100 Day Project with Watercolours - Practice Your Way Into an Expert

1. Hellooo & Welcome to the Class: Watercolor is one of the most unpredictable and uncontrollable painting medium that gives you an immense amount of happiness just to see the pigment floating on the water on your paper. There are a lot of techniques and effects that you can create with watercolors. Which might make someone who is just starting out with this beautiful medium to feel overwhelmed. I'm here to help you with overcoming all the fears of gaining control over the spectacular medium. Hello everyone. I am Geethu, an engineer, a watercolor artist, and an instructor based out of the UK. My Instagram handle is colourfulmystique. Many times people have asked me how I managed to create watercolor paintings, Skillshare classes, editing videos for Instagram, skillshare and vitriol all along with my full-time job as an aerospace engineer. I think it has got to do with embracing the creative practice and accepting an artist mindset. If you think of painting as a relaxing process after a day's work at home or office and not see it as another task and paint completely with your heart, then I think everybody can find time to paint. With practice everyone can be perfect. Imagine doing something passionately for 100 days, don't you think you will be a pro in it? That is the reason why I have come up with this class today, A 100 Day Watercolor Project to help you master this medium to the fullest. I will help you let go off every fear you have when attempting watercolors and make you smile with each painting. Imagine how within just 100 days, you can change from a beginner artists to an expert artist, all from someone who paints randomly to someone who pains every day. If you decide to join me, then 400 days of your life, I will be teaching you everything about watercolors. We're going to venture into one new subject a week, like skies, galaxies, landscapes, mountains, Northern Lights, beach, ocean, water, sunset, food, everything that one needs to master this medium. We will paint six paintings every week, followed by a taste break. The topics for each week are designed to help you progress towards becoming a professional artist. You can take as many breaks as you want and you can always come back to the point where you left off. This class will be the ultimate watercolor masterclass to guide you into all the most sought out topics with watercolors. The class is perfectly suited for beginners. People who have a full-time job like me, or people who can't find a lot of time to paint in a day. All you need is 30 minutes of your time in a day, and you will become an expert with watercolors. You will end up with 100 of your original masterpieces and a lot of painting memories. After this class with my help and your passion towards this medium, painting every day will be a part of your life. We're going to start with skies for the first week, so get ready with your supplies and join me on the spot to becoming a master in watercolors. 2. Art Supplies: Let us have a look at all the art supplies that we need for this class. First of all, what we need is watercolor paper. When we think of starting watercolor painting, we always go for brushes and paints, and we forget about watercolor paper, because we think that we can just go for some random paper that's available in our house, but that's not the case, we need watercolor paper. It is really important, and that is actually the most important thing when it comes to watercolor painting. Order of importance goes from paper, paint, and then brushes. Paper is the most important thing. This is because if you want to get the beautiful textures and effects that you want to create with watercolor painting, then you need to go for artist grade watercolor papers itself. There are so many brands out there. For this class, I will be using this paper as well as this, so paper from both of these pads. This is Canson Heritage, 300 GSM. The GSM means the thickness of the paper. Watercolor paper is usually very thick. You can see the thickness. Since that is the GSM of the paper, so we need a minimum of 300 GSM paper in order for our paper to withstand all the watercolor techniques to different washes of water that we will apply on the paper. Also, I will be going for 100% cotton paper. Because it is 100% cotton paper, it means that my paper will stay wet for a longer duration of time. That is the reason mainly why I use 100% cotton paper. This one is Arches. This is also 300 GSM or 140 lb, and it is 100% cotton paper. Either of these, or you can actually go with any watercolor paper that you have. I'm just suggesting that for the best results, and to get great satisfaction with your paintings, it is better to go with any paper that is artist grade, minimum 300 GSM and 100% cotton paper. These sheets here, they are 9*12 inches, both of these in fact. This is 23, 31, this is also 23, 31, which is 9*12 inches. That means it's almost similar to an A4. I think it's just slightly larger than A4. What I'm going to be doing is, I'm going to be cutting these paper into two, and we will be painting all the 100 day projects on an A5 sheet. That's approximately 9*6 inches. That is what we will be painting in class. Here are some of the sheets that I have already cut out. This is where I was telling. This is A5 sheet, and this is what we are going to be using. This is Canson paper from this pad, which I have taken out, and I have cut into half. There you go. This is what we will be using for this class paper, but you can join me with whatever paper that you have. It is important also to learn the techniques, and to understand the brush strokes. We can also focus on that. The next thing that [NOISE] we need is watercolor paints. I will be using paints from these two brands for this class. This is White Nights and Art Philosophical. I'm a band ambassador for both of these paints. I love both of these, and this is the reason why I will be using these two brands, specifically. Also, I don't have the violet color from either of these brands yet, so that is why I'm going for this brand, which is Pwc, but don't worry. I will tell you what exactly the shades are in each of the lessons, so you don't need to worry about that. You can also join me with the most basic palette. We don't need very advanced colors or any color that's not there in the basic palette. Also in case if we're going to use any of such colors, I would always suggest alternative options in how you can mix to make that color that I'm using. You can join me with whatever paints that you have. Your paints can be either in the form of tubes or it can be in full bands like this or even half bands. You can join me with any basic watercolor set that you have. This is just an exercise lesson for the next 100 days to teach you about all the different topics and the different techniques in watercolors. I really think that you can join me with whatever watercolor paint that you have, if you're using paint in tubes and you need a palette to mix your paints. Here is my palette, and I have already squeezed out the paints that we are going to use for this class. I will show you exactly each of the colors that is there in my palette. Don't worry. We definitely need a mixing palette. You can either use a plastic palette like this one or you can use a metallic one, or there are ceramic ones. If you don't have either of these, a dinner plate, which is of ceramic material, would suffice. You can even use that as a palette. It really doesn't matter. Just choose whatever you have with you. The next most important thing that we need is watercolor brush. Different kinds of brush. We don't need a lot of variety. It would be better if you have a flat brush, a larger size brush. You can also have a mop brush or a larger size brush, such as Size 12 or Size 10. Then I will also be using this flat brush to apply water on my paper, because it covers a larger area, but you don't need all of these brushes. You can just go for one single brush and use that to apply the water as well. Then we need a medium-size brush. You can either go for a Size 4 brush or a Size 6 brush, and then of course, a detailer brush to add some details onto our paintings. You can either go for a Size 1 brush or a Size 0, or even a Size 2 brush. The brushes that we use for our watercolor painting is really important, because if you look at these brushes, observe the pointed edge that we have, even this one. When we dip this in water, this will have a nice pointed edge, and all the hairs will be joined together. The pointed tip has a really great importance in watercolor painting, because you can hold the brush in different angles and at different positions to get different techniques and different effects. I'll be showing all of these in the coming projects, so don't worry about that. Mainly what I'm saying is, what you need is a larger size brush, a medium-size brush, and a smaller one for the detailing. Ideally, just make sure that you try to get a brush that has a pointed edge so that we can achieve some of the details. That's it, so there. I will be using board board like this one to tape my paper onto. I'll not be using my surface because I always prefer to tape down my paper. Because in case if we want to lift our paper to achieve some effects, then it is better to have it taped onto a surface that can be lifted, unlike a table. You don't necessarily need a cardboard like this one, you can go for a hard book top, a magazine, or any surface that you can find so that you can just tape your paper on, and it is easy to lift as well. Why do we tape the paper? We tape the paper so that it will be held in place while painting, and also it will prevent the paper from buckling or bending when we apply the water on the paper. Thirdly, we will have a nice border for our paintings. That's the main reason why we tape down our paper. You can use a masking tape for that. In case you don't have a masking tape, you can also use a cellotape. Any tape is fine. I have noticed in my experience that if you find your masking tape or the tape that you're using to be tearing the paper, it is usually the paper itself that's the culprit, and not a tape. If the paper is a good-quality 300 GSM paper, then it will not tear up easily with masking tape. Usually, paper is always the most important thing. As I said, you need a masking tape as well, a pencil, a ruler, and an eraser to make some rough sketches for our painting. This is my pencil. I use a mechanical pencil like this one. I use this because I can just fill up the lead in it instead of sharpening it, and I would always have a pointed tip. This is the reason why I use a mechanical pencil, and obviously, an eraser and a ruler. We will also need some tissues. This is to dab our brush and clean it up to remove any excess water. Also, we might use it for some techniques on the paper, like you can use it for lifting. Always keep some paper towels or tissues in hand. We can also use a cotton float, just something that you can wipe your brush or wipe the paper with. It will come in handy. You can see this paper, I've already used it in some paintings, and it has few brush strokes on this. We will also need two jars of water. Water, obviously, because we're doing watercolor painting, and two jars, because one for rinsing off our brush with the excess paint that's on it, this to wash off our brushes, and the other one to take fresh paint, and also to apply the water on our paper so that we apply clean water. Because imagine, while in-between painting, you wash your brushes off in the different colors, one of the jars would definitely turn muddy. The next time you want to apply the water on your paper, if you do not have a clean jar of water, you would be applying this muddy water back onto your paper. This is the reason why we need to use two jars of water. You don't need such a large jar like this, you can go for a small cup also. Anything is fine, just that we need two jars of water. You will also need white gouache or white watercolors. I'll be using this designers gouache, zinc white color from Winsor & Newton, but you don't necessarily need gouache paint itself. You can also use white watercolors. This is titanium white from [inaudible]. You can use whatever white watercolor that you have got. You don't necessarily need the gouache paint itself. We will also need some table salt. This is just a bowl in which I have got some table salt. You can see this is the normal table salt that we use for cooking. This is great to achieve different watercolor techniques. We will see that in some of the projects, so salt. Now, let us have a look at the colors in my palette. 3. My Colour Palette: Let us have a look at the palette that I will be using for this class. Here it is. This is just a basic 18 bell palette. I have just filled up the colors in this palette. Let us have a look at all the colors that I will be using in this class. I will also list down the exact colors for each lesson corresponding to that when we start them. I will also state the colors that is in my palette and attach it to the references section in Skillshare. The first color is Indian yellow, Indian gold, transparent orange, carmine, permanent red, cobalt blue, ultramarine blue, bright blue or pale blue, indigo. Then this is emerald green or viridian. Then this is green from White Nights. This is violet, raw sienna, burnt sienna. Then this is permanent brown from Art Philosophy, burnt umber, sepia, and Payne's gray. These are the colors that is there in my palette. But we can add more colors as and when we need them when we move on to each project. Don't worry, I will be mentioning the colors exactly, and also the alternative colors that we need. This is not actually part of this palette that I just set up, but this was there on the palette. I bought this few months ago but never used them, but just squeezed out few paints and I think I used it for a previous class. This is there from then. I didn't want to clean it up and waste these paints so that's why I left it. I think this is Naples yellow, this is yellow ocher and this is sap green. This is the same green as this one one is the green 725 from White Nights. That's it. This is my palette that we will be using. Again, as I'm telling you, don't worry, I will always suggest the alternative shades that you can use for this class. Here you go. 4. Before You Start :): Before you start with this series, I just want to give you some tips to get you started every day. Once you finish a day is painting and you have removed the masking tape and put the paper aside. If you can try to keep the paper ready for the next day. That is why using a board would be helpful because if you don't have a table which is assigned for painting like I do have some of you may be using your dining table or work table, then you can stack away this board a bit and have the paper ready on it. But then you can just stack away your board, your palette ready, and your brushes along with it somewhere else. The next day, you can just come and load everything onto your table with your paper ready to paint. I see that as more easier way rather than coming and adding the masking tape onto it each day because this makes us ready for painting. It's like okay, I have some time. I can just go ahead and start painting. This is one thing that you can do. Have the paper ready and also your palette. You can clean your palette ready for the next day if you want. But I usually prefer to leave it as that and I just painted on other areas. But for this class, when I'm showing you, I'm cleaning my palette, of course, but you don't have to essentially clean your palette. Then remember to take fresh clean water every day and don't leave the same old water overnight because it might create molds on your jar. It's not good to leave the water overnight. In case if you do really want to leave the water overnight, then you can use something like this. This is actually a coaster, but you can see how it's turned out. I use it to cover my water jars. I cover it every time I get up from my table and I go somewhere because I don't want dust or anything to go into the water, but don't leave it for many days or multiple days. That's just the key. Then there will be six paintings a week with a gap of one day. You can either use this one-day gap to relax or if you fear that this will create a break for your daily painting exercise, then you can choose a reference picture of your own for that week's topic. Like if it's the first week, then it skies. Then you can choose the sky and paint it with your learnings from that week. In case if you find any trouble finding a reference image, I will attach two reference images for that week's topic in the resources section in Skillshare. You can download that and try it out for yourself. I believe that this would be a perfect learning curve and painting exercise for you. Because then you will be implementing everything you have learned during the week on your own. If you really get motivated, then you can also go ahead and try out exercises and projects from my other classes. Especially if you want to learn theoretically about all the basic watercolor techniques in detail, then you definitely need to check out my class on Ultimate Guide to Watercolors, which addresses almost all of the watercolor techniques in detail. There is also a free e-book from my site, which covers so many things about watercolor basics, which is already added as a resource in the Ultimate Guide to Watercolor class. But I will also add it here for you to download in case you haven't already got it. I think that's enough of my boring chitchat. Let's get started right away into prepping our paper and the Day 1 exercise. 5. Taping the Paper: Let us have a look at taping down our paper. Here is my paper and board. I'm going to show you how to tape down the paper. I'm showing you this because it is really important, here is my masking tape. I just leave a very small border because I like to have a small border for my paintings. Just stick the four corners first, the four sides. There you go, but now I'll show you what is important. We think that we have this taped down our paper, but I prefer to press it down a little more, and make sure that my paper is secure. So I usually use a ruler like this, and I press along the side so that my paper won't lift-off while painting. First, I press on the side like that, but that would have created some gaps in between. Here, there is a gap, I don't know if you can see clearly anyway, so then I run my ruler along the tape like this and stick it properly to my paper. This ensures that I don't create any gaps in between, and my paint will not bleed onto the edges of the paper, so there. Now, my paper is secure and ready for painting. Once you have taped down your paper, come join me in the first day of our 100 day project. 6. Day 01 - Blue Sky: Welcome to the first day of our 100-day project. Let us have a look at the colors that we are going to start our series with. It is going to be bright blue, raw sienna, burnt sienna, green, and you can also use sap green. My green is really dark, so I mix it with a bit of Indian yellow to get sap green. Keep some yellow and green in handy, that's all. If you don't have burnt sienna, you can also use burnt umber. Let us get started with our class project straight away. Here I have taped down the paper on all the four edges like we just showed in the last lesson. Now I'm going to apply water on my paper. There is no pencil sketch for this one. We're just going to directly start painting and all our strokes are going to be with our brush. I am going to be using my flat brush just because it covers a larger area while I'm applying the water but you don't necessarily need a flat brush itself. You can use any brush that you have, even if it's your mop brush or your round-size brush, you don't need to worry about the exact same brush that I'm using. I'm picking up water from my jar and I'm applying it onto the paper. Make sure that we have to apply the water evenly. In this exercise, what we're going to learn is the first sky, of course, but we're also going to learn how to apply the water to control the amount of water that we apply on the paper, to know how much water it's needed on your paper for getting nice wet-on-wet strokes. That's what we're trying to learn today. You can see I've already applied water all over my paper. Every part of my paper is wet but I'm going to reapply multiple times, as many times as I can because even though this is 100% cotton paper, it might dry quickly. The technique that I use to make sure that my paper stays wet for a longer duration of time is to keep applying the water multiple times and here's something. If you are not using 100% cotton paper, then what you can do is apply the water, then wait for like two minutes for the water on your paper to start drying and go down into the pose of the paper, then reapply the water. When you reapply the water then, your paper is going to stay wet for a slightly longer duration of time just because this paper already has some paper in the fibers beneath that is in the layers that is underneath this. The second time when you apply the water, it will take slightly longer time for that water to sink into the underlying fibers. So it will give you some extra amount of time to work on the wet-on-wet technique. Here I'm applying the water nicely. We don't want to create any large pools. Always make sure that you wash away your brush on your paper in an even direction so that you don't form any pools on the paper. I can show you. Do you see the sheen of water on my paper? That's all there is. See, there is no water flowing. There is no extra large blobs of water or anything on my paper. We'll just apply like this all over the paper. That's it. I hope you can see clearly there is no sheen. There is only sheen no extra pool of water on the paper and then we are going to start painting. I'm going to use my size 2 mop brush and we're going to go with our first blue simple sky first. I'm going to be using phthalo blue or bright blue. It is a very beautiful, vibrant blue but you don't need the exact blue that I'm using. Don't worry. Go with the blue that is there on your palette. Pick up the blue nicely on your brush and see the consistency of the blue that I'm taking. Not using a lot of water. I dipped my brush in water, I cleaned and drained excess water. Then I'm picking up paint and I'm mixing it on my palette because I'm trying to get an even consistency amount of paint on my brush. Now there is a lot of paint on my brush and we are going to start painting. We're going to start at the top and we are going to apply our paint in a straight line like this. You can see the edge of that straight line. It is spreading. It is spreading because we have applied the water. This is what is known as the wet-on-wet method. Now we are going to go over the blue region again. But now, we're only going to create the proper sky. We've applied at the top. Now we're going to create our strokes in some angles. I'm going to go at an angle like this. See that? Then I'm going to cover up the whole of that area inside and then I'm going to start, leave a slight gap there because that's what's going to form a cloud in my sky and I'm joining it to the upper end. Always note here, when I'm painting skies, I try to hold my brush like this and I don't drop paint. I don't have my brush in 90 degree, but always at an angle like this. This is how I paint skies because that gives the best stroke for the skies. You see that? Now I'm just dragging my brush along. We're going to drag our brush along all the while, leaving as many small gaps as you can. Every time I pick up fresh paint from my palette, I paint the top part because as I've moved towards the bottom, I want my strokes to be lighter. The first stroke, after I picked up new paint, I apply it on the top because the top can be the darkest part and as we move towards the bottom, we want it to be lighter. Here, I've applied the darkest tone to the top. Then now my brush is lighter, so I'm applying the lightest tone to the bottom. You see it's very light and also when you slide, don't press it. Just slide very lightly and like this just some lines like that. That's it. I'm going to leave it like this, and I'm going to let my sky dry. This is very simple, isn't it? That's all that was for the sky. Here I've washed my brush, cleaned all the paint from my brush. This is as simple as it was, and you can see the sky is darker at the top, and I've loaded up lighter paint towards the bottom by just drawing some lines. It's just in line like this using this motion. Always use the side and the tip of the brush. Do not paint like this, but at an angle and you'll get these nice strokes. But don't worry if you don't get these nice strokes at the beginning itself. It is all right, because we're just starting out if you are a beginner. But if you are an intermediate artist, then I think you will surely get this. This is very easy to make. Now we're going to wait for the sky region to dry because we need to, let's add something at the bottom to make this painting interesting. Otherwise it's just the skies, but if you prefer to leave it just with the sky, then that is also fine. If you're just going to learn skies today and nothing else, then you can stop here, wait for the painting to dry and frame it, or keep it aside, or whatever. But I'm just going to add few mountains at the bottom. I've been waiting for a long time for my paper to dry. You can see the top part is still wet because we applied a lot of paint over there, but the bottom part is now dry, which is enough for me because I'm going to be painting only at the bottom part. Taking my brush again, we're going to add few mountains. We'll look at mountains in detail in the later coming weeks, but let us just add something to make this painting interesting. So I'm picking up raw sienna. You can see I'm taking raw sienna, but I'm going to take it in a very diluted consistency. Observe the paint here. It's in a very diluted consistency. Lot of water in my paint, you see? It's not the same as we pick the tailor blue. This has a lot of water, and we're just going to add some random mountains. Now, we're going to use the tip of the brush and observe where I'm holding the brush. Earlier when I was painting the sky, I held my hands on the brush here. Now I'm holding it closer because I want to get nice tools. This is how you control your brush when you're doing different strokes on your painting. When you want loose strokes, you hold it in the middle. When you want even looser strokes, you hold it at the tip. But when you want your strokes to be somewhat detailed and very nice detailed, then you hold it closer to the hairs of the brush. Now I want it to be slightly detailed mountains, but some faraway mountains. That's why I'm going for closer. I'm making some normal random shapes of a mountain. You can see that. When I'm applying the raw sienna, you can see it's making the raw sienna with the bright blue to mix and form a slight greenish tint. But that's all right. These areas should be pretty simple. Just make as many random shape of the mountain as you can. Don't go all the way round making the mountains because we just need to fill it up, otherwise the edges of these lines might dry. So that's why I keep filling it up. Okay, there. I've filled the entire bottom mountain [NOISE] with paint, raw sienna, and I'm just going to wait for this one to dry as well. This has now dried. I knew that there is a lot of waiting around for our paper to dry, but that's the hardest part. But if you want to make it quick, what you can do is you can use a hair dryer to quickly dry it up. I'm using a hair dryer because I'm shooting this and I'm sitting here, and I don't want to lose the daylight. So that's why I'm using a hair dryer. But if you have other work to do while your people waits, you can go into that and come back. But otherwise, you can just use a hair dryer. We're going to add some mountains in the front. Next I'm picking up some burnt sienna. But don't worry if you don't have burnt sienna, you can just use burnt umber and mix a little bit of red in it if you want to get the exact same color. Otherwise, you can go for burnt umber itself. Now we're just adding some mountains to the front. Here I have added burnt sienna, and I'm just going to add some strokes like this. [NOISE] But then I'm going to mix it up a little and create some beauty. What I'm going to do is I'm going to pick up green shade. This is green; pick up some nice green shade. This is a dark green from White Nights. If your green is not dark enough, you can mix it up with a little bit of indigo or a dark blue, and you'll get a nice dark green, but you don't need exactly the same green. You can also go for sap green as well. Here, I've mixed it up with burnt sienna. I think if you want, you can use another brush or you can wash your brush off each time, and pick up the paint, and create a nice mixture. It just adds beauty to our painting. You see just some greenery in between the rocky mountain, probably. [NOISE] Some green, I'm going to add. But we have to make sure that the strokes that we apply do not dry. If we create it just while doing this, then this is not going to turn out well. That is why we have to immediately apply the paint right after we apply the previous stroke. Just trying to create some mountain shapes. This is just totally random. I don't have any picture and I'm just going with my instincts there. That's it. This seems to not have blended well. Now that's better. Now towards the right, let's add these greens. What I'm going to do is I'm going to create sap green. For that, I'm going to mix my green with a little bit of yellow. This is because my green is too dark, but you can get a lighter green. If you already have that, you can use that, or you can use sap green itself. Here here, I'm going to use that, and paint the whole of the right side with this. I'm going to add some dark, green spots onto it. This is the foreground and so it can be slightly detailed. I'm just trying to add some detailing so that it looks interesting. You can also add to the other areas. Don't paint here because I think this is now dry. I can show you. See this area is now dry. If I apply the wet paint, then it's just not going to spread, and it'll create dark edges. If you're going to do the wet-on-wet technique, then only apply these small lines only in the areas where the paint is still wet. This is probably still a little bit wet. I can add there. Actually, that's it. I'm going to leave it like this. This looks already very interesting. But I want to get rid of these green stone to my mountains because of the sky. What I'm going to do is I'm going to pick up some burnt sienna, and I'm going to run it over onto the mountains like that. It is just going to create some different tones on our mountains. That's it. But it's going to look beautiful. Like that. Some lines do not join it with the green at all. You're just creating some lines. The green is still not coming yet, [LAUGHTER] but that's all right. If you want, you can spread out the edge there. [NOISE] That is all for this painting. But again, the highlight of this painting is the sky and not the mountains. But this is just something that we created to make it look beautiful. At the bottom, it's just some random mountains. We'll have a look at the mountains in detail later on. It's the beautiful sky that we are concerned about. That is all for this painting. We have to wait for this bottom part to dry in order to remove the tape because if we remove the tape now, this area because it's still wet, it'll pull off some paint onto the outside of the paper. So we need to prevent that. Let's wait for it to dry before we can peel off the tape. Now it's almost dry. I'm going to take off the tape. [NOISE] There you go. That's our simple painting for the first day. There you go. What have we learned? We learned to apply some clouds in the sky, white clouds by just leaving some gaps and also giving depth to our painting by applying a darker color at the top and going lighter towards the bottom. This gives some more lighter depths to our painting. There you go. 7. Day 02 - Sunset Sky: Let us have a look at the colors that we need. We need Indian yellow, transparent orange, or any orange in fact, Carmine rose any pink shade that you have, a bit of ultramarine blue or cobalt blue, and lastly, Payne's gray or black. Welcome to Day 2. Here I have my paper ready. Let us start. Here, I have my paper ready. There is not going to be any pencil sketch for this one. We're just going to simply apply the water. I'm using my flat brush and we're going to apply the water evenly onto the paper. You might have to apply the water multiple times in order to make your paper soak in the water nicely. Oops, my brush. Here again, you can see the sheen of water that I have applied onto my paper. If there is any excess water, just swipe them off the paper because we don't want to create uneven surfaces of water on the paper. [NOISE] There you go. I'm going to use my DaVinci size two brush as usual. We are going to create a nice sunset sky. We'll start with Indian yellow. Indian yellow is a nice, beautiful yellow color. You can see how vibrant it is. Don't worry if you don't have Indian yellow, you can just go with whatever color that you have. You don't need exactly the same color. Don't worry about that. I'm going to be starting somewhere at the bottom and here we have the sun rays or the sunlight which needs to be white so I'm just applying it onto the wet paper like this. You can note my strokes, I'm holding the brush like this and then just pull like that and there. I'm going to leave a huge gap here because my paint will flow, so we leave a huge gap for the light. It's just this. I'm doing my brush like this and there. Now we have applied our Indian yellow there. Wash off your brush nicely and then we're going to move on to the next color, which is orange. I'm using transparent orange here. You can see how beautiful the orange is. It's transparent orange, mix that nicely and we're going to apply it right right top of the Indian yellow. Again, I'm moving my brush using the pointed tip and then just sliding it across. You can see and I'm also going to apply it to some areas where there is already the yellow paint and towards the bottom as well. Here on the left side. Then I'm going to apply at an angle at the top. Always my brushstrokes are exactly the same. I'm just starting at the tip and then extending my brush and pulling it off so as I'm pulling it off, this is why the end has a pointed edge. There. We're going to create multiple lines like this, which are slightly angled and the same here. Make sure you have applied water nicely on your paper. This is why 100% cotton paper would really help because the paper would stay wet for a longer duration of time giving you enough time to work on the wet-on-wet technique. Here now I'm going to do like this, just trying to create some random shapes in the sky. That's all. Now we're done with the orange. Let's move on to the next color. I'm going to take a bit of Carmine or you can take any pink shade and we'll mix that slightly with the orange that's already there on our palate. So it's going to create a nice reddish shade with more on the pink side so that's what we're going to use. We're going to apply it on top of the sky. You can mix your orange and pink shade together and you'll get this nice reddish shade and we're going to apply it on the top like that and do some areas, where there is already the orange and fill any gaps of orange which are white. So here there was a gap of white, I've filled that. We're going to add some strokes, random strokes here. You can see my strokes are like this. This is what we're trying to get. Let's get some more yellow. Do you see the oranges mix slightly? I'm going to just correct it like that and do the areas that I have left white, some of the areas so that the spreading is uniform. That's what we're trying to do. Now the bottom part already looks interesting so we just have to cover the top area. For the top area, I'm going to make it slightly violet. What I'm going to do is, with the red mixture that we already have. Let's add a bit of blue into it. So that like too much blue, let me add more red. That gives a nice dark bluish kind and that's what exactly what we want. We're going to fill the areas with that blue color, that purple-red-purple shade. All the other areas in which the areas that are left white, we'll fill that up. For this, actually you'd need your paper to be really nice and wet, and always 100% cotton paper will help. But I know that many of you may not have 100% cotton paper and you might be trying it on a 25% cotton paper or no cotton at all. But don't worry if you don't have cotton paper because what you can do is you can apply the water multiple times on your paper. Just apply multiple times and make sure that your paper is really wet before you start painting. That is one key thing that you can do to keep your people wet. I've now covered all of the areas that we painted with the I mean, we left white. Now I'm going to just, oops, that's too much blue again. Take more pink and create the purple shade. That's too much water. You see I've applied too much water there and it's already creating a harsh edge. See that separation, but we can correct it. Just dry your brush quickly and move your strokes over. That's what the key thing is about the wet-on-wet technique. We're not supposed to apply any more water onto the paper than there is already on the paper. This is the 101 rule of the wet on wet technique, that is, do not add any more water onto the paper than there is already if you're applying the paint. You can see, I don't want to apply any more water. This mixture here is really dry, not dry, but you can see that there is not a lot of water here as opposed to the ones we were using when we were painting with yellow. This is the reason why it does not create any harsh edge because there is not too much water. Now I've mixed a lot of pink and blue together, and now we're going for another sheen on the top with the pink, the reddish purplish shade that we get a nice beautiful sky. You can go over some of the orange areas that you have painted. I think if you want, you can stop here but I just like to make my paintings vibrant so that's why I add more yellow on the top. But again, this time when I picked up Yellow, see there is not a lot of water. Very less because our paper has already started to dry so we really can't afford to add any more water onto our paper. What did I do here? There is a drop of water. I think I might have accidentally dropped some water onto it while I was dipping my brush but I'll just correct it. I'm going to pick up some more orange. Very less water because there is already this too much water in this area which I'm trying to cover up. There, now that's better, isn't it? I think I've done that. This area had dried and I applied the water so that's why it's not blended well. But make sure your brush is dry. I can pick up some more yellow and just blend the edges of it so that it doesn't look uneven. There, that's better, isn't it? Now we have to wait for our sky to dry before we can add some birds on to this painting. Let us wait for it to dry. Here our painting has now dried and we can see the light area as well. Let us now add some birds on to our painting. For adding the birds, I'm going to use a smaller size brush. I'm going to be using my Size 4 brush from silver black velvet. This is a smaller size because when I dip it in water, I'll get a really nice pointed tip like this. This is what we're going to use for our birds. We're going to be using Payne's gray so I'm picking Payne's gray. Nice consistency of Payne's gray. You can see it's a nice and dark consistency of Payne's gray. We're going to add our buds. It is going to be really simple, just a few strokes, I will show you. See how I have added, it was just joined here and then a separation. We're going to be doing this in different angles or different directions which will mean as if the wings of the birds are spread in different directions. You can see, this one is towards this side. We'll add some bigger but towards this side. Bigger as in just slightly bigger, not too big. Let's add some smaller ones, there. That's all. This one I think I messed it up but let's make that pointed. Now that's better, isn't it? There you go. What we have done is we have painted very gorgeous, vibrant sunset sky, and we have added some birds on our painting. That is all for today's lesson. Let us remove the tape because we can remove the tape because the edges are dry. We just painted the birds in the center, so it's fine. [NOISE] There you go. Isn't that beautiful? Love the gorgeous sky. So I hope you enjoyed today's lesson. See you all tomorrow. 8. Day 03 - Cloudy Sky: Let us have a look at the colors that we need for today. So it's going to be raw sienna, cobalt blue, Payne's Gray. Don't worry if you don't have Payne's Gray, you can mix gray using the primaries like red, blue, and yellow. Or you can mix black and white mixture to get a gray shade. Then burnt sienna, green. My green is really dark and I mix it with Indian yellow to get a sap green, and to get an even darker shade I mix it with indigo. Keep green, indigo, or sap green and yellow ready. That's all. These are the colors that we need. After looking at the two skies in the past two days, we're going to look at yet another beautiful sky landscape today. I'm going to apply water to the whole of my paper. I'm dipping my brush in my water jar and I'm going to apply to the whole of my paper. There is no pencil sketch for this one because it's just going to be simple, and the strokes are going to be using a brush. That's the reason why we are just applying the water directly. Remember, make sure that the water that you apply to your paper is even. I run my brush multiple times over the paper so that my paper gets soaked nicely. But we don't want to create any pools. As I always say, just slide your brush across the paper multiple times, that would make it wet enough. There, I think that's enough for now. If you can see the sheen of water, there, you see that? That is what we are going to be painting with. Here, I'm switching to my brush again, and we're going to create a sky with a bit of clouds and few blue sky areas as well, and just a simple land at the bottom part. First, we are going to start with raw sienna. Pick up very little amount of the raw sienna. We don't want it to be in a darker consistency, just a very lighter tone there. Then always use the side part of the brush, not the pointed tip. I'm just applying some random strokes. Some towards the left side, and then I'm going to add more towards the right side. There. That's it. Washing off my brush. Then the next color that I'm going to be taking is cobalt blue. Before that, let me just clear up my palette. This is from yesterday's painting, I haven't cleared it off. I think I should have done that before starting. The next color that we are going to apply is cobalt blue. I'm picking my cobalt blue. You can see, picking in a nice consistency, and I'm going to apply to my sky region. I'm still using the side of my brush. Remember to use the side of your brush. We've covered the whole top area. Then using the side of the brush, I'm just applying some random strokes like this. I'm always using the side of my brush holding it like this. Towards the bottom you can see my tones have started to getting lighter, because I am not picking up any more paint, but I'm just going on painting with the existing paint that's already there on my brush, which is very less. Here the reason that we apply raw sienna is because it is very hard to mix raw sienna and blue together to create a green. They would mix and form green if you mix it on a palette, but on a paper, they wouldn't flow easily and create a green mixture. The next shade that we can take is Payne's Gray. We can take Payne's Gray and we're going to add this now. Again, use the side of your brush. Using the side of my brush, I'm applying to the areas right in between the raw sienna that I had applied. Also do some of the areas where you have left white in-between your cobalt blue. Maybe add few lines. We've already seen how we can draw few lines with a brush. That's exactly what we're doing here. I'm always using the side of my brush. Next I'm going to pick up a very lighter tone. We want it to be lighter and not a lot of water. If we dip our brush, and dab our brush on the tissue. That's still too much of paint. There. Now I've got ridden of the paint, I just dabbed it on my tissue, and we are going to apply onto the paper. We have created a nice blue sky with some lighter areas. This forms the light in the clouds. It adds a volume or depth to your painting because your clouds have some value, but we have lighter value. Now we need darker value for the clouds, so we go with Payne's Gray again, but this time make sure that there is very less water in your brush. You can see my mixture. It doesn't have a lot of water, just more of paint. Also make sure that you dab all the water from your brush and then we will add this to the top. This will add volume and this, we will dab this onto some areas of the clouds just to create some darker clouds. Not darker by adding depth to our clouds. Maybe few lines like this. And then wash off our brush. You see what we have done here first we applied the Payne's gray, then on the torque by taking very little water on our brush, we dabbed it on the top. Because there was very little water, it will not spread the existing paint. But instead, if you had added more water onto it, then it would have just spread and would have created dark edges. In order to avoid those dark edges, [inaudible] We dubbed off all the existing water and made sure that our brush is just having paint. Now, let us go ahead and paint some bottom part for the landscape. For that, I think I will go with burnt sienna. I'm just mix a bit of burnt sienna, and I'm going to add it. Let's add here. Your people might be already dry or it might not be dry, but it doesn't matter. Just add some few strokes like that at the bottom. If it's not dry, it might spread. You can see some areas here that has spread. If it doesn't spread, then also it's fine Then we'll go with some green [inaudible]. Then we'll go with some nice green tone. I will add a bit of raw sienna into my green. That's what we'll add from the right side, and join this burnt sienna area, then I want to paint the edge of my burnt sienna and mix it with the green. More burnt sienna. Then just mixing it with the green. But here, I just let the water spread the paint but not a lot of green. Now, we'll add more green tones to the right. I'm picking up my green paint and we'll add it to the right. Still not dark enough, that's alright. To make your green dark, you can add a bit of indigo. Now that's very dark, and apply that. Then let us maybe add some small shrubs and bushes. Just in the coner here. You can see in the corner here, I'm going to add some small, tiny dots which would act like some tiny shrubs and bushes. Let me pick up more of my indigo and the green mixture. I'm going to create a random tree shape. Now, I want sap green again. I'm mixing my green with a bit of my yellow, because my green is very dark. Then I'll just run my brush over the middle part. Just like that. That's it. Here is the green that I have added. Let's add more greens. You can add more onto the area on top of the burnt sienna. Here you can see what I'm doing, just a few strokes like this. Now, I'm using the tip of my brush, and just adding it there. That's it, I think I'm going to now let it dry. That's all there is for this painting. It was just a simple one. What we're trying to achieve was to learn the sky, mostly. The landscape was just an addition to that sky. Let us wait for it to dry before we can remove the masking tape, because this part here is wet. Our painting is now dry. I just used my hairdryer to dry this off. Let us now take off the masking tape. To be very careful and pull the tape away from the paper, otherwise you might risk tearing it off. This was canson paper and see, it's tearing off a bit. But it's not taking part of my painting because I'm tearing it away from the paper. Here is our beautiful painting with the clouds, with more dimension and depth. I hope you liked this one. 9. Day 04 - Turquoise Sky: Welcome to Day 4. Let us have a look at all the colors that we need today. We will be needing emerald green or viridian, phthalo blue or bright blue, quinacridone gold, tone body. If you don't have this color, you can mix yellow and orange together and you will get a nice golden sheet. Then burnt umber, indigo and burnt sienna. After our three main sky paintings, we are going to look at a magical sky today. Let us start. That is again, no pencil sketch for this magical sky. We're just going to start with applying the water because we're going to be doing the wet-on-wet technique. Take water and apply it evenly onto the paper. As I always say, just make sure that you wet your paper nicely without forming any large boards, without creating any bends. A bend or the warping of the paper is created when there is uneven water on your paper. In order to avoid that, one thing we have done is we have taped the edges of the paper and also we are applying the water evenly. If you create a pool of water somewhere, then the areas surrounding that area is going to bend. This is one of the main reasons why your paper bends because it is uneven water. We have to make sure that the water is even so you can either tilt your board and apply the water. This would make sure that all the water would flow down due to the force of gravity. That's one reason why you can tape your paper onto a board or a surface that you can lift rather than to your table. Here, all the water would accumulate at the bottom when you lift it off. You can just use some random tissue to just wipe off the end like that and dab off any extra water from the corner. There, that's it. I think I'm going to apply the water one more time because it seems as it's still not soaked enough yet evenly. If your paper is not 100% cotton paper, then here's one tip for you. What you can do is you can apply the water, then wait for two minutes for the water to soak in and the paper to almost dry and then reapply the water. When you apply the water the second time, your paper will stay wet for a longer duration of time mainly because the underlying layers of the paper is already wet. It will take longer time for the second layer of water to sink in. That way you get much more time for you to work on the wet-on-wet technique. Picking up my size to more brush again. This time, we're going to create a magical sky like I said. I'm going to mix a green and a blue together to create some like a turquoise blue color. If you have turquoise blue, you can go with that directly. I'm using emerald green and I'm going to mix the phthalo together. Here's my phthalo blue and my emerald green. Wow, that's beautiful, isn't it? That's a beautiful turquoise blue color and that's what I'm going to be using. I'm going to start. Always when I paint the skies, my angle of the brush is like this and not pointed. There. I will be leaving a lot of gaps. Here, when you mix emerald green with phthalo blue, you want more of blue and very little of the emerald green so that you would get more like a turquoise blue, it's not turquoise green. That's what I'm saying. Try to create lots of white gaps. Your paint would obviously flow and fill them all up. That's fine. But we're just trying to create as much white gaps as we can. You can have some bigger gaps if you want. I'm going in a slanting manner towards the right side. Now I'm going to make my mixture more concentrated. I've made a very concentrated mixture. Putting up more of my phthalo blue there. Now, my brush has a lot of concentrated paint and I'm going to go over it again to get some darker tones. The other parts let it flow. It's all right. You can see that most of it is flowing and see the shape that it has created here. That's fine. Now, wash off the brush and we're going to take our next color, which is quinacridone gold. Don't worry if you don't have quinacridone gold, you can just mix orange and yellow together. Either orange and yellow or red and yellow and you'll get a nice golden shade. This is what we will apply. But when we are applying, leave a slight gap between the two areas. Again, we will leave a large number of white gaps in our painting. You can see the area that joint has created a green shade here. I'm just going entirely over the bottom. Now we need to add some darker tones. What I'm going to do is, I'm going to pick up burnt umber. That is burnt umber and I'm going to mix it with the golden shade so that we have an underlying tone of the golden, mix it with the burnt umber. But you can see the burnt umber, it has a lot of water here, and my brush has a lot of water. If we apply this onto the paper, then it's going to spread a lot and it's going to create dark edges. Make sure you take off all the excess water. Now, we have taken off all the excess water and I've just dabbed it with paint again. Here, now this side, the consistency is better. This is what we're going to paint. Now it doesn't spread a lot and then we're again going to use the side of the brush to create some nice cloudy forms. The area where our paint just spread and created those green areas, you can paint over it with the brown and cover up any green areas. Now that looks better, isn't it? Now we need to add some more darker tones and darker clouds to the blue area. What I'm going to do is I'm going to pick up indigo and mix it with the same mixture that we created, the turquoise blue so that again, we have an underlying tone of the turquoise blue. That's too much of paint there. You can see there is very less water, not a lot of water. But make sure that we do dip off extra water because this area is almost dry and we might ruin it if we introduce any more water. There using the blue, we will add clouds. Add the clouds right next to the brown areas as well. Do some of the areas right next to the areas that where you have left white. So this will make it and give it more dimension. Just run your brush along the side at an angle like we just did. I'm picking up more brown. The brown is what I'm going to use to create the transition from my turquoise blue. You can see I've my brushes almost dry, that's why it's creating this weird shape. If it had water, it wouldn't create the weird. See this is almost dry. Because if I add any more water on to these area, then it's just going to ruin the whole thing. That's why I'm not adding water, but rather I'm just adding paint there. I think I might add some here as well because I feel that it looks separated. See, my brush is dry because my paper starts getting dry and dry each time. It's not feasible to add any more water onto your paper. As I said, that's the number one rule when it comes to watercolor painting, do not add any more water onto your paper than there is already on your paper. I think we're done with the beautiful sky as it is. Let's now go ahead and add something to the bottom to make this thing interesting. What color should we add? Let's go with burnt sienna, because that would match with the whole picture. So I'm just going to add. Your paper might still be wet and it might flow a little, but that's all right. Let it flow. Pick up nice consistency of the burnt sienna. Again, note my brush is not that wet. It's got more paint and less of water. We're just creating a small hill or mountain shape. Maybe you can add a little bit of burnt umber to give a color variety to it. It's just that when you paint with a single color, it might not look interesting. So that's the reason why we can try to make it look more interesting. Now there is a burnt sienna, and as we move towards here, we have added the burnt umber, so it's got a variation in the color. Another way that you can add the variation is, you know the mix that we created for the sky. Use the same mixture, that would mix with the brown and create like a gray sepia shade and use that, mix it with the same burnt umber stroke. What we have done here is we have the color that we used for the sky and mixed it with the color that we used for the brown areas so that the whole picture seems harmonious. That's what we're trying to create. Always just try to bring in different variety of shades to your picture. That's all you need to do. I want to add a bit more brown, so I'm taking burnt umber and I'm adding to it. Add some burnt umber here, because it's too light this area. But I've made this area lighter just because and also I've added the burnt umber at the bottom. But note what has happened here, we made this area lighter because this light from the yellow region is being reflected on the mountain just in some areas. The bottom part is like we've made it darker with the burnt umber. Now it looks beautiful, isn't it? Being reflected by the mountains. So that's what we're trying to achieve. This side is more dark. That's it. The mountain does not have a clear border. This is because it's like very far away. We don't want it to have clear borders, so minor spread. But if it does have clear borders for you, then also it's fine. Just try to mix the paints and bringing that differentiates to your painting. That's all. Our painting is now complete. Let's wait for this to dry before we can take off the masking tape. Now our mountain is dry. Let us remove the tape. [NOISE] Remember to pull away from the paper. There, here's our beautiful painting. I hope you liked today's sky. What have we learned? We just learned to make a magical night sky and add some light onto our mountains. I hope you liked today's lesson. See you all tomorrow. 10. Day 05 - Pink Sky: Welcome to Day 5. Let us have a look at the colors that we need for today. We only need three colors for this painting which are; indigo, carmine, and Payne's gray or black. The carmine, you can either use anything or rose shade. For indigo you can mix blue and black together to get a darker blue shade. For the Payne's gray, it's either a darker version of Payne's gray because you can see in the painting it's completely dark, so you can go for black also. That's it. After having a look at all the full skies from the first four days, let us now look at another beautiful sky somehow like this one, a different and using different colors. Here's our paper. We will start with watering our paper again because as I said, for the sky is always it is the wet on wet technique that's the best. I'm dipping my flat brush in water and I'm applying it onto the paper. Remember, you can apply the water using any brush that you have. You necessarily don't need the flat brush itself. Let's apply the water multiple times and go over it multiple times so that our paper stays wet for a longer duration of time. If you're not using 100% cotton paper, remember what I said, you can apply the water first and then wait for like two minutes for the paper to start drying and for the water to be not too visible, not completely dry just while it starts drying, then reapply the water. When you do like that, you will make sure that your paper can stay wet for a longer duration of time. Now, here I have applied the water. Let us start painting. First we are going to use indigo, so take a nice consistency of the indigo paint and mix it in your palette. It's almost like a very cloudy sunset sky, almost dark, but it's not night sky yet, so this is the reason. Still we're going for a very nice beautiful kind of cloudy sky but sunset. Beautiful sunset in fact. Remember to use your brushstrokes at an angle like this. We want the dark portion to be as dark as possible. Here you can apply smaller strokes like this, and we can also apply towards the left side, but we don't want more paint there. But very light shin of paint. The darkest portion should be at the top. That's why I'm just applying. You can see the brush movement that I'm making. Just swift motion like this. Now, I'm going to wash off the paint from my brush, and then make sure there is no extra water, and then I'm just going to dab and create that lighter tone towards the bottom. See that? That created a lighter tone there. Let's add some more paint towards the left side. That is that darkness at the top and then lighter towards the bottom. We want to be more dark. Take your indigo paint in nice dark consistency and apply it at the top again, because watercolor paint starts to get absorbed into the paper and becomes lighter as time goes forward, that is, as it dries. We might have to add multiple layers if we want our paintings to be vibrant and dark. Then the next color that we are going to use is we're going to use carmine or pink. Mix a nice quantity of the carmine or any pink, queen rose or whatever pink shade that you have, it doesn't matter. We are going to add this right next to the indigo. It can go over the top of the indigo, it would just create a beautiful violet shade. That's all right. You can already see my strokes are using the sides of the brush and even if I'm using the pointed side of the brush, I don't drop my paint but rather I move in a left and right direction rather than dropping my paint. Towards the left top corner, we're just going to apply our paint. Notice here my paper has started to dry, so I'm not picking any more water, but rather I'll just apply the paint. If we introduce any more water to that area, then your paper will have dark edges which we do not want. We can't have any lighter areas or white areas, we have to cover it up with paint. What we're doing is now when we leave some white, we will cover it up with indigo. Let's add more paint on top of the indigo areas. We're trying to create smaller clouds towards the bottom. This and some really smaller clouds to this side. I'm using the tip of my brush but again I'm not dropping paint. I'm using the small left and right motion. You can see that. There. We have to work faster on this one, mainly because our paper will start to dry and we will not work anymore on the paper. Here, now I've taken a very dark consistency of indigo and there is very less water, and I'm also taking away all the water, because I want to darken the top area. So you can already see because it's drying, it will create harsh edges. In order to avoid the harsh edges, make sure that you take only paint. Notice here, my paint is almost no water, just paint and very little water that's there on my brush. That's what we are going to apply. We'll use that to apply on the top. As I said, all those areas that you had left white, we don't want it to be white, so we are covering it up with indigo. The top portion should be as dark as you can make it. Here now it's like almost black, and I'm applying that. We'd also apply to the top here. But you can see it's created a harsh edge will just soften it. Don't worry. I will always teach you how to soften your harsh edges or where your paint has not spread. I've just washed off the indigo and I'm dabbing my brush to remove all excess water. Then we will go with the carmine again or the rules that you have used and that we will apply it right next to the indigo. Now, you can see we've created that blend between the indigo and the rows and we've created a purple shade there. So now the sky is dark in that region. If you want, you can mix a bit of indigo to get that purple shade and add more strokes towards the left. But notice there is no water on my brush. I'm not picking any more water only paint. That is most important. There you go. I think now the sky is perfect. We don't want to work on it anymore. Let us just wait for this thing to dry before we can add some foliage at the bottom. So we'll have to wait for it to dry. Here, my top part is still wet, but this area here has dried. It's actually because I use a hair dryer to quickly dry off this part. You can also use a hair dryer if you want, or you can wait for it to dry naturally. The color that we are going to use is Payne's gray and actually, I think I'm going to switch to a smaller size brush. I'm taking my silver velvet size 4 brush and I'm going to pick up Payne's gray in a darker consistency. Don't worry. You can also use black. You necessarily don't need Payne's gray. I just love to use Payne's gray for my black paint. You can see I'm taking it in a very dark consistency, which means it's like really dark, and this is what we're going to apply, which is going to make some small trees and some smaller foliage at the bottom. That's it. Some smaller trees and bigger trees just some trees in any random shape that you want and cover the bottom part. You can see it's very dark. I'm using almost black. So you can just go ahead and use black. You necessarily don't need Payne's gray itself. So this, I am painting a pine tree. I will show you one more time how I'm doing it to make it easy for you to follow along. Let us first do one thing before we do that. Let's complete the bottom part. Just create some there and then let's fill it up. There you go. Now, I have filled it up and I'm going to show you how we are making those piny trees. Pick up the nice dark consistency of your paint. What I'm doing is, I'm just painting around the areas. I'm using the tip of my brush, and using the tip, I'm just doing this. When you move this side, you can go towards the outside, and then paint the inside part. See that? This is what I'm doing so we can do some trees closer. It doesn't have to be perfect. That's the key thing that we have to understand here. It doesn't really have to be perfect, just whatever strokes that you can make. See the stroke that was not at all perfect. That's what I really wanted to tell you. It doesn't have to be perfect. Do whatever you can. Because this is like trees. They can form any shape, they can form, however, you really can't imagine what shapes the trees make. There, that's it. So this painting, that's all for this painting. Now, we have to wait for everything to dry, as we may have to wait for this edge and this edge to dry before we can remove the paper. Let's wait for that. Now everything has dried. Let us remove the tape. [NOISE] There you go. That's our gorgeous sky for today. I hope you liked it. What did we learn from this? We just learned to apply two colors and always to use our brush like this, the brush strokes at an angle and we also learned how to make some simple tree forms just by adding some random strokes. That's it. I hope you liked today's lesson. See you all tomorrow. 11. Day 06 - Rainy Day Sky: Welcome to Day 6. Today is the last day for the skies. After having looked at different skies, today we are going to look at the monochromatic sky. But not really just monochromatic, it's going to be a rainy day at the sea so we are just going to use one single color which is Payne's gray. This is the reason why I'm calling it monochromatic because it's not having any other colors. Monochromatic painting means that you paint with a single color and you also achieve all the effects and the darkness, the lightness by just using a single color, by evading the tone of it. That is, if you use a darker tone or use a lighter tone, and depending upon the different tones that you use, you can add depth to your painting. So that is what we're going to look at today. We're going to see a rainy day at the sea and the only color we're using is Payne's gray. Also we don't need any pencil sketch so let's just start painting. We are going to apply the water evenly on our paper. Just apply the water onto the whole of the paper as usual and make sure that you make your paper stay wet as long as you can so apply multiple times if you want. Still applying my water because I want my paper to stay wet as long as I can make it. Any extra water at the bottom, I'm just going to dab it off with my tissue. There, so now I have a very good sheen of water on my paper, you can see that. It's not flowing in any areas, it's just a sheen of water, very nice on the paper. You can hold your paper like this for a bit of time so that all the water would flow down and would give you nice sheen and not accumulate at any places. There was still a lot of water that's why it created a pool at the bottom again. But it's out of the paper so I'm just dabbing it off with a tissue there. This is the amount of water that we want then I'm picking up my size 2 brush, dab off all extra water, and we are going to be using Payne's gray. Here is my Payne's gray mixture. We'll mix your Payne's gray in a nice consistency and again, we are going to have a slanting stroke for our sky. We are going to start at the top, and we are going to do this. Do you see the slanting strokes that I made? We will also do some here. Now I want to make it lighter towards the bottom and I'm going to do these slight strokes. I've covered the whole right area and then you can see lots of gaps that I have left. Then I'm just doing these small strokes and more towards the left side. As I reach the left side I'm making few straight strokes. That's it. Now, I want to create some depth. I'm just going to add a bit more, that's too much paint. Let's dab off all the paint from our brush and pick up the Payne's gray. I think that's a better consistency. It's not too much but that's too much water so I need to dab it off and then I will add it on the top. You can see, I'm just trying to create some depth so I will add it to the top of my existing strokes at the top. The top is where I want to create the depth so that's why I'm applying. We've learned these angular strokes, that is the side strokes with your brush for five days in a row now, so this is the sixth day. I'm pretty sure that you will have learned how to do the strokes by now. They won't vary. It's not that tough but with practice, you will gain it. When we progress to the other lessons and we're adding skies, this will be very useful to you. Now, our sky is almost finished. We just need to add the sea now. Make sure you remove all the excess water on your brush and then pick up the paint. I'm taking the Payne's gray again, medium consistency so that's the medium consistency and then I'm going to add a straight line with my brush. It is going to spread but not a lot. This is because it is a rainy day and we actually do not want our sea to have a defining line. It's just we're trying to show that the sea is joined by the sky in the far off horizon. That's what we're trying to show. Pick up the paint. Our paper is wet that's why there is no clear border for our sea but the only thing that we have to do is we have to make sure that the line that we draw is straight. You can see mine is still a little bend so I'm just correcting it and it's lesser this side, so I'm going to add more. This will also give control over your brushstrokes because there is no defining line. Don't add a pencil sketch because if you add a pencil sketch, then we will never learn how to make those perfect straight line strokes with our brush. This is just for practice, so don't really worry and try to add varying tones. Here I've left a bit of light area, and then I'm going to add some darker tone towards the right. Now use the tip of your brush and make these lines almost towards the bottom like that and that's actually it. I think my sea is still slanted here. It doesn't really look like the sea here, but no, my point is, this is how a rainy day in the sea would look like if you were out in the sea far off and you're looking at the horizon and taking a picture, this was probably the simplest of all. I just wanted to make it simple for the last day of the skies, and also how a rainy day would look like. When now we are going with our next subjects and trying to add a rainy day into a picture, you will remember this painting and you will remember, oh, it's Payne's gray or you can also go with indigo actually instead of Payne's gray. If you have the darker indigo color, that would also be perfect to show a rainy day. The next time you think of a rainy day, you will visualize this color and the sky so that's why we did this exercise. Let us wait for this painting to dry before we can remove the masking tape. Here, our painting has dried, our clouds and rainy day clouds are looking so beautiful. Let us now remove the tape. [NOISE] Here is our final picture. I hope you like this one. See you all in the next day with our next subject, which is going to be night skies. I hope you like it. This was mostly daytime and sunsets skies but next we're going to look at real night skies, beautiful, gorgeous magical skies. That's all for today. See you-all next day. 12. Day 07 - Violet Night Sky: This is the painting that we're going to do today. Let us have a look at the colors that we need. The four colors are violet, indigo, bright blue or halo blue, and Payne's gray, or you can use black. We only need these galleries. Let us start with our first night sky. Again, I'm going to have my paper in the landscape mode, and we're going to apply water to the whole of the paper because we're going to be painting the night sky with the wet on wet technique. Here I am using my flat brush and I'm going to apply water to the whole of my paper. Apply the water evenly without forming any large pools are blobs of water. You might have to apply multiple times, as I always say, just make sure that your paper has a nice amount of water. But that doesn't mean it should form any pools. It just means that you need to do these strokes multiple times to make sure that the paper gets enough water to soak into its fibers. I think that's better now. You can see the sheen of water on the paper. That's how much we need. Let us get started. Here I am switching to my size 2 mop brush, and the first color that I'm going to be using is halo blue. This is already halo blue on my palette. This is, I tried another version of this painting first, which I did not record. That's why I already have the colors here on my palette. The one that we're going to be using for this same painting, so here is halo blue. You can also use bright blue, ultramarine blue, cobalt blue, whatever glue that you have, it doesn't really matter. What you need is a blue color. I'm going with halo blue. We are going to have an angled motion. Observe how I'm holding the brush at an angle like this. My strokes are at an angle like this by pulling my brush in the direction that I want and then towards the left side like that. This is what I'm doing. I just created a V shape and then I painted inside it. That's what I'm doing. You can see. There, that's it. Then wash your brush. We'll pick up our next color, which is going to be violet. We're going to paint the rest of the night sky with violet. Load up your brush with violet and we can start from the top. The whole other areas. We are going to paint with violet. This should be pretty easy because we just having a normal wash down stroke at the top. But at the top we need it to be darker. Then move down your paint like this so that we get a nice flat wash at the top. Then near the blue, we're just going to run it over like that in the same direction and cover the rest of the areas see. I've covered. But now toward the blue area, we are just going to create some lines such that they form some lines bleeding into the blue like this. Observe my paper is wet enough. That's why we are able to create this perfect bleeds into the blue. That's what we need. Like that. Then I'm going to wash off my brush and remove any excess water. Towards the bottom I'm just going with a lighter tone of the violet. You can see this is a very lighter tone as opposed to the top area. I've just run my brush over this is just an empty brush. There's no paint. That's why I'm running over the blue region and then just trying to blend. Now we have created a blend But now we need to paint more and create a vibrancy to this painting. We're going to pick up more violet, pick up as much as violet as you can, but make sure that your paint doesn't have a lot of water observed here. It doesn't have a lot of water. Then we are going to start from the top because we need our painting to be vibrant. The reason why I'm lifting it up is because your paint will flow down and it will mix with the rest of the areas, creating a perfect blend if you don't lift it up or if you don't pick it up, it might stay in one place and it will not flow. In order to make it flow, that's why if you can hold it and give it a slight angle, that would be great. This is the reason why I asked you to tape down your paper onto a board or a magazine or whatever that you can find and not the surface of your table. It is okay if it is on your surface of your table and you are unable to lift it off. That's fine. Just make sure that you try to blend it all the way towards the bottom. Here I'm darkening the violet at the top. You can see and some towards the side as well. Then I'm creating these line strokes just like we did for our night sky. For all other skies. Now what we're going to do is we're going to create some smaller clouds on our night sky. Pick up a nice consistency of the violet. Also you can mix a slight amount of indigo to it. I'm picking up indigo and I'm mixing it with my violet. You can see I'm getting a very nice darker shade now. That is indigo mixed with a violet and there is very less water. You can see how the consistency of the paint is. We are going to use, and we are going to add it to our night sky like this. Again, my brushstrokes are slanted you can see. We're just going to add it like this. Some slanted strokes to our night sky. We can pick up more. Then I'm going to add some clouds on top of the blue region as well. When you apply on top of the blue region, make sure that the clouds are really small. I'm using the tip and the portion until here of my brush, not the whole part. Just using the side, always use the side. I'm not dropping my paints like this. Note that. You can have some small lines as well like this. That looks better. Now, we can have some more dark colors towards the top but makes sure that your brushes really dry. Because the paper here is already started to dry, so we don't want it to create any bleeds or dark edges. There you go. Now what I'm going to do is I'm going to just apply my violet paint towards the top area because I want that area to be really dark, like that there. Just add. This is going to be the sky of our night sky. We have to wait for this to dry before we can add in the mountains so let's just wait or we can use a hairdryer to dry it up. The bottom part is now dry. The top part is maybe still wet I just dried the bottom part because that's where we're going to paint. Let us pick up the color that we want, we're going to be using violet, but this time I'm taking a very diluted consistency of violet see that? I want my paint to be diluted, lot of water. There you go. A lot of water on my paint, but then when we apply to the paper, we don't want a lot of water, only the mixing palette should have a lot of water. When you add a lot of water to the paint, it becomes diluted so the color is lighter, but on your brush, make sure that there is no a lot of water. What we're going to do is, we're going to create some mountains so you see, the tone is lighter, but I'm not adding a lot of water onto my paper. Fill up the whole of the mountain with the paint, make any shape you want it doesn't have to be the exact shape that I'm doing so no need to stress on that at all. Fill up the whole of your mountain with a nice violet shade, lighter tone of violet so we're using a very lighter tone of violet then now, I just painted this violet on the mountain, so the whole thing is still wet so what I'm going to do is, you know that mixture where we used the violet and the indigo. I'm going to pick up some darker paint from there or if you don't have that mixture on your palette, you can mix indigo with your violet and create it again, but we don't want it to be diluted, so I'm adding water and loosening it up and then I'm going to use that. I'm going to apply it to the mountain. Not the whole part so that means, this area of the mountain, I'm darkening it, but the right side is going to be lighter. This is because these dark spots in the sky, that part is giving a nice darkness to the mountains at the bottom, that is why. Now we're done with the mountains again and we have to dry it up before we can add some detailing on to the mountains. I've dried off my mountain so now I'm switching to my smaller size brush and I'm going to be using Payne's gray and also a undiluted consistency. You can see there is very less water because I'm going to create some dry brush strokes. For the dry brush technique, what we need to do is we need to pick up the paint and then make sure that our brush is dry by dabbing it on a tissue and remove all of the excess water. Now my brush has only paint, and not water and then we're going to rub this over again in an angle like that. Hold your brush at an angle and rub it over so then you will get the nice dry strokes like this. The dry strokes, they happen because our paper texture, so that's why we need a cold pressed or rough surface paper and the texture on the paper is allowing the strokes to only go into the top areas of the paper and not into the pores of the paper. That prevents it from getting into all of the areas and creates a very beautiful dry brush stroke. Just add some dry brush stroke randomly at certain places we don't want it to be in all of the places so this is the mountain. Now since my brush is dry, I'm picking up more paint, but there is literally no water on my brush. See, it's very dry, when it's very dry, it's really hard to achieve the dry brush technique, we need a tiny amount of water. What I'm going to do is I'm going to just dip the end of my brush so that there is a little bit of water. See, now that it's slightly mixing, there is a very little amount of water and that makes it better, so it should not be too dry as well the correct word for it is your brush should be damp. Using the damp brush, go over it. Now towards the left side, I think I want it to be having a bit more black areas on the mountain so I'm going to pick up Payne's gray, nice consistency of it and paint on the left side. Keep painting, such that don't pick up any more paint, just keep painting and there will be a time when the paint on your brush finishes and you'll start getting those dry strokes. Use that because what we're trying to do is, these left area of paint, we are trying to convert it naturally into a dry brush stroke, but I think we need some more paint at the bottom so pick up the paint and applying it at the bottom like this. Let's see the rest of the areas. I'm converting it into a dry brush stroke so that's it. Just at the bottom is where I want it to be the black paint. I'm using Payne's gray for black, but you can also go with any black paint that you want to use, that's it. Now we have a natural gradient from the wet or dry technique to the dry brush technique. What I did was I picked up my paint on my brush and then I went across naturally letting it dry without picking up more paint so that's how we can do that. Now let's just add another mountain maybe in the front. For that, we need nice amount of Payne's gray or black paint and we'll just add part of another mountain like that and fill the whole thing up. There. Now we are done with the mountain part. We will learn mountains in detail so this was just a part for the night sky. The sky was the most important part, if you want to just paint the sky and not the mountains at all, you can also do that but the next thing that we need to do is add some stars into our sky. For adding the stars, we don't need the stars on our mountains so I'm going to be using a tissue. You can also use a paper or whatever you have to cover up the areas where you don't want your white paint to splatter on. Here's the bow that I use for my white paint. What I usually use is this designer, gouache from Winsor and Newton. It is zinc white you can also use titanium white instead. It doesn't really matter which paint you're using, or you can use white watercolors as well. We're going to take my gouache paint so here I have my gouache paint and I'm going to load up my brush with a nice consistency of the gouache paint, see. What I'm going to do is I'm going to tap it, so you can either tap holding your brush like this, and tapping like that or you can use another brush and tap it on the top. Whichever method you prefer, just tap it, this will drop the paint onto your paper. Just move your brush in different directions so that when you're tapping, all of the paint falls in different directions, otherwise it might form in a line. I prefer to tap it like this because I feel this is more controlled, the other way is tapping it all over would splatter paint all over my table. I've got my laptop here, everything would just be covered in paint so I actually prefer to tap like this because it's a little bit more controlled [NOISE] Think we can stop there. Now that looks better. You can add some bigger stars if you want so just load up your brush with some white paint and just drop some larger paint just some larger dots, I mean so some larger dots wherever you want. That could form as the larger stars, there. Adding smaller and larger stars would give it a dimension so I think this is it, our beautiful night sky. Isn't it looking gorgeous? Let us now remove the tape. I hope this doesn't ruin because this is still wet but I think it's all right. There you go. Isn't this looking really beautiful? I really love this one. This is one of the favorite I have done till now in this class. I think mostly it's because of the violet and the blue shade. Don't worry particularly about the mountains, we'll have a detailed class on mountains when we go into the week for mountains but this week it's for night skys. Thank you all for joining me today. I hope you like this one, see you all tomorrow. 13. Day 08 - Black Galaxy Night Sky: Welcome to the next day. Here I have my paper ready. Here is the pallet. There is no ventral sketch, we're just going to straight away start. Let us start with applying the water. I'm going to use my flat brush here it is and I'm going to pick up freshwater. Use any brush that you have to apply water all over your paper. We're going to paint a very beautiful night sky today. Just a hole of your paper with water because we will work with the wet on wet technique best. On the whole of the paper, apply the water. We have to make sure that the water is even. I know I say this every day, but that's really important, and also, another important thing is that if you're not using 100% cotton paper, then do this, applying off the water onto your paper multiple times, as many times as you can, the more you do, the more you'll make your paper stay wet for the longer time. Just keep doing that as many times as you can so that you can make your paper stay wet for a very long duration. There I think that's enough for now for me, for my paper. If your paper is not that wet or you feel that you should apply the water a bit more, then go ahead. I'm switching to my size two more brush, and the first color that we are going to use is Payne's gray. In fact, this is just one of the two colors that we will be using today. This painting is going to have only two colors. Pick up a nice consistency of the Payne's gray. You can see it's very dark. You can also go for black. You don't need Payne's gray itself. Just go for whatever color that you have. I'm going to apply the whole of my paper with Payne's gray. I think this painting is going to be really simple. The main key key is we are going to cover our entire paper with Payne's gray or black. Pitch black, as black as you can. Well, if we're going to apply the whole of our paper with black, you might have this question in your mind. Then why are we using the wet on wet technique? It is simply because the blended surface looks better with the wet on wet rather than on the wet on dry. If you were to apply this black color in the wet on dry method, then you might end up with some uneven blend and harsh edges, which we really want to avoid. This is the reason why we are going for the wet on wet method. See you have to apply a lot of times because I really want to get it dark. Payne's gray, is gray and not black. It needs multiple strokes of paint to get that darkness that I'm looking for. I could actually go for black, but I don't know why. I don't like to use black in my paintings. Rather I prefer the darkness of Payne's gray. That is what I'm going to go with, and actually somewhere around the middle here, I'm going to leave it a slightly grayish tone and not apply a lot of Payne's gray. But around the outside, I will apply a lot of Payne's gray. Picking up more see it's really dark towards the outside now. I'll make sure that it is dark to all the areas, and also note watercolors, they tend to get lighter when they dry. We have to make sure also that this Payne's gray of mine doesn't turn into lighter shade after it dries. No. I want it to be black as black like as possible. Just leaving some gray area here. But the rest of the areas I'm going to cover it up with Payne's gray. But I think it's just fun to see the whole blackness building up on our sheet, isn't it? When you're painting, don't introduce any more extra water because that would displace the paint. It would form blooms. I know I dip my brush sometimes to the water but it's just because it is too dry. I only dip it slightly to get a little amount of water on my brush. I don't dip it fully into the water. Just very lightly so that I can get a little amount of water on my brush. I'll just show you. See, I still don't have a lot of water. This is not flowing consistency. This is still very concentrated amount of paint even though I just dipped it. That's why I'm saying I only pick up a very little amount of water. I don't pick up a lot of water. I think now this is good enough, isn't it? It looks really nice. This is much better, isn't it? Maybe a bit here it looks lighter. Now, that looks better. Washing off my brush, and the next thing we are going to do is we're going to create like a slight, beautiful night sky galaxy effect, and for that, I'm going to use my white wash paint. But you can also use your white watercolors, don't forget that. We can use watercolor also. It doesn't really matter. Here is my wash paint and I'm going to use that. I'm just switching to my size full brush, and we are going to pick up a nice consistency of the white paint, and we are going to drop it on our sky on the white paint. Obviously, you know black and white, they're going to form a gray tone. But that's all right. Can you see, I'm just going around with my brush in circles like this. Circles. I want to go all the way up, but the white paint in my brush is finished. I need to pick up more white paint. But this brush has a lot of black on it. I'm not going to dip this into the white, rather, I'm going to wash it up so that all the black is gone. It's gone. Then I pick up more white. You see now it's just white. Otherwise I would just make a gray in my white palette, which I don't want. Now we get fresh white again, and we're just going to create a long line. This is just trying to create some galaxy effect. I'm going to do this again, but I need to wash my brush. Each time you want to pick up the white, wash your brush, otherwise you'll create a black shade in your palette, which I don't want. I'm going to create another one right to it. Let's keep adding. See, I've just picked up my brush from the paper. See what happens. See, I created a gray shade there. This is the reason why I said that we should wash away our brush so that when you pick up the white paint, it is white and not gray. I'm going to drop it in the center so you can see towards the outside. Oops, I dropped a lot of water. Towards the outside, it is almost gray and to the center I'm applying the white paint. I'm going to go all the way to the top like that. I think that's enough for now. I'm just going to make sure that my paper is really more black. I'm going to pick up more Payne's gray and paint it in the edges and also in some of the areas right next to the white paint. Here there was a gap that we left, I wanted the gap to be here but this area has got a lot of gap. I'm going to fill it up with Payne's gray. You get the gist of it. We're just trying to create something with a little bit of white in the sky and the rest of the areas are going to be black. I'm just going to blend and create a gray right outside the white areas. I think that's it. I'm going to now let the whole thing dry before we can add in any of the other elements that we want to add into our painting. We have to wait for this whole thing to dry. Let's wait. Our background has now dried. Let us go ahead and add some stars to this. We are going to use the white paint again. I'm going to use my smaller sized brush, and I'm going to load a nice consistency of the white paint onto my brush as you can see. Like a very creamy consistency and we're just going to tap it onto our paper. My brush has a creamy consistency, so it's creating these smaller stars. Let us add the smaller stars first. I would use another brush and tap on the top, but then that creates a lot of white marks on my table and everywhere else. I feel that this is a bit more controlled even though this also give it on top of the table as well, but it's less riskier [LAUGHTER] than the other one. Now we've got a lot of stars in our sky. Let us add few larger stars. For that, I'm going to pick up the paint again but this time my paint has a bit more water. But when I say water, you also need a lot of paint otherwise your white will not be really white. A lot of water and a lot of white. Now this one is going to create a larger stars. See, we just got some larger stars. That's it. Next, we are going to switch to a smaller sized brush to add some shooting stars in the sky. I'm loading my smaller size. When I say smaller size I mean, we should have a nice pointed tip, so observe this brush. It has a very nice pointed tip. What we are going to do is, we're going to choose one of the stars. Let's say we choose this, and from there we're going to draw a line towards the top, but draw a line such that you lift off as you draw the line to it's like this, and you lift off so that you get like a tail to the shooting star. I'll just show you. I'm choosing this star and we're going to draw the line. See that? When I did that, I lifted my hand off so that I got like a thinner deal. If you don't lift off, then you're going to end up with the same length for the width, so let's not do that. Let's try to lift off. I'm choosing this star now. This star I broke in between, but we can join that. It's not that bad. I'm going to add another small star here so that will look like a small shooting star. But you see what I mean. [LAUGHTER] You see we all make mistakes. But the key thing to do is like that. Smaller ones, bigger ones you can add as many as you want. I'm also going to drop some larger drops for the stars in some areas. See? Next, let us add something interesting at the bottom. What I'm going to do is, I'm going to switch to my size four brush again and we're going to pick up some more white paint. But this time, we need to make sure that the white paint on our brush is really dry. I'm going to pick up paint, and then I dab my brush on the tissue and make sure that my brush is only damp and not wet. Using this, we are going to add some mountains. That's already too dry. Just some shapes for the mountains like that. That's much better. Now we are going to add some lines into the mountains. For that, we need the brush to be damp and not wet, so a damp brush and we're going to do the dry brush technique. We're just going to pull it at an angle. You can see I'm holding the brush at an angle and I'm pulling it downwards like that. We can actually create some splits in the mountain and have our dry brush strokes from those splits. All towards the edge of the mountain, I'm going to have white strokes. Then away from the edge I will have dry brush strokes. We can have the dry brush strokes in different directions. They always don't have to be towards this side so observe the strokes I'm doing. I'm doing towards the edges because I want to get rid of the line that we drew because that would look like the mountain is having a line. This is the reason if you draw the dry brush strokes along the line, then you will get rid off that line itself. I will explain the dry brush stroke once more. It is just basically using your brush, hold it at an angle and the brush is just damp and a lot of paint. When the brush is just damp, it will create some extra like this. This is mainly due to the texture of the paper. You can see the paper has got some texture, this is because it is cold pressed so you can either use a cold pressed or rough surface paper, which is the best for this dry brush technique. Seeing my brushes really dry and it doesn't have any paint, which is the reason why I'm getting those strokes. Even when I'm dipping my brush in water, I just dip the tip of it to load a slight amount of water, otherwise it'll be too dry. See. Create lots of small dry brush strokes like that. Now I'm going to pick up more white paint and go over some of the areas that I have already applied. See when we applied on top of the Payne's gray and white, it is slightly grayish in color. We're going to add more white to just some of the areas so it will make the mountains look more interesting with different shades of white and gray on it. Not the whole places, just in some areas, we are going to add the white strokes. Adding more white on top of the existing white will make it more white. Now you can see now we've got varying shades on our mountain. First are slightly grayish tone because our white mixed with the black to form gray. Now we're adding more white on top of it so it's giving us a nice white tone. I think that's it. See. Now, our painting is already very beautiful, isn't it? That's all for the painting. We can remove the tape because all of these strokes were dry brush strokes, it doesn't need to dry. We can remove the tape. I just hope none of it is blended it out. No, not at all. Maybe in the corners. That's fine as well. Make sure that you remove the tape away from the paper like I'm doing. There, that's our gorgeous painting for today. Do you guys like it? This is another night sky painting. 