direction. So I think ya, that's a very good starting point. I'm going to shift my brush and move to a smaller size one now. This is where we start adding tails. Over to that right side, I'm going to grab my darker green, but I need to mix it up with a little bit of a brown to make it into a darker greenish brown color because that's the color of the shadow region, and that is what is going into that very edge. There and go ahead and apply that along the edge. There here on the top there. Don't wait for your rosy net to dry. It's absolutely fine if it hasn't dried. Can you see that it actually turns into a little bit of a greenish hue, a dark greenish hue as I do this process. Again, taking it over to that edge. Go ahead, make it these random lines that's what we're focusing on right now, and only up to this edge as well. I also remember that. Okay. And it shall be in the form of these lines going upward and up til this edge point is something to remember by. There keep going. Now the next thing is I'm going to grab my olive green next. We're going to start with some olive green and I'm going to put some olive green strokes in there. Again, starting at the top as well, olive green. We don't want to cover up the entire part of the rosa. Just go ahead, apply. As you come towards the bottom, now we need all of our Rosina areas to be covered. But again, still do not go with a fully coverage. See some random brush strokes, the effects that we're getting. Try keeping it to that level. See that? See, I'm not going to cover it up entirely because I'm going to leave it exactly like that because I like it. Then now we'll go ahead and paint that foreground region. We need a lot of different greens here. Now I'm grabbing olive green and I'm going to start with my libre. Too bad. I need it to lighten up a bit here. To mix up a little bit of a cadmium yellow to that. I think that might work. Yes, it's different a green. A bit of a cadmium yellow into that mixture and we get a different green. Again, we are going to do the same thing, but you see all of these random white spots that I'm getting, let it be. Do not try to cover them up. Important factor to consider here. Again, openly up to this edge is where we want that again, creating lots of ground, details, see how I've got a lot of these white strokes. Let that be to not cover everything up. It's very little pigment in your brush that is leading to the creation of such things. Coming over up til this edge there. Then next thing, we're going to grab our green again, and we're going to put this green at random places. But again, as you put this green, just be sure not to cover up all those white areas that we just did. Come on. We just put a lot of effort into putting those white areas. Here, just adding, and you can see it looks like a path. Or something a little bit of a random detailing and it's dry as well and there it goes added on to that greenish area. Now that that's done, we'll go back to picking more of the olive green, and I think we've dried up that area. Let's get to adding details there. Now all of the details on here will be vertically downward. Use your olive green and go ahead and create vertically downward strokes like that. It should be dry, but then it's vertically downward. See that. It's a semi dry brush stroke, but then in a vertically downward direction. Towards this edge, I think we will have a steady growth of some plants. Then that can have a solid color over at that edge. Is it at the bottom as it gets towards this region? S, the ultramarine is dried up now, really well enough for us to go a. Then still go on with vertically downward scope, not in all the places, just at random. Maybe some more here. And where else S more here. You can leave some of those white spaces as well as this is. Since we're still continuing on with some greens, I will now move on to a little bit of a green. And I'm going to put that base region over there. This base region is now going to get some sad green and it's going to go ahead and blend with that. There Sa green up until towards the bottom, it's going to get darker. Because it's I want to depict it like an inside region. That's why it's under shadow. This here is the shadow shadow region a bit more towards the top so that it gets up until there. There you go. That was paints gray that I picked up and I added. I still have that greenish hue in my brush. That is why we still get that greenish hue right there. But this region is going to be nice and dark because it's like the inside part of the cliff. Okay? So then still leave a little part of the right side. Do not paint it there because we need to depict the light in that area. We'll do that just in a moment. There, that is like the inside part. Grab in your paints gray and go ahead and put it along the inside, where it's like literal darkness. Next thing. Going to grab my transparent brand and to make it All dry there. That is going over for some more details on this cliff as well. Can have some solid lines as well at t random places. Maybe some more extra ones here. S. Some extra ones here. And then along the edge of this greenish area that we did, go ahead and put in brown. Then it looks as though there's a bend in the rocky edge, and this is like the bend area. That is why it's got all those plants growing in that region. Does it make sense now? I've picked up that darker green and just applying along in some of those areas. We've covered that. Then now we need to go ahead and add in the foreground This now is the pure sap green. Remember, the background color was actually mixture of cadmium yellow as well. But now as I'm approaching towards this right side here, what I'm going to do is, I'm just going to grab Cadmium yellow as a whole, and I'm going to apply it right there because this region is like cast in the light. I want to depict that. I'll grab my sap green and then blend in. That's okay. Because it's cadmium green, it's actually working. There M Saprin blended in right there. Now, we need to get light onto that right region as well. What I'm going to do is, I'm going to grab my rosena, mix it probably into my transparent prawn so that I get like lighter color. I'm going to put that into that edge there. See how as soon as we painted this, it all makes sense, isn't it? Dutch that? This is the edge of the cliff. And this discsting light, but this is the inside part, so it's like dark. See how it all makes sense. Isn't that looking beautiful already? Now that we've done this much. I think time to put in a little bit of a darker shadows maybe. You can put in darker shadows. Using your darker paint at some places. Putting some darker shadows and I think we're in a good position with how the darker shadows needs to be. Now, what we can do to finish this off is, let's add in some rocks. Remember the rocks that we added long back. Well, probably not long back. It was two days back, I guess, we're going to add that. Just maybe a large rock over there, maybe a large rock over here. There cannot be a rock on this one. That's okay. Maybe we'll stuff in rocks at this portion. Maybe one there and maybe we could change it's already got a white pieces there, so we'll change some of these two rocks and maybe a little one on there as well. How to convert that to rocks, changing it to my smaller size brush, grabbing a little bit of a dark brown paint. And applying right below. Remember. Now that looks like a rock. If it's a larger one, you could put a little bit of the brown on the top as well. Here you go a little bit of a shadow to some of those, which indeed converts them into a rock. Do not put like a shadow for all of them. But see, that one has got a really good surface now. But that one that we just did was a little bit on the bigger side. Here, just grabbing a little bit of a roc ina and I've added to that one that now has got a a dull color effect. It's white less rosa and that's evident that it's a rock. See that? And maybe we're going to add on that one as well. There you go. I think, we've got a pretty good cliff now. You can go ahead and add as many details as you want. Trying to create more dry brushing strokes here at the base. But I'm really happy with the way this is stand out and I love the way the cliff is looking. This is a painting where you can never stop and you can go ahead and add as many details as you want. For example, I just realize this the edge, we say that it's lighter, but It's the edge of a rocky surface. You could just go ahead and add in some lines like that. Don't you think so it makes sense. Here you go. That's done. Now let's go ahead and dry the surface up. We can remove the tape. Here you go. It's completely dry, so now I will remove the tape. I think this tape, there's some problem or I'm not sticking it well. That's the same one I've been using for the past few days, but see, I've got a lot of bleeding there. You do not like it. I don't know if we've covered this before, but if you do get some bleedings like that, this is a little trick as to how you can cover it up. I honestly can't remember what I've taught in this very saving class. Lot of days before. So I'm just saying it again, just in case. Here you go covering those up. That looks nice, isn't it? All of those additional bits are gone, and we have a clean painting there. I like to have clean edges. Here you go, guys. Here's the final painting, and I hope you like it. Thank you so much for joining me today. 76. Day 71 - Cliff's End: Hey, hey, hey. Welcome to day 71, and this here is a painting that we're going to be doing today. So isn't it gorgeous? Let's have a look at the colors that I have used. It's basically paints gray, ultramarine, Halo blue, Halo green, Indigo, olive green, transparent brown, Mancina, nacrodone, yellow, or gnacrodone, gold, and dark green lavender. Oh, my God. That's a lot of colors, isn't it? And you might be wondering, Lavender, exactly is the lavender? J water. So we'll find that out. There you go. Those are the colors that I have used in this, and if you're ready, let's get started with this one. All right, let us start. We'll go ahead and sketch out our cliff. It's going to be somewhere around the edge over here, and then it's going to go up that there and maybe have like a surface like that. Wherever there's a surface like that, that's got to have an edge of a cliff again, and this here is probably the base of the cliff. This is the base of the next cliff. But then we're not going to see the bottom part of that because there's a fork ground, which is possibly part of a mountain that's in the front. Something like that. Then we are going to have the horizon line. This one, I didn't do the horizon line at first, but we're doing it later on. But also this horizon line, you want to make it as light as possible. See, that's a very, very faint line that I have added. Here you go. That's how it looks up in the close up, so you can see, and now it's time for us to go ahead and start painting. That's paint the sky fist. I'm just going to go ahead and apply water. Here's what I'm going to do. This whole cliff thing, we are going to paint this cliff plus the water area. We're going to paint in a single unified manner, which is why we are applying water to the whole of the paper now today. Go ahead, apply water, evenly to the whole of the paper. Like the previous day, I am not going to forget that I need to wipe the excess water off. Here you go, wiping off the excess water from the edges and all that's accumulated on my masking tape, as you can see. Getting all that off and along this side as well. I think that's good enough. Now I will go ahead and start painting. I'm going to start with paints gray at this point. What I'm going to do is grab a tiny, tiny amount of paints gray. Is a tiny, tiny amount and that's already too much. I'm just going to spread that around. That's it. See, just a very lighter amount of paints gray, and that is what is going to flow down all the way. Can you see it will not be the white of the paper, but a very, very subtle tone of paints gray all the way over to the top. You can also possibly give in a little bit of ultramarine maybe a little bit of a bluish touch. See that all the way to the bottom. Once that is done, the next thing for us to do is to go ahead and paint the water region. For that, I'm going to grab my size for rush. I'm going to make sure that my rush is clear, and I am going to be grabbing Halo blue. We want to create a nice beautiful Turquis colored beach. That is why I'm grabbing alo blue. But what I'm going to be doing is, I'm going to start from the bottom when I'm applying the thalo blue, and then I'm going to go towards the top. We're going to apply this in a flat manner, there you go and leave some white spaces there because that's where the form in the water is going to be. Here applying, but along the edge of the cliff, we need to make sure that we apply it. You can cross over into the area of the cliff. The reason why we started this at the base is because we want to make sure that as we go towards the top and reach the horizon, our color tone is less. You get me. Literally lesser color tone and here. As we reach the top, we also want it to be in single line like that, but it's a very softer line. That is why we are getting when we do it with the wet on wet method. Se just picking up the color. Right along the edge. Whenever you're doing along the edge, you need to make sure that you do a continuous line, do not go and do a drop there. Because if you do the drop, wherever you're doing the drop, it's going to spread out. You want to make sure that you do a whole continuous line like that. Then you can have your strokes like that. I'm also going to grab a little bit of indigo, and that's what we're going to be applying at the base over here, just to make it a little bit more darker, just like we said, over to this side, little bit darker. As you go towards the top, you can start to increase there at the top. Then I'm also going to go pick up a little bit of green, and we're going to put in a little bit of a green shade as well. That's going to give a Turquis color to our ocean, little bit of turquis shade. You can have that blended. Let me see how that's turned out. I can see that the line that I have got is not uniform. I'm going to show you a simple trick to make that into a uniform line. I didn't realize I was taking too much paint. Here you go. Just go along the horizon and sometimes you might have to go up above the horizon line. This is what I said, do not make your horizon line a perfect perfect line. As in a very harsh line with your brush. Because if you did a harsh line with your brush, then you are going to end up with a very harsh line, and this is what I said, I was speaking and then I lifted off my brush. I'm going to have to take my horizon line a little bit more over the top. My line is way below this, and also while you're doing this, make sure to have your boat tilted. So the little trick or the tip that I am going to be sharing is to basically go ahead and grab another brush which you haven't used. So this brush, I have not used it today. It's completely dry. And you s of not washing these brushes. Okay, so just make sure that your brush is dry or damp, and you're gonna run around your brush like that. Absorbing s. Okay. This is what you need to do. But now I've ruined that part cause my brush had some paint in it. So I'm going to have to go ahead and go over it on the top and create another line now, Horizon line. My horizon line is ever going up. It just keeps on going up, isn't it? Okay? Anyway, so long as your horizon line is like subtle. That's what matters. I think that's good enough now, and I will go ahead and try the subs so that we can paint the rest of the things. All right. There you go. My beach part is now dry, so now I'll go ahead and start painting the cliff. We're going to start with the edge of the cliff. Here I am grabbing my nice transparent brown. This is why I said that even if you've got blue over that cliff area, it's absolutely fine because you're painting with any ways a darker color. And it's going to be wet on dry, so it's not going to affect your painting. Here grabbing the nice transparent round and adding. We start with the transparent round on the edges, but as we go inside, we need to add in some other colors. Here today, that other color is going to be like quinacrodon gold. Just a little bit of a quin acroon gold, go ahead and apply at random. Then you're also going to grab in a tiny, tiny amount of burned Ciena. Continue along with the Ciena in that edge and over to the bottom here. That edge was as dark with the dark brown shade. You've seen that. Going and adding, do not take away all of your golden shades, see, some of the golden shades reflecting there, and then again, taking it up until here coming over and adding that. Then again, going towards that inward place. Remember, Now, we definitely need to paint the top part. For painting the top part, I am going to give it a little bit of a greenery there. Naturally, I'm going to pick up a little bit of olive green and I'm going to blend in my olive green. This olive green, use it over the very top area. Then now we need to add in olive green at the base as well, but you can see the edge is there and if you go ahead and paint now, it's going to blend in. Let's dry that up. There you go. I've dried up just that part as quick as possible so that I can go ahead and put in Olive green stroke. And again, here, like I said, towards the edges, putting in that olive green. There you go right up till there. That's the olive green don, and this edge or should have dried that up as well. So that edge is still wet, so I need to wait again and try it up. There you go. That's dried now. I'm going to grab that a transparent brown again for the very edge there again. Along the edge, the transparent brown is going in again, and then as I approach towards the inside, going back with the band in at random. And bits of queen acrodone gold along the edges. Blend that along with the dark olive green color and see, we've completely blend that in, just grabbing a little bit more of brown and adding some darker strokes over the top. We can do that in a dry brush manner, also, which we're going to be doing over to this left side. Here, just grabbing the dark brown color again and just giving like some lines and edges, go and blending some of that. And creating an edge, lending some of that. In a dry brush manner. When it dries up, it's going to look good, but you can see how where we've got that top portion ending now. That's an extra line I created with my transparent brown there. Now we can finish off with the foreground. Frod here, starting there, going to go ahead and put in my There you go. And I can also use in multiple colors. Just putting in a little bit of my olive green, then again, sap green and just going to put in some details. Here along the very edge because it's a little bit more at the base. We need to give in darker colors. That would be my darker green. You can have things sticking out like a little bit of a grassy texture or something of that sort. You don't need to do too much. I think just a little bit should be enough, and look, it's almost done, so you can now just go ahead and add as many details as you want. For example, I'm thinking of adding a bit more lines to my cliff region, for example here, here. Just stick your time to do this. You can also add in rara strokes if you want. We're almost done now. The only thing left for us to do is to add in some nice form. Here you go. I'm just grabbing more white paint, my nice white paint. And just like before going to drop it there and we're going to create some splashes onto the water region. See at the very base, we've created a nice splash and also you can create some dry dry strokes in this water region and make it in a flat manner like that. See how that one turned out. And more along this side, I think that should be more than enough. You can create the wavy texture that we actually did for one of our older paintings. So if you want to do that, you are ably welcome to do so. But here, if you look at that area, it looks a bit odd right because it's got a lot of white space there. So we are going to add a bit of a shadow texture there. For that, just grab a bit of a lavender and paint mixture. And give some color there because that pure white is what is actually making it look weird because it looks as though it's unpainted. But then if you put in random mixture of colors and a little bit of a shadow and paint cray, then it looks as though the real form itself. That's why I'm just grabbing a little bit of the lavender and paints gray both and creating some random shapes. That's a little bit of too much. But obviously, I know how to soften it. It's not going to be a problem. There you go. Then if you feel that it's too much, you can also go ahead and add in some white, see, this white clearly depicts that there's a really big splush happening there that? Do the same on the other as. That's a big slash of the seawater that's happening there. I think that's good enough, so I'm just going to dry the edges and then you can remove the tape. Here, everything is dry now, so I am now going to remove the tape. There you go. Here's the finished painting. I hope you enjoyed painting this with me. Thank you so much for joining me today. 77. Day 72 - Salt Cliff: Hey, hey, hey, welcome to day 72, and this here is the painting that we're going to be doing today is gorgeous, isn't it? Let's have a look at the colors that we start with indigo, yellow blue, lavender, quacodon rose, transparent brown, olive green, sap green, dark green, ba and maybe a little bit of quacdon gold, and obviously white. These are the colors that we need. If you're ready, let's get started with this one. All right. Let's start. We'll go ahead and make our cliff now. It's just going to be some random shaped mountains. Obviously, that's what actually the cliff is, isn't it, essentially. There you go. Then what we are going to have is again today instead of the ocean area. We're going to have a land and some kind of background mountain. This region again is going to be a cliff, isn't it? There you go. That is the pencil sketch if you want to have a closer look. Once you're done, we need to go ahead and paint the sky. Today's sky is going to be completely just the sky itself, not applying water to all the regions. You've got to grab your brush and apply to the whole of your sky. And I'm looking for my larger size brush, and I can't find it. The size is 121, wherever have I put it. Maybe it's right in front of me and I don't see it there it is. There you go, applying water to the whole of the sky, just like I said, there, and going up to the very edge of the mount and the mount in the cliff, and here again, and again, and taking it up until he up until the background region. And applying the water. That's water done. Now just going to go ahead and absorb the excess water from all of the edges. There you go. Now, time to paint the sky, don't you think? For painting the sky, I'm going to switch to my sides six brush, and what I'm going to do is I am going to grab indigo. That's such a weird color, isn't it? We're going to paint that indigo with a mixture of halo blue. We're going to mix Halo blue and indigo together. I know that there's a little bit of a violet there underneath. And not honestly bothered. I just want to get this vibrant color. There you go. This is what is going into our ky. Just go ahead and add from the very top region. And we're going to create some random strokes. Depending upon the water on your paper, you're going to get complete random strokes and you can come over to the base and have lighter strokes as well. Then wherever you've got the white gaps, we're going to put in some lavender plus pink over there. Here's my lavender. I'm going to pick up a little bit of quinacrodone rows there, and this is what I'm going to put in those edges. There See the color mixture. Just, very random. This is actually a color mixed we've never done, isn't it? Se. No need to cover up the entire thing, just a subtle amount of the color toe should suffice, if you know what I mean. See that. And that color done. We need it way over at the top nicely, and that there is our background. So let's go ahead and completely dry that up. There you go. Here's how it looks after it's completely dried up. Honestly speaking, there was a lot of water on my paper and so it soaked up a lot of the paint, but I just love the of giving that magical vibes here. This is what I love about water colors because it gives literally like a surprise each time. This is not how I intended it to be and look how it stand out. I like it. I literally love it. It's just water colors giving me a beautiful surprise. Now we'll go ahead and paint that background. That background mountain is going to be with a very, very lighter tone of brown. That means using a very, very, very watery mixture of my transparent brown. All the way up until I have to wait for that bit to dry so that I can add in my gorgeous part play. But I think that's okay. What we can do is we can go ahead and start with this right side there. I am going to use band Cena for that right side. See how we are creating a nice edge. You can also just use a little bit of quinacridone gold. But don't use too much of the quinacdone gold. I think BansNA is much better choice in this case, and there you go. I'm using a very watery mixture of my warned CNA also. If I pick up too much, I make sure to go ahead and blend that as well, and I'm making sure that none of my pencil sketch is seen as well. Just making sure that my pencil sketch is not seen and also making sure that my strokes do not dry out. See that. That is very important to achieve that effect and it goes up until there. There we go. Just setting that region again because I did not want it to be drying, like I said, do not let it dry. Coming all the way up to the foreground region here and I'm just going to extend it downward, and we need to be working very, very fast. Then we grab in olive green and that's what goes over along the edge of that brown there, and along the foreground. Grabbing a nice amount of the olive green on a bundle here, and the olive green mix in with the band Cena to go upward. But not entirely upward, of course, but you see how the cliffs forming out. Then we're going to pick up the darker brown and we're going to put it along various edges and points like that. We're going to create these ridges and edges and a lot of details, tiny, tiny details with this darker brown shade. It's a very very dense darker brown. That's why it looks as almost as dark as black. Taking along the edge here, maybe a strong or one there and so many small or smaller ones. Again, a little bit of a strong one there extending downward, and then a little bit more here. Then so many small or smaller ones over on this side. You can see I'm not trying to create anything in a uniform manner. It's completely random, if you can see. Then once it's dried out, we can also put in dry brush strokes. I see I've missed a little bit of an olive green there. That area is done. We can go overhead and paint in our foreground, which is going to be with this ice green color. And picking up dark green for the extreme base and blending with the screen to make sure that I have a very nice foreground. If you're wondering why a little bit of an olive green there, I think it's just warmer to that side. Usually, we would apply warmer to the front and cooler to the back. This is just something in a different manner, I guess. Here is and you can see there's a of intricacies and little details going on over there. That's absolutely fine. Let's go ahead and try this up so that we can put in more details on to that cliff. Try it out now. I'm going to put in dry brush to the cliff. Here I've got a dry brush now with my brown, and here just adding many many more. See that. Maybe some closer to the top there. See that. That's a lot, isn't it? Ah. Lot of dry brushing. And we're not done yet. I mean, obviously, you've actually seen how the final picture is. You know now that we have to add in white, isn't it? Let me just grab fresh white for this because we need a lot. Here's my white gah paint, and we're going to do a nice amount of dry brushing. Here is my white paint, my literal white paint, and the dry brushing starts. You can start right at the top and you can put it in some areas of the brown as well. Then coming down. Honestly speaking, I'm adding it to the more area is closer to the brown because I think that the brown area is where if it has like a surface where this snow can rest on, I guess. That is why I just go ahead and add in and a lot at the base as well where it doesn't have the brown contrary to just exactly what I said, but that's because it's at the base, get that going. A lot of random white. Just where I think the snow could actually be resting on. That's where I'm adding a lot. I think that's really good enough. I don't want to trouble you with a lot of details. I'm happy with the way this is stand out. If you want, you can go ahead and add it like a tree or a lot of details here and there, but this is how it's meant to be a nice cliff and see how it's. Now let's go ahead and remove the tape because the edges are. And here you go. Here's the finished painting. I just love that sky, how it's like, you know, the lavender purple, I mean, the lavender pink, and the blues just blended. And then the fo crump literally over there, like in the front. You can clearly see it. I just love it. So here you go. I hope you enjoyed painting this with me. And thank you so much for joining me today. 78. Day 73 - Pine Paradise: Hey, hey, hey, welcome to day 73, and this here is the painting that we're going to be doing today. So can you guess the topic yet? But what pink let sky? No, no, no, no. It is pine trees. I had a lot of requests coming in for pine trees. How do you do it? Because I think we've covered pine trees in some of the lessons before and people wanted a detailed step by step, I guess. That's why I'm covering pine trees this week. So It's so not easy because there's a lot of movement with your hands that you need to master, and that is why I started with this very, very simple sky. Overall, this painting is very simple, as you can see, it's a very minimal sky, very minimal fkground. But this tree is what I put my 100% focus on in this lesson. I wanted to really do different kinds of pine trees and how in colors and all that. But today, starting with the basics, one single tone or just one effect here, not using too many colors. We'll make it as simple as that. Let's have a look at the colors that we need for this one. So we need orange, transparent orange, violet, quinacrodon rose, and paints gray. Those are the only three colors that we need for this one. I hope you enjoy this one. If you're ready, let's get started. All right. Let us start. This is going to be re, re really quick. I mean, you've obviously seen the time. So but because of this topic and we haven't covered it before, and plenty of people have actually told me that they still would like to cover this in detail. That's why I added this topic in. We're going to apply water to the whole of paper. Make sure you apply nicely because we've got a lot of strokes to do obviously. Then I am going to obviously start with a larger size brush. I'd like to cover up nicely. And then I am going to start with my orange. There you go. Starting with my orange. I'm going to apply that into my sky as you can see. Then from the orange, we are going to transition into a little bit of a violet. Here is that violet. That's going to turn out like a somewhat brown color. But that is what we will add as the point where it's going to transition. Then we will grab on to Quinacrodon rolls. We've already covered a lot of different skies. Because this is all about the pine trees, that is why I'm not covering much in detail, but just make really geos and beautiful sky. You can also take the pink towards the orange. It's absolutely fine, as you can see here. Then I need it to be more violet towards the top as vibrant as you can get with the violet. Also if you give a nice built to your paper, then you're going to have a more gorgeous blend, I would say, I just realized that I have not tried my a paper over on the edges. That is definitely going to bleed along. I will do that now. Can you see this, for example, this is flowing and this is coming back in. But when it dries out, the one on the outside is going to take a long time to dry because it's not paper and it's a plastic surface, and that's when it is going to affect my drying process. Let you go tiny tiny amount of orange and a nice blend into the sky there. If you want, you can grab more of the pink. I'd like a little bit more pink. That's why I've grabbed more pink and see what's happening. There was some extra water somewhere and that's flown in and lucky I was able to salvage it because I saw it happening. If I hadn't seen it, then I would have totally missed it and I would have rolled my painting. Here, I'm just definitely going to absorb all that excess bits of water because that has the potential to flow back into my paper and ruin my painting, of course. Here along the edges there. Definitely need to take that. But I'm sure that since I didn't do this in the beginning, there's going to be a plenty that is just going to flow and ruin my painting, anyways. Let's see how it works out. So, I think that's good enough for me at the moment. So what we will now do is we'll go ahead and completely dry this up. So this is our base is just that simple, isn't it? I mean, you saw the final picture really. So let's go ahead and dry this up. Okay. All right. There you go. My papers dried out, not completely, I guess, a little bit wet there, but that's okay. But here is what happened. Look at how it's ruined. I mean, you would say that it is totally ruined, wouldn't you? Big just see. I had a little bit of excess water in the center and I was pointing my hair dryer over to that side, and that's when this happened literally This just accumulated over here and it dried unevenly. But I know how to solve this problem. I am going to be doing that. You can do the same thing as well. Look at your paper and see which side is better, the left side or the right side. Depending upon that, place your foreground right there. That is a really good tip to do, isn't it? I'm going to put my foreground and the pine trees over to this right side and mask out this area entirely so that it doesn't look that bad. First, we're going to start with pains gray because that is what is our foreground is going to be. Here starting along that edge. That's where my foreground is going to be. I'm just going to grab that and it's going to go in an uneven manner up until there. This is about the pine trees, go ahead and cover it up. The foreground part. We have a bit more detailing to do. Let's just fill this region for now. Go and then you're going to have to add some detailing onto the foreground. This is why I'm doing these teeny, tiny strokes to make it as detailed as possible. Because it's the foreground, which means that it's going to be showing out a lot more of the grassy texture. It's the absolute foreground. That's why it shows us the texture of that foreground region. Since you can clearly see the part where my paper dried up and is not well is still visible. But we are going to cover that up with a beautiful pine tree. Let's just do that. Here I have got my large size brush and I'm going to be using that to add into my painting. The color I'm going to be using is a little bit of a color that we already have used. That would be paints gray, but I'm going to mix in a little bit of a violet into my paints gray, so that it becomes a very, very darker violet color or. And that is what we're going to be using. My first pine tree. I haven't decided at this point how many there should be. You've seen the final painting, so you definitely know. My pine tree is going to be somewhere there. Whenever I draw pine trees, I try to start with the branch. There the branch in the mid, trunk in the middle. I have done that. I start from the bottom always and I go towards the top side and make sure that I taper and I lift my board. This the board actually slightly tilted while I was doing that. That's why it's got extra mark there, but that's fine because we can always fill that up when we're doing the branches. Since we're covering up different pine trees. Then here, it's got a pointed edge, then I'm going to have another small branches up towards the top. Now I'm using the pointed tip of my brush, and that is real really important that we use the pointed tip of the brush. Here we're going to have another branch like that and from that branch, you can have some more coming out. See how I did that, and we're going to do the same for this particular one. You're going to have a branch coming out. And then you're going to have these teeny, tiny details going upward, and then see slowly. I've got more as I'm adding over on that side. Then again, over on the left side, I'll do the same thing. Air. And we will keep on repeating this process. All the way until the bottom. But what we need to be doing is to make sure that the thickness of all of these branches that we're doing increases as we go towards the bottom. What you can do is you can go ahead and add in a lot of these branches at first, So just make sure that they should also not be towards this side and that side. The one towards this side means it's towards the back side. But what if there's one towards this, then that would be in this direction, wouldn't it be same for this side as well. You see how all of these branches come into picture. You can keep and continue doing that. Here. I'm just using the tip of my brush and of making these random strokes. They needed to be perfect because it could just literally mean there's a lot of branches at random places. See how that is coming. Over towards the top, it's going to be literally thin. But as you come towards the bottom, you're going to have to increase your strokes and also make it in a thicker manner. But then again, there are very varieties of pine trees out there. You could literally end up with having a pine tree that's got thicker as in more of these branch like shapes towards the top and literally nothing too. That happens as well. Then as I reach the one for these ones, I am making it stop down. Why does it stop down? Because it's more heavier probably as it comes down and there's lots more branches. It is a little bit stooping down. Now you can see how I will definitely cover up that little water flow that I had and created an error in my painting. This is what I always do. If there is a area that it's got ruined. What you can do is you can just covered up with some kind of element that will make sense a new painting. But today, this was not even some kind of element. This is actually the main element, but initially I intended to add this towards the left side, but I just decided against it and added it onto this side because this mishap happened. See here. Now over to the bottom one, adding these branches coming out of the main one. See that. Same over this side, going to have the branches coming out of the main one. Need that to go over on this side as well. Like I said, because it gets heavier over on this side, you can actually just cover it up with a lot more of these strokes. Only very little of that central part is going to be seen.terly, the trunk would go missing in such a case. See how it's literally cat and heavier. Over to that center and see how we've just made a very, very nice pine tree. We can add a few other ones as well or you can stop right there. My point was this main one. I am going to stop right there and to see how quick that was. But the painting looks a bit lonely dy. What I am going to do is, I'm just going to put in Some birds there into the sky. They'll probably like those birds that it's the sun is set and they're set off to going into their nest. The ones towards the top are bigger and towards the horizon, I'll have some Smaller birds, and the birds are literally just these V shapes. I add them in a lot of different manner. Let me show them too closely. Something like this. Then I do it upwards, then you do it towards the left, do towards the right, S. All of these V shapes. That's how you add in the birds. Now, that's a lot of birds. As soon as I've added the birds, it's actually making I mean, it does look much better, doesn't it? And not so lonely the pine tree, right? Because I've got some things over here at the edges, I am going to dry this up. You see how there's that little glue of the orange over that side. I did not add the glue onto the fork ground, although you could do that as well. But I'm just letting it go because that glow is really far away, and it's all the sun is really set, so it's not going to reflect onto the land. All right. Here you go. It's completely dried up now, so we go ahead and remove the tape. And here you go. Here's the finished painting. I know it's really, really simple, but getting this pine tree right is what is most important. Okay. So I hope you enjoyed painting this with me, and thank you so much for joining me today. 79. Day 74 - Lonely Lookout: Hey, hey, hey, welcome to day 74, and this here is the painting that we're going to be doing today. I hope you enjoy painting this with me. All right. Let us have a look at the colors that we need for this one. We saw with Hello blue, ultramarine blue, Alizarin crimson, pains gray, transparent brown, yellow ocher, and green. These are the colors that we need. If you're ready, let's get started with this one. All right. Let's start. Let's make a beautiful pencil sketch at first. I found this image and I just I absolutely loved it. It's like a rock. On this rock is where the pine tree is growing a single pine tree. I wonder where this is. I would love to visit that. Especially imagine if it was being surrounded by a lake or something. I guess it is because I do see a little bit of our water body at the bottom in the picture that I have. But we're not going to do that. We're just going to paint the rock as of now. The pine tree, we'll do that with our rush. No other sketch. This here is a sketch. There you go. Close if you want to see. It's just a rock, just make a random shape into the sky. That's it. Onto your paper, that's So, if you're ready, let's get started and start applying water onto our paper. So here, I'm not bothered about the rock at the moment while I'm painting the sky. So here I am just going to apply water onto the whole of my paper. Just apply on to the hole. And then, since I forgot on the previous day, I am just going to absorb all the excess water now. Don't want to do the mistake that I did on the previous day, and also need a little bit of a tilt on my paper so that there is literally no excess water. The excess water is what causes trouble always on my paper. And because I'm so impatient, I guess that is good enough. Then we'll start. I'm going to grab my size ten brush. For the sky, I am going with Halo blue. There's very, very beautiful vibrant halo blue color, starting with that, then what I'm going to do is going to have that tilt on my board as you can see. And all the gorgeous thalo blue goes over at the top. Then as I'm coming down, I'm going to leave some white gaps. A lot of white gaps. Also, that was accident with my brush. Just have to get rid of it by using lighter tone. What I was saying was as I'm coming down, I'm decreasing the color tone. Then I've even washed my brush as I'm approaching towards the bottom, and then I'm just pulling down the color that's already there. Over towards this bottom side, you can see it's literally just a very humble lighter tone. Over to the top, we needed to be more vibrant. That's why I'm picking up more of my tal blue and adding. We will also definitely add in a little bit more darker color. For that, I'm going to grab ultramarine. Here is my ultramarine. I'm going to use that on top of my blue there. Because ultramarine is warmer and applying warmer tone towards the top also helps because that is the area that's closer to us in the sky, especially. Here, just grabbing the ultramarine and a little bit of indigo probably over at the top at the literal top region. You go. Then we are going to put in the sky now. Just a beautiful sky. It's all about the pine trees, but then you need your painting to be beautiful. That is why just grabbing my As. That was my Alizarin. Go to put that Alizarin over on the top. The Alizarin is going to blend with that blue there and going to create some great tones. That's fine because we do want those great tones as well, and those gray tones are actually going to act like the shadow in the clouds. That color difference automatically gets created for us. Isn't that gorgeous? It's just working out for us, isn't it? See, something like that. You can deliberately have create clouds also. Here, I'm just going to add them. As I come over on this side, adding some more. As you can see, I also try to make them smaller clouds as I approach towards the bottom. We've got some n, nice clouds over there. We've already got some paint sra once, but you can also deliberately go ahead and add a. Here, this is me, grabbing the paints and adding on the top. I think that's very good enough and this is basically what our sky is going to be. I'm just grabbing a little bit more ultramarine and of blending it there because I can see this edge has got a little bit of a weird look. That's why. That's well and good enough. Now we'll go ahead and dry up our sky so that we can add in the for ground. All right. There you go. Here's how it looks after it's tried up. Now we'll get on to painting the rock at first. Let's just do that. I'm going to grab my size eight rush. We're going to paint that rock. What I'm going to do is I'm going to make it into a somewhat a little bit color toes. We'll start with yellow ocur to give a little bit of a highlight at some random areas. There little bit of a yellow cor, and I have a light that's completely random as you can see. And then I literally grab my darker brown and I'm going over before the yellow ochre even dries up. You're probably going to get and end up with a bit of harsh edges and unblended areas, and that's perfectly fine. Do not try to even blend them. That's what I would say. See what I am doing so there, a little bit of a harsh edge looking areas there. I am not going to try and blend them. And there I've covered that area. I'm not going to cover the rest of the areas, but I need a little bit more darker areas. Now for those darker areas, I'm going to grab beans gray and I will apply over at the base and maybe in some of the areas like that. Now I've got a variety of colors. Then now I need to have more greenish areas, because I think the pine trees like growing onto it. There, I'm going to shift to my size for brush and I am going to grab my green. And using this sap green, go ahead and put in some random greenish strokes, especially onto the areas where we have that nice gorgeous yellow ocher that we added earlier. There you go, and also, you can have it such that it needs to be looking as though it's growing mossy structure outside or some grass outside. There you can see, I've just added. So things like that, and also put that greenery out on there. Here, let's actually have some smaller version of the pine tree growing out. You can just add a very small pine tree. It actually looks like a plant. If you add it like a pine tree, the same thing that we learned just in the previous day. That's what we need to do here. We don't need to wait for the rock or anything to try. We can go ahead and start with our pine tree. In order to do that, we are going to grab brown color. Here's my brown color and my pine tree base is going to be somewhere starting right over there. Okay Let me grab that. The M base is somewhere over there. Now I'm going to go ahead and draw that branch. Like I said, start from the bottom and we need to go over to the top and there it gets staper and smaller towards the top there. Now, for more branches. This pine tree is definitely going to be a lot thinner. Se some smaller branch, and you can put in a smaller branch there a little bit of a smaller branch. There. Let me see, I'll have another one there. And another one there. All are trying and getting smaller. Painting is actually still already looking gorgeous isn't it. We'll probably have part of another one growing out there. It's going to go up like that. That is the center prong. There you go. Then once you've done that, let's go ahead and grab in our sap green. With the sap green. When you apply towards the top side, it's going to be a bit darker, but that's fine. Just some little d bits here and there, and also to the tree area. Little tit bits. Little tit bits as in what I'm doing is stamping with the tip of my brush like that. That's what I'm doing. Just Repeat that process and you should be able to get what we're trying to do. See, a little bit of a stamping process there. Then I think this is a branch and because that's a branch, it's got some nice coverage. There we go. Another one here again. Here, it's got a nice coverage. Then I think as we approach towards the bottom one, we are having a bit more nice coverage. You could literally add branches with your green itself and then you can fill it up later on. There Having a larger chunk there. Here, there's a larger chunk growing out of this one. Then we have another branch here as well. Here is a very larger part growing there. Then these, this branch here also needs to have a lot of it growing, isn't it? Let's actually do that. I will fill up with branch once more after we've done with the green. It's just continue with the green for a while. See what we are doing there. This was a huge branch, wasn't it? I definitely need more branches. Go to add a few more because it's trying to get heavier towards the bottom. That's why I'm adding more. You can see, it's a bit more heavier towards the bottom. That's a very different kind of fine tree as you can see, and the one at the top is thin. And here it's growing here at the base. The base has got more. We're almost done. The only thing left is to add and a few more branches just like I said, I would, as in, you remember these ones. I'm just going to fill those areas with branches because we added greens there, but it's missing the center branch. In this case, the center branch is like this brown color. Do not draw it completely over the green, but rather try to fill it in between the greens. For example, this one right here. I have a branch here, so I come up until there and I stop Then I just continue in bits and pieces around. Then it looks as though the branches are getting filled. See that? Okay. And there we go. We're actually completely done. But I like. I definitely like the idea of adding a few birds onto this painting as well because I feel like this is way in the center and it looks like a photograph, whereas if for a painting, for composition wise, I always tell you that it should be over to the side. I didn't do it towards the side and we did it towards the center. I'm definitely going to put in some birds to compensate for the fact that this is right in the middle. Yeah, more birds there. Right. So long as we add in the bird, Don't think that the birds are right next to this. These birds are in the sky way behind, and that's why they are smaller. We need definitely understand that fact. Even these ones, even though they're at the horizon, they are very sm and further away. That is something that we need to understand. I'm not going to make it into the throughout on this side, I have my birds over here, and they are going to be tiny. That has now a very good flow, isn't it? See how it's flowing and none of it is set in stone, and composition wise looks good. So on this side wasn't looking good, but now there's like a flow through the painting, isn't it? That's why I like it. I guess there's a bit of a area here that needs to dry out, I am going to dry that up. Then we can remove the tape. All right. There you go. It's completely dried up now, so now I'll remove the tape. So here you go. Here's the finished painting. I hope you enjoyed painting this with me. And thank you so much for joining me today. 