14. Day 09 - Fiery Night Sky: Welcome to the next day. Here I have my paper ready. Let's go for the next night sky. Here's my flat brush. We are going to apply the water. There is no sketch for this one either. Let's go ahead and start applying the water. As I always say, make sure that your water is even, with no large blobs or pools of water. Just go around on your people multiple times. If your paper is not 100% cotton paper, then this is absolutely necessary. Keep applying the water. I do this a lot of times. You obviously knew that by now. This is what makes our paper stay wet long enough for us to paint. Especially if your paper is not 100% cotton paper, then you need to make sure that you apply the water multiple times. I think that's enough for now and I'm going to switch to my Size 2 brush. The first color that I'm going to be using is this pink shade. Let's take the pink in a nice consistency and let us add it to the top, to the left side. I'm going to just make some lines like this, like that, and then another few lines. I've left a slight gap here. We are painting with the wet paint as you can see and on a wet paper, so it's wet-on-dry. This one was large, this is medium. This is just small. Towards the bottom, I'm going to go for another medium one again and I'm going to just leave some lines like that in the middle. That's it. Wash our pink off. Next, I'm going to pick up some red shade and I'm going to drop it towards the middle of that pink shade in some areas, like here, there. Now the next color we are going to add to this is indigo. Pick up a nice amount of indigo shade and we're going to cover the rest of our sky with indigo. This is as simple as it is. Around the areas of the pink, we are going to add indigo. You can see those areas where I've left slight white gaps. I'm also filling all of them up with indigo. I will just show you. Let me show it to you here. Here, for example, we have a tip here. I'm going to pull my paint here and as I move here, I'm going to lift my brush so that it ends there. Or another way that you can do is you can start with the tip and then spread your whole brush and paint it. This exercise is also really to help you with your brush strokes. This is going to teach you a lot about how you can move around your brush to get nice strokes. The rest of the areas, let's fill it up. Oops, wrong paint. You can see, the indigo is bleeding into the pink. We will correct all of that. Don't worry. For now, let us fill up the indigo to the rest of the areas. We need to work fast, otherwise, our paper will start to dry, which we cannot afford. That's why we need to paint as fast as you can and start applying all the areas with indigo. Now I have covered almost so many areas with the indigo. Now I'm just going over it again so that I darken my paint strokes. The next thing we're going to do is we're going to pick up more of the pink shade that we applied. But this time, since the pink might have started to dry, observe the consistency of the paint. It's concentrated almost. Don't add a lot of water, otherwise, you'll create harsh edges. We are going to paint along the lines of indigo that will turn into a slightly purple shade because the pink will mix with the indigo to form purple. That's all right. It's just the corners or the borders. Let's do purple. Now I'm going to wash my brush and pick up more fresh pink and add it. Whenever I create a lot of purple, I wash my brush and pick up fresh pink. Otherwise, the whole thing will turn into a large blob of purple. We just want to blend it and create a beautiful mixture. That's why wash your brush each time when it turns into a lot of purple and pick up fresh pink again. When you pick up the fresh pink again and apply it right next to the pink that you have already applied, it will not turn into purple. Then I'm going to go for the red and fill up the middle areas. This is turning too vibrant, isn't it very beautiful? We'll fill up some of the areas with ink, and then I'm going to go with indigo again to the other areas, and to make sure that we have pitch darkness towards the right side. This is just some random night sky that came straight out from my head. I don't have any reference picture. I'm just going with my instincts. I just felt this looks like a fire or, I didn't know. I have no idea even to what to call this. But I just like it. I tried it on a rough piece of paper first, just to dumping my ideas. There, so now we have darkened certain areas. Just creating some low edges and blend, just playing around. This is just like we are trying to create some uneven blends and here I'm picking up pink and I'm going to add it here, and indigo. There, that's it. Then I want to create some more darkness towards the right side. I'm going to take paints gray and I'm going to apply it towards the right. This will mix up with the indigo and create pitch black. Don't take a lot of water in your brush, just paint. Otherwise you're going to create blooms, which we don't want. There. Now this side looks black. Now we have to wait for this to dry before we can add in some stars. Now our painting has dried, everything, the background has dried. We are going to add some stars. For that, I'm going to take my white gouache paint again. You can also use white watercolors. Don't forget that, you don't need the gouache paint itself. Here is my gouache paint, and I'm going to dip my brush in water just a little. I'm going to create a creamy consistency of the paint on my brush. That looks really creamy, and I'm going to splatter these. I'm going to splatter most of the stars to the right side. I'm going to skip the left side. Some of it may fall towards the left, that's all right. There, that's it. It's looking already really beautiful, right? I'm going to add some shooting stars now and some stars into our sky. For that, I'm switching to my smallest size brush. This is small, as I mean is it's got a pointed tip. Take a brush which has got the really smallest point because that's what we need to make those tiny stars, and I'm going to fill my brush with white paint. Not a lot of water, otherwise, we'll end up creating a very bad star with lot of water, so less water, and more of the white paint. What we are going to do is, we're going to take one of the stars, choose one of the stars, and we're going to make a cross over it like that. Then we're going to create an x in the middle, small x. The cross was large, but the x is going to be small, that's how I do the stars. See, so now this looks as if it's sparkling, isn't it? Let's try once more. Whoops, my hands got paint. If I don't wipe it I'll end up dropping it somewhere on my painting. I'll show you somewhere else now. Let's add one here. A cross like that. I mean a plus and then cross there. Now we've got two twinkling stars. Let's also add a shooting star. For shooting star, what we do is choose one of the stars, and then we're going to draw a line. But as we draw the line, we're going to pull away from the paper so that the line tapers to papers at the end. Like that. See, that was very small. I can go for a bigger one. Maybe here. That's still small. How about let's try one here. I think I'm lifting off my hand too quickly. See, nothing can go wrong with adding such shooting stars, that's my point. You can either create smaller ones, you can create bigger ones. There. Now, that's better. That's a very beautiful shooting star. I think I'm going to leave it at that, this is a beautiful night sky. Let's clean our brush and remove our tape. Wow, this is really beautiful. [NOISE] Here it is a beautiful night sky. Oh, I love this one a lot. This is looking just so beautiful. Look at the blends. We got that blend between the indigo and the pink, and it's likely to undo a purple shade. Some lighter areas, the red in the middle. This is all looking too gorgeous, isn't it? Look at my hands, it's full of the indigo and the pink shade. It's just joys of painting, isn't it? Here you go. 15. Day 10 - Simple Night Sky: The colors we need for this one are, Indian yellow, burnt umber, sepia and Payne's gray. If you don't have sepia, don't worry, you can just mix a brown and black together to create sepia. Instead of Payne's gray, you can also use black. It doesn't really matter. Let us start. Today, we're going to be doing it in the portrait mode, and no pencil sketch, we're just going to start straight away with our water. Dipping my brush in water, and I'm going to apply the water onto the paper. Honestly speaking, I feel that this is the most time-consuming part of the painting where you have to water your paper very nicely. By now, you know that I spend at least 1/1/2, two minutes entirely just watering the paper. You must have seen in the previous videos how long I do that. That's the key thing because it's really important that your paper stays wet. Many students have been messaging me and saying that their paper is drying despite them applying the water multiple times. This might be the case because you're not using 100% cotton paper. My paper is 100% cotton paper, and yet I apply the water for one, 1/1/2, two minutes. So if you're not using 100% cotton paper, try applying a bit more. You can actually make sure that you drop a lot of water like this. If you drop a lot of water onto your paper. But don't leave it there as a pool, but rather wipe it off. Just wipe it off and make sure that it's even. You see, I add a lot of pool of water and it's got more water, and will flow when I lift my paper. So we just have to make sure that the paper has enough water. It always depends upon the different papers that we're all using. Hundred percent cotton paper is not necessary, it's not compulsory. You can use other papers as well. But the gsm is really important, that is the thickness of the paper. Because if you're using just a normal printer paper and you apply this much water, then it's just going to buckle and tear up. So the weight of the paper is very important. Like 300 gsm, you need that. Then if it's 100% cotton, then even better. But maybe some of you can't get access to it or can't afford. So it's really alright, don't stress out on that fact, but just make sure that you apply the water on your paper a lot. A lot means really a lot. That's it. I think I'm going to stop for now. My paper looks good. I think I have enough water. You can see the sheen of water. Yes, that's good, isn't it? So let's start painting. For this painting, here, I'm switching to my size two more brush. I'm going to start with Indian yellow first. A nice amount of Indian yellow. This is from the previous painting. I did not clean my palette. I don't know somehow I feel very bad when I waste paint. I think I can make another night sky or something with these remaining paints. I really hate to waste paint, so that's why I never do it. Okay, so for this night sky, we're going to have a nice blending or grading effect to the side. Usually, we have the blending in straight lines. But we're going to have it at an angle. Let's see how that goes. I'm going to start from the corner here and I'm going to apply like this to the top. Do you see I'm applying to the top? If I take my brush and I apply to the top like this at an angle, creating as much angle I can. Like this, it's like spread out from here. That's better. We move this slightly. [NOISE] That part now looks better. I do like to apply my paint multiple times just to make sure that it is vibrant. That is, but the reason why I'm applying the Indian yellow again because your watercolor tends to get lighter when it dries The more layer you add on top of it is like an advantage. I'm washing off my brush. The next color that I'm going to take is brown. This is burnt umber. Any brown shade that you have will work, which is going to create a nice sky. This one, we're going to start in the opposite direction and make it join the yellow. That's what we're going to do. Like that. Let's fill it up first. Don't bother the blending for now, just go ahead and fill up the area. Like this. Let's pick up more paint, and just keep filling up. Now we've covered it up, the whole paper I mean, but this blend here is uneven, which we want to even out. Let's start doing that. My blending that I'm trying to achieve is like an arc over here, and to make sure that the brown gets mixed like in an arc and create a nice light effect like that. Keep those lines, for now, it's fine. We'll blend that with yellow once more later on. There like that. That's a really nice light effect on our painting. We'll keep adding more and more brown towards the sides. You can see the sides here are very light now, so we need to make it as dark as possible because this is the light. So it gets darker and darker towards the edges. That's what we're trying to do. Pick up more of the brown. We'll pick up even more darker shades later on. But for now, let me just fill it up with the brown. We'll fill it up with brown first before we can move on to any darker shades. That looks good for now. But before we add any darker shade, we need to blend smoothly into the brown, otherwise the our yellow that we applied will dry. What I mean to say is if we don't touch that yellow for a long time, then it's going to dry completely. This is the reason. Let's use the splits between the yellow and brown, and we just going to create, blend like this. Pick up yellow each time because when you pull out your brush is going to have a brown shade. Don't use it too much. That's better. I'm going to stretch it all the way to the bottom. But see I'm creating these lines. I want to get rid of those lines. What I'm going to do is, I'm going to use my brush and a tissue. I've taken out all the water and now see, this is what I'm saying will happen. So I just pushed my brush all the way here, and then I replied the same brush stroke right next after that stroke. This brought the brown from here to here because the brown was there on my brush. What we are going to do is we can pick up more yellow and just get rid of it quickly. After each time and you have a brown stroke, you can do this. Just slowly blend it in words like that. Let me pick up more brown. Let's see, there is a separation here, which I want to get rid of. So I'm picking up more brown, and we'll add to that area. I think now, it's really looking better. It's much better when this dries, this will even out. So the light effect is now much better. I'm going to go for a darker shade towards the top. So I'm taking sepia. Sepia is like a really dark brown shade. If you don't have sepia, don't worry because you can just go ahead and mix a little bit of black with your brown and you get sepia. So that's all you need. Observe here, I'm picking up the paint, but then I'm drying it off on my tissue that is drying my brush off because this part here already might be dry and having very less water. So I don't want to ruin it by adding any more water onto the paper. This is the reason why I'm drying it off. See now we are applying the sepia and we're creating a nice transitioning blend. It's like from light to the darkest areas. You can see a lot of lines on our paper. We're just going to get rid of all that. I'm using my brown. We're just going to create a nice even blend. I think that looks much better. I can see some darker areas and lighter areas there. You can cover that up. But I think I'm pulling away paint now. Anyway, that looks much better. See that, that looks much better. If you lift your paper like this and give it a twirl, it would mix the paints wherever it's not too much mixed and give it a nice blended look. I think this is that. I'm going to wait for this to dry before I can start applying the stars and any additional things onto this painting. Here is our painting which has now dried. What we're going to do is we're going to add some random trees and shrubs in the bottom part, just very less. But before that, let's add the stars because otherwise the white paint is going to interfere with our trees that is going to appear on the top of the trees which would make it look like snow, as if it's snowfall. We're not looking for snowfall, we're trying to create some stars here in the sky region. This region doesn't need to have any stars. I'm just going to cover this region up with tissue and here Here my white paint. I'm going to just take up some white gouache paint. Don't worry, don't need white gouache itself. You can use white watercolors as well. I'm going to dip my brush and pick up a really nice consistency of the white paint to create some beautiful stars in the sky. I think that is good enough consistency of the paint. I'm just going to tap onto my paper like this. I seriously prefer the tapping method because I think it's a bit more controlled and saves my table, my palette and everything else. Even then, it is still dropping paint on other places. But this is much better than the toothbrush method. If you really want to learn this one, it's holding your brush like this. Then using your index finger to tap. I think that's enough and that's a really good demand of stars there. Let us add some bigger stars in the sky. I'm picking up the white paint and I'm going to add some stars. I showed you previously how it's done, but I think I'm going to switch the brush because this one is like a Size 4 and it's too big to draw a star. It doesn't have the really nice pointed tip that a star should have. I'm shifting to my Size 1 brush. I'm going to pick up the white paint. This will create a nice star for me so maybe I'll add one here. There, I think that looks beautiful. Maybe another one here. I'm going to add some smaller stars. I'll show you how it's done. What I do is I just make some small Xs like this. It's just a very small x and I added two random cases, so from far, it looks as though it's twinkling and those are smaller stars. These are the really big twinkling stars, the others, you can just add a small twinkle like that. Those are the smaller stars. Now, let's go ahead and start painting some background tree easier just to make this painting interesting because this looks blank. What I'm going to do is I'm going to be using Payne's gray. Because the Payne's gray is what I use for black. You can go for black also. Here is my Payne's gray mixture, there. I'm using my Payne's gray and I'm just going to add some trees. The way I do the trees is really simple. Use the pointed tip of your brush and just draw. Then for the branches, draw something and then lift off your brush so that you have a tapering end, that's what I try to do. The branches can have a thickness towards the bottom for the tree branches. We can see, make it in any shape. But just make sure that whenever you are extending out, you lift your brush so that it tapers towards the end. See? That's what we are trying to do. Just add as many smaller branches as you want. This is why I say use the smallest brush that you have. It will help a lot. We're not going to stop with one tree there that looks really odd. Let me add another tree or maybe some sharp or something there. This looks interesting and it has volume because otherwise it looks as though if it's a lone tree. Although that's not a problem adding just a lone tree, but I just prefer to have some volume to my branches. Now that looks interesting because there's two of them. Then how do we make it more interesting? I don't want to leave it as just is. I'm switching back to my Size 4 brush, which is also small, but not really small enough, but I think it's good enough to add anything towards the bottom. I'm just going to add some shrubs or whatever to the bottom so that it doesn't look as to its too alone and has something. See it's just something randomly that I'm adding. You can add smaller lines like this. I don't want to add all the way from the left, so only slightly somewhere from the middle, there. Maybe I'll add another smaller branch there like that, you can add as many smaller branches and twigs. I think that's it. The whole point of this exercise was to teach you how we can make this blending like the rays coming out of some light source here. This blending from the light to the darkest shade. That was the whole point of this night sky. I hope you have learned that right now and this was just an addition to it. After this is dry, we can remove the tape off. This is now dry and let us remove the tape. [NOISE] Here is our night sky painting for today. I hope you like this. There you go. We have added few stars and some smaller stars and some tree branches. We'll look at trees more in detail in the coming weeks, but for now it's just some few branches. 16. Day 11 - Mountain Night Sky: Let us see the colors that we need today. First of all, we need bright blue, indigo, Payne's gray, a dark green, a yellow, and ultramarine blue, and we also need whitewash or white watercolors. If you don't have dark green, you can mix a sap green are the green that you have with black or indigo to create a darker shade. Instead of Payne's gray, you can also use black. Today, we are going to create yet another magical night sky. This one also will be in the portrait mode. Here is my paper, and I'm going to start applying the water. Let us apply the water onto the paper. Always wet-on-wet technique is the best to achieve the background layers for night skies for skies. I think be it any painting for the background wet-on-wet technique is what we should be painting with. You know my mom calls me a name in Malayalam just to say, oh, she just throws a lot of water on her paper. [LAUGHTER] I'm applying the water onto my paper. I do this multiple times. You might know by now, every day you see me do this. Keep doing this, and especially if your paper is not 100% cotton paper, apply this multiple times, even more than the number of times that I'm doing, because your paper really need to soak in all the water and need to have a lot of water on your paper. I think that's enough for now. I'm going to switch to my size to mop brush, and let us start painting. It's going to be like you've already seen the picture when I showed the colors. We're going to have a mountain here and some foliage here at the bottom, like maybe the foreground mountain here at the bottom, and then start a night sky. I'm going to be starting with bright blue. Bright blue is tailor blue. The pigment is BB15. It's a really beautiful pigment. We're going to start somewhere in the middle, and we're just going to apply it directly onto the paper, and all the way towards the top actually, because we want to create an even blend between the bright blue and indigo at the top. But first we will apply the bright blue and just create the even blend on the paper. Not even blend, the magical night sky in the paper. Now we have given it a nice bright blue color. I'm just going to add a few more strokes just to make it vibrant enough. For this one, you can see that I'm not using my brushstrokes, but rather I'm just dropping my paint just as randomly as I can. Because of the water on the paper, this is like spreading and just flowing around in the water. Let it do that. Instead of halfway across, this is like almost not even half, this is still at the top. I think I would go a bit more downwards. I don't want to stop in the top area. I want my mountain to be somewhere down here. The main reason is, there is a rule in watercolor paintings. Not a rule, but like in paintings, a rule that most artists follow is to have your horizon or the main element of your picture somewhere at the bottom. It's not good to have it exactly in the center. In case of photography, it's quite different. In photography, photographers try to have their picture in the center, the centerpiece of attention. But for watercolor paintings, it makes it more interesting if your subject is either one by third at the top or one by third at the bottom. This is a reason why I'm trying to bring down my mountain to one by third of the paper bottom part so that there is that harmony in my picture. Here, now I have applied the bright blue. I'm going to go with indigo now. This is indigo. This is the way I reuse my painting [LAUGHTER] here, indigo. Now, I'm going to apply this indigo on to the top. You see that. We're creating a darkness to this area. That's why I'm applying the indigo and apply it and make it as dark as you can. Don't worry if your indigo is not this dark or if you're making indigo by mixing some colors like black and blue together, then all you can do is add more black to it so it makes it as dark as possible. But don't paint completely with black. I would rather say is the best shade or a mixture of blue and black because you need that bluish tone. When this dries, this is going to turn slightly lighter and it will show up that there is a blue tint to it. This is the reason why I'm using indigo. I've washed off my brush. Now, I'm going to pick up the tailor blue again because I want to create that blend here between the indigo and the blue. Right where the indigo is ending, I'm applying my tailor blue again. You see I've created a mix here a transition, because otherwise it would be like an abrupt transition between the lightest tone and the darkest tone. In order to avoid that, I pick up more of the bright blue, and I apply it right where my indigo is ending and just mix it slightly. See, I created that mix, and mix it slightly and blended like that. Now, this place and all the places where I apply the indigo looks more even I would say. I think yeah, that's much better. Mix it up like that within the sky. Yeah, that's really much better. You can see my paint has flown down here. It doesn't matter, just spread it out. [NOISE] We're focusing on the sky for now, so it doesn't really matter. Washing my brush off. Next thing what I'm going to do is, I'm going to create some magic part into the sky. For that, I'm going to take off my white paint and I'm switching to my size full brush and pick up the paint nicely, white shade. We're going to create some galaxy effect like this, adding the white paint in a line just like that. Now, I've added enough of the white paint. I'm not going to dip this back into my white because it will add the blue so I wash my brush first, remove any excess water, and then pick the paint again. So this way my white is saved and I like to keep it that way. I don't want to add in more blue to my white paint. Let's do the same procedure again. Now, I'm going to add something in parallel here. I think that's enough. Another thing is, this thing is going to spread out as it wants to. Let it spread. I'm not bothered. I just wanted to create a line there. That is done. Now it's up to the paint to spread. This is the beauty and the magic of watercolors that we could just let it spread and create it's magic. So let's go ahead. I'm picking indigo here because I think it's done slightly lighter here. I'm just adding a bit more through the corners especially because the corners are the most likely place where it usually lightens up because the paint gets absorbed towards the other sides. That's why I'm just applying it at the corner. Now, let's focus on the bottom part. So for the bottom part, I think what I'm going to do is I'm going to create maybe a misty effect. So for the misty effect, what I'm going to do is, let's pick up some yellow. Obviously, the yellow is going to mix up with some of the blue and create a greenish shade. But that's all right. So I'm just dropping my paint like this. You can see it's just some random strokes like that. It's mixing up with the blue and creating some greens on the paper itself. It's totally fine. Then what I'm going to do is I have the yellow at the bottom now, so I'm going to pick up another blue. So this is ultramarine blue. It's all right if you used ultramarine blue in the beginning. We can have the same color here. It doesn't really matter, so don't stress. Again, there are lots of gaps that I'm leaving. I'm just adding some normal random strokes like that. This is just me trying to create some mist or some clouds. See, I just added the blue on top of the yellow. This was just to show you that this is not something planned. I just wanted the paint to flow and create whatever nonsense here at the bottom. That's what I'm trying to do. Here I'm going to pick up the ultramarine blue and just cover up the rest of the bottom. This was very light so lightly, I've covered the bottom part. See that? Don't stress out on this, just drop your paint into the water. You have to make sure that your paper is wet. This is the reason why we have to keep applying the water multiple times before so that it stays wet for as long as we can work on the top and still have enough water at the bottom. But let me say one thing, when you were working all the way down to your paper and this region had dried, you can reapply the water. Here is what you can do. In order to reapply the water, lift the dark portion of your paper. I really want to show you, but there is a pool of paint here which would flow down if I lift this board, which is why I'm not lifting and showing you. What you can do is lift your board slightly and then apply the water at the bottom part if your paper has dried. That way, because when your paper is lifted, it will not flow up and ruin the colors that you applied on the top. This will help you to reapply the water at the bottom. The water would only flow down. That's one thing you can do. Now, let us wait for this to dry before we can apply the mountain and the foreground details onto this painting. Now, I have quickly dried this up using my hairdryer and we're going to add our beautiful mountain here. For that, we're going to use Payne's gray first. My Size 2 brush and Payne's gray and I'm going to draw a mountain shape here. So what I'm going to be doing is first creating the shape of the mountain like that and then I'm going to fill up the inside area of the mountain. See that? Now I want to create the misty effect. Here, I left a slight gap there and also towards the end. We have to be very quick. Wash off our brush very quick because otherwise it'll create a dark edge, take water and just blend at the bottom. That will remove off the harsh edge. Just quickly run your brush like that and here at the end. See I got rid of whatever was there and now that area looks blended, but we have this dark line because of the water that we applied so we just keep moving that line towards the bottom. All the way towards the bottom. You might have to re-do on the paper on top of the yellow. That's fine. If your paper is completely dry, it will not affect much of the yellow and ruin the paint. Just make sure that each time you run your brush over, dip the brush in water, remove excess water, and just run it over. See, now that's better. So it's created that even blend. I'm removing any excess water. If you see that there is a lot of excess water that is seeping into your paint, you can run your brush over and pull up paint from the Payne's gray area like this and just drop it off. That's much better. So I don't want to create any break there. I'm trying to just create a misty effect to that mountain. Now that mountain looks as though it's in the mist. So we'll leave it at that. We're going to dab my tissue at the edge here. See it's created a big white bar there because that area is wet. So I can just move my brush around and create that edge, move my paint towards that area. If I want, I can add a bit of Payne's gray to show a light transition of the mountain in that area like that. That really looks better. Now, again, the next task is to wait for our mountain to dry before we can add the next foreground. The mountain is now dry, let us add the foreground details. For that, I'm going to be taking this dark green from white nights. Don't worry if you're green is not dark enough, you can add a little bit of indigo or black to your green and you'll make it as dark like this. So I'm just going to be applying my green like that and creating some texture to the mountains. It's not going to be too detailed, just some random lines like that. Also, I'm going to fill up the paint inside. So if I don't fill it up before I reach the end then it's going to create a dark edge here which I do not want. This is the reason why I fill it up soon enough. Just create different heights and what do you say? Terrain to the mountains like that. Now, let me just fill up the whole thing with green. This is a really dark green. You can see that. If you don't have dark green, mix your black shade of Payne's gray with the green that you have and you'll get such a nice dark shade. There. That's really nice and beautiful. I want to give it a further darker shade. I'm going to pick up a nice dark shade of indigo. I'm really trying to make this more dark. If you actually mixed indigo with the green to get a darker shade, drop indigo here now at the bottom part. Now, you can see there is a lighter green here and the bottom part is really dark. That's what I'm trying to do, create darkness at the bottom. It's just a foreground. This is the foreground there. Now I'm going to switch to my smaller size brush and we're going to create some beautiful smaller trees to the foreground just to make this interesting. Here, I have my brush and I'm just going to add some smaller shapes like that. I will show you one more time clearly what is it that I'm doing. Here it is. What I'm trying to do is I draw a line first and then I just add some random strokes to it and make sure that my strokes are thinner towards the bottom. Now this resembles like a pine tree, so it doesn't have to be that clear or perfect. That's my point. A small line. We can also start from the top. Smaller at the top and then make it fat towards the bottom there like that. Actually that's it. We don't need to add any more. You can add some small branches like that if you want, or additional pine tree details, but it's really not necessary. You can stop there. Now the last thing is to add the stars and the mountain snow. Here, switching to my size 4 brush, you can use a medium-size brush as well. You don't need the size 4 brush itself. These white paints are totally dry. I need to add more, there you go. Now I'm picking up my white paint and I'm going to apply to the mountain. When you apply the white paint on top of the black, it's going to turn slightly grayish after drying and that's exactly what we want. We don't want it to be too wide. It's creating these lines on the mountain. See this cover the entire top part. But towards the bottom, we are trying to create the mouth of the mountain. This is probably like Mt. Fuji or I don't know, I can only think of Mt. Fuji. Anyway there like that. I think that's enough. If we just leave it at that. If you want, you can add some random detailing to other parts of the mountain like that. I think I'm going to stop there. The next thing would be to add the stars, which would be the last thing. But I'm taking my tissue and covering the bottom part because I don't want the stars to be on my mountain and the foreground. Picking up a nice consistency of the white paint on my brush, and I'm going to drop it onto my paper. Another use of using the tapping method for adding the stars is you could tap and your paint would appear in a line. Usually, if you tap see, it's only here. I'm going to add more stars to this line that we added. Like that. Just going on dabbing right there. It creates more centralized stars at that place. More paint. It drops more paint to just that area rather than the whole of the paper. I want more stars to be focused on this area. This is the reason why I'm dabbing only here. I think that looks much better. It's gotten much lesser stars in the other area and more stars here. You can add even more if you want there. I think that's it. Now that looks beautiful. I don't want to add any shooting stars or anything. I'm just going to let this dry so that we can remove the tape. This is now dry. Let us remove the tape. Here's a beautiful night sky painting for today. We learned how to create some transition, some foreground. Most of all, we learned how to achieve that dabbing method transition between the night sky of indigo and bright blue that we used or any blue that you used that transition here without making it too evident there. I hope you liked it. That's all for today. See you-all tomorrow. 17. Day 12 - Pine Tree Night Sky: Let us look at the colors that we need. We need indigo, rose, and Payne's gray. These are the only three colors that we need for today's painting. Here is my paper taped and ready. We're going to go for our portrait mode. Again, that is like this our paper and we're going to start by applying water. Dip your brush in water and apply the whole of your paper with water in a nice consistency. We want the water on our paper to be even. Make sure you apply it very even without any pools of water. That is why a flat brush is very good for that purpose but don't worry if you don't have a flat brush, use the larger size brush you have. Actually, I want to show you how it is okay to use a size 2 brush to apply the water. Size 2 mop brush. This is quite large size. You can see that. I'm just going to use this to apply the water. I know that many of you may not have a flat brush like I'm using. I painted another painting with bright blue just before and I did not wash my brush and I can see it on my paper. You see that blue strokes, the bright blue or the teal blue that I'm using SPB 15, which is like a very much staining pigment. It stays on your brush and it's also very hard to lift off from the paper. You actually need to wash your brush with a soap to make sure that you get rid of the paint, otherwise, it'll end up like this but since I'm going to be using a blue tone, I'm not worried about it now. I'm using my mop brush to show you it's okay to use your normal brush to apply the water. This is the process that you will do. Apply like this. Go on doing this multiple times. If you started from the top in the first wash, then go from the bottom up so that there's enough water because there is a possibility that when you moved all the way down the water on your brush finished and that is not enough water at the bottom. We'll start at the bottom as well and go all the way to the top. We can also do vertically like this. I'm just going to run one more time. That's it. I think that's really good enough for now. I'm going to start with indigo. For this paintin, I'm going to start with top-down. I'm picking up indigo and I'm going to apply it at top. See? Like that. Then I'm going to bring my paint down. We need the top part to be as dark as possible. Pick up as much indigo paint as you can. This is one of the reasons why I use paint from tubes because if we use the pain from cakes, we can't get it as vibrant as this. That's the only thing you sacrifice but please don't worry if you're using cakes because we are trying to learn the techniques here and the vibrancy of the painting wouldn't really matter if your mind is into the learning process. Don't bother about the vibrancy for now. When I reached the bottom, I'm just not going to pick up any more paint because there's already a lot of paint on my brush and I want it to be lighter. I'm just going to add lines and I'm trying to make it lighter tone so that I'm applying the lighter tone now. This is where I'm going to leave the huge gap. We will apply a different color there. You already know which color because you've seen the colors part. Here at the bottom, I'm just going to apply like this. What I'm going to do is I'm going to wash my brush off and remove all the excess indigo paint because I want to have just a light chain of indigo towards the bottom like that. See that? Now that's a very lighter tone of indigo towards the bottom. We left a huge gap there. Let's paint the color that we intend to paint there You know what it is, it's rows or carmine, pink. Here is my pink shade. This is me reusing my palette. This is from a previous painting. It's already there. I hate to wash it off and waste my paints. That's one of the reasons I don't do it but if I don't have space and I want to use some other colors, then I might wash it off. I'm using my pink shade and adding it. It's going to form. I think we already did a color combination between the indigo and the Carmine before. It's just something extension to that. I'm just using my brush movement like that just trying to create. That's it. Now I'm going to go with more indigo and these lighter areas that had to be created. Now I'm going to create some darker tones there but in free freestyle stroke, the stroke that we know this so that those lighter tones will be there and there's extra tone will feel as if though it's the darkest portions with some cloud effect. We just make the top portion as dark as possible. Then just going to add free-form strokes like that. Some of my strokes are going to be on top of the pink as well. I'm also going to drop paint and do something like that. Then I also want some darker tones. Here I'm going to now create the separation between the horizon and this area, which is going to be like the bottom part. Now, let us create some effects on the snow. This is the snow region. That's too much paint. I'm going to wash my brush off and remove the excess paint and create that blend there. I think that's better. Just like this, my strokes. This is a lighter area here and darker area towards the outside. That is the bottom. I think that's better. Now I'm going to create some more texture. What I'm going to do is I'm going to drop my indigo paint. Using the tip of my brush now, just going to draw as much small drops like that. This is just going to create some texture. Don't worry if your paper has dried. That's it. I'm going to take some of pink shade and make sure that I blend these areas. I think that's it. Now, I'm going to switch to my size 4 brush. Make sure that line is straight. We're going to add some beautiful pine trees on wet technique. Hear me out now. My paper is still wet. It will stay wet for some more time because this is 100% cotton paper and I have applied enough water and paint. This will stay wet for me to add the pine trees. But your paper may have started drying. Look at your paper in an angle. You can see mine in the light here that the water is still there and it's still wet. If your paper has dried, wait for the complete thing to dry, then reapply the water on the paper. When you are reapplying the water on the paper, apply in single lines, don't rub over it a long time because that would take away the paint. When you apply, just apply a single time using a lot of water and apply it on the top. Now you get some more time to work on the wet technique. That's what you can do. That's a really good alternative. Check your paper now to see if it's dry. If it started to dry, even started to dry, let it dry completely and reapply water. My paper is wet. That's why I'm still painting. I'm going to be using Payne's gray here now. I'm going to use a nice dark tone of Payne's gray as dark as I can and also observe the consistency. Not a lot of water, just paint too much paint. I'm taking very concentrated because I don't want to introduce more water onto my paper and we're going to add pine trees like that. So this is wet on wet pine trees. The strokes are, I drew a line with the tip of my brush and then I'm just dropping paint like that in different angles and direction like that, making sure that I increase the depth towards the bottom like that, see. Even when I'm dipping my brush, I only dip of it. Otherwise, my brush will be too dry and I will not be able to drop the paint. That is the reason. So adding smaller ones. So remember about the water thing that I said. If it's dried, stop painting, and reapply the water, that's very, very important. You can see my strokes. I'm not focusing on just drop your paint, making sure to have a tapered edge at the top and fat towards the bottom. So don't stress out, loosen up your strokes. Just be free, try to work free-handedly. I'm pretty sure that I might have told a lot of blunders and you might be laughing. But I really love the process where I'm trying to explain while I'm talking, because there is a lot of things that you can get while painting rather than giving voice-over later on. Because I've observed that when you give voice-over later on, there is a lot of things that you can't remember what happened while painting. So I think that doing this process is really good. So I think that's beautiful already, look. So let's add some here, closer to us, like here, drop your paint. Don't stress out about the shape of the pine trees, please. Because pine trees, they can have any random shape. So don't really stress out at all about this, just have fun applying the strokes. The only thing that you need to be concerned about is checking the amount of water that's there on your paper. That's all. Just make sure that you have enough water to work on. Because this is like the wet-on-wet method. So I've applied some strokes so I've cleaned my brush now removed the excess water and I'm going to just blend the bottom part into my indigo. Taking some paint and blending it. I think that looks much, much better. So now we wait for this to dry so we can add some extra details on to our painting. So here my paper is now dry. I know that if you are a beginner, you might find this painting to be a really difficult or not the way you want it to be because you're not getting the strokes right. But please, please don't stress out, the whole important thing is about the process. When you're doing it, you learn a lot along the way. For example, if you're doing these strokes, you observe the movement of the paint and how it flattened out or how it spread out. You learn a lot with the process. I have given all the tips and suggestions on the way as to how you can improve. So if you are doing some mistakes, you know how to clear them up the next time you do this. So I don't know if you would have time, but maybe you can try this one more time if you didn't get it right. So my point is, just don't stress out. For the hundred-day project, none of the paintings are for you to stress out and think, I can't do this. It's okay, it's just alright. So we are going to add some stars into our sky so I'm going to cover up my pine trees. I don't want any stars in my pine tree. So I'm going to, oops. That was a lot of indigo paint on my brush. Picking up a nice consistency of the white paint. So that looks good, and I'm going to add the stars. So now we've added the stars to the top and I want to add few more stars to the other side, but we have this pine tree here. So you can move your tissue in different shapes and angles. I need to take more paint. I want to have more pain towards the middle stars, I mean. I think I'm going to leave it at that, that looks already really, really beautiful. Now, let's add some foreground details. So I'm just going to pick up Payne's gray and just, maybe some branches or twigs like that. This is totally unnecessary. I know this painting is already complete, but I really don't know why I'm doing this. Honestly speaking, I don't know why I'm doing this. I think this idea of adding something at the bottom clicked into my mind and I'm just going with it. So this is totally unnecessary because this painting is already beautiful. But here I am still adding something. So skip this, totally skip this. Don't do it. There, I think that's enough. I'm not going to ruin the fun of it. Now I feel maybe it was much better without this. Anyways, so let's go ahead and wait for this little thing to dry before we can remove the tape, the masking tape. So now it has dried. Let us remove the tape. I hope you enjoyed all of the night sky paintings. They were all my favorite. It was really fun painting these nice skies. I hope you have fun as well. Here we go. Here is today's painting. I hope you like this. This is really beautiful. Remember my point. Don't stress out. Please, please don't stress out. Don't worry. There you go 18. End of Week 02 - Night Sky :): We are done with the Week 2. Here are the night skies that we did for Week 2. I hope you liked all of them. Which one is your favorite? Do you have a favorite one? I literally can't choose. I love this, this. No, I love all of them. We're just done with the Week 2, so we'll move on to the next topic, which is going to be mountains in the next week. I will upload the video for mountains pretty soon, the first video for the mountain. Also now, if you want to apply your learnings to some of the reference images that you already have, you can go ahead and do that in this break day. I have shared four reference images in the discussions here on Skillshare, so you can find that discussion on my profile. I had also send it out as an email. You can try out those paintings and attach it or upload it to the project section here in Skillshare. I'd love to see how you try out those paintings by applying your learnings. They are all based on the night skies that we have already done. 19. Before You Start Week 3: Before you start with this mountain, I just want to give you a few tips about the supplies. For this mountain where we are having a lot of dry brush strokes, these strokes here are dry and it is just using a damp brush and running it along the paper. I'll be showing you the entire process. Don't worry about that. But for that, the best is to use a cold press paper or a rough surfaced paper. I don't know if we can clearly see the texture on this paper. It's rough or cold pressed, that would work with the dry brush stroke. This is a cold press paper. This is from Archies and it's got this beautiful texture, which is what actually gives the dry brush stroke. With regard to the brushes, synthetic brushes are the best to achieve the dry brush strokes, especially because they hold less water. This is not synthetic brush. I use the natural hair brush. Don't stress about that. You can use any brushes. If you're a beginner, I assume most of you will be having a synthetic brush in hand. Because that's actually the brushes that we start with. Natural hair brushes are really expensive. Many of you will definitely be having synthetic brushes, which is actually the perfect way to get dry brush strokes because they hold less water. That's the most important two things, that is to have a paper with a good texture. In this one, that means that hot press paper is not going to work. If any of you are using hot press paper, I'm really sorry that would not work. But don't stress out. You don't need to have all your strokes as dry brush. If you're using hot press paper, then you can have your strokes like this as well. Don't stress about anything. Just calm down, relax and let's paint a beautiful mountain 20. Day 13 - Snowy Mountain: Welcome to the mountains, CDs, the colors that we need for today are ultramarine blue, indigo and Payne's gray. With only three colors we are going to create this gorgeous mountain and learn about all the shadows and highlights on the mountains. Let us have a look at the first mountain of the mountain series. Because it's a mountain, we need to have a pencil sketch, so I'm going to be using my mechanical pencil. We're just going to sketch out the rough sketch of the mountain that is the outline just so we know where we have to apply the paint. That's it. Let's start somewhere around here. With my pencil, I'm just going to make a ragged shape like this. It's not any straight lines. Just try to make some ragged sketch like this. It now begins to show the uneven surface of the mountain, that's it. I'm going to have a small peak here and then we are going to have a larger peak towards this side, like that. Then maybe like that. Then let us just add few lines inside of our mountain to show where the shadows are going to be or the different texture of the mountain. I'm going to have somewhere here like that. There and maybe some lines. Let's add another shadow here and maybe another one here. Let's add a mountain to the front. That's it for our pencil sketch. The rest of things we will be adding with our brush. Let us start to apply water around the sky region so we already know how to paint skies. Let us just add the sky first and then we'll move on to the mountain. The sky is not the main part, its just the addition because we don't want to just paint the mountain. We'll paint a quick sky for this. I'm just applying water. Note where I'm applying the water. I'm applying the water towards the outside area of my mountain. I'm not applying onto my mountain. Because I'm using a large brush at the moment, I'm not even touching the boundaries. I'm just adding the water onto the paper right now and then I will use another brush, my size 2 brush to apply along the edges. See. Now I have water on my paper, and I'm switching to my size 2 brush. You necessarily don't need to do this process, you can just use your normal brush that you're using. I think there is paint in my brush still, I washed it. This is the problem if we use indigo or tailor blue. It's all right because we are going to be using indigo for our skies so this is like an addition anyway. Now I'm using my pointed edge of my brush to go around the mountain and apply the water. Carefully around the edges and like I've said, in the skies and the night skies lesson, we need to be applying the water multiple times, multiple times, as in as many times as you can. Especially, if your paper is not 100% cotton paper, you just need to keep applying the water for a very long duration, maybe like 2-5 minutes because that would make sure that the underlying fibers of the paper has enough water to let it stay wet for as long as we want to work on. But since this is a very quick sky, it's all right for today but when we were doing the skies, it was totally important to have enough water on the paper. I'm just going to still apply the water there. I like to do these strokes where I'm continuously doing some lines around my sketches especially because when I'm taking the video and I have a camera recording it, this angular or something it looks really beautiful. Note these tips and tricks. If ever, you're going to record your own videos and you want to know what strokes attracts to the viewers more. That's really attractive. Just go around here like this and the camera that you're seeing facing right now, is the side camera. I'm just using two phone to record this one. That shot really helps the viewers. Just a small tip in case you ever want to record videos. Not for this painting, for any other own painting that you're doing. Now I think we do have enough water on the paper. We are going to paint the skies with indigo. Here I already have some indigo on my palette. I'm going to pick up more indigo and that's what we're going to use. I'm holding my brush here, which means my strokes are going to be loose. I don't want it to be detailed. When you want your strokes to be detailed, you would hold closer to the head and when you want it to be loose, you'll be holding far away from the head. I'm holding somewhere in the middle and I'm just going to go with a number of skies. Just some random strokes, and the same towards this side. Just make your strokes free. Don't stress at all about the strokes. Just let your strokes free. Your sky strokes doesn't need to be exactly the same as mine. Just let it flow, let it do its magic. That's what I feel we should be doing when we're painting the skies. Because the skies are different, it doesn't have to be any way similar. It's just totally how you want to do it. Now I'm picking up more indigo. I'm going to apply to the side here because I want this corner to be as dark as possible. That's why there's more paint there. I'm just applying some lighter and darker tones, intermediate places. You can see my brush has a lot of paint. When I'm applying on top of the existing part, it gets darker and this corner is obviously very dark like that. I think that's it. Now, there is one thing that I want to do to make our clouds more interesting. I have my tissue here. I'm going to wipe away all the excess water because if I add water, then it's going to ruin the clouds. I'm just going to run around the edges because you see these bleeding outlines here. I just want to soften them like that. That's why I'm using my tissue. We're just softening them so that we don't have those bleeding outlines. That's it. This step is completely optional. It's not even necessary because some of you might feel that those bleeding lines is what actually makes it look beautiful. It's totally up to you. That's why. Don't stress that you need to do this. I just like to soften the edges. That's just me. Don't worry. There. I think I want to add a bit more here because I feel it's too white there. I've picked up a very light consistency of my indigo. I think I'll leave it at that. Now when we paint the mountain, it'll be more interesting. That's it for my sky of this. But we are going to make our mountain interesting because that's the interesting part about this lesson of this lifts the mountain. Let's wait for the sky to dry or do we really need to. Yes, I think we need to because if we apply the paint towards the corners, it will bleed into the sky. Let's wait for the sky to dry. The outer areas next to the mountains are now dry. This corner is still wet, but it's all right. We're not going to touch there, so it's fine. I'm going to use my size 2 mop brush again and we are going to paint the mountain. For that, first of all, let's add in some shadows to our mountain. For the shadow, what I'm going to be using, I'm going to be using ultramarine blue, which is a nice blue shade. I'm going to mix a slight amount of Payne's gray into my ultramarine blue. It's going to turn out like indigo. But we necessarily don't want indigo, but a darker blue shade, somewhat like this. You can mix black with the blue instead, but not too much. You can see the amount of black I added, and I added more blue to make it bluish itself. Here, this blue, we are going to paint the shadows using this. You know these areas where we made it lines for the shadows. Those areas, we are going to fill it up with paint. It's just the shadows on the mountains. Now when we reach here, I don't want to continue the shadow all the way there. I'm going to wash my brush and I'm going to let that soften up and move upwards. I want to reapply because I'm pulling away paint. I have to apply all the way till where I started. Otherwise it will create harsh edges, which I don't want. I think now that's better. Picking up the color again, and we have this area here. Let's apply that area. Just applying the whole of that area with paint. That's the only thing we are doing, so it's essentially like coloring, but we have to work to the edges of our strokes quickly and continuously. Otherwise it creates harsh edges. In order to avoid the harsh edges, all we're doing is right before our previous stroke dries, we apply along it. See now, it looks like a wet on wet blending itself or wet on wet paint part because it doesn't have any bleeds. That's it. Then where are the other places? I want to add some here. This one I'm going to add with the brush because there is no pencil sketch. We're just going to go and add some lines. Obviously the end of this is going to have edge, not softened edge. That's all right. It's the edge of the shadow. Let's just paint. Here you go. I think that's all right for now. Now what we're going to do is we're going to add more interesting features to our mountain. I've switched to my size 4 brush. We just need a medium to small brush. This is my size 4. You can see the hairs. It's that small. We are going to be using Payne's gray. Let's get to using Payne's gray there. Using Payne's gray. Now we're going to add more lines and features to our mountain. What we're going to do is we're just going to add some random strokes like this. Just random, it's totally nothing to be afraid of. We are just going to make it small, not vague. Use the tip of your brush and just small lines and strokes like that on our mountain. That's what we're going to do and we're going to do this for the whole of the mountain. Let's see. Like that, I'm going to add to the tip. To observe my stroke, I show it to you closely. I'm using this side of my brush and I'm going to apply like that. Using the side but the tip, so it's like, how maybe a 30 degree angle on your paper. We're just applying like that. See, this is totally random. I'm just creating some shapes on my mountain, that's it. That and we will also be doing a lot of dry brush strokes. For the dry brush strokes, what we're going to do is dry brushstroke means that there is very less water on your brush and more paint. More paint, but the paint is really dry, so much dry that your strokes are going to be dry and because of the texture of the paper. There's Arches paper and it's got a really nice texture. Can you see the texture? This texture is what makes the dry brush strokes because when your brushstrokes are dry, it doesn't allow it to go between all the pores of the paper, but rather stays on the top layer. I'll just show you a dry brush stroke, I think there's so much water on my brush now. But I'm not going to pick up anymore paint or water. Eventually the water on my brush will dry out and my strokes will turn into a dry brush stroke. I'll show you, it's already turning dry because we are getting these strokes. But just keep on doing at random places and adding them. See, it's already turning into a dry brush stroke. Just keep doing that. Like that. We will also apply to the shadow region or basically its shadow. It doesn't mean that there is no rocky part there. This is like the rocky part right in between the snow region. See, now it's almost very dry. I'm not getting any more watery strokes or continuous strokes. It's just going on. This is what is known as dry brushstroke. Just keep applying on your paper until you lose all the water on your brush. Now I'm picking up our paint, that is paint and water as well, a little bit, but not as much. It'll create dry brush strokes after awhile, already started there. Like that. This is what we will be doing for the whole of the mountain but at random places. First we start with a normal stroke. Just make sure that you keep doing and doing until you lose all the water from the brush so that your stroke converts to a dry brush stroke. Let's just do that. See now, it's still got a lot of water on my brush. We're still getting larger strokes. When I'm getting larger strokes, I try to make sure that I spread out. There is too much area here, but I'm just going to spread out to other places so that all my larger strokes are not focused at one point. Let's print them out. Now my strokes are getting dry. Let's add the dry brush strokes. See how my brushes bend, this is because this is a natural hair, so it'll keep bending, but if you're using synthetic brush, then it will not bend. But you will still be able to get the dry brush stroke. Just keep applying even when you don't have any paint on your brush and try to go in the same direction all the time. Don't go like this, like this, like this. That might ruin the beauty of that strokes on the mountain. I'm going to go back to picking up more paint. Now, it's not going to be really dry. My dry brush strokes has now started. We don't want to apply to all the places, because we want the places to be white and having the snow, so let's not do it at all the places. We also need to do it at the place where we have actually applied the shadow, there. In here as well. I'm going to pick up more paint. First, make sure that my strokes are continuous with enough water and convert it to a dry brush stroke by just going on. There. My dry brush stroke has started, because my brush is dry. I'm just going to keep brushing over it. Now, I'll pick up more paint. I want to cover a little bit of the bottom part, so that's why I applied more of the paint. But then towards the top side, we'll make the strokes as dry brush stroke. I think that's much better. See how mountain is already looking so beautiful, I really love it already. Let's paint the foreground mountain here. This is like the mountain slightly towards the front. For that, we are going to have much more of the dry brush strokes. But we will first start with nice darker strokes. But don't paint the whole of the edge with the darker strokes. Just maybe toward the bottom parts. Try to leave a lot of gaps, because this is still going to be like a snow mountain. There. Now, we've started to get our dry brush stroke and we are getting it to dry. Yes. I'm going to pick up paint, but I'm making sure I pick up from the edge where there is very less water. This pool over here has a lot of water. But now there is no water at all on my brush to make it appear on the paper. What we really need is the brush to be damp. I think it's okay to pick up from this pool. The whole point of this is to understand your brush and the amount of water it has. When you apply the strokes on the paper, you will see, do I need enough water? Do I need more water? You can sense that, because when you're doing your strokes and you're not getting anything on the paper, then you can sense that. Then there is not at tone of water on my paper, so I need to do something about it. That where you can pick up more paint, more water. I think this whole thing, you will get it with practice and you don't need to stress out. It's just trying to make sure that you do understand the strokes. See my strokes are now dry again and I'm just applying. I want this mountain on the foreground to be a bit more black or more rocky and a little bit of snow only, which is why I'm doing the dry brush stroke more. But I'm not going to cover up the whole thing, because I want it to be having a little amount of snow on it. I think that's much better. I'm just going to leave it like that. I think our mountain looks already more interesting, looking very beautiful with the shadow here, some shadow here. How about we add a little bit of shadow to some other places as well just to give, because this part now seems as though the mountain is too perfect here. What we can do is we are going to get back to our ultramarine blue and the Payne's gray mixture. I'm picking up Payne's gray from here and mixing with my ultramarine blue here. Now, we're going to use the tip of the brush, and just only at random places, we are just going to add some smaller shadow. Just like that. Now, it seems as though there is a height difference between this level and this level, so that's why we are adding these shadows there like that. Maybe another one here and maybe some in there. Even if you apply the paint on top of the Payne's gray, it's not going to ruin it. Don't worry. It's just going to make your mountain more interesting. I think it's enough. I'm going on adding too much details, I don't want to ruin the fun of this. Let's just leave it at that. This is our first mountain. I've got a timer here running telling me it's 30 minutes, so it's already 27 minutes. [LAUGHTER] I don't want go one more, I can go on adding details forever, that's just me. You don't have to do that. I think this is totally perfect, and the bottom parts are already dry. We can just remove the tape. This is our first mountain. I hope you liked it. I know I've shown a lot of techniques to paint the mountains and you might be overwhelmed if you're just a beginner, but please don't stress out, we can sort this together. If you would really have any difficulty achieving the dry brush strokes or the wet on wet parts of the mountain, I have a mountain class. I'm teaching in detail how to paint mountains, six different types of mountains. You can check out that class, not maybe the whole project section, but you can go through the techniques and you can see how it's done. Maybe that could help you a lot. If you feel that you know you want to check it out, so it's the same techniques, I've shown a lot of the dry brush techniques, how to hold your brush, and a lot of those points in my mountain class, that was my first ever Skillshare class. If you really like it, then you can go check out that also. Here is our first mountain. I hope you liked it. 21. Day 14 - Sunset Mountain: Let us have a look at the colors that we need. We are going to use Indian yellow, orange, carmine, Cobalt Blue or Ultramarine blue, violet, and Payne's gray. After having a look at our first mountain, let us now have a look at our second mountain of the mountain series. First of all, we are going to start with a pencil sketch. Here is the pencil. For mountains, I think we always need to have a sketch unless you just want to, randomly do some mountains like I did for the first painting of the skies. Here we are just going to make some random strokes. Remember my strokes, they were just like, rough than having a bit of texture. This is for the mountains. Then I'm going to have a mountain from here. Let's add the face of this mountain this side, and join the other end of the mountain here. This is going to be like a slightly mountain range or something. A lot of mountains at one place, that's it. I think this is now perfect. First of all, we are going to paint a very beautiful sky somehow like a sunset sky. Let's add that. I'm using my flat brush to apply the water. We're going to be applying the water the same way we did for the other mountains. First without touching the edges of the mountains, just adding the water onto the paper. There. Then switching to my size two small brush, and now we're going to paint the edges. Like that. Now that's perfect. Now I'm just going to strengthen the water on my paper by adding it as many times as I can, but since the sky is not the focus and we'll just quickly be in the sky. Also, this is just like the half part of the paper. It doesn't have a lot of area to cover, so we can work quickly, and that means it doesn't need to have water to stay wet as long as it needs for the whole paper to work on, like when we're working with the skies. I think this is now good enough there. First, we are going to start with Indian yellow. It's a beautiful yellow, don't worry if you don't have the same yellow, you can use any yellow that you have. I'm just going to add straight-line strokes like this. Remember the second part of the skies where we did strokes like that. That's what we are going to do, and I'm going to make sure that it's like a line joining. Now, it's unlike the first guy where we had to figure, we could have joined. We have a mountain separation here so we have to make sure that they go like that. See I accidentally went slightly inside the mountain, but that's okay. You can just wipe it off. That's it. Now, I'm going to go with my next color, which is going to be, I think I'll go with orange, and I'm going to add it in between, and make sure that I join the edges of the mountain, like that. I think I need more yellow to cover up the other areas. Now I'm going to pick up more yellow. Let's add it to the edge and the other areas. Be careful around the edges, we are using the tip of the brush and see, this is what I say about the brush, the way you are holding your brush, because my mountains have edges and I have to be really careful around the edges. My strokes are detailed, so that's why I'm holding it closer to the brush hairs and adding my strokes. But when I go to here, I can lose enough. This naturally happens because I know how the strokes are going to be. It's just moving closer, moving further away, even further away, closer. This way of holding the brush will come to you naturally as and when you progress with your paintings. Now it's like loosened up. There, I'm holding my brush there. I'm going to go with a bit more orange and cover up these areas. I think now I'll shift to carmine or pink and cover the next range. But I always make sure that even though no, I don't want to go into like a gradual stage of color, so even though I used yellow, I added a bit of orange in the center, do you see that? The same way, I'm painting with carmine at the top but then I also like to add like a streak of line in between. It says, I don't know, I think it just adds a little bit of extra beauty. Then lastly, I think I'll go with cobalt blue, that's bright blue. I think I'll go with cobalt blue and I'll just add it to the top and like I said, you can create some lines, that was too much. You see that it was, I created a really dark stroke. We can cover that up, so I'm taking my carmine and I'm going over it. I applied the blue over there. See, these are the mistakes that we always do because there was a blue on my brush and I applied it right next to the yellow, that's going to create a green. But I think I can cover it up with more yellow and a little bit of orange. The orange will overpower that stroke. If you look closely, it's still showing here, it's a secret, don't tell anyone. Anyway, so I think this is just for the sky region, so now how do we paint the mountain? We have to wait for the sky to first dry before we can paint the mountain. But for painting the mountain, there is something that I want to show you what we are going to do. We're going to add some cloud in-between the mountains. First let's wait for this to dry. The edges of the mountain and now dry, so let's go ahead and paint the whole of the mountain. Because this is like a sunset sky, the mountain is going to have some vibrant colors on it as well, so what we are going to do is we're going to take a lighter tone of violet, a very lighter tone. See, I have a lot of water in my brush and I'm using a very lighter tone of violet and we are going to use this lighter tone of violet and apply it onto the whole of the mountain. For now, this process is very simple. It's just making sure that we apply this lighter tone of violet to the whole of the mountain. Use a lot of water, so that will make your strokes continuous and we have to make sure that we cover the edges of each stroke as quickly before it dries. Right now I'm painting here, but see, this one might be getting dry, so there I cover it quickly, so now I get my edge a little further down point. This is how I move down with my violet on dry stroke, but trying to keep it as wet-on-wet itself. This is painting the whole of our mountain with violet. I think if you have taken my class on the windows on set, we did a similar project where we are first painting the snow, because of the sunset sky, we're painting the snow with violet. I think we did cover that a little bit. Now I've covered the whole of this mountain with violet. We will add the details on to it later on. But for now observe. We are going to deliberately create something. This is what I was talking about, so what we are going to do is, here is my brush. I'm going to dip this in water, remove any excess water, but this still has a lot of water and I'm going to create blooms on this paper. These blooms are going to form clouds in-between the mountains. I'm going to drop the water, see it spreads out the paint, so I'm going to do that. Don't worry. We will correct this up. Right now, it looks pretty bad, I would say. But this is just us trying to create the effect of clouds. Now, I have dark edges around, so I'm going to join the strokes in the other parts of the mountain to get rid of that dark edge. But that wide portion is going to still remain, so picking up water and then just apply to the whole area where you have formed a dark edge. But you have to apply to the whole of the paper, otherwise you'll create dark edges at other places like that. Where you think is the edge of the dark edge that you created when you apply the water, you apply the whole of the Mountain with water again to make sure we get rid of that dark edge. Here, adding more water here and I'm moving off the paint, so we've created a nice potion of white there and the rest of the areas has violet and let me maybe add it to some other place as well, just that much, and I just run my brush over the other areas to ensure I'd get rid of the harsh edge. Can you see that lighter area here and a slight lighter area here. It's just to create the effect of mist or clouds on the mountain itself. First now we have to wait for this to dry. The whole mountain is now dry. Let us add in our darker lines off the mountain. For that, I'm going to be picking up Payne's gray. Pick up a nice consistency of Payne's gray and we will start painting just like we did for the first lesson. But here we are going to have more of the wet on dry strokes like that and I'm going to make sure that some of these areas where I tried to add a bloom, I'm going to leave those areas because I want to create the clouds there. Just observe my strokes. They are just totally random on the mountain. We have the line of the mountain here. What I'm going to do is I'm going to soften the edge of the strokes by just using water. Here, I dip my brush in water, remove the excess water, and then I just run my brush over so that my strokes, the end of these strokes run it around so then the strokes will become softening the edges. That's what it's called. These are different techniques in watercolors. As I said, if you take a look at my class in Ultimate Guide to Watercolors, you will see how each of these techniques are put into practice. Let's just paint. We had a mountain range here in the middle, so we're going to leave that and paint the bottom side of it. Then painting towards the right face of the mountain. If your brush does go into some of the dry brush stroke, then it's totally fine. Like here, my strokes are turning into a slight amount of dry brush stroke. I'm just letting it do whatever it wants. Then maybe some now towards the right side, then some here. All of these strokes that I'm adding just totally random, please don't worry and don't stress. It's just however the way you want to add it, you can just go ahead and keep adding it. Wherever I had a little bit of yellow going into my mountain, I tried to cover it up with these black strokes. This here is the foreground mountain. I want to cover the entirety of that foreground mountain with a darker version of Payne's gray, because I don't want to have it snowy. Just let's make it totally and entirely dark. But we need to make sure that the mountain has enough texture there. The same for this one. Pick Payne's gray or black, whichever you're using, you can also use black because Payne's gray is the color that I used to get black just to make it to the darkest consistency and that's how I apply it. Then now let's add just the other lines and smaller detailing. I'm just going to leave it at that now. If you like, you can go ahead and add some dry brush stroke. Remember how the dry brush stroke was. Speaking of Payne's gray, and in order to get the dry brush stroke in the first instance itself without applying and making your brush go dry all the way, you can dry your brush on a tissue. Here I'm taking away all the excess water, so now my brush is dry and it only has paint. You can use this to create dry brush strokes. See that? I'm going to just add some dry brush stroke. Some towards the top because I think the top was like really empty. We can maybe add some dry brush stroke. That's enough for this. Now what I want to create is I want to try and add the clouds that I was talking about. In order to add those clouds, now we have to wait for this whole thing to dry. That is our painting to dry so that we can add some clouds on the top. Now my painting is completely dry. Listen to me. If you find that you want to stop right here, you can actually stop right here and not paint the clouds if you feel that you might ruin the mountains. I'm going to give it a try. I actually don't know how it's going to turn out either, but I think it's always about pushing our boundaries and pushing our limits just to see that next step. In order to make sure that if you really want to try this out, go ahead and watch what I'm doing. If you like it, then come back and do this with me. I have the whole of my paper here and it's dry and I want to add the clouds. But when we add the clouds, it's going to be wet on wet. How do we make this paper wet? I'm going to apply water onto my paper. What I'm going to do is, when you apply the water, you have to apply just like a one layer of water. Do not go over your brush multiple times like we do when we are painting the clouds because that would take away all of these paints and create a blurriness which we do not want. For now, just once observe with me, when I run my brush over, that's it. Wash it again. Run my brush over. That's it. At each point, I stopped somewhere here. When I continue allow, see, I did pull off some paint there but that's where we will be adding the clouds, so it's fine, and there. This is how we apply one layer of water onto our paper, and then I'm going to be using my size 2 mop brush, and we are going to use Payne's gray, but we don't need a lot of water on our paper. See, it's pulling away a lot of those paints. This is why I said, do this only if you're prepared to ruin what you have right now. It's not going to be ruined. I'm just going to add clouds and I'll show you what I'll do. I have Payne's gray and I'm going to add it onto the paper. Remember this areas where we left white, I'm going to add clouds like this and cover those areas as well. Do this only if you are confident that you want to try it out. It's really fun. We have the wet paper, make sure that your paint is not having too much water, and then you can add some cloud strokes that we learned. Now I'm drying my brush to get rid of any lines that may have created around my strokes. Some of the clouds on the mountains and towards the outside as well. Remember how I applied the water also, it was just one batch. I think it totally depends upon your paper because some paper may pull off the paint too much. If that is the case, then you do not want to do this. This was like I just wanted to show you something extra as to how you would paint the clouds. But like I said, you can totally skip this. Don't do this if you think that it's going to ruin your existing painting. I also like that misty effect that when you pull off, it creates onto the mountains. Otherwise, for me, I think that the whole painting looks like a perfect shot. I like to keep it water gallery, and with having all of these effects, which is why I tried to do that way. But if you like your paintings to be having that perfect shot-like, I don't know how to say it, but not having the pulled out strokes, then you don't need to do this. But here is our painting for today. But we need to wait for this to dry before we can remove the tape. Everything is now dry. I'm going to take off my tape. There you go. That's our second mountain. It looks difficult, but trust me, it is not. Like I said, you can skip the clouds part and just leave it as that. But if you really want to go and push the limits and try it out, you can. Otherwise you can just leave it as it was before we added those clouds. Thank you for joining me today. I hope you like this painting 22. Day 15 - Spring Mountain: Let us have a look at the colors that we need. We need cobalt blue or ultramarine blue, Payne's gray, a dark green or sap green, Indian yellow, burnt sienna, and indigo. These are the colors that we will be using for this gorgeous mountain painting. After having looked at two of our mountains, let us have a look at the third mountain. This one is going to be a really simple one and also going to be a beautiful spring mountain, green one. Let us make the pencil sketch for this one. Let us have a mountain, which is going to have one beautiful gorgeous mountain in the center. Maybe some small background mountains like that and a valley in the front like that. That is all for the pencil sketch. We are going to paint the sky first. This is going to be pretty easy, like we did for the skies lesson. Let us just apply the water fast. I'm going to apply all around the mountain. You can use your size 2 brush. I keep saying size 2 brush because my mop size brush is size 2. Use a size 10 or size 12, the largest brush that you have for applying the water. I think that's good with the flat brush. You can go ahead and start applying the whole thing with your largest brush itself. You necessarily don't need to use a flat brush. Now we paint around the edges of the mountains, making sure to skip the inside part, so just around the edges very carefully, along the edge of the mountain. This indigo paint doesn't seem to wash off from my brush, there is just too much, I guess there and then just applying to the hole. I think that's much better. Now we're going to paint skies. What I'm going to be doing is I'm going to be taking cobalt blue or ultramarine blue. You can use whichever, it doesn't really matter. I think let's go with cobalt blue. We are just going to apply some random strokes onto our sky. I can't remember which one is cobalt blue and ultramarine blue right now, they both look very similar. Anyway, I'll just use a mix of these two. What we really want is cobalt blue and ultramarine blue. We'll just use either of these, it's really doesn't matter. I'm just leaving lot of gaps and creating some clouds. Like I showed in the skies lesson, my brush angle is like that. I just try to slide in and create all these angles. Towards the top, I want it to be dark, so my strokes, I'm applying darker strokes. When I approach towards the bottom, I'm making my strokes lighter and also just trying to randomly create some shapes. We can use the same towards this side, that's it. Then now I'm going to add some extra clouds in here. Darker clouds, not darker, medium darker clouds. For that, I'm going to be using Payne's gray. Here is my Payne's gray mixture. You can see it's got a lot of water, so it's not dark consistency, but it's a medium consistency of Payne's gray. This is what we are going to use. You remember the lesson where we applied raw sienna, but that raw sienna was for the light and the Payne's gray was the clouds. In this one, let's not add any light or actually if you want, you can add light, it doesn't matter. It's totally up to how you want to paint it. I'm not going to add any lights in this one. That's why. Just adding some random clouds in the sky. You see how I've added my strokes. Towards the bottom here, I'm just going to add some smaller drops of paint, so it'll be like smaller clouds. I think I'm going to need more blue towards the bottom areas. I'm picking up blue and I'm going to add to just some random areas. But you can see it's a very lighter tone of blue as opposed to what we used at the top here. There, I think we will leave it like that. But now, like I said, I like to soften the edge of the bleeding areas like here. What I do is I dab all the water from my brush and then just try to move along the edge so that I take away those bleeding areas. That's just me trying to make this not to have any leading areas, but it's all right to have leading areas, so you don't need to stress on that. I think I'm going to leave it like that, and we don't need to wait for the sky to dry for painting the background mountains. For painting the background mountains, what I'm going to do is we are going to take green. This is my green, which is a very nice darker green. In case you don't have a dark green, don't worry, you can mix with indigo, but you necessarily don't need that. What we're going to do is we're going to mix our green with a little bit of burnt sienna, so it's brown and green mixed together so that we get an olive green shade. Do you see the shade that we got? This with a lot of water and a lighter tone is what we are going to use for the background mountains. When you touch and apply for the background mountains, it's going to spread out and not have a harsh edge because your background is wet and that's what we want. If your background is not wet and you're not able to get that spreading edge, then also, it's fine to just paint the whole of that background mountain with this color, so a thing minus spreading a lot. Now I have dried my brush and I'm going to just run over like that and remove the bleed like I did for the clouds there. Now you see that mountain looks as though if it's blurred and it's like in the further off background, that's exactly what we're going to do with this one. Picking up my green and brown mixture, again, I'm going to paint on this one. For this one, see it's bleeding some areas. That's it. Having my brush off all the water, and then I'll just run over the edge and make sure that I get that blurriness. See, now that's much, much better. Now is the part, but we wait for everything to dry so that we can add in the details of the mountain in the foreground. Now sky and the clouds are dry, let us add the foreground mountain. For that, we are going to paint with the wet-on-wet technique. I'm going to water that mountain, and we need a really dark edge or hard edge for the mountain, which is why we did not apply water at first and painted along with the skies because this mountain really needs to be separated from the sky region because this is in the foreground and this is the mountain where we will be adding the details. Let's add the water and paint. Now you can apply water to the whole of the rest of the paper. I think now the whole of my paper has water. You can apply the water multiple times if you feel that your paper is going to dry, don't forget that. This is arches, so this stays wet as long as I'm fond, which is just enough for me to paint the mountains. Here, I have applied the water and I'm going to start with Indian yellow. Starting with Indian yellow, I'm going to apply the Indian yellow onto my paper towards the left side of this mountain like that. It's not yellow, don't worry. We're just trying to create a lighter green so applying yellow first and then green would make it as light as possible and giving the effect of light. Then we will go over it with green. I'm adding green now to the other places. We'll add on top of it later on. Don't worry. This is my dark green. This green is from White Nights. You necessarily don't need the dark green itself. You can use sap green or whichever green you have, so don't stress. I know I keep saying for all the part of this class, please don't stress out at any point. Now, we'll paint over the yellow. See that that area seems to have a tinge of yellow and it's lighter. Towards the right side, we'll paint using the dark green. If your green is not dark, mix it with a bit of indigo so that you get a nice dark shade of green. Picking up more green and I'm applying darker shades towards the right. See that area of light, it has a light effect, so that's what I wanted to show here, and here we'll just go, pipes here is making some kind of noise. [LAUGHTER] Here I've added the darker tone. We will also add this darker tone of the dark green towards the bottom as well. The valley in the front. This stroke apply in a straight line. There is a lot of difference in the way you apply the strokes because it shows up after it dries. If you do a straight line like this, that will show up after it dries, that you actually did paint it straight, so that's why painted straight like that. Then for the other strokes, that is the green strokes on the mountain, do it like that. Create a curve shaped like that, just to show as if there is a separation. There's this lighter yellow, we won't touch it anymore. But these areas, we'll try to add some darker shades like that. I want to create an even more darkness towards the right. At this point now, I'm going to add indigo with my green. If you actually created a dark green using indigo at this point, add more indigo to it so that becomes even more darker. That's it. You can see it's very, very dark. I'm just trying to create that dark stroke, and towards these regions, we will only add just random strokes. But towards the edge make it darker, and this is wet on wet. Remember that? My paper is still wet and I'm adding the stroke. Using that same darker tone, I'm going to paint this mountain to the right. I painted one layer of indigo there. Then next I'm going to add green to the same part, it has like a mixture of both. Just adding some lines. You see that curve that I added for the mountain, that's it. Now, this looks like two perfect there. Now what I'm going to do is I'm going to shift to my smaller size brush. I'm going to remove all excess water. I'm going to pick up green, remove all excess water and I'm just going to add some random strokes, smaller strokes. I wanted smaller strokes, which is the reason why I shifted towards smaller size brush. These regions have almost dried. You can see it's creating like a dry stroke already. It's fine, totally fine. Just some smaller drops of paint and then I'm going to create a line. Something like that and then towards the right of it. Not the whole, but just randomly there. I think this looks much beautiful now. Now we can add some trees and shrubs and also some detailing onto the ground. This field part here is the ultimate foreground that is the most front part of the painting. We'll pick up green. I'm using my smaller size brush itself. Let's drop in some details at the bottom. What I'm doing is just adding some shrubs brushes and some detailing like that. You can do the same at random places. Now, we'll add some trees and shrubs do the separation between the mountain and the field, so I'm using my dark green. Remember, you can go ahead and use indigo with your existing sap green or whichever green that you're using and mix it together to get a darker green like this. Or you can try mixing black with your green, which will also give a nice darker shade. We're just going to now create some shrubs and bushes here at the end. My strokes are almost, this area is dry but a little wet, which is why I've made sure that I have very little water on my brush because I don't want the whole thing to be spreading and creating a whole mess on the paper. We're just creating some bushes. We don't want bushes all the way, so we can leave slide gaps at places. At places you can add trees like that or bushes, so small bushes, and maybe some little bit of tiny detailing at the bottom. This is all just additional. The whole point was the mountains, you know that. This is just me trying to make this painting rather than just a mountain, so that's why we are adding these details. I think that that's totally enough. I think that's enough. It's looking really beautiful already. This is the green mountain that we have learned, the sky, of course. But what we learned here was to make this light on the mountains by using an underlying yellow and then painting with a green over it. That created a nice contrasting effect between the light and the shadow we bought of the mountain, giving it the most beautiful depth that we want and also to the foreground. I think with the foreground, maybe if you want, you can add some dry brush strokes to the foreground here. Here my brush is almost dry, I can dry it up more and add dry strokes just to give it the effect. Or make sure the strokes are towards the right, straight and right, that gives like an appearance of the foreground. Otherwise, you wouldn't create a depth in your painting because this mountain is a bit further away than the foreground. The mountain cannot be more detailed than the foreground. That's very important. That's why we are adding more details to the foreground area here. Just keep going and adding some dry brush strokes. I think that's it and that's enough. These are dry brush stroke, so I think it's okay to remove the tape. Let's remove the tape. Here is our beautiful green mountain. I hope you like it. 23. Day 16 - Mountain Range: Let us have a look at the colors that we need. We need Indian yellow, Indian gold. Don't worry if you don't have Indian gold, you can mix yellow, orange, and a bit of brown together to create a nice golden shade. Then we need permanent brown. You can mix a little bit of red with brown to create the permanent brown shade. Then the next color that you need is burnt umber and sepia. For sepia, you can mix brown and black together to create the nice dark brown shade, or you can also use the Van **** brown. We have had three longer mountains for now. The first one, second one, and the third one. Let's now look at a mountain range during the sunset. Let's go for a simpler one. It is simple, but it involves quite a lot of waiting around for our paper to dry because we're going to have different layers of mountains. Let us see that there is no pencil sketch, we're just going to do it with our instincts. Let's just do that. I'm going to start applying the water onto my paper. I'm going to use my flat brush. You can use any brush that you have, you necessarily don't need the flat brush itself. We'll apply water to the whole of the paper. I'm going to apply multiple times because I want my paper to stay wet, but if you know you can work around quickly with the background layer, you can skip this, but that is not the case when you're not using 100% cotton paper. A hundred percent cotton paper is the paper that would stay wet longer. This is 100% cotton paper, and yet I applied the water multiple times. This is just because I know how much I need to apply the water to help me make the paper stay wet as long as I want. I'll be doing this multiple times. I think that's enough. I'm going to start painting. I'm switching to my size 2 mop brush. We are going to start painting. The first color that I'm going to use is Indian yellow. Use any yellow shade that you have, pick up a nice consistency of the yellow shade. I'm going to have my sun here somewhere around. This is not focused about the sun, but rather the sunlight onto the mountains. If there is sunlight on the mountains, then we need the sun, so that's why I'm going to be adding the sun. I'm going to leave a large white space for the sun and large because my paint will flow all the way inside. In order to prevent that, I need to make it larger first so that it will get smaller in the end. Somewhere like this. This is the space or the area that I'm going to leave for the sun. I'm painting in a circle. You can see that. Let me pick up more of my Indian yellow. I think there is always an underlying blue in my brush, which seems to never go away, anyway. I have added my Indian yellow. You can already see the big circle getting smaller and smaller. Then the next color that I'm going to use is Indian gold. Don't worry, if you don't have Indian gold, you can use a mixture of orange, yellow, and a little bit of brown to your mixture and you will get a nice Indian gold shade. You can use that. This is what I'll use towards the edges of the circle that I have just made. Towards the edge. Remember our paper is wet, so we are having this nice blending between the edges of each of the shades. Picking up more of Indian yellow and applying it. Then I'm washing off the Indian yellow. The next color that I'm going to take is permanent brown. This is a nice brown shade from Artphilosophyco. You just need a brown shade to go darker towards the edges. That's why we are picking up the permanent brown. That is what we will apply towards the edges, so like a circle. You can see the shade that we have created, the variation in the shade, we have made it go in a round shape, we have created that value on our paper, gradually increasing from the lightest to the darkest. Here at the bottom, you don't need to apply much color. I'm just applying one single layer of color, but we need to focus on the sky, which is the most important part because here it's going to be mountains anyway. We'll take care of that when we paint the mountains. Now, I'm going to make my colors stronger. I'm going to go add yellow again, and you can see I'm making my sun smaller now, but this is a very good exercise to control your brush strokes. I'm creating a circular shape with my brush and I've made my sun smaller, as small as I can. Then I'm going with my yellow again, around the sun area. It will just spread and create gorgeous blend on our paper. If there is enough water, see there was enough water, even though I did it in a circular motion, it did not appear too much. Picking up the Indian yellow and going around in the circle and trying to create that perfect blend because now you can see that separation there is already too much yellow when it is trying to join the brown shade, so that's why. Picking up Indian yellow each time and creating a nice even blend. There you go. That seems much better. Now the last thing is I see a direct shift between the yellow and the Indian yellow, so I'm going to pick up a bit more of the yellow and apply it right where the Indian yellow is joining the yellow and go over it. So I think now the joint is much, much better. So this is the first layer and we have to wait for the first layer to dry. What I'm going to do is here I can see some of the yellow bleeding into my son area. So I'm just going to make it around again by lifting off some paint. So when you are lifting off just make sure that you dry your brush on a tissue and also wash your brush because when you're lifting you lift the paint from the brush and that paint is there on your brush. So we can't afford to put that paint back, so that is the reason. So just make sure that you create that whiteness. See, it's already gone too much because those paints are spreading. But I think I will leave it at that for now. Or the best way to use is if you can get another brush and to use that another brush to do the lifting, a brush that doesn't hold a lot of water, so a synthetic brush would be perfect and there, so that's created a more better round as I would say and the whole thing has blend nicely. So if you can lift it and let it flow of the paint that would also be helpful. But let's just leave it like that for now. Let the paint do the work, so we have to wait for this to dry or you can use a hairdryer. I'm going to use my hairdryer to quickly dry this up to add the first layer of mountains. So everything is now dry. We'll go with our first layer of mountains. So for that first layer of mountains I'm going to use the permanent brown again but I'm going to be using a diluted consistency of the permanent brown. Note the amount of water there is, it's got enough water to make it diluted. So this is the shade that we are going to use for our first layer of mountains. So for the first layer of mountains I'm going to start from the right and somewhere below the sun area, somewhere here and I'm just going to create like a small random mountain shape like that and I'm going to stop there actually. Here I fill up the area with the area of the mountain and then I quickly dab off any extra water from my brush and I'm going to soften. See that? I soften the edge of each part of the mountain so that I don't have a dark edge. So you take water, remove the extra water, and then you just soften the edge. See that? So this was the first layer of the mountains. So now we have to wait for this region to dry. I'm going to quickly dry this up with my hairdryer and then we can add the next layer of mountains. So this layer of mountains is now dry. So this is why I said this involves a lot of waiting around for our mountain to dry. That's a little bit of a tough process. But other than that, this painting is actually simpler than the ones that we did yesterday or day before yesterday. So we've got a permanent brown here again and we're going to use that permanent brown This time we're going to create the mountains from the left. So just some random shape of the mountain that you can make like that. I'm going to fill up the inside like this and we have to work around all of these very quickly. So here I'm dabbing my brush and softening the edges. Then towards the right edge we will add Indian yellow because this is the area that has the sunlight, so we need to depict the sunlight on the mountain. I'm using Indian yellow and creating a lighter area there and then as I move towards the right I pick up more of the brown and I'll add the next shade. I mean, the right side of the mountains, and just create that. But again, we have to soften the edge of each part. So this involves a lot of walking around quickly so that we can achieve what we want. So towards the right side I'm going to add more paint because I want to clearly show the mountains, like that. This area is lighter because we have the light being reflected on the mountains and since I just applied the paint, I have to soften the edge. There I'm softening the edge. So now we don't have any harsh line. Now the next thing to do is to wait for this big layer to dry so that we can add the next layer of mountains. So this is just layering each time. What we're doing each time is drawing a mountain, softening the edge, and then waiting for it to dry or drying it in whatever means that you can and in the center where the sunlight is we try to add a lighter tone so that we show the sunlight being reflected on the mountains. So this layer is now dry. I can go ahead with the next layer. So for the next layer what I'm going to do is we need to make it darker and darker as we go towards the bottom. So for making it darker I'm mixing my permanent brown with burnt umber so that I get a medium shade of brown. So if you're using one single brown, what you can do here is you can go and mix a little bit of black each time so that your brown will get darker towards the bottom. So let's go ahead and add the next layer of mountains. So when you're adding the mountains just be careful to add the peaks of the mountains in different heights and different angles than the other ones just so that it is a little bit of uniformity, not uniformity, non uniformity, that's what I meant. Anyway, so here I've applied this darker tone. Now I need to soften the edge. We have to be doing this quickly otherwise we risk this paper to get dry and create a dark edge. So we work quickly, and also towards the right side. Now, we need to get a lighter shade, so this was a mixture of permanent brown and burnt umber. In your case it might be a mixture of brown and black. For the center we'll go with just permanent brown. So in your case just brown so that it is a lighter shade. You see that? We get a lighter shade so that you show the light from the sunlight on the mountains and as soon as you cross that area, go back to adding the mixture of burnt umber and the permanent brown or the brown and black mixture towards the right like that and fill up all the areas inside and now I'm going to quickly soften the edges. We can bram our brush over like this. Make sure to not use a lot of water. See, I had a little bit of extra water on my brush, so that's now creating a bloom on my paper. This is the reason why you need to dab your brush on a tissue and make sure that there is no extra water. Because otherwise you are going to create those blooms on the paper. I think now this is better. Now we have to wait for this to dry or dry it up in whatever means. Now this is completely dry. I think I'm just going to add the last layer of mountains and just fill up the rest of the bottom area. For that last layer of mountains, I'm going to go with sepia. Sepia is a mixture of brown and black. It's a really nice darker shade. What you can do is you can mix more of the black with brown and you'll get the sepia shade. We just start from where we stopped. For sepia, actually when we're painting, because this is the foreground layer, you need not have that much light. But even then, when you reach here, let us switch to burnt umber, so that we give it a slightly lighter shade for the sun area. That's burnt umber right below the sun. As soon as I cross that, I'll switch back to using sepia. I'm just going to create like that. There is that reflecting shades all area here and there is a misty effect here. This all creates just beauty to our paintings. Let's just fill up everything now. The whole bottom we'll just fill it up with sepia. This is just wet on dry stroke. I'm filling up the whole thing with sepia. Here towards the center, obviously we need burnt umber, so I'm applying burnt umber. Towards the right, you can apply the sepia again. There is definitely that light effect here. What we tried to create. Picking a burnt umber and I'm just strengthening my stroke in the middle to make it lighter. It's just somewhat lighter. You can see that. Towards the edges, it needs to be as dark as possible. There you go. You can stop at this. But I like to make it a little slightly better. What I'm doing is you see the transition of the background layer that we made here. This seems very odd in the mountains. It does give a misty effect, but I'd like to add more to it. What I would do is this was a mixture of the permanent brown and the burnt umber or the black and brown. We are just going to add that once more a little bit onto the top so that that separation is not clearly seen. Separation between this line. That's what I mean. That would not be clearly seen. That's what I'm trying to say. But obviously, we have to soften all of our strokes. Make sure we work quickly and we soften the edges. When you're softening because this brown is still wet, don't touch that with your brush. Just go towards the outside of it. Don't touch it. Smooth slowly, softening the edge and use a tissue to dab off any extra water each time. Honestly, the mountains, they need not be too soft because otherwise we will not be able to show the light effect and the transitions clearly. That's why also that I'm not making it too smooth. I prefer it to be not smooth. It just depends upon different artist's perspective of how they want to paint the mountains. For me, this is how I like it. You might like it the way it was before. If that is the case, then you need not do this. As I said, it's just entirely perspective between different artist. You are an artist and you should take a wise decision as to how you want the things to be. That's exactly what I want. That is for you to make your own decisions and to choose between how the final painting should be and how is it that you want it to be. See that. I think now this is perfect. I like the way it looks. That sunlight on the mountains and some misty effect giving a yellow touch to the mountains. That's really nice, isn't it? Now we'll wait for the whole thing to dry so that we can remove the tape. The whole thing is now dry. Let us remove the tape. There you go. That's our mystical sunset mountains for today. I really love the colors and the transition between the mountains. These were very light, and then from the lightest tone we get to the darkest towards the bottom. I hope you like this mountain range 24. Day 17 - The Volcano: Let us have a look at the colors that we need for this painting. The colors we need are, Indian yellow, Indian gold, orange, Payne's gray, indigo, red, burnt umber or Sepia, and that's all. Instead of burnt umber or sepia, you can also use black. Since we're looking at mountains, let us have a look at a volcano. It's going to be quite different. Volcano is a mountain and I just wanted to try it. Let us see how it goes. We are going to paint it in landscape mode, like this one, so let us have our mountain. We are just going to have one single peak like that, and then there's the mouth of the volcano where the lava is flowing out. I think that's too much of a curve [NOISE] that I have added. I'm just going to make it a better curve like that, and then I'm just going to add some shapes for the mountain there. This is my volcanic mountain and I don't want to add all the lava flowing in detail, but just we are going to have one main stream of lava, that is what we are going to be adding here. Before that, we will have one line of lava like this and then it's going to be flowing like a stream towards this side. That's what we are going to be doing, so like that. It's thinner here and as it reaches towards the bottom, it's going to get thicker because it's coming closer to us. This is somewhere where the viewer is, and that's right. This is what is going to be our simple mountains sketch for today. Let us start adding the details, that is the sky and everything else in the background for now, and then we'll move on to the mountain. [NOISE] I'm going to use my flat brush to apply the water. So there. I'm going to apply the water all around the outside of the mountain. We're just going to work with the sky first, so we'll apply the water nicely as much as we can. I've been hearing a lot about where people have been telling me that your paper is drying out because the weather is too dry, it's too hot and humid and it's trying so much. Maybe one thing that you can do is, don't tave the edges of the paper and apply the water towards the back side of the paper [NOISE] as well. That might be really helpful because when you apply both the backside and the frontside, it helps to retain the water on the paper. But applying on the backside and painting is quite tricky because then you might observe your paint to be flowing a lot. It might be a little bit tricky if you are a beginner. I'll show you someday how we'll paint using applying the water at the back side, but then you need some extra materials. For example, you can't use a wooden board because wood is a material that absorbs the water. Even if you apply the water at the backside your board is going to absorb the water. Then it's going to affect the amount of water on the paper. Again, it's not going to do much of a help. You need like an acrylic board or a plastic board to prevent that and to let your water not be absorbed by the wooden board. That's why it's quite tricky and one of the reasons why I'm not showing that method. Apply the water, think enough on my paper. It has to be even, that's why I'm running along the edges and pulling away any excess water because I don't want all of that excess water on my paper. I'm just going to wipe off that excess water from the tape, or the edges, not from my table. There. Now we'll paint the sky region, and for painting the sky region, we are going to be using Payne's gray and indigo, and some extra smoke will add here. How about we add the smoke first? For adding the smoke from the volcano, I'm going to be using Indian yellow and I'm going to apply it right towards the mouth. This is going to act like the fire popping out from the volcanic mouth. Apply the yellow in a nice concentrated consistency towards the mouth, and then just few dots. You see the dots that I made, and then wash away the paint from your brush, and then we're going to add some orange. That's not orange. [LAUGHTER] [NOISE] I did the wrong color, that's Indian gold. Let's go with orange, that's the nice orange shade. This is again contributes to the fire. [NOISE] Add and this orange, I'm going to be adding towards the outside. So you can see, I'm adding towards the outside, and also add some drops towards the sky region. This is like the smoke and the fire flowing out from the volcano. So towards the outside edges of that yellow, we added orange. [NOISE] Now we can paint the rest of the sky. We need to add a lot more snow there. For adding the rest of the snow, I'm going to be adding Payne's gray. Let us take Payne's gray in a nice consistency. So see, it's like a medium tone. There's a lot of water, but also a lot of paint. So in that medium tone, we are going to add. Just around, see, we are trying to create that smoke, so it's a thick black cloudy smoke that we're trying to create, like that. I think that's enough for that part. Then now let's paint the remainder of the sky. For the remainder of the sky, the exercise is going to be pretty simple just as much the way we've used to paint the skies. We'll just add a gray tone. I want this scene to be like in a dark situation. That is why I applied the Payne's gray to the sky. I'm just going to spread it around and create a dark sky like that. But let's keep it as a tad lighter towards where the smoke is so that this part will be darker and the smoke will be clearly visible. You can see some of my yellow and some of my orange spreading. Wherever it is spreading, just take it off with your brush and dab it in a tissue, just making sure that area remains like a smoky region. The yellow flowing out is fine because it just seem as the lava is flowing out and it's burning, so we'll just add. Then we'll just paint the sky using the Payne's gray and we'll also add some indigo to it. Here is indigo and we'll add it towards the right and the left corners. I always prefer to make the top corners of my painting dark because that's where the darkness mostly seems visible. Then the rest of the areas, I'm just adding a lighter tone of the indigo. You can see we're getting a mixture of this indigo and the Payne's gray. As I move towards the bottom, I'm using a lighter tone of indigo because I did not pick up any more paint, this is just the remaining paint in my brush and we're just going to add it to the sky. You remember, my stroke is just this motion creates beautiful stroke when you do that. From the side, maybe you can pull towards the inside like that. Keep this area slightly lighter. I just wanted to show that fiery light, that's why I'm doing that. Towards the other areas, you can add indigo. I've washed my brush and then I'm just going to spread the existing paint and move it around. That will create the exact lightness that I want there. With the indigo here, we have to be careful, don't push it close to the yellow because we might create greens and there can not be literally any green near that yellow, so we have to be careful there. If you want, you can add a bit more of the yellow at places to strengthen the colors there. I'm going to make up a bit more Payne's gray to strengthen the smoke region like that. I shouldn't have washed my brush now, I want to add another Payne's gray stroke at the top. I dropped a huge drop of water there, I think while I was washing my brush. You can see the plume already creating, just going to run my dry brush quickly over it and get rid of that plume. I have to work pretty quickly, otherwise, the whole thing will form loose. There I got rid of that, I think that's better now. Now, we can go on to painting the mountain. We don't need to wait, we can just go ahead and paint the mountain. I know these side areas are wet and that it might lead onto the mountain, but we're not going to touch the sides at first, we'll touch just the outside. Just clear the smoke seeds forming like hairs outside. That's why I'm just touching them with my brush and carrying them there. Now, we are going to add the lava. We'll start with yellow again. We're going to pick up a good and nice creamy consistency of the yellow paint and we are going to add it. It's wet on dry strokes so I'm not wetting the paper, I'm just using them directly onto my paper, so just adding the yellow like that. I'm just adding streaks, lines like this. The reason why we are adding the yellow first and then we'll paint the black of the mountains, later on, is because you know that you cannot paint yellow over black, but then you can paint black over yellow. It's just as simple as that. This is the reason why we are painting with yellow first. Although I'm not touching the outside yet, we'll do that last when this is almost dry. Just paint some lines like this. I'll show the lava flowing out from the mountain like that. Then now, we have to paint the main flow. This is where it is flowing mainly. I'm just taking the yellow paint and I'm painting all the way inside of my pencil sketch. We'll add more depth and value to the lava river soon, but first, let's just keep on adding yellow. Now, we have added the yellow. Now, let us make things more interesting and add in the other colors. The next color that I'm going to be using is, I can use orange or Indian gold. Let's go with Indian gold. Don't worry with regards to Indian gold, you can just use a mix of brown, orange, and yellow and you will create this beautiful, gorgeous Indian gold color. Using that, now, I'm going to add extra streaks of lines on the same yellow that I added, but leaving lots of yellow in between. I'll show you that up closely, like this. See just some lines but right next to the yellow and leaving the yellow there as well so it will act as the hot lava flowing, lots of lines like that. Then we will also add it towards the lava river as well. For adding it to the lava river, just make these strokes again. We just added at random places on the yellow so that it looks as though this lava has some texture. You can see, I'm just making some random strokes on it, there's nothing clear that I'm doing, it's just random and I'm painting towards the right corner of that river area. I think that's already good color that we have added. Then we now can go with our next color to make this more interesting and attractive. We can go with red. If we go with a nice red tone just to make the fire part more interesting. But don't add too much of it. I think that too much red can intensify it and ruin it as well. We'll just add a little bit of red at random places. You can see I've just added some red over there. We can also add towards the end like that and not just the thickness of the lines possible. I'm adding the lines as thin as possible because I'm using the tip of the brush and making some thinner strokes and lines. I just wanted to create that glow in the fire. That glow happens when you have a good contrast between the colors that you have used. We have used yellow, Indian gold, and red. That red brings in the contrast between the red and the yellow. I think that's really good enough. We can just go ahead and start painting the rest of the mountain. For painting the rest of the mountain, I'm going to be using burnt umber mixed with the black or you can go ahead and directly use sepia. I think I'll go with sepia here because I want to make the mountain as black as possible. I'll mix it with a little bit of Payne's gray so that my sepia will get really nice and dark. This is what we are going to be painting, so just painting the whole of my mountain with that color, but we have to be careful towards the lava area, we want to leave the lava. Now my sky region is almost dry. It's safe for us to paint those regions. When it comes to the edges of these yellows and the flow of lava that we have added. Now what we have to be very careful and leave those yellows behind. As in we have to leave those yellows and paint around it with our brown so that we make the mountain around it. Because it's a dark color. There is no way that we can lift off and get back our yellow, so we have to be very careful. We have to paint very closely without leaving a white space, but also without losing the yellow and the red shapes that we have applied. That's one thing that we have to be careful when we're doing this one. If you want, you can use a smaller brush. I might eventually switch to a smaller brush once I cover all these larger areas. These are larger areas. You can see I'm painting closer to them, but I'm not concentrating much on the areas right next to the yellow. I'm just focusing on filling up my paint on the other parts of the mountain for now. I've covered enough of the mountains, but now I have to move closer to the mountains. For that, I'm going to be switching to my smaller size 4 brush. This size 4 brush from Sigma Black Belt Velvet. I'll pick up the sepia color. Now I'll be very careful with my brush strokes. Along the edges and very carefully avoiding any lava area, is I want to leave the lava area as it is. Covered that much. We're going to do the same for an entire mountain. In order to prevent those strove marks, just mix it along with the same previous brown strokes. See here, I'm painting very close to the yellow, but then I mix my paint, these area we had already painted before. If I don't pull my strokes onto the top of the already existing paint, I'll create harsh edges in between where I'm painting now. I'm just doing that so that everything seems to be in a one single direction of paint. This part of this painting is the only toughest part I feel, where it takes a bit of time to paint around each of the strokes. I haven't even got to the difficult part. These are the difficult part, I'm still around here. That's better. Now getting to the most difficult parts. We are bound to lose some part of the yellow. See we can't do anything about it. We can't control it because accidentally our strokes are going to go on top of some of the yellow or the red regions. It's alright. This is the reason why I applied more yellow than I need. Actually, you could paint the whole thing with yellow first. Here is a tip. If some of you didn't get this right and you want to try this painting another time. Apply the whole of the mountain yellow first and then create these darker lines on top of it. I think that's a really great tip that you can make use of seriously because then you don't have to worry about painting around. Imagine the whole thing was yellow. You would just be painting freely with your brown, just making sure to leave some gaps of yellow rather than filling your brown towards the edges. Now I'm wondering why I didn't do that way. I should have done that way, isn't it? It's alright, this is a very good exercise to get your brush strokes correctly learn how to paint around the lines very closely. By taking care. Honestly speaking, it is a very good exercise because it'll strengthen your brush strokes with each try of this painting. I still got more to do and I'm running out of time. I have to be quick. I promised that the lessons would be less than 30 minutes, so I have to make sure that it's less than 30 minutes. Now I'm trying to do it fast and I'm losing so many of the yellow areas, see here. I seriously can't leave any whitespaces. We're getting close. [NOISE] That's much better. I found some white areas which I need to cover. Use the tip of your brush to get the nice strokes. That's good. No, just the mouth of the mountain. I don't want it to be too much there because it's the mouth and that it is supposed to be having a lot of fire. We're on to the last side of the Mountain. Seriously speaking, once we finished this, we're almost done. We're done and I'm done with less than four seconds from 30 minutes. There you go. This is already looking gorgeous, isn't it? The last thing that you can do just to make this attractive is, do you know if you want, you can take up some yellow paint, some nice amount of yellow paint on your brushes and you can add some splatters here in these areas. Just there. Some splatters. That's it. This is our beautiful, gorgeous volcanic mountain. We can take off our tape. I finished that within enough time on the clock, isn't it? Anyways, so here is our beautiful volcanic mountain with the lava flowing, you can add more of lava flowing if you want. This is just my version of it and the fire coming out of the mountains. I hope you like this one. 25. Day 18 - Arizona Mountains: Let us have a look at the colors that we need. The colors that we need, are ultramarine blue or cobalt blue, raw sienna, burnt sienna, burnt umber, and green. These are the colors that we will be using for this beautiful, gorgeous mountains. Next, we are going to paint some beautiful mountains, so the pencil sketch is what we're going to start now, so I'm just going to get started. We'll have a platform on which these mountains are. You must have seen pictures, one of the beautiful, I don't know if you can call it mountains or rocks, but then it's just beautiful. But they're different shapes and look to it. That's how this side of the mountain is going to be. Now, let's add to this side. This is our pencil sketch. You can see how it is. It's just few peaks towards the left side and then few towards the right side. We'll paint the sky first as usual, so we are going to start with applying the water. I'm going to use my fat brush, my size two brush itself because it's just a very small area, so I just want to cover it up quickly, as quickly as I can, and my size two brush will be really helpful. Covering up, so these mountains has a lot of area, in-between these areas, these peaks, so we'll just cover it up entirely with water. Always my brush seems to have underlying tone. No matter what I do, it's not going out. I just washed this brush really nicely with soap, and yet it has a Payne's gray from one of the previous paintings that I did. That's why you can see a gray shade to the water that I'm applying. It's the brush. It's got still a lot of paint. Now, I have applied the water at all the places. I'm just going to strengthen the water that I applied like I always do. I think that's better. Now, I'm going to have a nice blue cloudy sky, so I'm going to take cobalt blue, or you can also use ultramarine blue. There is the beautiful cobalt blue, and firstly, I'm going to paint towards the left side in lines like this. Towards the bottom, I need my strokes to be lighter, so that's why I've removed the paint on my brush, and now my strokes are lighter. Now, for the top area, it needs to be dark. Towards the right, I'm just going to add it in the form of small cloudy shapes as small drops of cloud always but observe my stroke, it's always like this. Just like we have learned in the skies. That's just that. That's how I'm going to leave my sky. There's now a lot of white gaps that we have left, so these are the clouds in the sky, and that is all for the sky actually. Now let us paint the mountains. For that, we have to wait for the sky to dry. Let's wait for that. The sky is now dry and let us paint the mountains. These mountains towards the left side, first, I'm going to be painting them with raw sienna, so we're not doing any wet-on-wet technique. We'll just go directly with our brush and we'll just apply it to the mountain. Just raw sienna directly onto the mountain. I'm going to show you a very different technique to paint the mountain and the shadow, so these are different mountain. Just a whole of that mountain we will paint with raw sienna. You can also use fringe of course, so that's one alternative color that you can use there. When you have reached there, now I'm going to shift my stroke to burnt sienna, so towards the bottom. This is the reason why when you are applying the raw sienna, make sure that your strokes has a lot of water in it so that each of your stroke of the next stroke that you will apply has the possibility of adding burnt sienna. Otherwise, if your strokes were completely dry, then you wouldn't be able to apply the burnt sienna because you will just have dark edges. In order to avoid the dark edges, have a lot of water in your brush and then apply the burnt sienna. That's how you can get the nice blending. This would be ideally the wet on dry blending. If you look at my exercise on wet on dry blending in my ultimate guide to watercolor class, you will see exactly how this blending is done. Because this is wet on dry, you're not applying any water but rather but you're still applying a nice blend to your paper. It's raw sienna at the top and burnt sienna towards the bottom. That's how we have achieved that. We are going to do the same thing towards the right side mountains. But we are going to start it with burnt sienna this time instead of the raw sienna. These mountains are with burnt sienna. Just apply the whole of the mountain with burnt sienna. See here, my color is very light and there is not enough water. We actually need a lot of water to ensure that our stroke has water at the end so that when we apply the next stroke towards the bottom, it will not create a harsh edge. Did you understand that? See the pool of water that I'm creating. I have made it like a pool of water because I want my paper to not create any harsh edge. You need water and a lot of paint on your brush so that each of your neck stroke mixes nicely with the previous one. That's how we can get that. A lot of water each time. That's the key thing. But also a lot of paint, your paint should not be lighter as well. A lot of paint and lots of water. Then we just keep applying. I make sure that each of my strokes don't dry. While I was painting there, I came back quickly to this one. Otherwise, this will dry off. The point is, observe your paper, look at your strokes. By looking at it, you can see that it is starting to dry. Whenever you see that it is starting to dry, just go ahead and add the next sheet. For this one, now, the whole area we have added burnt sienna up till here. Now what we are going to do is, we're going to provide it with some little bit of greenery. We are going to take green, a dark green, and we are just going to add some dark green strokes at the bottom like that. Just some, see these strokes are all just wet on dry strokes. Once I have done that, I'll switch back to my burnt sienna and apply to the whole of my paper again. We just have a bit of the greenery on our mountain. I'll apply right in between those areas. It's just going to create a mixture and have a little bit of green on my mountain that's it. I don't want a lot, but just very little. It's going to mix and create some olive green there. That's exactly what we want. It's all right if the whole thing is just creating a dark brown shade because green mixes with burnt sienna or the brown that you're using to create a brown shade. But that's all right. Don't stress out. Clearly see, it just looks like a messy stroke here. It's all right. I just wondered that little bit of green onto my paper, that's it. Our first layer for the mountain is done. Now, we need to start adding detail in the shadows to our mountain. I have to wait for this layer to dry. Let's wait for that. Now everything is dry. Let us start adding shadows and detailing on to our mountain. The first thing I'm going to be doing is I'm going to be using burnt umber. I'm going to be mixing my burnt umber with a lot of water. Observe the consistency, it's got a lot of water. I don't want my burnt umber to be a dark stroke there. This burnt umber, we are going to apply it on top of our left-side mountain. This is going to be the shadow of this on this, like that. Then we'll cover up the whole thing. Paint the whole thing all the way down, there that's it. Now we have to make sure that we dry this up. But while that dries, we can add detailing to the right. I'm shifting to my smaller size brush, which is my size 4 brush, and I'm going to add detailing to the mountains. For that, we are going to be using burnt umber. You can use any brown shade that you have. Using this burnt umber, we're just going to add lines and detailing on to our mountains. It is just lines like this. In between those mountains, we will just add lines and separation to show how the shadows are. You see that? Now this mountain already has a depth and a thickness. It looks as though this is a rock and it's got a thickness. That's how we will add detailing for all of the mountains. Some of them will have just lines, some of them will have thicker lines. It's just to show how the thickness of the mountain is. My strokes are completely random. Now I'm not focusing on how exactly my lines should be. They are just totally random and I'm just adding some lines at random places. They will form like the detailing on the mountains. Here we will also have this kind of mountain. It's more like a rocky place. We'll have some lines going in the mountain like that and also some darker lines towards the right side. But do you see my strokes? There were some amount of wet on dry strokes going towards the right on the mountain. We'll have a lot of lines for the mountains as well because these are special mountainous rocks found in the US. If you are from the US, you might recognize this place. That's why we are just adding a few lines and a few demarcations. Those demarcations are the rocky part of the mountain. Here now I've added a stroke like this, but I need to make it soften the edge. Here I have my brush and I'm going to soften the edge here so that it doesn't create a harsh edge. Like that. Just so many lines and some level of detailing that you can add. You can also add horizontal and vertical lines, but don't make it like a chessboard. Just some random lines. I'm adding some vertical lines like this here and some horizontal and some detailing lines. You can already see how that mountain looks. It's looking gorgeous. This bottom part here actually is the foreground area. We'll add more detail in there. What we are going to do is we're going to add some splatters there. Let us cover the rest of the mountains. I'm going to pick up a nice consistency of brown shade. I'm going to add splatters here at the bottom. There at the bottom. Add as many splatters. You can also add larger strokes and splatters. Then we need to add the detailing on the left side as well. For the detailing of the left side, I'm going to be using permanent brown and sorry, non-permanent brown, burnt sienna. We are going to add some same way just as we did for the other mountains. We are going to add detailing here. Strokes that resemble and give the mountains some thickness. Just a lot of small lines and as much thickness lines that you can add. See these thinner lines that I have added in the mountain. Just adding some random details on to the mountain there. That's it. Maybe we can add some splatters to this side as well. It's like the ground area. But again, if we're adding the splatters, we need to cover the bottom part. For here, I'm going to add the splatters with green. Here is my green paint, and let us have the splatters. It doesn't really matter with what you're adding the splatters. The whole point of this is to just make the bottom part more detailed. Covering up the rest of the areas, ensure that the splatters are not on the top area. I think this is much better now. See, this is a much more complicated type of mountain. You can go on adding as many lines and detailing on to these. If you have a photograph of this and you want to add more detail, you can just go on adding so much detailing because these mountains essentially have a lot of lines. You can just go on creating so much more on to this. But since I wanted this to be quick and easy process and to show you how exactly this is done, I made it into a little bit easier for you all to follow along. But I think if you wanted to go ahead and add more detailing, you are open to do so. You can just go ahead and add as much detail as you want, but I think I'm going to leave it at this for now. Let us remove the tape. It's just splatters here. The rest of the areas are dry, so I think it's safe for us to remove the tape. [NOISE] Here it is. Isn't that looking gorgeous? There you go. 26. End of Week 03 - Mountains :): Hello, congratulations on completing Week 3. You have now completed the mountains as well. We have done six different types of mountains in this week. We looked at different color combinations, different kinds of mountains, snowy mountains, a beautiful spring mountain, a volcanic mountain with some erupting lava. Then some mountains in the sunset. Also these gorgeous mountains rocks in the US. These beautiful paintings we have done. Now, I have also shared three reference images for you to go through. But with applying the learnings from this week, let us see how you do them. You can upload it to the project section of this class. I would love to see how you apply your learnings from this week to other projects or other reference images. 27. Day 19 - Northern Lights: Let us have a look at the colors that we need today for our first northern lights painting. It is going to be emerald green, Indian yellow, indigo, and Payne's gray or black. Then for the stars, we will also be using white watercolors or white gouache. We are going to have a look at northern lights this week. It's going to be starting from the easiest to a little bit of intermediate level, because I'm sure that you all can do it. For this one, we're going to have a simple northern lights with a simple blending. You guys remember this one where we did for the night sky's week. We did these blend towards the side. The same thing we are going to do with the colors of the northern lights, but this painting is going to be in the landscape mode and we don't need any pencil sketch. Let's just get started and apply water onto the paper. Just apply the whole of your paper with water evenly. Make sure that the water that you apply is even. As I always say, the paper that you use is very important. It's really important that we use at least 300 GSM paper. Because if you're not using 300 GSM paper, then there is a high possibility, high chance that your paper is going to create bends or warps when we are applying the water because the paper is not able to absorb. Not really absorb, but the paper is not able to withstand the amount of washes that we're doing on top of it. That is the reason your paper is warping. That's why you need minimum 300 GSM. When I say minimum, that means you can go up to any high. There are even 640 GSM papers available, but it's really expensive. I'm painting on 300 GSM paper, so you can use that as well. Then another thing is the amount of cotton on the paper. It's really good if you have 100% cotton paper. It's really important but I know that many of you may not be able to afford 100% cotton paper. It's not that expensive. You can go for the Canson one. It's not that expensive. Arches is the one that is very expensive. Arches, Saunders, Waterford, Fabriano, all these are really expensive, but Canson is something that's really affordable. Keep applying the water multiple times, as many times as you can because you want your paper to stay really wet. But making the paper wet is not to drop the water onto your paper, but rather it is to keep applying multiple times evenly and flattening it out. This is the reason why I use a flat brush. But I want to tell you that it's all right if you don't have a flat brush and you have a mop brush like this and all you need to be doing is going back and forth like this. The only thing with using a mop brush is that it's going to take slightly little longer to cover the entire surface of the paper. You might have to spend like 5-10 minutes applying the water. That's it. But don't underestimate the power of applying the water on your paper multiple times. I think I'm done for now. That's a good enough amount because my paper is 100% cotton 300 GSM paper. For the northern lights, what we are going to do is we're going to paint using emerald green. That's a nice amount of emerald green. Emerald green is available in almost all basic palettes, and I'm going to mix it with a little bit of Indian yellow, so this will give me a nice lighter color. My Indian yellow is almost finished so that's why I'm putting my brush over it. It's all right. I'll just later on wash this up and add more yellow to it. It's almost finished in this palette. I'll have to squeeze out more. There the Indian yellow mixed with the emerald green. That's what we want to be using. We are going to apply in streaks, just like we did for the night sky's painting. Just see that streaks of light. That's what we're doing. Just go for streaks like that, so any streaks. See, I've added enough streaks onto my paper. Now next thing is we can go for more emerald green without mixing the yellow with it and we'll go over it with this on the side. You know it creates a dwell tone for the northern lights. That's what we're trying to do here, just along the side. The first streak is there, then along the side, we add another streak again like that. See. There, that's it. Next thing we are going to be in the rest of the sky. This northern lights painting is very simple. The only key thing is to get that blends correctly when we are mixing the paints on the paper. I'm going to be going with indigo and we start from the top and we'll paint it in the areas in between. Just note here, when I'm going in between that tiny area, I lift my brush and make only the pointed part of my brush to go through that area because it's a very tiny area and we want to cover it. These exercise teaches us the strokes that is needed in a painting. You understand? There like that. Then the rest of the painting we'll just cover with the indigo. Only next to those lines is where we have to be really careful to make sure that we follow along the lines that we made earlier like that. I've covered those areas. Now we have the areas in the middle. You can go over with your indigo more times to create that nice darkness or vibrancy to your painting. Then once you start adding the next, next layers, make sure that you remove excess water. See, I'm dropping all the water onto my paper itself because I don't need those extra water. We have that gaps in between the northern lights to paint. That's nice. At this point, it would be really great if you can lift your paper or the board slightly and give it a little bit of angle like that and then apply the paint because this would allow all the paint to flow down and create the blends on its own. When the blends are formed on its own, it's really beautiful on the paper because watercolor is really fun that way. You don't have much to do. You just need to let the water flow. Let the paint do its own magic. That's something that we can do. Here you can see lots of bleeds happening and now I want to make more blends on the paper. What I'm going to do is I'm going to wash my brush because it's got a lot of indigo paint. Really, a lot of indigo paint, and then I'm going to use a tissue to dab off all the water. See there's still indigo left on my brush. Just dab off all the extra water. Pick up some nice consistency of the emerald green. I'm just going to go over this side. Each time you do that, wash the brush because you will be picking up indigo, so we don't want that indigo on our brush like that on the side. See. I took off those hairs that was forming. That's what we are trying to do, but each time wash your brush. Do not go over with multiple stroke when your brush is having indigo. See. I went over it and I got rid of the hairs that was forming on that one. Let's also do with the other ones. Here is my tissue and I'm dabbing my brush each time, and you're moving all the excess water Just go over it with your brush. You have to make sure that you remove the excess water. Otherwise, you will be creating blooms on the paper. Like that. See, I just took off the paint, and then I dab it on my tissue, and this much indigo was there on my paper. Imagine if you were not washing your brush and picking up more of the paint, imagine what would have happened. When we go around the hairs like that, this is the reason why we wash it off. See my brush now. I just did a stroke and see. We have that much paint. We don't want to be reloading that onto another area. This is the reason why we need to make sure that we don't do it. I've almost gotten rid of so many of the hairs. You can hold it down like this, lift it so that many of the blends happen naturally and by itself. Let that happen on its own, like that. It's good to have the blend happen by itself. You can add more indigo to the top areas if you want. But then, now because it's already getting dry, you have to make sure that the paint of indigo that you apply is really, your brush is dry to the extent possible. Only then you will be able to create those beautiful blends. Because now if you introduce more water onto your paper, it's going to create an even blend and blooms. See, I'm already having a dark line here. This is because the paper there is already starting to dry. I can just blend that. What I'm going to do is the area where I applied, I washed my brush took off all the paint, and I'm going to dab my brush and remove all the excess water. Make sure that there is really no water on my brush, and then just go over that area so that that area makes an even blend. That's much better. There is the darkness here. There is that darkness in this corner. It's just trying to create different kinds of light in our skies. Now, we have to wait for this whole thing to dry before we can add some extra mountains or something onto our painting. Let us wait for this to dry. The paper is now dry. Let us add some mountains at the bottom. For that, I will use Payne's gray. I'm going to pick up a nice consistency of Payne's gray. You can also use black. I mostly use Payne's gray for creating black itself. This is the reason. You can just use black. With your brush, we're just going to make some small mountains. Make sure that the mountains are really towards the bottom and not towards the top. Just really at the bottom, we just add some mountains like that, and we'll just paint inside it. There you go. Now let's add some more white snowy streak lines to our mountains and then stars in the sky. For that, let's wait for the mountain to dry. The mountains are now dry and let us go ahead and add some white stars and some detailing on to the mountains just to make it look interesting. We'll pick up white paint with white gouache or white watercolors in a nice consistency on your brush. Make sure that you don't need a lot of water because we're going to do some dry brush strokes. Remember the dry brush strokes that we learned when we were painting mountains. That's what we are going to be doing. Pick up the white paint, and then we dab off all the extra water from the brush, and then we make those dry brush strokes. When you're making the dry brush strokes, try making some valley on the mountain like that and then apply the dry brush strokes like that. My white paint is really dry. Let me just take up some more. That's better. We can add that on the top of our mountains. Like that. We can add it to some other mountains as well. Let's say we'll add it for this peak. First I create a valley like shape. I just draw some lines like that in the mountain, and then I paint the dry brush strokes. To see the dry brush strokes, how it's creating those beautiful texture on the mountains, like that, and we'll do the same for maybe some other areas of the mountains as well. I think that looks really good enough for now. Those mountains, they look really beautiful. Now we're going to add the stars in the sky and what I'm going to do is I'm going to cover up the mountains because I don't want dots on my mountains. Just cover up the mountain area, and now we take our white paint in a nice creamy consistency like that, and we just add the stars. Just do the splattering technique and add the stars. In this one, you can see my splatters are tiny because the paint is less creamy, as in less water. If you add more water than you'll get bigger stars. It totally depends upon what styles you want in your sky. I'm going to go for smaller one in this. Now maybe I'll add some bigger. I've added more paint now, more water. See, I got a big, huge one. I think that's it. More than enough stars in my sky. That's all for today's painting. We can actually remove the tape now because all the edges are dry, and these strokes were dry brush techniques. Let us remove the tape. Here is our final gorgeous, beautiful night sky painting. Don't worry if you don't get the plans correctly. You will eventually learn how to control the amount of water on your paper, and how you can get those perfect blends. Please don't be stressed as to if you don't get those perfect blends between your lights in the sky. Just don't be stressed. Try it out multiple times, and with each try, you will learn the amount of water that you need, and you will also learn the mistake that you did when you were applying the water or the paint. There you go. 28. Day 20 - Multicoloured Northern Lights: Let us have a look at the colors that we need for this painting. The colors we need are indigo, Indian yellow, emerald green, carmine or rose, ultramarine blue or cobalt blue, and Payne's gray. Then for the stars, we will be using white gouache or white watercolors. We're done with our first Northern Lights painting yesterday and let us have a look at a new one today. But what I want to remind you is about you remember the first two days painting where we did those straight strokes on the paper? We are going to do something similar, but the strokes are going to be vertical. This is again, a practice somewhere similar to the first day. If you are able to do this painting nicely, then you are going to love today's painting as well. Let us get to that. There's no pencil sketch. We are just going to start painting directly. Let us apply the water onto a paper. Remember, apply the water multiple times. I know I say this every day, but I'm just saying to remind some of you or maybe there's someone who's joining us new today and someone who just wants to start with the northern lights and they stumbled upon this painting. I want to tell them that applying the water multiple times on the paper is very much necessary in order to make it stay wet for as long as we want to work on them. Just keep applying the water for a very long time and also if you're not using 100% cotton paper, then you might have to apply like maybe like 5-10 minutes. I know it's a tiring process. I said this painting is going to be like less than half an hour, but it all depends upon the materials that we use. If we are not using 100% cotton paper, then it's going to take slightly longer. Only because you'd have to apply the water like extra few minutes. That's it. Keep applying the water. I think that's good enough for now. Let us start adding the streaks of lines for that, I'm going to be using emerald green like yesterday again. Nice consistency of emerald green. We are going to mix it with Indian yellow to get that nice light green color. So pick up a nice consistency of the yellow and we mix that with emerald green, so See that, that resembles almost like a sap green. But it's a nice, gorgeous, creamy yellow, and green mixed together. It's a very beautiful green that we have there and we are going to now create some streaks, just like we did for the skies, remember? Let us do that. Like that. These lines are exactly like the ones we did yesterday, but we are adding these streaks. Remember we did that in the skies lesson. Like that. Now we're done with that color, but I'm going to add another beautiful color into our sky now and that is going to be carmine and we are going to mix it with a little bit of blue, so that we get like a reddish purple shade and this shade we are going to add in-between. It's going to be beautiful, reddish, purple shade in-between. See that? Just add some lines like that. You can add the top as well. There, that's it. We can add something else to the left again and you can go over the green again if you feel that it's getting lighter. There. Now we are done with the streak of light. We will go with painting our sky. For painting the sky, we can go with indigo or Payne's gray. Whichever color you prefer, I'm going to go with indigo and I'm going to paint the sky. We have to paint this quickly, because my paper already started to dry at the top. Remember, when we are going towards the in-between those we have to lift our brush, so this is very good to learn some brushstrokes. Like that. In these places, keep adding streaks in-between and then the rest of the places we will just cover it up with indigo. Now what I'm going to do is I'm going to lift my paper slightly and let all the colors mix by themselves. You will observe that when you're lifting up, the paint from the top is moving downwards. We would have to add more paint towards the top. But now when you are adding the paint, make sure that there is very little water or no water in your brush. Just pick up only paint. See, I'm just picking up paint and nothing else. I'm just adding it to the top. Now, for this painting, we are going to do something else. Pick up another brush. Make sure you remove all excess water, dab it off in a tissue and remove all excess water, and then just add these streaks. See what I'm doing? It's like this. Making those indigo bleed in the form of lines on the green paint. See that? Like that. Then we wash the brush, dry it off completely again. We do this with the other places as well. Keep your board held slightly like this so that you can do that motion and also the paint will flow down by itself. It's both acting naturally as well as doing it on your own. Washing my brush, and dabbing it off in a tissue. At these bottom places as well. Actually, if you let it hold on like this for a long time, it would really help because then it would form those beautiful hairs in the painting and blend by itself. This is already blending by itself. I just held it together. I did not touch these areas, but do you see how those pinkish areas has bled or formed hair-like structure towards the green? This is what makes it so beautiful and attractive There was only very little paint here. I did not touch much on that area. That's also bled well and created that little streak of light over there. I don't want to touch it and ruin it. I'm actually not even going to touch there. Now we'll add some nice trees or pine trees in the background. What we are going to do is we are going to pick up Payne's gray. Pick up a nice consistency of Payne's gray or you can go for black. Black would be really great. Because if you're creating gray from the primary mixtures, then it wouldn't be as dark as this one. Go for black. What we're going to do is we're going to create some beautiful pine trees. You remember the other exercise where we did wet on wet pine trees? That was the last lesson of the night sky is one. Similar to that, we are going to be doing like that. Just add those trees. Wet-on-wet pine trees and some smaller ones, maybe. Use the tip of your brush to create the strokes. Also don't worry if your paper has dried and you're having to go through wet on dry strokes. I should have said this before just like I said, with the night sky is one. What I'm trying to say is after when you did the Northern Lights, if your people had dried, Wait for it naturally dry completely, and then reapply the water on your paper. When you reapply, if you're using a flat brush or whatever brush, just apply only one layer of [inaudible] on each side. Don't go over it multiple times when you're applying water to an existing paper that has already paint because then that would take off all the paint. Just apply only once. When you apply only once, then you'll have your paper wet. On that wet paper you can do these pine trees. This area has already started to be like wet on dry. There's very little water on my paper. But that's the beauty of what I'm talking about. You get these mixture of the wet on dry and wet-on-wet strokes. It just makes it look even more beautiful because you cant know which one is which, it's just mesmerizing and all blend together. You can leave gaps. Maybe I'll add another bigger one to the side. I think that's really good enough for now. Let's wait for this to dry and let us add some dry trees as well that is wet-on-dry strokes for the trees because that would look really beautiful, and we also need to add the stars. Our paper is now dry, everything has dried. Let us add the stars in the sky first. Here I'm taking the white paint, white watercolors or white quash, whichever you prefer and then we'll just drop in some nice beautiful stars into the sky. I'm using the tapping motion because that way my stars are more controlled and it wouldn't fall on top of my pine trees. You can also use your hand to prevent any of those stars going over the pine tree. That's it, I think that's enough stars on my pine tree and we're just going to add some wet-on-dry find trees in the front just to make this more interesting, that's it. We are going to go with Payne's gray, this time, wet-on-dry because our painting is completely dry. Pick up a nice amount of Payne's gray and we will just add some nice strokes. That is remember this some of the trees, so we'll Just add extra bit of volume or some nice foreground leaves for these pine trees and you can add it in gaps where you didn't add the pine tree earlier on. Observe how I'm doing these pine trees so it's just adding these tiny lines and making sure that I go thicker as I move towards the bottom. You see that? That's how I do the pine trees. That's how one in the foreground here in the right corner. I don't know if you can see clearly, I think this angle, you can see clearly what I'm doing there. Like that. I'm just trying to show you clearly what I'm doing. This is a really good for now let's not ruin the fun by adding more and ruining it, I'm just going to keep it simple for now. We just have to wait for this portion to dry before we can take off the tape because these area is wet and it might bleed. Here everything is now dry and let us remove the tape. Here is our next Northern Lights painting. You see that bleeds there that is what we were trying to achieve when we lifted the board. Don't worry if you haven't been able to do this because these things comes with practice and also good-quality watercolor papers. I just want to share my experience with you which is one huge, big thing that I've been a lot of people who've been trying to tell me that they are not able to get these plans and maybe these paintings are not beginner level maybe these are like, you know, advanced lessons but trust me, everything that has got to do with not getting the perfect lens is got to do with paper. I really don't know how to explain this to you, but it seriously needs a lot of attention that is the paper that you're using. You are underestimating yourself with your capabilities, if you think that you are a beginner and you're not able to do this, if you're using a very low-quality paper which is not 300 GSM and which is 100% cotton paper and even there are some brands which say it is 100% cotton paper but it might not have all the goodness of the good brands that is out there. I don't want it to go and buy expensive supplies, but I just want you to be cautious of what paper you're using it's really important because if you really look at the paintings that you have in your hand and you don't seem to get those perfect lens, it is not your fault please don't take it to your own fault, and please don't think that you are not able to do it because you are a beginner, it has got to do with paper. Try changing the paper just for once maybe try investing a little bit once in a good quality paper. Canson paper is really cheap just write out for once and you will see a huge difference. You will understand that it was not you, was not your problem it was paper. Trust me on this. When you do have good quality paper, it stays wet for a longer duration, it blends scholar nicely, it bleeds the collar nicely and it doesn't create harsh edges and you will totally understand the difference. There you go. 29. Day 21 - Northern Lights Lake: Let us have a look at the colors that we need. We need Indian yellow, emerald green, carmine or rose, ultramarine or cobalt blue and Payne's gray. Then for the stars, we will be using white watercolors or whitewash. After our two Northern Lights painting, let us have a look at the third one now. For this one, let us do a pencil sketch because we are going to have a small lake in the foreground. We'll start somewhere at the bottom and we'll add a line. Then maybe just bend. Let it go like that. Then we'll have some mountains at the farther end of the lake, like that. There. This is all for the sketch and let us stop painting. When we start on painting, we can apply water onto the whole of the paper because the mountains are going to be with black. It's fine. Let's apply the water on the whole of the paper. I say this every day, so I'm going to say it again. Apply the water multiple times as much times as you can. This is something that I don't want you to forget and I want you to have it in your head always. That applying the water multiple times is a key key to have the paper stay wet for as long as you want. Another trick to do is apply the water like this on all places evenly then wait. Wait for the paper to soak in the water, let it to start dry. When it starts to dry, you will see areas where the paper has no water or the water just start to sink into the paper. Let me show it to you. See there's water on my paper. See the consistency of the water. But if we wait like one minute, all of this water is going to sink in and it's going to dry. Let it do that, and then reapply the water. Then what happens is, your paper is composed of different layers of fibers. The water that you applied, it goes into the layers, into the fibers of the paper. Then when you reapply again, the underlying fiber has water and you have water on the top layer as well. That makes it to stay wet slightly longer because the underlying layer is wet and the top layer will take some time to dig its way into the underlying layer again. Imagine if you were to do this multiple times, that is, wait for your paper to dry. Soak it again. Wait for your paper to dry, do it again. But don't do it too much because then you will ruin the sizing of the paper. Sizing is something that watercolor papers have on the surface to allow it to paint. I will explain in detail, maybe in some other lesson or maybe a YouTube video. That would be great. But it's outside the scope of this lesson, so that's why I'm not going into detail about sizing. Just my point is, you could do this applying the water multiple times like maybe five or six times, that would be enough. Not too much. Now I have applied, I think, enough water on my paper. Let us go ahead and start painting. For this painting, what I'm going to do is, I'm going to start using Indian yellow first. We are going to go with yellow paint for the Northern Lights. We're going to apply this yellow paint in the sky region here next to the mountains. We're going to do it in line like that, and observe what I did. I did it in line, and when I reached towards the end, I lifted my brush off. See that. I'm going to do that. Let's add that Indian yellow at the bottom here, at the lake area as well, like that in a straight line. Washing the paint from my brush. Wash it, dry your brush. Not too much, just enough to hold paint. Then the color we are going to use is emerald green. It's a great color to use for Northern Lights. One of the best colors to use for Northern Lights would be this cobalt green from Mijello. Cobalt green is an expensive pigment, and for this reason, if you're trying to get to hold onto this tube, it might be slightly expensive. But then this green color is the perfect color for Northern Lights. I know that many of you may not be having cobalt green, which is why I did not want to go for cobalt green. It's not fair to others who don't have this green. But if you have this green, then you know what to use. You can go ahead and use it instead of these colors. I've mixed a bit of Indian yellow into my emerald green. This is what I'm going to be applying towards the right. Like that. Just some lines and we'll also apply this to the lake area at the bottom like this. We've covered the bottom part of the lake area as well. Now we'll pick up more of the emerald green and we'll start to add the other streaky lines of our Northern Lights. See the yellow bleeding. Actually let the whole thing bleed. We are not going to create a perfect stroke. We want it to be blended with watercolory weight. That's what we're trying to do. I'm adding another stroke at the top there. I'm leaving a gap and adding another stroke. That looks good. Now what I'm going to do is remember yesterday we added some pink strokes. We are going to do that again. This time, pick up a nice pink, mix it with a little bit of ultramarine or cobalt blue, so that we get a red purple shade. This, we'll apply it right next to the green. Again, apply in streaks like that. You can also apply those streaks towards the yellow like that. I'm just going to stop there. Now, we'll paint our night sky. Today, how about we use Payne's gray for the night sky part instead of indigo? Let's take Payne's gray and we start applying in the other areas. Just pick up Payne's gray and all the areas. When you approach the red zone, use this motion of the brush, remember, where you want color, but then you're letting it flow and create that amazing blend like that. See, it's created that slanting thing with the pink shade. Then we'll also add it in-between here. What I'm going to do is now I'm going to lift my paper and the whole thing blend and there's Payne's gray here as well, just slightly. But here I'm using a lighter tone, observe that, just a very lighter tone. Now I've dried my brush and we are going to just do these strokes on the paper so that you're blending the whole thing. See that? Your paper might have started to dry. That's why we need our brushstrokes to be dry as well. Dab your brush and remove all those extra water. Wherever you are seeing that the paint is not mixing, just go along the edges and blend it. Now we have to deal with the next slide as well. I only want a very low thing in the sky. This is the reason I let it bleed in that area. There. That looks much better now. Then we'll pick up some little amount of Payne's gray and we'll add it to the leg area as well. Just little see the lightest tone that I'm using. There, like that. That's it. You can prevent more of the bleeding if you just go over it, but I'm afraid that if I go over it again, I might ruin the whole thing, so I'm not going to touch it again. Let's just leave it like that and let's wait it for the whole thing to dry before we can add in the mountains and the stars in the sky. Adding this Payne's gray is quite different from adding the indigo. I just wanted to show you the different colors and options that we can use. In the previous ones, we mixed the yellow with the emerald green to create a nice Northern Lights color, but in this one, we used the yellow itself to give it that lightest tone. Let us now wait for this to dry. The mountain area is now dry and we can go ahead and paint. I'm switching to my smaller size, full brush, and we are going to paint with Payne's gray. Black is enough. I use Payne's gray for black. This is the reason why I'm using Payne's gray. Don't forget that. Just thick black and apply it on to the mountains. Along the lake, make sure to have it a straight line. The screen, the whole of the mountains with the black or the Payne's gray in my case. Now, let us paint the area where we approached to the lake. The lake, remember we added it like a, bend like that. Just create some perforations here, that is, don't make it a straight curve, just tried to add in some lines and bends in the edge of the lake like that and then just paint the inside. Now we have added the regions of the lake. How about we add a little bit of rocky areas to the lake as well. For that, I'm just adding some small rocks like that. See how tiny it is? That's all, like that. Just some rocks, that's it, some small rocks Now, let us wait for this to dry to add in the stars in the sky. The lake region is now dry. Let us add the stars in the sky. I'm using my white watercolors. Let us just, take up more paint, in a nice consistency on our brush. In a very creamy consistency. You can see that. You can see the creamy consistency. We are going to add the splatters. I'm adding all these splatters to the Payne's gray area, because essentially the splatters won't be clearly visible on the northern lights because the light are in this guy and splatters far away in space. Add in as many stars possible and closer to the Payne's gray areas. There it is. I didn't cover up my mountain, so I got a very tiny star here. We can just take that off by applying a little bit of black on top of it, more Payne's gray in my case. There, that's it. If you want, you can add some detailing on to the mountains. Let me show you. I'm just taking white paint and I dab off all the extra water because I want my strokes to be dry brush. You can just add just a tiny bit of detailling. These mountains are small, so it's not going to be very much detail, just small lines, maybe. Something really small. I think that's really good enough, small, tiny detailing that we have added. Everything looks perfect. We can actually remove the tape. [NOISE] Here's our Northern Lights lake painting, I hope you like it, and I'll see you all tomorrow. 30. Day 22 - Magical Northern Lights: Let us have a look at the colors that we need. We need bright blue or phthalo blue so if your blue is really dark what we need is a lighter shade of blue. Mix it with a bit of white to get that light blue shade then we need indigo and Payne's gray. For the stars and the details on the mountains, we need whitewash or white watercolors. Let us paint another northern lights now. We don't have a pencil sketch for this one. We're just going to paint directly. Let's apply water onto the paper. This whole exercise is to make you understand the different strokes and the different techniques that we can paint the northern lights with. Apply the water evenly onto a paper, just make sure that you have even water. That is make sure of the four corners of the paper as well. As I always say, apply the water multiple times to ensure that your paper has enough amount of water. I would also like to bring your attention to something that one of the students of this class, [inaudible] said to me and she wanted to convey this to all of you who's taking this class. She was using watercolor cakes as the paints in all of these lessons and because the cakes were taking so much time to activate, so cakes is those watercolor paints available in pans or full pans or Hoffman's. It was taking so long to activate so she had to use more water on the paints and that was causing her to use more water, which eventually she would use that water and those paints onto the paper. Whenever she was doing some wet-on-wet strokes and her paper had started to dry, she was applying more water with the paints on her brush just because the cakes were taking time to activate and she had to use more water to activate them. This is not relevant to applying the water, but it's a lesson on water so that's why I'm telling you right now. I will also show it to you when we're doing some wet-on-wet strokes and our paper has started to dry. If you're using cakes and you need a lot of water to activate your paints, you can always dry your brush on your palette and remove the excess water from your palette. That is something that you can do so that you get rid of the excess amount of water on your brushes and just let it be the paint itself not a lot of water. This is going to help you a lot. I will show it to you when we're painting this. I've applied the water multiple times now and let us get started. For this one, we are going to create a beautiful aurora or the northern lights and for that, the first color that we are going to use is we're going to use bright blue, phthalo blue. You can use any blue that you have, but make sure that the blue that you're using is a lighter tone. If your blue is very dark, try applying it on a different piece of paper and see the darkness of your blue. If it's very dark, then mix a little bit of white with the blue to create a nice lighter blue. We don't want a darker blue. That's very important. Note my string now, we are going to create a spiral. A spiral, as in something beautiful in our sky, not a galaxy. Is in northern lights spiral. You must have seen those northern lights form in different shapes so that's what we're going to do. We're going to start somewhere in the center and there is paint on my brush. See there's a blue paint on my brush. This is the blue paint that I'm using and I'm going to make that spiral. Let's see if there's a lot of water. I just want to move down the water so that it stays away from the middle portion of my paper. I think that's good enough. What I'm going to be doing is I am going to apply it in a circle like that and take it upwards. See what I did there. We can do that again. Pick up the blue and follow along the same line.You can see the blue that I'm using it's not too dark. It's a lighter tone of blue and this is what I'm doing. You can see there's a lot of bleeds, but don't worry, we will add that and cover it up with indigo but let's just finish off adding the bright blue strokes again. I want more lights in my sky so I have this main line and then maybe I'll add another line there. Maybe something like that. Here, that's it. That's all for the lights of this sky. Now we get to painting the darkest tones of our sky. For that, I'm going to be using indigo and here's indigo paint. Now we need to make sure that we have the indigo so I'm painting inside and along the inside. See that? See what I did. Now we have saved the blue parts inside and along the lines. Then also in the areas in between our strokes and the rest of the sky, we'll just paint it with indigo. Quickly with indigo, the rest of the skies, we'll paint with indigo. My first region has already started to dry. This is the point where I'm saying, so if we now use a lot of water on your paper, it's going to create some blooms on your paper, and it's just going to spread a lot. In order to avoid that spreading, you need lesser amount of water on your brush. I'm not picking up any more water. You can see I'm just picking up paint. This is the point where the good suggestion given by [inaudible] comes into point. She said that because she was using cakes. She used to take more water just to activate her paints and get it to work so that applied more water onto her paper, which was introducing more water onto the painting and so she suggested that I tell this to all of you, she is such a great tool for suggesting this and trying to help out all of us. That was a really nice suggestion. Thank you so much for sharing it with us. Now you can see what has happened. I'm not going to lift my board in this one, because then the whole thing is just going to spread and get rid of those spiral lines. We don't want that. I'm just leaving my paper flat and applying. You can see I'm applying more paint towards the top as quickly as I can and now you can also use a bit of Payne's gray so that you get darker tones towards the top. We need darker tones towards the top so you can use Payne's gray there. That is a lot of areas of my blue with the test blended and gone out of the picture. Too much blending and these hairs thing. I'm taking bright blue again, but I'm going to make sure that my brush is dry and that is not a lot of water. Let's pick up bright blue. See the consistency of the bright blue. It doesn't have to have a lot of water and also just slide it on your palette and remove that extra water. Like I said, if you're using cakes, remove the extra water like this and then apply it. See just fun already. I think somewhere here I'm going to stop and wash my brush and remove that extra water or the indigo that I have pulled off and I take more of bright blue. I'm going to use it and apply it. Now I'm going to do this repeatedly. Here, I think this is now joined together. This is the joy of using watercolors because you just can't predict how the paper is going to have your colors blend and join together. It's forming hairs again here so I have my brush dry. I've dried it on my tissue and I'm just going to run around it so that those hairs things would move there. We need more of our indigo paint. Observe now there's not a lot of water, very little water on my brush and I'm going to apply indigo towards these areas because I want to create that separation between the two lines because now it's not that clearly visible. Always note and observe my paper, there is water, the paper is still wet, which is why we are able to paint with wet-on-wet technique for so long. If your paper is not wet, don't apply more paint because it would just create bleeds. We don't need bleeds. That now it looks better. I'm going to wash my brush and get rid of any hairs that has formed again. Here I'm dabbing off all extra water from my brush and I just going to run around slowly along the edges and see I've picked up some paint, so I'm wiping it off. Clean your brush again, and do the dabbing again before you move on to the next area. I think that these are really good enough. Now, all we have to do is now we have to wait for the whole thing to dry. Let's wait for it to dry. Everything is now dry. Let us add in some mountain here to make this interesting. I'm going to be using Payne's gray. You can go ahead and use black. I'm using Payne's gray for my black so just use black paint. We are going to add a mountain peak here, like that, a big mountain peak, and then extending it all the way like that and then we just paint the whole inside of it. We have already learned through the mountains. This is why now I'm adding enough of the mountains into our paintings. We've gone through the lesson now we know how to paint the mountains using the dry brush technique and all of the different techniques. There you go. Now all we have to do is now we have to wait for this whole thing to dry so that we can add some dry brush strokes and some styles into our sky. Let's wait for that. Our mountain is now dry and let us add the dry brush strokes. Here I have my white gouache. Don't worry you can use white watercolors also hand. We are going to take the paint in a nice consistency. This is really creamy now. What I'm going to do is I'm going to add the stars first because it is really creamy. Adding the stars helps at first also, because if you have some white dots on your mountains, you can cover that up with snow later on. Here Here just going to add in the stars. You can see I'm trying to add the stars, or mostly on to the integral or the Payne's gray area. Most of the stars to that area. You can see there are some white dots on our mountains but that's all right because we are just going to add some dry brush strokes. Pick up paint and make sure to dab off all the extra water from the paintbrush. We are going to add first, let's make a valley shape for our mountain so that it helps in adding the dry brush stroke like that. Now we'll add the dry brush stroke. Dry your brush because we want it to be dry brushstroke, there. My strokes are not dry. Pick up dry paint each time. Do not dip your brush in water, but rather just pick up the paint and keep adding the dry brush stroke. You don't have to add to the whole mountain, you can just add at random places wherever you want. You can see just random places. You can pick fresh paint as well each time. Some of the strokes can be really white, go over it multiple times so that some areas look really white, like that. Like I said, we can add to some other places wherever you think that you will need to get rid of those dotted lines that you create, these splatters, I mean, there. I like to add in more color to certain places so that it doesn't look like a single color of white. If you add more color onto white, it becomes more and more and more white so not to all the places, just to some places. I think this is now really good enough. Since our strokes are only dry brush strokes, we are done with this painting and we can remove the tape because there is no edges that needs to dry. Let's remove the tape. There's our gorgeous spiral, different-colored northern lights, and a beautiful mountain at the bottom so I hope you like this one. 31. Day 23 - Fiery Northern Lights: Let us have a look at the colors that we need for today. We are going to be using emerald green, or viridian, bright blue or phthalo blue. You can use any blue that you want, and then Payne's gray and also white watercolors or white gouache. These are the only colors that we need for today. Four Northern light paintings done already, so let us get to the next one. Again, for the next one, let's not do anything. Sketch, let's just go with the flow and try to make one. We are going to start applying the water onto a paper. Apply the water evenly onto a paper, without forming any large blobs or pools of water. Apply the water multiple times, as many times as you can actually, so that you make sure that the paper stays wet as long as you want to work on the skies. Keep applying the water multiple times. Like that. Take your time doing this, do not rush on this process. Whatever are the steps that you might rush, do not rush on this process where you're applying the water. Because this is the most critical part of the painting. This is the most important where you make sure that your paper stays wet. It's really important. I think that's enough for my paper. What I'm going to be doing is, I'm going to create a new mixture of paints today. I have my emerald green in my palette, so there a lot of emerald green. To the emerald green, I am going to mix bright blue or phthalo blue. Just mix any blue you have with your emerald green, you will see, you get a gorgeous turquoise blue color. Mixing blue with green will give you a nice turquoise blue color. Have your palette ready and mix enough colors on your palette, because we can't keep on mixing while we are working on our paper because it might start to dry. Do this process first and it's actually better if you're not using 100 percent cotton paper because, I mean, doing this now. After you've got your paints ready, just make sure that you apply the water once more because you paper might have started to dry. Apply it one more like this. Now there's freshwater and also the underlying fibers of the paper has water, there. We also have a beautiful, gorgeous shade of turquoise blue in our hands. See, I've dropped down the excess paint from the brush because we don't need a large pool of pain, so that's why I've dropped it. We are going to paint this. We're going to make it in an angle. Observe my strokes, like that. I'm doing this. I just created like a triangular shape probably. I don't know how you would say it otherwise. Anyway, so it's doing the same, like that. Maybe some little bit there, and like that. I think that's really good enough for now. If you want, you can add more strokes or lines like this. Now we wash the paints from our brush, and we can observe all the bleeds and the hairs forming on our paper already. We are going to get rid of all of that, so we are going to apply the paint. Let's go with Payne's gray. Just note, if you're not using the Payne's gray from a good brand and it is not as dark as this. That is, it's not as dark as this black, then you can go with indigo because that would be much better. If you don't have indigo, you can mix blue with black to get a nice dark shade. Here you need to paint like in those gaps. See that, see my strokes? This is just like we did when we did with the skies lesson, remember that? Creating strokes or streaks of light, like that. I've created streaks there now, and the rest of the sky, I'll just paint with the Payne's gray. Here along the edge, I follow a long the line like that. There's this some place in the middle. We have to make sure that our paper is really wet for this, especially. This is really important. Then you can just paint the other areas quickly. Here, I've covered most of the parts of the sky now. Now, all we need to be careful about is to try and create nice blends. I'm just filling up the areas. You can see that. Lift your board like that so that you give your paper a nice angle, and you allow the paint to flow down on its own and mix. Here, I'm washing my brush now. I've taken all excess water out of my brush. I'm just going to dry my brush on the tissue like that, make sure you dry nicely. Then we are going to run along the edges of our turquoise blue. I'm going to blend in the Payne's gray towards the inside. Wherever it's forming hairs, you just blend it towards the inside. See that? I'm just softening all of the edges so it doesn't mix all the hairs. When I say hairs, these are these bleeds. Do you see that? Those are what are called as hairs. You can call it different names. I like to call it hairs. Those just landed. Just mix it along. Then remember to wash your brush each time. Otherwise, you'll be picking up paint and applying it to some place else. This is the reason why we need to wash it. That looks good already. I think I'm going to pick up a little bit of Payne's gray and add it towards the top. Don't work on it too much if your paper has started to dry. I'm using 100% cotton paper. That's why it stays long enough for me to work on it. But if you're not using 100% cotton paper, then stop working as soon as you start to see that it's not blending anymore, stop working on it and just let it blend naturally on the paper that is, let the water do the magic. All you can do is you can just lift your board in different angles and move it around like that so that you let the water flow and create all the blends by itself. That's what I'm doing right now. You can see I'm letting it do the magic on its own. Let's now wait for this whole thing to dry before we add in something at the bottom. The bottom part is now dry, really dry. I'm going to add some land at the bottom. We're going to add maybe a snowy land at the bottom here. For that, I'm going to be using white gouache or white watercolors. Because we are painting on top of black, we are going to get a gray shade when we apply the white. That's all right, because it's a night sky and the snow is not going to be perfectly white. It's going to have a grayish tone because it's not really daytime. That's why it's all right to paint on top of the black. We pick up the white tone as much as you can in your brush. We are going to just apply it on our paper. You'll see it starts to create grayish tones, but that's all right. When we apply the white multiple times, it'll help. I just added it in a very straight line, nothing else. You can see that, it's just a straight line. I'm going to wash my brush because there's a lot of gray in my brush at the moment. Then I'm going to pick up more white and add on the top. The more white you add on the top, you will get it to turn white. But we don't want it extremely white. We want it to be slightly grayish itself. Let that grayish tone be slightly there because this is like night sky and the snow is supposed to be slightly grayish or having a little tint of the sky. It can't be perfectly white. Let it have a slight grayish tone. See I took a lot of paint in my brush. Now what we are going to do is we have the whitish tone on the snow. Let us pick up a little amount of the turquoise blue that we mixed, very little. We're just going to add it in the same places, just a little, just a tad. Very little in my brush. Do you see how much I've picked up? Just that much. That, I'm going to observe where the light is. It starts here. Right there, I'm going to just apply some streaks. You see that? A little bit of light. That's all what we are going to do. Like that. Just a little bit in this side as well. Just a little bit of light that adds good beauty to our paintings. Now, let us wait for this white to dry. When it dries, it's going to get even more lighter. If you want, you can have another go at it with white. That is, you can just when it dries, go over it once more with white and with the turquoise blue. That will make it more white. Let us see how it goes. After drying, you can see this has now turned a bit more lighter. I'm just going to give it one more coat of white so that I can make it more slightly white, not too much white. I think another coat of white on top of it should be fine. We lose the turquoise blue that we added, but we can just go over it again, don't worry. Just adding multiple times helps to retain the color. It's just the same way as with any color that we apply onto a paper. Adding multiple times makes it more vibrant, more color to be visible. It's the same with white. If you add 100 layers of white on top of this black, then you'll eventually get white. Not 100, you know what I mean. There you go. More whitish now. Now I'm going to pick up the turquoise blue a little more and apply it to the areas. There. That's it. You can have it blend along with the white nicely so that it's not too much visible and you just want a light thinned of the turquoise blue on your snow, there. I think that's really much better now. Now let's wait for this white to dry so that we can add slight detailing or no, I think we should wait because I want to add some mountains here at the top. But then I don't want that mountain color to bleed onto the white. Now everything is dry. Let me just add some mountains in the background. For that, I'm going to take my size 4 brush and we are going to use Payne's gray to pick up a nice creamy consistency of Payne's gray or black. I'm using black Payne's gray instead of black. You already know that. Just little tiny mountains further away, not maybe mountains it could be also bushes. You know what I mean. Let's join it together and end it there. Let's color the whole thing inside. [inaudible] whole thing inside with Payne's gray or black, whichever you're using. There, that looks good. Now, next thing is, I'm going to switch to an even smaller size brush, size zero or a size 1 brush and we are going to add some trees. Here is my smaller size brush, It's a size 1 brush. You can see that, so it's size 1 and this is what we are going to use. Let us pick up the Payne's gray in a nice creamy consistency and I'm just going to add some trees here in the right side. Remember we did the yellow brown night sky and we added some trees. It's the same way. Using a smaller brush. Just add some random branches and add it to the trees just randomly. Like that. You can observe the stroke, how I'm doing it, just using the pointed tip of my brush. It's very important that we use the pointed [inaudible] brush to get the thinnest of the lines as possible. There you go, you can add some other smaller leaves or plans as well. I'm just going to add another smaller tree there. Like that. I think I always add two trees like that. Maybe there's something. Well maybe we'll add another one here. We're just adding some smaller trees at random places or branches, just branches there like that. That's it. You can improvise and you can add more if you want. You can add more trees and can you cover the whole of the bottom with more trees. It's totally up to you, what you like. It from the bottom towards the top. Just add some lines like this. They seem like it's grass. See that? Not a lot, just a little because it snow it's going to be covered in snow lot there. Now, I want to add stars into the sky. I should have done this before. What I'm going to do is I'm going to cover up the trees area, but actually I only want the stars to be here and here. It's actually fine if we just cover it up, and let us pick up the white paint, there's still Payne's gray on my brush. That's why it's turning into gray. That's much better. Now if I pick up the paint, the white paint in a nice creamy consistency to make the splatters there, I get small, beautiful splatters in my sky. There you go. That's it. We don't need to add anymore that it, so if we take it off there. This is all for today. I don't want to add the stars onto my Northern Lights. That's it. Let's remove the tape. [NOISE] Here is our final painting. This one is now what we did it using a different color and we added some trees in the foreground, there. 