80. Day 75 - Frosty Fir: Hey, hey, hey, welcome to day 75, and this here is the painting that we're going to be doing today. The colors, we start with lavender. Then there's a little bit of cobalt blue, indico, paints gray, olive green, transparent brown, and of course, white. Okay, also, I forgot violet as well. So those are the colors that we need, and if you're ready, let's get started with this one. All right. Let's start. We'll start with our line of the snow, not the horizon line. There that would be the line, just a slanted something. We can also possibly have mountain in the back, but we're not going to add that in detail. There you go. That is literally the nsil sketch that we need. But for today, when we are painting, we're only going to apply water towards the top side of that snowy bit. There you go, grab your brush and just apply water only towards the top. Leave the area of the snowy bit as it is. So there you go, just applying water to the top portion. I will have a little bit of a tilt on my board. So that there's no excess water on any area of my paper, but rather it all flows upward out of the paper. Then obviously, I will need to absorb the excess water as usual. There I have got. All of the excess water and we'll paint that sky region. Painting that sky region is going to be good because we are going to be using lavender today. Here, just grabbing lavender, and adding a lot of lavender to that right side. But as I approach towards the entirety of the left side, my color is going to decrease. Keep that in mind, again, different from the other times what we've done where the entire top side is darker. Here in this case, only the right top side is darker. See that, a nice amount of lavender, and we decrease the color toe and all of it as we come over to this left side. Obviously also. That means if you want to get it right till the board like that, let all of it flow outward like that. That is indeed quite tricky, isn't it? See that, how I'm doing. But don't have it like a line. That is why I do it in circles, so that it blends together in circles. You see what I mean? Do not want them in a line manner. That's why I try to do that in a circle. There we go. We've got a nice amount of lavender over on that side. Now we need to add in a little bit of a mountain at the back. How we're going to do that is we're going to mix in cobalt blue. This is Cobalt blue and because I've got a little bit of a darker indigo. This is indigo here, mixed with another blue, I think, but what I need is a darker version of the cobalt blue. That's why I'm picking up my cobalt blue and I'm mixing a little bit of a paint gray in it. That is why I was okay to mix with the area where it's got indigo. Here is the color mixture, the cobalt blue plus the indigo paint in the paint scy paint. You can see the consistency of the paint that I have. It's almost very, very dry because we want it to be in a little bit of a foggy manner and see how I'm doing that. And there taking that. Now I've washed up my brush because I need this to go over onto this side. But it's blended and see how it's giving that foggy appearance. To my mountain. There is definitely a mountain there at the back, but then it's very, very foggy and it's not even visible. That's how I want it. See how that stand up. Let's go ahead and dry this thing up. Then next thing is we're going to paint this bottom part. The entire top region is dry. You can see how it's stand out with that little bit of lavender at the edge and all that. Now we'll go ahead and paint the snow region. For painting the snow region, I'm just wetting that snow area. Here you go. I have just wet that, and we're going to use the same lavender paint to paint and add in us. Here I've just put in more of my lavender. Now we'll add more towards the base and less as it goes towards the top. There you go more towards the base and less towards the top. Then I also want a region where our pine tree is going to grow in. I'm just going to grab paints gray. This is actually a mix of paint gray and violet from a previous painting that that we did, in fact. I'm just going to reuse that because it's just violet, which means it's a version of the lavender, if you want to get the same thing, just go ahead and mix violet and paints gray, but instead, just using paints gray is also absolutely fine. And my tree is going to be right here. Just dropping a darker shade, something of that sort. See what I did just there, little bit of a darker tone there. That's where my tree is going to be sitting in. When we add in the tree, it will make sense, and you've also seen the final picture see how it turned out. Let's go ahead and dry this up. So there you go, I've tried it up and you can see how it looks after it's dried up. But we need to do something more, which is to add in a little bit more dark area. Here I am just grabbing my paints gray and I have literally added in a very darker area. But you can't leave it with the harsh edge. You've got to go ahead and immediately do a softening technique. And soften out the edges and see what's happened after we soften out the edge. Wait, I've got to soften out of the top as well over to that top. As soon as I've softened. Now we've got a little bit more of the darker region just at that center part, which is exactly what we wanted. Now again, we've got to wait for that to dry in order to make our tree there, it's dried now. Now you see the paints gray. It's got two levels of colors or two layers of colors right there. Now it's time for us to go ahead and make our tree. For our tree, the color that we're going to be using today is like a warm but dark green. That is why I am going to be taking my olive green. Here I am mixing a nice amount of my olive green, but I'm going to mix it up with my dark brown color. See the green that we've got now. It's very, very olive green plus the dark brown color. This is what we're going to be adding. Start right there in the area we've got that dip. And we need to mark the trunk of the tree. But that, you can definitely do that with a darker brown first. Here I'm just grabbing my darker brown, needed to be nice and watery and going to just draw in the center part of the tree. Making it thicker towards the bottom. And then it gets thinner towards the top. It bent because the paper is actually bent because when it was wet, it's bent, so that's why I got that the but it doesn't matter because when we're adding in the branches, it will not be visible. Next thing now is to go with the actual olive green and brown mixture. And add in the branches. This would be unlike the two tas where we've done. This is going to be heavier. This is going to have a lot more branches, so it's going to take a lot more time to do this. We start at the top and you can literally see that I'm already filling it up with the pine tree branches. Again, using the pointer tip of my size four brush, that's how we're doing this. And I've got a branch there. Then I've got a branch coming out ward like that, and that is also filled in, then more branches. Every branch that I add is going to be filled in. You can already see that it's not thicker, but it's already denser such that you can see through the point try and that's what we want in this a point try today. We are not going to be able to see through any of the center part of the pine tree. Towards the outside part, it will be thinner, but it's going to taper down to form the shape of the pine tree. But anywhere towards that triangle, the inside part of the triangle, we're not going to be seeing the sky or anything through the pine tree. That's what it is going to be. Here a branch like That. Towards the outside is fine. But towards the inside, you've got to fill up so see, I've filled up the inside part. You could actually literally fill up the center part like that and then just add in the branches because only towards the outside is where anything is going to be visible. The center part is going to be literally, very thick. Ticker or may not be the right word, but denser, that's the right word. There. That's very, very dense. You can see that. There you go. So we're gonna keep doing this, k? One thing, the fact that I like about what I'm mixing colors is. For example, this is a mixture of brown and olive green. But every time I mix, I'm not going to end up with the same colors. It's going to be slightly different versions of this darker olive green each time. I love that. More and start to stoop down as well. Your branches can literally start to stoop down. Like I said, towards the edges, you can have more gaps and the sky part seeing th. It's just along the center where we do not want any part of the sky to be seen through. Like See here, this, a lot of the sky is coming through it and that's fine. Okay? As I'm coming towards the bottom, I'm also increasing the thickness of my strokes because we will definitely be adding snow over on the top of this. I mean, you literally actually seen the final picture, you know how this is going eventually turn out, isn't it? There was a lot of brown in my bruh. There you go. Now, when we come towards the bottom, we have a lot more work to do because you need to actually show the edge where this pine tree is. There the branches start coming out towards the top side. We're not seeing most of the edges because we have the snow covering it in fact. Here we have a branch it's getting attached there. And there's a branch coming out like that. As a branch, again, and Remember that things has to get thicker towards the center. Oh. Lots of branches added there. Now in order to depict the thickness, what I'm going to do is I've mixed the same mixture with a little bit of paints gray. That means it gets and this paint, I will be able to add over the top and look where I'm adding them most to the areas where it's actually deer. Paints paint added to the areas where it's actually going to get Dense. There all the areas towards the center is the dense dense paint, isn't it? And that's where we add it. That's almost the pine tree done. But now we need to go ahead and add the snow on top of it. Let's go ahead and dry this up so that we can add the snow on it. All right. There we go. Now you can also see that this shadow bit that we added is still looking like not part of the shadow. You're going to grab in the planes gray again and do a repetition of what we did. But this time, we're only going to soften the bottom. Part and then make the bottom edge of that tree area be blended. Now the shadow actually looks quite better, isn't it? You've got a softer shadow towards the back and a one with a little bit of a harsh edge. What we only do this at this stage. Then now, it's time for white paint. The white paint, we are going to do this again in stages. Two stages to the white paint process. Start with the nice white paint, and What we're going to do is, we're going to add it to the areas of the pine tree at the top. At the top as in. If there's a branch kind of stooping down, we do it on the top of the branch. Do not add anything at the base. So like here, there's a branch. And that is where it goes. First one, what we're going to do is we're going to mix in a little bit of lavender. See that color that I've got there. It's got a little bit of a lavender mixed in, and that's what we're going to be adding. Here go ahead and add in the snowy bits to the center as well. There's my lavender mixed white paint. Like that, a lot of it. So what I said, remember what I said over to the top areas. Seeing the top is going to be a flattened out region like that, and then it extends out. That's what makes it look like the snow over on the top of these branches, o? See. We've got that nice branches with the pine tree. Like I said, since we were going to do this in stages. So now we've got to dry this one. All right. There you go. But in order to make it look, going to have to take more white paint, at this time, make sure you take fresh white paint or something that's clear and not mixed with the lavender. We do not want the lavender mixture right now. This is no pure pure white paint. This pure white paint, you are going to add over at the top. Again, but at the top literally at the top, flat areas of the previous one. That the one that you added earlier is going to look like the shadow of the snowy region Now, isn't that just surreal? I mean, isn't that just magical, right? So there? Just grabbing, adding to the top areas. See what I did there. Now that's got a dull color tone, isn't it? Now, because this is already a winter scene. I cannot literally resist myself. Some splatters with white paint. How does it sound? Make this n snowy scene. What about we do that? Not going to be too much visible, but it would look great, I guess, if we were to splatter some snow to depict it's not going to be visible on these areas, but if we splatter some snow to make it look like really snowy day. I mean look at that. Isn't that gorgeous with all those splatters. Now, because this area is not visible and the snowy region is not going to be that visible. You're also going to add in a few splatters with violet because these violet splatters, it doesn't mean that it's dark snow, but it just means that the snow this is a shadow bits of the snow. But can you see literally as I added these white splatters? Sorry, the violet splatters, it looks and it makes a lot of sense. You can also in fact go ahead and add in lavender splatters. It just shows the half tones, the midtones, I me half tones and tones are exactly the same. What I mean to say, it shows all the variations of the shadow there in the snow itself. You've got white bits, you've got the violet bits and you've got the lamba bits. But look how this overall painting is looking really nice, isn't it? Let's dry everything up and then we can remove the tape. Here you go. Let's go ahead and remove the tape. Here you go. Here's the finished painting. I hope you enjoyed painting this with me. Thank you so much for joining me today. 81. Day 76 - Misty Morning: Hey, welcome today 76, and this here is the painting that we're going to be doing today. Trust me, whatever this looks like, simple, difficult, whatever it is. It is the best til date. I mean, the best pine tree that I have drawn til date because I have literally just discovered, I mean, not th this. I have literally just introduced a very new technique to paint pine trees. So you have let's see this, and it's so much fun because in this whole painting process, I have literally invented words to describe how I do it. Go ahead and have some fun. Let's have a look at the colors that we need for this one. I have only used, I think, not much. Paint grey, olive green, dark green, and Sareen. Those are the only colors that we need for this painting. If you're ready, let's get started with this one and have a lot of fun and laugh a lot with my instructions. Okay. All right let us start. We are going to start by applying water onto the whole of the people. There's no pencil sketch, so we'll just approach it directly. Okay. So just go ahead and apply an ice coat of water onto the paper. There needn't be too much because this is just going to be the initial layer and we have multiple layers to be doing on this paper. Just add in an ice coat of water, and then like always, I am absorbing the excess water from along the edges so that it doesn't ruin my painting and kind of flow back in. It's very, very important, isn't it? In that process, I accidentally did touch the paper, so I'm just going in the inside part and applying. Okay. So because I want to cover a larger area quickly, I'm just grabbing my largest size brush. The completely largest size brush and I'm going to just grab my paints gray, and I am going to apply that onto my paper. The paints gray, as you can see, just applying that in a random, these are not clouds, it's like how the foggy appearance looks like. You want to grab your paints gray. I think I have a little bit of a green mixed in there. But that works out in a much better way because even with that green, It's just going to depict as the green of the pine trees. You want to get that happy mistake that happened on my paper. Just have a little bit of a green somewhere mixed on your paper as well, I'm just touching my brush there and let it go and mixing all around. See, just added a lot of a huge wash of paints gray onto paper. Then the next thing I'm going to do is I'm going to grab in a size for brush. That's like a smaller brush. You see that medium to small brush, that is what we need. And we're going to put in some pine trees and we need to make sure that it's like in the background. For that, we definitely need to use paint scray, but we need to make sure that the paint spray that we're using is like in a creamy consistency, which it needs to be almost like a dry consistency. I'm just going to grab my paint spray and make sure that it's creamy. There you go. That's a very, very creamy consistency of the paint or almost as dry, do not have much water in your brush. If you do have, go ahead and absorb the excess water because we do not need this excess water on our vapor. Then what we're going to do is you're going to go ahead and create the little shapes of pine trees. Let's see how we are doing that. Just go ahead and add that onto the wet paper. But obviously for this, you need to make sure that your paper is wet. Also, if you want, you can use a second brush to maybe soften out some of the details, see how that is like getting blurred in to the foggy region, something like that. Then I will also go ahead and grab in a little bit of wet paints gray. The pain that we added earlier was dry. Now, this one is a little bit wet. What I'm going to do is, I'm going to use that and I'm going to make that onto my paper C and then just at random. Then it's going to blend up and it's going to soften out a lot. There it's come down and you can see it's blending down. You can do the same thing. It's misty pines. What is a pine tree week without adding some misty pines, isn't it's just misty? Can you see how I've actually also made it to be getting bigger along on this side? We can continue along, just make sure that your paper is wet while you do this. I'm adding another remnants of a little pine tree. And just doing. Remember the strokes that we used to do. I mean, we did for the previous two ones. I just make sure that this is on a wet paper. That's why we wet the paper. And here. That's how it's going and see how it's getting, you need to make it such that it's blended all the way towards the bottom. I'm just going ahead and wetting that region at the bottom there because I feel that it's started to dry out. If I did not apply all over, then all of my paint is going to create a bloom over there, which I did not want to happen. Here, I'm just going to grab in now a mixture of green and paint spray. I already have paint spray on my palette, and I'm just grabbing a little bit of a green as well. We're going to that. Along in some places. Maybe another little pine tree over there. This is like the pine trees on a mountain or something. That is why we have pine trees towards the back but it's a lot Mr. And not clearly visible. That's why we can't see too much. See how I'm just blurring it as it goes towards the bottom. Now that's a really blurred scene at the background. You can go ahead and add in a lot more, but I wanted to make it more Mr. So that you get your focus on making the main pine trees in our picture. Now that's done. Let's go ahead and dry this up completely. There you go. It's completely dry now. Now we're going to add in a new layer on the top. For that, I am grabbing that. Remember that darker green plus pains gray that we mix together. I'm just going to make that into a watery mixture. See, this is a real watery mixture. But even though it's water, using a water mixture because we want it to be light. In order to lighten the value, we add in more water. But then when you're adding onto the paper, you do not want to be grabbing the whole amount of water down paint and applying because then that's going to create a huge literally a lot of water. You grab the paint, then make sure that you lighten up the value by just getting rid of the excess water. Now this is just lightened up paint. Now using that. You're going to add in some binaries. Just going to go ahead and add in. Now that's a very, very lighter value that we are going to be adding. Se. Making sure that it's very much lighter in value indeed. Again, just making sure that only a little part of the bind tree is visible because we want it to be again blended in the mist. How do we do that? See how I painted until that part. Then I'm going to just grab my larger brush and apply and blend that over to the base. See how I blended that there. Then you can drop in some more over to that watered down area so that it starts to get softened down towards that bottom bit. See how that's achieved, and blended and softened there. I know it looks a bit muddy, but then when we add in a lot of details into the foreground, this is going to make sense. Let's dry that up and then we can add in. This thing that we just added, the lighter toe, you can go ahead and add in a lot more if you want. There you go. That's try and can you see how that's very, very lighter indeed? But it's a little bit more towards the front than these other ones because the other ones are really blurred because of the mist. Now let's go ahead and grab in darker color. Ideally, the color you would want grab in olive green plus paint green mixture, that is this one right there. It's already there. That's why I am using that. Here, let's go ahead and add. That's the main stem. This one, because now we're painting the four cron, we want it to come all the way towards the front. But then you can also make the pine tree to be as dry as possible. See, this one is almost in a very dry state. But then we'd using dense paint. Remember that just This pine tree, we're actually drawing the pines. Can you see the leaves of the pines. It's like just using this motion with your brush. I know it looks difficult and look stuff, but see what I'm doing there. It's just this randomness, if you try and do that, you get these strokes. I mean, just keep shaking your brush, but using the pointed tip. Do not have it bended. Using the pointed tip, you want to shake your brush, and that's how you're going to get that. See, just Using my brush and I'm doing a little bit of a shake. This is going to be really fun, super fun to do this stroke here. We want to have a lot in the center as well. I keep doing the shake. Then as you come outward, we are going to obviously increase the distance and as increase the length of the base part. Go and see how I'm just like adding these random strokes and a lot in the center. It's really fun to do this. Trust me. Then as we approach the bottom, we've had a lot of lines added. Now we want to make it denser and thicker. Go ahead, grab, mix in olive green, dark green, paints gray, all of those darker colors now because we're getting into the denser region. There that's the denser region, and I'm starting to fill in at the bom. As I approach toward the bottom, I'm trying to get more of the shape of the pine tree, bringing lines and then because we've got the lines, then along the lines, I will do my shaky hand again. Then that will make as if it's got the lines are coming out of the main lines that we added. There's a lot of main lines that I added. It also then shows how there's a lot of variety because you're doing like these really strange hand movement here. It doesn't need to be perfect and that's the point of this whole thing. See this pine tree here, this with that kind of emotion, and that's really fun, isn't it? Now that that's done, let's go ahead and add in a few more, and I'm going to grab in a nice beautiful sap green color. And we will add another one. Let's say we add another one over here. I'm going to make it slightly taller than the other one, and here it comes all the way down. Then along the top, let it have a really top area, but here just added. Few ones sticking out, see how I've added that. Then I'm just going to first put in several of these branches, after which I will fill up the branches. I think these not really empty, but a little bit more less dense branches are towards the top, see, the less dense branches, are towards the top. Towards the top, you want to do the same haphazard zig zag motion that we did with the brush. Okay. See that. That's just marvelous, isn't it? Then as you approach towards the bottom, now we want to get denser. This is a different a pine tree where we're starting to get dense with our strokes. There the strokes are going to extend out. With the main branches. But then the center is really thick. You want to make the center thick. But then out of that center, you want to have your strokes sticking out. See here what I'm doing right now is just adding a nice huge center portion there covered up that part. But then let's go ahead and add in the edge to a point tree. There it goes. This one is going to have the edge as well, and it obviously is going to coincide and hit with the other tree and see how it gets denser towards the bottom. And over to the right. Going to need a lot more of these ranches. Add it a lot of these branches, but need to give it depth. In order to give depth, what do we pick up? Darker green, of course. And that darker green, you can mix in possibly a little bit of a paint gray as well if you're not getting dark enough. And when using the darker green, make sure now to go ahead and use that. Haz movement. I don't know what that wording was. I. Okay. It's going to be super fun. That zig zag motion is now what you're going to do along the center, so that some of those green that we just added is going to be like magic on the top. But see how we are getting. Remember, pointed part of the brush. It's okay if some areas do get a little thickness like see here, some of the areas are little thick. But it absolutely doesn't matter because it still just proves the point that that area is a little bit denser. The base obviously needs to get denser and towards the back, it's really misty. And see how that worked out. Along the edge, go ahead and have these kind of zig zag strokes towards the outside. See how this tree dry looks good. This is a little bit dry. This is a little bit good, and it's actually also got a different color tone as well. Okay. So wasn't that gorgeous? This is all this is not like the usual misty pines that you've seen on running along in Instagram or other places where you've got these pine trees blending. I just wanted to do completely different one. That is the whole point of this one. I hope you enjoyed painting this. I'm going to completely dry this up, and then we can remove the tape. All right. There you go. Let's go ahead and remove the tape. And here you go. Here's the finished painting. But I assure you that thing was absolutely fun, isn't it? I mean, I truly truly enjoyed this. I wanted this to be a completely different lesson than nobody has ever taught. Honestly, I have not seen others do this kind of strokes, and it just made me have so much fun. I hope you really enjoyed this, thank you so much for joining me today. 82. Day 77 - Snowy Sunset Pine: Hey, hey, hey, welcome today 77. This here is the painting we're going to be doing today. I know it looks stuff, but it isn't, and I've also introduced two different ways to paint pine trees like this in here. Let's have a look at that. The colors we need for this one are Quencrodon gold, transparent brown and dark green, and maybe a little bit of our paint gray. Then lavender and white paint. Those are the colors that we need. If you're ready, let's get started with this one. Let's start. For this one, again, there's no pencil sketch. What we're going to do is we're going to apply water onto the whole of our paper. But this time today, we're going to apply a little bit extra water. We're going to have a lot of water there on our paper, which will enable the paint flow out a lot. Just have a bit of excess water, but make sure that you remove the excess water from along the edges because those are the water that actually flows out always. No out, I flows back into the paper. Now we want to make sure that there's extra water there. It's going to be super fun. Go ahead and grab in a color like quinacridone yellow, and I'm just going to drop that into my paper. See, a lot of the quinacrodone yellow. Dropping that onto my paper. But remember, I also have this angle on my paper, which is going to enable the paint to flow down there and let it flow down nicely on my paper and let it go all the way down. I suppose. Just letting it flow. I want it to come all the way down. I'm not going to do any brush strokes. I'm just letting the paint flow and create magic on its own. See how it's created that lines on its own accord. I'm going to let that be because I did not want to do anything on my own. Because of that, we have extra water here at the bottom. We also have water flowing out of the paper still. You can see that. Now, I'll absorb the excess water. From the bottom side of the paper. See all that excess water from the bottom side. I'm also touching the paper a little bit and absorbing, but that's okay because at the bottom, we're anyways going to be adding a lot of trees there anyways. See this vertically downward stroke that we have actually achieved and with a little bit of a white stroke. That's what we're looking for. This is now like the initial background, but let's also put in some pine trees there at the back. In order to put those pine trees, what I'm going to do is I'm going to grab olive green. There you go grabbing olive green, but I want it to be a little bit on the brownish and the darker side because again, you can see that this is clearly a sunset timing, is it? Go ahead, grab in some brown. That you go grabbing in some brown paint and mixing it with the olive green so that you get a very brownish green. It's just a hint of green. Now using that, we're going to put that in the background. Just like we did the previous day where we did a lot of misty effect. Remember. We're going to do the same thing and just add in some nice pine tree effect, but this time it's going in the background. There it can come all the way down. We do not need to stop me way. It's not misty, it's just in the background. That's why we're trying this effect. And There. You want to make sure you're adding your pine tree strokes like stooping down. Because again, you've already seen the final painting, we want this to be like a wintry night, which is why this is stooping down. There you can have the edge of your pine tree extend a bit more if that helps. I think we let's add another one here as well. There there. Can you see, it's again, stooping down all of it. Stooping down, that's how we want to do it. Stooping down means I'm doing these downward strokes to make it stoop down. Now, once you've done that, we obviously need to go ahead and add in some snowy effect onto that. In order to create the snowy effect, what I'm going to do, I'm going to grab lavender because the The sky or the background out there is yellow. We need to go ahead with the complimentary color which is violet. But then because it's no, it's white, so it's just going to be that teeny tiny touch of lavender or the hint of a violet in there. What you want to do is you want to apply it such that you're going over the top. Again, adding it in the manner of snooping down. Can you see that? See there, we've added that. No, it looks a bit muddy at the moment, but it will make sense when we add in more stuff. There. That's how it looks. Then we want to go ahead and add in a little bit of a white over the top. That will bring out the highlights in our painting. Here I have my white paint or ready. We're just going to grab in a little bit of a white paint, make sure that it's in a very nice consistency, and you're going to add that to the top areas of your lavender. Make sure to pick up fresh each time because there's a high chance that your paint will get diluted in between. Okay between all those. See how I'm grabbing back the muddy color back from my paper. Which is why you need to make sure that you're picking out fresh paint each time. See, I know this doesn't look good at the moment, but this is just the middle state of the painting. We have not done yet. We're not done yet. That's a lot of work to do. Let's go ahead and dry this up because this is like the background layer, isn't it? All right. There you go. It's completely dry now, and you can see that. The tree has blurred out a little bit. I was not expecting that, but that's okay because I know how to work it out. What I'm going to do is I'm going to take a diluted version of the pain that I had added, and I'm just going to go ahead and add little amount of that. Such that it sticks out. But again, just making sure that it is such that it comes out of the paint that I have already added. See I'm only adding a little bit of a leafy shape, such that now the snow is over the top of it, can you see, but it's still blurred. You can have the same effect. You go, just little bit of the tree here and there. And then again. Here little parts of the pine tree coming out. So as you can see, it's me adding the strokes to the bottom part. Because there is already parts of the tree there at the bottom. I mean, at the underlying layer where we added it, it looks better, isn't it? Let's go ahead and do the foe ground so that it actually makes a lot of sense. Okay. But I'm going to dry this up so that then I can add in the fog ground. There. Now I'm going to grab in a darker green and this is what I will use for my foreground. But again, I want it to be mixed with a little bit of a brown because this is again a sunset scene, so it shouldn't be completely vibrant. That's why I'm mixing in a little bit of a darker brown to my darker green. Just got that in and now we'll start. I'm not bothered and not going to bother to add any brownish strokes at the beginning itself. Here, this is my pine tree and it's going to start from that very top there and it's going at an angle, and then I'm also increasing the length of the stem as I go towards the bottom. See what I did there. The length of the stem also increased. That means that my stem has a little bit of a thickness. Need to do a bit more. That's why I'm thickening it up. Let's say it comes all the way up to there and it's increasing in thickness. But not too much. We do not want to get it increased as if like an entire big huge tree. There that should be it. But then small branches towards the top, maybe a long branch like that. Then we start with the bigger branches, and see. But again, just adding the initial branches. There are a lot of branch going like that in different directions. Then we can always go ahead and fill them with a large amount of snow, which we will be doing. First, now go ahead and just put in a lot of these small branches, and do not worry about the pine try at the background there now because this is the foreground that we're adding. Just go ahead and freely add over the top of that pine try. Just like I'm doing here now, can you see? Then I'm going to have another. Now we're almost reaching towards the bottom part. Now I want to have a very dense really dense kind of branch down here. But remember, the pine tree, it's winter, so all the trees starts to stood out. But also, I'm only adding towards the bottom part because the rest of it is like snow. This is a negative painting that we're trying to attempt here. Let me explain that. Here just draw a branch and then draw some lines like these. Think in your mind, what do you want the shape of the snowy part to be? See, that is the shape that I want it to be, and I just add it towards the bottom. There. Another one perhaps here. Again, just adding to the base because I know that the rest of it is going to be covered in snow. Now, in order for you to make have some sense in what we just did, let's go ahead and actually paint in the white areas. Let me just clean up white because it's a little bit muddy from the earlier thing that we did. My white is clean now. Now I'm just going to grab my white paint and we're going to put in a lot of snow effect. This snow effect is now going to make a lot of sense to you as to why we did, what we did. All of the areas which are on vertically facing, go ahead and put in a lot of snow. You can also put in snowy marks on the absolute tree itself because it's still got a lot of snow areas. See, put in all those snow on it. Then over the top as well, and you want it to be stooping down. These are branches. But on these branches, what is actually happening is there is snow accumulated over the top and it doesn't actually have any uniform shape or anything. It's just snow accumulated over on the top. See how that's happening. See Again, here, let's do that. Another pot here. There's another pot here. There's another one. The snow is just accumulated over on the top of it, and that's what we're doing. Go ahead and now start adding over to the top. Now as we go to the bottom area, this is the area where I did a negative painting. Remember. That is going to be, you want to come all the way down to where you did your negative effect, and then you want to do like complete what you say? Filling that entire region up all the gaps in between. Now see that is a huge area where it's covered in snow. We definitely do have to add in shadows onto this, but let's work out the beginning part of it now. Here, that's a lot and we've got a lot over there. Then here again, a part where I added a negative bit. The branch is going to come out like that. See how the snow has worked out again over here as well. See that, how we did that area as well. Let's go ahead and add to this area as well. Then I'm also going to add in a little bit of a snowy effect onto the tree trunk. Putting in a little bit of a white stroke. See, that's a lot isn't it? Now, in order to make sense to it, let's go ahead and put in a little bit of a shadow. For the shadow, need a clean violet, this violet is lavender. This is a bit muddy, so there. Now that's much better. Now using this lavender, you can go ahead and put in a little bit of darker effect. The darker effect, go ahead and apply to the base part. Of most of the strokes that you've just done only to the base part. Again, in here, it would be over to the area at the base. You can clearly see as soon as I've added these marks onto it, that whole white mess or the whole white thing that was just there made a lot of sense because it's coming. It looks as though it has like a Surface. Don't you think so? There you go. See? That was one tree. Now, we need to do the same effect, and we're going to create another tree again. Here, just grabbing my green and a little bit of a brown mixture. Let's see. We'll probably add in another tree there. I'm just going to make that not a stall. That's probably it, that's my tree. Then for this one, I am going to have a more positive version. Actually, in fact, let me show you a different method to paint this entire thing, rather than a negative method, if actually, it helps for you to paint that you might want to use this method. Here, grabbing my white paint. What we're going to do is ignore the one that I adjusted over the top. I just put in a little of paint there. Then go ahead and create that base thing that we were just adding. See some kind of strokes there. Let's have another stroke here. It's coming down here. Now we're adding the snow. And then because the snow is ultimately the part on the top, we can just go ahead and add in the middle bits later on once we know where the snow is. I hope it makes sense. Here just going to add in a lot of snow. Here L et's have here at the center as well. I hope it makes sense, and here it comes along over to this side. Let's have a lot extending outward. Like that. Let's have an even bigger one here. I think this method is actually much better because then it helps to visualize as to where the snow is going to be and also gives you a positioning where you want to add in the parts of the tree later on, isn't it? See, doing the downward stroke downward because ultimately the t the tree is indeed stooping down. I was going to say stooping down and then I mixed it up with a tree, then it becomes true. It's funny, isn't it? How words play along in your mouth? Anyways, go. Just keep adding and here. Need to make sure that the top portion is indeed. Some of it, I can see that my white starts to get dry. I might need to go over the top a bit more to make sure that it doesn't. Then what that is done? Need to grab a bit of lavender and go ahead and add in. The shadows at the base. Always at the base, remember there, just giving each of these nice base area. It doesn't matter that some parts of the lavender is going to be darker and some a bit light or anything. So don't worry or bother. Also, you don't have to wait for this white region that you just added to dry out in order to add the lavender, just go ahead and still add it when it dries out, it's all going to make sense. So now we have our branches. This was like a negative painting is not negative. This is ultimately the positive part of the painting, is it. Here to scrabing that mixture and I will show you how we're going to add it. Now you're going to put your strokes in the areas in between. Also at the bottom, see how your tree is going to come out of the snowy bit. There that's the snow area. If you just draw and add these strokes in the area. See how at that top it already looks as though there's the tree and there's the snow sticking on top of it and that makes a lot of sense. You want to make sure that you do the same. Make sure that you cover up the center as well because the center of the tree is absolutely denser. There. Coming over to this area here, just bringing down, there's the branch coming over at this area. There's another branch coming there. This one was a huge branch. There coming vertically downward, like that, and a lot in this area as well and make sure to add nicely along the center parts there. And see how that tree is actually now coming into picture. But also, we can have several branches, which does not have any of the snow areas. As you can see, I did add a little bit of emptiness to this area. That just means that it got no snow there, but it's still got to have branches. All right. There you go. See how that tree really looks nice and stooping down at the bottom and see how it all makes sense. Now we have that background tree, we have 24 ground trees, and it's looking gorgeous, isn't it? I mean, I absolutely love the way this has turned out. I'm just going to try out this whole thing, and then we can remove the tape. Filling up a little bit more at the bottom there. Yeah, I think that's good enough, so let me go ahead and dry this up. All right. There you go. It's completely dried up. So now I'm going to remove the tape. Here you go. Here's the finished painting, and you can clearly see how that wash of the yellow towards the bottom. That lots of lighter tones towards that bottom and all that white paint depicting the snow. It's gorgeous in it. Actually in this painting, I've introduced two different methods to paint these pine trees. You can do the negative method and you can do the face snow and then the branch the leaves method, isn't it? You choose which one you like and go forward with it. I hope you enjoyed painting this with me. Thank you so much for joining me today. 83. Day 78- Serene Pine Silhouette : Hey, hey, hey. Welcome to day 78, and this here is the painting that we're going to be doing today. Isn't that gorgeous? Oh, my God, look at those pine trees. I just absolutely love it. Let's have a look at the colors that we need for this one. We start with transparent yellow, en acreon go lavender, and then Queen acroon, then Burna, dark green, violet, and paints gray. Oh, my God. I know that's a lot of colors, but trust me, it's worth it. So if you're ready, let's get started with this one. All right let us start. So we start with no pencil sketch at all, just by directly applying water onto a paper. Make sure you apply the water throughout all along the paper and make sure there's no pools or large amounts of water on the paper. You can also have a tilt to your paper so that any excess water would always float down. There you go. I've got a nice tilt to my paper and now I'll start painting. I am going to start with a nice yellow shade. There you go. Applying that yellow shade on to the sky. Pick up a little bit of the quinacroon gold just to give it a little bit more warmer hue. Then the next color that I will pick up is a little bit of an orange. I'm just going to go ahead and apply orange towards the base. There you go a little bit of orange. The words the base. Let's make the nice and vibrant orange. More yellow, if needed, go ahead and apply there. Got the yellow that we needed. Apply that. Now we're going to do a color combo, which we have actually never done before. That is going to be. We are now going to grab in lavender. This lavender Plus this yellow themed sky is something that we have not done before. Let's go ahead and do it. You see the beautiful lavender shade. You want the beautiful dense lavender to be at the top. At the bottom, we needed to be getting lighter. Any tone that you're applying towards the top, make sure that you decrease the color tone towards the bottom because we do not want our lavender to be mixing in with the yellow that we have in the sky. So all those darker lavender tones towards the top. See that. So now we've got a nice lavender there over at the top. Now we're going to add more. It's going to be super fun. I think I'm going to shift to a smaller size brush because this is possibly a little bit too big, I guess. I think I'm going to shift to a size six brush. That would probably be ideal. There you go. And then I'm going to grab in a nice pink shade. Now we're going to put in some nice pink shade onto our paper. There you go, adding other nice. Pink shade that pink shade is all towards the left side, as you can see on top of the lavender. Make sure that towards the right side, you're going to leave a lot of those lavender behind. That We get that beautiful shade in the sky of that lavender touch. Then I think over to the bottom, you can start to have these smaller strokes and obviously these strokes, you can have them slowly over to your yellow regions as well. I'm just trying to put in lot of tiny clouds there. There you go. That's like my sky layer. Although just a moment, I feel I need to put in a little bit more color over this side. Yeah. I think that's better. Now we'll go ahead and add in background mountain. This area, as you can see, is warm. The color that we add for the background mountain needs to also be in a warmer tone. Guess what I'm using. Banca. Just go ahead and pick up a little bit of fans ina. I am having this layer in a wet on wet itself so that we have a really softer border. See that, it's a softer border. Just picking up and adding just like a shape of mountain, something of that sort, and then I will go ahead and paint the inside part of it. There you go. Only a subtle part of the orange is now seen. You want to make sure that the mountain that you're adding is towards the bottom part, such that it's below the orange because you do not want to get rid of the orange. We just applied that. It needs to be seen, isn't it? All those colors. Just make sure that the color that you apply is right there. There you go up. The bans in and adding. And there it is. Our background mountain is now added, and that's it for that layer there. We'll go ahead and dry this up so that we can add in the further layers on the top. All right. There you go. Our background layer is now completely dry. We can go ahead and add something in the foreground now. Let's add in a nice foreground part. For that, I am going to grab my dark green. I'm going to mix in a tiny tiny amount of violet into it. That turns into a very, very darker green. It's actually equivalent to adding paints gray itself, but I'm just using a different mixture because it's probably a slightly different than using paints gray. But if you'd rather prefer if you do not have this kind of a violet and you're not getting this a shade, feel free to go ahead and mix it with just a paint gray itself. There you go. That's the background added. Now I'm just going to use this to go ahead and create a nice foreground. I'm going to create little tiny, tiny shapes like this just to give an nice effect to that mountain that I'm adding that because it's in the foreground, which means that we're going to be seeing a lot more of its details. That's why There you go this point. I think I will have it going upward. I think over to this right side, you can probably go higher than your brown region. Once you've done that, go ahead and fill it up. You might be thinking, what's the point of all that row? Well, t. You could have just painted halfway, but then painting it this way just unifies the whole painting. That's the reason why we do it this way. And ensures that there are no gaps or anything in your painting. There you go. That's the foreground added and now it's time for the pine trees, and we're going to be using the same color. Grab in the darker green. It needs to have that hint of darker green there. That's why we are using a darker green itself. So just grab your darker green and we have that there, and we're going to put our pine trees. I guess also for the pine trees, I am going to shift to my smaller size brush, which is basically my favorite MEs four for that purpose because it works well and it has got a pointed tip right and using that pointed tip there, I am going to first draw in the line of the pine tree. That's always what I start with. Then this pine tree, let's go ahead and start such that. This one, we're going to leave it a little bit more emptier than before. That's what this painting is going to be. See, just a little bit. Yes, it's not winter, but it's probably winter time. That's why this pine tree has almost dried off. See, just a little bit. Towards the middle, that's where you want to start adding all your strokes stooping down. S. It's starting to stoop down and also very much reduced. Not much detail. The pine trees in this painting are going to be literally dry, dry, dry. Let's have another one. Probably, I think I'll have another one over to this place, but then I'm going to make it slightly taller. And the to one extends up until there. Now again, let's go ahead and make this such that. It's dry. Can you see that? It's almost dry. What you need is you can put in an empty branch as well. Lots of empty branches. And now almost towards the middle. I'm just starting to stop down. I forgot to mention in this pine tree also, we're going to use that i movement. But very minimal, not as much as we did for the other one. There you go. Because this is slightly bigger tree. We do have to make sure that we add in a lot more, right? But it's still going to be somewhat empty. The thing about using this green black color is that on your paper, when you look closely, you can literally see that it is that green black color. Nobody's going to see it as a black color when you come closer to your painting, the green color is going to be literally evident. The next thing that I'm going to do is, you remember the center portion of the pine tree, the center. I'm just going to thicken it a bit at the base. Then taper down as I go upwards, now that pine tree is looking much better, isn't it? Because it's got to have that thickness. Without that thickness, it was looking really weird. There you go. I think that's much much better, isn't it? You could go ahead and add as many as you want. But I think over to this left side, I'm just going to add a smaller one. That's it. There you go, smaller one to the left, and that is literally empty. That's it. It's empty. It's almost dried up. There you go. Our painting is almost complete, but I think I would like to finish it off as the top it off with a little bit of a birds perhaps. Just grabbing paint at this point, we're using just a paint and we'll have the birds. I'm going to have the birds over to this right side. And see how the birds are unified. So I think I'm going to have another one over here as well. But remember, the ones towards the sa needs to be smaller, and it's kind of like a flow in our painting where the birds are flowing. Do you see that? No. Gus guys. So let's go ahead and dry this up, and then we can remove the tape. All right. There you go. It's completely dried up now, so we will remove the tape. And here you go. Here's the finished painting. So I hope you enjoyed painting this with me. This was the last painting of the Pine Tree week anyways, and we've finished it so fast, isn't it? So here you go. Thank you so much for joining me today. 84. Day 79 - Autumn's Embrace: Hey, hey, hey. Welcome today 79, and this here is the painting that we're going to be doing today. Isn't that? Gorgeous. So Any guesses on the theme? I mean, I know it's so obvious and considering the time of the year. I'm pretty sure that you know. It's autumn. Of. It's October. It's Autumn time, so you definitely have to paint autumn, right? So that's all the coming to you is an autumn week. So we're going to do a lot of oranges and yellows warmer tones, which is like my favorite. Let's have a look at the colors that we need for this one. We start with a very little tint of ultramarine blue. Then we have Bern Ciena, Alizarin crimson, olive green, transparent, brown, transparent orange, cadmium orange, and cadmium yellow. If you're ready, let's get started with this one. All right let us start. We are going to start with a nice pencil sketch. So pencil sketch of a nice ranch is what we add onto here. The branch going over to that side. I think we only draw the main branches because a side quest, we can always add them later on the brush. I do not want to be messing up by trying to add over smaller ones. There you go. That's a lot of branches, isn't it? We have some more smaller ones to add on here. But I guess we will do that later. That is basically a pencil sketch. Here you go up close if you want to observe. Now let's get started. We're going to apply water to the whole of the paper. Forget about the branches. It's absolutely fine. You don't have to bother at the moment about the branches. You go on to the whole of the paper. I will have an angle. Just to be careful. That I don't have any pools of water on my paper. Yes, you go going to absorb the excess water. There you go. That was a bit extra pole at the bottom and I wanted to get rid of that suggested that. But we start at the top. Starting at the top, I want to add in a nice sky at first. But it needs to be very subtle, not that right. I am going to go with a very minimal amount of ultramarine blue and see that's the only pigment that I am going to take. Then I'm just going to bring down the whole of the ultramarine blue towards the bottom like that. So very, very subtle blue color. It's absolutely fine that even if you start losing your color, see how, it's very minimum. Just adding a little bit over to this left side here. Be only at the top, do we need the color? As we approach towards the bottom. There needn't be any colors or see how subtle that really really is. Then now we'll start from bottom up and we will start with adding a nice amount of the autumn ground. I'm going to start with a nice amount of Azin. I see that the Alizarin is spreading out a bit, so I'm just going to grab a little bit of burn Ciena. What I'm doing is, I'll start with the burn sana at the bottom because I think Burnsena is a little bit more denser, in pigment. There's always this consistency of the pigments that we need to consider. Using the Burnsena, I'm going up like that. Then I will get back to the Alizarin and add over the top at the base of the Burnsena. Still that angle on my paper, and adding that CNO plus Alizarin, and now you can see how it's gone over to the top. Reached around midway point, then we're still going to continue, but now we're going to continue with olive green. There just grabbing my live green and I'm going to add it. So there you go. Adding, I think there's a little bit of a green from contamination on my olive green palette. That's why. That's okay. But see here, we're mixing that olive green with the burn Cena as we come down. It's absolutely fine even if it gets mixed up with the red paint, it's not going to be that effective anyways. Then we take the benzen again, and we're just going to give a few angle strokes like this. See that. Nice and angle. All right. There you go. That's nice and angled. I'm absolutely loving the color combo. Then I'm going to switch to a smaller size brush at this point, and we're going to grab our darker brown shade. It's contaminated with a green from one of the paintings that we did earlier. Let me just quickly clean up that part. I think that's good enough. Yes. There's my dark brown, but I need it to be loose, but at the same time, not too watery. Here I've watered it down, but then making sure to get rid of excess water. All right. And this is what we are going to use and the paper is still wet as you can see, and I'm just going to turn the paper for my convenience. Because I love to work with that you might know by now. We're just going to put in the trunks of some trees, and you can start like I'm doing at some point or some area of our Oliive green region. There's one branch and I think this one can start a bit at the bottom. I'll have a few more and that's going to be way behind. See how I'm adding the branches. We want to be adding in a similar way. Lots of it, and don't make all of them perfectly straight. Have them turned in different angles, direction, et cetera, and some of them can have branches coming out, see. It's good if there's branches, isn't it? Otherwise, it's going to look very weird. Why is the tree not having any branches? That kind. There you go. That's a lot of branches added in. We now need to get in a little bit of autumn strokes in there. Here I'm grabbing a little bit of my transparent orange and making sure that it's n and watery, going to add Some random strokes. I can see that my paper has almost started to try out. I'm not going to bother adding too much because with this strokes that we're adding should not be wet or dry, it needs to be wet on wet. If you see that your paper is starting to dry out, then do not add anymore. Now, I'm just going to add in a little bit more details onto this region. For adding that detail, that means I have to mask out the top portion. Grabbing something that I found on my table. And just adding those platters, as you can see. Not enough water. There you go. I think that's much much better, isn't it? Looking so gorgeous. That was kind of the background layer. Now, all we need to do is go ahead and fill up the foreground. Let's try this up because that's again, like I said, the background. All right. There we go. Now let's go ahead and start p. Okay, so I'm going to paint those branches that we have over there, and I'm picking a size eight bruh. I'm going to start with a na and brown mixture. There you go. Those branches that we have just go ahead and fill them up, just did that in a one single stroke, and that was amazing. I enjoyed it. Added that, but that means I need to add in side to it. Just grabbing my darker brown and putting that to the edge of that tree. Then here, grabbing the brown again for the next branch. Need more water. There we go, and the other side needs to be. So Let's just fill in more and more of these branches. The ones that we've added with our pencil sketch anyways at the beginning. Then we can refine to get in more added. Here, that's one. Then that goes need more water. It's turning out to be. Now, that one that we added, I'm going to try and make it go outward. Then it's going to go taper down, and then you can have more branches coming out of there. The same with this one, remember. This one starts there. It's part of that tree and see how the branches are now coming to picture. I'm done with the bigger branches. I'm going to go ahead into my smaller liner brush because that there's nothing like the liner brush the what captures branches for watercolors, don't you think for literally for anything. I just love liner brushes. Here, just going to have a branch here, and let's have that branch go something like that. Then from the top, we're having branches coming down like that. Smaller branches from this main one, more smaller branches. Okay. Thing. That's a lot of branches for now. Now that we're done with the branches, we can go ahead into adding our autumn strokes. Okay? So let's go ahead and start with a nice orange shade. And what you're just going to do is you're going to put these tiny drops like that. With your bruh, go ahead and just touch at all the random places towards the outside of the branches that we have added. This is going to be super super fun. Just take your time and go and add in a lot of these. Literally take your time. There's no rush. Just do it. I'm going to be silent now and stop talking because I don't want to keep talking when I'm doing this because it's just a very therapeutic process isn't it. So go ahead and take your time. I've added a lot. Now, you can also use a little bit of a cadmium orange because then when you use the cadmium orange, you would be able to go on top of your branches as well, it's a bit of a different orange as well that you're going to get, isn't it? Go ahead, add as you can. Okay. That's a lot added. We'll try and add in a little bit of a darker shade as well. That is nothing but as adding and a little bit of a brown mixed together. See that. Go darker brown sheet. Net there, you can have that mixed in along with some of your orange. This ensures that you'll have a nice depth in your painting. Just not orange isn't it? There's a lot of leaves that are dried off and more approaching towards the end of its time, so it's darker. And see how we've got that. Se nice, beautiful Alisa into it. Then also, you could put some lighter ones. For that, there's no other better color than obviously dmu yellow. Just going to grab my academu yellow, but in this painting because I like the orange theme of it. What I'm going to do is I'm going to take my academu yellow, and I'm going to mix it up with my orange a bit so that I get a very warm orange yellow shade. Something like that. See that. It's lighter. That's all it is. It's a lighter version of the cadmium yellow. Lighter as in warmer, I should have been clear about myself, isn't it? Using the wrong wrong words here. See how we're getting the beautiful touch. Et me wash that. Off. Then I think I will grab a little bit of the cadmium yellow again, but we do not want to put a lot of this. We want to make sure that this cadmium yellow that we're adding is very, very less. More of the colors that we added first. Orange was then a very little amo of the red even of that lighter orange shade, and then even of this yellow, There you go. I think that's more than enough. Honestly speaking, we're done with the painting. It's already looking so gorgeous and you can see the background trees faded, you can see the foreground, and all of it is just coming together, isn't it? If you want, you can go ahead and add a little bit of splatters as well if that increases the beauty of your painting. It's all up to you, how you want to paint this. I'm just going to dry this and then we can remove the tape. Here you go. I'm going to remove the tape now. And here you go. Here's the finished painting. So I hope you enjoyed painting this with me. And thank you so much for joining me today. 85. Day 80 - Fallen Leaves: K A, hey, hey. Welcome to day 80. This here is the painting that we're going to be doing today. I mean, seriously, guys, can you believe it's day 80 20 more paintings to go for 100, isn't it? So amazing. Here you go. Let's have a look at the colors that we need for this one. We need transparent yellow, transparent orange, a little bit of a sap green and dark green Ciena. Transparent brown. Then for the foreground, we also go with Cadmium yellow, Cadmium orange, and cadmium red. So if you're ready, Let's get started with this one. A Let's start. We're just going to quickly add that trunk of that tree. You've already seen the picture, so you know, a little part of the trunk of that tree. It goes all the way up like that. Even on this side, but over on this side, I leave some light gaps, and also, you want to make sure that you paint it very, very lightly. Then we'll also have a few others over on the right side. There you go and let that vanish. Then for the very further end. It's good to be like a pathway or something at the further end. But we do not want to draw that in detail. Here's the picture closely. If you want to have a look, you can see it's very, very feeble and very light what we're doing. Now we're going to paint the whole thing. Ignore the tree branch for now, go ahead and apply water to the whole of your paper. There you go, just go ahead and apply. To the whole of your paper nicely and evenly onto the whole side. That's how we want it. There you go. I've applied the water. Now I will absorb all the excess water from the edges of my tape, which is always the really tricky bit that actually flows back into my paper and ruins my painting. I don't want that to happen, so that's why I always do this. There you go. We've got that covered. Now, let's do some background work. Solid beautiful background work. I'm going to start with a nice transparent yellow, and there you go. Just going to apply that onto my paper like that up until that little line behind the horizon part where we add it. Then next, for the areas at the back side, always, what we're going to do is, we're just going to only drop the paint at random places. Because we want it to depict the autumn tree, and this is more or going to be painting with a lot of yellow tones, in fact. There you go, just drop in a lot of these colors. At the background, There you can use the tip of your brush to do the process. Let's go ahead and add in. When you're doing this process, also, you want to make sure that you leave a lot of gap because what we're doing right now is just adding the leaves that are further away. You want to do this carefully as well. Then let's also add some greenish tones for one part of the tree. That's how I like to see it. Like for example, this part of the tree, I guess is still a little bit on the greenish side. You could also probably have a little bit of a greenish bush or something along the further edge where we added horizon. It's not horizon. It's just like I guess it's the end of a bushy area or a pathway or something. That's what we're just adding and it goes at the very very back. You can pick up little bit of the darker green as well to give it a nice effect. See. The same along on the other side. So it's just a little pathway added. I mean, a lot of this is going to make more sense as we add in more details over onto this painting. So I'm just shifting to a smaller size brush now because I'd like to add some more details and things onto it. So first of all, we'll start with some platters, and I'm not going to bother about where those platters are going to fall down because it could go over on that area as well. But at the bottom, those are actually Um, the leaves, the fallen down leaves. The next thing that we need to quickly do is again, grab that quinacrodon gold paint, and we're going to add in reflection. I don't know why I said reflection. Sorry, I mean shadow. We're going to have our nice sun source somewhere at the back over there. Let's actually have the shadow of this tree. This tree, start right there, but then go ahead and create something vertically downward like that. See that. Now that is a shadow for that tree. Let's do this tree over here as well, but that's going to go over to the side. Let's assume that there's another tree here so that it actually makes sense. Then that we will draw that with our brush. We haven't done the pencil sketch, but let's just assume it's there and There. Then back to the actone gold again and go ahead and add in a lot more and this time, make it on top of the yellow areas, just drop it at random places. Some of your areas of your paper have probably started to dry out, but that's no reason to panic. It doesn't. It's okay I mean if it started to dry out, because it's just natural that it would have started to dry out. I'm just going to drop in a lot more. Over here at the bottom part because I'd like it to be, like we said, a lot more of the fallen leaves. This area at the bottom, we need to make sure that it hasn't dried up. That's why I'm adding a lot. In fact, it might be easier actually if you want random strokes, but then it gets tense to get smaller, which is why I like to do the dots over on the top. Rather than the other method. There you go. But for the bottom part, let's keep at just the splatters itself at the bottom part, C, and some of it anyways goes over to the top, but that's absolutely fine. We need a lot more at the bottom. The next layer of splatters is going to be with the orange. Go ahead, add in a lot of these orange splatters as much as you can. You go. We can also put in some orange strokes, so just go ahead. Fin it, but remember the ones that you're adding later on as we started with the yellow. Now then there's the quinacone golds. Then there's the orange. Each time you're adding some new ones, it's going to be lesser than the first. The most that we add will be with the yellow. Here you go. I want to put a little bit of extra orange here because remember this tree, it had a lot of greenish stones to it. I'd like to put a little bit more orange onto it. That's why I'm adding a little bit of the transparent orange there. Now, that makes sense. Now, we've added those. Now the next thing that I want to do and add the splatters is even more dried up areas. This is the part where the leaves are even more dried up. That's why that's burnt Cena, and let's put that in there. Dried up, burn Ciena leaves. Something just happened. I dropped in a little bit of extra water there and that's just taken off my shadow, but nothing that you can't correct B, there you go. As soon as I apply the water. I mean, apply a little bit of extra tone again, that's gone. Now, back to the burn Ciena. Let me add some more. There lot's add it. Now we'll grab the burn CN itself and just go ahead. That has a lot of water in my brush. That's why that happened, a little bigger one there. But what you need to do is to basically go ahead and add in random bits of this darker stroke now, you can see, just adding a random places. But like I said, really lesser than the ones before. This was really fun. I mean, this is really fun, isn't it a lot of flatters and a lot of work going on. So that's it for the background at the moment. What we will do is we will dry this up, and then we can fill up with more foreground details. All right. There you go. It's completely dried up now. So first thing, what we will do is, we'll start with that nice branch or the trunk of the tree that we have. I'm starting with Burnsena at the moment. And there you go. We'll start and follow along our pencil sketch. You can clearly see. We're going to draw over what we have there already. And just keep at it. Now you can see how the shadow has come into place, but we still have a lot of details at the bottom to add. Not to worry about that. But just let's cover up the tree and there it goes over to the top. Then we'll probably have another branch. Going over to this side. Now we're going to draw over what we already have. So just ignore all the splatters and all the background that we did for now, because we will reinforce that later on. There you go, coming down. Then now I will go with a darker brown, and I'm just going to add a darker brown on the top of it. At random again, like in the form of a tree trunk or something, you can draw it in the form of several lines if that helps. But see how that duel color is helping us and then for the branch. Let's have that branch, go in different directions and let's have a bigger branch here going upward. There and an even bigger branch. I mean, longer branch over on this side. This need I think that's well enough. Then next thing is, I'm just going to put in parts of the branches that will be seen through. Once that is done, let's get to adding the other tree. Remember we added another base there. Go ahead, fill that up again and make a tree over there going up. You can actually mask that out into the background. We will add things into the foreground so that will not be visible. Then again, here is the next tree going and that tree has an extra branch going that side, then another branch going over this side. Again, it goes. Make sure you pick up a little bit more paint, the darker brown color. And add it random. S. Now we've got the branches in and we've got some parts of the base in. This itself is already looking such a gorgeous painting, but we'll finish up with some move things in the foreground. All right, Let's get going. It's all right up now. The first thing that we're going to start is we at yellow, Of course. I'm sure you guess this. It's very easy to guess, isn't it because that's the color that goes over dark things with an autumn tone, that's Definitely cadmium mellow, isn't it? Now, using the cadmium mellow, we're going to fill up in a lot of places. See that little area of white there, but that we're going to let it be there as it is. Because we want to make sure that that looks like the sunlight is picking through. But go ahead and place in a lot of these tiny, tiny yellow done, right over the top. Like that. It's it's reflecting on the top and see how everything is going to peak through the branches, see, and this one where we added the branch. If you add enough strokes and everything over the top, then it's just going to look as though it's like vanished into the parts of the tree. This area, see how it's looking already, so gorgeous. I want to add in a lot more, especially at the top region here, because um I only want parts of this very branch to be seen, I do not want the entire branch to be seen. Also, we're approaching towards the top part of the tree, which means that it's going to be more dense and then more dense means more leaves, isn't it? Just use the point a tip of your brush and do these touch strokes. That's how you get to see through and they're adding a lot of branches there, a lot at the back there. Ski adding and here there's a gap there. We've got to fill up that gap. Now, this tree, again, remember, we didn't complete it, so we need to make sure that it's kind of not standing there in the air but make it as though it's vanishing into the air, and that makes sense, isn't it? See that, how we've already portrayed that part. Once you've done that, go ahead, grab the next color, which I would like to make another version of the yellow. I'm grabbing a little bit of cadmium yellow and Sorry cadmium orange and I'm mixing it with my cadmium yellow itself so that I get a little bit of extra layer of another color. It's just a orange color. See a bit, very warm yellow orange color, and that is something that we will add. There. Then next thing, we can go with a more orange tone. Go ahead and grab the per cadmium orange color. Then again, go with the same. There along the end. Here, lots of orange. Remember this area here, we wanted it to be more orange, you can put in a more orange onto that side. The rest of the areas keep it to a little bit lesser than where the yellow is because I'd like this to be a predominantly yellow painting. Just to get a bit more death and color go with cadmium red. Just a little bit of a cadmium red. Those are cadmium red actually more of it towards this side because again, like I said, remember, we're making this side as more oranges. A darker tone along with the orange would be definitely what the red, isn't it? There You can see how it looks with all of those background colors, the background splatters that's pitted and the fk ground splatters. It looks really amazing, isn't it? Now we also got some more things to do just to make sure that the base of those trees aren't exactly looking. We're just going to put in a fallen leaves at the bottom. What you can also do is you need to cover up the top potion. That's very, very important because you do not want paint over on that area. You can go ahead and now do some more platters. But make sure you do large platters. So you can see like literally picking up a lot of water, you want the platters to be large. Then next color would be orange. Lots of orange there as well at the base. See filling up with a lot of orange. Then we can also do orange splatters. So cover up the top again. Then last, of course, some red splatters, a Right. There you go. It looks interesting, isn't it with a lot of those platters, a lot of those details, and in fact, our painting is done. I mean, autumn, and it's just so gorgeous, isn't it? Right? Anyways, now we've got to dry this up so that we can remove the tape. And here you go. The painting is complete, and let's remove the tape. Here's the finished painting. Isn't that looking gorgeous with all the three shadows in the trees and the fkground, in the background? All amazing, isn't it? Here you go. I hope you enjoyed painting this with me. Thank you so much for joining me today. 86. Day 81 - Maple Fall: Hey, hey, hey, welcome today 81, and this here is the painting that we're going to be doing today. Isn't that gorgeous? Let's have a look at the colors that we need. We start with transparent yellow, transparent orange, and there's just only two more colors literally, which are Badza and transparent brown. Four colors in this painting, and we're going to be creating this beautiful one. Let's get started. All right. Let's get started. Today's painting is obviously not a landscape. We need to go ahead and draw in some autumn leaves. There you go. That's what we're doing. Just some random shapes. There comes my I mean the leaf branches around there and goes thinner. Okay. So it's kind of like a think it's sn up a bit. Done up a bit on that side. There you go. That is our pencil sketch. Just a little bit of a random leaf size that's what we want to do. But then again, once you've done that, we do not want to be boded about that right now, we'll just go ahead and apply water to the whole of our painting. There you go, apply water to the whole of our pater. No reservations here just to go ahead and apply. Then as usual, just let me just quickly absorb excess water from along the edges. There you go, that's done. Then shifting to one of my smaller size or medium size brushes. I guess I'll go with a size six for that purpose. There's my size six. And we are going to just add in the background. We'll start with a nice orange yellow color. For that, I'm grabbing my transparent yellow. And going to mix it up with my orange. Before that, let me just quickly clean up my palette. It's autumn themes, and my palette deserves a clean on at least because we're using a lot of yellows and oranges at this entire area seems to be a lot of cool colors, which we do not need at this point. Okay, so just cleaning that up so that we can fill it up with yellows and oranges. There you go. That's done. Let me get on with my yellow and slightly orange mixture. That is going to give me a warmer tone, but I want it to be more yellowish. Here, more yellow into my mixture. There you go, and my paper has now literally dried while I was cleaning and doing all this. I'm just going to have to re wet the surface again, but eventually it's going to help me anyways because you remember what I always used to say that if you re wet your paper multiple times, then it's bound to stay wet longer. So this process just aided me. Then now we're going to just go ahead and create some circular shapes. Some things like that. Go ahead and create anything that goes over onto your leaf is absolutely fine at this moment, so don't worry about it. Some of those circles may be bigger because you can see the others are getting smaller. Let me just fill up this region. Then we're also going to create the shape of a leaf in the background and autumn leaf or something of that kind. Circular shape a lot of circular shapes there. Some of them could be like half circles. You don't need to complete the circles as well. See that. Then next color. Bring up more orange into that mixture, the same mixture, bring up more orange. That it becomes more orange shade, and then you're going to go around the yellow regions and add more orange, but do not go inside. The circle region that we added, we needed to be remaining the same, so just go along the outside now and add in the orange. Especially here at the bottom. This is like a tricky painting and we're doing a lot of a negative stroke effect. Just don't worry. Let it go on in its natural way. That's the only solution. See that. I guess here, you can just go ahead and add in some again half circles, not complete circles. T some things of that sort. Then the next color that I want is a darker color. I'm grabbing this burnt Cena I have, and I'm just dropping onto it. I need more of that Cena. Let me just grab that. Go and just adding at a random places. We need random areas to have that darker effect, maybe a little along here, and that would potentially look. Like a branch or something extending out, and here I want a nice branch. A leaf I mean, I'll just grab my orange fist and we're going to create the pointed edge and that's with the brush, and it's going to be super fun. There. See what I did there, created an autumn leaf. There. Then let's grab in some darker color and just stuff it at some places so that it gets dull color. Then let's see, a little bit of a branch and something along the edge there. There you go. That's a lot of random details added, isn't it? Just going to wrap that color again and put something along this edge. I just don't want the edges to be that bland white. That's why I tried to add in details like. Otherwise, the edge will go around being two bland and whites, which we do not want. There you go. That's a background. We can dry it up and then we can just paint the leaves on the foreground. That's as simple as that. It's very easy, isn't it? Although I just remember, if you want, you can also go ahead and add in the part of a branch on the wet on wet. But that depends on whether your paper is too wet or not. If your paper is too wet, go ahead and do it like the one I'm adding now. Se my paper is too wet and it's able to get that softness. If your paper has dried out, then absolutely do not. There just two branches. That's it. Then now I'm going to dry this su completely. There you go. It's almost dry, but enough for me to go ahead and start painting. I, I am going to start with a beautiful, beautiful. Orange sheet, but mixed with a little bit of burnt CNA. See how a golden brown orange that is. I know there's a lot of reflection from my light, isn't it, but have a look at that beautiful golden brown color. That is what we are going to be using for this leaf that we added in the foreground. Just go ahead and paint that. But before I reach there, I'd like to put in some area of yellow. Put in two few random bits of yellow. Then we will quickly grab our orange, just the orange that we just mixed and add that. Then that area just gets blended. You want to make sure that your yellow doesn't dry out. That's why if you just go ahead and add it and immediately paint along with the orange, then it should just blend in and it should have that orange and the yellow visible right through. See how that's right there. Okay. And there it is. The foreground part of that leaf added. But there's a lot of work to do again, just grabbing a little bit of a darker paint now because that area needs to be darker and that's what takes these structures over to the top. See that. You can have a little bit of a Dry area. That part of that leaf is a bit dry. And also I think that leaf is a little bit bent, which is why we have it like that. Then going to grab that darker paint again. That's a branch that probably I missed to add with the pencil, but nothing to be bothered about because I can just go ahead and add it with my brush like that. Then again, there's that branch of the leaf. Going down and joining the bigger picture there. Then again, back to adding the leaf. That leaf, again, just adding a lot of green area, then back to the beautiful orange. And now follow along the pencil sketch of your leaf, along where all the ton bits of the leaf are. Remember we said that it looks a bit torn and that's why it's got all these random bits. Just fill those regions at the same time, making sure that a yellow areas are still there and not wri up. Okay. Just at more. There you go. Then next color on to the next color, which is again the Ciena. This one, I only want a very feeble amount of yellow, which is why I've tried to cover that part up. Also any part which has got tone bits, they get toe because they literally dried up. Those stone bits all need to be more darker in color. If you observe the anatomy or not anatomy, but in leaves in general, you find tone leaves only when they are brown. These orange ones do not get done. That is why we've got our selves torn leaf at that point. We also said that this edge has some tore areas, this edge is also dried up There you go. Those two leaves added. Then in order to add in the final details onto this, we will need to dry this up again. I know it's a little bit extra drying, but then it's totally worth it. There you go. It's completely dried up now. Let's go ahead and grab in a brown color and fill up the end there, and that's where the lines are going to start. You want to make the line and it goes right there into that part. Use the tapered, the pointed tip. Okay. Again, this one joins the center part there. Over to that right side, I will do the same thing, but then I'm just going to go ahead and use. That's what happens when there's a lot of water in your brush, just need to make sure that my brush doesn't have a lot of water and using the banca instead. There you go. That's added. Then some lines like this. Now you can already see how corgeous it looks. We'll have the line for this one as well. I goes all the way to the center. There you go. That's it. Now we can see we've completed our painting. Because we have not painted anything along the edges, you can see are the ones that we added as the background earlier is the lease which are out of focus in the picture. These are the ones that is in focus. Some of these round circles that we created are like the bouquet effect when you take pictures with your camera, if you've seen them, you will understand. Because we're done, let's go ahead and remove the tape. Here you go. H is to finish painting. I think this one is my favorite til now. Possibly because it's all got lots of yellows and oranges. It's a favorite color theme whenever there's too many warm colors. Here you go. I hope you enjoyed painting this with me, and thank you so much for joining me today. 