32. Day 24 - Splashy Northern Lights: Let us have a look at the colors that we need today. We need indigo, Indian yellow, emerald green or viridian, and Payne's gray. For the stars and the snow we need white watercolors or whitewash. Welcome to today's painting. We are going to have so much fun today. It's going to be different from the others that we have done. What we are going to do is we need to start applying the water of course at first. This one is going to be really fun. We apply the water evenly on our paper. For this one, I'm going to do things slightly differently. [inaudible] we have to apply the water evenly, make sure that there are no large lobes or pools of water. This one, we are not going to do anything of that sort. We are not going to ensure that there are no large pools of water. In fact, we are going to drop pools of water onto our paper there. See that, see the pools that I just added. Let it be there. Then let that water either on the paper, don't let it flew out, so add more. There. See that? This technique is known as the pour method or the water coloring method. I don't know how we would say it. It's just you're letting all the things your paints flow. Let it on it own create the magic on the paper. Now there's like literally a lot of water on my paper. You can drop in more if you want. Just not too much. Just enough for it to flow around. I'm not also not taking it off the paper into the edges, I'm just making sure the whole thing is covered. That's really good, we get back to painting. Here is my mop brush, and we are going to use viridian. See I'm not even resolving myself to picking, I'm just picking enough color on my brush. Just dip your brush nicely if you're using [inaudible] or hands, pick a load of paint and just apply it. I'm just applying in slight smaller lines like this. See that? Let's also add some more, like that. Now let's wash our brush and let's add more colors. I'm going to be adding some yellow now, so Indian yellow, pickup a nice consistency of the Indian yellow, and I had that. Try it below. We have added enough now. Now let's go ahead and start with indigo. We're going to paint the darker places. Remember, there is a lot of water on the paper. Even when you are picking up indigo as well, make sure that you pick up a lot of water. We are going to cover the other areas, the remaining areas with indigo paint. Let us just do this quickly and the whole thing was totally random, remember that. We just applied as you wish, a lot of paint because we're going to do something after we apply the paint. I'm applying a lot of paint. You can see the consistency. There is a lot of water as well. But make sure you pick up equal amounts of paint because otherwise your colors may form light, it may turn light. We want it to it as dark as possible. There. We've applied the colors. Now let us have a look at what we are going to do. We are going to lift our board. I'm going to let the water do the job. We're going to just, you can see all the corners has water. Keep a tissue ready to absorb any water that's going to flow down and away. Like here, there's too much water. See that? Just absorb them because I don't want to ruin my table. Let that flow. But then also you will let it flow in different directions. Whoops, see it fall on my table. Let's just take that off. Then let's just move your paper around in different directions. Just let it flow and any extra water or the pain that comes out, dab it off with a tissue. But otherwise, just let it bleed, let it blend, let it form its magic. Let the watercolors do the magic. That's just what we're doing right now. Let the paper, let the paint, let the water do the magic. What we did was to just apply the paint. See that? See the beautiful blends. Now we can give it more color, more dimension, more depth because we're lacking color. All the paint had just flown down. Now I'm going to take indigo. But now when we take paint we make sure that it doesn't have a lot of water. We're going to apply it, but we keep our board at an inclined angle still. Pick up the paint and add it to the top like that and let it flow, let it keep on flowing the way it wants. The whole thing. Edges as well because it's lacking a lot of paint. Keep applying more color towards the top because it'll keep flowing down away from the topic as we are holding our paper in an angle, and we want the top to be as dark as possible. So keep adding paint towards the dark and the edge here, and it'll just keep flowing down. Let it flow, let it do its magic. There. Hold your paper like that for some amount of time so that you let the paint do its magic, let it flow and create the blends. You see you remember what all we did was to apply emerald green, some yellow, and indigo all around and see how it has turned out. Then we added more indigo towards the top areas to enable it to move around and creates a dark edges, not dark edge, so dark tones at the top. I must tell you there is one slight drawback with this technique is that if your tape is not that really good or if your paper is bad, this technique is likely to bleed and cause a lot of bleeds towards the outside of the paper. That only one slight small drawback. If you're not careful you might also end up ruining the whole of your table. But this is really fun, letting the paint flow, letting it create the magic on its own. So now I think we have taken all the excess water and it has bleed or blend enough, but I loved this bleeding, you know why? Because see those lines, have you seen these streaks of lines when the Northern lights are formed? That's how beautiful this has turned out. It's really gorgeous to also let you paint flow on its own. It's really beautiful. Let's add now some pine trees. Remember we added pine tress in one of the Northern lights lesson where we added wet on wet pine trees. We are going to do the same thing but slightly different. We will be adding the pine trees with Payne's gray, a nice dark tone of Payne's gray. But make sure that your paper is still wet, but don't worry if your paper is still not wet, you can go for wet on dry strokes as well, so it doesn't really matter. If the paper is dry and you do want to play with the wet on wet stroke, then wait for this whole thing to dry and re-apply the water. When you reapply the water, only touch each area once, do not go over it multiple times with water because then you will ruin the whole thing. Now I have my Payne's gray and I'm going to add the pine trees. But I'm really scared. I don't want to add big trees, this whole beauty might be ruined. I'm going to add it in this corner then. What you can see, I'm just adding some wet on wet pine trees. We had to make sure that the pine tree gets thicker towards the bottom. Added another one, I'm not going to do anything there. I just love these streaky lines , I don't want to add there. Maybe I'll add one in the right corner, there. I think that's enough, so now what we are going to do is we're going to add some snow in our pine trees. For adding the snow, I'm going to take up some white paint, either white gouache or white watercolors, and a paper's still wet. If your paper has dried, remember to wait for the whole thing to dry and then reapply the paint again, that's what I always recommend. Don't go and paint with too much water on a paper that has started to dry because you just create blooms. What we are going to do is we're going to create some snow effect on the trees, so we'll just add it to the top of the Payne's gray like that. See that? That's still wet and we're just adding it to the top like that. Use the tip of your brush, pick up more white paint each time. See how it just create these blends with the white and it just gorgeously applies on wet method. See that? See that has turned out beautifully. You can also go and add some trees directly with white as well, like that. I'm just adding some small trees here with white, but we will add some Payne's gray to it because I don't want to make it look odd. Actually, it's not looking odd, it's looking beautiful, but I think it might get lighter when it dries because that white paint is too light if I get lighter. Because I don't want it to get light, I'm just going to give it one shade more color. There. This is looking gorgeous. All we have to do is now wait for the whole thing to dry and we'll add some stars in the sky. Here is how it is after it has dried, but remember I said that this is going to turn very light. You can't even see the top of it right now, it's gone, but it's alright, it's still looking so beautiful. We are going to add our stars. In order to add the stars, I'm going to pick up a nice consistency of the white paint. The good thing about this one is that we can make it look snowy and stary also, which means that we don't have to worry about the stars or these flatters falling on top of the pine trees. Just pick up a nice creamy consistency of the paint, and I'm going to drop it. Drop it in different directions. This painting is such that you won't even know whether is it stars or just snowy, who knows? But all we know is that it's just gorgeous. There it is, our gorgeous painting. We can remove the tape. We have to be very careful. See the edges might have led and have not of paint because we just let the water flow and create too much in between. This is fine. Now, it's going to be hard to pick up this because this area underneath this wet. Not bad. Here's the final beautiful thing which was done in a water colory method, just let it flow, let the paint flow. You know, you could do with this in different directions and the paint would just flow and create a beautiful blend on the paper, there. 33. End of Week 04 - Northern Lights :): Congratulations on completing Week 4, northern lights. We have made some beautiful, gorgeous northern lights. See these ones. Congratulations on completing that. Now, I'll share three or four reference images for northern lights and you can try them out. Please upload it to the project section in Skillshare. 34. Day 25 - Galaxy Nebula: Let us have a look at the colors that we need today. We will need Indian yellow or Indian gold. You don't need Indian gold itself. You can go for Indian yellow or any yellow, then rose or carmine, red shade and Payne's gray. For the stars we will be using white watercolors or white gouache. Then we also need some salt. This week's topic is going to be a galaxies and space. It's just the universe. Maybe after having this set of paintings for this week, you can go ahead and check out my universe class, which has got a little bit of more beginner to intermediate level of paintings where we add the sun and few galaxies as well. You can check out that or you can check out your own reference images and try them out. Let us start our painting. We are going to start with applying the water. It's going to be magical galaxy sky for today. I had a hard time choosing between whether I want to go with the landscape mode or the portrait mode. Because some of you have been suggesting to me that, you know, after the night skies, I did it in the portrait mode because that was how I liked it after thinking about it a lot. But then some people were, I think, doing it in sketch books. They want it all to be like in a single direction. Someone asked me about it. I said I'll dry my maximum to keep it to the landscape mode. Because if it helps, then that's what I should do. That is why I'm going to go and attend this in a landscape mode. Most of the galaxies guys that we see are in the portrait mode. I wanted to bring in some change. Let's see how it turns out when we do this in the landscape mode rather than the portrait mode. Here I am applying the water onto my paper. We have to make sure that we apply the water evenly. Also because this has galaxy and for this galaxy, we are going to use just one single layer. Because we're going to do only one single layer, I want you to apply the water evenly. We don't have multiple layers, so we just have to keep applying the water as many times as you can, especially if your paper is not 100% cotton paper and also not too much water on the paper. Actually when we are doing in layers and we want to add more and more layers on top of each other, then you can actually have a lot of water that is paint with a bit extra water on the paper. This is because when you do have extra water on the paper, the water absorbs the pigment and turns lighter after it dries. Then you'd have to add another layer on the top and make it darker. This is how you work on the layers. But then if you're not adding layers, then you only need a sheen of water on the paper. Because otherwise, all that extra water on your paper is going to cause your painting to turn lighter. In order to avoid that, makes sure that you just have that sheen of water see that, that sheen of water on the paper. That's it. Okay. The first color that we are going to use is Indian gold. Don't worry, if you don't have Indian gold, you can mix a little bit of brown, yellow, and orange, and you'll get a nice, gorgeous Indian gold shade. Or you can actually also use just Indian yellow here. You necessarily not, don't need the Indian gold. My Indian yellow is out of stock and this is the reason why I'm using Indian gold. I'm just going to see how I've dropped the paints. I've just drop the paint onto my paper like that. Just like that. In this one, we are not going to have any strokes, but rather we are going to drop the paint onto the paper in different forms like that. All the colors, we'll drop it like that. Then we will go with the filling up the rest of the paper. First, I've added this color. The next color that I'm going to be dropping onto my paper is carmine or pink shade. I'm going to be dropping it right next to this yellow. Just a random places. I want to create like a gap there. There's a gap between this yellow and this yellow. I just applied it on the top. Then we can continue. I am actually just trying to create a shape in the sky for now. After which we'll fill it up. That's the first and then now I'll go with a red shade. We're just going to apply the red closer to that pink. Okay, am going like a shape like that. Let's pick up pink again, and I'm going to drop it closer to these areas, to the red. We have to work faster because this thing is bound to dry, that is the paper. We have to work as fast as we can. See. I've made it a shade like that. Because there's water on the paper, it spreads all around. That's alright. We let it spread. Let's also just apply some pink to the edges here. That looks really good to me. Now we'll fill the rest of the sky with black or Payne's gray. In my case, I'm going with Payne's gray as usual because that's the color that I always use for black. Pick up a nice creamy consistency of the Payne's gray. That is what we are going to cover the rest of this sky with. All of the areas outside cover it up with Payne's gray or the black, whichever you're using. When you reach closer to the area of the colors that we have added, just drop paints like this, leaving some shapes. How do I explain this? Just let it drop. Simply and so I've created a shape there. That's what we are going to do. We'll do the same for all the areas. These areas are now starting to dry. The top area, especially we have to work really fast. Make sure that it doesn't dry out. That's our paper, so the top areas are the part that is more likely to dry quickly. That's why we have to start applying at the top fast enough. I have applied at the top. Now, let's fill up the other areas. I'm just filling up all the areas and I'm just quickly dropping the paint. You can see I'm just doing these dabbing method. This is actually called as a dabbing method because you just dabbing your pains or onto the paper like that. See that? Okay, so now I've added the paints all over. Now what I'm going to do is I'm going to let many of the places bleed. If you can just hold your paper at an angle in whichever angle you like actually, so it doesn't have to be, I'm lifting the bottom part and I'm letting it flow. I'm going to apply paint at the top because I want the top area to be darker. Any areas that you feel, you want to make the Payne's gray part darker or the black part darker, add more darkness. But let the whole thing flow, see how the paint is just flowing. Remember the pour method in the last lesson where we did for the northern lights, we let the paint flow and create those magical strokes on the paper. Just like that, we're going to let this one flow as well. We'll just hold our paper in different directions and let it bleed on like that. Move it around. Let it do the magic on its own. Watercolor is very fun in this way because you are letting it do the magic on its own so that it just happens on its own. All you have to do is just apply the paint onto the paper. Actually we just watch because the whole thing just goes and blends by itself. That looks really good to me. If you want, you can strengthen some areas by dropping more pink or red shade. I'm just going to drop some pink shade at certain random places like that. The Indian gold here, the Payne's gray has gone on top of it. But we can pick up more and add some of it. See that? It's just going to create the way it wants to let it do its job. We are not going to disturb the flow of the paint. Then now we let us add some white strokes in there as well. Make sure your paper is still wet. If it is not wet and if it has dried, listen to me very carefully. If your paper has started to dry and you can know that by looking under light, see, my paper is still wet. It is still got lots of wet paint. I'm able to add the next strokes. What I'm going to do is, I'm going to add some white strokes onto this. If your paper has dried, make sure that you wait for a little amount of time, let it dry completely. That is literally completely. You can use a hairdryer to dry it. Once it has dried, then you reapply the water just on the top, a single layer and then apply this white. Then it will still blend together. Otherwise, you are going to create dark edges. Wait for it to completely dry if it has already started to dry. That's the only thing. I'm going with a smaller brush and I'm picking up white paint. I'm going to drop it at random places. Wherever you think, just drop it at random places, totally random. Each time you pick up a lot of paint from the paper, you have to wash your brush because otherwise you'll mix your white with other colors, which we do not want. See, I have been on my brush, so if I go in, see, I'm getting a lot of pink. This is the reason why I said you have to wash your brush. I wash my brush. Picking up more paint. You can add some lines or some marks with your white. There. That's all. I'm just going to let the white spread as well. If your paper is still wet, then your white has enough space to spread out. See those tentacles forming. Let it spread out. Let it do its job. Now, the next thing that we are going to do is we're going to add some salt. I do really love this old method for galaxies. That's why I wanted to show it first. Here's our table salt. This is just a normal table salt that we use in our kitchen for cooking. Not a lot, just see a very little amount. What we are going to do is we are going to drop it, not in the other areas of the sky, but in the areas that we have made the shape. Just randomly to some of the areas that we added the shape. That's it. I've just literally added a little tiny amount to the areas where it's still wet. Let me see if I can show you. See in this angle, you can see the salt lying there. That's it. Now let's wait for this whole thing to dry and then we'll add some stars in the sky. Now, everything is dried. You can see what the marks the salt has done. It created this beautiful effects on our painting. If there is any extra bit of salt, you can just wipe it off from the paper. There. Now, what we're going to do is we're going to add some stars into our galaxy. Let us do that. Here is my white paint. I'm going to pick up the white paint in a nice creamy consistency. That's what we need. Because we want our stars to be big, small, and in different sizes. We pick up the white paint in a very good creamy manner. See that? So that's a lot of beautiful white paint. We are just going to splatter it onto the paper. Just splatter it at random places. I'm trying to mostly splatter it towards the outside, towards the Payne's gray areas, the black areas. It's bound to have some of them on those areas, but that's all right. But we will just splatter. See, it's looking so gorgeous already. As soon as you add the stars, this cool painting kind of changes. There was a little bit of water on my brush and that's dropped onto the paper. Just absorb it out with the tissue. Now the stars are getting smaller because the paint on my brush is thicker now or it's less paint, there's not much paint to add the splatter, so the stars become thin or overally say smaller. I want to add lots of stars towards the outside. You remember our night sky painting, what we did. We are going to add some stars into the sky now. These were the smallest stars. Let's add those twinkling stars. For that, I'm switching to my smaller size one brush, we need a really pointed edge. This is really important that we have a pointed edge for our brush because we want to add that tiny star in the sky. As soon as you have loaded the paint on your brush, we are going to add the star, so let us add a star here. I'm just going to use one of these stars. Let's take this one, a straight line, a plus, and then a cross across. See? That's what we are doing. Let's add in other places as well. Let's add one here. There. Then let's add just some small xs. You remember we used to add x in our night sky painting. Just like that, add certain x at random places. I think that's really good enough. You can add xs within these gorgeous galaxy shape area as well. This is like we say, it's a galaxy, but this is not exactly in terms of the universe term or a space term. This is not a galaxy. This is like the dust and gas particles that settle in space and it's different names for it, it can be a nebula, it can be a supernova explosion, some kinds. It's not actually galaxy. That's why. This is just a space painting. There you go. Now let us remove the tape because we just added stars and there's not much difference in the other places. Here is our gorgeous galaxy. This is looking really so beautiful. I hope yours is also looking really beautiful and don't stress out, it doesn't have to look exactly like this. All they wanted was to create some shapes in this guy with all of these colors and effects with snow, that's it. Your galaxy is going to be something unique and beautiful. Trust me. 35. Day 26 - Blue Galaxy: The colors we need today are bright blue or yellow blue. You can use any blue that you have in order to make it light. Mix your blue with a little amount of white. The second color is indigo. These are the only two colors that we need today, and for the stars will be using white gouache or white watercolors. Welcome to the next day of the Space or Galaxy series. This one we are going to see how we can apply and learn galaxies in applying layers. Let us first add water onto your paper. We'll apply the water evenly. But in this case, because we are going for layers, you can have a little extra water on the paper because you just want the whole paint to flow and create some magic. Also, because you're adding in layers, even if you have extra water, and you're pinned, dissolves in the water and turns lighter. It's fine because we will be adding layers. The only most difficult part about this one is the hard task of waiting for your paper to dry while each layer dries, that is in between the layers, you have to wait for it to dry. That's like the hardest task I would say. Keep applying the water. You can see I'm taking a lot of water and I'm applying it onto the paper. But still I'm not creating any large blobs. We don't want any large blocks. We want our water to be even. Here I have applied the water. I'm just going to dab the excess water out from here on my tape. There you go. Now we'll start painting. I'm going to switch to my size two brush, and we are going to create some magic. So what we are going to do is we're going to start with bright blue or tailor blue. Just take any blue that you have. This is a very light blue. If you don't have a light blue, like bright blue here that I'm using, then mix your blue with a little bit of white. You should be able to get that nice blue shade, and you can see, I'm just dropping my paint. This is again, just the tapping method. I'm dropping my paint. I'm dropping in some random direction. I will apply here as well. You can see now this one has a lot of water than the one that we were used to working with. You can see that. Okay, there. The words here, I'm going in smaller points because I want to be thinner towards that area. Let's just keep applying there. This is just the dabbing method. Where we are dabbing the paint and I'm leaving certain white spaces which will be covered up later when we add more paint. At the moment, we're just dropping the paint onto the paper. You can see that. There. That's really good enough now. Now we'll start with our next color. for the next color, how about we go with indigo? Because indigo is a nice contrasting color for the light blue, so pick up a nice amount of indigo, and we'll add it to these areas. The gaps where you have added, their indigo. Just adding it into the gaps. I'll drop some into these gaps as well like that. These ones are really simple because all we're doing is we're just dropping our beans. These white gaps where I left, I'll drop in my indigo there as well. Then here just go on with the dabbing method towards here. I think we'll just apply the whole of indigo because there I want it to be darkness of the sky area. There. We have applied enough of the paint in all of the places. Now I'm just going to go over it again to get that nice, dark, vibrant color. Although we will be adding in more layers, let's just add some more. I'm also going to add some more in-between so that I get some lines there. See that? Towards the outside mostly. I think this is good for now. Now what we are going to do is let us wait for it to dry. I'm actually going to use my hairdryer, and I'm going to quickly dry this up because we need to add a second layer on the top. So we are going to add it in layers and create a beautiful, gorgeous galaxy. So let's dry this up now. Now I have dried it up. We are going to add the second layer on the top, see how it has turned out. I think there was a large blob of water here, so after it dried, it formed like this, but it's not to worry because when we add the next layer on the top and we cover it up with a different color, it'll be fine. Let's go ahead and water this area. I'll show you now how we can water something that there's already pinned on. I'm sure you already know how to do it because you must have done this when we were painting the pine trees and other exercises where I asked you to wait for your paper to dry and reapply the water. I'm just going to go ahead and use my flat brush. You can use whatever brush that you have, don't worry. The only key thing is to know that I'm applying my water. I've applied on that layer. I'll not touch that area again. I'll go with the bottom part of that layer and just add water. We are just trying to cover the entire area. Don't go over it multiple times because see, I'm already pulling out paint. This is why dual go over the paint multiple times, just once or twice maximum, because you are pulling out paint from your people. We don't want to be doing that. We want to not pull out the paint, so we have to be very careful. Now the whole thing is wet. We have watered it. The top regions have already started to dry. We'll start with indigo because I don't want that region to dry out. I'm adding indigo to the top region. Because this region, you can see it's already started to dry. If I apply the paint now, then we'll keep it wet for some time because the paint is wet. That'll give us more time. Here I'm applying the indigo to wherever you see that your paint is drying out fast, apply the paint over there because that will help to keep it wet longer. This is the reason why I started with indigo because my edges are the places that is now drying out quickly. That's why I'm going to go with my indigo paint, and applying to the edges, pick up more paint and apply towards the edges. Now, I've covered the edges so those areas are now wet. Now let's observe and find out where are the other areas that are drying out. Let's just finish with the indigo. The indigo strokes. Some strokes here. We're good with that. Now let's go with the bright blue again or the blue that you are using, and we'll add it. I'm going to add the hole places, but just to places that you think that you need a bit more color, so see I'm leaving certain areas behind, so that will form a dwell color. Adding the bright blue. Let me just take indigo and apply here at the bottom and the corners because the corners are always the places that goes lighter. I think this is now really good enough. Now we're going to stop at this layer. Let's try this up. We are going to go for three layers. Let's try this up and add one more on top of it. The second layer is now completely dry and you can see how it has turned out. See all of these lighter areas and these bluish areas then the darkness in the end. This does not come with a single layer of paint. If you keep on adding multiple layers and giving that vibrancy or different layers at different stages of the painting or different parts of the painting, it becomes more attractive. This is really cool now. See we have a lighter area here. This lighter area, we can never achieve it with applying the white paint. This is the reason why we go for layers. There are different ways to paint a galaxy. This is one of them. How about we go for one more layer? He's not going to be gorgeous. Again, we are going to apply the water. Carefully pick up the water and just go over it once, making sure to not move the pigment too much, so very lightly. I'm just touching it very lightly. We must see that. Just add. Then we'll start adding the colors. You can see when I add those pigments, I am forming these lines. The end of my brush. You can just go ahead and add the colors. Don't worry, you can get rid of those lines. Here is some of the lines. If I apply more indigo on top of it, those lines will be gone. I'm taking indigo and let me just apply towards the top areas because like I said, it's prone to drying out fast, the corners. I'm just going to take indigo and start applying. Taking more indigo and applying to the right side and the sides. This is much better. Let's just drop into more indigo to random places. Now I'm done adding indigo. Let me go ahead and add more bright blue. We can pick up bright blue and we're just going to add it. Again, I'm adding it only at random places. See these areas have dried and I don't want to add light blue there. What I'm going to do is I'm just going to dip my brush in water, clean up the stroke, and then just apply water there. Just the water is also going to create blends. You don't necessarily need the paint itself to get rid of those dark edges. Just use water. Wet your brush, remove excess water, and then just go around it again. Now there are some beautiful white areas. Now what we are going to do is let us drop in some white paint as well. Not a lot of them, just a little. There are already light areas, but we also want to create some white areas. Pick up a little bit of white paint. Here's my white paint. I'm picking up white paint. I'm going to drop it at certain places. It's going to mix with the blue and create some lighter blue shade, so that's why. We'll just keep on adding the white. Pick up the white. Just at random places, wherever you think that it's good to have some white. I think this is really good enough. Now I'm going to do something else, something very interesting. I'm going to add some stars now itself while the paper is wet. This goes for wet on wet stars. It'll be just beautiful and then we'll also add the normal stars. Here's my paint, my brush. Let's just dilute it nicely. Pick up a creamy consistency of the paint and dropping the stars. Not a lot of them. We will add the other stars as well, but just dropping those stars. These are now going to form like wet-on-wet stars. They're going to spread. That's it. Let these spread and create the beautiful consistency that we want. Now let's wait for this to dry before we add in the proper stars. Adding the wet-on-wet stars is another way to get a beautiful shining twinkling star. I'll just show you. Just look at this one. See how this star has turned out. This one. This one has already spread, and so are the other ones. They have spread so much. It has made it look into like a beautiful twinkling star. This is one way that we can add twinkling stars. Let's wait for this to dry before we add in the proper stars. Here is the painting after it has dried. Let us now go ahead and add the remaining of the stars. We'll just grab our white paint in a nice creamy consistency, and we'll just add it to the sky, the galaxy. We don't know what this is. This is like somewhere in space, a beautiful gorgeous galaxy. It's probably a supernova explosion. This looks like an explosion right somewhere happening. Add as many stars as you can. Now I'm just going to add some small xs at random places just to make some smaller stars. I'm just using the tip of my brush. Switch to a smaller size brush. This is small enough for me and I'm just going to add small xs at random places. You can add larger stars as well. See I'm adding a larger blob here for some larger star. Totally depends on how you want your stars to be. I think I've added enough of the larger stars. This is looking beautiful enough. If you want, you can add shooting stars as well. Should we add shooting stars? What do you think? I think I'm going to leave it like this. This looks already so beautiful to me. Let us remove the tape, because we only added the stars and everything else is now dry. See my hands from touching the tape. Here is our galaxy. We did this by adding in different layers. This is how we will paint a galaxy when we are doing different layers. The first day we did without any layers, that was this one without any layers and directly applying the paint multiple times. This one was adding the layers. These are different techniques to paint galaxies. Thank you for joining me today. 36. Day 27 - The Green Planet: Let us have a look at the colors that we need. We will be using Indian yellow, sap green, a dark green, indigo, and Payne's gray. These are the colors that we need. Plus we will need white gouache or white watercolors for the stars. Now, today, let us do a planet. I'm going to teach you a lot of things with regards to planets. Let's have a planet in the center. I'm just going to use my circle maker to make a circle in the center. Use a compass or whatever object you have that you can just make a circle. This is the only pencil sketch that we are going to have. Roughly in the center. I'm going to add my circle. This is that's all going to be our pencil sketch. There. That's it. Which one should we paint first? Let's paint the outside first. What we are going to do is, we are going to apply water along the outside. I'm just going to use my small flat brush today to apply the water along the outside. Let me take water and we are going to apply the water along the outside. Avoiding the part of the circle, the rest of the areas we will apply the water. Keep applying the water. We have to make sure that the water that we apply towards the outside area is even. Like that. Now, I would like to show something. So when you want to take a video, how you would do is, I like to go around with my brush as a single stroke just to show it in [NOISE] the video making process like this. I go around, I'm not touching the circle. You see? I'm just still going around with my brush like that. Now that becomes a very good shot for the video. I usually do that. I'm just sharing tips and tricks, if you ever want to take videos of your work, just that. Here I've applied along the outside. Apply enough. Make sure that you apply multiple times. It's just a small area when we take off the center portion of the circle. So should be fine. I've used my flat brush and applied all around, but now we need to apply closer to the circle. For that, I go with my pointed size brush. With the pointed size brush, I touch along the edges and apply the water like that. This gives a very good control, makes sure that you retain the circular shape. That's something that's very important when we are painting the planet. We just have to retain that circular shape like that. Go around. This side as well. I accidentally stepped in a little bit. Let me take that off. That's much better. [NOISE] Now, even with this brush, you can go around and show a circular way of applying the water. It just make it look beautiful. Now we are going to paint towards the outside of our planet. We are going to use both indigo and Payne's gray. Let's start with indigo first. Pick up a nice amount of indigo, and I'm going to apply it towards the bottom part. Let's also actually apply to the top. Here I'm applying indigo towards the top. This planet actually is whole from my head. I don't have a reference image. I'm just trying out something that came out in my mind and I wanted to show you how it's done. Just keep adding. You can see because I want my strokes to be quicker, I'm not going near the circle yet because when we go near the circle, we have to be extra careful and very slow with our lines because we have to make sure that we retain the shape of our planet. For now, I'm just painting along the outside. See, I'm not touching that area yet. So now we've added our indigo. Let's add in the Payne's gray. For that, let's pick up Payne's gray and I'm going to add it towards the bottom [NOISE]. I've added towards the bottom. Now we need to properly complete the circle. For that, I'm picking up indigo again. We have to be very carefully go around the edge. [NOISE] I need a lot of space to go closer and carefully, See that? Paint along the outside [NOISE]. I made a slight mistake there. You can see that this is why I said we have to be very careful. Usually I have my head bend over as closely as possible to the paper. But this one because I'm recording, it's actually really hard for me to have my head bend over, which is why I'm getting these mistakes. Managed it somehow. Great. These sides, it already flowed next to it, so I'm good [NOISE]. Now we go the other side. How about I turn my paper, and just turn your paper and do it. I guess that would be easier for us. Because that is a comfortable direction for each of us. For me, rather than going like this, this turning the paper is easier for me. Actually because this is just a circle, we can't say which one is a side. Only after we paint the planet will know which one is the bottom or up. There you go. Now, we've completed the outer part of the planet but I want to make it as dark as possible. I'm going to go with whom more Payne's gray, that is towards the bottom. The bottom part is where I want it to be dark. Apply the Payne's gray towards the bottom making a nice darker consistency, see the dark. You can also use black. If you're making gray from mixing black and white then go for black itself. We want it to be dark. I'm using Payne's gray here for getting that darkness. I always use Payne's gray for my black, you know that. Just use your black paint and add it. Make it as dark as possible. That's much better towards the bottom. Then towards the top, I'm going to go with indigo again. I've made it as dark as possible, top side indigo and bottom side Payne's gray. Now, what we'll do is we'll wait for the whole thing to dry because we want to paint inside. But if we paint the inside now by applying the water, the paint will flow in. We want to prevent that. I think I also want to add some light in that area. In order to add that light, what we're going to do is we're going to use the lifting technique. Have a tissue ready, clean your brush nicely, and then dab off all the excess water from the brush, literally all the excess water. Make sure your brush is completely dry. Then from around halfway of our planet, I'm going to use my brush and move along the edge, see that? I'm pulling away the paint. By around here, my brush is now full of paint, so it's not going to pull off anymore. Now, I have to wash, dry my brush again, and if I go over the same area, now I should be able to create more, see that? Done again, wash, and repeat. If your paper is completely dry, then this is not possible. Just make sure that your paper is not dry when you're doing this. When you come here, I want it to go back to being thinner, so I lift my brush. It's just trying to add some light. This is how I do. If you've taken the universe class, you know how I do the light by lifting and creating a blurred part. It's got color there because we applied the indigo. You might be wondering then why did we apply the indigo? Because you see that undertone of indigo there, that's there, so let it be there. This is how we apply that light aura on for our planet. Let that indigo be there. It doesn't matter. If you see that you're forming a dark edge, just use your brush and blend it normally. I think that's enough aura for the top part, isn't it? What do you think? Now, after the whole thing has dried, we'll paint our planet inside. Everything is now dry. See the aura around it. It didn't turn perfectly, it's got some little bit of bleeding, but I think that's fine. Let's paint in the inside now. We're going to go with the wet-on-wet technique itself. I'm going to apply the water in the inside part. Apply water, cool off inside of the paper because we are going to do the wet-on-wet itself. Along the edges of the circle, again, we have to be very careful because we don't want to lose the shape of a circle, it's really, really important, so along the edges, be careful. I'll just show you how these strokes are, how I do them. I just hold them and then I pull out and then I am rotating my brush as I move around. I like to do these strokes somehow, it's just really fun. When you keep doing those strokes, your brushstrokes, the control over the brushes on your hand, they improve drastically. Try imitating or mimicking that and you will see that when you are attempting this the next time, you will automatically do that. It's just literally fun. Now, the whole thing has enough of water. We are going to start with yellow first, Indian yellow. Here, I have my Indian yellow. I'm going to apply it to the top like that. In fact, I leave that gap there because I want it to be as light as possible. Then the whole of this, I'm going to apply with Indian yellow. Because the next colors that we apply on top of it will be green which will blend with it automatically and create lighter and darker shades as we want them. The whole inside with Indian yellow. There we are, we've painted the whole of the inside with Indian yellow. This already looks so beautiful I don't want to add any colors. [LAUGHTER] Anyways so next, the color that we are going to add is we're going to add a nice green on top of it. My green is really dark, so it's going to mix with this Indian yellow to form a sap green. But don't worry if your green is not dark because you can make your green darker by adding black or indigo to it and this I'm applying on the top. See, it's not that dark here now because it's mixing with the yellow to form a green, you can also mix it on the palette by taking yellow and adding it. See, now it's forming a nice sap green color. I'm going to add this. Now I'm going to add this by dropping the paint method. Remember that? We just drop the paint, dabbing. Leave many yellow spaces. This is like somehow yellow, green planet. We've added lots of green and we've added it towards the bottom. Now we'll go with more green, more darker green. I'm just going to give this whole thing dimension, make it look round. It becomes that round and gets the depth when we add in the shadows. Not the shadows but darker spots, and my darker spots are going to be towards the bottom, mostly, like that. I'm going to follow along the shape and dark strokes. But it's going to have all of these white strokes at random places. That's not quite yellow strokes because we are not covering the whole thing just as much as dropping the paint allows. The light is at the top, so at the bottom we'll make it darker which will give this planet a depth. Pick up the green, there. This is already looking really so beautiful, isn't it? But we are not going to stop there. We're going to add more details. We're going to make this more beautiful. How can we get more darkness at the bottom? Let's think. What we are going to do is we are going to take some indigo, initially mixed your green with indigo to create a darker tone. This is the point where you just pick up indigo or you can also go and mix your indigo with a little bit of black so that you get that dark shade. Now when we are adding indigo to the top areas, we only going to drop it at small places like this, not the whole area. But at the bottom, we'll cover a bigger chunk with indigo because we want it to be dark at the bottom so a nice amount of indigo and applied at the bottom. You can already see the whole thing getting a dimension, the lighter areas and the top and darker towards the bottom. That's what we will do. I know I'm so sorry I keep changing the board because [LAUGHTER] it's just my hand how I want to I can't paint like this. Otherwise, I should have my head all the way up to the paper. In order to show you properly, this is the best way I can think of. Now we have added so much darkness towards the bottom. You can go ahead and add as much as you want. If you want, you can also go ahead and add some black towards the bottom. Will just make it look more beautiful. We can have these little gaps of green here. It's supposed to be the darkest spot, so we have to have darkness there. There, that looks much better. Then maybe I'll add a little bit darker again as well. I'm taking Payne's gray, in your case go with black and add it to the bottom. Because this looks still like a green tone and I want to darken it. Just adding at random places This looks much better now. I think this whole thing looks like a half, half. I'm going to pick up some more green and I'm just going to drop it in these areas because I want it to have a little bit more green there and a little bit of indigo in these places. Now, this looks really so gorgeous and so beautiful. Now let's wait for this to dry before we can add some stars and then we'll be done. Have a look at how it has turned out. It's so beautiful after drying. Now we'll add some stars towards the outside. Because we're going to add stars at the outside, I'm going to just mask my planet because I don't want any stars to be on my planet and then we'll go ahead and add in some beautiful stars. Pick up a nice consistency of the paint and let's drop it to the sky region and each part mask away so I want to add these top region. Now towards the right. I'm masking that part. Now a little bit at the bottom. Where are we missing? Just hear a little bit. Now it looks already gorgeous with the stars that are on this planet thing is looking really beautiful. My God, I love this painting. Since it's just the stars and the rest of the areas have dried, we can go ahead and remove our tape. Here's our planet. It's a green, yellow planet somewhere in space. One day, we'll all travel there together. I hope you like this one. Thank you for joining me today. 37. Day 28 - The Spiral: The colors we need today are indigo, Payne's gray, and a rose. I will be using bright opera rose. You can go for any bright pink or bright rose shade that you have to create these parallel lines. We have done three space paintings as of now, so let us go on to the next one. I'm going to apply the water onto the paper. We need the water to be applied evenly. Let us just do that using my flat brush to apply the water. This is not going to be in layers, and also this is not going to be just around the planet, so we need the water to be staying wet for a very long duration. Make sure you apply the water for a long time. If you're not using 100% cotton paper then make sure that you applied multiple times, and also try applying the water and then wait for the paper to start drying and then reapply the water. It needs to be about you understanding the paper that you're using. Paper is the most important thing. When you look at something and you're not getting the techniques right, you think that you're getting the techniques right, when actually, the whole problem was it. It's just a paper, so we really want to avoid all of these problems. Keep applying the water onto your paper. Apply the water as many times as he can to make sure that it stays red long enough for us to work on it. Take your time doing this because this is the most essential part of the painting process, especially when you're doing night skies, galaxies, and space paintings because you want to work on a whole wet-on-wet method. Now I have applied water onto my paper, we're going to use this opera shade from Art Philosophy group, so this is a very beautiful shade to draw dry heat galaxies and bright space paintings with pink shade. You can also go for any rows or quinacridone rose or any rows in fact, just that it needs to be like vibrant rows. But don't worry if you don't have that rows, all you need is to go with the colors in the palette. We are trying to learn the techniques here. We're trying to get the beauty of the painting with our techniques and with our learnings, and the color doesn't matter here. I'm switching to my size two more brush, and we are going to start painting. Here I'm picking up the opera shade. Pick up the shade in a nice consistency, and I'm going to start somewhere in the middle. I'm going to draw my paint and I'm going to create a spiral. It's like a big spiral that I am creating, you see, like that. I've extended this spiral outward. Let us add one more spiral going this way, so we'll start from the same place like that. That's it. That's two huge spiral, and now we'll just go on to strengthen our existing two spiral legs. Just adding more paint and trying to strengthen my spiral legs, and the same with the other one. You can see I'm trying to make it thicker line. That's what I'm trying to do. We can see a lot of bleeding here and there, but that's all right, we'll cover that up with paint. That's not to worry. Now, we'll pick up a darker shade, which is indigo. Now, let's take indigo in a beautiful consistency in our brush and note here the center part, I'm going to leave it as this. Let's just start from the corners because that's the area where the paint starts to dry more quickly. In the corners, and then we follow along with our indigo, see where I stopped. I went along the same spiral line and I followed it alone. See that? Like that, and we'll do the same for all of the legs of the spiral. That's how we are going to get our beautiful spiral. See that. We might have to add our paints multiple times in order to get the vibrancy that we are looking for and that's this corner. Now we're done with applying the paint to almost all the places on the paper, so now just we need to strengthen the paint. We are going to go with more darker tones of indigo and we'll also add Payne's gray to the top. Let us pick up nice creamy amount of Payne's gray, a lot of it so that we can apply to the corners. We want it to be as dark as possible. That is the outside night sky part of it. We want it to be nice and dark so that's why we are going for a darker tone towards the outside. You can use black. Remember, if you are using a gray made out from black and white, then don't use that gray. It's only Payne's gray that works. That is, gives this dark color when used in a highly concentrated form, so go with black shade. I just wanted to apply the indigo first because some places, it'll give that glow of indigo. The whole part won't be covered in Payne's gray and we have this area as well. Now we have covered lots of things with the Payne's gray. We need to go over with our pink shade again to cover up these hair-like structures. I'm going to pick up bright opera Rose again. This is opera. Let's go over with our opera again, and we'll start towards the center. I'm just going along the outside. See, now, there's a lot of paint on my brush which I need to wash off because it mixes with the black or the Payne's gray to form another color. We have to be careful. Go over it again and see that. Wash your brush each time because otherwise it's going to create purple shade. All the way. Like that. See how beautifully it's forming. Wash your brush and remove excess water each time. Don't forget that, that's very important. Then along the sides. There's a lot of hairs here, so I'm going to get rid of that by adding more pink and dragging my brush. See how I did that. We're going to pick up more of the bright opera. Go around with a damp brush, and you can spread the hairs, hairs as in those bleeds. You can just go over it very smoothly and you will be able to control the flow of those smooth hairs. I think I applied a little bit too much water here, so let me just spread that around, maybe pick up more bright rose and add it. Then here, let's just blend that indigo and the Payne's gray. I'm just blending these things inward of that spiral, so it's lighter there. See that? That's what I did. We can extend the ends to have deeper like that. Don't worry, this is not that difficult as it seems. It only seems difficult if you don't have your paper as wet as mine is. I'm working on it for a long time, you can see that. It's only because my paper is still wet and I'm controlling the bleeds, the blends, everything. That's really good for now. I'm not going to apply anymore paint or anything. It's just I think I dropped a bit of water there. I'm going to add Payne's gray to cover that up. I'll lift my board so that paint gets blended. That's it. What I'm going to do now is I'm going to add some wet on wet splatters. Remember our wet on wet stars, so that is what I'm going to do. I'm going to pick up my white paint in a nice, beautiful consistency, there. Then I'm going to splatter this. Now there's already some paints, splatters. Let's wait for the whole thing to dry before we add in more stars in our spiral galaxy. The whole thing is now dry so we can go ahead and add some beautiful stars onto our galaxy. What I'm going to do is, let's take our white paint and we will add in the stars. Pick up the white paint, make it nice and creamy on your brush. Note the consistency of my white paint. See that? Like that, and we are going to splatter it. You got more white paint. Now we have added enough stars, let's go ahead and add stars closer to each other. I'm going to be adding along the spiral, I want one galaxy stars there, and also smaller stars as well. This is now looking really beautiful, just as spirals. It was a simple exercise just to show how we can do a spiral. Let us remove the tape. There is our spiral galaxy. It's really looking nice, isn't it? With lots of stars. We can add some shooting stars or twinkling stars if you want, but I'm just going to leave it like this because I really liked the way it is. I just wanted to show you how to create a spiral and to create those beautiful blends. I know that it is quite difficult to get that blend and you might be frustrated. But please don't be, it's just got to do with the paper. The paper is the culprit. Whenever you are not able to get the perfect blend, that is, it is getting too dry or it's having a lot of bleeds or blends, it's just a paper. It's not your fault, but it's like the amount of water on the paper matters and also the amount of water on your brush. As I always say, the amount of water on your brush when you paint it on the paper should be lesser, that is, the water on your brush should be lesser than what's there on the paper. If your paper is starting to really dry, your paper should also be having 90% pigment and just 10% water, that is almost dry. Otherwise, you are introducing more water onto your paper and then it just starts to bleed. That's how you can create a spiral galaxy. I hope you liked this one. Thank you for joining me. 38. Day 29 - The Comet: Let us have a look at the colors that we need. We need Indian yellow, orange, permanent brown, which you can mix with brown and red to get a permanent brown shade, burnt umber, Payne's gray, bright blue or Phthalo blue, and some white paint. We have seen four different space paintings now, so let us have a look at the next type. It's going to be like maybe some meat or something falling to the earth's surface. It's going to be really simple, don't panic. What we're going to do is, we are going to have the meteor. Let us have a ball-like structure. With our pencil, we'll just sketch some free ball-like structure. Then from the meteor, we are going to have the fire, like that, and maybe let's add some smaller one here. That's it. Then, so now we need the surface just a little bit that's going to be seen. Let's add that in this corner. That's it. That's all that's going to be seen. I feel that the angle is a bit off in this one. I want it to go upward because this is like the earth surface. If we make it just as an angle towards the earth, I think that should do there. This is going to be our sketch and let us start painting. We will first, what we're going to do is, we are going to paint the fireball itself, so let us do that first. It's going to be really simple don't panic, don't worry, it's a very beautiful, simple painting. I'm going to switch to my size two brush. Oh I changed my table setting a bit as I moved my palette to the right. It's because somebody suggested that while I was going to pick up my paint from the left side, I was blocking the paper. They suggested I keep my palette on the right, and I tried it. It's able to set up everything properly now, so it's okay. I'm taking Indian yellow. That's the first color that we are going to use. We are going to add the fire parts of the meteorite. You remember the exercise where we did the volcano and we painted the fire and then we painted around it, the parts of the volcano. That's what we're going to do here for the sky. First what I'm going to do is, I'm going to paint this whole of the meteorite thing with the Indian yellow. It's just the ball. We'll paint the whole of it, will add more colors, don't worry, so make sure it's nice and wet. I've added the yellow paint. Now I'm going to add the fiery parts of it. Like this add streaks of line, see that what I'm doing, just small streaks of lines. Then also towards the outside. Then I'm going to leave certain places white, so observe that because I want that brightness of the fire, so it's going to stay white, like that. I'm going on painting over this yellow, again, because I want to keep it wet. Just go over it once more. That's it. I'm just adding streaks of lines like this. Do you see that? It's pretty simple. Just add streaks of lines. You can add some particles like this, tiny bit of particles. There, that's done. Then let's add that more later because otherwise when we are doing this one, it will dry off. I don't want that to happen. I'm just going over these areas again because I want to keep it wet. Now let me wash my brush and pick up the next color for the fire. For the next color of the fire, I'm going to go with orange. We are going to make that fiery thing in the sky. The meteors falling onto the earth, don't panic. Anyway, so they're just add lines. I'm using the pointed tip of my brush again. I'm just adding some lines and a fire part, like that, so just adding lines. Keep adding some lines. Then let's add some fiery area to the outside as well. Then I want to paint the meteor surface now. For that, I'm going to go with a nice brown shade that is permanent brown or you can mix your brown with a little bit of red and you'll get this beautiful shade. That's what I'm going to paint like that. This is why we applied the yellow at first, because now we are going to paint on top of it with another color, so that yellow would be visible, and it would still give the effect of the fire on that meteor. Leave gaps of yellow because we want to show that fiery area because it's burning. You can see that. Then some parts of the meteor, we'll extend it towards the yellow like that. Leave the white spaces, don't forget that. Now, it's already looking beautiful, isn't it? It's coming live. Mine is a bit wet and then so it's spreading. But trust me with this, this can even be done with acrylic paintings. It's okay if your paper is dry and you're doing dry strokes, that is wet on dry strokes on top of this, it's really all right. Don't be tensed. You have to have those wet on wet and was bleeding. No. This is even can be done with acrylic. The next dark brown, so I'm going to go with brown. Earlier I told you when I was taking permanent brown to mix your brown with a little bit of red, so that you get that shade. Now, we'll go with burnt umber. We just like the darker shade. Using burnt umber, we'll paint the bottom surface of the meteor. Pick up the burnt umber, and paint the bottom because I want to give the depth. Remember, always adding depth to any subject in your painting is the most key thing. You remember when we made the planet, we had the yellow on the top and the green at the bottom. The dark green all the way towards the bottom, that made that ball of planet or the Titan's surface look as though it's really having depths in the painting. That's why we always tried to add the depth. Go with a darker shade of brown towards the bottom. Imagine if you were an astronaut and you could see all of these gorgeous things in the sky. It would be really nice. Just adding certain lines, extending because that's like part of the meteor. I think we're good now. It's already looking very beautiful. Maybe we can add a little more darker shade. I'm going to go with Payne's gray. Use black now, remember my Payne's gray is very dark. That's why I'm going for Payne's gray. I'm going to add further darkness towards the bottom just to intensify the depth in my painting, and at certain places like that. Now you can see the fiery ball, this is lighter here and it gets darker towards the bottom. That's what we tried to add. Let's pick up some more yellow. I want to add certain small alignments maybe towards the outside. Actually we can add splatters later on if you want. Let's spin that smaller one. That smaller one is going to be really simple. It's the same process. Cool thing. With yellow at first, I think maybe you should go for a smaller brush. I'm just going to control and see with my same brush and then extend outside. Now I want to shift to the next brush that has the smaller brush, because when I'm painting the next color on top of it, it's very small area. I don't want to ruin it. I'm picking my brush and the orange shade, there. Now I'll paint with remember, the permanent brown, which is the mix of brown and red if you don't have the shade and we're just going to add some random strokes. Then the next color is going to be burnt umber or a nice dark brown, which would be at the bottom. Then Payne's gray towards the extreme bottom. I think we're good. That's all for this part. Then the next thing is let's paint the surface of the earth. So for that, I'm switching to my mop brush again and I'm going to take Taylor blue or [inaudible] Taylor blue. I rotated my palette so [LAUGHTER] I'm very confused with the colors. I was so familiar with all the colors in the order they are when they were on the left side, this is Taylor blue. Yes. Taylor blue or bright blue is just a nice blue color. Don't worry, you don't need the exact same blue. I just like to use this Taylor blue for the Earth. What I'm going to do is I'm going to go with just by [inaudible] because it's a really tiny, small area, it's okay to paint with wet on dry. Just covering up the whole thing, there, within that pencil sketch. I've covered the whole part and let's also add some beautiful darker strokes on to the Earth. So for that, I'm going to be painting with indigo, note indigo paint. I'm going to add some darker spots on top of it. I can also use Payne's gray because my Payne's gray is dark itself. Wait, let me get more indigo paint. Now I've added more indigo paint in my palette and let's add those darker spots on the Earth's surface. Just randomly add them to certain places. The blue stroke that you applied is still there so we'll let it, before that dries off add these indigo strokes quickly, very quickly, just randomly. I wanted to move that Payne's gray that I added because it was too black for me. Anyways, there. Now we have added the blue and both blue strokes, we'll add some white spots onto it later on. For now, so let us paint the sky now. For painting the sky region what I'm going to do is, let us apply water to the regions of the sky. Because although this regions already has paint the other regions it'll be quicker for us to paint if we have water on it. We'll skip the areas of the edges but apply water to the rest of the areas. I'm going to use my size 2 mop brush itself to apply the water and I'm going to not touch the area of the blue because that will spread so I'll wait for it to dry. While that dries we can apply water to the rest of the areas. We can see I'm applying the water, same with the other surfaces, all the areas of the sky. Observe here closer to the surface of the Earth I'm not touching that paint yet because that's still wet and it has a very huge tendency to flow because it's wet. As much closer as you can but skip the areas that you have already painted because we don't want to make the paint flow out. Just apply and make sure that the water on your paper is even, don't make any large blobs. This is why I always say you don't actually need a flat brush to apply the water you can just use your mop brush, see, there. Now we have applied. What I'm going to do is I'm going to apply a darker sky. For applying the darker sky you know what I use. I usually go with Payne's gray because it's really dark. This is the sky region so I'm going to go with the Payne's gray, not the sky, the space region, isn't it? Go with black because I don't want to use black, I usually use Payne's gray that's why so just apply the paint. You can see I'm applying the paint all over, we need to get this as dark as possible. I might need to go over it multiple times because I'm using Payne's gray but you might be using black so you don't need to stress that much. Like that. I think now it's okay to go towards the blue. I just hope it doesn't bleed in towards the blue, even if it does we can cover it up with a little bit of white so it's okay. Here I'm going over the edges of our Earth and I've joined it there. Now let's paint the other areas. Cover up everything with as much of the Payne's gray paint, or the black shade that you are using, whichever. Then, now remember the part where we painted the mountains and we had to paint the black shade for the mountains by skipping the regions so this is exactly what we're going to do here. We are going to paint with Payne's gray or the black but we are going to paint around it. So inside leave as many of the yellow spots areas that you can, like that, see that? I left some yellow areas, like that. I've covered that area and I'm reapplying on some of the areas because I want it to be dark, so before it dries out that's why I'm quickly applying the paint over it. I think we've covered this right side very nicely now, let me go over to the left side now. Now that area is covered. Now, let's paint the delicate areas where again, we have to cover up just between the yellow strokes. Like I said, you can use a smaller brush, I'm just trying to push my luck and see if this can be done. There is some here. Gray, blue, and around the other one, the smaller meteor. There, we have covered that. Now let's cover this one. I'm going to slightly turn my paper to cover this area. You understand the process. It's just really simple. What you have to do is try and make sure to cover the white areas. This is just exactly like we did the volcanic mountain and I asked you to paint by leaving some of the yellow and making sure to do that slowly. See that, now there's that burning part of the meteor in the sky. Wherever I'm seeing that it gets lighter when it's drying, that's why I'm reapplying some of the paint. Don't do this if your paper has started to dry, mine is still wet and I'm not picking any more water, I'm only picking paint. I'm controlling the amount of water that's there on the paper and on the brush as well. This is really important. See that. Just applying into the areas in between, and I'm using the pointed tip of my brush, that's really important. Just some of the areas to paint and then we're done. Almost done. There, that looks really beautiful now, isn't it? We have covered the areas in between all of the areas. Some areas that are left white here. What I'm going to do is, I want to add some brown there because I want it to be like the tail of the meteor, which is forming into the sky. Just a little bit of darker strokes. Just mix it along with the black that you have applied. When I say mix, it's just applied along the same line as the black or the Payne's gray, and it should be fine. Like that. Wherever this Payne's gray is joining us, I'm just adding some lines. See, that's actually better, isn't it? Now we're done with this guy part actually. What we can actually do is, you see, because I applied the paint closely to the Earth, it's bleeding a little. What I'm going to do is, I'm going to lift some paint from the surface so that we create a glow. If you have taken the class on my universe with watercolors, then you will know exactly how this is done. It's just lifting off technique. right next to the surface we use this lifting method. That's it. I'm just trying to create that small glow there. Now we wait for this whole of the painting to dry before we can apply some white into the Earth and the stars, and that's it. The painting is now completely dry. What we're going to do is, let's add some surface for our Earth, and that's it. I think maybe a few stars also, not all. What we're going to do is we are going to pick up some white paint, and we are going to add just some strokes onto the surface so that it looks as though it's the Earth. Because when you look from the sky, you're supposed to see some clouds, isn't it? That's what we are doing. Just add some small white areas. That's why I said, these areas where it's bleeded in, actually, you could cover them up with clouds in the surface. Maybe let's add some dry brush strokes because that would also give the nice effect of the clouds. Oops, that's still not dry enough. Let me do on the outside and make my stroke dry. That's dry enough now. I've added some dry brush stroke and my white is getting lighter as it dries. I'm just going to go over it once more because I want some of the clouds to be really bright and white. Some of them can be lighter. That's why those dry brush strokes you can see they are lighter. Let them be light. If you want, you can add some more dry brush strokes. But leaving them as different shades of white is better because that gives the effect of the clouds. That's it. We are going to add some stars, and that's all. Let's add some stars. We're going to take some nice white paint and drop some into the sky. Not a lot, just a little bit. Just to give that sky, the space part real look. Just be careful that if you want you can actually cover with your hand. Your hand is going to get the paint but then it wouldn't fall on your painting. That is another way to cover up. Because this is just a small part I don't want to cover it with a tissue. I think we're good. That's it. How does that look? This looks already so beautiful. Let us now remove the tape. Because everything that we applied is already dry now so we can remove the tape. There you go. This is today's painting. I hope you liked it. The best part about this was painting these meteor, which was really fun part for me, and also adding these strokes of white onto the Earth. There you go. 39. Day 30 - The Planet System: Let us have a look at the colors that we need. We need bright blue or phthalo blue, indigo, Payne's gray, and violet. For the stars, we will add a little bit of white so you can use white watercolors or white gouache. For this [inaudible] painting, we are going to have two planets in the sky. I'm just using whatever object that I can use. I'm going to add my first circle here, you can use a compass. I don't have one, so that's why I'm using whatever I can find in my hand. There, that's one planet and maybe I'll add another one here. I'm using the bottom part now because I want to make it smaller and just only maybe a part of it visible. There, like that. This is all that's going to be for the pencil sketch. Let us just paint the whole thing now. I'm going to apply water onto the paper. I'm going to apply to the whole thing. It doesn't really matter. Let's apply water to the whole of the paper. [NOISE] Remember, you have to apply the water evenly and also try to apply it as many times as you can so that your paper stays wet. I'm going to keep on applying. The longer you take your time to apply the water, that is, the longer you apply the water, that much longer your paper is going to stay wet. Keep applying. This is 100% cotton paper, so it stays wet, but if you're not using 100% cotton paper, then it's absolutely necessary that you apply the water as many times as you can because we have a lot of wet-on-wet working to do, so we'll need the paper to be wet. I think that's good enough. Let us start painting. What I'm going to use is I'm going to use bright blue or phthalo blue first. I'm going to start with just randomly applying my colors onto the sky. This is just going to be a very fun exercise where we can just randomly apply the colors and paint the beautiful planet [inaudible] I don't know, it's just a space painting that came into my mind. Just random. You can see, I'm not painting on the surface of the planet here, but some of the paint is going to spread into it and that's all right. Let it do its thing, let it spread, just don't deliberately paint on top of it, that's it. Here, I'm applying a lot of the phthalo blue. Whoops, I picked up indigo. Let me wash my brush. I'm taking phthalo blue again and I'm adding to the top.The same way with this planet, don't deliberately apply it on the top, just around it. If it spreads onto it, that's fine, let it spread. Now, we are going to add some more beauty to this one. We're going to pick up some violet. Pick up a nice violet shade and add that. Let us take that violet shade and add it to the sky. Again, we are applying this in random and I just want that little bit of violet towards the side. That's it. You can see some of the violet is going to blend with the blue and create a darker blue. That's all right. Now, I'm going to take more phthalo blue that is a darker blue. If you want to get a darker blue or to make it this vibrant, just maybe add a little bit of black, but I think if you apply a second layer on the top like this. This is why I said you need your paper to be staying wet because you really need it to be wet as much as you can so that you can apply this stroke again because my paper, if you look at it, it's still wet and that's why I'm able to add these strokes on top of it. I'm just adding extra strokes because I want that. You can see the different strokes now, the lighter shade and second shade, because we added on top of it, like that. Next color that we'll add is, let us take indigo. I'm going to add indigo on top of this. This is going to get some darker shades on to our galaxy. Maybe not that dark. Maybe I'll mix it with a little bit of phthalo blue so that I get a nice blue shade, but that's all right, this is still going to be beautiful. This is wet-on-wet also, so it's not going to be that dark when it dries, it'll eventually turn lighter. Just add as many smaller drops of indigo paint. Totally random, you can see. Now I'm going to take more of my phthalo blue and just mix it on the areas of the indigo. I think that's really good enough for me now. Now, before we wait for this to dry, I'm going to do the other trick again where we drop some white paint on top of this, remember. I'm going to drop some white paint. What I'm going to do is I'm going to pick up some nice white paint and we're going to drop it onto the wet surface. If your paper has dried, don't worry, let it completely dry, then reapply the water, and then add these white splatters. Adding these splatters, they would form wet-on-wet splatters and they would be really beautiful, so this is the reason why we add them. We've added some wet-on-wet splatters. They are there. That will read out and form this gorgeous depth in our painting. Let us now wait for this to dry. The background is not completely dry so let us paint these planets now. For painting the planets, we did not paint on top of it, but rather just some of the paints flew on top of it and that's alright. Now we are going to apply the water on to just the surface of the planet because it's better to add it and paint it on the wet-on-wet technique because when we add multiple colors, it will just blend smoothly, so just inside the surface of the circle that you have made. I hope it's clearly visible inside that circle. Add the wet brush and wet the inside. I usually make mistakes when speaking when I'm really concentrating on something so I was just focusing on this edge to make sure that the water stays inside, so that's when I made the mistake. There. Now we can paint. What we're going to do is, let's paint with indigo. Let's pick up a nice amount of indigo paint and we'll paint inside. This is why I said careful around the edges because we don't want the paint to be spreading thinner. You can leave some lighter areas like I'm doing. I'm not filling it like a dark version of indigo. I'm just trying to create something onto my planet so it can be in different shapes. This is also why I said that even if your blue spreads on top of it, that's alright because now we are painting with a darker shade, which is indigo. Also I'm not painting the whole thing. There is that little amount of blue visible underneath, which I'm going to leave it like that itself because it's okay to see that. But make sure you do the edges well because we need to preserve the round shape nicely. I'm going to wash my brush and observe I have not painted the top area. I'm going to dry my brush and then I'm just going to slowly paint towards the top. That means that area is going to be lighter. You can pick up more indigo and just make it a smooth and seamless blend to that area so that area stays white and it's got some white areas around as well. It's just some planetary surface that I'm trying to make. Now. I'll take Payne's gray and I'm going to add to some areas at the bottom. Because remember, we need to get a depth for our planet. The more darker towards one side and the lighter in the other side, that's when you get your dent. Just some strokes, I'm still going to leave some bluish areas like that. See, I can already see. This is the area that I've chosen to be as dark, and this is the light. Actually, it should be the opposite, but this really doesn't matter because it would show as if this surface of the planet or whatever object this is, had some bluish tone onto it. Then we'll do the same for the other one. I'm going to apply water onto it carefully, just along the inside. How about we paint this with a little bit of purple. I'm going to add purple to it. But leaving light darker ones on top of it, don't worry. Careful along the edge. Now I've added purple, but I'm going to cover it up with a bit more indigo. This one, I'm not going to add any light. Let's not add the lightest area to both. I'm taking indigo and I'm going to apply along the edge of it and cover the planet's surface. This is the reason why mainly I say that even if the blue paint underneath was spreading to the planet area, it's fine. Very carefully, I'm sorry, I need to keep rotating this board to get that edge correctly. Otherwise, I'll ruin it. This is the reason why I'm rotating it. But I know you can understand, right? Then, now what we are going to do this. I'm going to just add some random strokes. It's got nice violet, indigo mix. That's it. Now, we need to make this more interesting. We could actually stop with this and let it go. I actually do want to, but I had something in mind and I want to just add to this painting. It's going to be, let's add some rocks in this guy. For that, I'm going to switch to my smaller size brush, size 4 brush. What I'm going to do is I'm going to pick up Payne's gray. Nice Payne's gray on my brush. Go for black because we want it to be dark. We're going to add just some rocky surface. Just some shapes. Some triangular shapes, not circular, so just just some small shapes. I will show it to you closely. Here. What we're going to do is just any shape that you can make. This is what I actually had in mind. I wanted to add some random shapes into the sky. Into this space painting, just as if it's breaking off from this planet. You could actually add on top, either it's breaking down or it's revolving around this planet, like an asteroid belt or something. It just makes it beautiful. Make it in different sizes. Some of them can be big like this one. I'm making it slightly bigger. Don't make it circular. Payne's gray, and add some smaller dots too if you want because you can actually do splatters, but then it'll be spreading all around so I'm just going to add the smaller dots like that. How about we actually add some around this planet as well? Let's do that. Around this planet. I'm going to go for smaller dots like this. It forms a small asteroid belt or something. Make sure to follow along the ellipse. Ellipse is a shape like this. A little bit circle, not circular, along needed circle. Maybe that's good. It doesn't have to be a perfect circle or anything, you can add at random places because this is like the asteroid belt. The rocks are found to be spreading a lot. See now it looks as though it's encircling this planet and also it's got something spreading away. That's why you can add some small rocks and small dots at random places. [LAUGHTER] Now it looks as though somebody is pulling away the rocks in this area. Anyway, this whole thing looks too magical. Now, what is the last thing that we need to do, splatters. Yes. I'm going to take the white paint again. Let us pick up the white, but be nicely in a brush and add splatters. I'm going to cover this planet area because I don't want my splat stars or splatters to be on it. The rest of the areas I'll add the splatters. I know it won't be visible for you. Let's see how we can do it. I'll cover it up and do it in parts. We can add some shooting stars maybe. Remember our shooting stars, how it was when we did night skys. It's just pulling off paint, choose one of the stars. Falling off like that. I always tend to pull fast enough and I get to all shooting stars. I want a longer one. Let me see. I'm bad. I'm going to ruin this anymore, I'm scared. It's already beautiful. Just scared that I might ruin it if I do anything more to it. This is it. Let's remove the tape. Everything is now dry so this is all. [NOISE] There it is. How do you like this? Do you like this? I see it as anything. This is like a lasso holding onto this planet. Anyways, this is our beautiful painting for today. This is the last of the galaxies or the space paintings. There. 