87. Day 82 - Pumpkin Spice: Hey, hey, hey, welcome today 82, and this here is the painting that we're going to be doing today. It's co, isn't it a beautiful pumpkin. Let's have a look at the colors that we need for this one. We start with a transparent yellow, ace god, transparent orange, Alizarin crimson, and Ciena, green, transparent brown, maybe a little bit of violet and paint gray. I know that's a lot of colors, isn't it, but trust me, it's worth it. Here you go, and let's get started with this one. All right. Let us start. We'll first start with a sketch of the pumpkin real quick. It's going to be really easy. So just a large pumpkin. It would be better if you can just place it towards the left side for a bit because it's a nice autumn pumpkin right. There that's the stem. I'll pause at the end so that you can make the picture as it is. Let's see. There you go. Then at the bottom, we definitely want it to be covered with a lot of dried leaves in. Just go ahead and try and create little random shapes of the dried up. That's what we're going to be adding at the base as well. There. Then for the lines along the pumpkin, if you want, you can trace that along for a bit, but it's absolutely optional. You don't have to because we can do the same with our brush. But if it helps, then you can add it as well. There you go. That is our pencil sketch. Have a look at it closely and just sketch it out. So we're going to have a lot of fun again. All right, Let's go ahead and paint the background first because that's always how we start, isn't it? At the moment, we do not have to worry about the background. It's going to be quite similar to the one that we did the previous day. Just a simple lot of yellow and some golden tones, and then we go ahead with the foreground and the pumpkin. There you go. Just go ahead and apply water to the whole of the paper, even, such that you're able to cover it up nice and even All right. Now I'm just going to use my clothe to absorb the excess water from all of the edges, right. There you go. Now we'll go ahead and paint the background. So I'm going to grab my size six brush for the background. Okay. And we will start with yellow and look, my clean palette is ready for all my warm tunes. In that gorgeous? Okay? Here, what we're going to do is, let's have a large area of the sun right here. I've created a large circle there. Rest of it is where we will add detail. That large bit is the sun and anywhere else where you add in the strokes, we can make them lighter. Then go ahead and create a lot of these smaller circles. That larger one is definitely where the sun is, but the rest of it just go ahead and make the smaller ones. Then grabbing the next sheet, which is going to be quinacon gold, just a little bit. And applying. Then I also want my inace gold around my sun region, all right. There. The reason why I say it's the sun is I'll make sense. Just a moment. Let me finish adding all of these random bits of detail. That's a lot of warmer hues going there into the background. We want to make sure that we work around it real real and super quick. As I reach towards the bottom. Now I'm going to grab my cena. Because now we're approaching towards the bottom where it's bit more tricky to paint. Parts done. Now I want to go over to the left side there. Here, I'll grab more of the quinacrodon gold and maybe a little bit of orange, which is actually there directly in my palette, and that's what I'm going to be using, not picking up any fresh things, but just grabbing from my palette. And making the strokes. There you go. Just some random round ones. Then over to the left side, I'd like a little bit of a green tone. Maybe something is reflecting a little bit of a green color over to that left side. Maybe there's a tree or something is there. Then back to the quin gold shade here towards the left side. Maybe a little bit of orange at random places. You can see wherever I'm applying, I'm just making some circular tones and as such. Then approaching towards the bottom. I try to not paint over my pumpkin, but even if it goes on the top, I'm not going to be too bothered. That's how we want to deal with that one. Here, go ahead and add in some nice tones. Then we will paint more at the base as well. Cover up with the same burned CNA. We will also add darker tones because it needs to be dark anyways. There, then let's grab in darker brown paint and put that over the top. Se grabbing darker paint and adding that to the base. You want to add it such that it goes over the bcena. That's sum of the strokes of the bancena. A is going to be still there. Then you can also go for some beans gray at the very bottom so that it gives a nice depth into some of the areas. Nice depth. You see three levels of color there at the very bottom. Now the next thing, we need to go ahead and quickly create the effect of the sun. Here I'm grabbing a brush size for brush and I'm making it such that it's just dam, and now we want to pull and do some lifting of the color to create the sun's rays. I've created a ray there and then I've immediately washed my brush, taken off that color. Now I make it damp again and we're going to do that in all of the directions. Repeat the process until you do the same in all the directions. You might have to do multiple times on a single one again, but that's okay. But see how we are able to lift off and create the effect of a sun's array right over on that region. Each time you lift off, just make sure that you absorb the excess water as in the paint and wash it off. Because if you don't wash it off. Now I've got yellow on my brushed air and wherever I go and apply, it'll get a yellow part. See that. I just tried it on the pumpkin and showed you how that's actually reflecting off and giving me yellow wipes. We do not want that. There you go. Our sun is almost done. Some of the rays, you can make them absolutely longer. Some random ones, I'm making them really long. Go. I think no one can belong. Now that's a very, very beautiful sun there that we have added, isn't it? Let's go ahead. This is actually the background. The background almost done, just a lot of abstract details and a lot of circles, a very vibrant sun there. That's it a little bit of a green something in the background. That's it. Now let's go ahead and dry this up. All right. There you go. Everything is not dried out now, so we're going to paint the pumpkin. It's star interesting. Let's paint the pumpkin with the wet on wet technique. The pumpkin first, after that, we'll go over on the top for the leaves. Two stages of drying crosses, unfortunately, but that's okay. Here you go, go ahead and wet the pumpkin, and you only need to wet until the bottom part of that pumpkin. All right? So there you go wetting the pumpkin. You might disturb some of the paint that already is there when you were adding the background, but that's okay. It's absolutely fine. Now we're painting the foreground, which is essentially the pumpkin. Here I have wet the entire pumpkin along the bottom part, and now we will go ahead. We want to start with obviously, it's very simple orange, isn't it? We start with orange and we start right at the top. There. S, nice and orangy right from that side. Then along this side, see if you can leave a very little bit of white there. That's just the way the sunlight over here is reflecting on the pumpkin. We're getting a little bit of a lighter area. That's all you need to do. Just make sure that you leave that tiny amount of white there on the pumpkin. The rest of the pumpkin, just go ahead and paint it. There a little bit of a lighter shade. You see that, and here we paint until the bottom part. Now we need to add depth. Start taking darker darker darker pigment and all of the darker color is going to go over to the base. Make sure you blend it up nicely and add all the darker color. Over to the base like that. If you want to make it a little bit tiny, tiny, more darker, you can add in a little bit of red to the same to the orange, that'll make it even darker. See how I've got a darker orange. And blend it up nicely. Now we've got a very nice nice pumpkin there. Now let's start adding up the details. Here, I'm just grabbing a little bit of my bn CNA, and we need to make sure that the stroke that we're going to put is dry. Make sure that you brush is just damp and your paint is in a very gleamy consistency. See that there. You're going to grab that and use the point to tip of your brush to go ahead and add the lines of the pumpkins. See. Remember how I said that we're going to be adding that with our brush. This is what we are doing. As you approach here, you want to make sure that you still do not get rid of those white areas that we just added. Okay. There you go add nice bit on the pumpkin there. Now let's go ahead and paint this top otion as well. I've just applied a little bit of water on there and we're going to do a mix of nicer colors. Start with a little bit don't of olive green on there because it's not essentially just brown. It needs to have a variety of colors. Then I grab a bit of my transparence brown. And I'm going to put my transparent brown over there. It can go up to the very tip of the pumpkin like that, and you get a little bit of a spread, but I like that because it's watercolor and it creates that gorgeous magical effect that we usually have that you go. I would also like to add in a little bit of a lighter tone at some place along this edge here. I've just grabbed in a little bit of quinacroon cold and added that because it needs to have a reflection of the sun's light there, and I also needs to have a little bit more depth. In order to get the more depth, here I'm mixing my brown with a little bit of a violet here. This here already on my palette there is a violet plus paints gray. I'm just using that and I'm just going to use that to create the line shapes on the pumpkin there. See how that turned out. Then in order to bring out a little bit more light effect on your pumpkin, you can go ahead and do a bit more lifting, like we did for the sun's rays. Remember, you can go ahead and do a little bit of continuous lifting there. From this ray here, just go ahead and continue a bit onto that pumpkin there and see. The same along here if you do a little bit of lifting. You get that part lighter. Then adding a little bit more lighter reflection areas on the pumpkin, go ahead and absorb some areas like that. Creating some lighter spots. See that, and we can also create some over the top. It gives even a better look on a pumpkin. There you go. That almost our pumpkin done. Now we have to dry that up if we want to add in the leaves on the top. What I'm going to do now is I am going to dry this up completely. All right. There you go. We've dried it up completely. So now we're going to add in those nice beautiful leaves. We'll start with a nice golden color. So I'll grab the transparent brown that I have, and I'll mix it with a little bit of orange so that I get a kind of like a golden brown color. And that is what I will start with. Those leaves that I said are sticking out on top of the pumpkin there. See that. Nice leaves, and then you want to go ahead and blend it up and mix in. Then also go ahead and grab in darker brown. You want to use a blend of those two colors. There you go. Darker brown. Coming down. What you can do is then you can just grab the two colors and just create absolutely random shapes there at the bottom. You also don't need to cover up the entire place. See how that's mixed in with a lot of leaves. Me just add to this one as well. A little bit of a darker shape, maybe another leaf shape there. This just blended in. See how that's turned out. Maybe another leaf there. A little bit of I a gent brown here. You can blend that potion over to the bottom or even have some lighter leaves sticking out here. All of these are different shapes. Now you see there's a lot of leaves and the pumpkin is sitting. Amidst a lot of fallen leaves and we get that effect nicely here. You can also just go ahead and add in a little stem part of the leaf if it helps, something like that, maybe, maybe part of Another leaf. Something like that. See using different color tones and add all of these details. You should be good. But I just realized that my pumpkins still lacking a little bit of depth on the area where there is actually the leaf. For that, what I'm going to do is, I'm going to grab my red color, and I'm going to mix it up with my orange. Mx up your red and orange together. More orange. It needs to be orange and not reddish color. You're going to apply that at the base. Like that into the area where you have the leaves. All those area where you do have the leaves. Because that area needs to be darker. We also need to work quick because the plain that we just applied, you do not want to create a harsh edge, but you want to blend it onto the pumpkin, such that it's softening out the edge technique. You're softening out the edge on the pumpkin. Now that bottom part is a bit darker, and I think that works out well. If you want, you can even make it even darker onto the areas if you just go ahead and apply burn Ciena there along the top of the red, that should make it even more darker. But I think that's good enough now and I like the way that it's reflecting a lot of light and we have that pumpkin sitting and all of that. Let's go ahead and draw this bottom part up, and we're done. All right. Here we go. Let's go ah and remove the tape. And here you go. Is the finished painting. I hope you enjoyed painting this with me. And thank you so much for joining me today. 88. Day 83 - Autumn Lake: Hey, hey, hey, welcome today 83, and this here is the painting that we're going to be doing today. It's a lot of autumn colors, a sky, a reflection, and a lot of new concepts as well with regards to the reflection here. So let's have a look at that, but before, the colors. The colors in this painting are yellow, blue, transparent yellow, Qa, burn Ciena, transparent brown, transparent orange, green, paints gray, and, well, that's it. Okay. Here you go. If you're ready, let's get started with this one. All right let us start. We'll first draw in the subtle horizon line. You don't want the horizon line to be straight because the land is moving in a different tone there, and we can possibly have a little bit of additional land area there. That is a pencil sketch. It's as simple as that. See, have a look. I know it's very fable, so that is the horizon line, and that is the land area over there. Let's get started and paint this one again. We'll go ahead and apply water to the whole of the painting, no set packs here, just go ahead and apply to the whole whole area. Don't need to bother about where you're applying or where you're not applying, so go ahead and To the whole of the paper, in fact. Take your time if your paper is prone to trying out quickly. Onto the whole of the paper real quick and beautiful. All right. There you go. Now I will absorb water from the edges of the paper as usual. Because that's my usual cross now. If you've joined me for all of the days, then you will definitely know. Absorb a little extra there. There, that's all covered up and nicely gone. Now I'm grabbing my size ten brush and we will start. Okay. It's been a while since we used all the blue tones as ants are here. I just going to grab a nice alo blue color, and that is what I start with. We start with the nice tal blue color over to the top there. And then we will come down with a decreased color tone there. But over to the top, we need it to be nice and vibrant toes. See that. The same thing. Now we need to do in reverse because we're doing the reflection. See here again, nice blue tones, but then decreasing the color tone as you go towards the top and also you don't want a lot of color there towards that top region because we need to definitely add the reflection. Here, I'm just decreasing the color tone. Then let's go over the rest of the colors, grabbing a little bit of yellow and green acrodon golds, making it warmer because that's what's going to come in over at this side. See. Getting that warm yellow color over here and it gets warmer and warmer over to the side. You can also grab and put in a little orange at places if you want. The same thing now, you need to do in rivers, obviously. All of those beautiful yellow toes, getting itself there, and a little bit of orange toes there. Remember. All this side getting that color. Nice reflection added. Let me just now blend this region. Need to make sure that if you're picking up a lot of paint from the left side, then go ahead and wash your brush, that will get rid of the excess paint. But see how that has turned out. Now, I'll switch by brush to a more smaller size, I think a size six would be apt. I was painting with a size ten for those of you who want to know again. Now we need to paint the area of that foreground region. We just grabbing a nice a darker amount of quencrodon gold, and I'm just applying there, which will give the effect of the mountain or the bushy region, then to get a darker color, going in with this is cena. There getting there, to make it even more darker here, that is the transparent brown, and that is where we will apply all the way up until there and you want to blend that with the colors that we've already added. Even the quinacridone gold that we just added along with the burns in, you want to make sure that you blend that. Then you want to also try and create the effect of a sun's ray there. That would be beautiful. What you can do is here is my brush that I do the lifting, and I'm just going to do a slight light lifting there. You're doing a round of lifting in that region. Then you want to lift paint in the downward direction. You only want to lift in the downward direction because upward is all the clouds. Only onto the mountain, do you cast the race on the sun's rays coming down like that. See how it's reflecting nice on that mountain there. But let's not get ahead of ourselves and just continue along with that dark brown paint. Then you also want to create the reflection. But the reflection need not be as dark as the one that you've added over the top. I can go with a darker paint. See that, go ahead and add in the reflection. The reflection, remember, make it vertically downward reflection. At some point, you can just go ahead and pick up a little bit of darker brown and add over the top. Here taking my anciana as well. You don't want it to be too much. I think that was a bit too much. Also when you're adding the reflection, make sure that there's a little line separating the reflection and the oganal. That was beautiful, isn't it? Now let's go ahead and add more things over onto that left side here. Here, I'm starting with a nice orange shade. We're going to put a lot of shades there now. Then the next shade that I'm going to put is let's put in a nice Yellow shade. Then how about we go for a next green shade? Just a lot of autumn colors there. Then how about yellow again? Just so I like the transition better rather than adding orange. That's why it's a bit of a yellow, then back to nice orange, orange bits, then maybe a little bit of quacon gold mixed with yellow. We've added some nice autumn areas there, but we need to create the reflection. I know that my bottom, this area has started to dry out. What I'm going to do is, I'm just going to grab my brush and I'm just going to quickly wet that bottom power. See the point where I've just wet it and it's created that line there. Oh, my God, good. I need to be really quick in this process. I've actually wet that region. If you feel you've ruined it or anything, you can always just go ahead. Grab a little bit more paint. Here I'm just grabbing a little bit more of my yellow blue and adding so that it gets back the cloudy shape. Yeah, that's much better, isn't it? Once you've done that, then it becomes easy for you to create a reflection, and the reflection, what you're going to do is grab a larger brush or maybe that's too large. I know many of you may not have it. Which is why we're going to use a nice flat brush, something like this, and then just go ahead and create vertically downward strokes and join them together. Se. You can also do this in fact with non flat brush with a round brush as well. Don't panic and don't worry. My point was to just connect the water regions. Once you've connected the water regions, you can just go ahead and grab in the same color that you apply there at the top. We're starting with the orange then yellow. You don't know how to split up, you can just go ahead and add. Here yellow again and yellow at this end. I missed out a little bit of orange here, here let's grab that. Orange. Add that and the last bit is green. Over here, isn't it? Now we've created the reflection. But do you see what's missing there? Can you see what's really missing? The connection point. The reflection and land area usually do not connect like that. You need to create a separation. That is why here I'm grabbing a brush, damp brush and I'm going to do a lift off in a line like that. Now you see there's a separation between the area of the reflection and the land area giving a perfect touch. Now you can add in a tiny, tiny amount of branches, if you think that's going to be looking good. See, just a little bit of a branch. You can do the same in the reflection part. But reflection part can be lighter as well. See. See, a lot of branches added as well. Then remember the little land area that we added there. Let's draw that as well. See here, I've just grabbed my dark green paint and we fill that area. But in order to give, picking up my dark and adding a little bit of a depth. There. Now, I think I want to make this a little bit more interesting. Here, what I'm going to do is I am going to pick up my darker brown color. All right. And let's add a branch. But my paper is I still wet. What you can do, what we will do is, we'll go ahead and add in the reflection of the branch fest. This is the best tricky part in this painting. Because our paper there is wet and I do not want to add the branch with a wet on wet technique, but I want to add the reflection in the wet on wet technique. What I do is I go ahead and paint the reflection first, and then once it has tried, we'll paint the branch. So, it's as simple as you have to follow along the reflection of the branch to draw the main broach. Oh, my God. Have you ever heard of that before? That's really tricky, isn't it? There you go. That's a nice reflection. It's not like sticking out there. Just go ahead. We can add more details once the paper is dry. What I'm going to do now is I'm going to dry this up. There you go. That's dry. Let's do the branch, like I said, I already had try it out a little bit here and that is still on the wet side. You want to have your branch and there it is coming over on this side. What happens? This branch it actually goes like that means, it comes like that and then it needs to come down and this one that goes here means it needs to go up. And the one that goes down, goes like that. That's why you see the reflection like that. The one that goes and spreads along this side means that it needs to go in the other direction. And there. You see how we create the reflection and the branch. I've tried to make it as simple as possible, but if you were to draw it and then you want to add in a lot more complicated you can. The easiest thing to actually paint this would be to if you have a mirror, hold a mirror there, and then mimic what's on the mirror at the top because the mirror will show you the reflected part of what this looks like, and then you can just follow that along. That's one simple technique. Or you could use your head and try to imagine what it would look like and do it just like I did here. Which I know is a little bit trickier process in the end. But it depends upon how you want to do it. But let's just finish off with a little bit of detailing there. What I want to do is, I want to just add in a little bit of a grassy texture. I'm just grabbing my darker green and here, see that, adding little lines and some lines like that, which will make it as though it has a nice grassy texture along the end over there. See that. Nice grassy texture. Yeah. I think that's more than enough. It's not. This is actually a little bit looks like palm tree or something. It's not. This is just a grassy texture. That's what I wanted to capture. You can have all of this coming down, and I know I forgot the reflection part of it. Let's go ahead and do that. The reflection of this will be darker because it's on the light part of the painting. Be it's in the lighter part, so then the reflection will be more darker. Okay. You can just go ahead and add in reflection there like that. You can see. That is the reflection. In order to make it a bit more believable with the reflection. What you can do is let's go ahead and create little island of grass structure like that. Maybe a little more one or two like that. Once you've done that, go ahead and add the same color that we did earlier and then go ahead and create the reflection stroke. Once you do the reflection stroke, then you will be able to see that now it means the reflection because you're doing it in the opposite direction. Now that makes more sense, isn't it? Now, that's definitely in the water, and we've got some autumn reflection, all the colors of the autumn, and it's looking so gorgeous and so beautiful. The misty look at the back. It's beautiful, isn't it? Let's go ahead and dry the up so we remove the tape. All right. So I'm going to now remove the tape. And here's the finished painting. So I hope you enjoyed painting this with me. Thank you so much for joining me today. 89. Day 84 - Golden Canopy : A, hey, hey. Welcome to day 84. This here is the painting that we're going to be doing today. It's a little bit tricky one because there's a lot of wet on wet. I mean, 95 percentage of this painting is with the wet on wet method. A lot to do, and I hope you really enjoy this one plus the west of colors on this. It's going to be gorgeous, isn't it? Let's go ahead and paint this. Before that, let's have a look at the colors. We start with obviously the major colors that I used for the gotten paintings, they mostly similar. That's transparent yellow, Quince gold, cadmium orange, cadmium red, Alizarin crimson, burn Cena, and transparent brown. Oh, and I missed cadmium yellow as well. There you go. Those other colors that we need. If you're ready, let's get started with this one. All right. Let's start. So Today's painting is predominantly going to be a lot of wet on wet technique. Let's go ahead and just apply water to the whole of the people. There isn't going to be any pencil sketch, we're just going to approach directly and start. Just go ahead and apply water to the whole of the paper. Make sure that you apply nicely. If you want, go ahead and apply water multiple times if that means the p is going to stay wet longer. Just make sure that it's nice and wet. Apply as long as you need. All right. I'm just going to hold on a little longer so that my paper gets soaked up with a hole that water and which will give me a little bit extra time. I'm just going to make sure that my paper is nice and wet. Now you can see, I'm just going with the inside part of the paper and not going outside onto the tape. I think that's good enough on my paper, and let's get started. I think I'm going to grab my size six brush. And we can start. I need to go ahead and apply the paint. I think let's start from the top, shall we? Here, I've described a nice amount of yellow paint. Just adding that, and then I'm going to add this yellow paint right from the top. Top down approach. Let's bring that yellow down. Slowly bringing that yellow down. Okay. All right. I think once I've crossed around one by third of the paper, then I'm going to grab in Alizarin now, Alizarin, and I'm mixing it with that yellow on my paper because I want my Alizarin to be warmer, and we're going to start it at around one by third of the paper. And remember to keep that angle on your paper so that if at all, any excess water, it will flow down, and also your paint, enable your paint to flow down. That's very, very important. See here, I'm letting my paint flow down. That's more of Alizarin needed. Then as I approach towards the bottom, I will pick up more dense alizarin and just Alizarin as I approach towards the bottom. See that. But make sure that it doesn't have any split like that, but that's okay. I will get rid of it as soon as I put my paint in. First, let me just have that wrong color. Color pop down there on my painting. That's the nice reddish stone all done. You want it to be nice and flat. There you go. That's all done nicely and added. Now we will start to make in other colors onto our painting. Let's start with a nice amount of quinacrodon gold. You can see, I'm just putting that inacrodone gold towards the edges. Let's leave the top middle portion nice and blank. This kacrodon gold is going to be like the branch of the tree effect in our painting. We go more of the quinacdon gold. What's the edges? Then let's take some orange again. Again, just going to pick up the orange. Remember what I said, predominantly wet on. Just grabbing the orange and I'm just adding at random places because I wanted to be depicting the wet, the leaves in the background and some lighter areas there. Then now let's go ahead and add in the deeper darker areas of our painting. Here I'm describing my burnt sienna, and just putting it to that region there. And now I need the darkest areas. Just going with more darker areas at the bottom. Nice, then spent Cena. Go It's a lot added, isn't it? Now, once you're done with that, we can start with some of those background trees, and those trees are again going to be in a wet on wet manner. I'm going to grab my size six brush now. We need to make the tree branches. Here, I'm just grabbing my darker brown here. I'm mixing it with a slight amount of burns in just so that I get a reddish brown color, just a little. And we're going to use that to create the tree right here. We're going to have a tree right there. That's a small tree. Let its branches go like that. This branch is going like that, and make sure that the bottom of the tree is as thick as the top part of the tree is. Another one over here. Again, all of these vanishes towards the top region. Then as I approach towards the right, I'm grabbing a little bit more of my darker brown and that is what is going to get there. See darker brown paint. And added it there. The same thing we will do over to the left side. There's my larger tree over to the left side. Then need to get lighter, slightly lighter, and that tree can go over there. There and another tree bit there. It can split. The other ones can also split. The one just make the ones in the center split, of course. There are more trees there in the background, but you can make them as light as possible because you're not going to be able to see that because that area is light. You see how this already is turning out to be so gorgeous, isn't it? So just to make sure that your paper doesn't dry out towards the bottom because we have not touched that for long, just go ahead and repeatedly paint over the areas. You want to go with more red paint towards the bottom, making sure that it stays wet. The more color that you apply over the top, the more vibrant it's going to be and the darker it stays and the wet it stays. Here I'm describing a little bit of a darker brown and bringing that darker brown over here at the base. Little bit of darker brown there and maybe you know, a little bit of the darker brown there. We also want to make sure that we unify the bases. Just because this is wet on wet, it's easy to get apply colors and all of these strokes towards the bottom. See that do not make it look as though it's a water or anything. It's not waves, right. You can see how feeble the trees are. If at all, it starts to fade out a lot. You can go ahead and apply on it a little bit more. For example, these ones here, it's a little bit lighter because we're doing wet on wet, it gets lighter. I'm just applying it again onto that. I know that this painting is a little bit tricky, but I'm sure that you are going to be able to do it because we've been painting for so many weeks, and you can do it. Trust me. So that's that done. Now we need to get a lot more of the other details at a painting. That is a lot more dry strokes at the bottom. For that, I need to cover up the top part because it did not want these dry strokes to be there at the top. I'm just grabbing something up, covering that top region, and just going to put these splatters didn't work because it's not wet enough. That will definitely work. The ego lots of splatters there at the base. Se that. Let's add a lot more. There you go. That's a lot of those splatters done. Now I want to make sure to put in a little bit more colors. Here I'm just grabbing my orange, make sure that there's no extra water, and then just going with my orange and adding the shape it's still going to be wet on wet, like I said, remember because it can see there. Layers going over on the top. And then we're going to grab in green acroon gold a little. Then maybe back to a little bit yellow. Can you see how that's turned out? Now we'll do the next tricky business, which is to add in some leaves, which are flying but are kind of like a bright yellow shade. You want to pick up the cadmium yellow and just go ahead and do some splatters. See, it's flatters, just a little, not too much. Then to some of those, you can make them slightly bigger leaves. If you know what I mean. Because those leaves are bigger. You want to make sure that the leaves are visible. This is our absolute background done. We're almost done with the painting. The only thing to do is to add in a little bit more foreground details. That's it. Trust me. Let's go ahead and dry the stuff completely. There you go. The painting is now dry, and we only have to do just a teeny tiny amount of foreground details. We're going to start with that nice cadmium yellow there, and we're going to put some nice large leaves, and you're going to do now in the shape of a leaf. That's very critical that you do it in the shape of a leaf. You can just touch your brush and press it and then maybe like shape it a bit so that it looks like leaves. You see, I've made two of those, but let's bring in some color to it. I'm just grabbing a little bit of orange. You can either grab the transparent orange or you could even grab in cadmium orange, whichever works best for you and just mix in a tiny, tiny amount. Okay. Once that's done, go ahead and pick up cadmium red. Okay? Wait. Let's do cadmium orange before that. There you go, just scrabing cadmium orange, and I'm just going to do some leaves there. Okay? I want the leaves to be kind of in a falling manner. A Some of those you can now then go ahead and have a huge color base and just add a lot towards the base as well because a lot of it has fallen already fallen down. These are flying leaves. These are not the leaves that are on the trees. Just mind that while we're doing this. Then finally onto the right and we're done absolutely done. Here, let me just grab and show you. Just doing some extra leaves here that are like falling. Then maybe Some smaller ones there, need larger one over there. Then maybe a lot of different ones here. Those ones, in fact, let's add a lot of those to the base where they're more settled down on the base area and we were able to see it nicely because they're at the base. They're on the floor ped, but you don't have to make it too detailed as well. See how I'm creating those shapes, or those falling leaves. So now we're absolutely done with this painting. But if you'd prefer if you want to give it a little bit more detailed. There is one thing that you can do. Let me show you. I make your painting stand out. Sometimes if your leaves are too small, then you can absolutely skip it. But if it's not too small, and if you'd like to give it an original look and somebody comes and looks in at your painting closer, they'll be able to see that. That is to basically draw some leaf wings. But the red strokes that I have just applied are still wet, so I'm just going to quickly dry this up. All right There you go. It's dried now. Also, if you want, you can add some splatters as well at this stage to just get some tiny tiny ones as well, but I like the wet on wet splatters that we've done. For example, this one, look. You can see that it's a leaf, it's flying in the air, but it's still so further back that is behind a lot behind this one, so that's why it's very feeble and are these many smaller ones there. That's looking really amazing, isn't it? Now talking about the veins. Here I've picked up a little bit of darker brown, ops too thick. You want very little paint on your brush. And see, I've just done that and then you can just create the vein shape. You want to make sure that you are using the pointed tip of your brush. And adding. I've added it there. If you want, just to a lot of them, if you can go ahead and add in the center vein. It's going to look really pretty. Looking like a leaf. It's not going to be actually seen that really well in the painting. But when somebody comes and have a look at your painting, they're going to be able to see it, and it's going to be looking really nice. There are some more here, which I think I can add, but I need to make sure that the paint is very thin. Adding the veins. Yeah. I think that's good enough. If you feel that you've not added enough or you want to get some light ones, you can go ahead and put some orange ones because the base there is actually very, very reddish. The red ones that you added may not be that visible. In order to make it visible, you can just add orange over the top. But see what I did there and a painting is mope. We need to now do is to go aha and remove the tape. Here you go. Here's the finished painting. I hope you enjoyed painting this with me. Thank you so much for joining me today. 90. Day 85: Hey hey hey welcome to day 85. And this here is the painting that we're going to be doing today. So can you guess the topic? It's not that difficult, is it? Because we've done skies, we've done green and all that. So what else could it be? There's only one element here, which the squats are pricing in which is different, isn't it? That is the barn. The topic of this week is barn. We're going to do a lot of not exactly barn, but you know, little cute barn houses or single houses, alone houses along forests or maybe um, winter. Oh, well, I'll keep the element of surprise. Don't want to get into that. But hey, look, that's a little cute little ban, and that's our topic for this week. So let's have a look at the colors. We start with transparent yellow, quinacrodon gold, transparent orange, burned sina, transparent brown, paints gray, and olive green, yellow ochre. I think there's a little and a teeny tiny bit of darker green as well. Okay? So those are the colors that we need. So if you're ready, let's get started with this one. All right. Let us start. So first, we will add in the horizon line. So that's going to be around somewhere in the one by third of the paper. So let's see, that's around one by third. Okay. I'm just going to add a horizontal horizon line like that. Okay? And along the horizon is where we'll have the little barn, the beautiful barn. The shape of the barn is going to be a little different as in not just a hot shape for the first one. We'll just go something like that. Then this side we have the roof there it comes down. First, let's add in the roof part. The one thing that we need to make sure is that these two lines there are parallel. These two need not be parallel because again, perspective, so they go and vanish outward. Then along on this side, we again have the next part of the house that we're not seeing. It's going off in the distance. So this part of the roof again, there. We need to rub off a little at the top there so that it makes sense. And then the door. Okay. So there that's kind of like the par shape, and that's all our pencil sketches. Let me show that to you closely. Okay? So you can make the pencil sketch. All right. So now let's get started and paint the whole thing. All right. So it's going to be quite easy just go ahead and apply water to the whole of the paper. Don't worry about the par or anything at the moment. Just go ahead and apply water to the whole whole whole paper, okay? And I want to tell you something. I'm trying a very different tape today because the other tape that I had is nearly getting finished. So I wanted to try and see if this set of tape that I have works before I order from Amazon aged. So this is kind of like an experimental tape, so I'm pretty sure that it didn't work before. So that's why I've never used it. But I just thought that it's worth giving it a try once more. And if it does, then I don't have to, but see, it's like, with even the touch of a hand, it's coming out, so I'm pretty sure that this is going to leak. So at the end, my painting is definitely have going to have a lot of leaks. That's what I assume at least. Okay? So here, I applied the water nice and even. Now let's go ahead and start painting. I'll start with the sky, nice sky area. I want to start with a nice warm yellow shade and that's what I'm going to put here right there. Okay. The right at the horizon, a nice warm red shade yellow shade, red, yellow shade. I'm just leaving a teeny tiny space for the sun, but I'm pretty sure that's going to dry out, as in spread around. But then I can always get it back with my other colors. Okay? Right. There you go. Okay. Now again, I am starting to add from the very top and bringing that colors to my Painting. Okay. So I'm starting with all nice vibrant yellow first at the top, I want this yellow to act like an undertone to my painting. Okay, so that is why it's got a lot of yellow there, added a lot. Now, going for the next shade, which is going to be quinacrodon gold, you will see that I'm only taking it up until where the sun region is. Okay? And taking it upward. Then let's go with a little bit of orange here, wrapping a little of the orange color, I guess, a bit more orange on this side. Okay. I think it's kind of like really the sun is down there. So most of the top part is going to be nice and darker. Okay? So here, more orange along those lines. We need to definitely apply a lot more darker colors. Okay? Go to add that soon enough, but just filling up a lot of orange. Okay? There. Then the next color that I want to add is bunt Sienna, okay? So here just going with a nice dark darker touch of burnt sienna. Here again, over on this side. Going to get that burnt sienna on there. No more yellow from that bottom part up. But we just applied the yellow so that we get a base color in there. But the yellow is not going to be revealed. There you go. I want a ***** more of burnt sienna. Now that it's finished on my palette. There now that's more bunn sienna. And just adding and it can give depth like that onto my painting. Again, like we said, don't want it to be there. Here I'm just wrapping back some more orange to get up there. And again, burn sienna to the top parts of the orange and also to the top part of painting. Like I said, no yellow to be seen. We do not want any yellow to be seen. Okay? No more yellow there not, but we definitely need to make a lot of areas darker. So these are a little bit of quinacradon gold and orange, but not yellow, right? Okay. Now, let's make things darker and exciting. That's my darker brown, some little darker clouds over there, then getting into more even darker stage. That's where it starts. So this is multiple layers of depth is what we're adding. If you need it to be darker, I mean, and to get that nice dark effect of the sky, you need to add it in multiple layers of darkness. Okay? So seeing here. Now, along the top, okay? There. Then I want to give it a bit more depth and darkness at the top. I am now grabbing pains gray and adding it to the extreme top. The area at the extreme top is going to be pains gray. I know that I chose the tape absolutely wrong to do multiple layers. I'm pretty sure a lot of especially dark pains gray color has bled into the outside part of my painting. I'm pretty sure that's happened, but nothing to do now. See that's nice nice very dark sky indeed over in that region. If I want, I can just grab a little bit more of my nacodone gold and just adding over here then onto the land area. That's going to be with pains grey. Wow, did I say pains grey? I meant olive green. Just wrapping my olive green, I'm going to go and create a nice top part of my foreground region. Okay. So we're keeping the sky and the bottom part simple because we need time to make this one, isn't it? Okay? The barn. Because that's our subject, isn't it? Okay? So there, I'm just applying the olive green and you can see how vibrant and bright that is. Okay. So we're going to go and apply the olive green. Go ahead and apply it all the way up to the base. Okay? No other color. And remember, this is a sunny scene, so you need to depict the depth in all the areas. So we need to bring that color towards the bottom part as well. But for now, the first layer goes through with Olive green there. Then let's get to the next color business. Here is a dark green. I'm just going to add my olive green on top of it. I'm just going to grab a little bit of a brown and add that. I'll see how the color that I have is darkened a bit. That's dark green, plus olive green, plus brown. I'm adding brown and then you're going to push your colors upward there. All the way until there. Then now I'm just going to grab more brown and add it at the base. Need it to be more brown and adding it again over until the top region. And the next color I will grab is obviously pains gray, making it really darker towards the bottom. That's a nice amount of pain's gray. Then taking it upward, slowly upward. You need to make it as though it's in a continuous manner. And these lines should in fact not be seen. So you want to make sure what you can do is you can do it once you've gotten down the color at the base now just like I had. Now you can go ahead and grab the seam and go ahead and create these upward strokes. That will create the effect of grassy texture. We want to do that. Okay. See that? At the very base part, it's going to be nice and dark. Then go ahead and add this nice grassy texture. Once you've done with one layer, go ahead and pick up the mixture again. The one that you mixed earlier, olive green, brown, and maybe darker green or even pink gray. Then go for the next layer up. Then for the next layer up, make sure that it's smaller than the one that we've already added. See, it's smaller but still going upward. Okay. Then keep adding more olive green to that mixture. And it starts to get smaller and smaller at the top. See, it's smaller ones, but it's still getting going upward, okay? More olive green. You can also switch to a smaller brush at this point, but I'm just not doing it. I'm just going to keep at this because this is more than enough. Okay? So now that gives the effect of a nice field. You can even just go ahead and repeat at the base with a darker color, okay? As in I'm picking up my paint gray and doing it at the base for the darker color. All right. So now that has given me a nice vibrant look. Now, all we need to do is finish up with a bad, but that we will do with wet on dry. So let's go ahead and completely dry this up. All right. There you go. It's all dried up, so now I'll go ahead and make our a bar. For that, here, I'm just going to grab a nice yellow ocha color. I think you can also go with raw sienna instead. Both the effect is the same. Here's my raw sienna. Probably we'll just go ahead and grab that. Either of these colors. I think both are just the same. Not exactly the same, but it almost gives the same effect, and there you go just grabbing that color and Adding. You want to make sure that you add it to the inside part of the house or the bar is. It's a bar not the house. There you go. There, that's all covered up nicely. Now if you want, you can put in some random colors here, I just grabbed a teeny tiny amount of burn sienna and I'm just adding that to the top and just lending it downward. Just gives a beautiful dull color effect. That's just a teeny tiny amount of burnt sienna that I picked up on my brush and I'm still using that. But see, we've got a slightly darker base color. Then I'm going to grab the darker brown that I have here and put that as the roof. There you go. That is going on as the roof in my ting barn. That is the roof as well. Then the part of the roof on this one. That's basically a nice line like that and over on this side as well. This side is where we want to make it nice and visible. Here, I've just grabbed in my dark brown plus paints gray and I will make it really nice and thick over on the inside, but here and also on the edge. Here. I think I'm just making that roof slightly better. See that. Then you can also add to the areas along the middle. You don't need to completely build it, but just a random line from the top. You see how I did that? Then let's cover up the area where the door or the garage looks like. I know I didn't try it up, but my yellow ochre layer that I just added is somewhat dried up. You want to make sure that it's dried and if it doesn't dry not add. It's okay. If it's just a teeny tiny wet, that's okay. Just make sure that it's not completely wet as so as to move your pigment everywhere. Okay. See now that does look like a beautiful barn, isn't it? Now, the next thing and the last final bit to do is to just add in few lines to give it the effect of a beautiful wooden texture. Here I'm just grabbing a lot of mixture of paints here. Actually, it's dark brown, there's pain there's burn Sienna. Pick up a little bit of a darker brown. That's it. That's all what we're aiming for. Then you're going to draw these vertically downward lines. Also, you don't have to complete them as in those vertically downward lines doesn't have to go all the way down. Some of those lines you can start from the bottom, some from the top. Just make sure that there's these random bits of lines, which in fact, makes it the wooden texture of the barn. See how we're getting that? And see how gorgeous it's looking. That's all we need. Alright, there we go. It's almost done. The only last thing to do is to go ahead and grab in that dark, not dark, but the little olive green color that we took and, you know, add in some little grassy shapes over the top. Okay? But it's absolutely optional. It's not necessary. The last thing that we can do is to just grab in a little bit of white paint, clean your brush nicely. Rab in white paint. There you go, white paint, nice, white paint. Okay. And go ahead and put that little round sun there. Okay. See that? I've put the sun. Now, if you want, you can go ahead and soften out the outer part of the sun. So that it gets the effect softer effect into the sky rather than a harsh edged area. See that? That's a softer sun. Softening thing is completely optional. You don't have to do it. Okay. Painting is now complete and we haven't done much on the edges, so it's time to do my uh tape review and see how much of damage the tape has done to my paper. Oh, my God. Oh, my God. I was not at all expecting this. Okay, I weedy Clare. But even after multiple layers, this is looking really good. I'm so proud. Oh, my God. Thank God. So, here you go. Here's the finished painting. I hope you enjoyed painting this with me, and thank you so much for joining me today. 91. Day 86: Hey hey hey welcome today 86. And this here is the painting that we're gonna be doing today. Isn't that gorgeous? I mean, look at that sky. So let's have a look at the colors that we need. We start with Cobalt's blue, raw sienna, paints gray, Alzaing crimson, halo blue, transparent brown, burnt sienna, olive green, and sub green. Okay, that's a lot of colours, isn't it? But there you go. That's the colors that I have used. So if you're ready, let's get started with this one. All right. Let us start. So we'll first add in the pencil sketch. Okay. So we want the sketch to be going from around one by third position towards the right side, but make sure that it's slightly slanted towards the right side there. Okay? And then we'll possibly have like a fence here. Okay, so we already covered the fence subject, isn't it? So just probably have one more. Okay, there. And then ages this week is barn. We're gonna have our bar house there, okay? So there's the bar. That's the house. There goes the roof bar, okay? So then that's the roof part of the barn. Go at an angle like that same angle on the other side. Okay? Different shape. Note that. There you go. Okay? So for this shape again, we're going to have part of the roof. A then the roof part over here. Right, there you go. And another line. Okay, so that is basically a pencil sketch. Here, have a closer look. This is what we want. And now we're ready to paint. Okay, so let's go ahead. And what you need to do is to go ahead and apply water to the whole of the painting. Okay, it's absolutely fine. Go ahead, apply to the whole whole area. Alright. All around nicely and evenly onto the whole of the paper. Okay. And once you're done, go ahead and absorb the excess water just like I do mostly. Okay. There you go. And all of the edges. Alright absorbed all of the excess water. And now we will paint. Okay? So I think I'm going to work with size eight, rush right, and start with the sky region. So for the sky, I'm going to go with a nice Gbaldblue at the very top. Alright. There you can see the cobalt blue. Nice cobalt blue over the top. Give your paper a slight angle so that the color can flow down. Okay, but not too much. We want it to be a moody landscape. So let me clear up some area here so that we can use that for the moody landscape. All right. That should be enough. So basically, you're going to grab in a little bit of paint gray, going to put in a little bit of alls iron into that, but more of the paints gray, turns it into a nice mixture, and that is what we will add. So here, just putting that into the sky and creating a nice cloudy effect. See that? Okay. Going to do the same all the way down. Once you've added that, let's give a little bit of lighter tone, just to reflect the light and that I'm using raw sienna. Go ahead and apply raw sienna towards the base like that. Okay, so now you know, we've got that rosiena over there, maybe a teeny tiny bit towards the top as well. It's just very subtle. You can see that. Now, next thing, we want more paint gray, but mix in a little bit of halo blue to it. So that gives a little bit of more cooler shade. Okay. And using that now we'll create some more cloudy shapes, but that's kind of like below. See that? Then let's go ahead and add in more clouds, okay? But see They are smaller towards the horizon. And also, I think I'm going to shift to a smaller size so that I can get a smaller one, and then just grabbing a little bit more Azarin now, putting into the same mixture so that my mixture is similar to the previous one. Okay. And going to add that and you can see that generates like a teeny, tiny, smaller cloud, and that's what we want. Okay? So just a lot of smaller clouds, and I've added that onto the horizon region and kind of blended it up. So these are literally really small clouds over to the horizon region. And see how that's ned out. Okay, maybe some more here at the top region. Okay. Something like that and see how the sky is looking. So it's further off. It's very, very dark and that's what we're seeing. Now we can get to the bottom part and go ahead and put in the foreground. So here, just grabbing my olive green. We start with olive green because we want to give a lighter shade and also observe the angle that I'm holding. Okay? There's the angle, where's the olive green. There's the lighter lighter area, and then I need to get darker. Here I'm just mixing my transparent brown with my sap green and I'm going over on this side and see that color. This is not olive green plus sap green, but this is transparent brown or any brown shade plus the sap green color. That should give you a nice mixture and see how we've got captured the lighter area there. Then as we approach towards the bottom, we use the same mixture. You can see the bottom part of my paper has dried out because we didn't paint anything there for so long, but that's okay. Using the same mixture now. See? It's kind of getting darker towards the bottom, but it's a different kind of darkness than the one that we did yesterday, more of the sap green and the brown mixture getting downward. And applying paint. Need more mixture. Build the area. But now I need to create the effect of, like, the shape of the lawn or the lines on the hilly region. So I want to make sure that they're all, try and focus it towards a point somewhere there. Okay? So there you go. Okay. See that? We've captured that effect nicely. Now we can see there. These are called actually leading lines. If you learn about composition in a picture, you will understand how these leading lines can point towards the picture and, you know, take the eyes of the viewer towards the focal point in this case, which is the house, isn't it? Okay? So I do have a class on, you know, painting from reference, and that actually explains all of this in detail. So if you need to understand, okay? See. There you go. That's turned out very, very well, isn't it? I know, there's that fence over there. We will try and add it, but we obviously need to capture some details in the foreground. So there you go, just grabbing the same paint. Okay. And let's put in some grassy shapes. Okay. So let's all have all of the grasses growing up exactly on this side. Okay. If you want, you could totally skip the grass part as well. But now that we've done, let's go ahead and completely dry this up. Alright. There you go. It's completely dried. So now let's go ahead and paint that born. Okay? So it's going to be very easy. I have grabbed my burn sienna shade here, and I'm just going to go ahead and paint that area, the whole area with burnt sienna. Okay? Um, nothing special here. Let's make it simple. Okay. You go up until the very edge using burnt sienna. There, that area. But now we need to add details and dark areas. Now I've grabbed in my dark up brown and just adding to that very edge there and also the roof edge here will be with that dark brown. There along this edge of the roof. See how that stand out. Then we can also paint over to the other side, this side. Okay? Then over to the top, I want it to be slightly lighter. I'm just grabbing a lighter pigment and adding there. See, it's a little on the watery side, which makes it lighter towards the top. This is the initial layer, but we do have to add more on the top. Also, I want that left side to be much darker. What I'll probably do is I will grab my Bnciena again and apply to that region. Okay. Oh there. Covered that house. I know it's looking weird because we are not done with our work. Let's go ahead and try this up so that we can add more. But, you know, before we actually go ahead and try, you could go ahead and, you know, just add the fence that we added in our sketch, okay? There's another, and the other was somewhere around here, right? Just go ahead and add in the fence so that when it's trying time, you could dry both of them together, isn't it? So grabbing a little bit of a darker brown as well. Need to give it on the fence. Okay. There you go. Now, let's try both of them. Right, there you go. It's trying. So now we'll grab the ultimate dark brown color again and create fresh outlines for our building, okay? The Okay. You can add some lines to depict the wooden texture and also maybe some windows, with the dark brown paint. See how we're creating the windows. And maybe a door over here. As you can see, I'm just adding that directly with the brush itself and need to make this edge darker this side, I want it to be darker than the other sienna regions. I'm just applying a little bit more paint there. That line definitely needs to be more darker. Then what else? Let me see this edge dark there and line there. Then we can obviously create lines to mark joinings. Okay. So see, that's well, deserved pon done over there. Let's finish off with some details. So like a bushy shape, so just adding a little bit of a bushy shape there. Let's have a little pushy shape on the front of the house. It's really helpful there and another towards the back, okay? Just a random shape like that, okay? When you're adding this, make sure to mix in some paints gray and go over to the base because that is the shadow bit at the base. And we're almost done. The only thing left to do is to grab that same color tone we mixed. That's brown and sap green together. Okay? Just a darker tone. Go ahead and add in some upward strokes to depict the grass growing in random direction over on this side. Okay. Okay you go. I think that's more than enough. And now we can finish off with some fence line. And let us go ahead and add, like the fencing. Okay? So remember, it doesn't have to, like, connect fully, okay? Just some lines would be enough. All right. And there you go. That's actually our painting complete. And I guess, since we haven't done anything along the edges, it is safe for us to go ahead and remove the tape. Oops, look at that. So let me save that. Okay, on my paper. I guess a little white paint will be able to save that. Oh, too much olive tree in my brush. We need very less water while we're doing this process. Because if your brush is too wet, it's just going to disturb the paint there and move it around. It's not going to do much work. Okay, there. I think that's much better. It's almost not visible. Okay. So here you go. Here's the finished painting. I love the sky and also the ban, which is obviously what is the topic, and you can see the lighter area there and then the dark towards seas edges. So here you go. I hope you enjoyed painting this with me and thank you so much for joining me today. 92. Day 87: Hey hey hey welcome to day 87. And this here is the painting that we're gonna be doing today. So, isn't that Gj I absolutely love the sky. And then that red bar house they always just so cute, isn't it? So let's have a look at the colors that we need for this one. Okay? So we start with halo blue, transparent orange, Alazaen crimson, violet, transparent brown, cobalt blue, and, obviously white gauche. Okay. So here you go. If you're ready. Let's get started with this. All right, let's get started. So we'll go ahead with the pencil sketch. That is kind of the horizon line, and I'm going to draw the barn house now. Okay? So there's that line of the house. Then this one's kind of standing in the snow there into the front region. There coming around to the same level. There again, that's the snow line. And a dwell line for this region. Okay? They go then like we did for the other day. Okay? As it reaches here, give it a bend, and there. That is the house. Then maybe some windows. Shape for the bond tour. Okay, something like that. All right. So that is your pencil sketch. So see there. Have a look. Alright. And now let's get to painting this. Okay. It's gonna be exciting. So let's go ahead and apply water. I will not apply to the whole region, so just ahead of the house, I am going to be skipping, okay, because we would ideally like a cool color for the snow on that one. So just skip along the roof of the house and go ahead and apply water to the rest of the region. Okay? So just again, towards the top of the horizon line, skipping the roof of the house, very important that you skip the roof of the house while you do this. I think that should be good enough now absorbing the excess water. There you go. Nicely absorbed, all of that excess water. And now we can start painting. So I'm going to grab in a larger brush that I can cover a larger surface area. So towards that top region there, just go to grab in a very subtle amount of the blues, a little bit of ultramarine, a little teeny, tiny bit of you can see, it's thalo blue, but in a very, very subtle, you want it to be almost like a pastel shade and bring it somewhere onto that sky region there. Once you've done, then the next color we can grab is orange. So just go ahead and add in the orange. Okay. And now we want to add in the orange to the shades. Okay, to the places in between those bluish tones that you just added, do not mix the blue and the orange together. That will not turn out really well, okay? Then as you approach towards the bottom, you want to go ahead and put in the orange, but then very, very subtle amount of orange. Okay? So let the whole sky region along those region be filled with orange kind of like a subtle pastel sky there. Okay? So you can see, I'm not picking up any more color, just adding in the orange. Okay. There you go. Right. Then picking up extra color, I will go over to the areas where the clouds indeed needs to be darker, which is around the top region, okay? Okay. Then I will make it even darker now by mixing a little bits of AzarinO the top, you can see how Aesadin is adding to a nice depth for our clouds. And as we come towards the bottom, you want to make sure that the Alizarin and all of the clouds get smaller and smaller. See how that happened. Then we will also wrap in a teeny, tiny amount of violet. Okay. And I'm trying to mix it up with the Alizarin here, okay? There's Alizarin, do not mix it up with yellow. That's what happened here. It mixed up with a little bit of yellow, and it turned brown. Why? Because violet is the opposite color, isn't it? So we don't want that. Okay? There, just a tiny, tiny bit of the violet into the sky there. Okay. And maybe in some other random places. Okay. I see. Love that. All right. So that's the sky part. Now we can go ahead and paint some more of the regions at the back there. So here, I've just mixed up violet plus Alizarin kind of like a purple, purple shade, and we're going to put that at the back, okay? And you might want to lift your paper as well so that some of your color starts to flow upwards because this is kind of like the bushy area at the back. So you want it to flow, give it a nice height. Let it flow. And if it's reluctant to flow, just go ahead, pop in a little bit of water. Not too much because then it will blend into the sky and create looms, which we do not want, okay? Just along the edge there. Okay, and see how a little bit of a bloom on the edge is fine because that just shows that, you know, the bushy area, it just gets stapered a little and goes upward. So you do not want to overdo it as well. Okay? Now, getting over to the bottom, let's go ahead and paint the snowy part, okay? So I know that it's probably, um, still wet the areas that we just painted, but that's okay. A little bit wet and a little bit flow into the bottom is fine, okay? So here now applying water. Over to the base region here along this side as well. Then going to grab teeny tiny amount of violet and also teeny tiny amount of cobalt blue. That's what I will add to the base region. And also along the edges. See this area here up until the house part needs to go in in the shadow area little bits on the very edge part of the house. Okay, so it's kind of a mixture of the cobalt blue and the violet there and see how that's turned out. You can see our painting is almost complete, but obviously the major topic of this week, which is the bar needs to be done. So we'll get to that in a moment. Now, let's go ahead and dry this thing up so that we can actually paint the barn. Alright, there you go. It's all dried up. So first of all, let's draw in the windows because then, because the color that I'm applying onto the barn is going to be a slightly darker color, which can then get rid of our pencil sketch. I don't want to do that. So I will draw the windows first and then we can just paint the color around it. Okay? There. That's the nice round dark brown color, into the windows. We're going to do the same thing. So here for this one, I'm just drawing a square inside the pencil sketch that I have added because I'd like to have a little area around it as white. It's not the snow, but it's the white paint around a window. You could also paint it in a different manner, which is to paint this entire block, uh, the square that we added in the brown and then when you paint the red paint to leave some white space around. Both ways you can do. I'm going for this way, okay? Which is to just adding the square inside, see. Nothing to do with the other one. That one, I guess, the pencil sketch is just going to go, but that was to give you an idea of how the whole thing is going to work. Now, let's get to it. That color is going to be red. I want to mix in a little bit of a dark brown to it. More red. I think a little bit of purple as well. Yeah, that's probably it. More red, please. Okay, that color is what we want. Here along this edge is going to be even darker, let me just mix up a little bit more purpuuate and there. All right. Now we'll paint along on this side, okay. And like I said, I'm going to do the thing that I mentioned for painting along this side, which would be to leave, this is the method. Basically, I'm able to show you both the methods that I was mentioning about. So see, I've added a white lock around it. This one I've already left the gap, but this one I'm just doing it with my red paint, up to you how you want to do it. And I've also kept in mind perspective here while I'm doing this and also wet. Lots of things in mind. So just listen, this at the base, do not go for a straight line but go for a little bit of a disturbance because you want to make sure that the snow line is there. See that? Okay. Then the next thing that I was going to say is perspective. See this line on the left side of the window, I've made it thinner perspective again, because it's on that side, you're not seeing that much of it. The same way, keep it thinner, but thicker than what's on the left side. And this one even thicker. Okay. I hope it makes sense because that's how perspective works, isn't it? It's just because it's tapering to that side, so you see very little of it. So that's how the perspective works. And again, same for this top region, do not go for a perfect straight line. Just go for a shaky line there. And in some places, even if you're getting a little bit of a white spot, that's absolutely fine. Leave that white spot as it is there. Okay. So see, we've meted that part. Now I'd like it to be more reddish on the other side, which is why here we mixed in more violet. But now towards the right side, it's going to be a bit more reddish, that's more right color going down here and adding okay? Taking to the whole region, and here is again, we now painting along the edge of the pencil sketch that we added. So here is the second method that I did was actually the first method where I already painted just inside of the square so that I can have the white surrounding it. See that? And to go ahead and touch paste with the left side. And again, at the base, do not make it perfect. Just go for like a shaky, wavy line. Okay, and make sure that your strokes do not dry out. So you want to have a continuous stroke. Okay, with your red paint. Right. Okay. And then along the edge. And going around the windows on that side as well. So this is what I said. The pencil sketch of that little door part on the middle is kind of gone, but that's okay. Okay, now just going to wrap the dark paint again because we need to create some darker edges. Okay? Just a little bit of a darker edge going around. And there, that's the nice bar house added. I've got a little bit more detailing to do, which is to go ahead and paint the roof part. So for the roof part, first, I am going to grab my dark brown, and we've already added a dark line there. So now I'm going to add in a nice line there. So you want to use the pointed tip of your brush and kind of put just a line Along the edge because I think it's either the design of the roof or it's the snow. But I think this is the design of the roof. Just like the windows here on this side. Then I think now we need everything to try to go ahead and put in the snowy bit there because the brown that I just painted is still wet, but I'm still gonna try. So all you need to do is to just go ahead and apply water onto the roof age, make sure you do not disturb your brown. Okay, because that will make the brown spread onto the roof, which is something we really do not want to happen. Okay, here, grabbing a little bit of the paint. Teeny This is what I said. We needed to be warm. So a teeny, tiny amount of the cool cobalt blue onto the roof of the house there. And we also need to kind of create like a separation there, if you know what I mean, that is this area. Separating the two parts of the roof. But see, just a little subtle line with your brush, should do the trick. Okay? Now, we're almost done. I think now we need to dry everything up if we need to add in the white details. Okay? Right. There you go. It's all dried up. So now I'm going to grab my white paint. Okay. And we're going to add, Oh, it's great. I can actually see my pencil sketch. So just going to draw in that door. Okay, which we had. We want to make sure that it's a nice white vein. Otherwise, the door will not be visible. Okay, so there you go. Right, it's not that greatly visible because my brush is still wet and has a lot of water, which is kind of diluting the white paint, but that's okay. Now going to go for a bit of a dry stroke. So here, just grabbing my white. And you can put some dry brush strokes on the house area there. Almost done. Almost done. Just want to do a last thing which I just remembered, which is, let's go ahead and, you know, put in some branches at the back, okay? So here, there can be, like, the branch of a tree coming out, okay? So go ahead and make these very thin branches. I'm using a line of rush to do the same. And that was from outside of the paper. But on this side, let's go ahead and actually put in the tree branch, okay. So just adding this one I'm not even entirely connecting together, adding lots of small branch. Remember what I said, your brain will connect them. You don't need to essentially connect everything together. No Okay, see? So random tranches there. And now we're definitely done. Okay, so let's go ahead and just dry these two edges up so that I can quickly remove the tape. And there you go. We're done. Oh, I think this is my favorite from this week's. I know, we have not painted the whole one, but this is, like, just so gorgeous, so pretty, isn't it? So let's remove that. And here you go. Here's the finished painting. So I hope you enjoyed painting this with me, and thank you so much for joining me today. 93. Day 88: Hey, hey, hey, welcome to day 88. And this here is the painting that we're going to be doing today. So let's have a look at the colours that we need for this one. So we need indigo, Obalts blue, halo green, dark green, yellow ochre, paints gray, sap green, olive green, and transparent brown or burnt umber, and lastly, burnt sienna. So here you go. If you're ready. Let's get started with this one. Alright, let us start. So we'll quickly add in our foreground, which is going to be something like that. And then let's add our barn house. Okay. So that's starting there. Then part of its roof. Okay. And then this house it's kind of like vanishing into that area there. Okay. So I think it's like the land area is kind of a little bit, like a hilly region, so it's uphill, but the other side of it is on the downside of a hill. So we only see a little bit there. Okay, something like that. Then again, there's a hilly region going upward. And that's pretty much it. The rest of it, I think we can add with our brushes itself. Even there's a background tree there, I mean, background mountain there, which I will add later on. Okay. So this is our sketch. Here you go if you want to have a closer look. All right. So let's get started, and let's paint this. Okay? So we're going to paint this over the top. Let's go ahead and apply water just over the top region. So you want to skip the other areas, and only apply water to the top part. In fact, if you go over the house, also, that's absolutely fine, but I'm just refraining from doing that. Okay. So here you go. Just over the top. Okay? And then I will go ahead and absorb excess water. Okay. There you go. Then I'm going to grab my larger size brush, and we will start painting. Okay? So I want this to be like kind of a little bit moody scene. So I'm just going to grab a little bit of indigo, and we're going to apply that at the top. Okay? Just a teeny tiny little bit of indigo and observe I have an angle on my paper there. Okay. And you can, in fact, have the angle on the opposite direction as well so that all of the water flows down. See, we're getting the flat wash of indigo downward. I think that should be enough. Just a teeny tiny amount of color there at the top, like a little pop of color. And then let's get back to adding. We're going to add in that background mountain and for that here, I'm going to grab in a little bit of my cobalt blue color, and we're going to put that cobalt blue over there. See that cobalt blue and using the cobalt blue, you are going to create the shape of the mountain. Okay? And just use the copalt blue to create the different strokes. Just a random. You can completely see how randomly I'm creating this. There's no rule or anything, go ahead and apply color in a completely random manner. Then the next color we'll pick up is kind of a little bit of halo green and you can blend that along with the same in uh random bits over the char thin, we will also add in a little bit of yellow ochre. So just grab, not a lot, teeny, tiny bits of yellow ochre. So that will give the effect of, like, a very rocky kind of mountain at the back there. Okay? Not too much detail, a very, very subtle mountain. In fact, you can also add in some amounts of Beans gray to get some dark areas. Then what I'm going to do is I know that this region here where we applied the water is now, the wetness is gone, so I'm just going to re wet that bottom part, because I need it to be wet to do the next thing, right? Okay. And the next thing is basically. So you know, my darker green. I'm going to grab my darker green and I'm going to mix it with paints gray. So definitely nice amounts of paints gray. If you have perylene green, you can also use that. And I want it to be in a la color. So I will also grab in a little bit of indigo and mix it to that. Okay? Indigo makes the green cola. You can also add blue in fact. It's absolutely fine. Now in order to make it a little bit watery, with the green and then here you go. You want to hold your paper like that at an angle because you want all of it to flow outward. Then you're going to create vertically upward strokes like that. See, start there up to the edge of the house. Yes. And then create vertically upward. The like that. Okay. I guess once you've reached I've gone a little over the house, but that's okay. And you can just go ahead and then create beaks like that as well. So just come towards the bottom, make sure that they are all in different heights so that you're able to match it, and they're just covering up the bottom and the same up till going uphill now and make sure that they are vertically upward. Same. Okay. Over on this side, I want my trees to be climbing because you can see it's a hilly region, which means it's going to get more height and over to the right side, it's going to go taller than what the mountain is. Anything that you added there over to that side of the mountain is definitely not going to be visible and that's absolutely fine. Okay? Just go ahead and add the vertically upward stroke. There you go. There, you can grab more of the paints gray and add it towards the base regions because as you know, those base regions need to have a nice depth. Make sure that you do add your bottom part of the trees, they should be denser and they should not have light it's not exactly should not have, but some areas needs to be extremely dark. If you put in different darker strokes in between, I'll give a nice attraction and make it look like very dense trees, in fact, that's exactly what we want, isn't it? A can make this even taller if you prefer. Okay, as tall as you can. All right. The, the trees on that right side are almost done. And then we could go ahead and paint that foreground region there. For that, here I'm grabbing my sap green, and you can go ahead and plant that sap green right at the base there just so that it doesn't look very weird when we're painting, and it's flow down. I mean, it's moved down, so the base need not be extremely a flat line because it's a forest. Some of the trees could grow at different lines. They need not all be at the exact same line. And this is the reason why we, um, paint the same thing in wet on wet itself. Okay? So see that area is kind of like the mountain, the hilly region going upward. Okay. Then we will continue our journey, okay? The same thing of the house there at the base. Okay, there keep going, there will be a slight separation there. Do not try to get rid of that separation. In fact, like this line right there, let that separation be there. You do not need to get rid of it. And once you come down, The next thing that we need is we're going to grab in olive green. Lots of different greens here because now we're approaching the foreground region. Foreground, make the greens warmer, getting closer towards you, anything towards the back in cooler tones and advancing closer to you becomes in warmer tones and that makes all the difference in our paintings. See how we're getting warmer and warmer towards the bottom. Right, there you go. Okay. Are. So we've done the background and everything nicely. Now, the only thing left is actually to paint that house and maybe teeny tiny details at random places. So let's go ahead and dry this up completely. And here you go. It's completely dry now. So let's go ahead and paint that beautiful bond there. Okay? And we start with a beautiful brown shade. So here is my brown. I'm making it nice and watery so that I can paint the inside part first. You can also grab in a little bit of burnt sienna. The brown need not be extremely dark brown here at this point because we're painting the inside part of the house. The outside part is where it needs to be nice and dark. Okay. So first, let's go with this here and paint all of the inside areas. All right. So here I'm painting the inside part. Of the house ing. Nicely painted the inside. Part. Okay. Now I'm going to grab my dark brown paint and going to add it to the edges here to make it darker for the shadow effect. Still not adding the roof part, but it's just a shadow from under the roof onto the house area. Like extreme dark area there. Then also this edge can be nice and dark. Remember I said that that part is kind of like the other side of the house, but it's in a very darker area. That's also in the dark. Okay. There you go. And now we need everything else to try in order to draw the top portion. Okay? In fact, I like the way it actually looks white. Shoot, we leave it white. But let's see. Let's completely dry this, and then we can decide. Alright, there you go. It's dried up. So now let's go ahead and add in the teeny tiny doors and windows. So just adding a little door over here with my dark brown color. And you can see it already looks so gorgeous, isn't it? Then a teeny, tiny window there. Okay, and maybe another window over here as well. Okay. There you go. That's two windows to the house added. Now I need to put in some effect of the wood shape. So that's why just adding few lines with the darker brown color. Okay? So you want to add the lines on to the wooden barn there. You can see how that stand out. Alright. A little vertical line down there, like a bole inside the house. Now the next thing, debating whether I should paint the top portion or not. Well, we could, but we could paint it in a lighter color as opposed to the darker color. I think it would look good. Maybe a little bit of yellow ochre. This is completely changing the track that I had. I thought that was going to be in dark brown color, but I'm now going for yellow ochre for the roof portion. Okay. And because yellow ochre is opaque, it will get rid of the mistake where I had accidentally gotten the green ov. Okay. Yeah, this actually looks nice. Might have to do multiple runs of yellow Ochre, but, yeah, it looks nice. I love the way it's got that lighter shade. Okay, now just a teeny, tiny details left, which we will add with just a brush. Okay. So here, go ahead and use a smaller brush. This is a size four brush, and it works. Okay, just some poles which we are obviously adding. The one pole there, we're going to go and make the poles over to that direction going somewhere far there. You want to also make them closer, thinner and smaller. But some of them can indeed be further because they are actually further away originally, and that's it. And remember, not all of them should be in the same direction. Some of them can be slightly slanted as well. Okay. See how the fence goes further and further away. That's perspective. The beautiful perspective in play there. Also about the line of the fence, you don't have to absolutely complete it. You can just draw some very thin random ones and make sure you use a liner or absolutely thinnest brush that you have because this one, the fence is actually very small. Probably you're only going to see the lines of the first view. Okay? Something like that. I don't want it to go all the way. Okay, something like that. Not going to complete it more. You can see a lot of breaks that I have added, but that brake is actually what makes this painting more beautiful. All right. So there you go. We're actually done. Can you believe it? It was simple, right? Not that long also. So let's go ahead and remove the tape because we're not painted anything towards the edges, in fact. And here you go. Here's the finish painting. So I hope you enjoyed painting this with me and thank you so much for joining me today. 94. Day 89: Hey, hey, hey, welcome to day 89. And this here is a painting that we're gonna be doing today. Isn't that gorges not a lot of colors today. So let's go ahead and have a look at the colors. We start with halo blue, and there's paint gray, transparent bow bunsena and dark green. Oh, and I think a little bit of cobalt blue. That's it. So those are the colors that we need. So if you're ready, let's get started with this one. Alright, let's get started. So we'll first draw in the ban house King, there. Just a little structure, very simple today. You deserve a break and need to paint a really simple one, indeed. Okay. And the bottom part, go ahead and create, like, a line like that because it's standing in the snow and then towards the back of it, we shall have a mountain, okay? There you go. That's basically it. Okay. And that's our pencil sketch. Let me show this to you closely. Here you go. All right. So let's go ahead and paint this gorgeous painting. Okay? So I'll make it as simple as possible. So let's start with the sky. Of course. We will apply water to the sky. So just go ahead and only apply to the sky. Alright. Anything towards the bottom part of the mountain, we will paint later. Let's just start with the basic sky. Okay? And I'm going to grab the larger size brush that I have, okay. And such a sweet, simple winter sky. Okay, clear sky, though, it's winter, but clay sky, it happens all the time. And do you know, actually, in fact, I mean, if you're anywhere from the Western countries, you'd probably know this. But anytime there's a clear sky is actually when it's the coldest. I always thought that the other times are the coldest and clear sky means, sun is out and it's going to be hot. But no, it's quite the opposite. I was really surprised when I came here and saw this for the first time. Okay? So yeah, a nice blue, and that's all the color that I'm ever going to take all the rest is just going to be moving downward like that. And all the way up to the mountain as well, Okay, in a straight line. Taking it up to the bottom part of the mountain. You can see completely flattened out stroke. Make sure that the strokes are horizontal because also the angle that you have on your paper actually really helps because if you don't have the angle, then your water or paint would not flow down and it wouldn't have an even direction. This thing that you do flows down evenly in this manner. I've got a little bit of splatter paint there. Right. There you go. That's a beautiful winter sky done, isn't it? So since we're done with the sky, let's go ahead and just dry this up, okay? The simplest of the skies possible. There you go. Since it's completely dry, let's go ahead and continue. So we're going to start the background work now. Here I've loaded up a very watery pigment of the paint gray, and that is what we're going to start with. I'm just going to add that watery pigment to the very edge of my mountain there. That's what's going to be the shadow on this part of the mountain. Right. There, a very nice shadow bit. And then the thing I'm going to do is I've washed my brush and I'm just going to move the pigment down. Okay? You can also, in fact, give an angle. And for now, it's going over to the house area is absolutely fine. Do not panic, let it go. It's fine. Okay? Just let it go because you're going to be painting the house in another color, of course. It's going to be harder if you actually try and skip the areas of the house. So just don't try to skip because you're painting essentially with a very, very lighter tone. And here, I've picked up a little bit of a darker tone again, not darker, but you can see a medium tone again a little bit towards the base. And now I'm just literally adding water, nothing else. See, that's water. Then going to grab a little amount of copald blue. Going to put that at the base. Not too much, little parts of the snow. You can do the same oops that's too much of a color, so I'm just getting rid of it. And see, just adding some bits and pieces of color the same we will try and add. Not too much. Okay, that's still a lot, so I need to wash my brush and move the pigment around. See, a teeny tiny bit around the house region. All right? Okay. Just a very teeny, tiny bit. And that's basically the snow par done in fact. So we can try and add in some details. So here, I'm just going to grab my size four brush, and we're going to go with nice paints gray now. So here grabbing my paints gray. I'm just going to put in a lot of teeny tiny details. Some of them this area is still wet, so it's going to give me a semi wet wet on dry stroke. Some areas are wet, some are still dry, so that's going to work in my favor anyways. I don't mind how it's going to be turning out. Okay? It can be wet, it can be dry. It's absolutely fine whichever way it is. Alright? So just leave some gaps while you do this process and just go on and place in the larger and smaller, smaller shapes. So you can see the shapes are kind of, like, absolutely random and also just adding some hilly shapes and things like that, and maybe a little bit more paint over here. Okay. There you go a little bit more here. You can see. That's a lot of areas of the mountain done. Then let's see. A lot more. I'm going to add in fact onto here. I'm also going to make sure that the top portion of the roof of my house is covered. Just a nice rocky bit there. This is the point where you have to be careful. That your brush, as in your house region is dry else. Remember the paint that we actually let go on top of the house. If it's not dry, those paint is going to flow down and you're going to get color on your house, which we do not want, obviously. What else? Let's put in lots of abstract random details. Let's put some pushy elements here. I'm just using my paint scray again and creating lots of bushy element. There some abstractness there. Then maybe you can have abstract, lots of bushy structure here as well, big bushy structure here. But as you approach that region there, let's dive in and put some color because it's too much of black, isn't it? Here I've just scrapped in a little amount of my green paint and I'm adding that green paint now leave some white gaps. Those are going to be the uh snow which is why not add too much there. And then go ahead and create lots of branch structure coming out. It's just the part of the plant coming out, use the point to tip of your brush to do that effect there, see that. Then again, let's mix up with paint crease so that it's nice and dark. Wu I think what I need to do now is to probably dry this up because I can see that my paper is wet and the next things that I want to do is with the wet on dry method. I am going to dry this up. Alright, there you go. It's probably not try. I mean, these areas are too wet, but I just tried the major areas that I want to paint with. The next thing is I am going to put a teeny tiny pine tree here, probably a more dry version. So see, not much on it, all right? And it that our zig zig zag zag pine tree. Remember that one? That's the one I'm trying to add over here. Okay? And we'll probably add some over here as well. But this one I wanted to be a little bit more the stooping down kind. Okay? So remember the week on pine trees where we did. So this one is going to be not the zig zig zag one, but the one that stoops down. See a pine tree there and maybe another one. So these are growing on the bottom, on that mountain there, it's a rocky mountain, but some areas there pine trees growing, there. I think I need to make the bottom part a little bit more fat and make it even. Okay, that's much better, isn't it? All right. So again, leave a lot of gap, see a lot of caps are there. That's for the snow effect. And once you're done, let's go ahead and paint the two major pine trees. And those ones, the center starts top from there and extends to the top of the painting, in fact. That's what makes it ice, isn't it? The next one is probably there. Less taller than the other one. There you go, but that's there. Now I want to thicken the middle part. Once I've got the line, then it's easy to thicken it up. There there. Okay, two stems done. Now it's time to go ahead and actually add in the bits and pieces on the pine trees. Now it's time for more detailing, start bringing out the stems of the pine tree outward like that, okay. And remember, it can get a little less dense at places because it's winter, maybe it's withered off or maybe it's covered in snow, it doesn't matter. Maybe the tree is just not that mature yet. Lots of reasons why it could still not be covered up, but that's okay. Remember, the color is actually a mixture of the dark green and paint gray. It's not just paint gray, occasionally, mix both of those colors to get this effect, and you want to do the dab dab method. Creating nice dab dab dab strokes should give you the desired results for the pine trees. And you can see my tree is kind of getting bigger and bigger as I come towards the bottom part, which is exactly how it should be, which is exactly what we want for the pine tree as well, isn't it? It's overlapping with the other tree. I'll make more sense. I'm just going to add along the base, the top portion of our house region needs to be covered in the leaves. There we go. That one's done. Now let's go with the second one. Again, the second one starts to be lesser dense towards the top, then starts to get denser and denser towards the bottom. So once it reaches around this middle stage, it gets more denser because there's the branches of two leaves, I mean, two pine trees overlapping at that position, okay? But still have some areas where it's just white seeing through because we want it to be the snow effect. But this region here, just behind the house is nice and dense. Just don't make it in an absolute straight line, it's nice and dense, then again, coming down, getting the pine tree in place. There you go. It's looking gorgeous, isn't it? Then just going to put in some strokes there with the green along with the black that we added, giving a little bit more extra dimension to that part there. Then I guess I love the way those pine trees are looking. Then I need some dry brushing. Here I'm just grabbing my black, making sure that I get rid of the excess water and dry brushing on the mountain. Oh, that's too light. There you go. Look at that and those dry brushing can actually go into the background areas there and you want to put the dry brushing into the areas there such that. It's like there's a lot of dry brushing and dirt track or the rocky edge towards that part of the mountain, so that it just unifies this edge area that we were just painting. Okay? Okay. There you go. That's much looking much better, isn't it? Even if your strokes go under it, it's fine. Anyways, when we add in the house, it's going to make much more sense and more beautiful. Okay, let's go ahead and paint that burn. It's very simple. Let's do that first. Burn sienna. I want it to be nice and watery. Here I have added the burnt sienna. And remember the height different uneven height because of the snow, right? There. That's already a beautiful house, isn't it? Okay. Then we want the dark brown paint. So grabbing the dark brown paint for the roof region. Okay? Just going to do it while the Burns and I still wet, that's okay. So any shadow bit would just flow down and capture there. Right, there we go, dt that. We need to definitely add some snow on the top that we will do later. Alright. So I think that parts done. So let's go ahead and dry this up so that we can add more details over the top. There, I've dried that house part. Okay. Just go to add in a teeny, tiny door now over to the front. There's the door added. Then we add in the wooden structure, a few lines. So another line going like that. Lots of lines. Make sure you do not complete the lines. You can have some of them broken. Okay, there, it's looking so nice, isn't it? So I like the way it's turned out, but just at some areas to me, looks still empty. So I'm going and I also made a little bit of mistake with my hand there. So just going to cover that up with maybe some random rocks and bits. You can obviously do that at random places, put in dots or some random rocky areas. And also towards this left side, I feel it's empty and too white. So maybe we can put in little bushy structure there. Or kind of like a different tree maybe, right? So I'm just going to paint so that you know tree your house kind of stands out, um as the brightest color because it's in a very light bright color that we've added, isn't it? So this is just paints gray that I've just grabbed and I'm just going to add it. You know what? This already looks like a pine tree. So maybe it's part of a pine tree that's coming, but not much visible because it's like, over the edge and going towards the other side. Okay, not too visible. Absolutely, okay. So that actually looks nice. It looks better now, isn't it? I love the way it's turned out. Okay. Oh, since we're almost done, now the only thing left for us is to go ahead and actually add in the white paint. Okay? So I'm just going to grab my white, make sure that my brush is, uh, dry grabbing my white and actually putting that over to some of the areas at the bottom parts of this tree, remember the lesson on the pine trees, you want to make sure that it added in such a manner that it's snooping down, and it becomes clearly evident that it's actually the snow added over the top because of the shape that we add it, because it's not going to be with the white paint. I mean, with the white of the paper. It's just going to be with the white paint, and it's absolutely fine. Okay. Now the last bit is to go ahead and I'm actually going to add snow to this painting. Okay? Because I think we never got to add snow effect in this painting. So let's go ahead and actually do that. So you're wondering where the snow is coming from, with the sky being this clear. Um, I can happen as in the snow is over this side of the sky where we're not actually seeing in the picture. It's quite possible, isn't it? You don't want to add too much, just a little random. That's it. And we're done. Let's go ahead and dry this up so that we can remove the tape. I said, we're done, but I forgot the rooftop of the house which needs to be covered in snow. Here just grab some white paint, go ahead and over to the rooftop there. Apply that in a very straight line. Okay? And the white needs to be vibrant, otherwise, it's not gonna come on top of the black paint that we just applied there. Alright, now that's done. And since that's not at the edge, I can safely remove the tape. And here you go. It's removed, and it's looking beautiful, isn't it? So, here you go. I hope you enjoyed painting this with me, and thank you so much for joining me today. 