40. End of Week 05 - Galaxies :): Hello, so we are at the end of Week 5 now. Oh my God, that's a lot, isn't it? Here are the space paintings that we did today, we learned this one where we applied some salt and also learn to make vibrancy with a single layer. Then this one was using multiple layers. We have a beautiful planet or the Titan moon. Then a nice spiral. Then we made a meteor and finally, we made some magical space painting with two planets. If you are so interested in this topic and you want to pursue this further then I have a class on Universe paintings. More space paintings two galaxies, one earth, one sun, and then a takeoff from the earth. It's actually like a thin painting, but I did. We are taking off from the Earth's surface. Then we see the Earth from the moon. Then we go to the sun, then we go into few galaxies. You can try that out. But earth painting is my favorite of all. If you like it, you can go and try that out. But otherwise, I will also be sharing few reference pictures for space paintings which you can try out by yourself. This is an hour, it's going to be a free day you so you're open to try out anything you like on this topic to strengthen your learnings more from the parts of this class. We've done already different techniques like the layering and without layers and adding these planets and all of those. I think you're now going to be confident enough to try these objects on your own. 41. Day 31 - Sunset Windmill: The colors we need today are Indian yellow, Indian gold, permanent brown, and black or Payne's gray. For permanent brown, you can mix a bit of brown and red together to get that dark color. This week is going to be sunsets. We have already gone through a lot of sunset paintings. Like the first week we had sky sunset. Three of them actually see the clouds. These are actually sunset clouds that's why we have these colors in the sky, sunset, sunrise or whatever, and then we also had a mountain with the sunset theme. This week, the topic is actually going to be the sun. We are going to learn how we can paint the different things related to sun such as sunset, the misty sunrise, or maybe the sun's rays and everything and anything related to the sun so that's what we're going to look at today. We'll have a simple pencil sketch for today. At the bottom, we are going to have some small land. This is just a rough sketch, we'll add the detailing with the brush. This is just a placeholder for now. There. We'll add small windmill towards the right side. Use a pencil and a scale ruler for that. Just adding the legs part, so make sure that it is slightly spreading out that this tape is thin towards the bottom and is thicker at the bottom. That's it. Then the blades. Again, for the blades, they are supposed to be the shape of a fan blade. That's too low because [LAUGHTER] compared to the height of this, it shouldn't be this long, so let me get that. This is the whole length of the stand, not the stand with the tower of that windmill. We should be making the top bar smaller actually. I think this is good. That's it. The three blades, make sure they are in same size each of them, and another one here. This one needs to be like that. If you look at that, there is a cylindrical thing at the top and these blades are attached on it. That's how we are drawing it and let's also maybe add smaller ones towards the bottom. For the smaller ones, I'm not going to add any direct sketch with my ruler, just going to directly add it, and because it's far away, we can just quickly add it. That's it, and maybe some smaller one further off. There. That's it. It's maybe in a line, there are lots of windmills around. This is just the pencil sketch for that and we will start painting the whole of the background. We don't need to worry about skipping these regions because this is a sunset scene and that's been best part about sunset scenes is that you could paint the whole background and add the foreground later on top of it because most cases the foreground, when the sunset will be black or dark brown or darker shades which makes it easier to paint on top of the background. Whatever color it is your background, it doesn't really matter because we can always paint the foreground scenes in a darker color on the top. For this reason, I'm not going to worry about painting on top of these windmills that I have added. I'm just going to go and directly apply the water onto the whole of the paper. To the whole of the paper, we'll apply the water and make sure that the water that we apply is even. I will keep saying this for the whole of the hundred days because that is the most important part, that is your paper and the water that you apply. Keeping your paper wet for as long as you can so that we can work on the wet-on-wet technique is the most important part. If you've been following me along from the first day onwards, then hearing this over and over again might be slightly boring I know, but then there might be someone who has just joined us today or who just came out to check out how this is. I don't know I'm just probably covering up for everyone who wants to listen and understand how applying the water is. That's why I keep saying this. Keep applying the water multiple times. My paper is 100% cotton paper, so it's okay for me to stop by around two minutes or something. But if you are not using 100% cotton paper, then you'll have to keep applying the water multiple times and as I've told you before, you can wait for this water to sink in, let it dry for a bit, as in let it sink in and start drying and as soon as it starts drying, dip your brush in water and pick up some more water and brush over it. This makes sure that the entire fibers of the paper will have water so that it'll give you more time to work on the wet-on-wet technique. If you've been following me along until now, I'm very sure that you know how it is, so let's get started and straight ahead go to painting. The first color that we are going to use is Indian yellow. It's a nice yellow that I'm picking up and this is where my sun or the glow of my painting is going to be, so I'm going to be applying there, so applying to my painting there. This is where I want the lightest part of the sun to be, so that's why. You can see I'm picking up more yellow and I'm adding to that area and as we've discussed in the skies lesson, my strokes are like this and this is how I hold my brush somewhere in the middle because the closer you hold your brush that's for detailing and when you hold it further away, your strokes are going to be loose, so that's why this is where I hold and see the strokes like that. We've covered that region. Let's take the next color, so the next color I'm going to take is Indian gold. Don't worry if you don't have Indian gold. I keep telling this, you can mix orange, brown, and a bit of yellow to actually get this color if you are using a basic palette. But if you are using a nice palette, then a nice palette as in more vibrant colors, then mix alizarin crimson. I don't have it in here. Alizarin crimson and Indian yellow, that's BY 150 that's the pigment name, BY 150 and BR 83 is Alizarin crimson. Use those two colors, and when you mix it, you will get this Indian gold shade. Because this Indian gold shade is from white nights, and it is composed of these two pigments exactly BY 150 and BR 83. That's Alizarin crimson and Indian yellow. Just apply directly like this. You can see I've applied some smaller strokes towards the side, like that, and let that glue area remain so all of the yellow strokes towards this area will leave it as that. But we will apply the paint like this so that this area is where it is going to remain light. The other areas we'll just apply, so you see while I'm coming here, I'm making my strokes lighter, I'm making sure that I preserve that yellow area because that's where the sun is going to be. Rest of the areas, I'm just covering up in paint. That's it for that region, now, I want to go up and bend a little bit more and add some Indian gold shade. I'm just going to pick up my Indian gold and add some smaller strokes just at random places. Smaller than what I mean is the thin strokes, it's not that thing because it's spreading, but then you can see. Now is the most interesting part. Now what we're going to do is we're going to paint the top, and for painting the top, I'm going to go with permanent brown. Permanent brown is a beautiful brown shade. Don't worry if you don't have the permanent brown, you can mix your burnt amber with a little bit of red, and you'll get this permanent brown shade. That's what I'm adding to the top. I've added to the top, and then I'm going to start applying again in my straight-line strokes like before. See, I'm painting on top of the windmill. It's fine, totally fine, not to panic, let it spread. Add these smaller lines. See my paper has started to dry here, so I'm not going to pick up any more water, but I'll quickly paint that region, otherwise, we'll lose the wetness of the paper. That's nice now. Always my strokes are like this when I paint the sky. You don't have to be doing it quickly, you can do it slowly as well, so it'll give a bit more control. Now we've covered the entire thing with faint. Next thing we need to do is we need to add more to cover it up and any white areas, and also the top region needs to be darker. As of now, the dark region is getting lighter, because some of the paint is flowing out onto the masking tape. We'll apply more towards the top because we need it to be as dark as possible. Let's apply at the top. At the top, you can see I'm applying in a straight line, and when I move down, I have this swift left and right motion with my brush. There, I'll wash my brush again, and you see I've left a slight gap here, that's because I wanted to go with Indian gold there, a little bit more Indian gold, but don't worry, this is just the sky is nothing that you have to worry about because it doesn't have to be exactly the same as in mind. Everybody's sky is going to be different and beautiful. Trust me. I've added some Indian gold strokes, and I wouldn't had some in those areas. Here, observe, note the consistency of my paint, this is like almost very dry. This is the part about water control because my paper now is like getting to dry, I can't afford to add any more water onto my paper. This is why I'm almost painting dry, so this will not affect my water consistency on the paper, and will easily blend. I'm going to pick up more of the permanent brown, to add to the edges. Again, note the consistency of my paint, it's very, not vibrant, concentrated with less water. See there is a blob of water here, I'm not touching that because if I touch that, my brush is going to have water. I'm just touching this part here, mixing on my palette, and very dry paint because I want to take that dry paint and apply onto my paper because many areas of my paper are starting to dry. Now, maybe let's add some smaller clouds, so remember our clouds lesson using the site. I'm just going to do that the same. This is strictly optional, if your paper has started to dry, then don't attempt it, because I don't want you to ruin your painting, because I'm pretty sure that after these blends itself, the painting is already looking very beautiful, so don't attend this if it started to dry. I've blended it a little. Just adding some smaller strokes, you can see I'm using the tip of my brush but at an angle. Not like this, but at an angle which will be really helpful to add these smaller clouds and small aligned. See that? I think that's enough, and we'll wait for the whole thing to dry now. Now everything is dry. Let as paint the windmill first before we paint the ground part, so for painting the windmill, I am going to use Payne's gray. You know what color to use it's black, I use Payne's gray for my black that's why. It's just simple follow along the pencil sketch. I think this part is almost like coloring. You just had to fill up the inside of your sketch. Use a smaller brush because these windmill shapes are very delicate. See I'm already losing the shape, but it's alright. [LAUGHTER] When I'm painting such delicate things, I always want my head to be closer to the painting where I can actually focus more. Right now, because I've got these cameras recording this, it really hard for me because, [LAUGHTER] I don't have my head that close, but I think I did a pretty good job, it's not that bad. The inside and then the bottom. When you're painting, try to attend these kinds of strokes because it actually strengthens your brushstrokes a lot means a lot. You saw I tried to hold my hand, just steady and make that straight line following the pencil sketch. You already have a pencil sketch, so you don't have to worry about going outside. You already have a reference. Now, all you need is to make sure that you follow the reference. I'll show you once more, but I'm going to rotate it because that's my what do you say? My hand way of doing it, I can't if I hold it straight. I don't know how to draw that line in this angle, so that's why I will rotate it and observe now. If you have painted the brush enough, then it just holding straight and I think maybe on, let me see what it will be. Whole of your hand is moving, but have a point somewhere that's touching the surface so that you can have that part to move your arm. It just strengthens your brushstroke, I'm not saying that you should do it exactly like this. I'm saying it is just helpful in your learning curve to have these brushstrokes, or even when you're taking a video, it's just a good learning. It's okay if you don't want to do it and you just want to paint the way you do it, it's fine. I was just showing you one of the techniques that I like to do when I'm painting such things. Does this look like a pine tree now [LAUGHTER]? Anyways, maybe I think I should extend this to add, then maybe it won't. This one. We have two more, just smaller ones, then another smaller one here. So I think that's it for that bottom part. Then, now we'll add the ground area. So as I said, we have the sun here, so let's add the glowing part of the sun first. So for adding the glow there, I want to add that glow to my ground because there is the sun here. So for that, I'm going to go with that permanent brown again, remember the mix of brown and red together. So switching to my size two more brush and picking up the permanent brown shade and this is the lightest area, so applying my paint on the lightest area there. So that's now light. So this is exactly how we painted the mountains. Remember when we had the mountain range and we painted in a similar manner, so this is how it is. First, let us cover up, then we'll add some structure on volume to it. So that's black and black all the way here as well. So I'm just covering up for now then we'll add some beauty and volume to it. So for now, just bear with me and paint the whole thing. I've painted the whole thing. This looks weird because we need to blend it, let's take more brown and blend it evenly. See, just have that movement so now it looks blended, so it doesn't look that weird, unblended. That's much better because it's blended and it has the light from the sun on our bush or whatever is there at the bottom, so it's not going to be a mountain. I want to add some slight detailing to the bottom part. So first we just covered up everything at the bottom. Now is the part there will be lots and bushes and make this more interesting so it's just some small bushy shapes or whatever you can add. So the whole of the windmill is black, so it doesn't really matter. So I think we did a similar exercise when we were painting the skies for the first week and we added bushes like these at the bottom so you can add whatever you want, even if you want, you can add pine trees at the bottom. It's just totally your wish. I'm just going with small bush or branch like this. Everything inside of those bushes will be black because this is a sunset scene. There, let me add maybe some more here. You can also actually add some to that area. So this is what I want to show you because it's a sunset. This is the most important part about sunsets. Because this is sunset, that area, even if there are trees, they have to be with a lighter color as well, so use a lighter tone of the permanent round or you can also use Indian gold and your trees will also be in that lighter tone. Just blend smoothly, just adding some random shapes. Actually, there is no [LAUGHTER] specific thing that I'm doing, just adding random shapes, but I'm making sure that that area stays lighter than the other areas, just blended. So you can see how that area is now clearly blended. Then, go with the black again and add detailing to the other places. I think that's it. That's good enough for us now, let's wait for this bottom part to dry before we can remove the tape. If you want, you can add some birds. I'm running out of time, but you are not so if you want, you can just add a few birds in the sky. You already know how to add the birds from the week ones guys. So let us remove the tape. [NOISE] There it is. I hope you liked today's one. This is just a simple sunset to start our week, then we'll go on to the, not advanced, but more beautiful sunsets. So there you go. 42. Day 32 - Sunset Monument: The colors we need today are Indian yellow, Indian gold, carmine or quin rose, bright blue or phthalo blue, permanent brown, burnt umber, sepia, and Payne's gray. I know it's a lot of colors, but all we're trying to do is get different shades of brown. If you don't have permanent brown, you can mix a brown and red together. Then for burnt umber, just use the normal brown that you have. Then for sepia, mix brown and black together. Payne's gray is almost the same as black. These are the colors that we need. Because this one is going to be like a beautiful glowing city, let us make the pencil sketch first. It is just at the bottom. We need to have different parts of the glow, that is light and shadow. We will add that. Just make these small shapes and maybe some shapes for the buildings. I don't want it to be like anything similar. I'm just going with my instinct. If you can have a reference in mind, you can do that, but this is like totally out of my head. You can see I'm adding some dome shaped heads for my buildings, just trying to make this whole thing interesting. Maybe a lot of bigger dome here. Like that. Maybe some more dome shaped. This is like a tower. I'm just adding some different shapes. I think we're good to go. This is just the pencil sketch. Like I said, because this is a sunset sky, we are good to paint the whole thing with pain first and then adding the colors on the top for the foreground. Let us start by applying the water. We'll apply the water to the whole of the paper. It doesn't really matter if you're applying on top of the foreground. Just like I said, no, it's all right because we will be painting it with a darker tone. Apply the whole of the paper. Making sure that your paper stays wet for a longer duration of time is the most important thing when it comes to watercolor painting and you're starting with the wet on wet technique. Apply the water evenly. I think that's good enough for my paper. It depends on your paper when to stop. Look at your paper, see if you can see some parts of the paper already starting to dry, then that means your paper is not wet enough. You need to apply a bit more. That's how you look at the people. You look at the paper and see if it's drying in some places, then that means you need to apply the water more. We are going to start. In this painting, let us assume that the sun is going to be here, Sun or the glow. It's going to be glowing and it's going to have the light onto the buildings from this side towards the left. That's what we will add. I'm going to start with Indian yellow. I'm going to be applying here, but I'll leave a huge gap of yellow or white here for the glow of my Sun. I'm taking my yellow and I'm applying like that, but you can see I'm going to leave that big gap there. This gap, I will leave there and the rest of the areas will paint with yellow. I've painted the rest of the areas with yellow. Now the next thing that I'm going to do is I want to make this interesting. This yellow area, the glowy area, just move your brush on top of it so that you move some of the yellow paint to that white area, but not the lot. Just to see that that white area is just a tiny bit. Then the next color that we are going to apply is Indian gold. For Indian gold, I know if you don't have Indian gold, mix yellow, orange, and brown together, or you can mix alizarin crimson and yellow together. Or even you can use quinacridone rose, quin rose. If you mix quin rose and yellow together, you get the beautiful Indian gold shade. This is what I am applying. I'm applying towards the top. Again, I'm applying in lines. You can also apply some lines towards the bottom like that. I've applied enough lines. Now. I will apply the next color, which is going to be the rose or carmine, so quin rose or carmine. This is what we'll apply. You will see that the rose will mix with the Indian gold and the yellow to form a slightly beautiful red shade. This is the reason why we are going with pink. It'll do its job on its own and mix to create the beautiful blends. Now, towards the top we'll apply blue. For applying the blue, we are going to use bright blue. You can also use cobalt blue or ultramarine blue. The blue will mix with the pink to form slightly violet. That's alright, just let it blend. We have to be very careful with this one because if you move all the way down, then the blue is going to mix with yellow to form green. If you move all the way up and you accidentally mix yellow, red, and blue together, that's the three primary colors and it's going to form gray. See if I just pull down yellow from here and I applied here, the more I'll be getting a brown shade there, so we don't want that. If you just blend slightly and whenever you notice that your strokes are getting the brown shade, immediately stop. Wash your brush because we really don't want to get that brown shade at the top. It's okay to get the violet shade, but not the brown shade. If you want, you can mix a little bit of violet and add it. But then there is another problem again, violet mixed with yellow gives brown, so it's not actually going to help you much. Just apply, and then I'm taking more of Indian yellow and I'm going to just add some lines, I like to add these lines in the sky. It's like the different colors of sunset blend together. I think I've added enough for the Indian gold and we have the glow here, so we leave that glow. But I can see some of the paint missing here. I only want the glow to be at the bottom, so I'll just spread this area. The whole thing is about observing your painting and deciding how you want to take it further there. This is just a simple blend in the sky. Now, we'll wait for the whole thing to dry so that we can add this light and dark areas in the city area. Everything is now dry and we'll go ahead and paint. We are going to start from the left side because the left side is where we have the glow of the sun, so it needs to have that. This is just like the mountains we did on yesterday's lesson. But now we are going to create a gradual increase in the darkness towards the right, because the right side is like where it's further away from the sun. We are going to start with Indian gold. Pick up Indian gold in a nice consistency because that's the lightest tone that we can use. We can actually use and start from yellow itself, and instead of Indian gold you can also use orange, it doesn't matter. There apply the Indian gold. You can see I'm applying the Indian gold. I've applied the Indian gold, and almost right after the white point I will apply the next color, which is going to be like permanent brown, and I will add it. Permanent brown is the color that we added yesterday for the glow part. But today we started with Indian gold. I just want to create that blend, we'll sort out the blend. Just let us add in. We've added, let's sort the blend. I'm switching to my smaller size brush because these domes, they are like literally tiny and I might ruin it. Here I have my brush and then just spread it around you. Just let that blend. Blend with your brush just to swiftly move the paint across on top of the Indian gold and see. Now we have a great blend there. Let's still go ahead and paint the rest. Keep adding the next color which is permanent brown. Observe what I'm doing here is a sunset scene. The light is from the left side. This is not a two-dimensional figure, it is a three-dimensional object. Somewhere, it's a dome. It's a cylindrical shape. In order to get that cylindrical shape, so towards the right side, apply a darker shade. see that, so the left side is glowing, and the right side, we will add more darker shade. You can actually see you can pick up burnt umber, which is like a dark brown. Burnt umber and use it on the right side. When you add that burnt umber to the right side, you're making the left side to be glowing. The bond number towards the right side. We have to work fast because these edges, they should not dry off. Quickly apply the strokes. Each time you might have to wash your brush and blend with a dry brush otherwise, your colors might look odd. The same thing I will apply with the permanent brown here. Permanent brown mix of brown and red if you don't have it. This permanent brown is from Art Philosophy. It's a beautiful color. You can also actually use [inaudible] Jello, if you have it. That's also a beautiful shade. Now I'll pick up a burned umber dark shade and I'm going to add towards the right side of this, this one, towards the right side so that adding to that right side, will make this thing look three-dimensional and give it that look of, what do you say? It's a circular object. Now we are almost towards the right side so we'll paint with burnt umber now towards the right side and like I said blend the whole thing with the permanent brown. Now going with the burnt umber, these are wet on dry strokes. I'm not even using water. We have not applied water at first you can see that this is just wet on dry strokes. All I'm trying to do is making sure that I apply the paint on the paper before my previous stroke is dry. Like I'm talking right now, so while I'm talking, this little end portion of my previous stroke will dry out but this is 100% cotton paper so it will stay a bit more, but you might have to work more. You're not talking so should be fine. There, see, I applied right before the stroke dried so it looks as though it's a wet on wet blending, although it's not. That's the only thing we're trying to work on to just make sure that we apply the next row right before the previous one dries so we've applied all the way to the end with a brown shade. Let's paint the tower as well. I'm just adding some random things and this too. Now, we're not done yet. Let's add some darkness towards the right. For adding more dark, you can use sepia, so for Sepia, you can mix your brown with black. It'll make it more darker. Except here and I'm going to use it the work the right side. Now that's a really dark and you can see it getting lighter and lighter towards the side and for the right side of the tower and the dome on the right, we'll use the sepia. Remember, for sepia, you can mix your brown with black. There, I think that's really good enough for now. How can we make this painting more interesting? Don't we need to make it more and more interesting and more beautiful. What I'm going to do is I'm going to add some tiny birds in the sky just to make it beautiful so let's pick up Payne's gray or black. It's going to be black. I'm going to take in a darker consistency so that it is almost like black and then I'll add the birds. It's going to be very simple. We learned the birds. Just smaller birds and larger birds add, according to your wish. I need to switch to a smaller size brush a different one. I think I'll take this, this is a size 1 brush from Escoda so I'm picking up the Payne's gray and I will add, you can see I'm just adding smaller shapes in different directions so some of them inverted, some of them small. Do them in any way that you want, it just really doesn't matter and because they're tiny, they are going to look beautiful trust me. I'm just adding as many smaller birds as I can so you can see the tiny shapes that I'm adding they're just really tiny and I'm going to add towards this side also, but I'm going to make sure that they are more tiny, so tiny birds towards this side. My hand is touching this area and it's still wet and I'm having paint in my hands. I think that's a lot of birds, I love it. It just adds beauty to our painting, just a lot of tiny birds. Make sure you use a small size brush and absorb the point of this one, see that it's really pointed. Now you can see clearly, you can see the point that I'm using so that's why I get these tiny birds. It's good to have a very smaller size brush which has such a nice point to add all of these bird strokes in our sky. I think this is really good enough. My main point of this one was the glow here and get the darker shades towards the right. Now we have to wait for this to dry before we can remove the masking tape. This is now dry, let us remove the tape. There, I really love these smaller birds make sure you use a very smaller size brush to get those smaller birds. Some of you told me that you struggled when you were adding the birds in the week 1 skies so maybe try practicing these smaller birds on a different piece of paper add them. You can see the shape. It's mostly like a V-shape. Some of them inverted, some of them in the other direction. It doesn't really have to be perfect because nobody's going to look at your paintings so closely to see how the birds are. Just look at it this way. They're all looking great, so that's what we need. That's why make it as small as you can. The smaller it is, the beautiful it's going to be. Because when you make it larger, then you need to add in all the details on the birds itself so when you don't want to add the details, make it smaller. There you go, I hope you like it. 43. Day 33 - Sunset Palm Trees: The colors we need today are: violet, rose, Indian yellow, and Indian gold. These are the only colors that we need, the other colors we'll be mixing and making them. Indian gold, if you don't have it, you can mix it with yellow, orange, and brown together, to make Indian gold. Or you can mix red and yellow together, that is alizarin crimson, or any crimson shade that you have with yellow, you'll get the Indian gold shade, more of yellow, so that you make it golden. Let us start. There is no pencil sketch for this one, we're going to straight away start. No pencil sketch, that's the fun of this one. We'll start with applying the water. Let's apply the water evenly onto the paper. Make sure that you cover all the four edges of the paper, because that's where it starts to dry out quicker. All the four edges. Without forming any large blobs or pools of water. You can actually do a board to make sure that all the water flows down and doesn't stay, and for many pools. Otherwise, use a flat brush. If you're applying with mop brush, then also it's fine, just make sure to not have any large pools of blobs of water. Keep applying the water as many times as you can, to make sure that your paper stays wet long enough for you to work on it. I have now applied the water onto my paper, and we are going to start. We are going to start with violet, it's such a beautiful shades in it. Here is violet. We'll be starting a sky with this violet paint. We are going to start from the top. We'll apply it all the way at the top. Then we start with our usual side-on strokes. Like that. Now we're going to do something interesting to the violet. We are going to mix a little bit of rose, or carmine, into our violet, so that it turns into a red-purple shade. See this red-purple shade here? Isn't it beautiful? We'll mix violet with actually rose, rose that we get that red-purple shade. That is what we will apply with our usual strokes. Because we're mixing these two colors our purple or the red-purple shade, will have a mix of those purple and the pink shade, giving it a beautiful look. Let's add that into our sky. As usual, we are going to have our side strokes. You can add as many smaller lines. Here I'm using the pointed tip of my brush because I want to get that line. If you want to get lines like this, then you can use the pointed tip. Otherwise go for these strokes, like that. Now I'm going to take the next color, which is going to be yellow. But to my yellow I'm going to mix a little bit of Indian gold. What you need to do is, to your yellow, mix a bit of orange, so that you get a beautiful glowing yellow. This is what we will use. Apply it to the whole of the bottom, because the bottom is going to be this color anyways. To the whole of the bottom area apply this color. Then make up that color again. Now we'll use this in the intermediate areas, just some areas. We have to be careful, because yellow if mixed with violet will give brown shade. Extra careful when you're adding the yellow. Just in the white areas, don't go too much over the red-purple shade or the violet areas, just so that you go in the areas where you see white gaps. But it wouldn't mix easily with the purple shade, because there is a pink in it, so it won't bleed easily or blend to form that brown shade. Mix that yellow and Indian gold, or the orange together to get that beautiful shade. Keep adding at the random places in between. Towards the top, not much, but very little. Is already looking so gorgeous, isn't it? Now the top is still lighter. I'm going to go and add more purple. See, I'm adding just paint and no more water, because my top region has started to dry. We can't let us add more water, because the whole thing will bleed. Don't add any more water. Let us now mix and form that purple shade again. Observe the consistency of my paint. Now it's almost dry and no water at all. This is very important when we move on to adding more on top of the other existing paint, because our paper has started to dry and we are trying to create more strokes on top of it, but we just can't afford to add more water. This is the reason why we will just pick up only the paint but no more extra water. You can already see, in some of the areas it's forming a slight brownish tone. But it's all right, it's just going to still create some beautiful effect on the paper. See how the yellow blend in, but it's still creating these gorgeous shapes in the sky. Now what I'm going to do is this red purple shade that we made. I'm going to add some at the bottom, on top of the yellow itself, so it's going to create a brown shade. This is my deliberate attempt to create brown. This is why I said, when you mix these together, it's going to form brown. This is my deliberate attempt to create brown on top of it. This is how we are going to create the land. This is much more helpful than you adding brown there because this is the natural mixing of watercolors and this is the color mixing part of it. So brown. We want to create brown at the bottom so what we're doing is violet and then we're mixing a bit of rose into it and then we'll mix it with yellow. Actually, this reminds me, this looks much more like the permanent brown shades. Remember, I was saying that if you want to create the permanent brown, you can actually mix brown and red together. This is another mixed etic in use that is, violet, rose, and yellow. This will give a nice permanent brown shade. See, this is almost like the permanent brown, oh my God, this is just too gorgeous. I'm applying this towards the bottom, my strokes are still wet because my paper is wet. I'm just trying to create some land shapes. Think, that's enough. See, this is already looking so beautiful guys, I love this one. There, we leave the sky to dry now, this is our beautiful, gorgeous sunset. Don't worry if your colors are not blending that way. Don't blame it on yourself. It is the paper that starts the die culprit, just a start along until you can get 100 percent cotton paper if yours is not, but don't worry, you can reapply the water when the entire thing is dried so that you'll be able to add more blends if it has started to dry. This is now completely dry, let us add some beautiful boundaries on to this painting. I just want to bring in some color mixing exercises to these 100 projects as well. Just, instead of using the natural colors that we tend to use, I want to show you how we can mix the colors and make the whole painting harmonious. Just like, I showed how we can create that permanent brown shade here like that. For the palm trees, we are going to use the colors. By mixing them you could actually go with the permanent brown. But we are going to do the same, mix it with it so we're going to mix violet. Add violet then mix the rose shade so that we create the red-purple shade. Then now we're going to create brown. Let us take the Indian gold or the Indian yellow. You can also mix the yellow. You essentially don't need the Indian gold itself, just mix the yellow paint in it and see, this is actually the permanent brown shade, almost similar. I can show it to you here. See, this is the color that we just created and the permanent drought shade. It's almost entirely similar. Who can see the difference? This is what we can do, violet, rose, and Indian yellow or Indian gold together and you'll get this beautiful permanent brown shade. We are going to go with that shade. I'm going to just mix and create some more because I need more of those colors. Now we have created that color. We are going to make the palm tree. The palm tree, there is no pencil sketch. We're going to just randomly do with our brush and that's the trickiest and the beautiful part. It's just going to be, use your free hand and make a shape. It doesn't have to be perfect and it doesn't have to be straight because boundaries, they're not straight lines, which you can do with a ruler. Like that, see, that's already good. Add a little bit of violet to get a darker shade. See the more violet you add to your mixture, you will get darker shade and use that to add to one side. I always say right, you need to give whatever it is be it trees or be it any object you need to give shadow and highlights. I've chosen the right side for adding the shadows. The right side is what I have chosen to have applied the darker shade to the right edge. I don't know if you can see clearly, see there is that darker shade towards the right and the left side has a lighter tone. Now, we'll add the palm leaves itself. Let us pick up this shade and it's just simple we'll draw some lines coming out. Okay, and they don't have to be in the same direction. See, I did until here and then I let it fall down because that's just the stooping part of the boundary. My point is, I like the paintings to have that watercolor look on it without having that perfection of a painting. Otherwise, I don't know, I feel that we are painting so it should feel like a painting, right? So that's why I keep on adding my strokes and make sure that they have that watercolor effect if what I mean. Use the pointed tip of the smallest size brush that you have and just add these strokes like that and do the other side as well, just smaller strokes. Let me show you clearly so like that. They are both stooping down. This one we can actually have in both directions. Some to each side. I'm silent because I'm concentrating on adding the strokes. It's just very little now. I'm going to add more. See there are the many of those leaves intertwined. They are not going to be in the same line or all spread out evenly spaced. We have to let the boundary be itself and be like a real thing. It's already better. Now let's add some darker tones to it. I'm going to go and mix some violet onto it and I'll add the violet lines. This gives a duotone and a shadow effect. This is the reason why I'm doing it. Gives the duotone effect to our boundaries. Now, it's looking more interesting. I think I want to add one at the bottom here. A smaller one. Let's add one more pine tree, just palm tree. Did I say pine tree before? Oh my God, I can't remember now. [LAUGHTER] Anyway, palm tree. Mixing more off the shade and then the Indian gold or Indian yellow, that would give me the blow. This makes the painting harmonious mainly because the underlying colors in the sky are this and what we are seeing on the palm tree is actually the colors of the sunset. It can't be just black. That's why we are using the colors that we used for the sky so that the palm tree looks very harmonious and also it makes the entire picture complete. I know that many of us tend to just go and paint with the black color and it's okay, it's fine. If that's what you want to do, it's fine. But then I'm just trying to let you know the ways in which you can understand watercolors to its core, and how you are supposed to apply the colors. How you can make the entire painting related to one another that is lacking a composed in a single picture rather than starting out. Let's add just one more palm tree. I think I'm going to make that one smaller and it's going to be here. Then I'll add the darker tone to the other side. Might begin violet. Now, add the palm leaves. I've added the leaves at first now. Now, I'll just add in the lines for those leaves. Also, let me show you something else. If you look at palm leaves, they need not be complete. Some of them might be incomplete, some of them might have those families. I don't know what to say it. I forgot. Those sticks, they tend to fall off and they may not be complete so don't make it entirely perfect. Imperfection is actually the perfection because that's what makes it looks real. I've added. Now, let's add some darker tone towards the top in different places actually so I've mixed with more violet and I've created a darker shade and I'm going to apply it to the top. It makes the entire painting beautiful and relatable to the background rather than painting on. When I see a picture and I see background and I see with black object in front of it, I can't relate to it. I don't know why. What do I say. You don't make it completely within the painting or to make it part of a whole. The colors that we use are very important. It may not be possible for you to get these perfect strokes in the first instance. It's all right, you can just practice pine trees on a spare piece of paper. It's not going to be that tough, don't worry. I can actually show it to you on a different piece of paper because I want you to get it right, like that. This is what I'm actually doing. If I show it to you on a line. This is what I'm actually doing. See that. I think this is good enough. What I'm going to do is I'm going to take this color and apply a little bit to the bottom so that my palm tree has something at the bottom because that area that we painted is really at the background and I don't want my boundary to be standing in the background alone. That's good enough. Let us wait for this to dry so that we can remove the tape. Now that it has dried, you'll understand why I applied some more brown shade to the foreground on top of the wet on wet stroke. Because see, the palm tree was earlier just standing out and not blended with the foreground. But now because I added some strokes and after it has dried, see how it looks. It looks as if it's blended and also some parts of the foreground or the ground area has popped out into the front. So this is the reason why I did that. Now, let us remove the tape. I think this is my favorite of all the paintings and I really love this one. If you have any doubt, you can ask me in the discussion section or even in any method that you prefer. 44. Day 34 - Sunset Electric Lines: The colors we need today are Indian yellow, Indian gold, scarlet, burnt umber, and sepia. For this painting, we will add a small pencil sketch to it just because we want to use the rulers to get those poles correctly. The first pole, we'll have it on the left side somewhere, just a line like that. Then at the top, we'll have two more poles towards the right side. This is the halfway of the paper, somewhere towards the right, because the distance between the first and the second is going to be more, and it's also going to be thinner than the first one, so make it thinner. Then the next one, the distance is going to be much less, but it's going to be smaller and thinner, and more closer and thinner. I will explain in a second why this is. This is the basis of perspective. Perspective as in, this is all going like, what did we say? These things are going further away. It's like too far away. The distance between the first and the second, because they're closer to us, is much large. But the distance between this and this, although it is the same, but when we see it with our eyes, it decreases. That's why we are decreasing it. I think this is slightly longer. We should actually follow the perspective lines, and if we can make it these heights, that's how it should be. But then there can be varying ground length or the poles' height might be different. So I'm just going to decrease this slightly, not too much. I think this much, this is good enough for me. This is the vanishing point here, further away, there. Now we will start painting. We are going to apply the whole of the paper with water. This line is okay, it's not going to be visible, but if you're so concerned, we can drop it off. This was just a line of reference to get that vanishing point correctly. We'll apply water to the whole of the paper. Make sure that you apply the water evenly as many times as you can so that your paper stays wet for a longer duration. The more water you apply on your paper, the more your paper will stay wet, and the more you can work on the wet-on-wet technique. The top area is what is most likely to dry faster. Apply a lot of water on the top, but not large pools. Hold your paper in an angle like this so that your paper will be even. It will flow down if there's a lot of water, so it'll be even. But if you're holding it at an angle, make sure to apply the water a lot on the top because all the water is now flowing down. You can also actually hold it like this so that all the water is flowing towards the top region. But we do need to apply the water so much so that our paper stays wet. I think that's really good enough for now and we are going to start. We're going to have our sun in the left here, and we're going to start with Indian yellow. Pick up a nice Indian yellow shade and let us leave a circular shape for the sun. You can see I've left a larger circular shape. This is because the sun, although it's going to be small in the end, our paint will flow because there is water. Make a large circle and then the rest of the areas, add the yellow shade. I'm just applying the yellow shade all over the paper like that. I've left some gap here, and I'm just going to keep applying. Strengthen that circle as much as you can, but you can see that as you are strengthening it, you're losing the circle because the paint is spreading. Very carefully do that. Then next we'll take Indian gold and we'll apply the Indian gold at random places. But towards the bottom I've applied now, and then we'll also apply now towards the top. I like to use the side stroke a lot; you know that about me. I think that a side stroke makes the sky paintings really beautiful rather than dropping paint like this. When you drop paint like this, it's not really great. So that's why do these side strokes, which is really nice when you're painting skies. Let's apply all the way towards the top. Indian yellow and Indian gold is what I'm applying now. So Indian gold, you can mix Alizarin crimson and Indian yellow together, or you can mix it with yellow, orange, and brown. Now we've covered the whole of the top region. Now the next color that we are going to take, we're going to take burnt umber. Pick up a nice quantity of the brown shade. See that? That's it. Nice brown shade, and we are going to apply it towards the top. In this painting, the darker regions are going to be with the burnt umber, and it's darker tones. Or maybe we can add a bit of Payne's gray, but let's see. I haven't decided as of now. What I'm going to do is I'm going to do these sides strokes. Whoops, wrong paint. I'm going to create some cloudy shapes towards the top using the side of my brush, you can see. Towards the extreme top, we need it to be as brown as possible. So apply the brown. I think that's really good for now. Now, I'm going to add certain brown shades to the right side, that's why I left this gap there. Those gaps that I had left, now I'll add brown there. See, I'm not picking a lot of water, this is just paint. Now because we've almost painted a lot and our paper is starting to dry. We have to be very careful and only use paint. I've made a line. You can use the tip of your brush and the sides at some places. See, this is what I'm trying to create. Let's create one more here like that. Then I'm going to create another one to the bottom like that. Then I'm going to create some smaller strokes using the tip, but again at an angle, I never drop it perpendicularly. That's very, very important to note. I like these straight line strokes. Now, in order to make this a little bit interesting, what I'm going to do is, I'm going to take my red shade. Here's my red shade, and I'm going to mix it with a little bit of brown. It's like a darker brown, not as brown as the permanent brown, so it's more of red and a little bit of brown. We are going to add this towards the top of that burnt umber region that we added. It's going to give that slight red glow to our painting. Do you see that? We'll do the same to the top regions as well. I love how this is turning out. We will add now some independent red strokes as well. You can take more of the brown and add them if you feel that you're losing the brown. Like I said, the top needs to be as dark as possible always. I think this is not really good enough, we'll wait for this whole thing to dry. Now our painting is dry and we'll add the bottom details. You can see the Sun is almost gone, but we can add it with white later on. What I'm going to do is I'm going to use burnt umber itself at the bottom and we're going to add some shapes. What you can do is you can actually add a little bit of the Indian gold towards the top so that you get that glow for the Sun. You see, just a little bit of Indian gold at certain places because the Sun is here, it is going to have some glow. I know we did the glow in a different method but here I'm trying to show you. Each day, I'm trying to show you different ways we can add the glow of the sun. Here today it's going to be a blend of both the colors. I've added Indian gold and then I'm adding burnt umber now. I'm just mixing both of them together so that you get that really nice texture at the bottom. Indian gold and the brown. See, we're getting like a mixture of each of these and that's what we're really trying to do. Now towards the right side because the Sun is here and this is already not very far away. You can go ahead and just add normal strokes with the dark brown. Towards the right, I'll add more sepia because I want it to be darker and darker towards the right. We'll create some parts of sepia on this. You can see in here was Indian gold and a little bit of brown at random places. Now this is brown a little bit of darker tone, which is up here at random places. The same way, we go towards the right side. Sepia is already dark, but if you want to add some darker places at random on top of this sepia, then you can add black. Trust me, it's going to be more beautiful. Let's add it. Let's not skip it. If I'm taking Payne's gray and I'm adding it to certain places, there, it's already very dark and this is the glow. Let me blend that glow. There. Now that's really nice, isn't it? We have those bowls to paint, which is the most interesting part. The Sun is here, which means that this pole is going to have some of the blue from the sun. What we're going to do is we're going to take our Indian gold or the gold mixture that you have made and we'll paint that on top of the whole area, see? That area of the bowl we have painted with Indian gold. Right before it dries, pick up burnt umber and mix it so that the right side has burnt umber and it gives a nice glow effect the bowl itself. There. Now towards the top actually we can paint with more of the burnt umber. If you see that it's not blended, then dry your brush and just move your paint across and you'll see as though it looks blended. See I just moved my brush across on top of it and it's now blended Now we'll just paint all the top areas. I'm rotating it because this area is wet and my hand is touching there, which is causing problems and my hand is getting paint on it. There, like that. Towards the top actually, we can also add sepia because it is the darkest tool. Now we have the gluey area here and towards the top it's dark. This is because this is the region where the sun is so we needed to make it like that. Now just paint the rest of the areas inside. We don't need it to be perfect. I just did it randomly with my, at often free hand. We don't need it to be perfect. Then these ones as well. These ones there is no need for the glue because it's already like further away from the Sun. I need to turn it again [LAUGHTER] because I am very comfortable in drawing a line when my hand is in this direction. It's very confident than this. Just two more. I'm taking sepia or Brandenburg, just a darker tone of brown for these. I don't want to use black, so that's the reason I'm not using black. There. So now we've added the poles and what we need to do is adding the pole lines. So this is where it gets interesting because we are going to add the pole lines and we have to make sure that is as thin as possible. I'm going to give you two options here. You can either go for a smaller size brush like this one, Size 1. This is a rigger brush which has got a thinner tapered line. There. I'll wet the brush and show you. See the brush. It's got a longer hairs. So if you think that this is really tough for you to draw the line by using a brush, then you can use a sketch pin or fine liner pen like this. It will add the lines. I would recommend trying it out with the smaller size brush, but if you think that your painting is going to be ruined and you don't want to ruin it, then don't do with the brush because we need the lines to be as thin as possible. That's really important. Go with a fine liner pen. See, you can actually draw with a fine liner pen. I am going to do with this. I am not also perfect. It will not turn out exactly the way I want it, but still I'm going to do it. In order to get my hand to work, first, I'm going to add some lines across because it's just some pole lines. The pole lines can go in any direction. It doesn't have to be necessarily in the same direction. It doesn't have to be just only these pole lines. Here I've loaded my brush with enough of the brown and I'm going to add, see, so I've gotten a pole line going there. Maybe there is a pole here right in front of us, which is why we have that electric line going like that, and let's add just one more. See, that's another pole line going. I've got my hands now, but I'm definitely going to ruin it when I do this one. So the key thing is from the left side of this one, see that? That is going to come and join the left side of this. Then the right side of that is going to come and join the right side, then the middle one is going to go in the middle one. You already see how tricky it is. Let's do it. I'm supposed to reach here. I've started. See. I'm already breaking up because there's not enough water or paint. Let me take more paint. I'm going to start with where I stopped and bent. I did it. There. See, it is even tough for me, so don't limit yourself. Take your time, and practice does this. It's going to be really fun and also observe there will be a time menu or all lines cross. See. Let's add the third one now. See, when I was making the second one, I had the first one as reference. I was following it along and right when I reach there, I crossed over it and made it join towards the middle. I'll do the same for the third one. I'll follow along for a while and then there I'm crossing over and I'll make a join there. See that? This is why I said either use a smaller size brush or go for the fine liner pen. If you tried this on another extra piece of paper and your lines are not forming thin, then don't ruin your painting. Go for the fine liner pen. Then later on, when you nail this pole line, you can do it. See, I have a break here but I'm not going to touch it. Those breaks or those lines, uneven lines, is what makes this a watercolor painting, and that's what I love about it. I'm not going to join this and make it perfect. The same here. We've got three dots. We are supposed to join each of these dots there. Now, this is like a too bigger gap, so I'm going to join that. I'm taking up a lot. This is not really nice. It didn't turn out that well, but that's all right. I have another idea because pole lines, they sometimes tend to overlap and have multiple lines. What I'm going to do is, let's say this one has a multiple line. See, I added a multiple line there. So that's why I said so even if you're not getting it perfect, it's fine because you can work around it and get those lines. This one is going to be like tiny and clearly not even visible at all. Let's have this going farther away. There is another pole line there further. Maybe it should be actually closer because of the rule of perspective. Let's say that whole line is here then there is here. It's just going further away into the distance. See. This is our painting. I have enough time. If I want, I can add some birds here, but I think that already this is really tough and for you to keep on practicing these lines, it might take some while, so with five minutes left on my clock. After I've started the painting, I'm going to stop right here because I don't want to pressurize you into adding some birds also, but if you want, you can go ahead and add some birds. Since we have nothing else left or anything to dry, because we were just doing these lines and everything else is dry, we can remove the tape. [NOISE] This is really stuck. I'll do it this way. There. I'm loving these sunset series. What about you? It's just a lot of learning. I know it might be really overwhelming to see all of these, to get these thinner lines, but it just comes with practice. You heard me, you saw how terrified I was to add those strokes. It's exactly the same. It's the same with everyone. Don't panic. Try it out on a different piece of paper. Try it as many times as you can make it. The key thing to note is try to make it as thin as possible. If you don't have a thinner brush, then go for a fine liner pen or like a sketch pen or whatever you can find to get that thinner lines. It's just that and trust me, with practice, you're going to be perfect. Don't worry there. 45. Day 35 - Sunset Beach: The colors we need today are Indian yellow, Indian gold, burnt umber, sepia, and Payne's gray. Today we are going to look at a beautiful sunset ocean. There needed to be a pencil sketch actually, but let's just make a quick one. I just wanted to set it perfect for you. Around, I don't want it to be halfway, so prefer it below the halfway. Let us draw a straight line. This will be the horizon line of our painting and then let's have a mountain far off on the horizon and then we'll have the beach. These are the waves or the lines of the beach. Like that, and this will be the beach area. This is what the pencil sketch is going to be. Let's stop painting and we're going to apply water to the whole paper. We don't need to split the top portion and the bottom portion because actually our sunset beach, this part also needs to have the reflection of the sun, so of the sunlight or the sunset sky, so that's why we will wet the whole of the paper. Here's my flat brush and I'm going to apply water to the whole of my paper. Make sure that you apply the water evenly and cover all the four corners as well because that's the most important and the place that's likely to skip and also might get dry faster. The top portion really gets dry always. Not really just the top also, but you know the portion where it is attached to the tape that gets dry quickly. The reason being the paint would flow out of the tape, not the paint, the water would flow out of the tape so that you will have to apply multiple times and also it will keep your paper wet for a longer duration. Make sure that you apply the water as many times as you can. Here I am applying the water. You don't necessarily need a flat brush itself, you can go for anymore brush or the larger size brush you have. The largest because it helps to cover a larger area. Otherwise, we will be simply taking a longer time with a smaller-sized brush, so just grab your larger size brush and keep applying the water. Apply the water evenly, so I think this is enough for my paper and I'm going to use my Size 2 brush and it's the sunset my favorite, so we are going to start with Indian yellow. Here is Indian yellow. Start with any yellow that you have and we are going to start on the horizon line right on top of it. Like that, make a line and then now we're going to do the slanting type. Remember we did the slanting strokes when we were painting the skies. Like that. Leave some gaps because I want those regions to be white. Let the paint flow if it wants, but then deliberately don't paint on top of it, so like that. Some here as well, so I'm going to make some lines so that region, now I won't touch it again, it may flow if it wants but maybe the bottom part I can paint like that. That region, I'm going to keep white then now I'll paint this left side and we'll also paint the top. There are two spots that I've left white, but you can see it's bleeding but when it dries that it is going to be lighter than the rest so it's fine. Join at the bottom. The top region, I'm going to cover entirely with my yellow first. Yellow first, because we will add other colors on the top. Sorry, I've added yellow on the top now, so let's now add the other colors. My favorite, the next color that we are going to use, Indian gold. You can mix yellow, orange, and brown to make Indian gold. Or you can mix alizarin crimson or queen rose with Indian yellow and you'll get Indian gold shade. It's just a golden shade that we are trying to use. It's very nice if you can use that for the skies. I've added some strokes towards the left there. Then you remember that space that we left at the top and at the bottom, so right in the middle of that, I'm going to add one line like that. Then the other lines are going to be at the top again. Like that. I'm just basically drawing some lines on my paper. You remember my strokes like this? These are my strokes. Then the next color now that we'll take is right at the top, we are going to apply some burnt umber. Burnt umber is just any brown shade that you have, pick up a nice brown shade on your palette, and then we'll apply the same. You can see, again doing in the form of some lines and I'm going to cover the top region now. I'm going to cover the top region. Making some lines, you can see that and then the top region, I'll cover it up. The reason we applied yellow at first, just so you see, you can still see that little amount of shade of yellow even when you're applying the brown, so this is the reason why we applied the yellow at first and then you can add lines like this, so make sure that lines are lighter towards the bottom and always the darkest part would be at the top, there, the darkest part it's at the top. If you want to make it a bit more darker, you can actually go with sepia, which is the darkest brown and if you don't have sepia, mix your brown with a little amount of plaque and that will give you sepia. I'm adding sepia to the top. Then let's go back with burnt umber and I'm going to add some smaller strokes towards here, so now we're going to add the nice cloudy strokes to the rest of this guy. Now we'll make sure that our strokes are thinner, so remember to hold the brush at an angle like this and also to use the pointed tip and make smaller lines. See, the lines are not thicker and neither are they larger, so small lines. Just small lines like that and I'll also add some here. Now I want to remove the excess paint. Let me grab my tissue and I'm going to remove all excess water and excess paint because I want it to be very light stroke. There, light stroke. That's still too, so what I'm going to do is I'm going to clean my brush and then blend it and now with the yellow so then it becomes lighter. See? The yellow is there and I blend it along with the yellow so that it becomes lighter. You can do the same. You can pick up a little amount of brown and you can add that to the yellow regions, like smaller. You can see the little amount of brown that I'm picking up because you can see by the shape of the brush that it doesn't have a lot of paint or water. It's just a little amount of paint and if you feel that there's a lot of paint, use a tissue, grab off the excess water, dab off. Then we can add these smaller cloudy shapes. See, it's very fightly over there and all of the dark parts would be towards the top. You can pick up the darker shade of sepia and add it to the top. The sky that you are painting doesn't have to be exactly the same as mine. My point is we're trying to just add some yellow, then we added some Indian yellow stroke, you can see those Indian yellow strokes here, and then we also add brown at the top and to make it dark contrast between the lightest and the darkest tones at the top, we add the darkest color, which is sepia. That's what we are doing here. And in case you find it bleeding like this, you can just spread it around and you will also create some whitespace when you're spreading, but if you're afraid to touch it and ruin it, don't do it. I'm just trying to get off these hair-like things coming out of the clouds so that's why I'm softening them. But as I said, if you're afraid that you'll ruin your perfect blend, don't touch it because there is a chance that there is so much water on your brush and you're adding it to that area and you might lose it and while we were actually painting the sky, the bottom part is now dry. We have to paint the bottom part quickly enough. It is dry. If you think it is dry, go ahead and apply water to the bottom part, mine is a little bit wet and I'm going to still paint it because I can just use the wet on dry blending and I'm going to do that. I'm going to first apply yellow to the whole of the bottom part. You can see it is a little bit dry so it's not spreading, but even if it is not dry and it spreads towards the top, it's fine because we already have yellow at the top, and you can see, so this is wet and so it's spreading onto the mountains, but then we will paint the mountains later on, so it's fine. Or in fact, actually, you can wait for this top region to dry before you apply the paint at the bottom. It's totally up to you how your paper behaves. It's very important to understand how our paper behaves and how it affects our painting. And also that, that's why we need to be very careful on that. I've added the yellow at the bottom. Now we are going to add the details on the beach and some of the waves. First we'll go with some Indian yellow and we'll just add some strokes. This is just the base layer now, I'm adding towards the bottom and some regions here. Then towards the left, I'll cover up the whole thing with Indian gold. Then we'll go with the next color, which is burnt umber. With burnt umber, I'm going to cover the left part. Observe how I'm going to paint the burnt umber. There needs to be the reflection of this part onto the beach area which is slightly wet. We'll have our strokes such that they blend into the yellow color that we painted. Just draw some lines like this and let it blend. See that? Like that. Here we'll have the darkest brown because it's going to be the reflection of this mountain which we will paint later on. Then there will be the burnt umber strokes. Like that. We can also add some darker strokes towards the left corner, so we'll go with sepia. You can see it's now very dark. The paint that I'm using, dark, but then make sure that you blend it to the burnt umber that we just applied. The whole thing is still wet, which is why we are able to blend it perfectly. The darkest to this corner. See how dark I'm making it, and try to blend it smoothly onto the paper. Now we've done a lot of blending and you can see some of the paint flowing towards the top, but that's fine, let it flow. Now we are going to add few more lines. Just add some smaller, use the tip of the brush and just add some lines. Here. I'm going to leave it at that, and now we wait for the whole thing to dry so that we can just add the beach and the mountains and our painting will be done. Let's wait for it to dry. Our painting is now dry. Everything is dry. Let us start adding these background mountains first. For that, I'm going to be using burnt umber or you can also actually use sepia. Let's do sepia because it's more darker, isn't it? Picking up sepia, I'll just add the mountains. So it's just simple filling up the inside part of the mountain, that's it. Making sure to follow along the horizon line because the horizon line part needs to be flat, like that. Make it flat and even and cover up the entire potion inside. Make sure to be very careful. We are having the edge tapered towards the side, so when we reach here, it's going to be very thin. You can have a little amount of peaks. I've added a very small peak here. That's where my background mountain is going to be. Now let us add in the beach area. For that, we're going to go with burnt umber. Let's pick a burnt umber. That's a very nice amount of burnt umber. I'm going to draw the beach area, so it's going to be, observe my strokes, I'm using my smallest size brush. This is a Size 4 brush. My Size 4 brush is really small, the hairs are really small. You can see compared to my finger, how small it is and I've got a pointed tip. Essentially use a Size 2 or a Size 1 brush if your brush is larger than this, if a Size 4 brush is larger. We're just going to have some zigzag lines, and that's how we're going to make the whole of the beach, like that. Draw these zigzag lines like that. While doing the zigzag, come all the way down there to your pencil sketch was ending towards this side, and the same way we have another line. There. I've added the line of the beach. Now we need to make it more interesting because this now looks flat, isn't it? We are going to add some small lines like that towards the inside. Like that, some smaller lines towards the inside, and then now we can also have so always use the tip of the brush and slide it at an angle. Don't paint it like this lines. We want our brush stroke to be at an angle that's how you would get those lines. This is not dry brush stroke. This is a normal stroke, but so see, there is a lot of water and paint, so it's in a nice creamy consistency of paint. You can observe what I'm picking up here, and then that's what we're going to paint. But without having your brush perpendicularly, you're going to have it at an angle. At the top region of that, right next to the horizon. Then just keep adding lines like that smaller lines. That's how we are going to paint the beach area, see that. Just some lines and sometimes some of those strokes will turn into dry brush strokes and that's fine. Some of them are not coming as perfect strokes, they're turning into the dry brush stroke , and that's alright. There, now that looks better. We will add more colors. Let's do the burnt umber first. We're going to do the same to this bottom part. Let's just add those. You can see I am picking up paint, but because I'm doing multiple times, they turn into dry brush strokes and that's fine. But don't start with the dry brush stroke. Let there be paint first, and then let it move on to dry brush stroke like that. See, it's already looking like a very nice wave, isn't it? Let's add some more interesting color to it. What I'm going to do is I'm going to pick up the Indian gold. Again in a nice creamy consistency, see that, and we'll also add the Indian gold strokes like this. Let it go around like that and let it converge by itself to a dry brush stroke that's fine. But don't deliberately start with the dry brush stroke that's it. Keep on adding and add it to both the sides. That is, to the bottom part as well. This is now looking already so beautiful and so interesting. Let's wash our brush and I think I'm going to add just a few more strokes of burnt umber at some places, but I think the golden is too much standing out because I wanted this edge to be having the burnt umber stroke itself. There I think that's enough. That's already looking very pretty, isn't it? We can actually call this complete, but I want to add some birds or some details so what do we add? Or should we just leave it like this? Maybe we can just add some smaller birds to make this look interesting. What should we add the birds? Let's add the birds with black. I'm using Payne's gray. We'll go with black, and we're going to use the tip of the brush and very small bird, so remember, I'm making tiny, bird see that it's very tiny. Let's add some tiny birds. The birds are actually these V-shapes, but make sure that they are in different directions. You see this one towards this, this one like that, this one downwards, this one upwards. That's how you would get the birds. There are other shapes that you can do as well. You can actually draw with the wings towards both the sides. But I just don't want to go into much detail at this point so which is why I'm just adding these shapes. Also whenever you are adding these shapes, if you have your V in different kind, such that, you see this one. This one, the left part was a simple line and the right side was a bit thicker. That makes a different bird. You can actually go for different themes like that when you're painting the birds. You can have some larger ones, but I'm just going to add very few. There's a lot of birds flying in that region. You can add very tiny ones as well towards the horizon. This is again, the rule of perspective. These regions are more towards the top and it's closer to the viewer. But this part here is the horizon and it's the furthest point in the painting or the picture so that is why the birds there should be smaller. Now I'm perfectly satisfied with this painting, and because the strokes are almost dry now, and the last thing we did was the bird, we can actually go ahead and remove the tape. This is stuck. There it is, our beach with some birds added. If you want it you can add some splatters to this side, just, you know, not to make this beach as perfect as it is, but I like it this way that's why I left it. There we go. 46. Day 36 - Sun Rays: The colors we need today are Indian Yellow, Indian Gold, permanent brown, burnt umber, and Payne's gray or black. We're going to look at sun rays for this last one. I want to make it quick and simple. We'll have the sun rays in the center and ocean view at the bottom and because the focus is not on the ocean, we'll have it very less. Just at the bottom we'll add a line which will be the horizon line for our ocean. I'm just making it as small as it could be because we don't want to focus on the ocean. That's the line for our ocean. Now, what we'll do is we'll paint the sky part. For this one, essentially, we have to be very careful about keeping your paper wet as much as you can. That's very important because we are going to work on some techniques where you need to depict the sunlight. Let us pick up water and let's water the whole of our paper. Make sure that you apply the water evenly without any large blobs or pools of water. You know what? Actually this line is by hard for me. [LAUGHTER] Whenever I'm applying the water, I keep saying that over and over. It just comes naturally out of my head. It's almost by heart now. But it's also very important that we keep applying the water as many times as you can, because that's the key thing to making your paper stay wet for as long as you want to work on all of the techniques. The wet on wet works. Make sure you apply the water evenly. Mine is 100% cotton paper, so it stays wet for a longer duration than the other types of paper. If you're not using 100% cotton paper, make sure that you apply the water evenly for a very long time. I think that's good enough now. I'm going to switch to my size 2 more brush and let's start painting. For this, we are going to paint the sun rays here in the sky. It's going to be spreading out in all directions. The first color that we are going to use is yellow. Any yellow shade. Mine is Indian yellow. Make sure you take the yellow in a nice consistency. Don't have a lot of water in your brush. See, I'm doing like this and taking away the excess water that was there on my brush because I just want it to be paint. Let us assume the center. This here is the center portion. Let us leave a huge gap in the center where we want it to be light. We have to assume that. Just find the center portion of your paper and then have these lines away from the paper. It's going to be like we are going to create these lines. You can see what I'm doing. I'm making a big circle there. Away from the circle, all of my lines are going away. See that. Now there is a huge circle outside. Now what we'll do is we'll paint from all the corners of the paper towards that line we have added. You can see we will lose some of those lines that we added. But don't worry, we are going to use the lifting technique here. This is why I said we have to work quickly on this one. Take up enough paint in your brush and do this. In each of these directions, we'll always be following along the direction of the light. The lights are going to be spread out in all the directions. Make sure you paint accordingly. You see. Don't worry about the beach area now, our focus is on the sun. There was a green and I mixed it. Let me wash my brush. I don't want any green in the sky. Let me wash that area. There, let's keep adding. See that. Work quickly. You can see I've left some areas and some lines and those will be forming the light in the center. Leave that huge gap. If you leave only a small gap in the beginning, then the whole paint is going to spread. Our watercolor paint spreads. Assume that it spreads a lot. That's why leave a huge gap in the beginning. Then just keep on picking up more paint and adding from all the directions. It's already coming alive and beautiful, isn't it? Can you see that? Some light in the center. That's what we were trying to make. I've removed the paint from my brush. Now I'm going to have a tissue in my hand and another brush. This is a smaller size brush, size 4 brush. What we're going to do is we're going to use the lifting technique. Make sure your brush is really dry. From the center, let's lift off some lines. See when I lift off, I'm lifting off the paint. Wash your brush each time. Then dab off and remove the excess water , and then do that. Wash, remove excess water, and then keep doing that in all of the directions. That will strengthen the sun's rays that we have. Repeat that for all of the areas. Do not put your brush back on the paper if you just lifted off. I've just lifted off my paper has yellow. See that? You will be applying that back onto the paper if you lift off so don't. Do that multiple times. You might have to do it again on the same side that you have done because the pain tends to flow inside and will create gaps. Not create gaps it will fill in the gaps. These paint is going to flow back and we will lose the white essentially. Because of that, do it multiple times. Just use the lifting multiple times and lift it from the center outward in all of the directions. It's going to be easy to embody. This is why the 100% cotton paper is very important. Remember about washing your brush each time and see how I'm lifting off in all the directions. I think we're good now for now. We can lift off later on again if we want but I want to add some more colors into the sky before the paper dries so paper has already started to dry, so I'm going to pick up paint, but make sure that my brush is really dry and only picking up paint. I'm taking indeed good and I'm going to start in the corners towards the inside. you see that? Because I'm applying only paint and no more of water it will spread with the yellow. As in it will blend with the yellow but if you have a lot of water on your brush, then it's going to create blooms. Ideally, if you think your paper has dried, stop right there and then wait for the whole paper to dry, reapply the water. Just that when you reapply the water, try not to move the water onto the white area because we want to preserve the white area. Reapply the water if you think your paper has dried. Again, we are having these lines towards the center. Just like we applied the yellow at first now we are applying the Indian gold. In all the directions, will be doing that. See, this has already started to dry, but because I'm picking up very dry paint it will just blend smoothly. That is the key thing actually so understanding the amount of water on your paper, see these areas. How do I show it to you? See, in this angle. If you're looking from this direction, this angle, this region is already very dry. Because that's very dry and I am picking up, see the paint on my palette it's very dry. Because I can't afford to add any more water onto my paper because it will form bleeds. In order to avoid that bleed, what I have to do is I have to add paint such that they are really dry. This is the reason why I'm adding dry paint but like I said, this is 100% cotton paper, so that's why it's blending nicely. If you think that it's not blending, then wait for your paper to dry and then reapply the water that's very important. Now I have applied the Indian gold let's also add another deeper color. Again, I'm wiping my brush clean, I don't want a lot of water and we'll pick up permanent brown. Permanent brown is like a brown mixed with a little bit of red. This is permanent down from our Philosophical but make sure that your paint is dry. See that I'm drying it up because we really can't afford to have any more water like I said. Apply it towards the center, coming inwards like that and I'm applying it to the top mostly. Again, like I said, after you paint the Indian gold, if your paper is dry, wait for it to completely dry and only then apply this color because I don't touch your paper if it has started to dry that's very important point. Keeping your paper wet for as long as you can is the most important thing when it comes to painting. I've added more darker colors towards the top region. If you find that there are any uneven blends, just dry your brush completely and just move along the edge. See here so that area is like completely having a dry edge. I'm just going to go over it with water and soften that edge. It's much better than before but this side, I need to soften that so I'll soften that edge as well. Each time, just pick up water, wash your brush, and dry your brush and then soften it. That's how you can soften your strokes and then if you want you can also lift off some more paint, but this is already too dry so you won't be able to lift off anymore. Let's now wait for this to completely dry. Let's wait for this to dry so that we can add the ocean part at the bottom. I was also thinking about adding some clouds in front of these sun's rays but I'm just scared to ruin that. I think there is a split here in the sun's rays. I'm just going to lift off again and make it continue. That's better. That's more than that out. I think this is good. We'll add some birds in the sky and let it be that I don't want to make this difficult. Let's paint the ocean once this is dried. Our main is now completely dry let us just paint the bottom part. For that, I'm going to quickly go with, let's go with permanent brown and add to the whole of our ocean. The ocean is not the highlight this is just something we are adding at the bottom so that we cover up and have something at the bottom. We'll have an ocean class in detail. I'm just covering up the whole of the bottom part like that. Cover the whole area, with beautiful brown color. Any brown color that you have [BACKGROUND]. I've covered the whole of the ocean part. Now, I'm just going to slightly add a little bit of lines on it to make it look as though the ocean and some darker tones. I'm going with burnt umber. Using burnt umber, we'll just add some lines into our ocean like that onto the other paper. We just applied the permanent brown. Permanent brown was a mixture of red and brown. On top of that, just add these small lines or whatever with burnt umber or a darker brown. There. Now it doesn't look so odd. We have an ocean. This painting is actually this simple. But because it looks too simple, let's maybe add few birds in the sky. When adding the birds, now I'm going to show you something; how we can manage the colors of the sunset along with the birds. That's another good exercise to include in this. Here we're going to have some birds right in the center spot of the sun. It's right in the center spot of the sun, so the bird is also going to have that reflected color on them. The bird in that center region is going to be in a golden shade or as light as possible. Actually, let's go with yellow and golden mixture. More yellow maybe because it has to be light. Using that light shade, let's add a bird. See, I've added a bird and it's golden. Now I'll show you how we can give that different color transition for the birds. Into that golden, now let's add a bit more brown to our golden color. That would be somewhere outside towards the yellow region, our birds are going to be slightly darker. You can add more birds. When you paint on the yellow, make it with the brown shade that we just did. Then when we paint a little bit more further away, let's add an even more darker shade. I'm going with the permanent brown, and that would be here. There. Permanent brown. As you move away towards the further end, your birds now going to be darker, so then you would use Payne's gray or black. I use Payne's gray for black, that's why. Remember that. See on towards the golden region and the permanent brown region, I'm using Payne's gray or black. Can add more birds. I need my head down closer to get these birds' detailing, otherwise, they're always ruined up. Let's add some more brown birds, and they would be here on the yellow region. Here on the yellow region, they would be brown. Make sure that you make the birds smaller when you go towards the horizon. There. Then maybe we'll add some more birds towards the center. For adding those birds in the center, you would take the golden shade. This is because they are being reflected. The sunlight is being reflected, so they'll seem as light. See what I did? This bird here, I made it slightly dual-tone. What I did is I started with Indian gold, and then at the end, I applied a little bit of brown toward the end. It's in a transition area, isn't it? Some part of it is in shade and some part is in darkness. That's what I'm trying to do. These are the birds. You can add more. See? You can add as many birds as you want. Think this is good enough. I don't like this bird. How can I correct it? I can make it bigger. There. That's better. It's because when I'm usually painting bad or something, I want my head really focused there, otherwise I tend to ruin it. There. Have made those two better. Towards the horizon, as I said before, the rule of perspective, make the birds as smaller as you can. I think this is done. This is all there is. Just wanted to show you about the sun's rays and how the birds would be when the sun's rays is shining upon them. Because there is too much light in that area, we'll see them as purely as a slight yellowish tone. As you go away from the sun's light, you'll see them as black. That's how it is. I think these regions have now dried so we can remove the paper from the tape. [NOISE] I think that bottom region was not completely dry so you see it's slightly taken off the wet paper. This is why I say always wait for your paper to completely dry before you can remove the tape. Otherwise, this is what happens. I think I was just too impatient today. Anyway, I think that's one good lesson learned for me as well; to be impatient and wait for it to dry because see, I've got some of the edges missing because this area was slightly wet still. I should have dried it up and then removed the tape and I would have got clean edges like this. Anyways, that's all right. Good lesson for all of us. Here is our painting for today. I hope you liked it. 47. End of Week 06 - Sunset :): There is all of our six sunset paintings. I really can't choose a favorite, but I like this one mainly because of the colors that we had used and the color mixing exercise. This one is really favorite, the sunset colors. I think I also like this one because of these lines here. We're finished with our sunset week. I'll upload reference images into the resources section. You can check them out and try them out for yourself. I'm pretty sure that you'll be able to get the beautiful, gorgeous sunset sky, and the sunset colors very nicely now. 48. Day 37 - Bright Moon: The colors we need today are bright blue or phthalo blue, indigo, Payne's gray, and black. This week we are going to learn about moon and moonscape, moon landscapes, anything and everything about the moon. Moon is quite addictive. If you start painting moons, you'll just want to go and paint moons forever. I've had that problem. That is, I used to come back to moons every now and then because it's just so beautiful to paint them. Also, the techniques that we're going to paint in these landscapes for the moon is going to be quite similar to the ones that we've done in the past week. We will have wet-on-wet techniques and all of that. Because I'm unable to squeeze all of the topics in this class, we will also learn to paint some birds, in this moon week. In this painting, we are going to have a large moon, in the left side. Let's make it towards the left side. Let's sketch it out first. Somewhere way the left side, I'm going to have the large moon. This is all. That's going to be the pencil sketch for our painting. We're going to paint all the outside parts of the painting now. That is we're going to skip the area of the moon. Let's apply all around. It's just a small area. Remember when we did the planets lesson, we applied the water all around, so it's just going to be similar. But this is going to be moon. We're going to make this like the moon, which is going to be quite interesting and it's going to be glowing. Notice, I'm applying the water, but I'm not touching the circular area yet because it's very hard to apply the water around it with a flat brush. I think I'm done with my flat brush because now I'm going to go with my Size 2 mop brush to apply the water. Apply, and now you can carefully apply along the edge. Take your time to go around the edge. Remember what I said. I like this circular stroke. I like to do that with my flat brush or any brush, in fact, just this, going around like this. It just strengthens your brush stroke when you're trying to follow along an object. It's very nice, practice it because in the long run when maybe you're taking videos or even when you don't intend to do any videos, but we just want to paint in free hand or free flow, these kinds of strokes are really going to help you because it really strengthens your brush or your arm for doing those brushstrokes. Just this side as well. Remember to reapply into the other areas. See this has started to dry. I'm reapplying and strengthening the water on that area. There. Now, I have applied the water to the area all around the moon. Now we have to be careful. It is similar to what we did with the moon, but then we want to be more careful here. I'm going to be using phthalo blue. This is bright blue or phthalo blue. This blue is from White Nights. I love this blue. We are going to start, and see, that I've left a gap. Leave a gap between the moon and your strokes. Go around with your stroke. But leave a gap. That is very important because we are trying to create a glow in our moon. The paint will flow there. But let it flow naturally, you don't paint it. You should not apply the paint there, but rather let the paint flow if it wants to. Here, I've applied all around the edge now. Make sure that the space that you leave is uniform. See here, this area is now spreading a little. I'm not going to touch it, let it spread, it's okay. There. Now I have applied it evenly all around. Now I'll just cover the rest of the areas. This is one hot task to keep that binge to the other areas. Leave a huge gap and then slowly come inside because you don't know how much the paint is going to flow. Be very careful about that. Now, we'll just cover the rest of the areas. But also, with the rest of the areas, I want to leave like maybe a gap or something, like that. I really don't know why I'm doing this, but I think I had made a painting like this before and it looked really beautiful, but it's already spreading. But that's all right. Now we've covered everything. Covered the whole part. You can add multiple strokes. To get it vibrant, keep applying more and more paint on top. Since your paper is wet, it'll handle the blending by itself. I'm leaving two lines there. I'm just going to make it more interesting, that line, because now it looks odd, isn't it? What I'm going to do is, you see this joint here, I'm going to take off that joint. What I'm gonna do is, I'm going to use my brush to lift off paint. See, I've lifted off that and I made that joint much better. Each time after the lifting, I wash my brush and then I remove the paint from my brush and dab off the excess water. There. I think it's some light beam coming from the moon. That's what it is. Just do the lifting a little bit of multiple times. Then, also, if you feel that the paint has spread a lot towards your moon, you can use your brush to just spread out and soften it, and lift. See that. Because I've softened it, we got that little beautiful blend glow around the moon. When we paint the moon inside, you'll understand exactly how it has turned out. Now I need to do this lifting here again. Wash the brush, dab off excess water. We're not done yet. Now, we need to add some darker shadows. I'm going to go with indigo for that, it's a great combination, this light blue and indigo. Now, I'll add the indigo on the top because my paper is still wet. Notice, if your paper is not wet and it has started to dry, then wait for it to completely dry. As I always say, understanding the amount of water on the paper is the most important thing. I'm applying towards the left, so you can see. I'm applying in the form of lines like that. Let it blend by itself, in those regions. Let's also apply at the top. Make sure that the corners are really dark. I want the corners to be dark, so I'm applying more paint, you can see that, and I'm applying such that it forms a line. Let's do here and more so you can see how much paint I'm taking. I'm taking more and more paint. That's a lot of indigo. Now, we need to create a little more beautiful blend, so I'm going to go with halo blue again and apply to the areas where my indigo is just at the end so that I can create a beautiful blend between the indigo and the halo blue. Like these areas, see it looks odd because there is a visible separation between that. Oops. See, I touched the indigo and I reapplied onto the area where it was bright blue and I applied indigo there, so I'm going to pick up some more bright blue and blend on top of it. See, I did that same thing again, so it's just basically more bright blue and as soon as you have indigo on your brush, I've got to clear it. See, now I have indigo on my brush. If I go and apply this here, it's going to turn dark