95. Day 90: X. Hey hey hey welcome to day 90. I mean, come on. I never thought that this is going to be real quick to reach that 90 day stage, but here you go. So this is the painting that we're going to be doing today. Lots of colors, lots of drama in the sky. You can clearly see that. So let's have a look at the colors that we need for this one. We start with transparent yellow, Taloblue, paint gray, Alizarin crimson, then burn Sienna, sap green, dark green, olive green, and transparent brown bn Amber. So here you go. If you're ready, let's get started with this. Alright. Let us start, so we'll first add in the horizon line. So it's going to be around one by third of the paper. Okay, something like that. All right. And then we'll have our house. So that house is going to be somewhere there. Then we'll get to the roof of the house here, and it comes over to this side. And we'll see that it extends a bit more towards the bottom on this side. And we have some land there, and ph in that house is also where the field kind of separates. That's what we want to add. And here, there's a lot of bushy shapes. You don't need to draw it in full, but just, you know. But before we add that, we also need to add in the left portion of the house. So that's slightly slanted like that. Ah. There. So the bushy portion is kind of growing towards the top of the house. That's how we want to make it. And this side is, again, the part of the house. Then there's the door All right. There you go. So that's basically our pencil sketch. So let me show this to you closely. Here you go. All right. Now that you're done, let's go ahead and paint the whole thing. Okay. So we're going to apply water to the sky region. You can skip the area of the house if you'd like. Okay, I think I personally think it's good to skip the area of the house. So you can see I'm using a flat brush to kind of separate it out. And then I will also paint below the horizon line. It's just a house that I am skipping at this point. Okay. So here you go. And again, over to this overgrown part, which I said is, again, part of the house. You can get to that as well. Okay? Just drop in water and again towards the base. Okay. Only that roof part of the house is where we want to avoid and not paint anything. There you go. It's nice and even. All right. Okay. Now I've applied the water. Let me just go ahead and quickly absorb the excess water from the sides as usual. And now we'll start along with the sky part, and that is first going to be with a nice yellow shade. We start with the yellow shade and we're going to apply that at that bottom portion. That's where it starts. Right. There you go. Then you want the yellow region to climb up. There until the top roof portion. That's where the yellow bits are, right. Once you've added that, then we'll start with the other details. Then we're going to start with halo blue now and this halo blue, you're going to apply towards the top side. All right, you do not want the blue and the yellow to cross over. This is just the underpainting for now because we are going to add several things on the top. You can see as I come towards the bottom, my blue tone has substantially decreased. It's just a very subtle color tone for now. I'm going to shift my brush to either a size six or a size four. This is the size six that I have grabbed right now. And let's get to it. So here you go. I'm going to grab Pain's gray. This is already pains gray here and my pain's gray, going to mix in a teeny, tiny amount of allezarin. And that is what I am going to use to create some nice clouds. When I get onto my yellow, it's going to turn a little bit brownish shade and I want it to go right up to the roof of the house, so that only a teeny tiny amount of the yellow is going to be visible. It's a very cloudy day. The clouds have thick clouds up descended almost to the bottom part. Okay? There you go, you can see that and you want to make sure that you want to cover the entire thing. So random bits are going to be seen through and that area is nice and yellowish, you can see that. There, you can just go ahead and add in some nice clouds. That's paint gray and your red together. That's the first thing that we're adding right now. And here you want to add that in a variety of shape over to the top. Okay, there you go. So here, I guess, can give some there as well. When I do with the clouds, let's keep adding. If you add in more dimension each time, here, I'm just going to go over the top again. Giving a nice touch and you can also vary the color. Here I'm just grabbing a more darker version of Pain's gray. As I add, I look at the movement that my brush is making. It's just like creating arc, but using the entire length of the brush, not using the pointed tip. That's very important here. Now, before it dries out, we need to cover up the rest of the area. I've mixed in a little bit halo blue into that mixture. It's a different gray now. Now using this different gray, we're going to go into those areas, the other areas. But again, you can leave some bits of the blue showing out. See a lot of parts of the blue showing out and here as well, I will make the cloud subtle. My tone is lighter there. Can you see here on this corner as well, I guess you can leave a lot and here again, coming over onto this side. You know, digging over to the top. Gray. Alright. See that. Then maybe a bit more red and in gray just to, you know, add in a shape. So here, this one can have a variety, we only want a teeny tiny bit of sky the white part to be visible each time, just make sure that you create these arc shapes, but also make sure that you do not have too much water in your brush because if you do have too much water, then you're not going to get these. Uh, it will spread out. And especially now here at the bottom, please do not think of painting it there because I'm sure that the yellow region has dried out now. So I really do not want to take my paint over there. Okay? So we're done with that part. And I guess the water that we applied at the bottom is now almost gone. So I'm just going to go ahead and reapply water to that part, but I will not touch the yellow regions. You see? I'm leaving a gap between the horizon and my brush as I am reapplying the water. That's because with your paint, you can connect those two, but not connect it with water because then the water can flow up and ruin your painting, which we do not want to happen. Right? So here, the first color at the point of contact there is going to be olive green. So grab in a nice bunch of olive green added there. Then as soon as you've done that, go ahead with a nice layer of sap green. Okay. So there you go. Now, that's sap green. It's just a little layer of olive green at the top. That's it. See that. That was the field behind. Now we need to paint the foreground region, and that is going to be with olive green again. I'm going to mix it up with my brown paint. This was brown here and I've just grabbed olive green to mix it up, right there. Again, now create a line and that line will point towards the separation between our field at the back and the house in the front. And here goes. So just get to the front region. Go ahead and apply. You can also just grab olive green at certain points. See here, I'm just grabbing olive green, then go back to that brown mixture. You can also just grab brown. Try and create a lot of variety in your stroke so that you get that variety in your foreground, this land area as well. See how we've got a lot of different colors there. Now, once we've done that, it's time for us to go ahead and put little bushy areas. For that, I'm grabbing my darker green. The first place that we will add are right at the horizon. Just go ahead and put up a tiny piece a little pushy structure there. Need not be much details because it's not going to be much visible. Then mixing on to that sacreen I want to create an edge point here, but do not add it as a continuous line. You can have some breaks in between, creating a pathway or something. I touch my hand there and see what's happened. Okay, crisis averted. Then grabbing the sap green and the green mixture again, go ahead and put that color at random drops around that area as well, creating the effect of the bushes that we discussed. Same along here. Here, the tree is grown upwards. That's a sap green over to the roof. But we also need to add in nice amounts of darker green because look at this side. This side is entirely covered in clouds, so it's going to be nice and dark. So in order to achieve that dark area, you would need to apply the darker paint. All right. Then we also need to add in the shadow, sorry, I was going to say reflection, the shadow of the house. Okay? So that shadow is going to be onto that land there. Just go ahead and create a straight line. Okay, I picked up a little paint into there, but something like that, that we'll mark as the shadow of the house. Then we also need to add shadow over to this side. It's not multiple shadows, it's like shadow of these bushes. Since we've done the shadow of the house over to that region, which means the shadow of this, these bushes, these overgrown trees here are also going to be onto this side. For that, here, wrapped in darker brown paint, and that goes into there, okay. The I can see that. Nice, darker towards the joining points. Right. There you go. Some nice shadow bits added, go add more trees and shapes, connect them together, and again, just going to make that shadow of the house a little bit more dominant there. Okay, there. I think it's looking really good. Just going to grab in various kinds of brown and just kind of, you know, again, creating random texture onto the foreground region. You can also do the same with olive green, okay? I think I love the way that's turned out. All right. So we're done with all the background. The only thing left for us to do is to paint the house. Let's go ahead and dry this up. All right. There you go. Everything is now dried up. Let's go ahead and paint that roof. We're going to start with a nice amount of yellow ochre, and that's what we will put onto the roof of the house. There you go, as a straight line, nice straight line, filling it into the areas in between. Okay. There you go. Then the next color we will grab is Ben sienna, using the bun sienna, you're just going to drop in some random bits of color onto the roof, but try and create these vertically downward strokes. Let it be blended, you don't have to worry too much about it. Then along the edge, definitely a good amount of bun sienna like that. Then grab the bun sienna again for the stroke of line on the other side. I did mix it up with a little bit of transparent brown so that it's a mixture of transparent brown and bun sienna. And there. At the very nice edge there. Okay? Now, about the house, you can either make it like a gray color or you can make it a wooden tone. So I guess we've been giving the houses a lot of wooden tone lately, so I think I'm going to give it a gray color today. Okay? So here, just clearing my gray with the reddish tone because I don't want it to be like the sky. But rather just pains gray. So here, if you just grab in pains gray, make sure that it's nice and watery because we need it to be nice gray tone at first. Okay? So here, and again, take it to the edge where the tree is kind of like growing. Go paint over the door. It's absolutely fine. Take it to the absolute edges. This is a lighter tone of paint. You can clearly see that. We are not going to be using darker paint. We just need it to be gray. This is the reason why use paint gray because you can use it both as a black and both as a gray color and even as subtle, very subtle gray tones. You can use that for all of these purposes. That's why I love paint gray. Okay? So in the darkest color, it would just look like black, whereas in the lightest shade, it looks completely different. So there now, like I said, we're going to grab in a little bit more darker and going to paint along add along this edge here. Shadow. Remember, all of the shadows are towards this side. So there that's the shadow line. Just create a nice vertical angled line like that. There you go. Maybe a little along this edge as well, and let's create the demarcation separation line. There, so there you can see it's kind of marking the area of the house. It's looking really nice, isn't it? Then now the only thing left for us to do oh, wait, just under it, as well. Now, the only thing left for us to typically do is to dry this up so that we can add in the door and maybe a few lines on the wood. You see how that band Siena looks. I love the way the rusty look on it. It's not rusty. It's kind of giving like a different kind of a wooden vibe, which is what we want it, right? So let's dry this up so that we can add in the door and finish off this painting. Ego that's dried up now, I'm just going to draw the door. Adding that with a dark paint gray color. And while adding that, just trying to leave some abstract lines in between, see, I just left a little line line of, let me show that to you real clues. This is what I did. So when you look at it from far, it looks as though this is showing the wooden texture through the door, texture not the texture, but the gap between the wooden bars on the wall of the barn house. Does that make sense? Trust me, it will look good when you look at it closely like that, you are going to understand it. Then go ahead and add in. Some creaky windows or something like that. There you go, then maybe I will add in a few lines. There you go. Just lines and maybe here along this edge. The wooden bars are stacked this way. We've got a wooden bars stacked this way. See, some nice lines and same along here. You can paint the edge. Okay, see that? Now, that's looking really gorgeous, isn't it? All the shadows and everything. I mean, the shadow makes really real sense now, even on the side, isn't it? And the sky. Isn't that looking so beautiful? So, there you go. And because we've not painted anything towards the edges, we're free to remove the tape. Go ahead and remove it. And here you go, guys. I think this is my favorite. I've said this for the winter one, but I really, really, really like the sky here for this one, and also the barn house. We've not painted a gray one, and I love that little burn sienna push down there. So here you go. Here's the final painting. I hope you enjoyed painting this with me. And thank you so much for joining me today. 96. Day 91: Hey, hey, hey welcome to day 91. And this here is the painting that we're gonna be doing today. So, any guesses on the topic? I'm sure not because it's like, it's been so long and it's day 91 the last ten days of this class. And I'm sure that you possibly won't guess it, but maybe some of you will, but let's see. Okay? So it's gonna be sunrises and sunset, you know, the gorgeous colors of the sky, which we have not covered till now. I know we've covered a lot of sunset, like, you know, sunset sunset as in sunset sunrise topic in itself, we haven't covered till now. So that's what we're going to be doing this week. I've been saving this up for this entire class because I wanted to do so many paintings, and I wanted to make sure that you're like, well versed with watercolors and you're ready to go dive into this topic. So that's why I kept it. Alright? So let's have a look at the colors. The colors that we need for this one are basically quinacrodon, gold, violet, paint gray, and lavender. Just four colors, and you'll be done. Well, additionally, I also give suggestions for white quash. You can use that if you want. Alright. So if you're ready, let's get started with this. Alright, let us start. So we're going to apply water to the whole of the paper. Okay? So just go ahead and wet the whole of the paper nicely and evenly, okay. So I kind of saved this topic for the very end because it's something that we always do usually, isn't it? So I kind of wanted to do the other topics first and then come back to this one so that we can do a lot more of the complicated skies. But today, we're going to do something simple, obviously. Always, start simple and then move on to the complicated ones. Isn't that so? So here you go. Go absorb the excess water from the edges of my paper. Go all absorbed. And then now we can go ahead and stay, start with the beautiful sky. Okay? So here, I'm going to start with a nice go just pink shade. Okay? So you go go to apply that nice, go pink shade, and that is what I will apply at the base, okay? So you can see, starting with that quinacritone rose shade, taking it over to the top. So you can take it as much to the top as you want. But every time you pick up a new fresh color, make sure that you apply it towards the base, okay? There you go. Trying to keep it simple for now. Then let's get to the complicated bits, shall we? That would be basically to use violet. So go ahead, grab violet and start it from the very top region. So this is, again, it's nice pinkish violet sky, the one the kind that happens during sunset, obviously. Okay? So this, there you go, and then start bringing it down. So you want take the violet and start bringing it down. Now you can see I've got an angle on my paper as I bring my violet down. But I also now want to try and create some cloudy shapes. First, there you go really nice lines at the top. Then as you start towards the bottom, you can start to make the effect of some nice cloudy shapes. You see just added Okay, the top is fine, but as you come towards the bottom, now we can start to add in nice cloudy shapes, right? And you can possibly mix in a little pink as well so that, you know, the shape and the color changes, see how we've got, okay? And maybe okay, some nice shades, but I also don't want it to be too vibrant as I approach towards the bottom, okay? Okay, I think that's a good position that I've got myself for the sky region, nice and gorgeous. It's not just sunset sunrise, whichever this is. I think this is more of sun risk concept because it's more pinkish. Now we want to try and add in a lot of the background work and we want to do it while it's still wet. Here, I'm just going to grab a nice amount of paint grey. But I'm going to mix in a nice amount of violet to that paint gray so that it's a violet color. And I'm going to put that at the base. Can you see what happens as I put these colors? It's spreading around, it's spreading because obviously our paper is wet. You need to make sure that you do this while your paper is wet and let those hairs form, let it spread. That's exactly what we want. You're going to let that spread, but not completely cover it up at the base, adding it in a random manner. I love the way that thing has spread out. Okay? Once that is done, next thing possibly that we'll need is a line of rush. Okay? So we will grab the same colors, but this time now with a line of rush so that we can add in a lot of liner strokes. Okay? So kind of like this, go ahead and make several strokes, but make sure also that you do all of them in an upward manner, okay. See that? Just a lot. Okay. Let's see. I'm going to add in a lot, right? Okay. And make sure do it in different directions. We do not want all of them to be in the same direction also. Okay. And as you can see, this is all in the wet on wet, isn't it? Okay? So, let's see. That is all gorgeously done. Alright. Now, all we got to do is to go ahead and try this up so that we can add the foreground strokes. Alright, there you go. It's completely dried up now. So now let's go ahead and add in the four ground strokes. Okay, so we go back to the liner brush. There isn't too much work. Okay, starts with the liner and then we will add Ar, so no violet or maybe a teeny tiny amount of violet, but the majority of it needs to be with the paints gray color. Okay? Uh, just absolutely just four colors in this painting as you've already seen the color tones. Okay. So here you going to go ahead and add now with the um, paint's gray, we're going to add several strokes. Okay, I need to complete this one towards the base. Okay. Needs more water. That's what happens when it lacks water. Right? Okay. So here, Okay, some extra there. Several, as you can see, Okay? There you go. Added several of these. Now we'll try and make this interesting. I'm just going to use the line brush itself, but you might as well want to switch to a smaller brush if you can't get the control with the line of brush, and we're just going to put some teeny tiny toto shapes towards the end. See that? As you may not need to do it for all of them, but I'm just going to do for the major ones. I know that this one's a longer one. I'm going to add to that. Just go ahead and add to absolutely random ones. Okay like this one, it's going to extend outside, isn't it? And then maybe a few ones along the bottom line. Okay? Would be really helpful. Then I got another one here. Oh, that one. Okay. And let's see. Along here. So, that's a lot added. Um, I guess, a few along the base layers as well, we shall add so that it just looks like believable and looking good, okay? Not to all of them, just a few of them. Alright? We go and you hear, you hear. Okay, see, a lot of them added. We're not done yet. So now, the only thing left to do is to kind of add little ones slightly different and in a different color because of, in the morning, there is a possibility of there's a lot of dew drops attached onto the plant. So it kind looks a little bit white, not exactly white. It's going to look slightly On a tone similar to the color of the sky because it's reflecting. It's actually snow drops or the dew drops, which is like, frozen crystals on the plant itself. But then because of the sky, it's reflecting all of those colors. So you guessed it because we know the fourth color is lavender. We'll paint that with lavender. I'm just going to quickly dry this up so that we can add those, okay? Right. There you go. It's completely dry. So now I'm going to grab my lavender. And now we're going to do the same thing, okay. But with the lavender, go ahead and add in lots of these foreground marks and strokes. Okay? Don't worry too much. Just go ahead and add make as many as you can. Then along with the lavender, go ahead and add in the tiny heads that we added as well. Okay, too as many as you want, you can stop right there. If you feel that you're satisfied, you can go ahead and add to all of them if you want, as well. So it's totally depending upon how you want it to look like, okay? So don't worry too much. And also to these ones that we just added, go ahead and add in teeny, tiny amounts of lavender as well, because then it's going to flects though there's like, you know, the frozen crystal shapes that we just talked about. It's gonna be there. Like what was it dew drops, isn't it? So that effect is going to be there on that as well, and it's going to look oh, just beautiful. There are several ways that you can actually make this painting beautiful because you can then go ahead and, you know, put in a little bit of white strokes as well. So it's completely dependent upon you. Okay, how you want to take this. So I'm just giving you some ideas. So if you want to work on this a bit more, then the next step that you can do is go ahead and make lighten up the lavender a bit using a little bit of white color and add with that as well. So that's going to look more beautiful. So you see the different ways which we can add the paint, but I am going to stop here because I really love the way this has stand out. So let's go ahead and just quickly try this lavender up and then we can remove the tape. Right? There you go. I'm going to remove the tape, so I can clearly see how there's three layers. You see those lighter ones, which is like way further off uh, underground, I mean, backward. And then there's all of those lighter background strokes that we added. And then there's also the foreground ones. Then there's the extra layer of lavender ones as well. And that's what makes this painting beautiful. Okay? Just removing off the tape. And here you go. Here's the finished painting. See how that's turned out. I really love the gorgeous colors, and I hope you enjoyed painting this with me, and thank you so much for joining me today. 97. Day 92: Hey, hey, hey, welcome to Day 92. And this here is the painting that we're gonna be doing today. Another sunset, of course, but can you see a little gorgeous. And there's a lot of background work. Very interesting because you've got to let loose. You've got to learn, you know, to let go of that flow or the control in your brush. That's what we learn in this background. Okay, so let's have a look at the colors that we need. We obviously need transparent yellow quinacrodon gold, transparent orange, Alizarin crimson, transparent brown, Ben Sienna, and paint gray. Okay, so those are the colors that I've used in this one. So here you go. And if you're ready, let's get started with this one. Alright, let us start. So there's no pencil sketch. We'll just go ahead and start by applying water onto the whole of the paper. Okay. Make sure you have enough water for us to chew the bead for beautiful strokes on the paper. Alright. So just go ahead and apply a nice gorgeous amount of water onto your paper. Okay? There you go. Then I'm going to absorb the excess water from the edges as usual. It's my usual procedure. You might know that by now. Then I'm going to grab my largest size brush, which is the size 12 and start. Okay. So here I will start with a nice transparent yellow, and I'm going to apply it right at the center first. But funnily enough, we're going to apply it to the whole of the paper. I don't know why I started at the center, but Okay. So here, just going on, applying onto the whole of the paper. We want the paper to be nice and yellow all throughout. There you go, applying it nicely and evenly. It's a nice, transparent yellow. It's okay even if you don't get that vibrant color towards the top because we will be anyways going ahead with our next color, which is the quinacrone gold and applying that towards the top. See that? Here I am grabbing the quinacroon gold and applying that towards the top. Literally, no rule. Just go ahead and apply. It needn't be a gradient or anything. Just applying the quinacutne. Gold over to that uh region. I guess I want it to be a little bit more at the top. Almost just that. Now you can see there's a very, very lighter tone towards the bottom and a darker tone towards the top. Now I'm going to immediately switch my brush and change it to a size six rush, this is where we start. Oh, here I am going to start. Okay, that was the wrong color. Let me pick up. So I'm going to start with a nice orange shade in the beginning. Okay. And first of all, let's go ahead and apply some orange shade towards the top. So there's already the quinacridone gold, but I also want it to be nice and orange. Okay? And then I will grab my brush and try to create, like, some cloudy shapes, okay, little towards the left, originating from the left, but more towards the right side. Okay? So something. Of that sort. So using the entire length of my brush and going around in such a manner. See that? That's some nice cloudy shapes fitted in there. Then now I'm going to go grab the same color again. But this time, the color that we're adding is kind of like the bushy structure, but it's just the background. We will add more colors in the front. Obviously, you've seen how it's all turned up, so you definitely know Okay, so you want it to look as though, so there's the lighter color, the orange color there. So is it the clouds at the back? Is it the foliage at the back? Well, nobody's ever going to know. So that's the way we want to paint it. Okay? So you see filled up with that part with orange. Now we go with the next color, which is Aalzarin crimson. So I'm just grabbing the Alazarin crimson there. I'm going to go apply and you can see, I applied towards that side such that it's again, like a bush, but this time, leave some orange gaps in between and also remember to have the yellow gaps in between as well. Did not cover up the entire thing. We definitely want lots of yellow gaps, no red towards the top at the bottom is where we start with this gorgeous red shade and you can see what I've done. There Some random bits of shapes there. Okay. Then let's see let's go to the next color, which is going to be a transparent brown color. Go ahead, grab in a nice transparent color, but I want to mix it up with a little bit of burnt sienna so that it's a very gorgeous brown color and then going to put that in some of the areas like deny tiny areas and then bring it down. Okay. Nicely towards the edges. Again, over this side as well. Do not get rid of that yellow there because I think that's the only place where most of the yellow now remains. I do not want to get rid of that. Again, here, just adding some nice strokes. Well, that's that. Now we go grab the next darker color, which is the major darker color in our painting. So basically, paints gray. Now filling up the bottom part with paints gray because that's where all the drama of the foliage is. There you go, filling up that part. Right? Then now you can go ahead and, um, I think, create some branches or some random structures at the back to accompany at the back. I'm not doing it perfect. We can see that. And we also don't want anything towards the top. All of those teeny tiny branches can remain there at the bottom. So you want to create like I am creating absolutely random. So even if they are branches, they are like, literally and absolutely random. Gay see some upward strokes to depict, and then like pressing my strokes at random. So you see like it's literally so random that we have created those. But just make sure that the entire bottom part is covered. So I found a little peggy spot there, which was not covered, so I ad that big as well. And there we go. So that's basically a background done. So that was a lot of work, and I know those wiggly wiggly strokes were kind of difficult, you know, not that easy, but it's just still anything random. We do not want it to be like in a very orderly fashion. That's the whole point of this one. Okay? So let me just go ahead and quickly dry this up so that we can add in the foreground. Alright, there we go. It's completely dried up now. So now we'll go ahead and grab in our darkest color, which is obviously paint gray, and we will start adding our uh, background. Okay. So it's just, I suppose, very easy for us to do. You can possibly mix in with a little bit of a brom to create the ultimate ultimate black color if your paint gray is not that vibrant. Okay? When I say vibrant, I mean, like dark. All right. So here first, I'm using, the fat side of my brush, very important here, using the fat side of my brush. Then as I approach towards the top, I'm thinning it down and using the tip of my brush. See what happened over there. There again, fat side of my brush. I think my branch can go like that. Then originating from that, adding several small ranches. See that one there. Then let's see, I will have a larger branch. From that one. But this kind of a tree is not possible because the branch always needs to have a little bit of a thickness towards where it's joining and then it always tapers out. Once you probably added in the larger ones, you can actually switch your brush if that's really helpful for you because otherwise, then it's going to be really difficult to just paint with a larger brush like this one. That's what I'm going to do. I'm just going to add in a few more branches. Okay. I also need a guess a larger one here at the base, and that doesn't need to go over to the yellow region, but we can have it just stay there and maybe a few more that are part of this. Okay. Okay. That's like a huge branch bend there, we can definitely add lots of smaller ones there. Let's leave this off for now. Now I'll switch to my line of brush, which makes it easier to do those. So here, grabbing the nice pin gray color. Now I'll go ahead and add in as many smaller branches as I can. So here, Included in those, then maybe a lot from the smaller areas. Then maybe over on this left side, create those branches, okay? And lots on this left side as well. Like I said, again, you do not need to add in perfect basis for any of these. They could just be depicting as though they. They're just some branches and you don't need to add too many perfect details, okay? Only the main branch is where we need to add in a bit more perfect detail so that it doesn't look as though it's an impossible kind of brunch, uh, with watercolors, I think it's always best also if you add in a lot of these haphazard, impossible kind of, uh, strokes as well so that it depicts, you know, uh, things for our brains to complete, you know, like see this. This is detached, but then it still looks beautiful because then it allows your brain to marvel at the painting and think of a lot of things. That's typically what we want, go ahead, create a lot of these and possibly I will just create a lot of these upward strokes. You can see all of those yellow and everything is still seen there. So that's the background part. Now the next thing that we need to do is to go ahead and add in the birds. So you could choose to add any kind of birds in here. You could add flying birds. You could add birds on any of these branches. So a lot of choice for you to go through. I am going to add few flying birds at this point. Okay? So here, just filling up my brush. I've also switched my brush to size four at this point, I can also switch to a size two if I want to get the small or smaller smaller birds, but I am going to go for I guess I will put some on the branch itself and maybe another one flying off. Let's see. I'll put one there kind of sitting in the branch. I'm starting with the beak of the bird. I know this bird part may be a little difficult. If that's difficult for you, then don't add in the bird. See, it's just a silhouette of the bird. I've just added the beak and then it's got a little hairy structure on its head. Okay. There. See, that's a bird. Like I said, you don't have to do it perfectly. You could just literally just go ahead and do this. Obviously, you need to make that better. I will teach you. So go ahead and create that little V shape. But then big now we're looking at it at a more closer angle, it needs to have a head. That would be the head of the bird. You see, as soon as you've added a little head, it makes a more beautiful picture. See that? You could do the same at different Okay, see that? Just that actually looks kind of like a bat, isn't it? Again, you need to make sure that the bird has got like wings and everything in there, all intact, okay? And also, the wing closest would be a little bit more thicker. Okay? So let's see. I'm going to add another one. Okay? So this is a really good depiction of the wing of the bird. That's absolutely fine. Okay? And there need to have a tail as well. So we've added two birds in there. Okay. Now let's do possibly a different kind of bird maybe. Okay. And you could also always go ahead and, like, fill in with smaller birds. These will be the birds like further off in the horizon. You just seeing through through the tree. Okay. So another bird that you can possibly add is, like, let's get that done and add it to make sure that it's not too weird and disproportionate in size to these ones. You've got to keep that in mind. So there that's one bird. Okay, that's the head of the bird, right? And then just possibly adding Okay, see that? So that's like a little sweet bird flying. So like I said, again, you can go for different different methods, okay? So these ones that we're adding right now, they're like birds that are further away. That's why they are smaller. So you could fill this with as many birds as you want, but I also would, like, refrain from adding too many and making the whole thing cluttered. It's best to keep it at level to the minimum, okay? So that's that, and we're actually done with the painting. So I will dry this area so that we can remove the tape. There you go. It's completely dried up now, so I will remove the tape. And here you go. So here's the finished painting. So I hope you enjoyed painting this with me, and thank you so much for joining me today. 98. Day 93: Hey, hey, hey, welcome to Dan 93. And this here is the painting that we're going to be doing today. Isn't that gorgeous? So there's a lot of things in this painting. I know I say that for almost all of them, but trust me, every painting I try to include and improvise and add a lot of things. So these birds were an improvision. I mean, because something happened while I was painting, so I had to add it and you'll see that soon. Okay, let's have a look at the colors. For this one, I use transparent yellow, quinacrodone gold, transparent orange, cobalt blue, halo blue. Paints gray, burnt sienna, transparent brown, sap green, dark green, and olive green. Oh, my God. That's a lot of colors for a sunset painting, isn't it, as opposed to the previous day where we had just what? Four colors or something? I know, I know, but this is worth it, trust me. Okay. So if you're ready, let's get started with this one. All right. Let us start. We'll now today add a quick pencil sketch. This here is kind of the foreground. Then let's add in some background mountains there. Okay. Just a quick something possibly in, like, different layers. Basically, that's it. So here you go. Have a look at it. This is the pencil sketch up close so that you can make it yourself. And once you've done, let's get around to painting this. Now I'm going to start by applying water to the whole of my painting. So don't bother about the bottom parts, go ahead and freely apply water to the whole of the painting. Okay. Achieving the sunset part is the most important here in this lesson, so it's going to be fine, okay? Just applying water to the whole area there. There you go. Now the next thing for me to do is to absorb the excess water as always from the edges. There you go. Absorb the excess water. Now I'm going to start with a size eight brush today, okay? Oh, here we go. We start with obviously a very warm warm yellow, and I want this region here to be my son. I'm just going to add by starting with a yellow. Then I'm going to leave some gap. Right now onto the mountain, it's absolutely fine. Then what I'm going to do is I'm going to skip and create a gap there. See that gap that I've created. Okay. That is the gap that we want. Then now on to quinacrodme gold as I approach towards the top. All right, there, nice quinacrodon gold. Once you've done with that, we'll grab on the next color, which is orange. A lot of work to be done for the sky here today, right? So there you go grabbing a nice amount of orange and I'm going to blend it into that yellow. But can you see that area needs to be lighter. You see adding the orange and we'll also add the orange towards the top of the quinacrodon gold region that we just added. Then you're going to keep adding orange. There you go. Now grabbing and adding the orange. Okay? Then going to go ahead and add in more orange towards the top. Here's the tricky part, still adding the orange here as well as I come over to the top, I'm adding these smaller, smaller strokes for various tiny cluttered together clouds that I want to add. See that? And then possibly a very large one over there. We need to be quick. Then immediately, I'm grabbing a color, which is basically cobalt blue, and I'm going to add that into the sky. Immediately around, adding and I can see my papers start to dry out. Oh, no, I need to work really, really quickly. There's the cobalt blue. Now I'm filling up my sky with the cobalt blue. But now where am I filling it onto all of the areas in between. Now you definitely need to use the pointed tip of your brush and start filling up. The reason why I use cobalt blue and not other blues like halo blue is when it mixes with this orange here, it's going to create possibly a little bit of a gray color, and that's fine because those gray color can still be the clouds, but Unlike the other blue, if you were to add in a thalo blue or something, it's going to turn a greenish color, which obviously we do not want. This is the reason why I'm adding cobalt blue here. Very important as to the blue that you use here, it's okay to have some random bits of white color in the sky. Absolutely fine. Just make sure that you go ahead with multiple strokes, making sure that your paper doesn't dry out at any point. You can see here just adding and now that we've added all of the strokes, there is still a lot of work for us to do. So we've added the blue onto those areas. You can add more blue as you please, making sure that, um your sky is filled up nicely. Then I'm going to grab Talublue and I'm going to put the Talu blue into the middle areas. That'll just give me a very vibrant look for my blue over there, but always make sure that your thalo blue is nowhere near the orange. Do not go near the orange with your thalo blue. But see how that gorgeously it looked. I'm going back to my cobalt blue for the areas along the edges here, can you see? I will blend that into my thalo blue region. You go blending that into my halo blue region. Now I'm going to go ahead and grab a smaller size brush, which is basically my size. Two brush and I'm going to do some lifting because we need to create the sun's rays. Making sure that my brush is damp and gotten rid of all the colors, just going to do a little bit of array like that. That's fun lifting, wash the brush, go back and wipe it off and doing another set of lifting beat the process until you have all the sun's rays, choose a point towards the center. That's the center point for me and making sure that I have a nice edge reflection. For my son, some of them you might want to do multiple times just in order to make sure that the rays are in fact intact and perfect. Okay? I think that is a really nice effect. Got to make sure that some areas are better, right. There you go. I will probably go ahead and grab a teeny, tiny amount of paints gray and try and add in some of the areas like you know, gray clouds, but I'm only using a very, very smaller brush here and just adding some clouds. This is an addition in our painting. You could totally skip this part if your paper has dried out, you've got to make sure that your paper is still wet while you do this process. Very, very important. So here you can see what I'm trying to do, getting in some of those nice clouds in the air. All right. I think that's good enough. Okay, making sure that I blend all of the areas. Okay. So here, we've got a lot of drama in the sky. It's a gorgeous gorgeous sunset effect, isn't it? Okay. So now we can get back to painting the mountains. I know we've not dried the paper, but the background mountain there, if it's kind of still getting lighter or wet on dry look, it's absolutely fine, which is the reason why I'm going ahead and painting right now. So I'm starting with a burnt sienna color, and obviously, I can clearly see that my paper has really dried out. Okay, so not the perfect wet on wet as I intended. All right? Be my papers, totally totally dry. That's nothing to worry about. I mean, it's okay. I expected this. It's not something like I never expected this or I didn't intend for this to happen. All right. So here with the band Sienna over there, but as I approach towards the right side, I want it to be gold and go ahead and grab quinacrodon gold. See that? Because that area is the glowing sunset region, isn't it? Go ahead, grab quinacrodon gold and put it there. Also towards the base, you can proposibly go with the burnt sienna. Okay? So there can you see, it's like a golden effect there, nice golden effect over on that region. Okay, I guess that it. That is the number of layers we can do right now. The other ones we can obviously go ahead and do it in a wet on dry manner. So let's go ahead and try this up. Right. There you go. It's completely dried up now. Okay? So then grabbing a darker brown color for the next layer of the mountain. Okay? So there you go. That's a darker brown color, and that's what we will add. Right, I need more Watery mixture. I need it to be brown. Mixing up a little bit of burnt sienna into it because it was looking too brown, too dark. There you go. That's now the brown. But again, as I approach towards that right side, I needed to be slightly lighter, just only adding the burnt sienna towards the right side. That will again have the little glowy part there. See that? That's part of the background mountain there, but now you can see it's got that glowy region over there. I guess you can either go ahead and draw this up or you can go ahead and add in the next layer. I am going to go ahead and add in the next layer, which is basically to add in a mountain with dark green now. We're approaching closer to the viewer, they need to start to see all these colors. That's basically where I start and I'm starting with a dark green color. Can you see how dark that is? Okay? Right? All right. But I want to get as I approach closer, put in some nice sap green shades over there. Okay. Let me grab the sap green. Not yet over to closer to the other mountain, the sun region. That was sap green. Closer to the region. I'm going to grab my olive green. It's going to mix up very much into the sap green and only give a lighter tone, subtle lighter tone, that's absolutely fine. Now grabbing my darker color, just going to put in a lot of these lines and details onto my mountain there because the base needs to be ultimately, very dark. Just only on that area where the sun is it tends to be a little bit of a lighter color, but the rest of the areas, go ahead and put in some nice dark green like that. Can you see how it reflects the darker green now? This is all it is of the sunsets color. It's important that we understand that. Once you've done that, let's go ahead and try this up now so that we can be in the foreground and we'll almost be done. There you go. That part of the mountain is now done, so we will go ahead and add in the foreground. For the foreground, I am sure you guessed it by now, the color that goes absolutely in the front is olive green because that is the warmest green. You need to put warmer tones there. Because, like I said, again, it's the sun reflecting onto the foreground. There's a lot of colors there. This is the sun. All of the areas closer to the sun. Okay like there, we need to go ahead and add in a nice olive green shade. Then the rest of the areas, the other areas, go ahead and fill it up with darker greens, not darker, but here I am using sap green. Here's the sap green mixing it up nicely, you can see the kind of mixture that I've made here. Right? You want a lot of those areas to be more of the olive green, not just the top region. So see the shape that I created, and then I'm filling up the rest of the areas with the sap green. I will also grab a teeny, tiny amount of darker green to go along the very, very bottom areas, okay? Because that's where the most chunk of the foreground is, okay? Or the shadows, the depth, this is what will give your paintings a nice depth. Here, just adding water and blending together the whole thing. Because my paper had started to dry out. Adding water helps to get the whole thing into a nice blend. Okay? And there we go. We've done. Can you see how the gorgeous foregrounds has turned out? We're almost done with our painting. I just needed to do something at the end, as in before drying itself because what I'm adding, the area is already dry and the reason why I added is I accidentally dropped off a little bit of paint here. If you observe right here, there's a little bit of a paint there. I saw it happening, and that was the moment that I decided what I was going to do with it. So I'm just basically going to put birds there to mask out my mistake in the sky. So I'm adding my birds with lighter colors over there, as in we can start with quinacridone gold for the bird there because that's right in the sun region. Okay? So I thought that, why not? And we could put that as a nice exercise as well to understand how the colors of the bird would vary depending upon the position they are in the sky as well. So that one there, I put it as quinacrodon gold. Anything closer to the sky, again, we'll put it in acadon gold. Then as you go further away from the sun's rays, I've grabbed a little bit of the darker burnt Senna now. Over to these orange shades, I am adding burned Senna. But then as I approach, into the darker zone, which is the blue areas in our sky, the births can go back to being black. The light gets reflected on them, which is why we see them as lighter colors. See, those are black ones. You can add them in any manner that you want. Just a little number of birds, as you add them closer to the horizon, also make sure that they teeny, tiny, very important. Okay. See, teeny, tiny ones. And if you want to literally I wouldn't add it on top of the sun region itself because it would the light is too much. You wouldn't see the bird, so there's not going to be a bird over there. So do not add on top of it. I would refrain from doing that, stay off the track and, you know, add to just the other places, I would say. I really like, just giving a rack there and it also follows the composition. I know you might not notice but add it that deliberately. In, I put the birds all following through the sun's rays and if you look at the track of the birds, it goes like that. It follows there, and then it takes to this patch of land there. In composition, it's always said that you need to create paintings. I the eyes of the viewer follows into the main objects or the main focus points of your paintings. So here for me, it's going from there and you could just literally see a arc there like that, right? That's what I wanted to capture there. Okay. So it's all looking good. Need to dry this edges before we can remove the tape, so I'm going to dry it now. There you go. It's completely dried up. So now I will remove the tape. And here you go. Here's the finished painting. I love it. I absolutely love it. All the gis of the sky, the clouds and even the foreground is just gorgeous, isn't it? So, here you go. I hope you enjoyed painting this with me, and thank you so much for joining me today. 