blue, so I've removed. That's much better, isn't it? Now I want to go around the edges once more because see it's starting to form some harsh edges, so let's just go around and soften those harsh edges. Wash the brush after a while because, otherwise, it's not going to form smoothness because it'll have the paint, so smoothen out. You really don't want any harsh edge; smoothen out as much as you can and also lift off. You can do these strokes, so it will seem as though the moon is emitting some light and it's extending towards the right. I think this is good enough, so now we'll wait for this whole thing to dry. Everything is now dry, so let us now paint the moon inside. What I'm going to do is let's apply the water inside of the moon. So carefully apply the water along the edges. Now, we should be careful that our paint does not flow outside, so we have to make sure that the water that we apply is inside the circle. All the inside part. See how I'm rotating the brush. Remember I said I love doing these strokes. It just gives you more brush control, especially this one. The other one was just moving around. This one is supposed to be making your hand rotate along with the inner circle. See that. Try those strokes, it's good to learn those hand movements. We are done with applying the water all around the inside. It's good now. That's more than enough water. Don't form in large blobs of pools of water, move it around and spread it so that it looks even. I'm going to go with Payne's gray, so it's not a darker but a medium tone of Payne's gray, and we are going to drop it on to our moon at random places. See that. It's already seeming to form the surface of the moon, isn't it? Just apply, and at times, maybe you can make a circle or something and some lines. See that. It's like a crater maybe on the surface of the moon. This is not like the planet that we did because inside, we are only applying at random places and some of the areas are going to be white, so this is much simpler, isn't it? You can also add some darker tone, not darker, but a medium darker tone to some places. It's just we're trying to bring in a nice contrast and a nice color to our moon. There, I think it's much better now. All of those white areas, I'm going to leave it white like that. Now, this is already looking so beautiful as a moon. But there's a lot of waiting around because now the next thing is we have to wait for this to dry. See now it's dried to form a smooth mass. That circle or the lines that I made here is not even visible, it's gone because the paint has spread so smoothly. But then it really looks like the moon surface and it's got this glow around it. See some of these areas which got ruined because of the pain spreading and the drying. We can cover all that up. What we're going to do is we're going to add some branches in the front and some birds. Wherever you think that you've got some dark edges or something, cover it up with a tree, branch, or a bird. That's what we're going to do. I'm going to take my smaller size brush, this and the Size 1, so this is Size 4 and this is Size 1. Let's add some beautiful branches. I'm going to be picking up a very darker tone of Payne's gray because that's what I usually use for black, and picking up a nice amount of black of Payne's gray, I will go and make some branches. You can see, I'm using the tip of my brush and that's very important. Let me tell you something about branches. Make sure that they are thick towards the bottom and they go thinner towards the top. I just added in one flow at first, and then I made the bottom part thicker. Did you see that? We'll do the same. I'm going to add some more branches. See, slightly thicker at the bottom and then let it go and taper to become thin. We will add some more, so I just don't want it to be one tree or one branch. We're going to have some nice branches and let them cross over. Okay. Using a thin brush at this point is very important. Like that. You can see, I'm adding so many branches and let them cross over and see the pointed tip of my brush. It's really important, this pointed tip, but don't worry if you don't have a brush, you can't invest in a brush, or something like that. Use the maximum smallest brush that you have so that you can work on it. I want this branch to be slightly thicker. Now let's just add smaller branches or smaller lines coming out of the bigger ones because it can't be all bigger ones. Let's keep adding as many smaller detailing to these branches. One thing with the branches is that I always try to have my branches coming out of the main one. For example if I want to add a branch here, don't start from the bottom and go and make a joint towards the branch. Try to have it start from there and then lift off. When you do those kind of strokes the end will be tapered. I think we're really good to go in that region but like I said, I want to cover this up. Maybe I'll just add some smaller branches and detailing there. Because that seems a little hard with the spread so I'll just add some smaller branches and twigs there. Now this is much better, isn't it? That area is covered. This area looks just a bit the branches, so I'm just going to add some smaller branch or bushes like here in the end. Just do these strokes from the masking tape, move your brush upwards and lift off. Then they'll form like small shrubs or bushes. I think that's really good enough. Now, let us add just some little buds on our whole of the painting somewhere. I'm going to pick up black again hoping it's [inaudible] in my case. We're going to add some gorgeous birds. Notice how we are going to add the birds. I've taken my size 4 brush which is one of the smallest. I'm going to use the pointed tip of that. We're going to add a bird sitting on this branch. It has to be very small. Note, I'll make a beak, a small head shape. Let me show it to you closer. A small head shape and then a body. Then like a triangular shape towards the bottom. It's a small beak around for a head, then maybe an oval for the body, and then a little triangle at the bottom. Now that looks like a bird. You can actually extend the belly of the bird so that it's a big fat bird. There's a bird there. How about we had in some other place? Also note, we can't add birds in these vertical branches because we've got to think of how they sit on that branch. This one was almost horizontal so it's possible for the bird to sit there. This branch here is literally too thin for the bird to sit on I think. I think I'm going to skip adding anymore birds on the tree, it looks fine. There's only one sitting there. Now let's add in the sky. In the sky I'm going to add, so I'm going to have a bird. Observe this bird, how I'm doing it. I'm having a small shape like this and then I'll add a wing towards the bottom like that. Then I'll have another one to the right. When I added the other one to the right, I made sure that I leave a little to the front for the head of the bird. This is a shape. Now, this part here is the tail. You remember we used to do birds like making a V-shape. This is quite different. This is why I said I wanted to teach you how to add birds. I added it into the moon session so that we can just cover that as well. It's just some extra thing I wanted to cover in this 100 days. We have one flowing like this. How about we reverse one? For the reverse process, let's see. We need the wings to be facing upwards. I'm also not perfect. I might also make mistakes but let's see. I'm going to have a bird right between the edge crossing over in this region here. How do we do it? I've got the little beak and then I've got the body of the bird. See the shape? Body of the bird. Then just like we did with the wings, let's add it towards the top. Not bad. See that? Now, this one is flapping its wings and it's on the way of flapping from the top. This is already done the flap and it's down now. It's just in the process of doing those flapping wings. That's it. You can add as many birds as you want. Let's see. Let's add one more. Maybe we can do it in a different shape now. I've started with a thin one and then I'm going with bigger. See? That's another one. What I did was I added a small end there and this area here is fat. Then we have like an oval in the center and then another one, just like that. Just like the left one, do the right one as well. We have a different bird now. I think these are good enough, isn't it? You can add more if you want but I think I will stop here. I do really want to add more though. The bird is actually going on that line and it might seem as though it's the speed of the bird that's forming those lines, I don't know. Maybe let's add some. I'm going to add like the first one. For this bird I actually added a little extra thing at the tail. It just looks like a different bird, that's it. Now I'm going to try and make the usual ones that we do but a little fat and like the V-shape that we usually do. But when we're doing a V-shape and when it's bigger, note. I've made the V-shape but because the birds are now bigger we need to add more detail. Here I'm adding an oval shape in the center and joining it. We used to do the V-shape birds like this. Remember these kind of birds that we used to do? But these are far away. The middle part, the head part, we're not seeing it. But this is now like we're close and we are adding the details so we do need to add the head. There it is. I think we are done with our painting. The birds look really nice, isn't it? This exercise was to mainly make you understand how the moon, the glow, some branches and the birds. Let's remove the tape. There you go. I hope you like this. You can add some stars there if you want but I think I'm going to let this be like this 49. Day 38 - The Moon!: The colors we need today are, Payne's gray or black, a red, ultramarine blue, and yellow. Now, today, we are going to paint the moon itself, that is, trying to get the perfect moon's surface. Let's make a quick, simple pencil sketch for that. We need to have the surface of the moon. I'm going to make a curve where it'll be the surface. Something of that sort. This is going to be the surface and this is going to be like the sky region. Maybe I can just create a bit more bend, I think. This is much better. I need to rub this. [NOISE] There. Let's add few craters on the moon's surface, which will be helpful for us to paint later on. Just add few ovals like this. See that? Maybe a smaller one. You can see just add small circles like this, which will be like the crater on the moon. I think that's really enough. You can see how lightly I put my pencil strokes, because later on when you're painting, you shouldn't be able to see those pencil marks after you have painted. This is the reason why I don't apply my pencil strokes darker. Let us paint the sky first. It's just the sky, darkness, empty space. It's not sky. It's empty space. I'm going to be painting it dark and black. Let's just do that first. The whole thing, apply water to that space region, because wet on wet is the best to get something perfectly blended and smooth. This is the reason why we go with wet on wet. Since this is a small area, I think this is enough with applying the water. We can just go ahead and directly apply the black paint. I'm using Payne's gray for my black. Use black paint if your Payne's gray is not this dark. There. Just apply the whole thing with as much black paint as you can. We just want the space to be as dark as possible. This is Payne's gray from White Nights. I love it, because in its darkest consistency it can almost approach black, and in its lightest consistency it's a very good gray. We'll be actually using the Payne's gray itself for the moon's surface. That's why I'm using Payne's gray. But you can go with black for the space region, and then you can use Payne's gray or any gray that you have for the moon surface. I think this is now really dark and black. That's more than enough blackness for now for the space. What we're going to do is we're going to wait for this whole thing to dry, otherwise, because it will bleed into the moon surface, while we painting it. Let's wait for it to dry. The space is now dry. Let's paint the moon surface. I'm going to be adding water. Let's wet the paper. Here me out. I said I'd use the Payne's gray itself for the sky, but while I was drawing it up, I decided otherwise, that is, I wanted to show you how we can make a nice gray color by mixing the primaries. In the color section, I'll mention the colors correctly. I think you already know that we are going to use those colors because you've seen it in the video after I've edited it. Some not Payne's gray. We will use mint gray at some places, but first, I want to actually use and mix some gray from the primaries, because that's actually a better gray than the Payne's gray for the surface of the moon specifically. Here, I've applied the water. While I'm mixing the paints, my water is going to dry, I know. But then we'll reapply it and it will be like the thing I used to say where wait for it to dry and then reapply it that will make the paper stay wet for a longer duration of time. I'll be doing that today now. Let us mix some gray. We are going to mix it using the primary colors. Which color should we take? Let's start with a red, or no, that's orange. Orange. I said primary, then why am I taking orange? You can actually mix with orange also, that's why I started with it. But let's start with the primaries. I think that's better way to show you all. Let's take red. Nice amount of red. Then we'll take a nice amount of yellow and add it to the red. That's going to make it orange. That what happens when you add blue to it. Let's add ultramarine blue to it. Ultramarine or cobalt blue, both are fine. We'll add that. See, so that is now turning into a brown shade. We should add more blue and then it'll turn into a nice gray shade. More blue. Now when you've added more blue, it's more like an indigo shade. Pick up more red, mix it. Now it's like golden purple. More yellow. It turns to brownish. You should observe the shades that we get. Now, if we take more blue and add it, you will get a nice gray color. The good thing with this gray color is actually you can vary the gray by adding more red. See, it's slightly different gray now. If you add a bit of yellow to it, it becomes brownish. Add more blue to it, it becomes more like black tone and more red. It's really beautiful how by mixing the primaries, you can vary the gray. This is the gray that we want. See, it's almost like black, but when we apply it in a lighter tone, into the wet on wet technique, wet paper, it'll be more better. I just wanted to show you this. I'm just trying to include various things into this class. It seems like I'm trying to make it into a masterclass, but after 100 days, you are just going to be familiar with so many things. That was my clear agenda about this class. That's why I decided halfway along that I wanted to be mixing colors and creating the gray. Now I have reapplied the water. Now my paper is going to stay wet for a longer duration of time, definitely. I have my gray in my brush because I mixed it. I'm going to apply. See, it's lighter. Because we are applying on the wet paper, it'll be lighter. Then it'll have these tone variations because it's got all of these colors, the blue, the red, the yellow. See, it's splitting out into creating a brownish tone. This is the reason why I thought I'll blend and mix colors. Just apply the colors. See how it's splitting out. Oh, my god, this looks beautiful. When you mix the colors, that's the beauty of it. Apply and make sure to apply it properly towards the edge. We only want a lighter tone. Very carefully do that. See how the blue is splitting out. This is because I think I used ultramarine blue, and it's just spitting out and creating the granulation effect. That's beautiful. Anyway. When you blend the colors, it's really nice. But don't worry if your colors don't split out like this. I think it's just up to the brand and how it's manufactured. Please don't stress out that your color is not splitting out, you're just getting a very dark grayish tone. It's really fine. Use ultramarine blue. I think if your ultramarine blue is a good one, then it should split out. Now we have covered the whole surface, and the pencil marks are not clearly visible in the video, but I can see it. You will also be able to see your pencil marks on your paper. What we are going to do is we are going to pick up now a more darker tone of the gray. I'm mixing a little bit more blue to make it grayish. Then using that, we are going to add some shapes. Use the side of the brush and just drop paint and add some shapes. You can add some dots. You can use the pointed tip to add some dots. This is just us trying to create some varying shades for the surface of the moon. I'm just adding lots of things, just small lines. You can see here towards the right side, I added a large blob of paint. I'm just trying to create some shadows and fun things. If your paint is gone, you can go ahead and mix more. What I'm going to do is I'm going to add some splatters with this same gray. See these platters, they are going to spread. Because our paper is wet, the splatters will spread. Add as many splatters. These are going to be like the small surface details of the moon which is like in the wet-on-wet state. We will also add wet on dry strokes. I think that's good enough for now for the gray. Now we'll wait for it to dry so that we can add the wet on dry strokes. I love how this surface has turned out. This is mainly because of the ultramarine blue and its granulation. Even if we mixed it on our palette on the wet paper, it would split out into pigments. Try using ultramarine blue itself. If you've got some brand, even brushstroke, I think the ultramarine blue granulate. Even if you're using a basic palette, if the name is ultramarine blue, then it should granulate. See how it has played out. I'm really loving the splatters that we added. These are wet on wet splatters itself. Now we will go and add in some of the craters and its details onto the moon. I'm switching to my size 4 brush now. We'll go and add with the gray itself, but we'll also add Payne's gray now. If you were someone who was mixing gray and making Payne's gray, it's not a problem. You can just use the same color throughout. But if you have Payne's gray then we'll use a mix of both. Let's make more of that paint. Since our ultramarine blue, we need to mix a lot because I don't want to be mixing in between, but I'm pretty sure that this is also going to get over and I'll end up mixing. Now let's take some red. Now let's pick up yellow and mix it a lot. It has turned into brown. Now we need more blue to make it gray. All three colors mix them in different ratio and you will get a nice gray tone. We'll have to do the mixing multiple times to actually get the gray that you want. You can see here I'm adding more. When you add the yellow, you'll see that it is turning lighter. Don't add too much of yellow, because when adding too much of yellow in a gray, you'll never actually be able to get the gray that you want because yellow is the lightest of the primaries and it is not going to give you the grade that you want because you just need a little amount of yellow. There. Now I've made. It almost looks like black, I know, but the lightest tone is going to be gray. I've made enough of the gray. Now let us add in the detailing and some craters. Here is the paint. Pick up nice consistency of the paint. We are going to add in the craters. Then I'm going to draw along the crater. You remember the circles that you made on the paper, we are going to add in the shadows on them. I've added just towards the right side, you can see what I'm doing. I'm just adding some shape to the crater. It's like the shadow on the right side, but towards the left side, we won't draw the hole, but I'll just try and draw something like that. It's like the shadow is on the right side. Maybe you can add some detailing or some surface texture inside. Then towards the outside of that crater now I'm going to paint. Observe how I do it. See I've mixed water, and I pick a lighter tone. What I'm trying to do is we need to make this area be the lightest and look like as though it's the inside part. I applied paint to the outside. See that? I apply paint to the outside of the circle. Then I'm just going to blend it. Blend towards the outside. The outside now looks darker and not darker, but this area will seem as though this is the inside part of the crater. You can just blend it. Even if you get some darker lines on the moon surface it's totally fine. Don't worry about that. Now we've added towards the outside, there's one more thing that we need to do. Pick up the color and add it slightly, leaving little part and adding towards the inside like that, but join it towards the bottom. This is like trying to create that height for the crater and then blend it towards the inside. Now can you see how it's turned out? It's seen as though it's got a height, isn't it? Our crater has a little bit of height. That's what we try to do here. We'll do the same. For more craters we'll add the colors. Maybe let's add one here. There's a pencil sketch here. You can do it in different ways. You don't have to do it exactly like I'm doing. Here in this one, I've actually painted and drawn the whole circle. Then what I'm going to do is I'm going to paint this inside part. Then I'll just soften the edge of this place. I just want this area to be softened. You don't need to soften the whole thing, just soften part of it. Now I'll go ahead and apply my stroke towards the outside so that it looks as though this crater is having a height. Then we need to also give that color in the center. It's just different kinds of craters that we're trying to create and we'll just do this, we'll add more at random places. Some of them you can make it as black also, you don't need to add it lighter, or give any shapes. You can see I'm just adding some dark spots at random places so [inaudible] You can also add some dots. See this circle that I made. I did not color it fully, but I just left it blank at one side. You can do that also, just like let it be blank at some sides. Now we are going to do some dry brush stroke. For that we need a tissue and let's dry our brush completely and then we'll add some dry brush stroke. This is just us trying to create the different texture on the moon. It doesn't have to be exactly like what I'm doing. Do all the things that you can to get as much different kinds of texture on your moon. You can add craters at random places. None of them has to be exactly like what I'm doing so do your own way how you think it's going to make your moon look beautiful. I'm going to add some dry brush strokes towards the end. I'll also add some strokes, seeing some inside strokes. Craters, small craters. Just dropping some paint and creating, create whatever texture you want actually because it's the moon, it's just going to be beautiful any way that you created. Just go ahead and add whatever you want. I'm going to add more dry brush strokes. Now this is what I said. Let us add some splatters. Let us add the splatters with the gray that we created. Then I'm going to also add some splatters with Payne's gray because it's more black. Add splatters with black if you don't have Payne's gray. Also, you can also add more dark craters with the darkest of the Payne's gray. It will just make it more beautiful because you are having different versions of the craters. I've just added more craters. Now you can see it's different colors. Let's just add more splatters. There are more ways that you can actually make this painting more interesting. It's like you see these black craters that we have created you could actually make it look like a real crater like this by adding a little bit of white towards the left sides, because we are assuming that the light is from this side. This is the reason why we have the shadow here, because imagine it's like a like this, the crater. The light is from this side so it's falling onto this so that's why these areas are lighter and the right side of the is darker. That's why we had the darker spots on the right side of almost all the craters. Assuming that the light is from the right, what you can do is you can add a little bit of white to each of the left areas of all the craters, not to these bigger ones because we've already created depths for it. In order to create depth for the other craters, you can actually go ahead and add some white to the left areas. I'm running out of time. My clock shows 30 minutes, so I think I'm going to stop here. But in case you want to add more details, you can do that. Since everything is all dry, I'm going to go ahead and remove my tape. You can also add stars in the sky if you want. But I think this painting in itself already looks so beautiful, so I don't want to touch it. There is our moon surface. I think we learned something very nice today's indeed. What I like most about this one is the granulation of ultramarine blue. 50. Day 39 - Purple Moonlight: The colors we need to do are: violet, indigo, and Payne's gray or black. For the moon, we will be using white gouache or white watercolors. This is more like the galaxy one but with moon; the focus on the moon. I'm just going to add a circle here. That should be added. Let's make it towards the right. Because we already had a moon on the left, so let's make it towards the right. For this one, observe. I am not going to make the whole circle, but as just like 3/4 of the circle. Observe. I've left this gap here. This is all That's going to be our pencil sketch. Let us apply water to the whole of the paper. Apply the water evenly. In this case, we need to be adding a lot to our background and the background is the whole thing at first. Very carefully we have to apply the water as many times as we can without forming any large blobs or pools of water, making sure that the water on your paper is even. Cover the corners and the entire surface of the paper and also make sure to keep applying the water multiple times just to ensure that it stays wet for as long as you can work on the wet on wet technique for the background. We'll be covering the whole of the moon. This is one technique I want to show you for painting the moon. In this one, I'll cover painting the whole of the moon as well as just half shaped moon like this. It's really easy, but the thing with such landscapes or things are we do not think of it. When we see a picture, we're worried as to how we can approach it. I just wanted to show you how we can create this magical piece. It's going to be really simple because we do need our easy days as well. The first two moons was like nearly 30 minutes even in my timer so I wanted to make this one simple. I've added water onto my paper so we're going to start. Let's start with violet. I'm going to be starting with violet. That's the main color that we are going to use. We'll also use other colors because I want to get some darkness around, so violet and we are just going to drop the paint on our paper. Remember, when we painted the galaxies, we just added the paint. Also, you are going to lose that pencil mark, but then you won't be able to see in the video but I can actually see it. So in your paper, you'll be able to see the pencil mark just that you won't be able to see in my video. Let me cover up the whole of the paper with violet. I'm not going for a straight stroke because in your paper you'll be able to see the stroke marks. I want it to be random, so this is the reason why I'm applying like this. If you apply it straight, it's going to be like a perfect blend and you'll be able to see those perfect blends. We do not want it to be like that, we want it to have uneven strokes. There. Now I've covered the whole thing with violet, and entire thing. You can add more violet to make it vibrant. I had at random places and you can see my strokes. I'm just having fun circling around with your brushes covering the whole of the paper, that's just what we're doing right now. I've covered lots of videos. You can see some areas are having lighter colors, some areas having darker color and that's all right. Now we go with our next shade which is going to be indigo. Pick up nice indigo and we'll start adding to the corners to give a nice darker shade and a little amount of darkness here and there. Just apply. See? Mostly to the corners and the top, that's where I want it. So to the top areas. This is again like a magical night sky, but I want it to be including a moon. You go into the other landscape elements and paintings soon like water, landscapes, and all the other interesting topics, but I just wanted to get over with the night theme topics. It's like gradually going from one topic to the other. See, now I've added lots of indigo. You can pick up more violet and add it to the places where it's joining the indigo so that it doesn't look too separated out. You can actually lift your paper and move it around so that the paint will flow on its own. I need to be covering the edges nicely and the top area which I wanted to be really dark so I'm going at the top. There. At the top, I've covered a lot. At the top now, I can add more violet. See this circle is almost gone, but I can see it. It's not seen in the video, that's all. This is it for the background. Let's now wait for the whole thing to dry so that we can add in some extra details and the moon obviously. I'm just trying to add a little bit extra thing at the bottom because I feel that this area I skipped. I'm adding like that at the bottom. What's the top, because they tend to get lighter. That's it. That's enough. Now, I'll wait for this to dry or I'll use my hairdryer to dry it up actually. This is now dry and after it has dried now you can actually see the pencil mark. We're going to add the moon in here. For adding the moon, we are going to be using our white gouache or white watercolors and observe how we are going to add the moon on this. Let us pick up the white paint and we need to be painting along the borders and will be softening the edges. I need to turn this around because for my hand to work. Because I don't have an angle to paint like this because I'm right-handed. I'll just done this slightly and this is my circles. You can see the circle that I had made. I'm going to start here and we have to go along the line of our circular shape in the inside. This is really a good exercise to get your strokes correctly. Along the inside, pick up the white paint and go and apply it. Then what we are going to do is we will apply some random strokes like this and let us just pick up another brush. This is another size 8 brush that I'm picking up. Because there's white paint on it, I don't want to wash it off and waste paint, that's why. Otherwise, you can just wash it and use the same brush. There is no specific rule, and we just soften the edges. See that? You'll see the paint flow when it softens. But that's all right. But then at the end, use water and then wash your brush each time and just let it flow. See, we've softened that much. We'll do more, don't worry. I'm going to pick up more paint. Remember, along the edge is what we have to do inside of the circle. Along the inside of the circle and we won't complete it. We're not going to complete it, but rather we'll just do the three by four, the fifth. That's why I said we only need the pencil sketch to be three by four and not the whole. It's going to be like, I don't know, just a little part of the moon being visible. Like we did before, we'll do some strokes like this so that we can soften them. I think I'm going to stop there. We already have our edge-painted moon now. Now we need to do is soften the edges. When you soften, they'll flow. Now I'll use the same brush because I want to soften with the same one, and we can add more white later on. See, when you add. I'm pulling away paint because when you're softening, you are applying your wet brush onto the existing paint. It pull off some paint, but not to worry. Here, I've softened that region. What I'm going to do is, we join up the areas where we have softened. The whole thing. It's all right to have these different tones on our moon because it's just a surface of the moon. We'll actually just make a little part and make it join the circle, but it's not going to have any white paint. Then I've made join, but I don't want that edge. I'm going to use my tissue and just dab off all that part from there. It's just going to be something light over there. See how it's turned out. This is not done yet, don't worry. I'm just showing you various techniques that we can be using. This need to be more to make it circular. Know I'll that dabbing. We're done with the applying the water. Now I want to add a bit more of white to some places. What we will do is, remember we added Payne's gray in random places. The same way we will be adding white now. But you can see it's spreading some of the violet and mixing along with the violet. I'll give a beautiful texture to our moon. That's what we're trying to do. I didn't want to add the whole thing to the left. You can see the right side has already become a little lighter. We'll need to add more white on top of it. Let us now pick up more white. I'm going to use my smaller size brush to go around the edge. Picking up a nice creamy consistency of the white paint. Then I'll go around that edge because that area, I want it to be more white. Then you can just apply and blend some areas. But then that area mainly we want it to be white. Towards the edge here, blended slightly with the violet. You see it's not creating a lot of white strokes, but just random strokes. Washing my brush because it's got a lot of violet in it and then I'll pick up the white again. Pick up the nice creamy consistency of the white and then I'll keep adding to the areas where I want it to be more white. I need more white paint. These are dry. It's not coming off, so I'll take fresh paint. Let's add to this side now. We have to be really careful on the edge. Remember what I said, very, very carefully. Now I'll wash my brush because it's got a lot of violet, and I'll pick up the white again. Let's add it. I know I said this is going to be simple, but isn't this simple? We're just adding white on top of violet and trying to blend it with the underlying color. Even if it bleeds, it's really fine. Just looks like the surface of the Moon. Isn't it actually simple? See how that edge I've made it to paper. I make it paper like that. Then these inside areas, I'll just blend. To the other areas I'm just applying paint like that. See now how we have got a nice Moon on our paper. But with the white at random places and the top to the right areas are almost as white as it can be. There. I think that's good enough, but I'm going to add some white strokes at random places again here. You can actually soften each of them if it's forming any harsh edges with the violet. I think I'm going to add a bit more nice white here because I actually want the Moon around this half to be having more white and the left half with being lighter. That's what I am trying to do here. But not cover the whole thing, Leave some places. Observe my strokes. I'm going around in circles. I think we are good enough for now. Let us wait for this to completely dry. See how it looks after drying, it looks more blended, isn't it? Now what we can do is let's add some splatters into this sky region, into this night sky part next to the Moon. Small splatters. Let's pick up the paint. I'm actually going to cover the Moon surface because I don't want any stars on it. Just a little teeny tiny bit of stars. There. I think that's enough. Shouldn't we make this painting more interesting? I've got good eight minutes in my clock. My clock actually includes my drying time as well. I try to include that and stop before that. That means when I'm editing, my video will be less than 30 minutes. That's how I do it. My clock says I've got eight more minutes, which means I can add more details. I'm picking up Payne's gray, nice amount of Payne's gray. What we're going to do is, you remember we added branches in the first lesson all the way upwards. In this one, we are going to have a different kind of tree and a different kind of branch. We're going to be having a tree in the end towards the right side of our painting, like this. Extreme edge. We'll only be seeing literally a little part of the tree, but then branch we'll see it going upwards. But the main highlight of this is there's going to be a branch right on top of the Moon. Let me just draw the shape first. That's a good enough shape for now. Now I'll make my branch better by making this end thinner and that end thicker because that's how branches are. I'm making it thicker. We can have more branches from the top one. Just a small one. See how I've added that. You can make the tree more thicker at the bottom so that the branch looks interesting and the tree shape doesn't have to be straight lines. Here I've added some birds there because that's how the tree shape is supposed to be. Then next thing is we'll add some extra branches to this one. Use the pointed tip of your brush and draw branches like that, just in different shapes. See how I made that one, so it's one branch extending to that side. How about we add some birds now. Let's add the same way we added birds. It's going to be a little big, remember, a circle for the head. See I got paint because I've been touching here. If I don't wipe it, I'll drop that paint on my wall. A little paint. The body of the bird, which is like a small oval maybe. Then make a little triangular shape. See, that's one little bird. Then if you have space here, you can add a little teeny tiny line, which will be the leg of the bird. See that? This is how you will add birds if you really want to add. If you want, you can go ahead and add more birds. I think I'm just going to add one more and this. Another bird with the belly. There. I've got two birds on our Moon right now. If you want really, you can add more stuff. Maybe I'm just thinking of adding another extra branch here. But don't make it too much also, because it can ruin the whole thing. I think that's enough, isn't it? Or maybe we can add one small branch here. It's just about adding more things and the way you want it. There. I think this is really good enough. I don't want to ruin this. If I add anymore, I might ruin it. I wanted this to be simple. This region is wet so I have to dry it up. I've dried it. Let's remove the tape. See how only a little part of the tree is visible. Here is the beautiful one for today. I just wanted this to be simple and my focus was to show you how to make the Moon with white paint and also to make these birds. There 51. Day 40 - Night Sky Moon: Let us have a look at the colors that you need today. It's going to be Indian yellow, permanent brown, and Payne's gray. For the stars and the moon, we'll be using some whitewash or white watercolors. We've had a look at three different types of moon paintings for now. Let us go on to the fourth one. There's no pencil sketch because I just want to do all of this free hand. Let's apply the water first. I'm using my flat brush. As I keep saying, you don't need a flat brush to apply the water. You can just apply using any brush that you have. Typically, the largest one that you have so that you cover a large surface of your paper. Let's apply the water and make sure that you apply the water evenly onto the paper. That's why a flat brush helps. But then you can also apply the water evenly using other brushes as well, so you don't need to worry that you don't have a flat brush. Pick up the water, and just apply to all the four corners, especially because those are the areas that are likely to start drying first and also to the top area of the paper. Keep applying the water and make sure that you apply the water multiple times. As I say, it helps to keep the paper wet for a longer duration of time because it gives you enough time to work on the wet on wet technique without letting the paper dry, so that's why you need to apply the water multiple times, especially if you're not using 100 paper cotton paper. I've applied the water. I think that's enough of the water on my paper. I'm going to start painting. The first color that we are going to use is Indian yellow. Let us pick up a nice yellow shade from our palette. Any yellow would be fine. Pick up the yellow. Remember our brushstrokes, we're just going to add some lines like this. In the center mainly, so in the center, and then away from the center, try making them smaller lines. These are just straight lines, so it's going to be pretty easy. There, I think that's good enough. If you want, you can extend some of it, but then we'll be painting on top of them. We just want a little bit of the yellow to be seen on the right side. That looks good enough for me. Now, let me wash my brush and I'm going to pick up the next color, which is going to be permanent brown. Don't worry if you don't have permanent brown, you can actually mix a brown and a little bit of red together. Or remember these unsaid exercise where I told you that you could create this exact permanent brown by mixing a violet, a red, and a little bit of yellow, you'll get this permanent brown shade. Let's apply that too. I'm applying it all around the other areas. Now I'm going to go with my permanent brown shade to all of the other areas of my paper. I'm going to paint on the top faster because that area is what starts to dry quicker, so I need to make sure that my paper stays wet. Let's apply. When you come here onto the yellow areas, we want to add them in lines. As you can see the whole thing, I'm just adding them in lines. The wet yellow region just make them as lines like that, and make them smaller here because we want more of the yellow to be seen, but not too much. Just on to the yellow you can see, towards the right, I actually want it to be the same at the bottom and the top so I'm applying more towards the right. You don't want it to fill up the rest of the areas. There's only going to be a little space that extends towards the left, that is for the yellow. The rest of the areas we'll paint it like that. The reason for applying the yellow first is so that even when your brown is blending on top of that yellow region, you'll have a little shiny part which is seen through the brown. That's exactly what we want. We have to work quickly enough in order to get the wet on wet technique and to make sure that our paper stays wet enough for us to apply those strokes. Now, I'm going to just add some lines like that. We only want a little bit of that yellow to be seen. See, like that. Now, let's go with more of the brown and make our ending vibrant. I'm picking more permanent brown. Mix more of permanent brown at the beginning itself if you think that your mixture is getting finished. That's another key thing that you have to think abort if you're going to mix your colors, because you'd have to make enough beforehand itself, or you should be really fast and mixing your colors. I've got my permanent brown shade done. I'm gonna go and add the next color. The next color that I'm going to add is Payne's gray. I love to add Payne's gray for creating that darkness so I'm going to add it towards the left and top areas of my painting. It's going to mix without permanent brown and we are going to shade. Only towards the left. The colors are mainly Indian yellow, then drown, and then the black towards the left. I use Payne's gray for my black. Go ahead and use black because we want to create that darkness. It's not gray that you want, but black. The black that I use in almost all of my paintings is Payne's gray so this is the reason why I'm using Payne's gray here. Keep applying the Payne's gray and you can see only a little bit of brown is visible now. The main reason why I'm doing this is because you could think actually then why are we painting brown first or you could just cover the whole thing with gray or black? The reason is, see that underlying tone of brown there, we will only get that if we apply this brown first and then on the top if we apply black. This is the reason why we do that. Otherwise, if we apply the black first, then we're not going to get that underlying tone to make it look beautiful. Remember to cover the corners nicely because those are the areas that gets lighter quicker because the paint gets moved on to the tape. I've added my Payne's gray. I'm going to go over and blend the areas nicely. I'm going to clear all the water from my brush because now the paper has started to dry and I can't afford to add any more water. Observe the paint consistency. I'm picking up a lot of paint and not a lot of water. Then I'll apply it to the areas where my black or the Payne's gray is blending because I want to create those lines effect. Putting up more. Now that's good. Now you can see a clear distinction between the brown and the yellow. We need to go ahead and add the yellow ones again. Make sure you remove all the excess water from your brush because again, that area is now almost very dry so you can't afford to add any more water. There I've taken yellow again, and I'll add it to that area in mixing along with the brown and creating lines like this. Now we have a blend and none of them looks uneven. The key thing is, as I said, don't stop midway even if you're applying the second don't, apply to all the places such that the water on your paper is uneven. You get those dark lines or dark edges when the water or new paper is uneven. That's why. Try to make sure that every time the water on your paper is even. Even if you're applying fresh paint, make sure that you dry your brush. See now it's almost dry because I want to add some dark tones to the bottom here. But I've dried my brush and is almost just paint, so it'll blend smoothly because there is no extra water that I'm introducing. Water control is very easy if you think of it. As I said, the simple rule is to make sure that you apply less water than there is already. See from my brush, a little drop of water dropped there. That's now creating a blue because that extra water. That wasn't a deliberate I was talking and then this just dropped, I think from this part here. But let me just smoothen it out and blend it quickly. I smoothened it and I let it blend with the background area so that water is now just like spread to the whole area. That's how I got rid of that blue that I had formed. Now let us wait for this whole thing to dry before we can add the final moon and something else onto our ground. Or maybe, I think I'm going to add a blurry background as I really love doing the blurry background. I think it's the best thing about watercolors. Don't worry if your paper is dry, you can go ahead with the [inaudible]. You necessarily don't need the blurry background. I'm picking Payne's gray, a really nice amount of Payne's gray or go for black. Then I'm going to apply it to the bottom. See, I'm applying it to the bottom. That's what's going to create my land effect. Make sure that you apply a lot of black. This is like the blurry land for me at the bottom and I'm just creating some strokes. See that? Just to create that land at the bottom. Use your black paint and in some cases you can make it go all the way up. It's really dark, but I think it's good enough. Now I'll wait for this whole thing to dry so that I can add in my moon and some stars. Everything is now dry. Let us add some stars on to the sky first before we add in the moon. I don't want my stars to be on top of the ground area that we painted. I'm going to cover that part up. Then here's my white paint, the white quash that I'm using. Let us state the white paint in a nice consistency. Then let's drop it into this guy. I wanted this one to be like really simple and try to get this blend correctly because I've had a lot of feedback from students who were telling me that the paper is drying. They're not able to get the blends correctly. I wanted to include more and more lessons on the blending exercise itself so that you learn different lending. That is, we know the flat blending, but then we've also learned that in the northern lights, we learned how to do different angles and different line blending. I wanted to do one horizontal as well. That is just to show you different blending at the same time, keeping with the same topic that we are doing today. What we're going to do is let us add a small moon here to the sky. This is just probably some light from the sun. It's maybe early morning there's the moon in the sky and the sun is starting to rise. Then you can see that darkness, but then the other side is having the sunlight. That's what we are trying to paint here. Let's add a crescent-shaped moon here. I'm going to make it crescent-shaped. Actually, if you want, you can use a circle maker to draw the crescent or you can have a pencil sketch it first if you think that you're going to ruin it, I will just show you. Let me get my circle maker. Here is my circle maker. I think these are still wet and if I go and keep this on top, these paints are going to spread. I'm just worried. Let me quickly dry these stars up because I don't want my sauce to spread. The stars has now dried. I think it's good enough. Let me add my crescent-shaped moon. Don't want it to be too huge maybe I'll take this Size 10 here. What I'm going to do is I'll only paint half the side of it. We want it to be crescent, so I'm painting inside. You essentially don't need the circle maker. I'm just showing you what you can do. See I've taken it off. I don't want you to be using that. You can actually do with your hand. Doing with the hand is much, much, much easier. But if you find it difficult, make a circle with a compass or something, a small sketch or whatever you can find, make a small circle in the sky. Then you don't need to make the entire circle, just a semicircle and then only paint half portion of it. Make sure that when knew paint one half you make it pointed like that. I want to make the moon a bit more thicker at the center. This is still big enough, isn't it? It should have been more small but that's all right. Don't have the center part having exactly a line, leave some extra perforations like this. If you look closely, you can see that it's not a straight line because it's the moon surface, you're not supposed to have it as like a perfectly crescent-shaped. I like to have it distorted in some ways. I think now this is like really good enough. My main point was to just to show you this blending. But if you want, you can actually add some things in the foreground. I've washed my brush now. I don't know if I should add anything to the foreground. I'm just happy with how it looks. I just wanted to make you all do nice blending. Some days I want the class exercise to be really easy, like really easy so that maybe some days when you don't have time, you might find it quicker and you can go to other classes or other paintings. I think this is really good to go. Maybe we can just add a shooting star or something, but I really don't want to touch it. It's too good for me right now. Maybe if you want, you can add some light onto your foreground. But then because this whole thing is dry, I know how to do it, but I don't want to make your painting be ruined if you try something. Let us remove the tape. The whole thing is dry so it's okay for us to remove the tape. Make sure your painting is dry before you even remove the tape otherwise, you will create uneven edges because the paper would tear if it's red. Here's the simplest painting for today. I hope you like it. 52. Day 41 - Moon Reflection: The colors we need are sap green, dark green, and indigo. We will also be using white watercolors or whitewash. For our next moon, let us just make a very quick pencil sketch just to separate out the reflection part, that is the sea part, and the sky area I mean. So I always, there's just one thing that I want to tell you here. When you're doing a painting, the photographic technique and the technique for watercolors is quite different. That is to make the painting attractive. That is, if you are doing a painting, you should try to make your horizon line at least one by third of the paper or two by thirds of the paper and not half of the paper. When it comes to photography, it looks much better if the photo is exactly halfway and then you have the reflection exactly the mirror image of whatever is there on the top. It looks beautiful in the photograph. But when it comes to watercolor painting, it is better to have it at one by third or two by third. I'm going to go with the two by third ratio, around here and not at the halfway point. It just makes your painting more beautiful to have it at two by third than the halfway. This is the reason why I always try to follow that rule and have my horizon line at two by third. I think that's good enough to get a straight line. Now we'll have a moon in the center, but that we'll add later on because there is no point adding now because we'll be adding colors onto the top. Let us go ahead and start painting. I'm going to apply the water onto my paper first. Apply water to the whole of your paper. It doesn't matter that there is a horizon line that's to show the separation of the sea, which we will add later on. For now let's just add the whole of the paper with water and make sure to apply the water multiple times. Take your time in doing this because this is the most important step when you want to create those wet on wet washes and have a paper to stay wet for as long as you want to work on those wet-on-wet washes. So take your time and keep doing that. Keep applying the water onto your paper. Make sure that you water the paper evenly. That's really important, I know I keep saying it because that's very important. I think this is good enough because my paper is 100% cotton paper. But if your paper is not 100% cotton, make sure that you do it some more times. Make sure that you let that paper be wet enough for you to work on it. That's very important. Now, switching to my mop brush, we are going to start painting. What we are going to do is, I'm going to create a sap green for my painting. For that, I'm going to be picking up dark green that I have and I'll add some yellow to it. This is the same yellow, Indian yellow, that I'm using. I don't want to ruin my Indian yellow in this one. That's why I'm picking up yellow from my palette rather. I'll pick it up. That's what I'll mix. This is just a sap green shade. You can go and use the same sap green that you have. You don't need to mix sap green if you have it. But this green is very dark. I'll show you in a while when I'm actually applying the darker green. It's very dark. That's the reason why I don't use it directly. I've just washed my brush and I'm picking up yellow to make that sap green and I will apply it onto my sky. Here I've applied it first to the center region. Now I'll apply it to the center region again towards the bottom. Observe my strokes, I'm doing this like that. Now I go with the green on my palette, more green. I'll add it towards the side. See, my green is very dark. This is the reason why I added a little bit of yellow to make it lighter. If you have sap green, go and use sap green directly. I'm applying it to the rest of the areas. Towards the center region, I'm going to keep it a little lighter, note that. Let me apply the sap green. This is a very magical painting with green background. Towards the top we'll apply more of our green tones and we also need to add further darker tones. Now we've covered the whole of the paper. Don't worry about all of these lines that you are adding. Just go and add. Keep adding those darker tones. We can see there's only a very little of the light visible and that's okay. That's really fine. I hope you're getting the strokes correct. It's just trying to add these lines towards the center and always my strokes are horizontal, observe that, and I'm holding the brush in the middle. My green is dark. If you don't have a darker green like that, mix it with a little bit of indigo, which will make it dark. In case if you don't have indigo, mix it with a little amount of black to get the darker green. That's all you need to do. I'm applying now more darker green towards the side and in the center, I just do these lines just to make it blend. Towards the right, I keep adding the darker tones. You can go with more darker tones. You can see now, because I'm picking up more of my green directly, it's very dark. To get such a dark green, mix it with indigo or black, like I said. I'm starting to add more. The top region, I really want it to be dark, so this is why I keep adding. I'll add more darkness towards the top of it. But let's now finish off with the other areas before we add on more colors on top of this. All of these blends, the most important thing that we have to learn is to keep working quickly. That's very important, if we're trying to get those perfect blends. That is to work quickly on the paper. I've created some light in the center and these blend lines. Now what I'm going to do is, I'm going to pick up a darker tone of indigo. Now indigo, because on the top of green, it'll be really dark, and if you are mixing your dark green with indigo, that's fine. At this point, you just use the indigo, that's it. Now we'll use it at the top. Now this is going to create that really darkness towards the top region. We don't want it to be fully green. At the top, I want it to be dark so that's why I'm using indigo, so just lines like this. Then covering the top region entirely and some areas to the left. But essentially the most top area. That's a lot of indigo on my brush. That's good. Now let us add some dark lines and stroke to our sky region, just in the form of clouds, small clouds. You can see how I've added it just horizontal lines like this. He just add them at certain places. Towards this lighter area that we have added, just add those vertical lines at certain places like that. You remember the sky's lessen, so this is just exactly the same where we are adding those vertical lines. Why do I keep saying vertical, it's horizontal lines. Wherever you keep adding those horizontal lines and have your brush strokes like that. Then I think that's really coming nice with adding the darker color. I hope you're getting it right, don't worry if you're not, just makes sure that your paper is wet enough for you to apply those stroke. See, I've added those strokes. I'm adding some darker shapes so that it looks like clouds. Now we've got some darker nice sky and I can see that line where I made for the see separation. I know it's not visible in the camera. But let me see it's right here. If you look carefully, see that that's the line. It's okay if you can't see mine, but I'm pretty sure that you can see yours on your paper. Once this is completely dry, we'll go ahead and add in the sea in our painting. Let's now wait for this to dry. Let me wash my brush. Let's wait for this to dry now. Now everything is dried. It's just so beautiful to see watercolor do its own magic. See, I added them in lines, but it's done this after it has dried. It has done these stroke strings as in it has these pointed hairs, that it's looking so different from what I painted. But that's the beauty of watercolor because after it dries, it just forms a magic of its own. Let's now paint in the sea region. Now you can see that line as opposed because after it has dried so what I'm going to do is I'm going to use my flat brush again and we're going to paint with green first. So I'm taking a lot of green because I want to do a wet-on-dry wash. I'm just going to follow along my pencil line and add in that line for the sea but I'll cover the whole thing first so I'm picking a lot of water. You can see there's a lot of water here in the palette and we are going to paint with that a lot of water and we're going to do a wet-on-wet wash. [LAUGHTER] Wet on dry wash. Wet on dry wash is basically just when you are applying your strokes quickly enough so that your previous stroke doesn't dry and create a harsh edge so if I cover up that area where it ended, it wouldn't have a dark edge and it'll just blend. See that. That's how you do a wet-on-dry wash. See, now the whole area I've just covered. Let me just make this line straight. I think the line is still a bit bendy, isn't it? It's because I don't have my head right next to where I can really see them. Not bad. That's now better so let me see. I think that's now good enough. It may be slanting, but I can see clearly unless I have my head looking at a straight. I think it is fine. Now I'm going to go with a darker tone, which is indigo and I'm going to apply some lines because this area is too wet. Even if it is not wet, it's fine because we just want to add some darker tones to it, so pick up your indigo paint and add some lines like that. You can see how I'm adding, so now what we're going to use is we're going to use the pointer tip of our brush and we're just adding some lines. This will form the lines in the water. We'll have a lesson focused on water later on so don't worry. For now, just add these small lines using the tip of your brush and keep adding strokes like that. I'm adding lots of lines, as you can see towards the bottom, is where I want it to be really dark so I make sure that I'm making it really dark. I think that's a really good enough. What I'm going to do is let this region that we just painted, let it dry. While it dries, we'll add the moon. For adding the moon, I'm going to add a pencil sketch of a circle here so that it's helpful for us to draw the moon. I'm going to use my circle maker and I'm going to add a circle. Just use a compass or whatever you have and add a circle to the center. Somewhere here is where I'll add. There I've made a moon shape. Now what we'll do is we'll paint inside and we'll make our moon. Here is my brush. I'm going to pick up my white paint. I'm going to paint inside. Just observe, I have to be careful here because I can't touch the paper. This region is wet and I will draw in my jacket. Painting inside of the circle. I have to be really careful. You can see that and when you apply your first tone is going to turn lighter because of the green underneath, and that's exactly what we want. Follow along the line. Let me turn this up so that I can paint without having my hands covering this area which is still wet. This is the main reason for using a board or something because it helps when you're covering other areas of your painting and you don't want to touch something that's already painted. Following along the line of the circle that I had made, I'm covering it up with paint. I've covered the whole thing now. Now, what we are going to do is, as you can see, this is a lighter shade now because of the underlying green. When this dries, this is going to be more light. Now we're going to add some shapes to our moon. That is to give it a really moon look. I'm picking more white and I'm going to add it just to certain places, not the whole region, but just to certain places so that it looks like it has the moon's surface. You can see I've added an extra white to the bottom there. I'm going to add more. Pick up a nice amount of white paint. I added it here at the bottom. You can actually add it at random places like that. That's much better because now you've added a lot of white paint, and at different places. Quiet looks like the one surface. Now, the next thing that we need to do is we need to add the reflection of this onto our water, so don't worry, it's not a really tough. What we need is pick up your white paint, have a small brush like this. Very small, this is a size 4 brush. Make sure that your brush is really having a pointed tip because we're going to really need it. What we are going to do is right where the moon is. See that's the center portion here. What you can do is you can actually mark it down. Just, I've added some dots to mark it down. Then what we'll do is we'll add some lines so using the white paint, but makes sure that it's not too watery. See how we're getting those little tiny dry brush strokes. I hope you know dry brushstroke by now should not be that difficult. If you find it difficult, it's fine. If some of your strokes are still very wet, it's fine. What we just need to do is get those dry brush strokes in like that and make them in a zigzag manner. Follow along like that, see all the way to the bottom. That's how this is going to be. That's why I said this painting is going to be really simple. All you need is to make sure that you get those reflection lines correct and in the same line as the moon. It's going to be until here. That's the exact same line. It should not go in slanting line or anything. We just need to make sure that it's there in the exact line as the moon. There I think that's really good. I'm just going to rub my brush along the border here to make sure that my stroke is dry. There now my brush is almost dry, which is what I'll apply onto the paper so that I get those dry brush strokes. You can add dry brush strokes to the side so that it looks like the moonlight being reflected. That looks really nice, isn't it? I want to add some dry brush strokes with indigo as well to the sides of it. What I'm going to do is I'm going to pick up my indigo paint. I'm going to make sure that my brush is really dry so that I get the dry brushstroke. See if you're happy at this point, you don't need to do this. You can stop right here if you want. But I'm just going to add little bit of dry brush strokes with indigo because I want to give that a little darkness to the side. That's why I'm doing this. You can see just some indigo lines in-between. There's that watery area. They are dry brush strokes. They're dry. You can see my strokes, they are really dry. You can see how I'm getting those dry brush strokes. I'm running my brush along but sometimes there is no pain at all. You can see that and each time I'm only picking up fresh paint, and not water. See now my brush is too dry that I can't get any more of the dry brush stroke. What I'll do is I'll take my water and I'm going to dip just the end of my brush. Very end. That's it. Just the end. There's a little tiny amount of water. Then I'll pick up the paint. Then they'll be a little more dry brush stroke. See, I'm getting a little more dry brush stroke. Not too much water at all because too much water is dangerous for dry brush stroke. Again, I'm going to dip slightly my brush and pick up paint to do the dry brush stroke. I'm running along in the middle. There. That's it. This is not good enough, I feel. If you want, you can add some more white lines. But let's see. Maybe I'll add a little amount because some areas had gotten lighter or it had gotten so it's got is indigo strokes which I want to lend out. You can see now you're getting a light bluish tone, which is really nice bluish tone from the indigo there. I think we're good to go. I'm going to take off my tape because what all of these strokes were dry and even our moon is dried. it doesn't matter because that's likely in the center. Let's remove the tape. Here's our final painting. I hope you liked this one. 53. Day 42 - Blood Moon: The colors we need today are; Payne's gray, Indian yellow, permanent brown, burnt umber, orange, and scarlet, or any red shade. Let us start, for this one, we are going to have a ground in the bottom and then our moon in the center. For adding the ground, it has to be uneven, so I'm just adding a small uneven surface to the front. You can see that, and then now we'll add the moon. I'm going to use my circle maker, you can use a compass or whatever you have just to add that circle like this. It's like the moon is there at the background, and I've added a circle. This is just what our pencil sketch is going to be. Let us now start painting. I'm going to use my flat brush, and I'm going to apply the water. This time when I'm applying the water, I'll make sure that I'm applying water around the edges because I want to paint the moon in a different color and the background is going to be darker, so we have to be careful, so just along the outside. My usual favorite stroke to go around by moving my brush. You can also have that stroke with your normal brushes. Let me do that. Applying the water evenly. Then there's my favorite stroke like that. Then let's just apply the water to all the other places and make sure that the water that we apply is even, and I also need to go along the edge because I hadn't touched the edge when I was going around, so I want to now touch the edge and make sure that there's water towards the outside. There you go. Now we have got the water all around and I'm going to go with a darker tool for creating the darker tone, which is really black that I want, I'm going to take Payne's gray and I'll mix it with brown a little because my Payne's gray is like a bluish tone and I don't want it to be bluish, so I'll mix it with sepia, but go for black. Really black shade is what we want to use. Just pick up any black shade that you have and we'll start applying. You can see it's really black, and just use the black shade, and we'll be painting it all around like that, all around. Make sure you cover the entire area. That is the background area, we will be covering it with black. When you reach the moon area, be very careful. Oops, that's brown. Keep adding. You'd have to add a multiple times if you are adding Payne's gray. I love Payne's gray and I love the black it creates when you apply it in a darker tone. I don't mind adding multiple times to get a dark shade when I'm using Payne's gray. I like the black that Payne's gray creates rather than using the black itself, but it's okay to use black. I just don't have black in my palette. I have black tubes, but I don't want to squeeze it out into my palette. I have this belief inside me that professional artists don't use black and you're supposed to mix your black or use a gray tone, so that's the reason why I don't use it. [LAUGHTER] It's just my way of trying to be more professional. It's just me being silly. [LAUGHTER] I've turned my paper because I want to go around the edges very carefully. You can see, I have to make sure that I follow the pencil sketch and get that round shape perfectly. Now I've covered the entire area, now I'm going to apply more of it to make it as dark as possible. That is this side for me to cover. Just going to add more of the gray to make it dark. You can add more of your black as well because black also has a tendency to get lighter once it has dried, so that's why we want it to be as dark as possible. It's the sky around the moon area. We'll apply it with as dark as possible and make it really dark. Apply it to all the sides. I've covered almost all the areas, and I think it is dark enough. If you feel that your painting is not dark enough at this point, you can go and add more black. But observe my paper is still wet and I'm adding those wet on wet strokes, and it's blending with my black. Make sure that your paper is wet and you don't get any dry strokes even if it is with black. But it's most likely not going to be seen when it's black, isn't it? That's fine. Now let's wait for the background to completely dry. Here is the background completely dry. Now, I'll paint the bottom part after which we'll move on to the moon itself. For painting the bottom part, I'm going to start with yellow. A little amount of yellow, nice yellow. Then I'll start making at the center portion of our foreground. I've added the yellow, extending my stroke slightly. Then I'll quickly wash my brush, and I'm going to pick a permanent brown. For permanent brown mix your brown with red, or you can mix violet, red, and yellow and you'll get a permanent brown shade. Now, I'll apply to the whole of the right side and extend my stroke slightly so that it blends with the yellow background and the same I'll do with the left side. Picking up my permanent brown, and I'll just extend it like that. There's only very slight yellow visible. You can see that. Like that. Just a very teeny tiny amount of yellow visible, and we've added our brown. But we're not done yet. We want to have a darker tone towards the right side, more darker tones. The next color we'll take is brown or burnt umber. Now this is more darker than the permanent brown. This is like a really dark, dark color, and we'll add this towards the right. Remember we have done the strokes before. When we were doing the sunset one, we had this color variation where we added yellow, permanent brown, I think there was Indian gold also in-between. You necessarily don't need the exact same colors. But then what we're just trying to achieve is a little bit of light in the center, and then towards the right side it should be darkness. That's what I'm trying to do here. Just lines like this when you approach the center, and more dark colors towards the right and the extreme left. I will also add a little bit of sepia now because I want to get an even more darker shade towards the right and the left. Let me get sepia. Sepia is like a really dark brown. If you don't have sepia, mix a little bit of dark brown and black together and you'll get sepia. You can also use been **** brown which is also really dark brown. I will add that to the right, see, and to the left. Now I'm going to take a little bit of permanent brown again, and I'll make sure I create those blends nicely because it's feeling like it has now blended well. Now there's a little bit of yellow there. Now I want to with more yellow and make sure that I blend those yellows correctly. There. Now, we've got a very lighter tone and then darker towards the right side. This is exactly what we wanted. Now before we paint the moon, let's just make sure that this area dries. Everything is now completely dry. Let's go and paint the moon. I will apply water to the moon's surface. It's going to be a blood moon. I'm going to apply water to the whole of its surface like that towards the inside. Make sure you apply the water evenly. This is like an inside surface. We have to make sure that we don't form in large lobes and also the paint along the line on all of the edges. There we go. Now, we will paint the moon itself, and we're going to start with blue. I'm going to paint with yellow, and I'm going to add it to the bottom like that. See, so this is the yellow that's being reflected on our ground that we see. I've just added the yellow, and we'll add some round shapes and some random lines like this. Remember the planet exercise, it's almost going to be similar to add. Now we've painted with yellow. Let's go with orange on the top now. We're just trying to create like a different color on the moon. I'm going to go with orange towards this edge here. This almost looks like the sun, but trust me, this is the blood moon that you can see in some phenomenal days. See I went outside and it's taken some paint onto my Payne's gray region, I'm just going to rub it off. Yeah. Let me paint along the edge now very carefully. I think I prefer to rotate my paper because this way you get to cover it up easily. See that you can paint along the edge. Move your cardboard or whatever surface you're using to your advantage because it really helps when you're adding the colors. Let me add more of the yellow to the bottom. I'm covering the bottom part with yellow, and I'll add more yellow to some of the other places. See, now we have covered a lot of it with orange and yellow. Now I'm going to go with red. Oh wait the red is covered with violet. Let me clean that up. This is from the last time we used red I think it was for creating that permanent brown in the sunset exercise. That's the same. Now I've got red, and I'll apply it onto my moon. The paint is still wet, so my strokes are wet on wet, and you can see I'm applying it to the side on top of the orange, and you can also apply it at random places. Try to create the surface of the moon, like create some circular shapes and maybe some lines. See I've created some circular shapes. This is because I want to create the moon's surface. Let me rotate it up again. Wrong color. I'm going to go with yellow again and lend these areas together so that we have that lighter tone at the bottom, a little bit of orange and I'll add them at certain places. Orange. You can add lines from the orange to cover up. You can make your moon as red as you want. I'm going to go and add more red on the top just blending this area. Wherever you feel that your paint is not blended, just blend them with your brush. Even if there are some dark lines or dark edges, it's actually verifying because this is the moon's surface and it can be in any way. I'm just going to create some lines maybe by using the lifting technique. See that I lifted some paints from there. I'll show you clearly. I'm drying my brush and I'm lifting some lines. I think this is really good enough. I don't want to ruin it any more. You can actually dry this up now. Let's wait for it to dry here. The moon area is now dry, and I'm going to just make this a desert area. I'm going to add some desert plants in front of it. Some cacti. I'll pick up black or Payne's gray in my case, and I'm just going to add it to this area. But I think if I'm going to be adding in front of the moon, not Payne's gray. Let's go with our darker brown. If I take brown, and I'm going to add it to the front area here. Just stick like that. Use just your brush. Don't worry about getting a perfect stroke. See that stroke. What I made is just a plant. You can actually add more of it there. I think that's good. Then let's join the bottom to the land, and as soon as you have joined, observe what I'm going to do. I'm going to take water and I'm going to blend the bottom part of it. You see that, blend the bottom part of it and just make some lines like that so that the color just blends in, and see how it has done that. It has blended in and it doesn't have a sharp edge where the plant is starting. That's what I wanted to do. Let's add some more. I'm going to take my burnt umber shade again. We can add it in different sizes. I'm going to add a smaller one here. I've added a smaller one, and just like we did for the other one, I'm going to blend the bottom part of it so that it looks as though it's blended. See that, and it's very far away, isn't it? Here I've blended the bottom, so what we do is you take out paint from the bottom, and you just blend it with the background like that, with just using water on your brush. Let's add some more. Maybe I'll add a large one here. I'm going to add a larger one here. You know what? I'm right-handed, and I always remind myself that I should actually start painting from the left side. But I have this very bad tendency that I start from the right side and then I go towards the left. When I'm painting something on the left, I tend to touch where I had just painted. I have dried hundreds of times to remind myself that I should actually start from the left. But I don't know. I never remember. You just saw me. I started from the right and then I'm adding plants to the left and now I'm very scared to touch this region because it's going to ruin that. Now I have to paint very carefully without going through that region. I should always start from the left. This is something that I need to learn. [inaudible] Did something, and let me add another branch maybe like that. Another one here, and the smaller one there maybe. Then I'll make it join towards my foreground. Now I'll show you now closely what I'm doing. I've washed the paint off my brush and in my brush there is just enough water. Not a lot of water. Just enough water, and then at the bottom I just blended like that. You can see the paint from the bottom part of our cacti would just spread onto the ground. But you can just do this and make sure that the lines even and let it spread. Now we've got a surface where the paint has spread and also the plant doesn't look as though if it's very far away or closer, we don t know. It's just there, and it's blended onto the foreground so that's why we did that. Maybe I'll add some in the foreground as well. No, I don't want to because I'm running out of time. My clock shows 29 minutes. I think this is really good enough. Maybe we can add some stars in the background, but for that, I need to cover up my moon and I don't want a lot of stars just a little. I'm using my plate to cover the edges. Just a little amount of stars. I think that's really good enough for me now, and I splashed paint here. That's good. The whole thing is now dry because the last thing we painted was the cactus. Let us remove the tape. [NOISE] There you go. The stars are very light. I like it because it's very far away stars. We not seeing a huge amount of stars there. 54. End of Week 07 - Moon :): Here is all of our moon paintings. This one is my favorite, I just love the gorgeous green color. I love the sky in this one. We have our powerful moon, then the moon surface. This one, the blue one I guess and then the blood moon. These all are my favorite, I love them all. I will attach three reference images for this week into the resources section in Skillshare. Can you believe we are done with Week 7? Oh my God. Stay tuned for the next topic in the next week. 55. Day 43 - Water: The colors we need for today, are cobalt blue, orange, and indigo. Here's the paper taped down. Welcome to the next week. We are going to go with water, so let us have the line separating the water part and the sky. Remember what I told you about in watercolor perspective, it's always better to have our lines either into one by third or the two by third. In this one, we're going to go for the one-by-third of my paper, somewhere there, and I'm just going to draw a line straight enough. I hope so. I'm going to just use my ruler. Usually, I don't, but I just wanted to make this quick. Here, I've added the line, and that's pretty much the line, that's it, and the pencil sketch, so we're going to start painting. We are going to paint the whole of our paper, so there's no separation, we will add the separation later on, but for now, let's just add water to the whole of our paper. We have to make sure that the paper stays wet enough for us to work nicely for all the wet-on-wet technique that we want to apply, all the wet washes, so make sure that you apply the water evenly. Take your time in doing this, don't hesitate, just keep adding the water as much as you can, so let's add. Take your time and apply the water without any large blobs or large pools on the paper. I'm lifting my board slightly so that it will not form any large blobs or pools because the gravity will act on the paper and it will flow down. It gives us a control on the water itself, so all the water would flow down if there is any excess water at all, so that's why I am lifting my board slightly and letting the paper absorb enough water as well as let the water flow. I think that's good enough for me now, so I'm going to start painting. Here is my size 2 more brush, and we're going to start with the sky region. For the sky region, I'm going to go with cobalt blue. Why is my cobalt blue so dark? I think it's got the indigo on top of it. Let me clean that up. There that's now cleared up. Now I'll take cobalt blue, and my cobalt blue I'll apply on the top like that. This is the sky, so we're just applying the cobalt blue on the top, and in this painting, it is better to have an angle because we're working on water and I want to show you now how we work with angle and how gravity helps. Here is my masking tape, and I'm going to keep it under my paper here. When you keep it under your paper, there is a gravity acting on the paper. Your paper has a 20-degree angle. You can see in this side, there's an angle there, and it really helps. Cobalt blue to the top, apply it evenly and you'll see that your paint flows down, so pick up more paint and apply it towards the top because the top I want it to be nice cobalt blue. Then the next color that I'm going to take is, I'm going to pick up some orange, so that's the sunset shade, orange, so I will apply it towards the horizon. Line at the horizon, I'm applying orange, and I will just let it slightly mix with that blue to create that little amount of gray shade. Don't mix it too much, just slightly, and you will also see how all of your paint is flowing down, and it's also blending smoothly because there is that gravity on the paper like that. I'm letting my paint flow, but I'm applying more to the horizon because, at the horizon, I want it to be orange, but don't apply too much. Let it spread. We'll let it spread and flow down. If you want you can pick up a little bit more of cobalt blue and start applying at the top, and this one we are going for an even blend, so make sure to go swiftly, left and right. See the strokes left and right, and now we have a perfect blend in the sky. That's all we need in that sky region. If you want, you can apply more of the orange at the horizon, like I'm doing here now. I'm applying a little bit more extra orange and applying it as a line. All of the paint, so much of the paint has flown down. You can see that. Let it flow. Now I'm picking more orange and I'm going to apply it at the bottom. I've picked up orange and I'm applying it, and I'm also applying it all the way to the bottom like that. Towards the bottom, I did not pick up more paint, so you can see it's lighter. I'm just bringing that paint all the way down but it's lighter, clearly, you can see that. That's definitely lighter. What is that? There's something on my paper, let me just get it off. It's gone. Now the whole bottom part, we have covered it with orange. Now is the trickiest part where we need to paint the water itself, so let's paint the water part. For painting the water part, we are going to go with cobalt blue again, which is what we're going to paint for the water. But when we are painting the water, we have to make sure that our brush is really dry because we don't want to be adding more water onto the paper because and also we're going to paint with the wet-on-wet technique so we don't want our bean to be flowing up. We'll make sure that you dry your brush then pick up cobalt blue. It'd be almost like a dry paint. See that's very dry, so pick up the dry cobalt blue paint on your brush and we are going to apply it along the horizon line. Along the horizon line when we apply it, the horizon line is going to be like in a simple wet-on-wet blended and won't have a clear distinguished line, which is what we want because it's like very far away if you think of it from the point of the picture, so that's why we apply the blue, and below the horizon line. But making sure that this angle of our paper here is what is going to prevent your paint from going up that is above the horizon. We will keep it to the bottom by making sure that this angle is there, so that angle is what is going to help you. I'm picking more paint each time and you can see I've not dipped my brush in water because I don't want to pick up any more water. It's just cobalt blue that I am picking up, and I've just blended it on top of the orange, and you can see there is a lot of gray color for me. It's all right. Now I'll just dip my brush slightly in water and there is a little amount of water, but the paint consistency that I'm picking is still very less watery. Observe this here, and we are going to add water strokes now. This water stroke that we are going to paint is very important, so have a brush like this. Actually, wait, I think I'll switch my brush because I want to make it smaller and I want to help you get smaller strokes as well, so use the smallest size brush. I'm switching to my size 4 brush, making sure that I take off all the excess water before I take in the cobalt blue and see that the cobalt blue, and now I'm going to add lines like that. Some lines see the lines that we are adding. The lines are going to be pretty simple. Just note, use the pointed tip of the brush and then slightly press down the brush, and then slowly lift. You see, you get elongated leaf shape. This is what we are going to do for the whole of this. For the sides, you can just go and add more of those paints. I just want to create some lighter strokes at random places. At the top regions, you can have smaller lines, so pick up more cobalt blue and add smaller lines like this. You can see that your paper is starting to dry. If your paper is starting to dry, look at what I'm going to do. I have my another brush here. All of the bottom part is starting to dry, so use a brush and just reapply water to the bottom. This part here is very easy because of the angle that you have on your paper, the water would not flow up and wet the rest of the painting. In this way, you are able to keep your paper wet, so just apply to the bottom if you want, you can add a little bit of orange. If you think that your color has lightened up too much. I've added some orange and watered the bottom part as well. This angle is very important. Now, I'll pick up more of the cobalt blue and I'll start adding smaller lines towards the top. You can see. Just add smaller lines towards the top region. Just small lines and smaller dark lines. See how I've made those smaller dark lines. We'll add that to the top. We're not yet reaching the bottom but let's just add as many lines as we can now. Make the lines smaller and smaller as you go towards the top. I'm at the very top now, so I'm making it really small. Those are smaller lines. Now, let's get to adding bigger lines as we move towards the bottom. Let's move towards the bottom. Towards the bottom, you can see I've started to move onto bigger lines. I'm still using my size 4 brush, but now observe what I'm going to do. I'm going to start with my pointed tip and then I'm going to press down my brush like that. Then now I'll slowly lift off, see. It's created a lot of paint there, but now we can just fill up that area and make sure we get lines like that. See, it's going to spread, but that's all right, and we are going to do this in different shapes and directions. See that? I've added some there. Now, maybe let's add one here. All of them don't essentially have to be straight, add a little wave. Did you see? I added a slight wave there. Maybe let's add another one here and I'm adding some waves as I do it. It's all about brush movement when you're painting water so have that slight wave. Now, all of these hairs that it's forming, do you see this is forming hairs and spreading, so what you can do is use a tissue, dab off the excess water, and then just run your brush along the side and then dab off, remove that paint, do it once more in all the sides so you'll just get rid of those hairs. Do that for all of your wave shapes. It'll just get rid of the hairs and smoothen out any part of the wave that you're painting. I've smoothened out that part. Let's now add more waves. I'm picking my cobalt blue again and I'm going to add more. Some of the waves, you can have them join like that, so see it's formed a V-shape there. Let it go on. See, I've made it taper here. We have seen the smaller ones, then we added medium ones, now towards the bottom, we'll add larger ones. There is another point also that we need to be taking care of. These ones, as we move towards the bottom, we need to also add darkness to it, so that darkness is what is actually going to give our painting good depth. We'll add that but before that, maybe I think I want to add maybe some smaller strokes here. In between you can also add smaller strokes and you can also make your earlier strokes darker if you want. See, I'm adding more on top of it. That's much better. Now, as I said, we need to make it darker also. For that, I will add a little bit of indigo to my cobalt blue, so that will make it a tad darker, a little bit of indigo. Now, I'm going to make bigger ones and bigger ones I'll make them join this area. It's all just wavy shapes and we're trying to make it bigger and smaller. Smaller towards the top and bigger towards the bottom. These are bigger ones. I'm having to add multiple strokes in the wave-line to get it larger because this is a small brush. Ideally, you can now switch brush and use your larger size brush. I'm just going to use this one itself and just go over it. That's now a big stroke that I have added. The whole point is to just add these way shapes and also the sunlight will not be visible all the way towards the bottom, they'll stop somewhere there. Now we need to add more cobalt blue into these regions. Do this only if your paper is wet. If your paper has dried, re-apply the water and do it. My paper is still wet, so I'm adding more strokes and lines in the form of slight waves. I know that all of the waves that we have added, they're starting to fade but we'll add them again. I have added there, let me add towards the bottom as well. I'm just covering the entire thing up. We will add and darken it with indigo. Don't worry. We know where the waves are. When you apply on the top, again, you will get a slightly darker shade at the place that you had applied earlier. This is the reason why we made the waves first. I'm just now filling the rest of the areas with cobalt blue because the orange will not be visible all the way until the very bottom. [NOISE] Now I've painted until the bottom part. Let me just fill up this area as well and some of the areas here. I've painted until the bottom, but you can also clearly see the waves that we have added earlier. Now, let us strengthen those waves. Take more of the cobalt blue. See, I'm not adding any more extra water onto the paper, that's very important, I hope you know that by now. Don't add any more water onto your paper. You just want dry paint so that the existing water will do the blending job.. We've added so many waves there. I think there is a lot of dark edge here, so I'm just going to go around with my brush and soften that area. The same for this one. If you find there is a dark edge just go along with your brush and soften it. See that? Let us now pick up the darker shade, which is indigo. We'll add the darker strokes and bigger strokes, so bigger and darker. They are now bigger and darker. Then I'm just adding some lines like that. That's just our water. Like I said, you can soften any edge that you feel is not wet and it is forming a wet-on-dry stroke. You can soften them. Like here, I want to add a cobalt blue at the bottom and cover it up and a bit indigo for the darker stroke. That is it for our water in this area, if you want. I think now we'll wait for the whole thing to dry. The whole thing is now dry and we're just going to add the last bits of detailing into our water. What we are going to do is now we're going to pick up our darker tone, which is indigo. I don't want it to be really dark. I'm going to mix it with the same blue that we used which is cobalt blue. You can see the blue that we're getting. It's a dark blue, but not as dark as indigo because we're mixing a little bit of cobalt blue with it. Now our strokes are going to be wet on dry. Pick up that and use the pointed tip of your brush. That's very important. Don't forget that. Using the pointed tip, we are going to just add some small lines. Some lines and some lines when you see I've stopped it being thin and then I made my stroke thicker. Then I'm going with a thinner stroke again. I'm going to create a loop. See that? A small loop. We'll do that. We can do that in different ways. See, the loop I've made is here. Then you can have smaller loops as well like that. It's just a different places. We'll add these loops in our paper. Also, the loops when you're drawing, you don't have to have them completely filled. See, I tried to make a loop but there were breaks, but I'm going to leave it like that. That's also another exciting, interesting part. Did you see that one? That's one I've created. Let me show it to you up close how I'm going to do another one. I'm going to do another one here. I'm using the pointed tip of my brush and I create that loop or something of that. It's looking like a shark, no. Maybe let's add another loop here. That's much better. [LAUGHTER] Then not all the loops, you can add some lines and smaller loops at certain places. This is just the line that you see on the water. If you look at the water surface, you'll actually see it. At some places, you can add some lines or strokes like that. I'm going to go ahead and add some strokes like that. Then some lines. There, so you see some lines that I have added. I think I'll show it to you too loosely so that it's easy to see. Just creating these small curves with my brush. I think that should make that a loop. I think this is good enough. This was our water. That's all. This is like really quick. I didn't want the border to be having a straight border. That why I did with the wet-on-wet stroke itself so that you don't get a clear distinction line because this is far away along the horizon and I don't want it to be perfectly straight. I like it to be the having the watercolor look. That's why I do this. Let's remove the tape now. Here's the water that we learned today. You can see there is a lot of imperfections, but this is how you do it. I wanted to squeeze this into like half enough. That's why I could not make these strokes correctly and perfect each part of it. But that's why. But this is how you would paint water. Try this maybe on a bigger piece of paper and try how you can improvise and make each of those wavy lines get perfectly. There. 56. Day 44 - Water Droplets: The colors we need today are Payne's gray, a dark green, indigo, and white. Let us start. We are going to start with applying the water because it's our most interesting topic, water. We are going to apply the water itself on the paper because the background, we want it to be wet on wet, that is, blurred background because we're looking through this picture from maybe the window glass, so that's why it's called droplets. Usually, I would do this with masking fluid, that is, I would apply masking fluid to all the little tiny droplets and try to paint them individually. But then because I know that many of you may not have masking fluid and it's going to be really hard, I found out another way that we can paint these droplets. Also it's very hard for me to keep this into the time limit of 30 minutes, but then I'm going to try. Applying the water evenly onto my paper. This is 100 percent cotton paper that I'm using. It's okay for me to stop right now because my paper would stay wet, but if you're not using 100 percent cotton paper, be sure to work on it a little more. Let's have a rainy sky. Remember the rainy sky, we use Payne's gray or you can use a darker indigo to add some cloudy shapes. That's what I'm going to do. Actually, let's mix it up with Payne's gray and indigo, and let's add those cloudy part into our sky. At the top, I'm having Payne's gray because it's dark outside, I would say, and I will add some indigo to other places. It's dark outside the window because of the rain, and covering it up to the bottom. You can see how the paint is spreading because of the water and that's okay. Now, I want to add some greenery to the background, something that we're seeing through the window. Let's add, I'm taking a darker green. My green is really dark. If your green is not dark enough, mix it with a little bit of indigo or black and you'll get a darker green. I'm going to add this greenery to the background and make it even dark, I'll drop in some indigo. You can drop in indigo directly as well like I'm doing. Some blurry objects in the background, that's what we are trying to create. You can use a mix of both green and indigo and just draw up your paints into the water to mimic some bushy shape in the background. I'm picking up indigo and green randomly. You can see that in some places, I apply the green and in some places, I apply the indigo. There is no specific rule, just picking both of them and mixing together so that it'll just create some random bush in the background. There, our random bush, in the background is done. I think I'm going to add a little bit more color into the top region of my sky because it's looking very light. I want it to be fierce and having that cloudly-look, so you can just drop in some colors. Do this only if your paper is still wet. Mine is wet and which is why I'm adding. I've dropped in a lot of paint and it's looking blurred. You can see how the whole thing is looking like a blurred vision because we are applying this on wet method. I'm just trying to add color to the corners here because the corners are always the place where it gets lighter. How about we add a ball in the sky? I'm going to try it. Here is my small brush. I have my window right here, the sun come this side, so the color of my table shifted just the entire. You can see how literally the color changed right now. That's a lie. Anyway, I got my brush and I'm going to try adding a pole. I just hope I don't ruin this. I'm picking up dark Payne's gray and remember no extra water, remove all extra water. You want only the paint because the paper is already wet and if you add a lot of water, it's going to spread. We don't want it to spread. At this point here, I think I'm going to put my tape underneath so that my water would only flow down and it will not flow in other directions. Here, I've got my brush and what I'm going to do is, I'm going to add a pole line here, a straight line all the way. Not bad, I did it. This is why I kept an angle for my paper so that the water would only flow down and it will not go too much to the sides. Now, I'm going to add a slanting thing for the pole. I did it again. That's our pole line. Now the most difficult part is, I want to add pole lines, but not on the wet on wet, that's going to ruin the whole thing, isn't it? I think so. I'm going to dry this up and then add the pole line. You can see how blurred this is and how our background has turned out, so you can add darker tones towards the bottom. I'm adding indigo towards the bottom. The bushes having green at the top areas, at the bottom part, you can add more of indigo shapes. I'm trying to create a blurry bushy background. Let me wait for this to dry so that I can add the pole lines. The center part is somewhat dry, so what I'm going to do is I'm going to add the pole line like I said, so I'm picking up Payne's gray. I need to switch to my smaller size brush if I want to add a pole line otherwise I'll ruin it. I'm going to use my size 1 brush and let me pick up Payne's gray. I'm going to just do it. Remember the sunset one where we did so we don't want it to be too dark. We want it to be lighter, so dilute the Payne's gray and just a gray shade or lighter black, and I'm going to add. Make it lighter, we don't want it to be dark. Did you see that? It's somewhat light. I need to add to this region again. See it's lighter, lighter stroke and that's fine. There's little amount of paint in it. That's really fine. We're just going to let it go like that and one one the middle. That's enough for a whole line of thing. Now, I'm going to dry the rest of the part. I only dried the middle part. I'm going to let the other parts of it dry. The complete thing is now dry. I'm going to remove the tape because we're not going to work on the wet-on-wet anymore. We're going to go with wet-on-dry stroke itself. Let's add in the droplets. Like I said, usually we would do this with the masking fluid and at this point is where you would remove all the masking fluid and you would see the droplets are there as white of the paper. But since I didn't want to do it with masking fluids, so now I'm going to add in the droplets manually. This is going to be like a very tiring process, but let's do it. We might also need to add some white areas to add the reflection of the water droplets. I have 18 minutes in my clock, so I wanted to do the background as fast as possible so that I could get enough time to add in all the tiny droplets. Here, I'm taking the Payne's gray and I'm going to add in all the droplets. Adding the droplets is going to be very simple. Let me show you. Using the tip of your brush. You are going to make some shape like that and then maybe paint a little half portion of it. Did you see that? We are going to do like that for the entirety of the paper. But then we will make sure that the drops are in different sizes. Small different sizes at random places, That's what we're going to do and on top of our objects as well. Let me just go on and add as many as I can. This is now going to be a very boring process, but then trust me, the end painting is going to be very beautiful. I love how rain turns out. Many people have actually told me that they want to try painting rain and that's why I included it. Also note, something when you're trying to add these droplets. See, I was adding a droplet and I did not finish it. Don't make all of them perfect circles or perfect ovals. Just let them have some of them in which they are not joined together and don't paint all of it to the bottom. You see, I've just painted it like only little part and you can have some gaps in-between. It's like the shape of the water droplet on the window actually, it might be not exactly all of them similar, so some of them might be reflecting the light in different directions. That's why we are going to add it. Just add totally random. This is like there's no rule how you have to do it. Let's go and add as many droplets as you can. This is going to take a lot of time. Some of them, you can make it bigger as well. Right now at the moment just keep all of them towards the top side of the sky region. Don't paint on top of this region yet. At certain places you can actually add smaller circles like this as well. See the smaller circle, just a very tiny circle. Take your time in doing this. You can see some of them I'm making it bigger and some of them tiny and small. Now let me show you something else as well. Let's do this. Let's add maybe some lines. What we're going to do is some water droplet that's flowing down. Add some line like this. See some of them can be thick and you'd have to follow along the line. That's just showing how the water had flowed down and you can actually add that to more places. Since I'm impatient enough, I'm also going to add some splatters. You can add some splatters with Payne's gray also. We've added a lot of splatter, so these would be like the smaller droplets as well and now we got to add more droplets. All of them may not be vertical. You can add some smaller differentiates like this as well and some dripping ones. Remember when I told you about I keep forgetting that I should start from the left, here's another one. Now I have to paint on the left side and I've covered all of the right side. I think that that's something that is never going to come to me. I keep starting from the right. I think it's maybe because I'm right-handed. Is it how it is for you as well if you're right handed? I can't think of a time when I have actually remembered to paint and start from the left. My clock says 19 minutes. That's adding a lot of droplets. I can clearly see my painting coming alive already, it's looking like we're looking through a glass already. Isn't it so beautiful? Yeah. Towards the bottom, that's why I said don't start applying already towards the bottom. Towards the bottom, I'm going to do it with a darker indigo and a mix of green. This is mainly because, see the reflection bar which happens is through the bush. That is at the bottom here, we are having a bush here and it is indigo and green effectively. The water droplets also would be reflecting much of the dark colors of the bush itself and not black, so that's why we should always try to go with the colors that's already there plus a little bit of darker tones maybe. That's why I'm mixing a darker tone of indigo and that's what we will use here. It doesn't see much difference in what this and this is because it's really dark, but then it's good practice to make you understand that the colors that we need to use is actually the colors that's there in the background. Here it was Payne's gray, and so we use Payne's gray. The reason why I'm telling you this, imagine this was like a flower or a yellow flower maybe, so you can't go and paint the whole thing with Payne's gray because then it would be a yellow flower and how is it reflecting our dark color on the top. This is the reason why I'm painting with a darker green or indigo here even though it's going to look like Payne's gray, but then we need to be having that knowledge in our head. It's raining outside, it's gotten dark, the weather is just like going crazy in UK right now where I live. It was like suddenly bright sunny just five minutes ago. Remember I told you that the light had changed, my God, and now it's raining so hard. Let's add more splatters to the bottom as well. I can't believe my clock still says 23 minutes, we still got lots of time. Twenty four now. I'm just trying to keep this within 30 minutes. I really wanted to add this exercise as part of the water part because it's water droplets, so all the lessons that I wanted to include in water are so exciting, you should wait for the others. I haven't yet painted them but I know what I want to include, so I'm really excited to try them out myself. Smaller lines like that. It's just all of them randomly try in different shapes, different possibilities. Because this is blurred, we would be able to add droplets on top of them as well and have some droplets going away. Like see, there's a half droplet. I think that's really good enough, we've got a lot of droplets in our paper right now. How about we add some white reflective parts? For that, I'm going to be using my white paint. Just picking up a little amount of white paint in my brush, and I will be adding to just certain places to get a slight lighter. Maybe I'll add to this one, add it inside the water droplet, the area that you had not painted. You see like for example, let me show it on another water droplet. Which one should I do? Let me do this one. I'm painting inside that water droplet. See, I painted inside that water droplet and we've gotten rid of that line that was going through. We're not going to do this for all of them, just add it to some of them. What happened here? Maybe I dropped some paint or water or something, I think so. It's not ruined. I'm going to convert that into a water droplet. Let me pick up paint. That looks like a much better water droplet. Getting back to my white, and I'm going to add it to certain places. In these green regions, don't apply too much, we just want a little teeny tiny amount of reflective areas, so use the pointed tip of your brush and just maybe some line like that. It has that light amount of white reflection coming out of the water droplet. Not in all of them, just in some of them. Maybe you add like a little white paint so that it's got the feel of that water droplet because the water droplet actually reflects light in different ways and that's what we're trying to show here. Not to all of them, add maybe to some of them, add certain lines inside them. See that? Just trace along the inside so that it really looks as though it's there, it's got a surface, it's got depth, that's what it gives, that's what the feeling that it gives, and we also need to take care of those lines that we added. You know those lines that we added on the green, so trace along the inside of those lines. Not the entire way, but see just like that. Now that looks a little bit real. We do the same for the other, and you can also add to the outside. See, that looks much better. I will do it for the other ones too but not the whole places. I just removed that whole line in the middle, and maybe I'll add a little bit of surface to this one. Just like that to random ones, just add some white strokes. I think that's really good enough. See how these ones when you look at them from the perspective point of view they're looking really nice, isn't it? That's why I said, let's add some white areas not all of them. So each droplet is going to be different, so we'll only add to some of them. You can actually add some splatters at the bottom with white. There. Some, not too much. Just a little. I want to spread this one. It's not visible too much and it's not seen entirely, you can see that just some random drops that I have added. This is really good, isn't it? Before I run out of time, it's showing 30 minutes now, I think this is good so I'm going to remove the tape. There it is. I cannot believe I finished this under 30 minutes. Okay, there. 57. Day 45 - Water Reflections: The colors we need today are Indian yellow, orange, carmine or rose, burnt umber, Payne's gray, and raw sienna. Let us make a quick sketch for this one. For that, again, I'm going to follow the two-by-third rule. My line is going to be somewhere below, not at the half-point. Adding some kind of line and then there's going to be a land here and maybe some trees at this point. Then at the land area here we'll have some bushes or something. Then some mountains in the background. They're like different kind of mountain, something of the sort. Then some mountains in the background. We'll start painting with the sky region first, and then we'll move on to the water region. This is where the water is going to be. Let us paint the sky. For painting the sky, I'll apply the water, but since the mountains are going to be with a darker tone, it doesn't matter. I'm going to apply water on top of it. I'm going to apply water right to the above line of my horizon. This line that we had made that the horizon line, I'm going to apply water all the way to the top of that area. We're going to look at some little tiny bit of reflection here today. That's why we have these mountains. The reflection of those mountains is going to be in this water area. Let me apply the water nicely onto my paper and I have to make sure that it's even and also stays wet enough for me to work on my sky region. Okay. I think that's enough for now. Switching to my size two brush. This is my size two more brush. I think you know it by now. There's a lot of green in my yellow, let me just wash it out. I'm going to start with Indian yellow, a yellow color and I'm going to apply it in the sky. You know how my brushstrokes are by now. I prefer to do these line strokes and I'm applying the same to this area. I have applied that. Now I'm going to go for a bit of orange and apply the same. Then the next color that I'm going to apply is I'm going to apply rose shade. This is carmine, you can go for any pink shade. I'm going to apply that into the sky. It will mix with the orange and the yellow to form a nice red shade. That is why we are using paint. It'll give us a little bit of pink here and there, and also that vibrant red shade at random places. This is the reason why we go for such pink shade, because it would give both the red as well as the pink shade that we want. That's why it's really nice to use such colors for the sky. I'm washing my brush. Now I'll go back to picking some more yellow and adding to this area and also to the bottom area next to the mountains. We're painting on top of the mountain, so that's fine. There, I've painted all the way on top of the mountains. There's a lot of yellow here. I'm going to add some more colors in the sky. I'll pick up orange again and I'm going to just add it. I'll go with pink again for this corner as I feel it's getting lighter. Okay, I've applied some lines and some strokes here and there. I think the sky region is enough for now. We can let it dry. I hope that's all right. Or maybe I think I'm going to apply a little bit of yellow to the right. You can see what I'm doing. It's just to make the sky on my paper. Wherever I see that the color is lacking, I add more. Like for example, on the right side here, I feel that it's lacking a little bit of yellow that we're adding. Look at your painting and see where you are missing colors, where it's too light. Maybe you want to add some colors. Like I added a bit there and I'm going to add a bit here. Look at your painting and you have to decide where is it that you feel that your color is lacking? Observe your paper. Also understand how much water there is. By looking at the paper, you can see if it's still wet. Are you okay to apply a second stroke on top of it? All of these things, you should look at your paper and judge it. That's how you will understand whether it is okay to apply the stroke. Now I'm going to wait for this to dry. Here my sky region is now completely dried. I'm going to stop painting these mountains and these land area, this water area we'll paint last, which is actually the focus of this painting, but we'll do it last. We're going to go with burnt umber shade for the mountains. We'll start with that. I'm going to pick up burnt umber. It's a nice brown shade. Pick a burnt umber and we're going to paint the mountains. You're okay to apply on top of the mountain area. That is on the sky region because we have painted it with lighter colors. Now brown is a darker color and it's fine. Also there's going to be a little amount of further bushes and trees at the bottom. We'll be painting that with a further darker tone. This is again fine to go on top of it. We'll just go ahead and add the brown shade. Just paint the whole of the mountains with the brown shade. Remember when we did the mountain session and we were painting the Arizona mountains, we just went ahead and added all of the brown shade. Just like that, quickly before your previous stroke dries, pull out paint and just fill up the whole of the mountains, all of the mountain region. In some of the regions of the mountain, you can actually add a darker tone to give it a little beauty. What we are going to do is I'm going to add some Payne's gray on top of it. I'll pick up my Payne's gray. I need to refill this. [LAUGHTER] Anyway, just add some Payne's gray at certain areas. You'll see that darkness on the mountains. I think I should have added it to the left side actually, but that's all right. I said I should have added to the left side mainly because the yellow region, which is the light, is here. Ideally the light would be from this side and the darker areas would be on the left side. But it's all right. It could be the rocky part of the mountains. It doesn't essentially have to be the shadow. It can be something else on the mountains. Let's pick up more brown and go ahead painting the rest of the mountains. This is a different mountain. It's not the usual ones. Keep painting the whole thing. There. I'm just filling up the mountain. This is on any rocket science part. We have already done so much lessons like this. I think maybe it should be simple for you. Don't worry. Just keep adding your strokes on top of the mountain. You can go for darker tones at random places. Just pick up your Payne's gray or black, whichever you're using and add some tones. You can see, I'm adding some variation. See how these mountains have turned up because of the darker tone that we have added. It's just totally according to how you wish. Just add some lines, some detailing on to the mountains with black, just some random strokes. Now we have added those strokes to our mountains. Now let's go ahead and add the bottom detailing that I was talking about. The bushes here, I'm going to switch to my smaller size brush. I'm going to be taking Payne's gray. Go for black. My Payne's gray is really dark. That is why I'm using Payne's gray. Now I'll just add those tiny bushes and shapes like that. Let me show it to you closely what I'm doing. It's just along the edges that we have done, just adding some tiny shapes like that, bushes. Just using the tip of your brush and then at the bottom you just fill it up. You see that? It's very simple. Because your mountains are wet, it's going to little bit spread onto the mountain area and that's all right. No need to panic. Let it spread, but if there's too much water on the paper, then it's going to spread a lot. Don't allow it to have too much water on the paper. Paint the whole of that region with the black paint or the Payne's gray in my case. Or if you do have Payne's gray which is directly from a tube, then you can go for it. Let us fill it out. I've painted up until there and we also have some land area to be filling here. We'll add that as well. It's just some bushes and something of that sort. But before that, I wanted to add that mountain there in the background. I didn't add it along with this because I wanted that mountain to be lighter. I'll just show it to you. What we're going to do is we're going to use medium to light tone of the burnt umber. We're going to have a lot of water mixed in so that we get a lighter tone. Using that lighter tone, we are going to paint that background. You can see the color that we're applying. It's a lighter tone than the other mountains. Apply it only after your mountain. These two mountains have dried. Otherwise the paint from your mountain is going to spread. There and I'll paint this one also. I need the color to be lighter. See the paint spread because it was wet. That's all right. I'm not worried about those spreading because those spreading actually makes it look beautiful. It's far away in the background. It's actually fine. If you're really bothered, you can actually go and dab off any paint. See? We've added that background. Now let's add the bush that I was talking about. It's just some bushy shapes that we are adding. It starts from here at the bottom. We're just going to fill up the whole thing. This mountain area is still wet. It's going to spread a little, but I'm not worried about that. I'm just going to fill up the whole thing. I've also added a little bit of brown into my Payne's gray just because it creates a little more dark black. If you're using black, then you do not need to add this brown that I'm adding now. I've made it such that it looks some bushy tree area there. Now we need to paint the bottom part. Let us make some land over there. For that, I'm going to add raw sienna. That's the land area and your Payne's gray from before or the black is going to spread onto your land a little. But it's okay. I just want this whole thing to look like a water gallery picture. That's why I'm allowing it to spread. Raw sienna and apply it to the land. There is a lot to this picture and I wanted to show you all of the elements how you would approach a painting step-by-step. More raw sienna. We're also going to add it to the land area here. Because this we just painted the whole thing is going to spread out. It is okay. I want it to spread. There. I've added the raw sienna. Now to make that raw sienna a little bit more interesting, I'm going to add and drop some burnt umber onto it. Just a little. Like that. See? Now we're almost done with all of the other parts. Now comes the most exciting part, which is water. I wanted this to be like a water landscape. Let's wait for this to dry. Everything is now dry and we'll paint the most exciting part, which is water. I'm going to just use my small flat brush. You don't need a flat brush. Don't worry about that. Let's apply the water to the water area. It's where the water is going to be and I'll apply water. I feel so funny when I'm saying let's apply water to the water area. [LAUGHTER] There I have applied water and we need to be applying water to all the edges and the area as well to the edges. Make sure that the water is just really even, we don't want the water to be a lot. Lift your board slightly so that the water flows down. Actually, you don't need any extra water in that area. That's why. Make it even. If you tilt your board, your water would flow down and it would be even. You can move your strokes like that so that it's even. Something on my paper, trying to move it out. That's good. Now what we need to add is we're going to add the reflection of these mountains onto our water area. It's going to be quite tricky, isn't it? I'm going to use my flat brush. But don't worry, you don't have to use a flat brush itself. Let's just take the brown. We're going to use burnt umber because that's what we used for the mountains. Let's pick up burnt umber and note, we're not going to seeing the reflection of this bushy area because it's like the lower part, the reflection of this bushy area will be actually muffled by this land area and the mountains are so tall, so that's the reason why we actually see the reflection in the water. Water, and take the burnt umber shade. What we are going to do is we're going to have our stroke downwards using the flat brush. Or if you are using your mop brush or any pointed brush, hold it at an angle like this. When I'm doing these mountains, I'll show in both the brushes. That will be helpful for I think many people who don't have this flat brush. With a flat brush, ideally, you would be doing this. See that? Just pull down your paint from the peak. Pull down and try to follow the length of the mountains. You can see the lengths is going like that, and then we have another mountain, which is again, taller here, and then it goes smaller here. Now, I think I'll switch to my size 2 brush to show you how you would do it with a mop brush. I'll show both. Here I've picked up my burnt amber in my mop brush. Make sure you cover the entire of the brush because we need the side of it and hold it almost parallel to your paper, and pull down being like that. See, that's how you would do if you are using your pointed brush and not the flat brush. Now we need to go taller. That's tall. See actually my paper has started to dry in these regions. I've washed my brush and I'm going to just water these regions so that the paint flows down. That's what we actually want. We want the paint to be flowing down to form the reflection. Just at the tips where you see that your paper has dried, pull down, and let it flow. See now we have added a very beautiful reflection, but we're not done yet. We need to add some lines into our reflection. But before that, let me go and add the reflection for this thing here as well. I've just wet the paper, and because that's of a darker tone, I'm going to go for the same darker tone itself. We applied both a mix of burnt umber and Payne's gray here, and I will do the same. I'm taking burnt umber and Payne's gray mixture and I'm going to add to their reflection. I have added to the reflection area there. Let me just go over it. You can see that I'm reapplying the paint and it's like pulling my paint down, but that's all right. I will wash my brush each time in between, and I want to show you the things that are happening. See, I've got an extra dark edge line here because I just applied what extra water, but I'll show you how I'm going to get rid of it. The whole region at the bottom of it is wet. When I join it to that wet region, that will be gone. See, now I have gotten rid of that dark edge because the bottom part was wet. That's how you get rid of dark edge. Just try to blend it along with an area that has water. The bottom area had water and I made sure that I blended towards the bottom, so I got that proper blend. I'm just going to add a little bit more paint to that area because I had pulled out a lot of paint. Now we have added a very beautiful reflection. You can see how it has turned out. Now the next thing we need to do is I'm going to add some water strokes. What we are going to do is use a really small brush, and make sure that it is dry because we're going to do some lifting. For lifting, when I say, let's not have any angle, let's keep it flat, and I'm going to do that. See that, I created some lines. We're going to do some random lines on our paper like that. See that? It's like the ripples in water so that the reflection is disturbed like that. Make them random. We don't need a lot of it. Just maybe a little random you can see. I think that's really good enough. I'm not going to ruin it anymore. Now we need to add some extra tuples in the water. What we are going to do is we need to add extra reflection. As in see the sky is yellow and radish, so that needs to be seen. Let's pick up some little amount of yellow and add it to the bottom. Don't touch the mountain area this time. Just add. Actually, you can shift to the larger size brush. I'll go ahead and use my mop brush again and I'll add the yellow. This time, we're just adding in a little. We can see the subtle yellow that I'm applying. It's only because the sky is yellow and you need to have that yellow in your sky because if you look here, the mountains are there, and then right next to the mountain, you have the yellow. It's okay not to apply the other colors, but we just need that subtle yellow in our reflection. I think this is really good enough. We can actually stop here if you want. What I'm going to do is I'm going to pick up a little more of my brown and add some smaller lines like that into my water. That's it. This is how it has turned out. Let us wait for it to dry and then we'll take off the masking tape. Everything is now dry and I'm going to take off the tape. Actually, this painting is got more to it. I mean, the evidence that I was using has got so much more to it. I tried to simplify it so much that I can fill it up into the half an hour. Here it is. Do you like the reflection that you have added? Don't worry if you didn't get this right because reflection is quite hard, and I have actually shot and got ready another class on reflections, which I will try to publish right after the end of this. There. 58. Day 46 - Rain: The colors we need today are Indian yellow, sap green, a dark green, indigo, burnt umber, and white watercolors or white gouache. We are going to have some fun adding rain to our painting today. The background is just going to be something random and we're just going to do it straight away. What we'll do is, let's apply the water onto the paper. Because it's raining, the background needs to be blurred. Just a main background and I might probably add some elements in the foreground. This is actually funny when I start painting and I say things that I might add things and I might do this, I might do that, but because you have already seen what the painting is going to be because I usually add the colors after I've painted, but I put that into the front of the video while editing. You've already seen the final picture and I'm still yet not sure what I'm going to do. You see what I'm talking about? It's just like a weird thing, isn't it? Anyway, I'm just applying the water onto the whole of my paper. Make sure that you do this multiple times. I will say this every single day because that's the most important thing, letting your paper stay wet for as long as you want to work on the wet-on-wet technique. You'll need your paper to be really wet, so do this multiple times. Make sure that you sort it and do it multiple times on your paper, all the four corners, but also not have any large clogs of water. I'm still applying the water and if there is any extra water, I just keep laying it down and allowing it to flow so that there'll be an even amount of water on all the areas of my paper. I think I am going to stop there now. Let's start painting. I'll use my size 2 brush as usual, and maybe let's have a light source or light in the top here. I'm going to start with a green color and I'm going to start applying. Just straight, apply the green tone. This is a dark green that I have. This green is provided, it's one of the most beautiful themes that I love. Don't worry if you don't have such a dark green. You can mix your green with a little bit of indigo or black and you get such a nice dark green. You can see what I'm doing. I want the light to be there. Leaving a slight gap in the middle, I'm applying the green. See, there is nothing that I will apply to the center. It's just a little amount of green that was there in my brush, but this is just plain water that I'm adding, and I'll keep adding that green. We will also add it all the way to the bottom. Adding that green, and now I will also add it here at the center. This top part is where we want the light to be, so the other areas, we'll just add normally. At the bottom of that, I'm having my upward strokes. Let some of these areas to be having that green. All the paint will just flow down because you can see I'm holding my board at an angle. Hold your board with one hand at an angle or you can keep something like a tape underneath. I'm just going to hold it and use your brush to have these upward strokes like that. That's the light area. The rest of the areas, just keep adding your green paint. You need more and more green, and just keep adding them. You see there is a clear transition from here to the white. I've washed the paint in my brush, but there is [LAUGHTER] still a lot of paint. Now I've dried it up. See, I've removed that extra paint. Then when I'm doing this on my paper, it's just light. Lightly, it's appearing, so we don't want the green to be coming in this center area, it's just I'm trying to create the light effect in that area. The other areas, we'll apply the green. Now I've applied a lot of green to a lot of these places. Now I'm going to go with a darker color. If you know me, you know the darker color that I go for green is indigo. Pick up a nice amount of indigo and we're going to add it. This time, we're not going to add it from the top, but we're going to add it from the bottom up because this detailing of the trees or whatever is there is at the bottom. We have to make sure that we apply it from the bottom towards the top and not from the top towards the bottom. That's really important, so like that. Here, I'm not going to go all the way up just at the bottom. You can see what I'm doing. Keep applying. These are upward strokes. You can see how the strokes are upward. Always add the upward strokes for this one because we want the paint to keep flowing down and also your strokes will taper as you do the upward strokes like that. See that? I want to add more green because I've lost a lot of green paint that was here. I'll pick up more green and I'm going to still go with the upward strokes now because now our paper has started to dry and I want my paint to keep flowing down, so I'll go with the upward strokes again, the upward stroke here. You'll see that when you're adding those upward strokes, some of your indigo paint is pulling off and coming along with your green, it's all right. There, that's now good. We'll add some more here and now I'll get back to my indigo. I want more of my indigo strokes. I'll make sure that the dark parts are at the bottom because the masking tape is there, so it'll take off so much of the paint that's there at the bottom. It will just flow away, so that's why we need to add more paint at the bottom as much as you can and all the way towards the top. This is just us working more and more on that wet paper. The paper is still wet, mine, that's why I'm able to add more paint, but you can see I'm not picking any more water. I'm just picking paint and going on adding. Now I've added a lot of these greens now, I'm just going to add and finish up these lighter areas at the bottom because I really want them to be dark. There. Now I have washed my brush and observe what I'm going to do. We need our paper to be dry now. Before we wait for it to dry, use a smaller brush because I don't want the splatters to be large so use a smaller brush and not a lot, but a little amount of splatters. We're going to add it. Just a little, you can actually see some of the drops, but these some drops here and there. Just a little amount of splatters we're going to add. I'm using a smaller brush, so I'll get only smaller splatters. Note that. This is like I'm trying to create a rain effect. Just small splatters. Can you see now small splatters, we'll add more rain effects so don't worry, this is the first step in adding the rain effect to my painting. This is good to go now, let's wait for this whole thing to dry and then we'll add whatever details we can. The whole thing is now dried and you can see those tiny little splatters, how they have turned out. That's why I said to add the tiny splatters, we don't want large splatters because if it was large, then it will be like large blooms. This was a deliberate attempt to create a bloom on our paper. Now let's go and add some more detailing. I was thinking, let's add a little bit of leaves or something in this light area. Because there's light, we have to go with a lighter tone. First, I'm going to go and take some yellow and add leaves. Note what I'm going to do. Let me just draw some branch and then I'm going to use my brush and create some leaves. Observe how I do the leaves with a brush like this. Use the tip and then press down and do that. See that? We'll just do that at random places and we're going to just create some leaves hanging. Let me first do that at different places. First with yellow and then we'll do with our each darker tone. First, let's just add as many yellow ones. I'm just touching my brush. See that? Or you can see, I'm just touching my brush at certain places. All the white areas, that's where I'm adding these yellow strokes for my leaves. Now we are done with the yellow, so I'll go with the sap green and because I don't have sap green. I have sap green, I don't have it in this palette and I want to limit myself to a small palette so that's why I'm using. Here I usually mix that green with a little amount of yellow to get sap green. So there, I have a nice sap green now, and this sap green I will add to the leaves. The same way, add it to different places, but add it such that you can see some of these leaves I have added in lines. The reason is because I want to add some branches in the end so I'll go for trying to make them in order. Just add them and you can add them in different directions also, you don't have to have them in the same direction. Add these leaves as many as you can. We're just trying to use the different shades of green here so that's why we started with yellow. Towards the top, I'm going to add more green ones, the same sap green ones. You see? Just to have added a lot of these sap green ones. Now, I'll go for a little more darker green. I'll go with my normal green that I have because that's really dark. Just go with the different shades of green to make it darker, use indigo if you don't have a darker green, mix it with indigo so that you get a darker green and this green, we'll just add it to different places. You can see some of you green mixes with the previous yellow and the green that you have added and that's all right, let it spread and create its own magic. See it's spreading some areas and creating its own way. I love that. Let it do its thing and spread the way it wants. I'm adding as many tiny leaves at the top as much as I can, because this is some branch coming in the foreground and it actually may be part of this tree here, but I think it's blurred and you're not able to see the rest of the tree, but only this hanging branch part is what you are able to see. I'm happy with the green that I have added. I'm going to go for further green so what I'll do is I'll mix it with indigo. You know how I make the darker greens by now. I'll mix my green with indigo and I'll get a further darker green and then I will add now these colors. Now I have four different shades, isn't it? I had a yellow, I had a sap green and I had a dark green and then I had a further dark green. I'll add this. We will be adding this to the top. Also we want more to the top because we want it to have a little bit of volume. The volume comes when you have more thickness there and the thickness in different shades. That's why I'm adding. I know this looks tough but don't worry, it's just adding some strokes with your brush. Actually, I think we can stop right now. That's good. Then use your smallest brush. This is my smallest size brush, this is a size 1 brush. We're going to add some branches. For adding those branches, I will use brown. I want it to be a dark brown. Actually, I think I'll use sepia because that's a very dark brown. Pick up a nice amount of sepia. If you don't have sepia, mix your burnt umber or any brown with black and you'll get sepia because that's how you get a darker brown. Using this darker brown, I'm going to add some branches. Just add some branches in between. You can see, that's why I needed the tip of my brush there. Join in the center and have some breaks in between here. You don't want it to be perfectly in the center. You just want to make it look somehow real and bendy. See that not a straight line. Trying to make it that real effect look like that. Maybe let's have this branch extending downwards. It's just the branch extended downwards like that. I like that so much. Not to all of them, just do some of them. You can have the branch only extended and in these areas add smaller branch or lines. You won't be actually able to see all of the branches there, but just some of them. I think that's good enough. Now we need to add the water part, that is the rain itself. For that, we are going to use our white wash or white watercolors, don't worry, you don't need wash itself. I know I keep telling that. We'll need a smaller brush and we need to add the white. This is going to be really simple. First, when you're adding, have a lot of water and dilute your paint. It's very diluted white. Very diluted. That is not a lot but diluted and then it's just simple. We're going to add lines like this. That's the rain, it's raining. We're going to add lines like this on the whole of our paper. This is like again, when we were doing the droplets one, it's a little bit of tiring process maybe but then it's fun because the picture is going to be really beautiful and we're just adding rain. First this is diluted paint. Using a diluted paint. Make these tiny lines in using whichever direction you are hand is a [inaudible]. If you like doing horizontal lines, so see, that's also fine. Or if you like to do vertical lines, do whichever but make sure that all of them are in one direction. If you want your rain to be a little slanting you can also do that. I have now gone for a straight stroke, so I have to keep up with it. I'm going to keep adding my straight strokes. That was too big. Then we'll also add it to the top of these strokes because it's raining and even there's rain on those ones. This is by set to use a smaller brush because we want our strokes to be thinner. Oh my God, I just realized, did you see me? I started from the right again. Oh my God I keep forgetting this that I should start my strokes from the left so that I can move to the right without disturbing my paint. That's something I never learn. Let's just keep adding the range strokes. That's a lot of rain. You can do this quickly. See how thin they are. You need to make them as thin as possible so that it looks like rain. We don't want it to be thicker lines because the thicker lines are going to look weird. We have to make sure that they are thin. Keep adding them. Even to the top of the leaves you will add. I'm still using the diluted white paint. I've added a lot of rain now and was diluted paint. Now is the moment that I am going to use a concentrated amount of white. The reason why we add a diluted and then a lot of concentrated amount of white is because it gives a depth to the rain. What you need to understand is, we are painting rain. The rain is not just falling like right where you're standing. Imagine you're standing somewhere and observing the rain. You're here and you're observing the rain. The rain is not just falling right in front of you, it's falling all around you. They are going to be in different lengths from you. They have depth. In order to show that depth, you need to show it in a different color variation. That's why you use lighter and different tones of whites. Now I'm going to go with an ultimate really white tune and add it to these areas. See the color that we apply now is really more white in-between. That's how your rain will get depth. Keep adding them. More of the concentrated white. This is just a lengthy process, isn't it? We're just keeping on adding these rain lines. You can actually be in these more sophisticated and in a more difficult manner than this. But then it's going to be such a lengthy process. That's why I tried to squeeze this into half an hour. What last we're going to do is let us add a little bit of splatters and we'll add them to the bottom. That's what I'm using my smaller brush for the splatters, so I get smaller splatters. I think we're good now. The whole thing it's raining and do you like it? Let's remove the tape. Here it is. 59. Day 47 - Water Landscape: The colors we need to do are cobalt blue, Payne's gray, a dark green or sap green, Indian yellow, indigo, burnt umber and permanent brown. We will have a pencil sketch for this one as well. Again, for this one, the horizon line, I'll not have it at the half point, but somewhere below the half point. That would be my horizon line. Then we'll have a river. In this one, I am going to be showing you how to make a water body, just a small one. Don't join it to the horizon like this, but join it to the end, such that this here is the vanishing point. Like a vanishing point that's where we see the river vanish. Then you come here it's extending away from the horizon. That's why as closer to you, you'll see them big and when it's further way, you'll see the river as smaller so that's why it's smaller and deepering towards the end. Just adding some details, let's have some trees here in the background, and another set of trees here in the background. Then maybe we'll have another main tree here. This is going to be our pencil sketch. First of all, let's go ahead and start painting the sky. For painting the sky, I will be applying the water. Let's apply the water onto the sky region. Right about the horizon line that's where we will apply the water. It's only a little more than half of the paper that we have to apply the water. Since it's just a little area, we will get enough time to work on the wet-on-wet technique, I suppose. Always make sure that you apply the water multiple times. That's very, very important. There you go. Now, I have applied the water, I'm going to switch to my size 2 mop brush and I'm going to be painting. This is bright blue. I keep messing the colors in my palette. [LAUGHTER] We are going to paint with cobalt blue. Starting at the top, I will paint cobalt blue like that, a straight line. Then after that is where I am going to add the shape of the clouds. What I'm going to do is I'm going to use the negative painting method. I know I haven't shown negative painting yet, but I'm just taking this opportunity to show you negative painting is just where you paint something without painting it. I'm going to paint the clouds, but then I'm going to paint around the clouds with the blue so that the clouds would form within it. Just see, I'll make some shapes in my sky like that. You can see I'm making some shapes. Outside of that shape, I'll color the whole thing outside of that shape. Then it'll be like the clouds are forming here. See that the clouds are forming there. Why do I keep picking up the wrong paint? Let's keep adding more like that. I want to add some smaller clouds here. See, I've left a gap. Not necessarily when you leave a gap in paint, that's not what negative painting is but then this is also one kind of negative painting where you can leave a gap and paint something. I've left a gap there. You can leave more such gaps and will form the clouds in the sky. I will also go with my normal straight strokes. Here, what I'm going to do is see, I am letting that area have a larger cloud. I've just made some shapes so that whole white area remains white. Then I'll paint at the bottom part. Towards the bottom, observe I'm using lighter colors and I wanted it to be darker at the top so I keep applying darker tones towards the top. At the bottom, it's going to be lighter, so use lighter tones at the bottom. I've done with the blue paint. Let me just soften some of the edges of the clouds. Now let's go ahead and add some depth to the clouds. For that, I'm going to use a light tone of Payne's gray and just add it at random places as well. I think we've done a cloud like this in the mountain one, isn't it? Let's just add just a little bit of depth to our clouds by adding some gray tone at certain places, just a little amount of gray tone. Only do this if your paper is still wet. My paper is still wet, so that's why I get a lot of time to work on the wet on wet technique and add these shadows for my clouds. If your paper has started to dry, do not apply these cloud strokes. You have to wait for the whole thing to dry and then you can reapply the water. I'm just going to soften this edge here because it seems like a hard edge to me. That's good enough. I need to paint some more things. Before the whole thing dries this region here. My brush still has some green. This region where the mountain region or the bushy region is, that's still wet because we were holding the paper at an angle and the paint has flown down. Anyway, it's okay with the green tone that came here because I'll be painting with green anyway. I'm going to use my dark green. If your green is not that dark enough, you mix it with a little bit of indigo and using this darker green, I'm just going to paint some pine tree shapes in my paper like this. See that? It's going to be wet on wet itself because then it just creates that blurred background effect. I'm holding the paper like this so that your paint would not flow all the way up. I'm trying to make it, come smaller as I go here. Also invading heights, not just smaller, but having them in different heights like that. That helps a lot, isn't it? See. It's just adding the shapes of some pine trees. It's going to be blurry, so we just need to add these vertical strokes. See all of them just vertical. Vertical all the way up to the right, bottom part of it. Also we'll add to the right the same way. Because of we are adding it in the wet on wet strokes. Listen to me, if your sky had started to dry and you're not getting these wet on wet strokes, wait for the whole thing to dry, and then very lightly reapply the water onto the whole sky region. Don't just apply here because then you'll create a harsh edge right where you stop the water. Reapply the water onto the whole of the sky region. That way, you will be able to paint this with the wet-on-wet technique. I'm just going to go over the left side some more and then also fill up the right side. I have filled up the whole of that area, now I want to give some depth. Depth is very important in watercolor painting. Now I'm going to go with a darker tone and I'm going to use indigo. Because we just applied this green tone, it's still wet so it's okay for me to add some lines with indigo. I will just add some smaller lines and I won't go all the way towards the top where the green is, so just at the bottom. You can see that, like that. At the bottom, some areas. Adding these upward strokes and keep your paper tilted so that whatever stroke you add the paint would still flow down but create a beautiful blend. Now we have created those background strokes. Now I think we can go and start adding the rest of the area. I'm going to take my size 2 brush again and observe. I'm keeping my hand here and I'm keeping it at an angle. I have my bunny here which can help me get that angle. You can keep something under that board to keep that angle. We need the angle for this one when we are working, it's very important. Then now let's start painting the greenery here. What we are going to do is let's apply water. Now we're going to apply water to the land region. Note I will apply water touching that region and my paint is going to flow down. You see that? It's okay. I'm okay with it flowing down. Let it flow. Let it flow the way it wants. It's okay. That has flown down. Let's just add here as well, all the way until there. The river, we'll paint it last. We are painting these regions first and now I have applied the water and I'll go with yellow. I'm going to start with Indian yellow. I have picked up Indian yellow. Let's paint it the whole of that region. At the bottom, you see what I did? I just created a line there and let it blend. Then we'll just apply the yellow to the whole of the other places. Fill up the whole thing with yellow. Here make sure that you create these. Try to blend it like that with a line so that it doesn't flow all the way towards the bottom. Then we'll do the same towards the left side. Pick up yellow paint and add it. Just trying to add some more yellow because I feel this is light. To this one, the whole place we have added. Now we have added the yellow, the whole of it with yellow. We're not done yet. Now is the part where we are going to make that look like a really nice land area. I switch to my size 4 smaller brush. I'm going to pick up green now. Picking up my green and I'm going to add some little strokes, random strokes. See, it's just going to be random. Trying to do some upward strokes and some towards the side. We're just trying to add it and add it only to some random places. It's just like some of the detailing on this land, just random places. Then I will add to the corner here. The edge I want to darken up the edge a little where it is joining the river, making sure that at the edge no yellow is seen, so there. Then just some upward strokes. All of the time I'm trying for upward stroke at the same time I've got my board lifted, so then it's going to blend downwards. Then I'll do the same to the left side as well. Just add some strokes at random places and add it to this area. That is the end. In this area I'm going to add some left strokes like that. For this whole painting I'm going to be showing you various kinds of strokes. Here I'm adding these left strokes with green. It's going to blend with the yellow and create some beautiful strokes, some beautiful blends. First let's just blend it with the yellow like that towards the left. All of my strokes are towards the left node. Done with that all the way down. Now I want to add some depth. We just added the green. Go ahead and add a darker green. As you know if you don't have darker green, mix it with indigo. You should remember the mixes that we need to use always. Let me go around the edge. This is because I'm trying to create a depth in that edge there and make the line smaller there and when it comes towards us we need that depth region to be thicker. The same applies to this side. It's thicker here. As you go away and to the further end of the river make it thin. See now it's thinner there and coming closer towards me I've made it bigger. Now, we're not done yet. We need to add more detail so that this looks really beautiful. If you think that your yellow is drying you can just go ahead and add some more yellow on the top. I just added a bit more yellow on the top and blended it with my green. The same thing you can do to the other side as well. If you feel that your paint is drying just go ahead and add some. Here it is okay even if you get some dry strokes because this is like the land area and it just needs a mixture of different strokes. It's okay even if you have some dry strokes that satisfy and just applying some yellow on the top. Now to make this more interesting let's add some permanent brown strokes. Here I have my permanent brown and I'm going to add this permanent brown stroke. Just again, just some random strokes right where the green areas were and in some of the areas. Just some areas I want it to be brown. I'm just trying to add various shades on to my land. This is more like a landscape now, isn't it? Just trying to create a beautiful landscape. Just add those little tiny brown lines. Can you see how I have added them? Some of them are dark. See, I added a dark there. Now let's do the same to the left as well. Add it to certain places. You can actually have them to blend along with the green like that. Also to drop some paint at certain areas for the detailing like that. That's a lot of detailing done. Now I want to blend this with little amount of yellow. I'm picking up yellow and I'm just blending that into the whole thing. Or you can just use water, using water is also enough. We'll just use water and blend it, see. Just water and blend it. Then it just creates a beautiful blend and also create that separation between the background and this foreground area. Just a little amount of water and spread the whole thing, this blend the whole thing. Now we're done with the permanent brown. Let's go with burnt umber. With permanent brown, I have all the mix before. Use a brown and red mixture together, or violet, red and yellow together, you will get permanent brown. Now going with burnt umber to add some further darker tones. Now I'm just using the tip of my brush and I only need it to be a really small, slight darker tones. Just adding at certain places. We have a line here for the tree. Just adding some to the base of that tree, and to some areas here. Just adding. I think that's enough for the land area. Let's move on to the water. It's too much detail on the land area, isn't it? Before we move on to the water, let's wait for this whole thing to dry. Everything is now dry. Let's paint the water region. For that, I will apply the water. [LAUGHTER] I really feel it funny when I say let's put in the water and apply the water on that region. Just along the river area will apply the water. What do you think is going to be the reflection on the river, the sky region. Whatever is there on the sky, it's going to be there on our river area as a reflection. Paint along the edge very careful not to pull out any of the green paint. Some of it may be pulled out, but that's all right. Now we have applied water to the river part, and we're going to go with the same color that we applied for the sky. Note here now, the sky is darker towards the top. The darker part of the sky, the reflection would be at the bottom. It's lighter here, so then this area needs to be lighter, and it comes darker towards the bottom. That's why we'll apply our blue tone. The start of our blue tone, we'll apply towards the bottom because that's where the darkness of the sky is. Apply at the bottom. The same way we have left some gaps for the clouds, we leave some gaps in the river area also. Then we need to make sure that the water in our brush or the paint in our brush is lighter as we go towards the top. Now I'm going to wash my brush and remove all those paints because I don't need any more paint. I'm going to just follow the existing paint from here itself towards the top so that it's just a very lighter tone of paint that's there in that region. See, it's lighter. We can add more colors towards the bottom. Now I want to give it a little bit of detailing or some extra details on to the river. For that, I will take a little amount of indigo and add it to the end where the river part it's closer to the land. Like that. Just a little bit, little darker and more towards the bottom, less here. The same with this area on the right. More towards the bottom and very little there and you'll see that it spreads. That's fine. I want to add a little bit towards the bottom and adding some lines like this, really small lines observed. It's just very small lines. I'm actually having my hand move left and right like that and adding it. That's it. Our river is already looking very beautiful and has these bright colors. Now the last thing that I just want to add is a tree here so that it just looks a little bit more interesting in this painting. For that, I'm going to start with burnt umber, and I'm going to make the trunk of the tree thinner towards the top and a little thick at the bottom. Also at the bottom, I'm just going to spread the bottom like that see, so it looks as though it's blended. Now let's just finish off with adding that tree. I am taking my dark green paint. That's the only last part for this painting, so it's just a lone pine tree there. See my strokes, it's just a simple thing that I'm adding like that. Like that just a simple stroke that I wanted to add. You can add some depth to it. Always the depth is important. I'll take my indigo and add some at some of the areas. Not the whole area. Just some of the area. There that's it. I'm really happy how this one has turned out. What we'll do is we'll take some little amount of green and add it to the bottom areas. Just, you know, some strokes like this to show some detailing in the foreground because this area are really close to us. Just add some small, maybe you should absorb bushes, something that's there. Like that. There that's it. That's actually our Painting 1. We can remove the tape. These are in the background. That's why we made it blurry than the sky. I showed you the negative technique and we included a water reflection and I showed you how to add these lines and how the width perspective, we paint lighter because this area is lighter and it goes darker towards the bottom. There it is, today's painting. 60. Day 48 - Underwater: The colors we need today are; bright blue or phthalo blue, emerald green or viridian, indigo, a little bit of Indian yellow, and lastly, for some splatters we'll be using white gouache or white watercolors. Let us start. We are going to paint underground scene today, so underground water. We're going to start with applying the water itself because we are going to work on the wet on wet technique. I'm using my flat brush as usual to apply the water. Just use whatever brush that you have to apply the water onto your paper. This is going to be a really exciting one because we are going to paint underwater. Keep applying the water multiple times as usual so that your paper stays wet long enough for you to work on the wet on wet technique. You can go ahead and look for the water control part where I had released a class on water control. That class is going to really help you in mastering control and also it addresses different things about your brush, the amount of water on your brush, the amount of water on your paper, on your paint, all of them, so you can check that out. Here I'm applying the water onto my paper multiple times. This is 100% cotton paper and yet I'm doing this so you can understand. If your paper is not 100% cotton paper, you know how much times you have to do this. You probably need to soak your paper in water in order to get the paper to stay wet for a longer duration of time. I think this is enough for my paper. I'm going to go ahead and switch to my size 2 mop brush and start painting the underground scene. In order to paint the underground scene, what we're going to do is we're going to use a turquoise blue shade. That shade we are going to make it using viridian and bright blue. We'll mix a green such as emerald green or viridian and a blue shade and you'll get like a turquoise blue shade. Here is my bright blue, and that's already viridian in my palette here, so that's why I mixed on top of it. That's bright blue. Let me mix that nicely, and then here is viridian. I'm picking up green. Now that's too much, so I need more blue. I want it to be a turquoise blue not turquoise green. Make sure you remember that. That is my turquoise green. If you have a turquoise green directly from a tube, then you can use that also. I'm just mixing so that many of you who may not have these shades can use them. What we are going to do is, around like about one-third of the paper, I'm going to do these strokes, so that's horizontal strokes, like that. You can see I'm constantly mixing the shades. Also while mixing, I might not done with the exact shade of turquoise blue that I used. I like it because we get a slightly varying shades of the bluish green that we want, so it's actually good. There. We did the horizontal stroke here. Now around the top, I'm going to go with curved such that they curve towards the top. Notice, so this is curving, see that. I created like a semicircular strokes. That's what we're going to do. This part is straight and then the rest of the areas at the top will go for those curved strokes. The same here. The top area we keep going for the curved. I know that the whole thing is going to spread because we have applied the water, but then what happens is eventually when your paper dries it shows the strokes that you had on the paper. It shows that you did not apply it like a flat line. This is the reason why we apply it in the manner that we want the strokes to be seen when dried. I'm just painting the top region now. That was too much green, but that's all right. It's just going to create beautiful strokes and a mixture of different colors. You can see there are some slight gaps that I'm leaving. Now I'm going to tilt my board and hold it like that because I want the water to flow down and I might use my bunny to get that angle. Let's get back to making more of my turquoise blue shade. Now what I'm going to do is, I'm going to do vertical strokes such that they extend out of the paper from the center. Like that. To pick up more water because the water will anyways eventually slow down. It's going to create any bleeds, bunny is too delicate to handle my people. You can see how I have applied my strokes. Again, having your strokes in the specific direction, it shows when it dries that you actually painted it like that, see those slight lines. They might blend together, but then again it shows that you painted them like that, those strokes, but don't create deliberate streets. Just let it be there. Let me now wash my brush. What we're going to do is we are going to create some lines on our paper such that the reflection lines, so there's a sunlight above the water, and let's just lift off water like that. From the center, just lift off. They need not be all from the exact center point, just lift off. You might remember the lifting technique each time you lift off. Wash your brush thoroughly, then remove that excess paint, wash it again, dab your brush, and keep doing that. You won't liftoff much because you already have that lot of water and the paint. You need to be cleaning your brush each time after you left off so that you can actually lift off the paint. I think for me that's good enough now. I'm going to change my bunny and maybe put a tape underneath so that it doesn't keep falling. I've got a lifting now so my paper at the bottom part is still wet. Because it's still wet, we are going to add some details at the bottom. For that, I'm switching to my size 4 brush and now we're going to add some interesting things onto our paper. I'm going to go with viridian. Picking up viridian, just greenish tone. We just want to create the flow of the water. We're going to just add some smaller strokes like that. See? Just drop in your paint and add smaller strokes like that. This is what the floor of our sea is going to be. You can have darker and lighter shades as in l'm picking viridian, but then some areas when I'm picking the new stroke, it's darker so that's why it gets darker and see now it's getting lighter. Before this region dries, I actually want to add something under the sea bed. Let's go with indigo, that's indigo. Let's mix it with a little bit of that viridian so that we get that darker green, a little different green and then less water on your brush down that is there on your paper, remember that. I'm just adding something under the sea maybe, some plant under the water , just under there. Now I'll take a little bit of yellow and add that as well. It's just different plants, they are different format so we're just trying to bring them into our water area. See? Now that looks like some underwater plant. You can add some other colors if you want. Like if you want, you can add a little bit of blue or anything. [NOISE] Let's go back to adding the details to the bottom part, that is the floor area. We've already added viridian. [NOISE] Now I'm going to add indigo so that's darker shade and we're going to add the indigo. Again, we're just going to add it some places in between our viridian or emerald green. Viridian is say almost same as emerald green. They just name it differently with regards to different brands. We've added some details [NOISE] at the bottom. I just also want to add some details towards the top. [NOISE] I'll go with viridian again and listen if your paper has dried, you know what to do, wait for the whole thing to dry and then reapply the water. I would say this every time because in case you forget and you realize that your paper has dried and you're getting these wet on dry strokes, then that is the time that you need to stop and you need to go forward. Also make sure to have less water on your brush when you're applying onto the paper because if you have more water, it's going to create blooms. When you go towards the top, I'm just trying to make it a little lighter because it's like the flower bed towards the further end, which cannot be releasing. That's the reason I'm trying to make it lighter. [NOISE] Then we can also go with our bright blue that we actually painted the ocean with, that is the ocean floor bed with. Then we can add that to the bottom and I'm just blending it lightly. Can you see that? There is very little water on my brush. See? Very little water. Don't stress out about this painting. I know it's quite difficult to have your paper stay wet for a slightly longer duration of time and it's quite tricky if you are just starting out, but then I think we're already on so much days in our 100 day challenge. If you've actually taken the other lessons, I think it might be okay, so please don't stress out. We have these vertical lines. Then at the bottom, with a very light tone of the bright blue, I've just added some strokes. Now the thing that what we're going to do is let us wait for this whole thing to dry so that we can add some detailing onto our underwater. [NOISE] Here are underwater scene. The first background layer is now completely dry. Now we're going to add some water lines onto a paper. You know that this spot where we created that semicircular part, that is a separation between the semicircular part and the vertical strokes, that's where we are going to add the detailing. [NOISE] I'm still using my size 4 brush, which is pretty small. We're going to again make the turquoise blue shade. Picking up the blue shade [NOISE] and then I'm going to take up viridian and mix it so that I get the nice turquoise blue shade. Now I have enough of the turquoise blue shade on my paper and now we are going to add the details. Let us be very careful when we're doing this. We'll start from the top because our paper or paint is now a really wet on our brush and it's got a nice darker consistency. We want it to be lighter towards the middle, so this is the reason why we go for detailing on the top, that is starting with the top. Just draw some lines like that. Let me show it too you closely how I'm doing it. Just some lines and strokes like that. What I'm doing is, I've got my brush here, then I'm pressing my brush onto the bottom and then doing some strokes like that. Holding your brush at an angle and then press it, see that and then lift off and maybe just create some lines next to it. See how that works? That's what we are doing. We'll do it in the semicircular mode, but also at the same time, try to create a wavy texture. This is what the tricky bit is, that is we have to maintain our strokes to be going in the semicircular line, but at the same time trying to create some wavy texture. See that? The top part is what is the semicircular part. [NOISE] Then as we move towards the bottom, we have to make our strokes lighter as well as in straight paths. The middle part is what is semi-circular. Now we'll start somewhere there. You can see I'm going for bendy, wavy strokes and you can also see that my paint is lighter than the one that I used for the top area. That's a lighter tone now. There. Now let's pick up more of our shade. You can see I've left a lot of gap there and that's why I was able to extend my semicircle. We're not going for circle, circle, circle, we need to keep extending the radius of our circle so that we make our strokes straight almost when we reach here. Remember the wavy shapes we did when we were painting water? It's the same thing, but then we're trying to do that in a semicircular manner. We also have the underlying white areas and our strokes that we did in that manner. All of that is going to contribute towards forming that water. Now I'm going to move further down. Almost around when we reach towards the light, we want our strokes to be wavy, but then straight. See there straight and above that is the water area. We're not done yet because let us add just a little bit of darker strokes on top of this. For that darker stroke, what I'm going to do is the same mixture that we did with both of them. To that, let us add a little bit of indigo so that it gets slightly darker. If you've gotten rid of or use the volume mixture like me, I've got almost use the ball, so I'm just going to mix viridian blue together so that I get the darker shade that I was using. That's the darker shade that I was using. Do that, I will add a little bit of indigo. That's not like a slightly darker shade. This darker shade, we are going to add it. But now what we're going to do is you remember the wavy lines that we did. That's what we're going to do with indigo in just random places. Let me share with you closely. Remember these bubbly, wavy lines that we did when we were painting water. The same ones, but then making sure to follow along that curve that we need to just some curved lines. I think that's a really good enough. We're literally almost done with our painting. What I'm going to do is let us add just some little bit of strokes with white so that it forms such a small bubbles in this area. Here's my white paint. It's all dried up. It's going to be really hard for me to activate this. My brush has got a dark with blue shade. Trying to reactivate all of this white. I've got my white shade. Now what we're going to do is I'm going to add some bubbles or small white strokes. I'm going to add a lot of white strokes towards the left side just to make it appear as if it's having some bubbles. Here, adding some strokes like that. You can add a lot of small dots. Then you can add in other places as well. Once you have added these bubble things on our water area, we can go ahead and maybe add some splatters. My white paint is not that activating much. Let me just pick up my white shade. Now here is my white paint. I'm going to add splatters. I'm going to try and add splatters to the top area of that part. We probably need a tissue or something in which you can mask out the rest of the areas of the painting. Now we're adding a lot of bubbles and we add it to that, just that top area. They are smallest splatters, you can see them trying. You can have different size of splatters. A lot of paint in your brush mean to get largest splatters, a little amount of plain smaller splatters. Just trying to add those splatters. Now we've added these platters. If you want, you can strengthen those white strokes because my paint was really less when I pick them up and this was not activating. That's why I'm just going over it once again so that it gets really white. You can have them in some other areas as well. Larger ones. That's already looking really nice, isn't it? Our underwater scene. Now, I'm tempted to add some detailing on to this underwater bush. What I'm going to do is I'm going to pick up a little amount of red shade. We're going to go for dry strokes. Just a little amount of red shade and on my brush. I'm going to just add some strokes like that. Let me share it, too closely. It's too small to be even seen. This is just something on that plant and I wanted to add it. I don't know why. It's shown in the reference picture and probably that's why I want to add that little detailing. But then once you've added that, it's already looking a little different than what it was before, isn't it? We're done with our painting. Since because the last thing that we did were all dry, we can go ahead and remove our tape. There are different ways to paint underwater scene. This is just one of them. Underwater scene, we have a lot of varying colors as well. There's really different variety out there that you can try. There is our underwater scene. 61. End of Week 08 - Water :): We are done with the Week 8, which was water. We did a lot of different types of water paintings. This was the first one, in which we painted water with the sunlight on the water, then we went with water droplets, after which we painted some reflections of some mountains in the water and then we painted the rain itself. Then a little beautiful landscape with a stream flowing and finally underwater. I hope you liked all of these. I just tried to cover different subjects with regards to water because water itself is a very vast topic and this itself can go into a separate Skillshare class, which probably I'll do someday, but I hope you liked all of these ones. Now, it's time for our weekly break and adding the reference image. I'll add some reference image into the resources section in Skillshare and you can try them out on your own. I'm sure that with the techniques that we have learned in this week you'll be able to do it. If you attempt any of them, don't forget to upload your paintings to the project section in Skillshare. 