99. Day 94: Hey hey hey welcome to day 94. And this here is the painting that we're going to be doing today. This looks tough. I know a lot of smaller strokes, but trust me, it's easy so long as you manage to keep your paper wet, and if you follow the rules from the beginning, the things that I say, then you're absolutely gonna get it. Don't worry about it. Be confident. I'm sure that you can do this. So let's have a look at the colors that we need for this one. We start with transparent yellow, transparent orange, QuenacrdwRose, violet, and paint green. Yes, that's it. That's all the colors that I have used. I haven't even used Alizarin crimson. I've just used just these colors. How many did I say? Transparent yellow, transparent orange, quinacanose and violet and pink gray? Five colors. Just start. Okay. So here you go. And if you're ready, let's get started with this one. All right. Let us start today. There is no pencil sketch. We're just going to go ahead and start with it straight. So let's go ahead and apply water to the whole of the paper, okay? So wet on wet, obviously, for the first layer, and we're going to apply water onto the literally onto the whole of the paper, okay? So there you go, apply nicely, make sure that the paper is nicely coated in water. It should not dry off quickly, so make sure that you also make it absolutely wet. You might want to do it in multiple layers if your paper is prone to drying. I am going to do it in multiple layers today because I know that my paper will dry out quickly if I work on it too much. So and I do want to work on the sky layers a bit tad more. Then that's why I am literally going to apply more water. I've absorbed from the edges, I can see that my paper is still wet, but I'm still going to go ahead and apply some more just rubbing my brush along, which will ensure that my paper stays wet longer. And I guess that's that. Now I will start with my size eight brush. Here you go, starting with my size eight brush and obviously the first color that I want to start with is this yellow tone, transparent yellow. I'm going to start in this region over here. That's where we want to depict the light. So here little bit of lighter region and then grabbing on my yellow and going ahead and adding Okay, and we will add several strokes like that towards the top, washing that off, going for the next color, which is going to be orange. Okay. And here you go. I start applying the orange again in the manner of these streaks of lines to start with. Okay. So here in some of the areas, okay? The done with the orange. Now we'll go on to the next shade, which is going to be the rose. Here you go go, right, and applying the pink shade. Obviously, with the pink shade, you can touch base with the orange. It's absolutely fine. Okay. So there, and the pink shade is what we can add towards the ultimate bottom, although we might try other colors. So this is actually a sunset completely from my head. Okay? So I'm inventing this as I go. As I just noted that my yellow is spreading into the white region. So I've just grabbed a damp brush and I'm going to get rid of the paint from that region, just a little bit because I would like to have that white region on the paper. So here grabbing a nice amount of the pink shade, adding it nicely and vibrantly because I know that otherwise, when the paper dries, it will dry off. Here again, grabbing the pink, and this is what we add towards the ultimate top. More pink, nice and vibrant pink as that is, you can see, just also filling it into some of the areas. I can see it's lacking here again, so I'm going to go over it. Whever my color gets lighter, I'm going over it. My brushes are getting old. This brush is literally like 5-years-old. This brush is as old as my colorful mistake account because this is the first brush that I bought, the size 81. The other ones are fairly new, so I can imagine why it's starting to shed hair now. Then I'm going to grab into my orange again because I want to solidify the color and make it vibrant. Again, here, just grabbing into that orange that we applied earlier and adding it on the top to some of the areas because you can see it had actually lightened up in several of the places. I'm just going ahead and adding that color over again. Obviously, naturally because you've added that color, you need to go ahead and add the other tones as well. So basically, in here, now you're going to go and add in the yellow, but make sure to stay away from that sun region. I'm not touching base there again because I'd like it to be lighter. The more you add vibrancy there, the more it's going to get darker. So that is something that I do not want at that stage. Okay. So yeah, we've got a coaches coaches coach beautiful sky with the Mind right now, but let us do more because we are not done. So the next thing I am going to grab is a nice violet shade, and we're just going to give that a little tweak and add that, but make sure you blend it nicely and evenly. Then, I think now I'll switch to a smaller size brush because I'd like the clouds to be smaller. So I'm going for a size four brush here. Okay. And here, going to grab the violet, but I need to make sure that my paint is not watery because if it is, then it will not turn out good. Okay. So here again, adding the violet on top of the pink, and you can see how that's turned out. Okay. But now we'll start to add in some nice cloudy shapes. Okay. So with the violet, okay, is now where we're going to add in the cloudy shapes. But again, like I said, need to make sure that my paint is just semi wet, okay, and also not too vibrant. Okay? So here you go just going to, like, drop in. Okay? So now is the point where you're going to drop in smaller, smaller, smaller clouds. Teeny tiny clouds in various spaces and also with the violet, I would ask you to refrain from the yellow areas as much as possible. Just because violet is the opposite color of the yellow, the complimentary color, there's high chance it will turn into a muddy color. But having said that, it's okay to have some. It's not just muddy colors. It's going to be a gray color in fact. It's actually fine if you're having a gray tone there. See how I've added several smaller, smaller clouds. We're going to do that. And the same thing. Now along this region, along the horizon, you might want to go and make it a tad slower or, since we're trying to do this in the form of different streaks, there is absolutely no shape. This is like I said, it's an invention from my head. See? It turns out into a brown shade, yellow and round together. Sorry, yellow and purple together, but it's still gorgeous, isn't it? You might want to try and add in various sheets. So as long as your paper is wet, just go ahead and invent a lot and try adding different clouds. See? Like I said, not a problem, even if you add it to the yellow region so long as your clouds make sense. If it doesn't and if it goes into completely, I would say muddy color, then don't. But it's good if you can make up and add in several of these cloudy shades. See what I've done there. That was with the violet, but then you can also grab the pink along and in those reddish or the yellowish areas, just go ahead and put in some of the pink tones, just like a little lighter compliment. See how we've got a bright layer of clouds there. This is actually reflecting the light. That effect is what we get. You also want to make sure that Okay. See that? So red cloud and you can do the same over on this region. It turns into a beautiful red shade because the pink is mixing with that yellow over there. Nothing to worry about, and it also does the same with the orange. So long as you are working and adding and stop whenever you see that your paper has started to dry out Because if it has started to dry out, then we do not want to work on our paper anymore. So here I guess I am really happy. This was a sunset, I mean, sky, totally out of my head, a completely new invention, but I really love the way it's tned out with a lot of clouds and all these effects. So one thing that we can probably add is to put in a fground and we can do that with the paints gray itself. I'd like to have a little bit of wet on wet fkground. So it's still part of the background because then you get this softer edges. And that's what I'm trying to do. Using my paints gray, towards the bottom, filling it. Up. There you go. Nicely filling up. You can see those hairs forming. They actually look like giving us the effect of nice cloudy effect. What did I say? Sorry, not cloudy effect that like a bushy structure, which is what I'm trying to aim here. There you go. That's that. Now we can try this up so that we can put in some foreground. All right. The ego, it's completely dried out now. So the next thing that we can do is just to go ahead and put in a little bit of a fground and wet on because my entire focus has been on this cloudy sunset sky. You can see there's a light coming from the sun in that setting, but there's also a lot of clouds in the sky, so we're getting these kind of strokes. So I really love the way it's turned out. But now let's go ahead and put in some fgrowd. Starting with paints gray, the ego, and what we can do is, uh start off along the edges and maybe, like, you know, put in some bushy shapes. Okay. So something completely random. Again, like I said, I'm totally inventing this. This is not from any reference or anything. So actually, you're free to go ahead and put in any foreground if you do have any, you know? Like, I am just going with this method. Alright? So that was a large, bushy thing. Then maybe a thing going to put in a one pine tree there. But also, we do not want to make it too closer to the clouds, but then this also doesn't mean that the pine tree is touching the clouds. This just means that these are the clouds at the horizon. At the horizon, they definitely look and feel as though they are touching the trees. But obviously, you know that's not the case, right? So again, for my pine trees going with the zig zag method because actually, I love it. It gives the absolute randomness that we expect out of a scene like this and also then you can also go for empty branches, I guess. See that? One empty branch, and then possibly another empty branch again, like that. And maybe another smaller pine tree in the middle and I'll be done. Because I also don't want to add too much details and take the focus out of our sky. The focus is actually mainly on that sky. The sunset here is our focus, isn't it? Like I said, I really do not want to take my focus of it. I know, I do say the things, and then I just repeat those things myself, but I couldn't resist. I just wanted to add two more pine trees. I think I just love making pine trees. And I was just looking at the time and waste. I'm still at 17 minutes, including the drying time, which means that after editing, this is gonna be way lesser. So I thought, why not? I mean, I've got a lot of time, and I could literally work on this painting as much as I can, isn't it? Okay? So there you go. Okay, promise. That's the end. I've stopped. So you can go ahead and add in as many details as you want, put in anything at the bottom, because it's a sunset sky. The colors of the sunset mean that anything on the ground is going to be more of the darker shades, which is why we've painted them with paint gray. Okay. So just going to dry up this bottom, and then we can remove the tape. Alright. There you go. It's completely dried up now. So now I am going to remove the tape. Oh, my God. Oh, my God, look at that. That's absolutely gorgeous, isn't it? Just look at that. Here you go. I hope you enjoyed painting this with me, and thank you so much for joining me today. 100. Day 95: Hey hey hey, welcome to Day 95. And this here is the painting that we're going to be doing today. Isn't that gorgeous? I mean, it's really simple. You can see the timeline, the time frame that I've taken to complete this painting so you busily know. So let's have a look at the colors we need for this one. So we start with halo blue. We now crew doonRose, transparent orange, transparent yellow, violet, paints gray, and lastly, Alzain crimson. Okay? Yep, there's no brown in this one. Yes, but we've gotten brown mountains. So let's get into that. Okay. So if you're ready, let's get started with this one. All right, let's start. So today's is going to be simple. I know, I say simple, but then eventually it ends up being difficult. Let's see, but it's still just going to be nice colors of the sunset. That's our focus here today. That's why here I'm focusing a lot more on the sky rather than any other objects, which is why we're not having much of, you know, other elements in painting, the sunset. So all the other elements, basically, I try to, like, minimalize it and um not lata the same because our focus here is obviously the the sunset scene, isn't it? Here you go applying water to the whole of the paper and I've applied it nicely. Then obviously, the next thing is basically to absorb the excess water as usual, and let's get to painting the sky. Here I've grabbed my size eight brush and I'm going to start with a nice talublue color. Here I am with my Telo blue color and starting at the very top. Okay. Applying nicely in a nice layer will come down with my hallow blue color needed to be vibrant like the previous days. I love my paintings when they are vibrant. I'm sure you know that by now, obviously, I even my book is named as vibrant watercolor, isn't it? Okay? So there you go, just going then towards the right side as I approach, of course, I'm decreasing the color, also just applying just to the right side. Okay? Then here coming down here, applied until that very point there at the bottom. Next, we go with the next shade in my case, which is the pink. There gog pink. We take the gorge pink over to the blue areas, absolutely fine again. Here, just some nice nice pink shade. But in the pink shade, again, I'm going to create some gaps of white there anything over to the right areas over on top of the blue we want to add in the pink. You can see that's a nice pink shade again, closer to the end of this blue area as well. I guess a little bit there. Now, about those white gaps that we left behind. Going to grab in orange. My orange was a bit contaminated with another color. So here, fresh orange, and that is what we will add into the areas in between. That's like beautiful colors there, isn't it? So here you go. So orange, make sure that the orange does not touch the blue, but rather just along the other edges. See that. Then again, coming down to this area, more of orange now towards the bottom. There you go, more orange orange shades. D with that. Then now towards the ultimate bottom, go with yellow. Usually I start with the yellow and then would have gone upwards, isn't it? But today, just try a different track. Okay. So there you go rabbing the yellow, put that nicely and vibrantly. Now, the only thing left for us to do is to make sure that we blend all of the areas nicely because I can see that there's a lot of gaps in between. Also, when we blend along, you can see it creates kind of a little purple shade, but that's okay. But just make sure that your blends are kind of more uh, natural. Okay. Very cool. I love the way that's turned out. Now, next thing left for us to do is to kind of add in some clouds over the top. So what we just paint? Well, clouds are on different layers. They're also formed of different amounts of water vapor in them, which is what causes it to have different colors. So these ones that actually reflect the light are very lighter colors and do not have a lot of water in it. But when the water increases, that's when we get darker clouds, isn't it? Like, ready to burst off and all darker areas. That's what we're trying to do here, adding some darker clouds. I know we did add some darker clouds yesterday as well, but today we're just adding some more, but a little bit on the bigger side, not as small as yesterday's maybe a few smaller ones here and a few ones there at the horizon. Alright. There you go. I love the way that's donned out. I'm just grabbing a little bit of pink to kind of ease in some of the areas there, okay? But just going to, like, wash my brush off and blend that evenly. See, here, there's a problem with the blend, forming hairy structure. I do not want too much of a hairy structure, which is why I'm trying to, like, blend these in. Okay. There you go. I think I'm happy with the way that one has turned out. Today's painting was absolutely quick, isn't it? So let's go ahead and quickly dry this up, and then we can add in the foreground. So like I said, I wanted to keep it a bit simple today so that I don't trouble you much. So I'm going to dry this up today. Okay. All right. There you go. Absolutely tried it up. Now it's time to add in the beautiful foreground. Okay? So here just go to grab violet. I have a lot of Azaren here, so just going to mix in my Azaren there to that violet so that it creates like a red purple shade, which is exactly what I want. And that is what I'm going to use for the fkground. Okay? So it's already going to mix in with that yellow over there to create, like a nice brown shade. Can you see that? Brownish kind of shade? Then starting there, oh, starts pink, wrong color. G to grab Alizarin, going to add that in. That's more of some St. To just create some teeny tiny structures. There you go. Just filling that up to the bottom. Let's fill that up to the bottom and then we'll definitely grab and change in the colors. Added that up towards the right. Then I guess over to the right, I'm going to grab in just a violet. That will give me a more slightly darker color, I suppose, okay? And then blending that along with the red. I don't want it to be too much of a vibrant color. When you look up closely, it's going to reflect like a burnt sienna color towards this side and a very slightly dark appearance color towards the right side. Then I'm going to grab in violet, I am going to paint the ultimate bottom side and create a dark extremely darker layer towards the bottom there. You can see it's nice and dark towards the bottom. Now, I know I should probably wait for this to dry out. But while it dries out, let's go ahead and put in some birds. That's how we will finish this painting. My birds are going to be obviously with a nice amount of paint gray. Okay? So here just grabbing Pains gray, and I'm going to add in some nice birds. At first, with Pains gray and then we'll try and see later, just a moment, just a. Just noticed mistake with not mistake but some spreading around with the color there. So I just adjusted that. Now, the birds at the horizon. This point where the mountain is, that's at the bottom, that's where the horizon is. You want to make teeny tiny birds. Be I've covered birds several times, but I'll show this again. Our birds are supposed to be something like that, a V shape. O So what I do is basically I first, using the pointed tip of my brush, draw a line like that, then I press down my brush a little and do this. So you see how this side of the wing is thicker than the other side. That's because we want to draw it in perspective. Perspective wise, the wing on the other side gets thinner and then you get a thicker wing on this side. Then you want to repeat that in different positions. See that. Go ahead and create the birds in different directions and you can see the birds as you go downward, you want to decrease the size of the birds. Towards the horizon, they're like teeny tiny birds, because they're really far away. The horizon is absolutely far away. Whatever here is at the top, okay? So you want to draw the inverted Vs and when you're towing the inverted Vs, no perspective effect in play there. It's just like that. I press down the brush a bit and then pull it out like that. The same thing towards the other side and gives an inverted V shape. See that? Okay. So here. Lots of different shapes. Okay, so do it in all different directions. I like to always put the birds in some kind of a random direction, maybe like a curve or something. It's just something that I enjoy doing. Okay. But now about the difference that we're going to do is we're also going to add in some white colored bids. Okay. So here, go ahead and grab in your whiteqh. This is absolutely dried up pain, so I definitely need to make sure that it's still I mean, activates backup. Come on, come on, come on. Lot of dried up pain there. Picking up water again and again so that it actually activates back. I guess it's at a good point now. Then our bit, make sure that you do not put it in those lighter areas because it's not going to be seen. But if you put it at areas like the core yellow areas or the blue areas, okay? Just some different colored beds. You don't want to add too much of the white, I guess, one or two, and also you possibly want to add in a layer of a little bit of the black onto them. Then it'll look like it's the color of their wings because it's not essentially adding just completely white wings. It's not possible and it's a sunset scene. The birds are supposed to be ultimately black because we're looking at it at a very darker point of time as in in the evening, isn't it or sunrise, I guess. Okay. But then the sky's got these lighter colors, and that's the reason why these birds are reflecting some of its original color, which is the white, of course. That's what we see here. Okay, see. But you get a nice variety there, okay? So nothing on the clouds, did not put anything on the clouds because they would just vanish out there, isn't it? But you can go ahead and, like, put something on the top, okay? I guess that's enough. Do not want to add in too much there. And we're done. Wow, that's record, time, not even half an hour. That was 14 minutes. So now I'm going to dry this up, and then we can remove the tape. Alright. Here you go. Let's go ahead and remove the beautiful tape. Oops and here you go. Here's a beautiful painting. So I hope you enjoyed painting this with me. Thank you so much for joining me today. 101. Day 96: Hey, hey, hey, you're welcome to Day 96. And this here is the painting that we're going to be doing today. It's the last five days. I mean, can you imagine that? Oh, my God. And look at that. A gorgeous sunset. We're using only sunset colors for the sky, obviously. For the foreground is where we're using different colours. So let's have a look at those. Okay. So first, obviously, it's transparent yellow, transparent orange, lazarin crimson, Winacrodnose, violet for the sunset. Then for the foreground, we're using transparent brown, paints gray, and a darker green. Okay. And also, you'll need some white gauche. Yes. If you're probably wondering where we added the gauche, you see that and watch out. And no, it's not on this white line. Okay. So if you're ready, let's get started with this one. All right. Let us start, so we'll start by applying water onto the whole of the paper. Anything that's in the foreground, we will add it with our brushes itself. No pencil sketch. Okay? So just go ahead and apply water nicely onto the whole of the paper. Take your time to do it if you think that your paper might try out quickly. So it's very important that our paper stays wet. So go ahead and apply as many times as you want. All right? Then just going to absorb the excess water from the edges of the tape, and there you go. That part's done. I'm going to grab a size ten brush, and I'm going to start with a very nice and vibrant yellow sheade. Okay, so there you go. I start right there and I'm just going to create rounded shapes like this. That's how I am going to be adding the paint. And painting up until here. Then grabbing on to the next color, which is going to be orange. Again, going to create some nice rounded shape so it can go over on top of the red obvious. I mean the yellow, obviously, there we go, just adding them nicely and again over onto the top. Leave some gaps of yellow there as you can see, then leave a little gap of white there and then continue along. Okay. The leaving some gaps of white. And then joining along here. Okay. Grabbing on again, coming over to this side. You go. That's nicely added. Then grabbing some pink shade. Going to put in some pink shade. Leave that area blank for now. So just a teeny tiny amount of pink shape, then over onto this side, some nice pink shade. There you go. And again, lots of areas left as it is. Then going to grab in some violet, mixing it onto this section here. Remember, it's a mix of Azarin and violet together. Grabbing that, you can grab in more halizarn because I want it to be a red purple shade, then it's also going to blend in with the orange to create a very vibrant brown color. Meizarin into the violet mixture. Make sure that there is more alizarin there. And here it goes. Okay. And over on this side as well. Here you go. Time for more. And on this side, we're adding them in circles. Remember that. There you go, more Alizarin, filling in along on this direction, use the entire length of the brush and observe very closely how I'm holding the brush. That's very important. I love the way that sky over there has spread and also I want to add in some areas onto there, okay. And maybe a little over here, but not entirely because I'm going to add something over there. This side, yes. Okay. There you go, add it. Now onto that side. I've been debating in my head what to do right now, so that's why I left it blank, but I've just got the idea what I want to do. Here we'll put in orange there and you can go ahead and blend that orange in to your violet as well. So see it's changed into a slightly different color. Then grabbing orange, let's go ahead and blend that into the same mixture, the Azarin, the orange, and a teeny, tiny amount of violet, more orange needed. And can you see it's turned into a very, very beautiful brownish color, kind of like a burned Sienna one. So I'm not using burned Sienna today because burn Sienna, I do not want to depict that as a sunset color, which is why I'm refraining from using that. Instead, we're using these colors which are mainly the sunset colors and then creating the mixes, which then creates like, you know, these gorgeous different rounds. Okay? That's the whole purpose, isn't it? So here, just adding, then also going ahead and, like, adding smaller clouds here, leave that white area there. It just depicts a nice light. Then now you can see how this entire thing is turned out, going to grab in a little bit more violet, going to mix into that and you can see that changes into a slightly darker color. If you want to like a darker brown, go ahead and mix in more of the violet and see how it's turned into a very dark brown color. I'm going to paint that along some of the edges. Go ahead and drop it in some of the areas where you'd like it to be darker. And just go ahead, create some nice clouds at random places, more violet and a little bit of a darker brown there. Probably okay. You see how this whole thing is starting to turn out and see how we've created that really beautiful and gorgeous gorgeous gorgeous guy, absolutely gorgeous, isn't it? Now, there's something else that I want to add onto this one, and that would be grabbing some nice white paint. Very important and I'm grabbing it from the tube directly because I want it to be nice and vibrant. Because if I start diluting it on my palette, then it won't be this vibrant, that's the reason why I'm using this. Then you're going to put that on your paper, but then again, try and kind of create these rotations and then go ahead and put in the color. But once you touch the paper, see your brush is contaminated, so you obviously have to wash it off if you're going to pick up again. This is probably the reason why we always go with the palette method. But today, I just wanted it to be more vibrant. That's why here. I'm just wrapping into Rati from there and you can add it over various colors. Leaving that white, but I'm painting the edges of the yellow here so that it looks like it's a blend into that white region. So we've never done that before and see, I just put my paint into it. I mean, my brush into it with our thinking, and that's contaminated the top, and I'll just quickly take it off. The echo. All right. Then some areas here, along with the orange would like a little bit of a pastel color there here. The reason why I'm adding white is to get a pastel color. You could also actually mix up this pastel color on the palette itself by mixing this orange and yellow and pink all in your palette. But then it wouldn't be this vibrant when you actually paint it onto the paper. This is the reason why I'm actually using this method. Again, washing my brush of wrapping some white. And adding in random areas where I want to have those pastel colors. I think we're really good. I love the way this entire thing has turned out. So now we have to wait for it to dry but we can go ahead and add in the foreground. Now, can you see how the pastel colors have turned out? It's very subtle but slightly different. The pink shade and a slightly different orange shade a very lighter yellow. See how that's achieved? Well, you could achieve that with transparency of the colors, but then it still wouldn't look this pink or this orange and that's the reason why I wanted to mix in there. Now we can go ahead and paint our foliage. I mean, the foreground. Here I'm just going to grab this size eight brush. Now, since we're painting not the sunset region, but other areas, it's okay to use other colors. Which is basically to grab in transparent prawn. It needs to be darker. The bark of the tree cannot be any lighter because obviously it's a sunset scene. All right. So just going to start here, going to take it upward. They're going to take it upward and create some kind of branch structure. I think I might have to add in pains gray as well because it's too light even for sunset scene. I know it looks darker in the camera, but trust me, I can see that it's very light. I don't want it to be that light. I'm going to have to add in some paints gray at some point. So here, just adding and putting in some branches. Here, as you can see, I'm just putting in some random branches there because I will put in the foliage over the top. I mean, you've seen the fandom picture so you know how this ns out. Here the dark paints gray color, putting that on the top of the tree. Getting it a little thicker at the bottom, going to grab the paint gray and mix it along with the brown so that we get a brownish black color. And I guess you can create small branches here, and I guess a lot of smaller ones here as well. See the kind stroke I've done there. It already looks great, it should we stop it right here. Oh, no, let's continue. Okay. So the next thing would be to create a darker but warmer brownish green color. So for that here I am grabbing my dark green color. Then onto that, we will mix in some darker brown. Okay? So it becomes very, very darker version of olive green color, but it's greenish and it's brownish. Then you're going to have to use the entire length of your brush. Make sure you pick up the brush, and what we're going to do is kind of like, you know, some kind of foliage stroke. So I don't want to do this, okay, because we've already done that in many, many exercises, projects. So I'm trying to do something different. Okay? So just going ahead now is the point. So remember we put those branches in, try and fill in the gaps, okay? And also, let it have all these gaps in between, do not try to fill them up. The reason being, I mean, we took a lot of effort to paint this sky. You don't want to cover it up, right? So again, there you go, just some random branches at places. Okay? There. Okay, so that's one part of the branch. Then I guess we'll go ahead and fill up more at the bottom here. At the bottom here, because it's a very, very darker color. I mean, for the sky, it's okay that you can just use your green and not mix it with any brand because it's pointless because it's still gonna just turn out darker. Okay? There you go. Fit it in some things and some colors, and we're done. So you could actually go ahead and put in a lot of bids or anything if you want, I mean, if you'd like. But I was going to say I really love it, but then my mind instantly flickered too, no, no, no, let's put in birds. Let's put in birds. Okay. Why not? Let's put in birds. Oh, my God. I take like I take spur of the moment decisions like this, and that's how my paintings turn out. Okay? So this is not from any reference or anything. This is just, again, from the top of my head. So that's why things change as and when I paint, okay? So here lots of birds. Okay, I love adding birds. Trust me. I don't know. There's something about birds that just makes me love adding them. Oh, look at that. Maybe a few more over to the other side. Okay. We definitely should not make such that they are not flying closer to the tree. Obviously, there'll be several ones in between the trees. It's not in between the trees. It's probably behind the tree, but that's okay. Okay? I'm still gonna add nicely. Okay. Oh, my God. I love that one. Okay, there you go. That's a lot of birds added. Okay. Have as many as you want. All of it to that side. So probably let's do a few over to this side, okay? Remember, smaller towards the bottom. A rogue bud on that side. Two rope bids. Well, now it doesn't look so rogue, does it? Anyways, so there you go, and I believe some part here is yet to try, so I'll go ahead and try that up. Alright, here you go. It's completely dried up, so let's go ahead and remove the tape. And here you go. Here's the finished painting. I think it's lovely with the birds, isn't it? I think I like it more with the birds. It was a good decision. So here you go. I hope you enjoyed painting this with me, and thank you so much for joining me today. 102. Day 97: Hey hey hey welcome to day 97. And this here is the painting that we're going to be doing today. Confused Because what is the topic? Well, as obvious, it is Northern Lights. So I know there's only four days left in this class. Can you believe it just 4444 days. So this is Day 97, obviously. So I thought that because this is not a whole week to be done. I mean, four days, you can't put a whole week subject in it. Right, like we've been doing these days. So instead, I have chosen four topics out of these exact all the weeks that we've done until now, okay? And out of all these topics, I mean, just four topics which I like really the most and we'll paint one extra one with that. And that is this one. Okay? I can't remember if I gave this actually for the reference image, but if then, then yeah, you go. This is how I would have painted it. But there are a number of ways that I would paint it, of course. This is one of the ways. So here you go. This is what we're painting today for the Northern Lights, obviously. We'll see what other topics that I have chosen in the next three days, of course. So here you go day 97. Let's have a look at the colors. Okay, so we start with cadmium yellow, hal blue, que acriton rose, pens gray, violet, and a little bit of transparent brown. And lastly, some white guash for the stars. Okay. So that's all the colors that we need. And if you're ready, let's get started with this one. Alright. Let us start. So we'll just add in a little bit of foreground with our pencil sketch. Okay, so just drawing something like a horizon line, but it doesn't have to be any even, okay? And, uh, the mountains to go into that background. Okay. So there you go. I've drawn it very, very lightly, which you can see. Here you go closely. You can see it's very, very light, just to get a little bit of a pencil sketch, okay? So you can draw it harsher if you want, but I always prefer to draw it lightly as you may know by now. Okay. So let's get to painting this. Alright. So I'm going to start by applying water to the whole of my paper. Yes, whole, that's absolutely fine. So just go ahead and apply water to the whole of the paper. Okay? There you go. Applying the water nicely and evenly onto the whole of paper. It's not a large painting, so you obviously know you have to make sure that you apply the water evenly and also multiple times in order for your paper to stay wet and give you the nice beautiful strokes. That's very, very important. You might know that by now. Then absorbing the excess water from the tape. And the edges, then we'll start with the sky. Okay? So here you go. I'm grabbing my size 12 brush, and we're going to start putting colors into the sky. Okay? So I'm going to start with a beautiful cadmium yellow color. And just going to do that. I mean, come on. We've done this multiple times and I'm sure you know this by now, isn't it? Okay? So just a wel like that, then washing that off, pick up the next color, which is going to be quinacridone rose. Again, from the same position, adding the quinacrodon rose towards the top like that, and then possibly a little there and want to get streaks over on this region. There just added that. You go. You can see nice streaks added there. Then obviously, you're going to grab in some nice blue color, which will then mix up with my yellow to create some greens. That is Talo blue, and you can see, it's going to mix up with my yellow. But at the base, you can see, I'm not taking out the entire yellow, so there's a lot of yellow there, but at the top, I've gotten rid of most of the yellow color. All right. Okay. So now brush is now filled up with kind of a yellowish color, and I'm going to apply that over to that right side. You can also grab in more yellow, and you can see how the color changes. So we're kind of doing the mixing on the paper. That's what's important here. Okay, so see that. So nicely mixed together. Once that is done, we will start to go ahead and paint the rest of the sky. Okay? So for that, first of all, I'm grabbing my halo blue. All right, and I'm pushing it into the areas in between. So you'll start to see some purple shade and kind of like a darker green there. Also, just making sure that I never stop my strokes where the yellow is. So here I bring my stroke like that towards the bottom. Then without stopping, I go back up. That way, I do not get a large bubble, see where you stop, you end up with a bubble. In order to prevent that, that's why I do this going back towards the outside of the paper. See how we've created that blend nicely. Now we can go with a darker shade, which is paint gray. Then here I am grabbing paint gray and I'm adding need it to be nice and vibrant here over onto the area as well. Nice dark color which we're trying to get there and a bit. The colors mix a lot with whatever colors we have there. You can see all of these are still very uneven. We need to mix them, but right now I'm still placing the colors. Here I'm just grabbing fresh paint gray every single time and adding it into my paper to create that beautiful uh, vibrancy to my painting at the moment. Okay? So add it blue at first because it'll give a nice background layer. You go. That's all washed up. Now it's time for us to actually go ahead and blend all of these. You can pick up the colors so we used the same earlier. And start to blend it. Each time you do the blend and it's not blending perfectly, go ahead and wipe your brush or wash your brush, get rid of unnecessary colors forming in your brush. I've got my clothe here. It's very dirty, I know. I'm just going to make sure that I get rid of unnecessary colors. Here, you blending that in and like I said, getting back towards the top as well because don't want the colors to be blending and getting rid of our beautiful blend. Now here, I've got some yellow. I want it to be yellow itself. So here scraped up some nice yellow. I'm going to take it towards the top. Washing that need to blend that area nicely. So here, just grabbing the paints gray and creating a beautiful blend. And also the angle that you have on the paper, I'm holding the board at an angle. You can clearly see that that actually is a huge plus point B then the paint gets to flow and that's what we want, you can clearly see how I'm getting those beautiful strokes, and the beautiful blend as well. Grab in the same colors if they've like gone away, but I kind of like the lighter tone that I've achieved there, so I'm not going to touch anymore because the more you touch with paint gray or other colors, you're going to oops I said it, and then I dropped in some water. Oh, my God, I'm going to have to touch. So what I was saying that is the more you touch, the more it's going to mix up with paints gray and end up into a purple color. Okay? So, see, I'm just trying very careful. What I did was I had too much water on my brush, and I think it was somewhere here, and then it just dropped in. That was terrible accidents. But then, see, I saved it a the more you know water control, it again helps because it helps for you to move your strokes and move water to the right places so that they blend well. See, now I'm just blending along these edges nicely to make sure that it's a nice blend. Can you see? These hairs that form are actually really nice. It's positive. Let it form there. Then I'm just going to go back with a little bit more yellow and I'm going to put that yellow over here. At this joining point of the mountains, then I'm going to bring down the colors slowly, but also just making sure that my yellow is nicely visible, so too much of hair is also trouble. Here, just getting rid of too much of the hairs and then going ahead and creating a beautiful blend here. See, washing my brush every time and also wiping. I kept the cloth here so that you'll see me wiping it. Okay? Okay. There you go. Can you see? It's a very boom, boom, plastic area where I think all of the lights are originating from. It doesn't originate like that, but I just wanted to, like, you know, depict something like that. There you go. That's our sky done. We can paint the foreground and the mountains later. But that part is where we've done with the sky. Then the next thing is to obviously go ahead and try this whole thing up. All right, here you go. It's completely dried up and you can clearly see that there's something wrong, isn't it? So here, you see that? This is where I dropped in the water and I had spread it around. It would have been absolutely fine if I had let this dry normally because then the water would have settled and gone away. But what instead I did was to dry up with a hair dryer just to make it quick. Then what happened was because remember I applied some extra color and blended in that water, but that area still had excess water. When I was trying up with the hair dryer, the water flowed to one side because of the heat, not just the heat, but the air coming out of it. If I was using probably a heat gun, then this wouldn't have happened again. But since I was using a blow dryer, so this is a blow hair dryer, it blew and it made the water move and come over to this side where it has caused it. To kind of like crash into an area where there's very less water, so then it could not flow anymore, and that created like a wall of paint. And this little thing is just because I touched my brush with it while it was trying to see if it could move it, but that didn't happen. So I'm not going to say this is ruined because I know how to fix this, and I'm going to show you that. I also wanted to keep this as a lesson as to what things can go wrong and how it can happen and that everything may not be exactly perfect as you wanted it to be, but then you can still always find ways to make that right and find ways to adjust things like that. Okay? So that's why I've kept it exactly like that today. Alright? So now it's time for us to go ahead and paint the mountains, okay? I'm going to start with paint gray, okay? So I think I'll also grab in a little bit of violet into that mixture. Alright. And there is my Mountain, there's another one. I mean, I can see my pencil sketch. That is why. Now, about the mountain and the lighter area. Remember, over here, it's a very light region because of the light there. We also need to pick that light. What I did was wash my brush and just using water to pull up the paint. Okay. Now, once you've navigated away from that region, go back ahead and use the paint again. So here you go, adding the stroke on the mountain. It's a mixture of both of the violet and paint gray color. Grabbing in more paint gray for the these edges and also random areas, see, just dropped in at random places. But along this edge here, blend it such that the mountains there, but it still needs to be transparent because of all the light there. A because we had applied a yellow there and it's spread to that region, we get a nice color tone with a bit of a background yellow in there. See that. Now for the darker spots in the mountain, obviously, go ahead, grab in your darker pins gray and, you know, adding some random dark spots. You can see clearly what I've done there. Just a lot of dark spots. You can also do that with your dry brushing technique. Now, time for the foreground and I'm also not going to wait for the bottom part to dry because the colors at the bottom are fairly, I wouldn't say exactly similar, but I also don't want the mountain region to be completely detached from the foreground. That's why I'm applying water. Then I pulled out a little bit of the paint. See that? Now that part is the foreground. Depicting some of the same colors, starting from there, a bit of a yellow tone there. Very, very subtle. It doesn't need to have any greener tones because that's it's a night sky, so you won't see that much of a green. But come down to some of the pinkish tones. Then the rest of it can be a very, very lighter violet tone. See, just adding violet. All of the darker color, the darker violet would be towards the bottom, but let's fill up the base, not pain sray, violet at this moment. Okay? All right. There you go. Filled it up with some colors. Do not think that this is actually the reflection. It's not reflection, it's the snow. When we add in more details, it'll make sense. Now I'm just adding random details on to the mountain, okay? You can see just dropping in a random colors. Wanted this to be painting to be as loose as possible, which is why we're adapting this method there. Now I'm going to shift to a smaller brush which is my size two brush and we're going to start adding in the details. There you go. Probing violet, need to put in darker tones over to this side. There that is the darker tone, making sure that they're nicely blend, but also needed to be more darker, just grab in a little bit of paint screen to go at that very bottom part. That's all the dark areas is. Rest is, I want to create a pathway or something. Here I'm just grabbing a nice amount of violet and I'm just going to drop it like that onto the paper, but thicker at the bottom, and then as I go further away, just going to redo. See, it's like a pathway. The same thing we will do here. Then again, remember perspective needs to go and not exactly converge. I can converge outside of the paper, so that's fine, but make it such that it's possible for it to converge outside of the paper. See, some random bits and details like that, you can do the same in some other places, drop in some random colors and details, things that could definitely go into the background. Going to grab in some pink for these areas. Maybe a little bit of violet pink, I would guess. You go and maybe towards the base of the mountain as well. So random details on the foreground. There you see, we've got a nice pathway. Also need to create a slight separation, I guess. Okay. So just grabbing the violet again. This area is a hilly region. There you go. This point is actually where the horizon line is, but then we've got the pathway going over to that side. Some weird area, of course. Now, I said we would try and correct that. What I will try and do is we're going to put in some clouds over there. Those are not going to be wet on wet clouds, but today rather we're going to go and do it possibly some wet on dry clouds, go ahead, use your brush and create these cloudy shapes. It's absolutely possible for us to have cloudy days when it's in the northern region. So do not think that that is not absolutely possible, but just see using the tip of my brush, I've placed in some clouds. But then for those clouds to make sense, you also need to make it the right color. So a little bit of a own when you're approaching towards that lighter region. You see you're getting to this lighter region. So here I'm just grabbing up the brown and then just creating the shape. Some clouds, so you can see, just some random bits. There you go. And now can you see? Now, those are definitive, very good looking, as in harsh looking clouds, but they also actually make sense. They are clouds. And then it also makes sense as to why this area is darker. Biggs is darker because there's clouds blocking up most of the light, okay? Does that make sense now? It's correct, isn't it? Theoretically correct at this point, isn't it? So now we'll finish off with some white spots in the sky. Okay? So stars, of course. So here, just grabbed up my white paint back onto my usual palette. Gonna wrap the nice, beautiful color, creamy, creamy white color. Go mask up the bottom part. Okay. Just put it in uh I'm using a smaller brush so that I will get the smaller, smaller, smaller splatters. You can see then it's very, very small. All right. There you go. I think really well and I'm happy with the way things have turned out. I just need to dry up the bottom so that we can remove the tape. All right. There you go. It's completely dried up, so let's remove the tape. Okay, got to clean up something here. This is actually not any accident. It was just a way the tape was a bit folded on that side. Anyways, I will clean that up. I like to have clean, super duper fresh edges. You obviously that. Okay? And, like I said, those are not bleeds. It's just the tape was accidentally folded at that part, so it ended up that way, okay? Right, there we go. We're completely done. And here you go. So you see how I've adjusted that little mistake. I know there's a little bit of thing that I can see there as well, but it's not that evident. So which is why I didn't focus on that, but these clouds are masking out their mistakes, and it's not the first time that I mean, probably it is in uh, series that I've done wet on dry clouds, but you can absolutely do wet on dry clouds, and this actually proves it. But you always just make sure that the colors you use are right. For example, you can see the brownish tones, which I put into this region here. You can also go for a subtle orange color because that will also look good. So there you go. You can see it's completely done. So thank you so much for joining me today. I hope you enjoyed painting this with me, and I'll see you in the next day. 103. Day 98: Hey, hey, hey, welcome to Day 98, and this here is the painting that we're going to be doing today. Isn't that beautiful? And guess what? We only have very few colors in this one. So let's have a look at the colors. It's going to be Talublue, Indian then blue, and asana and white gouash. I know I said a very, very weird color name, Indian three blue. You can easily mix that by mixing Talublue and indigo, so you could just use that alternative. All right. I've also mentioned this while painting as well, so not to worry about that. All right. So here you go. If you're ready, let's get started with this one. Alright, so let's start. First, we will start, obviously with the horizon line. So not exactly at the halfway point, but somewhere a little bit below the halfway point. That's where we want our horizon line to be, okay? So there you go. That's the point where I am going to be adding my horizon line. Alright. That's it. As simple as that. But also, you don't want it to be too thick of a line. So what I'm going to do is I'm just going to rub the line over on this right side, okay? Because you've seen the image. That is a part where it's like, very, very light. So you want it to be absolutely light on that side. Okay. So now let's get to start painting. This is going to be super quick. I know it's like the end of a beautiful hundred day season. So I wanted the last few ones to be enjoyable. Or easy. It's going to be either of those. Well, could be both as well. So here just above the horizon line, we'll paint the sky first. Here I'm applying the water nicely onto my paper. Like I said, this is going to be super quick. Here, I've applied the water nicely onto my paper, and then we will start with the sky. Here I'm going to grab my size eight and halo blue color. Using the halo blue, I will start at the very, very left side. All right. So starting at the very, very left side, going to put my blue color into the sky like that. We start painting in streaks. I think you can also get a little bit towards the top there. Then keep going, come all the way down until the very horizon line. On the left side though, keep an eye out for that part where you're only painting along the left side. Okay? So there you go. You can see my paint has slightly slipped into the inside part of the horizon, but that's okay. Then again, creating some nice tones. You can just have hints of blue over on this side, but mostly you want it to be very, very light. Now for the vibrancy part, just picking up more of my to blue and going over on the left side. Okay. Just increasing the stroke. But again, remember, lighter as we come towards the bottom, not as much light as it's on the right side, but slightly lighter, which is why adding like that. A need to blend the colors there. I can see that it's starting to dry out. All right, washing my brush and blending. Okay. Okay. There you go. It's very, very light on that side. And like I said, any kind of dark, the paint should be over to the left side, you can see how vibrant I'm making on the left side, super super vibrant there. So see, just grab the paint and added a lot of vibrancy to that side. Honestly speaking, that's it for the sky part. Noted some hazard paint there. Just making sure that I spread it nicely and make the sky as a home. Let me just push the paint and make it better. If I introduce too much water, then there's high chance that it will dry unevenly. There you go. That's that. Now I will dry this up so that we can paint the foreground. All right. There you go. It's completely dried up now and it's time to paint the ocean part. I am going to grab a color which is called this indenreen blue, so I know you don't have this color or you probably don't. It's easy to make that color though because you can just mix hallo blue and indigo together. I am actually not using that mix because I'm very lazy. As in, I'd have to go and find my indigo paint to fill this up, as you can see, it's finished in there. That's why I'm refraining from doing that at the moment. And just using the IdantT in blue. We've never probably used this indent three blue in this whole whole whole lesson, I suppose. I mean, this series, I can't remember mentioning that, but that's okay. Like I said, it's completely fine. Just makes indigo and halo blue together. Okay? So here, starting with applying water to the water region, ok? There. Okay. Now, need to apply water right up to the horizon line, okay? So there you go going up to the horizon line, applying the water. Okay, careful to not let it go and reach the sky, but also we need it to be nice and wet for our strokes. Okay, so let me go ahead and touch up until the very tip again to make sure that everything is smooth. Alright. There you go. Just go to give my paper a slight angle to make sure that any excess water just flows down and comes towards the bottom, all right. There you go. Now grabbing my size six brush and taking the indent blue that I mentioned. Okay? So don't forget the mixture. It's absolutely fine. All right. Now, just going to slightly tilt the paper because it's going to be easier for me to draw along the exact line. That's the reason why I'm doing that. Then I'm going to grab along the very edge, and you can see I've taken a really vibrant color at this point, let me just stop somewhere in that middle point, then I'll just continue. Then now starting to apply and use water there. Then once I've reached a middle point and that very edge, I stop and you have to go with just the halo blue now. If you're doing the mixture, now stop doing the mix and continue with just the halo blue. That's the thalo blue that you're going to continue with. Again, stop once you reach around the three by four point was shoe brush. The next thing that you're going to do is you're just going to spread out the paint that's already there. This is because, obviously, you need to depict a lighter area towards that right side. See that, pull the paint and keep it very, very light. Now back to picking all those mixtures. This is indent three and blue again and we're going to do the same thing that we did for the sky. See here, I've added the indent three blue, washing my brush, going to grab my halo blue and then paint that. Along. But again, I will stop at the midway point, but it's not like the sky. You're not going to keep it white, but rather all of these colors that's there on the left side, you're going to pull it over to the right side. Just pull it over to the right side and let that bleed in towards the right, see how you've gotten that. You're going to let that bleed in towards the right side. Okay. And once you've reached around almost like the bottom, we can reduce the amount of blue that we're using because we're going to put in the color of the seashore, which is I'm going to be using osiena. I always forget when I'm using osiena. I should have probably activated it before this particular color, it's from Windsor and Newton, this one, and it takes a long time to activate once it's on the palette, I should have done it before. But, there you go. Not bad. Here you go. I'm just going to mix a teeny, tiny amount of Aizarino that. Yeah, that's much better. Just a teeny tad in my brush. That's it, and then use the asena itself to do the mixture. See just a very, very random touch of Aizarin us to give it a slightly golden color I would say. Okay, so then go ahead and blend this color into the sea area. All right. Now, you know, we've gotten a nice blend of the Sea region, but now we need to actually create the way we structure. And for that, just go to grab my halo blue, very nicely. Okay, first, let's do the Int and three in blue because I can see that the area is starting to dry out. Okay. So here, just go to grab my indent three in blue, and we're going to add in nice wave structure. So go ahead. And add in the paint first along a line like that and somewhere along the middle again, you can start. That's fine. Then you're going to do slightly a curve structure like that. Bring that wave. Give it a little bit of a dimension. So see that waves got a little bit of a dimension, all right? Then using the same mixture, you can just go use the pointed tip of your brush and start drawing some abstract lines at random places. So see, using the pointed tip of my brush, and that was some abstract lines. Not towards that end, we do not need it, although I'm just picking up a little bit of paint to give that line nice that's well and good. Now back to using the thalo blue. Oops, that's in and three. What am I doing? Is it? So here, back to using the thalo blue color. Picked up the halo blue, and now we're going to add in another set of the wave. But slightly larger one now. So this is a larger wave. We will also be using white paint. Start by creating the way waves kind of break off. So it's like these shape like that, see? It's the way the wave is breaking off. We will add other colors. It's like an arc like that. I guess here we can have a large bunch of white paint. Then again, here is where the wave is breaking off. Okay? And then towards the bottom of that, I'm going to grab that into green blue, just go ahead and mix in with the indigo, and I'm just going to put that at the base where actually the wave is breaking off, a shadow part because the wave is breaking off, so the water is kind creating I mean, the edge of the water line creates a shadow there, there so join it along to the wave to create the shadow area. The shadow area will be there at the bottom here also. I know. It doesn't make any sense at this point, but we have a lot of work to do. A? So then grabbing my white paint. Just go to grab some fresh white paint because it's always best to use fresh wash paint. I try to reuse most of the time, but sometimes that simply doesn't work out. Okay, so there you go. Rubbing the nice white paint. Okay, there. Now going to add that to the very top and along base. Along the right side, it's not going to be that visible because obviously it's very white region isn't it, but you can possibly depict more here in this area. So see, it's broken up faster. Then let's start adding some towards the top. There, there you can see. This is it started to break off, but it hasn't. So that's what your the big thing. See how we've got that nice nice beautiful effect of the wave on that one. But that was one color because it's mixed with the halo blue a little. So you can just keep adding white on the top. I'm just grabbing fresh white again and just drop in some fresh color. You could also do this once it's dried up so that then you start getting fresh white. But let me just finish off with this. I'm just going to add another extra point where it's breaking up again. All right, see, it's started to break up. Okay, nice blue tones there. Then I'm just going to try this up. I mean, remove that blue paint and then grab the white again and just going to add in and put in a lot of white strokes. Right now, it's slightly wet on wet, as you can see our paper is still wet from not entirely wet, somewhat started to dry off. Still on the wet scale. That's why just adding some paint. Although I am picking up dry paint, my paper is wet, that gives the effect of like dry area, but I'm just going to grab a little bit of blue as well. Mixing that white with slight amount of blue. So see a little bit of a blue to create the effect of the shadow on the wave over to the sandy texture. See that? How we've done that. We've got the nice wave effect and we've created a sandy texture and how the wave is breaking off. Now let's go ahead and try this up so that we can finish off with the uh, white white details on this painting. Okay? All right. There you go. It's all dried up and you can see the wave is there, but it's lost its dimension because the paint obviously is very light. I mean, look at the whites that we added there. Now, because it's dry now and it won't mix up with the blue, you can go ahead and add in a lot more. Now when you pick up the white paint, do the same process, but again, try to create the texture of the wave, try, go for that curvy line. So gorgeously that looks as though the wave is breaking down the same way across the right. Now, this looks much better, isn't it? Even though the rest of the regions are white, this is a more better way where the wave is breaking off, isn't it? See here as well. Okay, a little bit there, and I guess I want a there you can see now how beautifully that wave is breaking off and now we will finish off this painting with a lot of dry brushing secrets. That little initial thing that we added is still there, but we're going to add in a lot more. Also just note, I've switched my brush into a size four at this point. Just adding some details, okay. So we're not drawing any edges, the wave is still breaking off. This is the water receding from a previous set. We will add some shadows, but no edges as such. Okay? Also, we've typically added a few shadows, I guess, that should work. We don't probably need to add anymore. You can already see how the wave is breaking off. Okay. There you go. The water this part of the water is receding and another wave is just coming ready to break off. You can put in some dry brushing onto the wave as well. So see? That's a dry brushing on the wave. It's looking so gorgeous, isn't it? Well, there you go. We're done. That was really quick, wasn't it? Okay? So because we've only done some dry brush strokes and dry wet on dry, there's no dry. We can just go ahead and remove the tape. And here you go. Here's to finish painting. Uh, how do you like it? I absolutely love the wave. And here you go. So I hope you enjoyed painting this with me. And thank you so much for joining me today. 104. Day 99: Hey, hey, hey, welcome today 99. Just one more left. I mean, including this two more. Hey, 99 today. And this is what we're gonna be painting today. So can you guess from which week this is? Very, very obvious. We've got a fence there, so that's from the fence week. I just love painting fences, and this one is a fence, which has got a little bit of a snow accumulation over the tom and it's a little bit tricky with shadows and highlights and all. So that's what we're gonna be learning today. So I have not put a lot of focus into the mountains or uh, the sunset or anything, but my kind of focus was on this fence because it's the fence week weekly, right? I mean, a topic that we covered earlier. So that's what we're gonna be looking at today. So let's have a look at the colors first. Transparent yellow, transparent orange, queen audonrose, violet, lavender, transparent brown and whitewash. Basically, that's all the colors. So if you're ready, let's get started with this one. Alright. Let us start. So first of all, we will start with sketching the fence. So right at the bottom, go ahead and add in some fences. So I will show you the sketch, okay? Go or something like that. And then along the edge here. Then I want best to connect like that. Okay. Next one. And I think two of that is enough. Then the next one is actually kind of broken. So what was attach to the top here? Okay, so it's got broken. I know that that's too many lines, but I will show it to you a little bit of a connection there. Okay, there you go. That is the pencil sketch up close. I know that in the fence week we did very, very simple ones, but that's okay. Okay. So now we can go ahead and paint this one. So we also need to possibly draw in a horizon line. Okay? So my horizon line is kind of in a slanted manner there. Okay? And maybe hint of, like, a little mountain part there. Maybe this can go a little bit of there. Okay, so there you go once more. That's the sketch. Now let's get to painting this. First of all, we will paint this separately, not on the whole of the paper. I'm just going to paint the sky right now, so go ahead and apply water to the sky region. Above the mountain, we do not want any paint over the mountain region, so just trying along the edges and the outer border. That's how we're doing it. There you go. Right? Okay. I'm going to grab in my size eight, brush, and just add some more, make sure that the edges are covered up nicely. There you go. Because I can see that the edges still are trying to dry out. That's because it doesn't have enough water as much as it is needed. Okay? And G. I think now that's much better, and I will absorb the excess water. There you go, absorbing excess water. Right. Now we can get to painting. Every time you look at your paper and you see that there are areas of your paper that's starting to dry out, make sure that you apply the water. Otherwise, you're not going to get good spruce. Okay? So here we go. We start with nice yellow shades. And this yellow, we're going to apply right here such that you're going to leave a large gap of white air. See that? That's a huge gap of white that we've left behind. All right. And then go ahead and apply the yellow. Then go to the next color, which is going to be orange. I'm just gaining up my orange because it's contaminated with a little bit of frown. The picking up my orange and that's what I will paint along pundle the edges. The edges of our mountain is going to be with the orange, okay? Then there going around with that color. Then next shade. Okay? This is the perfect way to get that sunset transition from orange yellow to the blue color because when you apply the pink, it just gets rid of greenish tones in the sky. So it's a very, very good way to transition that way. Here you go, making sure that my transitions are smooth, just grabbing some yellow and adding. Okay. And then I will also just use water to make sure that the transitions are nice and smooth. Then obviously, now we'll go into the sky part, right. I guess, instead of blue, it's best to use violet. What do you say? Okay? So just a very subtle tone of violet. We want the sky to be actually very subtle, not very, very vibrant. So that is why I'm mixing a lot of water with my violet, you can see, and that's how I am going to be blending. Okay? So here, every time you pick up, make sure that it's towards the top because as we approach towards the bottom and we start blending with the pink, we want the color tone to be reduced. Here, you can see, it's nicely blended. Some gap there, which we have to fill. I'm trying to fill that in Okay. And remember, I am not aiming for a smoothness here. I am trying to create these haphazard, um, unevenness as well because that is how the sky is. I do not want it to be perfect. It's just going to depict some cloudy forms, not too dense, but, you know, very subtle. And there we go. That is our background. So can you see how we've got that transition from the light into that beautiful sunset region? So here I'm just blending it up a little bit so that we get that nice and smooth transition between all the colors, and there we go. Now that we've done that, I am going to completely dry this. Alright, here you go. It's completely dried up now, so now we'll start with that background mountain there. Okay. So for that background mountain, I am going to start with a pinkish shade there right where it's closer to the sunset. Then the rest of the regions, we will add violet. Okay. So also observe here, again, I'm using a very, very subtle tone for the violet and not a very darker tone. That's because we want it to be subtle and not that vibrant. Okay? So here grabbing the violet. And this is obviously just a wet on ry stroke, just go ahead and fill it up. Just make sure that every time that you add your stroke, you make a continuous work, you can see a dry brush there, as in a wet on dry stroke there. But if I leave it too long, it's going to dry out. But then if I paint along quickly, can you see that's well covered up. I can see that there's a little bit of dry transition there, but I will get rid of it just because as soon as I go ahead with my paint and blend in evenly, it gets nicely blended. See that? Okay. Now we've got that nice pinkish tones there and the next thing for us to do is to go ahead and paint the snow region. Let's do that in a quick way. First of all, don't bother about the fence that we have added. We can add that later on. Go ahead, apply water to the snow region nicely and evenly, there go. Then again, starting with some nice let tones here. I'm just going ahead and adding violet to the whole thing, whole area. There. Grab a little teeny tiny amount of pink. Even that is too much, but obviously I can get rid of it by just spreading it France. Now we've got that good transition and a little bit of a pinkish reflection on the snow. Then go ahead and grab more violet and try to bring in the darker areas in the snow. There you go. Just adding at random places. You want to add a darker area right below The fence. There you go. That area is the fence. You know where you've done your pencil sketch, go ahead and put in a darker area right below it, right? Then you can also create random spots and elevation kind of strokes because status then is going to depict how the snow is aligned, uh, right below the fence. But see how we've done that. Then you can also pick up little bit and kind of put random lines Okay. So random details in the snow. Let me just grab a thicker color for some just a denser region there. And now, that is, again, the foreground, but now we need to dry it up so that we can finish off by adding the fence and snow over it. Alright. There you go. It's completely dried up now, and we can go ahead and add in the fence. And obviously, it's very easy. We're just going to add it with a darker brown. Okay? Because it's a sunset color, you're not going to be able to see the shadows or the effects or anything on that fence. You're just going to apply it with a very, very darker color. So go ahead and grab in a very, very vibrant, darker brown color, okay? And just apply it along. That's how it is over there. Then we've got to apply over the next fence and try and create elevated space around the snow region. Like I say, is you bring it down and then try and finish it off in the shadow region where we have added it, just gonna bend it slightly because that's how I am comfortable to draw the horizontal ones. You know me by now. White. There we go. You can only see as soon as we've added the fence, it's looking really, really quick, isn't it? Now, again, I know it's a lot of drying process, but we've got to dry it up so that we can add in the snow over the top, okay? All right. There you go. Now we can finish off with the snow. And for that, I'm gonna grab in you guess white a little bit of lavender, and you're going to put that over the top. Okay, starting there. All of the areas, all of the vertical the horizontal surfaces, in fact, is going to get surrounded by this. Here there's a huge extra unchTn Barrels on here. This is what is going to make it look and come appear as though it's over the top. Okay, so see a little bit there. Then it shouldn't cross over. But here, again, it crosses over. Do not make it in a straight line, but try I mean, like above the top at the bottom, it can be a straight line, but this is how we get it. There. Then again, over on this one. Okay, they're finishing off at the base. But obviously, you can clearly see that it's not looking that great. It's a little bit weird. That's because we have not adjusted it. Okay? So we need to definitely give it a little bit of a shadow. So grab in violet and while it's still wet, try and put it at the underside. Okay? Like at the bottom areas, just fill in with a little bit of violet so that it gets a little bit darker at the bottom. On all of the areas, okay? See, we've got a little bit of a depth now, but we also need to put in highlights. Since we've already added the depth region, we now put in the highlights, obviously, you've possibly guessed it with white paint. Go ahead and grab some amount of nice white paint, white che paint, and you're going to put it at the top region. You can do it while it's wet. You can also do it while it's dry. It's absolutely fine. See here because of the lavender paint underneath, it's going to blend in with the lavender. You can see now. I have added the white paint, and now if your white paint is not blended along, you can possibly just just blend it a little bit. Do not cover it up too much, just to blend it along with the lavender and violet. Okay? A teeny tiny amount. And it doesn't need to be in all the places just randomly, but there you go. Now you can see once we have done that, we have got the beautiful snow effect there. And I guess we can go ahead and remove the tape because we haven't done anything along the edges. Te you go. Here's a finished painting. So I hope you enjoyed painting this with me. Thank you so much for joining me today. 105. Day 100: Hey hey hey, welcome to day 100 last, very hundred, 100. It's like a very emotional day, I guess, you know, painting the last project. And can you see, Can you guess the topic? It's obviously from the Sunset week because it's a sunset scene, but it's been a long standing tradition all of my 100 days, I mean, I think so. But many of them many of my class classes end with a firework. So I wanted to do exactly the same. And this is like a firework immense, like, starting from a field. So just a beautiful field with a lot of fireworks in the sky and just a magical experience. That's what I wanted to capture. So sunset is one of my favorite topics. We've already had a Sunset week, and that's what I am putting together in this one. Sunset plus some fireworks to capture the end of this long series. I mean, 100 days is really long, and it obviously had some few gaps. But there you go. So let's have a look at the colors we've used for this one. So we start with transparent yellow, transparent orange, turquois green color. You can mix it with I mean, you can make it by mixing it with Telo blue and To green if you don't have a turquoise green. Then there's also paint gray, transparent brown pansena. And for the fireworks region, there's again, transparent orange, quinacradon rose, and a little bit of cadmium red. But obviously, you're free to go ahead and use a lot more other cadmiums you could add more fireworks with cadmium yellow, cadmium orange, et cetera. I just didn't want to clutter this, but there you go. So if you're ready, let's get started with this. All right, let us start. So we'll start with first adding the horizon line. Okay? So just even below one by third position of the paper, go ahead and put in a simple horizon line, okay? And that's going to be our pencil sketch. There you go. Just as easy and simple as that. Okay? You can still see that this is a bit slanted. Okay, that's well enough now. And now we'll go ahead and paint this. Okay? So we're going to apply water to the whole of the paper today. Yeah. Nothing. Setting back, just applying a nice amount of water to the whole whole whole of the paper. There we go. We've applied the water nicely. Just going to absorb the excess water from all of the edges. Right. There you go. Now we can get started. We'll get started with the sky, of course. Here I am just going to grab in a little bit of a yellow color, and I'm applying there at the base, you can also go towards the bottom. It's absolutely fine. Just a little bit of a yellow. Then we'll go with the next color, which is I mean, it's easy obvious to guess, isn't it? A little bit of an orange color. Again, it's absolutely fine to go below the horizon layer. But with the orange, you want to draw it in the form of streaks like this, and take it up until there until there. Okay. Then is what we're going to be doing. So we're going to make it like in a very different sky. So I am grabbing my turquoise green. You know, it's not a color that we see in the sky, but this is like a magical appearance, okay? So don't bother. So here you go grabbing my turquoise green. You can easily make turquoise green if you have Thilo blue and Thalo green mix it up together. Or, in fact, you know, thalo blue with a little bit of any green would, in fact, work, but the best combination is obviously the halos. So both of them just go ahead and create. You need this to be nice and vibrant and really, really dark, okay? And also, this is totally out of my imagination. So what I'm going to do is I'm going to grab a little bit of an orange and I'm going to just create some cloudy forms. Okay? I think it'll look good, along with the fireworks. I mean, you've already seen a file picture, so that's why I've mentioned fireworks. But there you go. Then grabbing the color again. Just going on, adding, right? Keep adding. You can come over to the orange, as well. Any other creams that form in the sky, we can always get rid of it. And Oops, oops, ops, oops, oops. Look what I just did. Okay, my brush just fell off, but that's okay because I guess always accidents like these are really, really okay because then I get to show you how I correct them, okay? You would think that this is impossible to correct, but now, no, let me show you. So let me fill up the sky first, okay? And this correction part was actually something that I intended to do. I mean, not that correction, but the color that I'm going to use it to correct was something that I really intended. So it's not even a problem. Okay? So here, let me just keep grabbing the color and adding. Now I need to kind of create a little bit more blend because I can see that it's not blended. So you can see it creates into a very dark brown color, right, and I'm just kind of blending that need to make sure. It's a little bit blended. Okay. Now for the correction part, that is with Paine gray because I was really intending to go ahead and add in some little clouds. But obviously, I didn't intend to be adding right there closer to the yellow, but now that my greens kind of, I mean, I accidentally dropped my brush and this happened. So then obviously, I have to go ahead and add in some clouds there, L's see. Just collected that bit and see how that's teed out. Okay. All of the cloudy areas closer to the green one, you want to add it with pains gray. There adding it with pain gray. But the ones that are over the orange or closer to the yellow ones, we want to add it with the brown shade. I know that I did put a little bit of a paints gray shade there, but that's okay. You can just still go ahead and add in brown over the top and see, even here, come and add in brown. Let me switch to an even smaller brush. I'll be really helpful. You can even go ahead and put in some burnt sienna. See, it's a burned Senna one closer to the yellow because it needs to reflect that golden color over there. But I also need to get a really, really dark depth in my sky. I've lifted my paper slightly and I'm grabbing Pains gray and I'm going to be putting Pain's gray over the top now. This is not clouds, but this is the depth of the color. The darker sky. You're going to be blending those two colors and making sure that they are really even. See all the darker, darker colors towards the top because this color that you see right now is not going to be what the color is when this dries up. It's going to get one shade lighter, and that is not what we want. I want it to be nice and dark and vibrant. Go ahead and grabbing back the aqua green, making sure that the blend is nice and smooth, okay? You can see how it gets darker towards the top. Okay? All right. There you go. It's nice and dark towards the top. The bottom part is nearly done. Now we'll also go ahead and draw in that horizon part. As you can see, there's already some pass there and you might possibly end up with a slightly wet on wet stroke or sometimes your paper might be completely dry. Either way, it's fine, whichever way it turns out, you're going to apply a nice golden color, which is the burnt sienna. You can also see because of the background yellow there, or you could apply a little bit of Quinacadon gold. Then continue on with the burned sienna. But I will keep a little bit of a lighter area there. Pick up the burns. I can see that the bottom part of my paper has absolutely dried up, see that? So picking up my burn Siena, then I will gap my dark brown color for creating the absolute depth at the bottom. Okay. Depth and darker shade. You can also grab in a little bit of a paint gray if that helps. And then. But instead of horizontal strokes, let's do vertical strokes, something like um, giving the texture of grassy surface. Okay. See that? Just keep doing that in the upward direction. Okay. So that gives the effect of a grassy texture in there, and we also get a slightly wet on wet effect. There, just straighten that line. I'm also going to put in a little bit of a background bushy structure, just grabbing my brown again and just putting. That area, like I said, might be still wet, might be still dry. Either way, it's absolutely fine. It's just a little bit of a bushy structure that we're adding. Don't need to add entirely, but see something of that sort. But do not disconnect it from the base. Always keep it to the burn Sienna region and there. Okay. That is the background part. Now, all there's left to do is for us to go ahead and try add in the fireworks. But before that, you can always go ahead, adjust your strokes, I can see that this area had a little bit of revealing of the paper region. So just adding some more of these strokes like that. Okay, there's the field area done. So let's go ahead and dry this up. So this is now our beautiful sunset sky done. This is the sunset week, of course. I mean, I've already mentioned it, but now it's time for the fireworks. Alright, there you go. It's completely dried up now and time for fireworks. So I'm going to switch to a smaller rush. I think size two would be perfect. Okay. So I know we've covered. I mean, if you follow along my other hundred day projects, then then you know how we've done the fireworks. But today, it's going to be slightly different. Okay? And I am gonna show you how. So we're going to start with obviously a nice white paint. Okay. And I'm going to mix it up with a little bit of cadmium yellow. So that's going to give me a very gauchy yellow, but obviously very opaque yellow. Okay? And I wanted to p stove like there's there's a firework starting from the field, okay? Just going up into the sky. And go ahead and add in something like that. So this is where it's actually going into the sky, okay? And you can add, like, a small one further there as well. Okay? That's just a starting point, of course. Yeah. Rabbing more white paint and I'm mixing here in the palette along with the right. Then now we'll start Okay. So first of all, just starting with a center blast, okay, of smaller particles. Let me show that to you closely. See? Center plaster with a lot of smaller particles. Then what I'm going to do is gonna grab in orange. I know I shouldn't be mixing, but then if I add in water, this mixture will get diluted, and this is the reason. Why I am not diluting my brush with water, but rather just going over on the top of that, as well. I mean, I can wash that, but not getting the perfect color would be disastrous. So here, mix it in a little bit of an orange to get an orange shade. And now using the tip of your brush, just go ahead and start creating these outward strokes. See that? Like that. Now, I already looks like a firework, isn't it? So you want to use the pointed tip of your brush, okay? There. So just a lot. No. No, that's one firework. Okay? Now let's go with a different color. Okay. Wash that off. Well, next color could be a little bit of a pink, I guess. Okay? So here, there's already a little bit of a piggy shade there. We'll grab that and grab in some queen acudon rose, some more, and there. Now, that's a very, very pink one, and we'll do that. And I'm just going to do it in a different position. All of the blast originating from that region there. Then again, I think I'm going to do a pink one that's soaring into the sky ready to be blasting, something like that. How about we do a red one next. So here, grab the red, mix it into that same mixture. And let's do here. Okay. So there are different kinds of plast there both gonna be the same. So this one is slightly different. You see that. Okay. Again, a slightly different one with the red. See that? I guess we can also add some few white ones. I just going to grab the white paint, this one, just going to make sure that it's nicely depicted, even the center points of many of these needs to be having that blasty area is going to be white. Okay. Nice blast there. I guess. Lots of his It's not stars or anything, but it's just like fireworks ready to burst out. So it's like a series of fireworks. That's actually what's happening. Okay. And now, each of these tiny ones have a white surface to it. That's why MM adding a white over on top of it, each of those ones. Now, can you see it's got a red touch, but at the same time, it's having a very plaster surface. Same thing you can do for the others, as in if you add in a little faint white edge to the lines that you've added, it's going to look even more beautiful because then it's going to have like the edge of a reddish tone. And at the same time, a very white area for where the blast has happened. Okay. I'm doing the same thing for these areas, but you don't have to do for all of the lines. Just a few of them would even make sense. Okay, see that. Same for the pink. Alright. There you go. Now, just going to put some interesting things. It's not stars, but just, again, a lot of part of the blast. Okay, you can put some other vibrant colors as well. Like, for example, I'm going to put that red splatters a bit. Okay, into the sky. I think, there you go. I love the way it's donned out. We've got a lot of lasts in the sky. You can have more. These are, like, flying off into the sky. It's not yet started as a blast, but it's kind of, like, ready to go last. So it's soaring its way in the sky where someone's I think someone's just put a lot of fireworks and it's being launched. Let's see that. Okay. So since we haven't painted anything along the edges, let's go ahead and remove the tape. Here you go. Here's a final painting. And it's it's all done. I mean, I can't even say, see you. I'll see you next day. Okay. So thank you so much for joining me today, not just in this class, but in all of the hundred days, I hope you really enjoyed this class as much as I've enjoyed creating them. I don't know when I can do another hundred day project again, possibly, never, because I don't know. I've got a lot of other things going on, but I'm really happy that so many of you could join. Watch out for the ultra video. And thank you. Thank you, from the bottom of my heart.