62. Day 49 - Sea: The colors we need today are, ultramarine blue, a rose, Indian yellow, burnt sienna, burnt umber, bright blue or phthalo blue, viridian or emerald green, and indigo. Hey, we have reached to that topic which many of you have been waiting for. Which is going to be oceans. It's just going to be different oceans, not beaches yet. We are going to paint a gorgeous ocean scene today. Ocean or sea, both of them is included in this week. You've already seen the painting that we are going to do. Let us start. Again following the perspective rule or the water color rule, I'm going for around one by third of my paper for my horizon line, not halfway, I prefer the one by third position and I'll make a straight line like that. Then now we're going to have some mountains. Not mountains, it's some rocks in the sea and just make these shapes. Did you see that? Just a few shapes. We're going to have multiple of them, there and maybe another small one. Then here we're going to have a larger one. I'm going to make this go taller, so this is the biggest of all. Let's add an arch thing there. Also let us have this specific rock extend towards the front as well. That is some another rock maybe in front of it, and the other one is there. It's not a straight horizon line because this rock is like, you need to show the dimension. They're not going to be like flat over there, in the straight line. That's why you can have them onto the watery area like that slightly dense. They need not be on flat on the horizon. That's that for our pencil sketch [NOISE]. We will start ending. First, we're going to make our sky, which is really small, so you can go ahead and do that first. I'm going to be doing the wet on wet technique and we don't need to actually worry about going around the lines because these are going to be darker, so we'll just go and add to the whole of the area above the horizon line. Since this is a small area, it will stay wet longer enough if we just do like two or three times. Done watering that area, so I'm going to now paint. What I am going to do is, I'm going to start with a little bit of ultramarine blue or cobalt blue. We only want a very lighter shade, so we want to try painting like a sunset scene. A very lighter shade of the ultramarine or cobalt blue you can see that. I've added a very lighter tone to the sky. Then the next color that we are going to take is again pink. But I'm going to go for a very lighter tone again. That's already a darker tone than what I wanted. I'll just remove excess water and then spread the same thing around so then it becomes lighter. See that? Even if you apply a very darker tone onto your paper, remove all the paint from your brush, and then extend the same color because your paper is wet, it will withstand that stroke. It's not going to dry quickly. Just lightly. We only want a very light pink shade. Here I have applied a lot of color, I take off all the water and then I just spread it. That's again too much, so I washed my brush and I spread it again. See that? Now that's very light. I want to add in some yellow as well. Wait, I am going to remove this yellow because it's got a lot of green on top of it from another painting that I did. That 's yellow and I'm going to add the yellow again, the yellow is still bright. I'll just spread it around with my brush. I'll apply to the top region as well, just some. I'm just trying to blend the whole thing. You can see each time I'm beginning only a very little paint and I'm spreading it nicely because I don't want it to be too dark, just a very light sheen. See the tone that I have on my paper, it's very less. Each time, if you're picking a lot of paint, have it spread around with your brush so that it doesn't create those darker tones. The same with any shade that you are adding onto your paper, try to get them light. We are trying to blend them like that. Now we have three colors in the sky already, which is not that very vibrant. We don't want it to be vibrant. I'm adding some more blue. If at all any color is going to be clearly seen, it's going to be blue, and the reason for this is because this is the color that's on the top. On the top means that's the area that's closer to the photograph. That color is what is going to be more vibrant than any other shade on this picture. Always the vibrancy and the detailing will be towards the top and the bottom parts. I think I've mentioned this before, towards the center, is where you lose the details and you lose the vibrancy, those areas are what goes lighter. Now we've added the blue shade and the sky already, so that's it for the sky, that's all. Now let us wait for this to dry because I want to paint the mountains now after which will paint the sea or the ocean part. Here the sky is now dry, so we'll paint our mountains or the rocks in that sea region. For that, I'm going to pick up burnt sienna. For this, I would like you to go and remember the Arizona mountains that we did in our mountains exercise. It is vaguely similar, we're just going to paint the whole of our mountain or the rock. It's just basically some rocks in the sea and cover the entire part. We've painted the entire part. I already have this burnt sienna in my brush which I don't want to wash, I'm going to with my smaller size brush and I'm going to pick up burnt umber, which is like a darker shade. It's dark brown. This was burnt sienna. Don't worry, if you're using the same brown then just try adding a little bit of black to your brown to get it darker. Then this is what we are going to add on the top to get a darker line or darker shade. Let it get added towards, different areas of the rock. It doesn't have to be uniform. We're just trying to create some darker spots, darker lines, you can see that. Just some darker lines on top of them, see that? Like that. Burnt sienna shade is going to be there in the background. Now I'm holding onto this brush because it's got burnt umber, which I do not want to waste. We go ahead and paint this one. The next one, again, I'm applying my burnt sienna on top of it. It's just me not wanting to waste my paint, which is why I hold onto this brush because it's got burnt umber on it why waste it? We could use it in our next rock. I've painted the whole of that. Now I'll switch my brush and I'll go with the burnt umber again. I'm going to add in the little lines and detailing onto my rock. Towards the base area, I prefer to have it dark because it's away from light, probably the lightest somewhere there, the sun has set almost and it's getting darker. This is the reason why we have these darker spots and shadows. I'm going to keep the right side of this lighter because I'm assuming that the light source is there. There I'm done with the next mountain, so we'll go and add the next one, again using burnt sienna, not burnt umber. I don't know why I keep saying mountain, this is supposed to be a rock in the ocean. Done that, switching the brush again and adding the details on top. Done that one, moving to the last one. I picked up the road paint, now I have to wash it. Well, that would have been okay. Would've just created a beautiful blend even if I picked up the wrong paint. Burnt sienna again, on the top and we have this little arch here in the water on that rock. I'm going to leave that front rock for now so that we can add a different color tone to it, and it looks interesting. Since the first area here is starting to dry, I'll go and add in the darker shades. First itself, otherwise my burnt umber would turn out as wet on dry strokes so I'm just going to start applying. But I think we also painted another mountain or rocks like this in the water lesson when we were doing the reflections part. Now I've added lots of lines and a dealing with my brown, now I'll finish off that burnt sienna part. I've finished off the burnt sienna part. Now I'll go ahead and add in the burnt umber. You can see they're just totally random. There is no specific rule. I'm just adding some lines and mixing together both of these colors. That's exactly what I'm doing. You can clearly see that. Don't stress out. That's alright. Now we have to paint the one in the front. For that, I'm first going to add burnt umber. Here's my burnt umber, and I'm going to start with my burnt umber there in the edges. Your paint might bleed into those mountains, but that's fine. Don't worry, it's all right, even if it spreads. Here is my burnt umber that I've added. Now I'll go with the with the burnt sienna. Right where the burnt umber strokes ended, I'll apply the burnt sienna and you can see how it's creating a different mixture. I just wanted to show you how we can paint with two colors at the same time and create varying mixture. There. Now, the whole thing I'm going to apply with burnt sienna. These are two colors, remember, the two colors. If you're mixing them, have a lot of these mixed and ready before you start. There. I've added a lot of burnt umber towards the left side, and now we'll go and add, like we were adding for the other ones. I always prefer to have the bottom as dark. The main reason as to why it is dark is so this region is water. The water just keeps flowing and flowing and flowing. This region is found to have a lot of water flowing through that region and the tide changes, that level of water changes. This region is always going to be dark at the bottom, mainly because it's an area that's always been patched by water, so it's going to have accumulated dust, accumulated algae, and all of that. That's why the bottom part is going to be always darker. I'm painting towards the outside just to bring about the light on this one. Now we have those two mountains. See how they have done that. Now let's go ahead and paint our water region. For that, I am going to apply water to the sea region. Applying the water, and make sure that you apply the water evenly and also not to touch the mountain area for now, we will touch them, but I don't want to be touching them with this flat brush. I have added water. Now I'll add more water towards the base using my mop brush. You'll see that some of the paint flows into the water region. I'm also holding the paper down at an angle like this, observe that and that's fine. We want the water to flow, that is the paint to flow down. See this brown coming out. I don't know where I got the green from. Let's see the brown flowing down. Let it flow. That's all right. Now we have the water. For painting the water, what we're going to do is we're going to pick up some yellow shade, the yellow because see the sky region, is going to have a little bit of yellow reflected. Right at the start, all of our sea, we're going to add that yellow. But remember, the yellow shade that we applied at the top was lighter, so we need to make this also lighter. But then see we have that yellow there, and it's very important. See I'm spreading a lot of these brown and it's alright. It's just going to form the reflection of these mountains. It's going to automatically form the reflections. Then we've added the yellow, so we need to add a little paint of that pink. Here is the little thinned of thing. We've added the little dint of pink. Then lastly we'll add the little dint of the blue. You can see my strokes how they are, it's like this, just making sure all of these blend. Now we've done with the first layer on them. Now we need to add more details in order to make this look like a sea. That's what we're going to do. I'm switching to my Size 4 brush for this, and observe the sheets that we're going to do. We're going to go with a turquoise blue shade. The turquoise blue is a mix of bright blue and pale blue. I have it in my palette from the previous painting that I did, which was the underwater one. You can mix more. Here's my bright blue and viridian or emerald green. If you mix them together, you get the turquoise blue shade. This turquoise blue shade, I'm going to apply towards the sea region, and I'm going to apply in wavy form. Remember the wavy form that we did when we were painting water? The same wavy structure we are going to do. In this case, if you don't want to lift the paper, you don't have to. I'm going to keep it flat down, because otherwise, the whole thing is going to flow down. Pick up and add those different wavy strokes. You might need to mix more of the paint, like I'm having to mix each time, and add the wavy shapes. We will also add it towards the top region, so that is on top of the yellow. The yellow is going to be like the underlying color. We'll add it to these regions, and you'll see that when you're adding them, they're turning into a greenish tone. That's alright. That's what we want. This greenish tone is because of the reflection of the light on the water. At the top region, try to make the lines smaller, and also to leave a lot of gaps for the yellow to be seen through. You see that a lot of gaps such that the yellow is seen through. My lines are smaller at the top, and see how we are adding them. I know this water is really tricky, ocean is really tricky. It's quite tough, but we've done a lot of strokes by now, and I'm confident that if you try it multiple times, you are going to get this, so don't be worried. Leave some gaps like I'm leaving now. You see there's a lot of gaps there, so that it sees that yellow shade in the water. Then we just keep adding our turquoise shade. We'll add them to the bottom part of our rocks as well, and towards the right side as well, so that those paint that spread, that's going to be like the reflection on its own there. Let's keep adding our strokes. Now we have added the water. But don't you think that it's looking like a flat structure? We need to add dimension to it. The dimension is missing because it's in a single tone. That was the first layer. Now we'll add more depth to it. What I'm going to do is, I'm going to mix my turquoise blue shade that we just created with indigo. That is bright blue, yellow blue, and indigo mixed together so that you get, sorry, did I say bright blue and yellow blue, they're both the same, so bright blue, viridian, and indigo together, when you mix them together and use them to add some darker strokes. I will show you the strokes again. Holding your brush, starting at the tip, and then press it downward, and then fall off, so that you get these strokes. You see that? Like that. We'll do that in different places, and at different wavy directions. This wavy direction is what is going to give it that original wave look, and also add a dimension. Towards the top, make sure that you add them smaller. See, it's just small small lines that I'm adding towards the top. You can add small lines towards the top. It's fine. We need those lines in the water. But make sure that you don't apply to the area where you have left white, because we need those wide places to be seen at certain areas. Wherever there is white, avoid that. Onto the top, we'll try adding these lines. Like that. See now it's already coming into a dimension. Pick up that mixture each time and add. Remember, don't introduce any more water. Water control is very important. Also when you're painting water, using 100% cotton paper really helps a lot. Listen to me, you know what to do. If your paint has started to dry, then you'll have to wait for the whole thing to dry, and then re-apply the water in order to get those wet on wet strokes. We want these strokes to be wet on wet, because it really helped in creating that beauty in our paintings. Now I'm going with more darker strokes of indigo, and I'm adding to the bottom. Towards the bottom areas, I'm adding more darker tones. Picking up more of indigo, now I'm switching to a complete indigo. You can see that that's a lot of indigo, and no other shade. That is, it's not the mixture of turquoise blue, but just indigo, because now I want my stroke to be darker. Also my painting has started to dry, and it's almost a wet on dry stroke. It's already a wet on dry stroke, but that's all right, because it's the details, and now we're going to have some wet on dry strokes at the bottom. Just pressing your brush at certain places and creating those wavy lines like that, and towards the top you can see, I'm going towards, and using lighter tone, no more darker tones when you go towards the top, make it lighter each time. You see, those are lighter lighter tones, and there's a lot of white spaces. You can see we're lacking a lot of detailing on the right, so let me just go ahead and add them. I'm done with this painting. I think this is now really already really good, isn't it? This is all. If you want, you can add some detailing on to some white spots or some detailing. I'm really happy with how this has turned out. We have to dry this out, so that we can remove the tape. Everything is now dry. I'll remove the tape. Here is our first sea or ocean painting. I hope you like it. I love these bleeds into the water. It shows as if there's some parts of the rock under the sea, so there it is. 63. Day 50 - Wave: The colors we need today are ultramarine blue or cobalt blue, bright blue or phthalo blue, viridian, and indigo. For the splatters and the waves structure, we'll be using white watercolors or whitewash. We are done with our first ocean sea paintings, so let us go ahead and do the next one. So for the next one, we will not be using any masking fluid, so we need to get our pencil sketches right. I wanted to avoid using masking fluid, obviously because many people may not have it. But keep in mind, it's always good to have masking fluid. It makes so much easier. We are going to have a wave. First, let's sketch the wave and when you're sketching, try to make the sketches as light as possible because there are many areas that need to stay white and your pencil mark will be visible. That's why I'm going to show it to you up close so that you can see then because I'm going to make the sketch very light. It's like a wave, wavy form, and something like this. That's the waves part, and then we are going to have part of the wave, the splashy part here. The entire splashy part of the wave. I know this is not even clearly visible, but I don't want to draw anything there because it's supposed to be with the splashy parts so I don't want to ruin that. Then the other parts of the wave. This is basically it. Then this the end of the wave as it breaks down. Then let's have the rough sea, the original part of the sea here because we still have got to paint the sea part. There. This is going to be our sketch. I know it's not visible when I keep the paper down but you've got it because I've been keeping it close. Now we are going to paint. First, let us add paint to the sky region. Note how I'm going to paint it. I'm going to apply water and I will apply water to the line that we made for the sea right above that. Then the border that we made for our breaking wave, I'm going to avoid that and just paint along the line there. We have to keep that area white. We can't paint there so that's why I'm avoiding that area and the same goes with the top. There. Now we have applied water to the top area where the sky is supposed to be, and we'll start painting. I'm going to be using cobalt blue, you can also go with ultramarine blue and we will add it to the sky. Adding it to the sky region and you can see, because we have applied the water, it's going to spread into the water and create a border, and the same here, all the edges until we've added the water, let's paint the blue sky. I want my colors to be darker at the top as usual. Darker colors at the top, and lighter as I go towards the bottom. Now, there's another area that we need to paint for the sky itself and that's going to be this area in between the wave. Do you see that? That little semicircular part in-between the wave is again the sky region that needs to be seen through the wave. Let's paint that area. Again, I have applied the water and I'm going to go with my blue shade and I'll paint the inside part of it. Remember to use a lighter tone than what you used for the top part of the sky because this is, again, the bottom part, so we have to be careful. The view usually starts getting drier and absorbing the paint so that's where I go over it multiple times. We'll see. Now we have covered the main part of the wave. We're not done yet. While this sky region dries, we can actually go ahead and paint these regions now, that is paint the main parts of the wave. Because these region needs to dry and we don't want our paint to spread, what we're going to do is we're going to apply the water and note where I'm going to apply the water around halfway here. These areas, I want it to be white. Around halfway here, I will apply the water, but I will not touch the edges so that the water spreads. Avoiding the edge where the blue paint is, I apply the water and apply water to the whole area. Again, here are the top avoid the edge where the blue paint is and the rest of the areas apply the water. Don't touch the blue area because you will spread the blue paint into your water, so we don't want that. Avoiding that area, the rest of the areas, we'll apply the water. There. I have applied water all around and also this line. I'll follow along this line for now. I know this is also the sea part, but let's not paint it now. I've painted that, now we are going to use viridian or emerald green. We're going to mix a little bit of blue to it so that we get a turquoise green color, not turquoise blue. More of the green and less of the blue so that we get turquoise green color and that's what we're going to use. Observe now very closely, I am going to apply my strokes like that. See, just in curved lines. Actually, I'm going to shift to my smaller size brush because this is too big, I feel. I'm going to go use my Size 4 brush and we're going to do the same. That's turquoise green color and we are going to make that wavy shape right along here all the way and leave the white gaps as it is. Let them have a lot of white gaps. It's good when you're mixing this turquoise green because at times you get different shades, you may not be able to get the same shade as you used just a while ago. That's actually good when you're adding it to the wave because it just gives a little different colors each time. We'll just have drops of paint at certain places because we want a lot of white regions in our ocean part. See, I'm just dropping a lot of paint, but don't let them form many hairs, so just keep spreading them around towards the base as well. You can see there is a lot of white spaces. Make sure that you work around each of those shapes so that you get rid of any hairs that are forming because of the wet-on-wet technique that we are applying. You can see some of them, I am applying the viridian directly, so it just gives you a different color combo in our painting. Then actually, we can also go ahead and start directly applying some blue as well. It just gives nice two color-combo. Here, it's the wave that's breaking here but then here, we need to add more of in this direction, don't make the whole thing ends like that. I'm going to go. Let me paint the whole thing there towards the tip and then we'll add more. You can see I'm adding some lines. Then I'll also add some blue tones to this side. It's just adding these shapes in wet on wet. You can also add towards the left side. It's just making sure that our paper is wet and able to withstand or wet on wet strokes. Now we have added a lot of these wet on wet strokes, and we can see that it's forming a wavy shape. Let's now paint this region. But I think this sky region is still not that dry. The painting of the sky might spread into this region if I apply. Let me quickly dry this part up. We're done with painting the parts of the wave. Or maybe actually let's go with a little bit of darker tone and apply now itself before this gets dry. Now I'm going to take indigo and I will apply some lines, see just a very little amount of lines. It's okay if your paper has dried, for example this region has somewhat dried, and I'm still applying. That's alright and, we will be applying this indigo paint just in some areas. I've added some lines with indigo. I think that's enough, and I'm going to dry this area here. When I'm drying it, obviously the other parts are going to dry, but that's alright, and then we'll start painting here. This edge is now dry, so we can go ahead and paint it. I'm going to apply water first. Again, note I am applying water along the edge, but we have the tip of our wave here that I need to avoid. Let me show it to you how it appears. You see that little clip that I made with the pencil sketch, that I am going to avoid and then apply the water and applying all the way to the edge here. Just avoiding that tip of the wave that needs to stay white. I have applied the water, and now I will use my indigo and paint the inside. I'm using my indigo so carefully along the edge and then when you reach here, extra careful because you don't want to go inside that area as well. It will look much better when we add the white, so outline the paint along the line inside. That area is like the far of sea, so we need to paint that. Carefully along the line here. We can actually have some white areas if you want, because it'll just be like the form in the ocean. Now we're done adding the indigo and that area that we just painted, it's still wet, so observe what I'm going to do now. I'm going to go with now a darker tone of indigo, and I'm going to apply it along the edges of my sea and then again, I am going to draw some darker shades on the top. It's wet on wet, and it's got to be really dark. If you think that you can get an enough darker shade with your indigo, go and add black on top of it. Just adding these lines. I have added those lines, and it's in the background, far away. Let it be there. Now we have done a lot of background work and let's add some things into the foreground. For adding things into the foreground, now I'm going to go with the quiz blue shade and the turquoise green shade again. That's my viridian, and I'm adding the little amount of blue to it so that I get the turquoise green shade. Then I will add just on top of it. This is like now the foreground details of our wave, and we are going to just make some lines with the turquoise green. Not a lot, just a little on the same through this side. I've added some lines with the turquoise green shade and now the last bit and the last details. Now we'll go ahead and add our white. Let's take our white paint. Here's our white paint. Oh, wait, before adding the white paint, I want to do some things. Note what I'm going to do. The inside part of the wave where we actually left white, let's go ahead and apply some water, but not to the borders. Avoiding the borders of the sky, let's apply the water. My brush still has some [inaudible] blue. You can see that bluish [inaudible] when I'm applying the water. That's fine. Apply the water and don't touch any part of the painting that we've already painted. Now, what we're going to do is it a very lighter tone. You can see I'm just touching the tip of my brush and took a very little amount of that viridian paint, and we will have it there just very lightly. I don't know if we can even see that, but see it's just a little amount of paint that we want to add there. That's too much there. If you've got too much, wipe it away, see it's just a little that amount of paint, and also we'll take a little amount of Payne's gray as well, and we will add it. That's too much. I'll remove the paint from my brush and spread it around. See, it's just a little shade of the gray that we are adding. Very little. That's it. You can see that the wave is not going to be clearly white. It's just got a little amount of colors in it. Now we can go ahead and start adding our white. In order to add a white, but I think that these areas are still a little wet. I'm going to quickly dry this up. Now, so this area is now dry, and I can go ahead and add in the wave. When I say adding in the wave, I mean to say is we are going to add a lot of white into our painting. Take a nice consistency of your white paint and we are going to add it. We have already left some white spaces, but in addition to that, we're going to add a lot of white. In line and using the brush movement. Now this part, you have to watch carefully what I'm doing. First, I'm adding some lines. Let's go ahead and add all of these lines first, actually. A lot of lines first. Adding all of these towards the bottom here, these lines are supposed to be a little straight. That's why I'm adding them straight. Towards this area, you can have them bend. This area where it's joining the indigo and you've got any harsh edge there, that harsh edge, we can get rid of it by applying a white paint, see. I had a harsh edge of indigo paint and I got rid of it by applying my white paint. Any part of your painting where you think you've ruined, that's the best part of our painting, oceans, and waves. If you think that you've made a mistake somewhere and you can see a harsh line, your paper has dried and it's forming some harsh lines, mask all of them up with these white strokes. That's the beauty of adding these white to the oceans that's why I love it also because it makes a lot of sense that you are able to cover up your mistakes with white. I need more white paint. Now these areas here, what I am going to do is we will add lines, but then we're also going to make it like different weighing structure. See like a tree branch or something. Use the tip of your brush and make a lot of branchy shapes. But the only thing is you don't have to think of it like the tree and from a main branch. Just add as many small lines and whatever you can make. Just adding as many smaller lines as I can, smaller winds, you can see them. Now I have added a lot. Let's get to the most interesting bits of these areas here. Cover up any edge, pencil mark, the edge pencil mark, cover them up. Also, the dark edge formed between the sky and the water edge that we made, cover that up with your white. For now, first, cover them up and use a semi-dry brush. It's not exactly dry brush stroke and it's not even too much wet paint. You can see it's a semi-dry brush and I'm covering all those pencil marks and the harsh edge formed by my sky. The same I'll do to this side as well. There, I've covered those edges, and the same I'll do to my indigo. Now the last bits that we need to do is adding a lot of splatters so that it looks like the wave motion. Not as bad, so I don't want any splatters in the other regions for example, I got a splatter here now, but it's fine. I am going to cover up the areas that I don't want the splatters to be. First, I don't want the splatters to be there. I'll pick up my paint and I'll add my splatters to this area. That's a lot of spatters. I've added a lot of spatters there and now is something interesting. I don't know if many of you may have it. We need to use an old toothbrush to add these splatters. But in case you don't have an old toothbrush, use a flat brush. If you're using a flat brush, you can go around and do it, holding it at an angle like this, and doing this after you dip it in paint, or even you can use a brush like this, put the whole thing in paint and then do this so that it splatters to paint. I am going to be doing that but I am going to use my toothbrush. Dip your toothbrush in water or whatever you're using, and then dry it up and then dip it in paint. Here, I have dipped it in paint. This is going to get our hands dirty. That's all right. First, let's cover up any areas that you don't want your splatters to go, like for example here. Then I'm going to do and add splatters. You can see to the edge here, I have added splatters and we'll go do it all around our wave. You can see how the splatters turn out. If you don't have an old toothbrush, like I said, use the edge of your another brush and add in the splatters. See, I have added all the way there. Now we've already changed how that whole thing looks, isn't it? We're going to cover this area, pick up a little more of my white paint and add it to the edge. The thing about toothbrushes, if you hold it right close to where you want it and do this, I'm doing this, if you do that, you'll get the splatters only in the area where you want them. More paint. If you feel that your brush is dried, dip it in water, not too much, we only want a little amount of water and then take the paint again and you'll see it's forming splatters again. The splatters, and you might have to do this multiple times because these splatters, they absorb into the paper very quickly. Add a few of them. See now that's much better, isn't it? We got rid of any extra things. Then you can add some splatters in other places. See, it gets your hand dirty but this is it, it makes our painting more interesting, and any dark edges that is remaining, you can go ahead and add some white and mask them all off. But that's our wave. Isn't that looking beautiful? We're done with the painting so we can remove our tape. This painting, actually, you can spend a lot more time into adding minute details into it. I didn't want to extend this more than half an hour. This is an easy way to do it. But then I'm telling you, you can spend a lot of time doing these splatters and carefully adding those lines. It'll be much better than this one, there. I hope you like it. 64. Day 51 - Ocean Waves: The colors we need today are ultramarine blue or bright blue, viridian or emerald green, Payne's gray and indigo. For this one, it's going to be another way we see that we are going to paint. [NOISE] Let us add in the horizon line. I'm going to add in somewhere to the top. For this one I'm just using a scale because I just want to do it as quickly as possible. That is the horizon line at the very top of our painting. Then just drawing some shapes with my pencil. I'm drawing it light. Like I said yesterday, we have to make it light so that when we add in the white and leave those areas white the pencil marks don't show up. That's why. You can see the wavy shape that I've added. Now, I'll add one more here. I've added there. Now note what I'm going to do. I am going to add another extra line here. Do you see that? Another extra wavy line, and I've joined it there. Now this extra wavy line is going to be the foam that already started to break from this wave. Like that. Make some drop shapes. See that? some drop shapes. That wave has started to break. That's what we're trying to show here. Then there can be lots of white spaces and this bottom part is going to be a lot of white. This is what we're going to paint now. In order to paint that, let us start from the top region and we are going to start by applying the water. Let's apply the water. Well actually, shouldn't we paint the sky first? [LAUGHTER] Sorry, wait. Let's paint the sky first. Sorry about that. Let's paint the sky region first. I have applied the water into the sky region. How about we make it a little bit cloudy. What I'm going to do is I am going to be taking cobalt blue or ultramarine blue, and then we are going to apply it. We'll apply it into our sky, but then we'll apply it at random places. Remember our lesson on skies, it's almost like that. The top region, I want to make it dark. I apply a darker tone towards the top, but in the other areas, I'm just dropping my paint little. Then I'm going to add in some cloudy shapes. For that, I'm going to go with Payne's gray. You can see I am taking a medium tone of Payne's gray, and that is what we will add. Using the medium tone of Payne's gray. I am going to add in some cloudy shapes. Add it on top of the blue itself so it will give a shape to some of them. See. You can cover up the entire area above the horizon. I wanted to feel it's a very cloudy space far away in the sea. I'm covering up the entire top region of my horizon line. I've covered all of the regions with my Payne's gray and I'm going to go add a little bit dimension to my clouds that is going to add a little darker tone. All of these now looks like a single tone, doesn't it? Except for this part here. I want to show that part similar to other areas. I'm going to just add in some more darker strokes at certain places. Now make sure that you don't pick a lot of water. Your paper might be starting to dry. Just a little concentrated paint, but don't make it too black. If you do apply a lot of paint, you can just spread it around like I'm doing. You can see now that's much, much better, isn't it? I think I might apply a little to this side as well. I think that's enough for the sky. You actually don't need to do the sky. You can just go and paint a flat blue sky if you want. I just wanted to do it like that. Now we'll wait for this to dry so that we can paint the rest of the areas. I have dried the sky part, now we'll paint the ocean part itself. We're going to apply water right below the horizon line. Note what I am going to do? I'm going to apply my water right above this curvy pencil sketch that we made. Right above that, I will apply my water. My brush still has Payne's gray. Right above that area, I have applied water. Also I am going to apply more water, but note what I'm going to do. This line that we have made, I'm going to leave a slight little amount of white gap. How do I show it too you? Close. See in this angle, I have left a slight white gap and I leave that white gap all the way until here. At this point, somewhere here, I'll join my paint. There is that gap here in this region but the other region towards the right, I have joined my water. Right above that line in the top and here I have joined my water. We're going to apply water right towards the top of this region. This region you don't have to worry about applying towards the bottom, we'll focus on this much top region first. We have applied water right under there. Now we'll start painting. We are going to start with indigo and we're going to apply towards the whole of our painting at the top. Follow along the horizon line in a straight line. The whole of the top region. Careful. In that part, we have to be really careful. Since we have the water only unto the top, we apply only in the top three area as like this. Just on the top area. At the top all the way towards the right. Remember our water that we applied at the top here, we had spread the water towards the bottom. Let's paint that now. For that, I am going to be taking viridian and I'm going to mix it with a little amount of blue. Little amount of indigo paint, that's like a dark viridian now. Viridian or emerald green and mix it with indigo. That's like a dark green paint now, and we are going to apply that. See. We applied that, and that is what we are going to apply here. In this region where we stopped, apply. You can see now you can see the gap because there is that water area. In that region, we are going to be applying this darker green shade. That's viridian plus indigo. In this region, mix your indigo paint and the viridian. See how they're blending together. That's what we will be doing. Apply the whole of this main towards the top of the other wave. Viridian and indigo together and blending it at the right side and until the very top of the bottom wave. Now we have got paint on that whole board. Now we just need to add some detailing into our sea part. For that, I'm switching to my smaller size brush and there is something that I need to do. My indigo on the left side has started to dry. I'm just going to go over it again with my brush. Only this left side has started to dry. If I take more paint and I apply it and move it towards the right side, I'll create a blend. Let me show it to you. Oops, that's all right. See, this area was dry but then I just applied a little more indigo and I blended towards the right. It just blends normally because this area is still wet. This was drying. Just I reapplied my indigo. Now, we are going to really apply the darker tones and detailing. What we're going to do is we will take a darker tone of indigo. If your indigo is not dark enough, mix it with black. Using this darker tone, we're going to add detailing. Right towards the horizon, add a dark tone. I've added a dark tone towards the horizon. Then I will just go ahead and add more lines with my indigo. Just using my brush, I would just add some wavy lines, the lines that we've been learning all throughout now. Those wavy lines, just add them. Some places thick, some places thin. Just keep adding them. Make sure to use a dark concentrated amount of indigo in order to get those lines correctly. The same goes for until the very tip. We've added a lot of indigo lines towards the top region. Now what we need to do is we're going to add details to this region. Again, my viridian plus indigo that I had applied is starting to dry on the left side. Let me just go on top of it again and blend it towards the right side. These regions are still wet. It will just blend. This area is dry as well, I think yes, it's getting dry. The middle portion is what is staying wet. I will just take more paint and apply on the top, and I've blended. Now the whole thing is still wet, and now what we are going to do is we're going to add some darker tones on top of it. To the same viridian blue mixture, we're going to add more of indigo. It becomes a very dark greenish shade, but with more of indigo. Do you see that it's more of indigo, but it's got really small tint of viridian. This, we are going to apply it again. Apply it right below the white area. Right below the white region, apply, it's got to be dark there. Pick up more indigo if you want. It has to be dark below where the wave is breaking because it's got that reflection because there's no light when it turns. Apply your indigo there. Then here we'll start adding more wavy shapes. Just keep adding more and let's just add more wavy shapes. You can add it in different formats waves. At the top as well, top of the other wave. Now we've added enough of the waves there, now let us paint the bottom part. Now for painting the bottom part, observe again what we are going to do. We're going to apply the water, but we're going to leave a gap right where it joins in the left side, and towards the right said we're only going to paint below the shape that we have made. Below the shape that we have made, we will apply the water and also don't apply water all the way towards the bottom. Just leave a lot of whitespace at the bottom as well because we want all of those regions to be white. Again here, and when you reach towards the right side again, leave a little gap because we want those regions to be white. Actually, my brush has got a little bit of viridian. You can actually see what are the areas that I have applied the water. See? That actually helps, isn't it? These regions I have applied the water. Now I am going to be painting with viridian directly. Taking viridian directly, I am applying my paint. We'll just paint the whole thing now with viridian, applying the paint all over. Towards the bottom, maybe add them in small lines like that. See, I have added lines and left some white spaces. Even though there is no water in some areas, you can just go ahead and add these lines, shapes. Here we have already applied viridian to all of the places now. Now the part that we need to do is add some more color to these wave area. For that, we have our indigo viridian mixture. I'll add more viridian to it so that it's got more viridian and less of indigo, but that means it's a mixture of viridian and indigo. That is what we will add. That's still a lot of viridian, so I'll just add a little bit of indigo paint and I want it to be a slightly darker green. I'm applying it to some of the areas, like some areas where the wave is breaking and I want to show in the darkness. Maybe some here. Then here you can add them as lines, some areas. See I've added them as lines and apply some towards the right side here, maybe some here. Now we've added a lot of these greens and the indigos. That part is now almost done. There's just a little part that we need to paint, that is this area here which is called viridian itself. I'm not going to apply water because it's a little area. What I'm going to do is, I'm going to take viridian and I am going to apply my paint right there. You can see when I'm applying, there are some tiny gaps that I am leaving. You don't need to actually fill in those tiny gaps as well. Pick up the viridian. In some places you can leave tiny gaps, some places you can join them. Try to do your paints in this direction so that it feels as though the wave has started to break. But it also doesn't matter because you can go and paint that whole thing first. Let me just cover it up. I will show it to you. We've covered it with viridian. Then just pick viridian and on the top, add these curved shapes as much as you can with your brush so that it looks as though the wave has just broken out. You see that? Curved shape. It has to see that brushstroke. But if your paper is too wet like mine is, it's not going to be that much visible, but then still just let it be there. Now we're done with adding all of the colors. What we need to lastly do is to just add in some white strokes. Let's switch to our smallest sized brush. Let's go with our white paint. We're going to add a lot of white into our paper. I'm taking my white paint and note what I am going to do. We have a lot of white that we left here. But before that, let's take a little amount of white and just add it maybe in a very small, feeble line at some places in the far of ocean area. Just some places. Maybe you know where some of the indigos are. Add, so it forms like the ocean is pretty to break in those places. Now we'll get back to this area. Now this area, cover the edge with paint so that you don't see any pencil marks as well as you don't see any harsh edges. I've just covered that up. The same with the top area. Just cover it up and don't cover it up in a straight line. Do this so that it looks as though it's not uniform and it's the wave breaking. See that? Like that. We'll do the same to this region as well. It needs to look like the wave is breaking and having a lot of white areas and the same. Observe in this one what I'm doing. See I'm covering it up. When I'm covering it up, some of your viridian is going to flow in to these areas, or maybe your indigo paint in the brush. It doesn't have to be fully white. That's my point. Cover up all of the white areas. Then next thing is, now we'll paint and add in some lines and detailing at the bottom. I think this area is now still wet. I'm going to dry this whole thing up so that I can add in more white. I've dried this area up. I'm going to pick up my brush again and add in some white lines and white detailing. Note how I'm adding them. Remember the veins that we did for the wave yesterday. Just like that, we are going to add in using the tip of our brush, those wavy lines. Pick up the white paint nicely, and add in those wavy lines. See how I'm adding those wavy lines. Just like that. Keep adding them and cover up any dark edges between the line joining the viridian and your empty space. If there is any dark edge, cover it up. Have those waves at the top as well and lots in wherever you can find and wherever you can add. See I'm adding a lot towards the right side. We've added a lot there. Now the last bits that we need to do is just adding some splatters and some little detailing wherever you think it is apt. See, I'm adding some strokes here and it's almost like a dry brush stroke, but it feels as though the wave it's got some formed bubbles there. Dry brush strokes can also come in handy when you're trying to do these strokes. I've added it there. Now the last thing to do for me is to add in those splatters. Let me just cover up this edge area that's got a lot of dark edge. I've covered that up. I'm going to go add in those splatters again. I'm going to use my toothbrush again. It helps a lot. So if you have an old toothbrush, just get it out and it's okay if you don't have toothbrush. I remember I told you that you can use your brush itself so don't stress about using a toothbrush itself. Then we are going to add in the splatters. Just at the edge of this wave, just at the edge of it, add in the splatters. I'm adding a little extra here. It's almost covered up that area. Now it looks like a wave, isn't it? The same for a little amount here. See, now that looks much better and like a wave. Listen to me. If you don't have a toothbrush and you're unable to make these splashes, what you can do is, cover up all the areas that you don't want the splatters to be and then add in the normal splatters, so it would just fall in those areas. Now, just lastly, I want to add a little bit of Payne's gray tone to here, some areas because I just don't want it to be too white. You can see a medium to lighter tone of Payne's gray in some areas so that it's not completely white. We're done with this painting. We can remove the tape. I have my clock running here and I look at it every time I'm painting and I'm like, no, I have only one minute, two minutes, three minutes. There. But I like how the wave has turned out in mine. I hope you have got it right, but it's okay. These things comes with practice but I have tried to break down the steps as much as possible. I hope you are able to do it. Like I said, don't stress out about the brush. Just use your normal splattering method, cover of the other areas that you don't want your splatters to be and you'll be fine. There. 65. Day 52 - Wave on the Rocks: The colors we need today, are ultramarine blue, bright blue or teal blue, indigo, emerald green, or viridian, burnt umber, and Payne's gray. Then we will also need white watercolors or white gouache. For the next one, we are going to have some waves, sea, and some rocks so let's start with the rocks first. I'm going to have some rock here and then another rock here and this one is going to be big and it's got some wavy shape here because it's the sea waves are splashing there and there. Now another here at the bottom. Then maybe another one here. That's pretty much it and then we have our wave, which is going to be starting to splash from here. That's why I'm adding that curve, which will help us in determining how it goes and so make this very light because most of these strokes here are going to be white, so we want it to be very light. Then this is where the wave has already started splashing. It's splashing and maybe we'll have a huge splash here. These areas has already started splashing. Let me show it to you up close. You can see the strokes are very light because these are going to be mostly white so we don't want any pencil sketch to be seen there and there. Further off, we can actually have the horizon lines, which will be the line of the beach and this is where the wave is starting to bend and splash. Let us start with the sky of course. We are going to apply water to the sky region and this time, be careful when you're applying the water. Remember that loose sketch that we made? This is the reason why I made that sketch because now I don't want my water to be applied on this area. I just did yesterday's painting as in, I do this together. That's why my brush still has teal blue in it. Yellow blue is a very staining pigment, so it never goes away from the brush unless you wash it. I just finished doing that painting and I'm just continuing on to the next one. This is the reason why you see that teal blue in our brush. See, I've skipped that region and I've applied the water. Let's apply the water evenly above the horizon line. Then I'm going to pick up ultramarine blue, or you can use cobalt blue and we will apply it to the sky region. I'm applying it to the sky region and right above the horizon line. You can have dark blue towards the top. When I say dark, it's like medium dark and go lighter as you go towards the horizon. You know this by now. Lighter towards the horizon, what did I pick up? I was talking and, I picked a bright blue. That's teal blue anyways, I pick up ultramarine blue again and add it on the top. [LAUGHTER] Anyways, there, I've added the ultramarine blue towards the top, and lighter towards the wave region. But fill it up with color because we want the whiteness of the wave to be clearly visible, but make it dark towards the top. That's dark towards the top. But then the color will be visible in other places as well. See so it's lighter or medium lighter towards the wave part, but then darker at the top, like that. We're done with painting the sky. We can tilt the board so that we let the whole paint spread and create a beautiful mixture. That'll give the light-to-dark effect as well. Now we're done with that and let's paint dark region of the sea later on. First, let us paint this region of our sea. For that, I'm going to be applying water to my sea region. I'm using my flat brush itself and I'm going to apply the water. But observe when I'm applying the water, you have that little arc there and I'll apply water to the bottom part of it. Also, I will make sure that I'm applying water right only, see this little what do you see, wave part that we made with our pencil. Only there we will apply the water and also skip the areas of the rocks. All the areas of the rocks, we'll skip that and we'll be applying the water around. Usually these paintings, artists use a lot of masking fluid but I wanted to make all of these paintings without any masking fluid so that many people may not have masking fluid and you may not want to invest in a masking fluid. But it's good to have a masking fluid in hand someday when everybody has masking fluid, maybe we can try another painting with masking fluid and a little bit more detailed into oceans and seas. I've applied water there. Now I need to make sure that the water that I applied here stays wet. Even with this brush, you do see that I have to apply the water multiple times. That's what I'm doing. It's very important to have a paper wet and that we are able to work on the wet-on-wet technique. This is the reason why I go over multiple times and if you observe your water under light, you'll actually be able to see where are the parts that the water has started to dry, where are the areas that you need to add more water, and so on. Let me just wipe off some excess water that I accidentally dropped in above this line. It's dropping the paint from my tissue. Paint under it with water see my paper is also starting to dry even when I had applied water. But the key thing is to just keep applying and look at the areas where there is less water and where you think that you need to add more. Look under light and you'll see it. Now I have added the water. Now what we're going to do is, we're going to paint in the water area. We are going to do with bright blue and viridian mixture together, so that'll create a turquoise blue. We've already created that mixture a lot of time, so I'm pretty sure that you know it by now. This is my bright blue and a little amount of viridian. I'll add to it so that I'll get a turquoise blue shade and this is what I'm going to do use to paint my ocean part, the sea part. Skipping the areas of the rocks, I'm adding and observe the horizontal strokes that I'm adding. I'm adding horizontal strokes. This time the turquoise blue is more of the blue and only a very little amount of viridian. We want more of the turquoise blue shade. Observe and listen to me very carefully. Here is our painting. Somewhere around here, I'll have my blue turquoise shade all the way towards here. But we need to create the effect of waves here. I've applied the blue paint, but I'm not going to cover the entire part of that because I want that area to be white. Now let's go ahead and paint below it and these areas, I'm going to have some white, so I'm going to leave that gap. Here Here leaving a lot of white there. I am painting so here next to the rocks again, I'll leave white. Lot of white and the other areas I'll cover with paint. These areas I have left it white and I've covered it with paint the other areas and you can see there are some lighter tones here. Now we need to go ahead and paint that region. For that region, I'm going to mix a little bit more of my green, so it's more green and less of blue. It's like a turquoise blue, turquoise green shade at this place. We'll have a mixture there. Let's blend it towards this blue region, so you can see it's a greenish shade, then the blue shade. Now again, going back to our turquoise blue mixture, what we are going to do is from here, we are going to use the tip of our brush and have this rolling motion. See that? How do I say? Use the tip of your brush and here make them lines. When you go towards the wave, see that? Try making that. Let's cover those regions. But when this dries, you will be able to actually see this rotating thing that you did. This is the reason why I am saying, do that even though you're covering the whole thing up. When it dries, you will be able to see it. Then let's add on top of that and let's also add some green tones at random places. Maybe at the bottom here try blending with the blue. We have to make sure that our paper stays wet long enough for us to add all of these strokes. You can see my paper is starting to dry, so I'm quickly going over all of these regions trying to add that stroke. You can already see how that wave area has turned out. Then, now we are going to go with a darker tone on the top to add some detailing and for the darker tone, I'm going to go with indigo. There, picking up my indigo paint and I'll add some darker lines. Just some darker lines at random places. Maybe some here. Now, again, I'm going to go with a darker shade here on top of my wave region and note my stroke. Remember it was like a circular or elliptical shape here so we are going to follow like a diagonal here so that it forms as though it's trying that bent shape, that is the wave is forming there. That's what we'll do here. See what we did? I know that this all sounds a little bit tough, but I think if you try it, you might be able to nail it. Don't worry if you don't, this is, I would say, a little bit of intermediate level of painting. But I think that after 50 days of painting, I won't consider any of you as a beginner. You're not a beginner anymore. Again, the same thing, we'll do with our indigo and try to add a bend there. But you can blend it out because you don't want the indigo to be too visible. Pick up the indigo, a little amount and try creating that bendy shape there. Now, that's enough. How about we go and add indigo to some other places, like at the bottom here, where you want to add some darker strokes. If your paper has started to dry, don't do it. Just add lines and in some areas try to add the strokes. But the other areas, I have left it as white. We're done with that and now let us paint this little region that is the horizon at the top. Now what I'm going to do is I'm going to shift to my smaller size brush. Using my smaller size brush, I am going to pick up a mixture of bright blue and ultramarine blue. It's going to be like a somewhat darker blue. It's okay, you don't need all of these blues. You can just go with the normal blue that you have, but pick up a medium shade of that blue and then we are going to paint along the horizon line like that. But this is wet on dry stroke. But the only thing that you need to take care now while you're doing this is, I am going to leave a slight gap between my turquoise blue shade and the stroke that I'm applying. See that? A little gap. That little gap of white is going to be the foam which is forming on that part of the wave. See that? Now that's the far off part. We will add more detailing onto this. Don't worry. For now, just paint the horizon like this. The next thing that we are going to do is we're going to paint our rocks. Let's dry this up and then we'll paint the rocks. This region is now dry, so I'm going to paint the rocks and for painting the rocks, what I'm going to do is I'm going to pick up burnt umber so it's a dark brown shade. Using burnt umber, I'm going to go over each of those rocks. We'll just create some random shapes. You can actually leave sudden little white spots in your rock, mainly because they will just form like some of the splashes of water. That's why I'm doing that. See, I've added that rock there. We're going to add a little bit of detailing to it. For adding the detail, I'm going with black or in my case, Payne's gray and we will add it to just some areas. This detailing, we've already done it in so many of the paintings where we are adding this detailing to the mountains that is giving a dwell tone so it's burnt umber and black in some areas. Do you see that clearly? We're going to do the same with these rocks. We're going to go with our burnt umber. Let's start and just apply the whole of that rock with burnt umber. I'm going to add in the darker colors now because by the time we reach to the right side, my first part would have dried, so that's why I'm going with black or Payne's gray, and I'm going to add in those details, just at random basis. Because I don't want my rock to actually dry faster, and I would not be able to add in the details. This is the reason why I'm adding it right now. Then once you have added, you can go back to adding your brown. That makes it easier for us to add in the details. Otherwise, the rocks would dry off and you wouldn't be able to add in those details. Let me go ahead and add in now to the first half of the rock. We've added, now I'll go with black, and I'll add in the detailing. Here I'm going to add just some horizontal and vertical strokes. These are vertical strokes, it's just trying to add some level or some detailing to our rocks. It's just not mandatory. If you want, you can just paint the whole thing down itself. That's why I said it's not mandatory, but I prefer to add these onto my rocks, and always at the bottom part, I like to make it darker. There. I've added those shapes, so you can already see the whole thing coming beautiful, isn't it? Let's just quickly add these two rocks as well, and just this in the front. Having them. I've covered that, now let's go and add in the black, here and here. I've added in the black, and now you can see how the whole thing has turned out. We have seven minutes left, so now we're going to add some fun into this region here. [NOISE] Wash your brush thoroughly and apply the water there, because now we want to add in some interesting feature to the waves. Applying the water, I'm not touching the rocks. Don't touch the rocks with your water. Just inside, I'm not touching the sky region, I'm not touching this, and I'm not touching that. Just in the inside, we are applying the water. Then I'm going to go with Payne's gray. [inaudible] Payne's gray and just a medium tone of Payne's gray, and we will just apply it like fandom. Then we'll spread the whole thing to create lighter tone. Now it looks as though it has that splashy part, we'll add more detailing, don't worry. Then the same thing we are going to add into these regions. Apply water and make sure that you apply the water horizontally so that even if the water goes onto your water area, it just spreads and creates horizontal strokes. Then go with the Payne's gray again, and we're just adding some gray strokes. Blend them. It's just because you don't want that area to be purely white. Now, once we are done with this, now we need to go with the white stroke. Let us wait for this to dry, or let's try this up. This is now dry and we're going to add our white strokes. This we're going to add more foam into the water. Here, pick up the white paint nicely, and then right along the rocky areas we're just going to add, use the pointed tip of a small brush. This is my size 4 and it's really small, and I have my concentrated amount of paint on my brush and we are going to add it and see my strokes. Some of them can be dry brush strokes as well. This is the reason why we left some white, because we want those areas to be white as well. But then let's add some more on to the blue, such that, you see, it creates like a foamy shape. Let's add here as well. Add some on top of the rock as well so that it looks as though it's splashing onto the rock. That's how it looks. Make sure that your strokes are dry. See those dry brush strokes. Now is here, let's add some over there. It's like a combination of both dry brush and the wet on wet technique. Now here, what we're going to do is we're going to add those elliptical strokes so that it looks as though the wave is foaming, see, go curved like that. Make sure to go and make it curved so that it looks as though it's ready to splash and add some towards the top. At the top like that, see the splashes and the dry brush strokes that I'm creating. Make those dry brush strokes like that such that they are foaming out like that, and a lot such that they are starting to foam that whirl in our wave. Maybe we'll add a lot here, just some lines. At other places, you can just add lines and just some strokes just to make it have the effect of the water itself, like I'm just adding some lines in my ocean at these random places. That is going to make the whole thing interesting. Listen to me now, if you've got any bleeds or any dark edges, here's a secret, just cover it up with the white. Cover any leads or anything that you've got, apply white on top of it and make it look as though it's a smooth blend. That is just to cover up those harsh edges that you got when you were trying to apply the water strokes. It's really better to cover them up, isn't it? Like now, if you can cover them up. We're almost done in these areas towards the right side. Try adding some curved strokes like that such that it's splashing. See that. Slashing already. See, it's really doing it's splashy thing. I want to add some dry strokes to these regions as well. Now, the last thing that we need to do is splatters. I'm just going to add some splatters, some tiny splatters to this region here. My splatters, that's why I hold my brush like this and add the splatters so that it comes closer. See, it's only falling on the place where I actually want them. That's how I add the splatters. We're going to add some here because it's splashing, and just here, and some at the top here. That's it. We're done with our sea for today. Let's remove the tape. There. That's the beautiful sea for today. Did you like doing those splashy things and turning it into a wave? There. 66. Day 53 - Sunset Ocean: The colors we need today are Indian yellow, orange, rose, violet, burnt umber, and Payne's gray. For this one, we're going to see the waves in the ocean like during sunset. We don't need any pencil sketch because the whole thing we're just going to do with watercolors itself. First, we're going to apply the water onto the whole of the paper so that we can work on the wet on wet technique. Let us apply water to the whole of our paper. Like I said, before you start the video, I have been trying to focus on only the water part in the last few paintings, mainly because those paintings are like you could spend 2-3 hours on making the land and everything trying to get it perfect. But because we're trying to squeeze this into 30 minutes and also because we are trying to just do it on a small sheet of paper, it's difficult to get the entire painting perfect. I only focus on the water part because that's what's most important, isn't it? Because we are going into the ocean steam, isn't it? Here, I have applied the water. Apply multiple times, like I always say, if your paper is prone to get dry quickly and make sure to cover the edges well and also make sure that it doesn't have any pools of water on the paper. I think I'm good to go now. I'm going to start painting. Here's my size 2 small brush. Let us paint. We are going to start with the sky area first. Over the sky area, what I'm going to do is I'm going to apply a little bit of pink, orange, violet, grayish tones. Then we'll move on to the beach area. A lot of tones basically just like we've been painting the sunset sky in different colors. That's what we are going to do. Let us paint the sunset sky. Just reapplying my water because I can see it's starting to dry. Just in those areas where I see it's drying, I'm applying water again. Now, I'm going to start and I'm going to start with my Indian yellow shade, and I'm going to apply it just to some areas here. I'm going to leave a huge gap somewhere here. That's where the light is, and I want to depict that. Here is the top region, and I have applied water. Again, this is the large area for the light. Below that, I will apply my yellow again. This is where the ocean part is going to be. The ocean part needs an underlying yellow tone, so that's why we are going with that underlying yellow tone and applying it to the bottom. Leave a lot of whitespace. Then the next color I am going to take is orange. I'm going to apply it to the right side here , just a little. Maybe I'll apply some to the water area as well, and some to my sky. Just trying to create clouds, remember, my brush should be held like this at an angle towards the side, not straight. That's how I always prefer to do the clouds in the sky. I've added that. Now I'm going to go for pink. Just adding very little. That's it. You can see I've added just very little. Now I'm going to go for a little bit of violet, and I'm going to add it to the top of my pink. I'll add it to the top here as well. Some of that violet is going to mix with yellow and create brown shades. That's all right. That's how we want it, so it's fine. Then, now I'm going to go for brown itself. That's burnt umber. We are going to apply the burnt umber itself into the sky. Let that region of white be there and let it dry. We've just applied lots of colors into the sky and also lots of colors into the base here, we will add more detailing later on for our sea region. Here I'm taking orange and I'm adding some of them. Again, to my sea, I'm leaving that white gap that was here. Let it be there. That is important, so let it be there. I've added some more orange to these areas. We're just adding some orange there. I think this is now good enough. Just running my brush along because I can see that brown that I applied was bleeding onto my white area. We're just getting rid of it. Here I'm taking a little bit more of brown and applying it in some areas because I don't want the violet to be too dominant in the picture. Don't make it too dominant, just leave a little tint here and there. See, there's a little tint, but I applied my brown on the top, and I just left that little tint of violet at random places, but the other dominant colors are yellow, brown, and orange in the sky. Now we wait for this whole thing to dry so that we can add in the ocean. Here's the whole thing after it has dried completely and you can see how these strokes have turned lighter. Now we'll add in the beach part itself and try to make this interesting. For adding the beach part, what we are going to use is we're going to use burnt umber directly. It's going to be in a brown shade. Why do I keep saying beach, the ocean. The sea part is going to be in a darker tone because this is the sunset scene and the colors in the water are going to be darker. Let's use that. We've already added the light parts for the ocean itself. That is the light from the sunset scene that's being reflected in the water area. Now let's just go ahead and start painting. Here I have taken burnt umber. Using that burnt umber now we're going to create the waves in the ocean. We have this whitespace here. I think in this painting, because we left the whitespace here, I'm going to want to try to make it around more than half, but then if I take it too much upwards, I'll lose the white area. I think I might have to keep it to the half area, half point. Then like this, we are going to create lots of wavy forms like that. But then we are also going to have to keep those light areas as they are and not paint anything. Observe the lightest point here what I'm going to do. I'm going to just have just some lines there because that area I want it to be light. Let us have a wave motion there. It's like having a bubbly wavy motion, just creating some forms and something. Let me add some more yellow. We already had some brown. I'm picking yellow now, and I'm going to add it to some areas here. Let's also add some lines with yellow on the top. It's going to be over the top of what we already have. Because this is the lightest area, it's going to have that light here. Just apply the yellow, just in some lines, like that. Not a lot. Just some lines, as you can see. Then we'll get back to brown. Getting back to the brown and add the brown and we'll also add it. Now the rest of the areas is just basically filling whole of our ocean part which looks like this, so that, we make it like the waves with lots of reflecting light. We just have to focus on trying to create different wavy shapes. Here, for example, note here what I'm going to do. I've made a curve like this and I'm going to go like that. It's just trying to create some shape and then I'll take another line like that. Now it looks as though these lines, there's a depth in the water there. Don't worry, this whole thing will make sense when we finish with the painting. Just go with the flow now and keep adding the strokes. At this point here, now what I am going to do is I'm going to switch my brush into my Size 4 brush and I want to add in some dry brush strokes. Here I'm taking my size 4 brush and I'm going to make dry brush strokes. For making dry brush strokes, I'm going to use Payne's gray here. Here is my Payne's Gray and I'm going to make sure that my strokes are dry. I've removed all excess water. But obviously when we start, it's not going to be dry brush strokes because there is a lot of paint in our brush. That's all right. We just have to make sure that eventually those strokes turn to dry. See, I'm starting with a wet stroke, but then as I move, it's turning into a dry brush stroke. That's what we want. Keep painting. Let the strokes be dry. See that? There's a lot of dry brush stroke involved in this painting. Towards the right, we can actually have paint. See, I've painted that area, but towards the middle you have the dry brush strokes, so there. Paint those areas and towards the middle area. Also now when we get to the bottom, we can have those dry brush strokes like that. Let those dry brush strokes appear on the paper. At some places, you can have those wavy lines. See some some places I'm adding those wavy lines. Then some places will be those dry brush strokes. The point is, when you pick up the paint and you apply it onto your paper, you're not getting those dry brush strokes, it's fine. Add them as a wave. Like here, I've added them as a wave. Then just keep adding and you will see that your stroke gets converted to a dry brush stroke. That's what we want. Like for example here, now my stroke is almost very dry. I'm not going to pick up any more water, but I'm just going to keep adding those dry brush stroke. I'm keeping on adding those dry strokes like that. Let's also add towards the left. Now my brush is really too dry now that I have to actually pick up some water. Now, I'll take my paint again and now we can actually add some more solid lines. So the first part where we've drawn and now we're going to go for more solid lines with black towards the bottom and you can go on top of your dry brush strokes and add some wavy shapes. That orange area that you left there will be seen through the dry brush strokes and your wavy shapes. See, I'm just adding some wavy shapes and you can add more of your wavy shapes. Now I want my bottom part to be darker because that's where more detailing goes in any painting. Here I am adding more water and paint to those regions. You only need to leave a very little space and the whole bottom part, I am going to cover it up. You don't need a dry brush stroke there. Even if you have just paint on top of it like I have dry brush stroke there and I'm just going over the top, I'm just leaving very little gaps as you can see. The rest of the area just go with your stroke on the top and the same towards the left side, leave some gaps. See now that's a very huge gaps that we have left. Now let's complete and make this more detailed. Now I'm going to pick up my brush and add in more lines and detailing to the dry brush strokes that we have added. Also because I'm using Payne's gray, my Payne's gray has gotten lighter. You should go with black if you have or if you're using Payne's gray like I am using, then go over with your Payne's gray and add in those darker strokes on the top. Here I'm adding on top of my brown as well. Now what I'm going to do is I'm going to go with more brown. This is just going to make the whole thing more interesting with brown and black lines. You can already see that light here and that light is reflected on our ocean. Now making more brown and adding to some areas on the right because we're lacking brown there. Don't get rid of all the dry brush strokes. That's very important. Let those dry brush strokes be there. Just in some places, we are going to apply the brown, just like I'm doing now. Some places we have the brown and the same here, we need to go over those strokes again and make sure that it's not too much of yellow. There are yellow, but we don't want it to be too much. When you're painting in that light area, just go with thinner strokes like I'm doing. Can you see my strokes? They are very thin. Thinner strokes. Then you can also add some dry brush strokes with your brown towards the left side. See, I'm adding dry brush strokes there. Make sure those dry brush strokes are horizontal because that's how the shape of the waves are. You need those dry brush strokes to be horizontal. That's a lot of waves. See, this can be done in a lot of different ways. I am just trying to make it easier for you, that's why it's like this. That is, you can just go on adding more detailing onto this until this gets perfect. But then we don't want to be spending a lot of time and wasting our time on just adding more details. This is just the basics of how you can go about adding such waves. You can see I'm just covering some of the areas with brown. Then what we're going to do is, we just add in some splatters to this region and to here as well. That wave it's like a broken wave in the ocean. Then we can add splatters to other places. That is all for this painting. Once this region is dry, we can start to remove the tape. The corners are now dry. I'll go ahead and remove the tape. There is our final painting. I know that this looks odd but then there are so many other ways to do it as well. This is one of the ways that we can do this painting. I do really like these lines. Actually they look like waves and somehow, it looks like the shape of the ocean when it's flowing in different directions, isn't it? There. 67. Day 54 - Tropical Ocean: The colors we need today are light blue, a dark green, indigo, viridian, burnt umber, and Payne's gray. For this one, we'll have a quick pencil sketch. Again, we are going to have a horizon line somewhere about one by third of the paper. That's where our horizon line is going to be. That's now straight. That's the horizon line. Let us have some pushy or like a part of a small mountain here. They're small mountain there. Now, what we're going to have is we're going to have some poles standing in the water so that's the most important part. Let's have one over here. Then we're going to have the ripples in the water and it's reflection. That's how it's going to be. That's the hole in the water, that's one there and we're going to have one large pole here. Actually three poles were going to have the poles here, here and here. We are now going to follow the rule of perspective. That is, the pole is here so all of them, how do I actually do it? Let's say that the vanishing point is somewhere here and we have the height, the pole, like this. When we are actually having our pole to be standing in the water here, again, we have to make sure that the height actually stays almost the same because these poles are of the same height so it's going to be bigger. A little fat than this one but in the water over here. Then let's have another one over here maybe and that's also going to be almost in the same height, a little fat than this one and there. It's going to have its reflection. This is how the designers of pole is going to be. Let us start painting and will be in the sky first and the background wishes there. For this sky, we are going to apply the water. Don't worry about the poles that is there in that water, the sticks. It doesn't matter we will be painting that with a darker color, so it's fine. Let us just apply water to the sky region so that we can paint the sky. It's just a small region, is going to be quick and I have applied the water. There now I have applied the water and I'm going to go with bright blue, go with any blue that you have and just start applying the strokes and observe. I'm going to be applying in just some completely random direction so that they form those white spaces form-like clouds. That's it. The rest of the white spaces are going to be like clouds in the sky. Wait, I just want to add a little bit more here. I think that was too big white space. That's it. The rest of the areas now will be like clouds in the sky. Then now I'm going to paint that green part over there. Because it's kind of far away, I want it to be blurry. I'm switching to my smallest size brush because that brush is too much for a small area like that. Then I'm going to just use my dark green. Go with whatever sap green or dark green that you have. If your brain's not dark enough, mix it with a little bit of indigo and you'll get a darker green. Here's my darker green and I'm just going to apply it there, you'll see that it spreads. You don't want to spread it too much, but you just want it to be having blurred look in the wet-on-wet. That's why I'm keeping my paint there so that the paint will only flow down and one flew up, but it'll be softer. The edges would be softer because we are applying the wet on wet paint. What did I do? That's all right. I dropped my brush [LAUGHTER] Let's spread it around. It'll go when we're painting the water. Just applying my green paint. It's okay to go over these polar areas also because it's going to be with a darker tone. Don't worry. Then along the flat horizon, adding that paint. We've added that background Bush, but I want to add in some detail and make it look real. Always shadows is important do not leave it at one color that's most important. I'm going to go with indigo and add something to the base of it. Some shadow work. You can add some to the top as well so it's just going to be the shadows of the trees. The bottom part is thick because it's got a lot of shadow from the top regions. Now we have added the shadow. Now we'll wait for this whole thing to dry so that we can paint our C part with the poles. Our sky part is now completely dry so we go ahead and paint the bottom part. I'm going to take my flat brush and apply the water. We're going to start with the wet-on-wet technique. Don't worry about the polls for now. Let's just apply water and paint. Along the horizon line at the bottom part of the horizon, we will apply the water. There I am applying the water to the whole of my paper at the bottom part of the horizon. [NOISE] There. Now I have applied the water you can apply multiple times in order to make sure that your paper stays wet. I've removed my tape from underneath the board because I think it's okay to leave it flat and not let it spread. Just along the line of the horizon, trying to be very carefully adding, and to any area that your paper has started to dry. Let me reapply the water. I think now I'm good to go. What I am going to do is we are going to start with the bright blue itself, but a very lighter tone of bright blue. We don't want a lot. Just apply a very lighter tone of bright blue. You see that, it's really light and that lighter tone of bright blue I am applying. I've applied that lighter tone of bright blue towards the top, and now I'll take Viridian. Viridian is emerald green, and I will apply it onto the top and make it blend along with the blue. Let's see, making it blend along with the blue. Then now towards the bottom, we'll add the darker tones of Viridian. Here goes the darker Viridian, towards the top and towards the middle. Try when you're applying these darker tones, blend them towards the top such that they are medium towards the top and lighter towards the top. On the top here you want it to be absolutely light. Towards the bottom, you can add in those darker tones there. I picked up the wrong green. That's Viridian. I've added Viridian now to all of these places and towards the top I'm going lighter and pick up a little bit of blue and try to blend it. Very little amount of blue. Use water to turn lighter. See, now it's a lighter towards the top and it's getting darker towards the bottom. I've actually kept back my angle, didn't I? I didn't realize, and I forgot to tell you. I'm holding the paper at an angle because I want that paint to flow down so that all the dark colors would be at the bottom. Just adding a bit more dark colors towards the top, making sure that the middle stays lighter. Middle area stays lighter with the bluish tone and green towards the bottom. That was it for main Viridian colors. Now, this is going to be like the pole in our tropical oceans, so that's why we're using these two colors. Now let's just add some more interesting colors. I'm going to go with cobalt blue and I'm going to just add it into my ocean, the sea. Just adding some bluish tones into my water. More or less all of these tones too should be towards this area. You can see, I'm just adding them in a random manner, trying to put them down in an arc shape. Also some to these areas here. It's just trying to create some little bluish tones in my Viridian sea. You know some underwater tones. I'm using cobalt blue and adding those underwater tones. As you move towards the top, you can go lighter. Fill up all the bottom parts with your darker paint. As you go towards the top, they won't pick up any more paint because you want your strokes to be lighter. You can see my strokes are lighter. I think that's it. We are going to now wait for this whole thing to dry so that we can add in our reflection lines. Let's wait for this to dry. Here the water part has dried. Let's go ahead and paint these folds now. For that, I am going to start with burnt umber, and we are just going to paint the whole of that pool until where it's standing in the water, like that. Let me paint the next one as well. We are going to assume that our light is somewhere here. That is, the main sunlight is somewhere there. All of our shadows and the reflection is going to be towards the right side. Here, I have added the pole. What I'm going to do is I am going to add the darker tones towards the right side. The same to this, a darker brown towards the right side. Then we have the bigger pole here, and the same for it. You can paint over the green because you know it's brown, so it's just going to appear on top of it. This is the reason why I said that don't worry about the poles, it's just going to be fine. Don't worry about the shapes. You can have some bends in the poles. Ideally, it's good to have some bends because the poles are not perfect blocks, it's just wooden trunks that has been cut out, so it's definitely not going to be straight. Add some degree of bend, not a lot, but some. I've added the brown. Now what I'm going to do is I'm going to take a little bit of Payne's gray and I'm going to add towards the right side of these two. This is too far away to see any detailing, so let's just add some lines and some detailing onto them. Especially to this one towards the right side is where I'm adding and maybe some lines to the left side. We just applied paint on this, so this is wet, then it's fine. We'll just blend with the brown, add some lines. I know it's not that clear, but maybe if you look closely, on the right side is the darker paints and I've just added some lines with black on top. That's already the poles in the water. You can see because we added them in a straight line and they are of equal lengths, but they're standing in different directions. You can already see how the perspective is acting. But note here, this distance and this distance is not equal. Ideally, this distance should have been lessor, but they are not equally spaced. That's what I want to show. They're not equally spaced, so that's why. Now we'll add in the reflection. For adding in the reflection, we are going to use our green paint. Let us take a dark green. Remember to mix your green with indigo if you don't have such a dark green. Using this dark green, let us do for this one first. I want the reflection to be a continuous line, so towards the bottom of my pole, I'm just adding a little bit of green. It's not going to be visible, but then it will form a continuous line. Then using your green paint, add these lines. That is going to form the reflection, and let it go at an angle towards like that. It's got that reflection and it's towards the outside part of the paper. The same thing we'll do to this one. Let's just apply some green tone to this one. Just adding some lines like that. Then I'll continue. Go in the same angle, like that. You see how I'm adding those reflective lines, just keep adding them. Let me show it to you up close, what I am doing. Just bendy and wavy lines like that. These wavy lines, and make them darker as you come towards this area because now we are getting closer to the viewer and it has to be more detailed. I just added some lines there and let's add to this one. Again, they are going to be smaller because they are small and far away, but in the same way bend there. But I am not done with the detailing, is I want to just add some more little detailing to some other places and add some more reflection. I've got my water here. I'm diluting my green paint so that I don't want it to be too concentrated and then we are going to add some detailing towards the left side to add the reflection of this part here. Leave a little gap of blue or the little gap of the sea area and then we're going to paint. Like that. Just add some. Again, we're going to leave spaces while we do this. Extend this line only up to here. That's it. Do you see the reflection is supposed to be in this angle? This is why it's extending toward this side, all of the reflection. Then now how about we add some of the detailing in the water. For adding all of those detailing, we'll have our green as diluted. But don't have a lot of paint in a lot of water in your brush. This is why I am dabbing along the side and removing that extra water. That is diluted paint now, and we will use this diluted paint to have those little lines in the water. The wavy lines, not a lot, just at some places. You can see I'm just adding some bendy shapes in the water. This is just me trying to add that line here at the bottom, not all the way up. We don't want any detailing at the top, just at the bottom. We are using a diluted tone because these should be the darker and the other areas should be lighter. This is the reason why I'm going with a lighter tone. This should be darker than the tone that you're applying right now. We'll just add thinner lines as we move towards the top, you can see they are more thin. Also, now I'm going towards the top and it's the bluish area, isn't it? For the bluish area, we'll go with a blue tone itself. But again, make sure that your paint is diluted because we only want a very feeble line. That's again, too much paint, so I'm taking away the extra paint. Just only very feeble lines. Can you see that? I think that's it. We are good to go. I think this is now enough, that is a lot of detailing. We have added the poles. Again, these reflections can be done in a lot of ways, that is, you can spend long hours in it adding more detailing into it. The more detailing you would add to such a kind of painting, you get a more better painting. My point was to just show the technique and to try and show you how you would approach a painting in a quicker way. This is just the tropical water. I must tell that this is just one way of doing it, there are lots of ways that you can spend hours and hours trying to figure out all the detailing added, even these blue spots that we added, they're supposed to be like the blue spots underwater in tropical area. But you can actually spend a lot of time adding the little amount of detailing to even all of these blue spots. That is why I have to tell you this. Because I think all the other areas are dry, you can go ahead and remove the tape. I hope you liked today's. I think actually this is my favorite among the oceans one 68. End of Week 09 - Oceans :): We are done with the oceans and seas week. We have done six beautiful paintings. This is a beautiful tropical ocean, then we had the sunset ocean wave, another crushing waves onto the rocks, then some more waves in the sea, then a larger wave that we did, and some rocks in the sea again. These are the six paintings that we did today. I hope you had a great time painting these ocean waves and seas. Now there are some reference pictures waiting for you. 69. Day 55 - The Beach: The colors we need today are bright blue, raw sienna, Payne's gray, ultramarine blue or cobalt blue, indigo, and burnt umber, and we will also be needing some white wet colors or white gouache. Let us start. Let's start with the pencil sketch, so we're going to have a quick sketch. The horizon line, somewhere just below the halfway of the paper. You might know by now, I don't like to do exactly halfway of the paper. I feel that it doesn't look good in watercolor paintings, so let us just add a horizontal line for the horizon line. You can use a ruler if you want. I prefer to do it freehand. That's the start of the ocean part and then that is the start of the horizon line of the ocean, then we'll have the beach areas. There goes my beach. This area is going to be the beach area and just that. That's the only pencil sketch we have for this painting, so let us start. We will start with the sky first and we're going to paint the sky. Let us apply water to the sky region. Make sure that you apply the water evenly and apply multiple times in order to make sure that your paper stays wet long enough for us to work on the wet-on-wet technique. There you go. I think that's enough for my paper, so I'm going to go start painting the sky region. In order to paint the sky, let me explain first. We'll have our sun here and then some clouds, and then the sea, and then the beach sand area. Let us start with the sun area first. For painting the sun area, in order for the sun's colors or the lighter yellow colors to not mix with the blue, we will be adding raw sienna because it's a good color that doesn't easily mix with the blue to form a green shade. Let us leave a big circle for the sun so that it doesn't mix and also you can take off any extra paint using a tissue. Here, let me try the sun. This circle is the sun, inside that circle is going to be the sun. I'm using raw sienna. Pick a lighter tone of raw sienna, we don't want it to be darker. See how light my raw sienna is, and then using the raw sienna, we are going to add lines like this. This is going to give the effect of the sunlight. Very lightly see the colors that I'm using, and some of it has gone over to the sea area. It's fine because we'll be painting with darker colors anyway. If you accidentally apply any darker colors, you can get rid of it. See it's a very small area. That is the sun area, you have to make sure that it stays light and white. The rest of the areas, you can add these sun's rays. I know it looks weird right now, but we'll add the other colors to make sure that it looks better. Now, we're done with that sun's area, we can go ahead and start adding the other colors. The other color, the first color that I'm going to be adding is cobalt blue. Take cobalt blue and add it, and we'll add it towards the top region. You can see that when you're mixing your cobalt blue along with that raw sienna area, it's not creating a very visible green, it'll just go into a lighter green mode, so that's why we are using raw sienna. Picking up the blue shade, we'll start applying and we will apply it to the other areas in between the rays. See that? Make sure to apply the darker color towards the top. As I always say, the darkest of the colors should always be towards the top. Also observe, I'm holding my paper at an angle here so that all the paint would flow down and would create a gradual gradient. Apply the darkest colors towards the top like that. Always make note of the horizontal strokes that I'm applying, so here. Like this towards the bottom. See, I'm not picking any more paint, but rather I'm just applying my colors and just blending together so that it is lighter. You can go ahead and apply more colors towards the top, but just make sure to keep that region lighter so that you have that lightest portion to show the sun. I'll keep adding more darkness towards the top because if you're holding your paper at an angle, it's most likely that it'll spread out and come down, but then just keep adding more shades to the top and it'll eventually stay there. See, now we have a bright sunlight area there. Isn't it looking nice? Now, what you can do is if you want, just make sure that a lot of your paint has flowed into your white area and you want to clear it up, you can just use another brush and lift off. I've just lifted off enough of my paint from there and created the whiteness of the paper. Also, if you want, you can lift some rays like that. See, just creating some sun rays that are white as well. The surrounding areas will be raw sienna, and then it will have also some white streaks. You can do that. I think I will add that. Lifting off, wash off the paint, wash your brush thoroughly to move excess water, and repeat that process. Wash the brush, dab off the excess water, and then do the lifting. Wash the brush, that's just the same process repeatedly if you want to use the lifting technique. That is, when you lift, after you lift off, wash the brush, remove any excess water because you can't touch the paper with more water, then lift, then wash the brush, remove excess water. This process is just repetitive if you are going to do this lifting technique. See that? Just do it in all of the directions and you'll see that you have created a nice sundry effect. I think that's good enough for the sun's rays there. Now, before the rest of the paper dries, we have to quickly add in some clouds. For quickly adding in the clouds, I'm going to go with Payne's gray. Observe my Payne's gray here. Also note, okay, we want tones to be lighter. I've added water. Now something to note, I have a lot of water in my brush. You can put that onto your paper. I wanted the tone to be lighter, so this is the reason why I added water. But then that's too much water to be adding onto the paper so we have to dry it, that entire thing, make sure that you remove any excess water, and then apply to the paper. You see? No extra water onto your paper. When you pick up, just understand the consistency of the paint that you're picking up. See, I'm picking up from the right side rather than from the poll here. I pick up from the right side and then that I will apply to my paper. I'm going to go and I'm using my smallest size brush so that I get these smaller clouds. I'm making these horizontal strokes. Some of the strokes here, I'll make them lighter because it has that sun's rays acting on them, so just lighter. When you make here, you can go do somewhat darker. That's how I have added. Let's add some more cloudy shapes here. See those areas we add lighter clouds and to these areas, we are adding darker clouds. That's all the clouds that I want to add. I don't want to add any more to that site. Let's just add some last bit of clouds to the right side. You can see my paper has already started to dry and it's forming dry strokes now. What I'll do is I'll dry my brush and I will just soften those edges. If you find that your paper has dried and you're getting dry strokes, see what I did. I dried my brush completely on the tissue and then I just used that to soften the edges of my clouds. I got rid of any harsh edges that were forming. Same you can do to any other places that you find that the paper has dried. Now it's too dry. I'm not going to touch any part of the whole of the sky. Although if you want, you can dry your brush and just create some more sun's rays like that. That's it. Let's not wait for this whole thing to dry. The sky region is dry now, you can see those clouds, how light they are, and how the light is seen in the sky. Let's now paint the ocean. For painting the ocean, let's apply water to the ocean area. Actually, let me show you something. I'm not going to apply water to the middle portion. I accidentally touch there, so let me just dab off those water from the middle portion. Now see where I'm going to apply the water. I will apply the water, dry it below the sun's area only onto there. The same with the light try it below the sun's area only onto there. This region, let it be white for now. We'll do something with it. Don't worry. Now we have applied the water and I'm going to go with indigo, so will indigo shade first? I'll start at the horizon line. I'm going to apply. But careful now because we don't have water applied here. We don't want to touch the edge, right before you reach the edge of A you have applied the water. You can't see in my paper. See in this angle, you can see how much I have applied the water. Only paint until before you reach the edge so that the water it doesn't create an edge there. That's what we're going to do. Darker tone of indigo, but I stopped there. The same with the right side. I can see when I'm looking at my paper. Look at your paper and see where is that water that you applied. I've stopped midway before I've reached a point where I applied the water. There. That's it. Now for the rest of the water, I'll go with a darker blue and mix it. Make it towards the end here in the form of lines. But don't go towards the end because it will create a harsh edge. Very careful with that one. Go over the indigo so that it will just blend nicely. Towards the edge also here, I'm going to create uneven strokes because I want some areas there to be white. Then pick up more paint and just add to the whole thing the same towards this side. We don't want to go over until the very edge, so stop somewhere in between. This is again different from what we have done in the oceans class so I wanted to actually make it entirely different from what we have painted in the oceans and beaches grass. This is why we are going for different techniques. Now we've left a huge gap there. That gap will cover it later on because I want that area to be having that sunlight reflection. Now we have already added the bluish tone for the light, for the ocean beach sea part. Now I'm switching to my smaller size brush and we're going to add some wavy details into our ocean. The further end is indigo, and then towards the bottom, it's blue. Now we are going to add some wave shapes. Let us pick up indigo, understand the water on your brush and the water on your paper. Make sure that you pick up right amount that you can add to your paper. I'm going to add some lines with indigo. These are going to be like the waves. Let's also add towards the top what had dried off. This area towards the top. Then you can follow along and add in any waves. These will form as the wave in the ocean. Just unlined, see that just some lines is what we are adding. Some of the lines can be in between. Don't worry, we will make this better. There, I've added some lines towards that side as well, and I want to continue alone on the right side as well because this is the beach. It's going to have those continuous waves. I think that's enough. That's enough for now. Let's not wait for the whole thing to dry. While this is drying, I think we can go and paint the beach area itself. When painting the beach area, observe now we just apply the water and leave a gap when you are applying the water. It will form in the form area and also the new paint wouldn't flow down. I'm applying the paint. Let me show it to you in an angle, which angle? This angle you can see I'm not touching the beach area, that is the water area. My paint would flow down. Then apply water to the rest of the areas. There. That's good now. Now what we're going to do is we're going to go with raw sienna. This time you can go with a darker tone of raw sienna. You see, this is raw sienna and this is also a raw sienna, but this is very light as opposed to what we are applying right now. Apply the raw sienna. Also, observe that darkest tone that you pick up, apply it to the bottom. Then as you move towards the sea region, I want to make it lighter. This is the reason why my first stroke with a lot of paint I applied at the bottom. Because I want to go lighter there, use the lightest tone when there is less paint on your brush because you've already applied raw sienna and you've colored the whole thing. Now let's cover the bottom part with more darker colors. I think this part, I think we've covered a lot of times in my oceans class. So only towards the bottom we have the darker stones and it gets lighter as you move towards the water area. their. Darkest towards the bottom. So now I want to add in some further darkness. So what I am going to do is I'm going to take, I need that angle so I'm just going to use my tape. So I am going to take burnt umber, so it's a dark brown or any brown. In fact, you can go and we'll add that on top of our raw sienna. See see, towards the bottom, I applied the burnt umber. Now note what I'm going to do. I have my burnt umber and I'm going to add that in the form of fino, some lines, like that. Not the whole places, just at some places just create, creating some lines and texture on the beach. That's what I'm trying to do. So just that, I've done enough. Now, what we'll do is we need to add maybe some footsteps or something, some detailing on to that sand area. So for that, I am now going to shift to my smaller size brush and I am going to pick up now a darker, very dark consistency of brown. So if your brown is not dark enough, go for scipio or even mix it with black to get darker brown and we need it in a concentrated consistency. So now that's dark, and you can drop that onto the beach just at random places. You can also do splatters if you want. That's also very interesting. So just drop that at certain places. See I'm just adding longer ones, big ones, smaller ones, then maybe add them in a line or something. Even onto this region so a lot of places we'll just add. They also don't have to be in the same direction. There. I've added lots of things. So now that looks already interesting. I think by now our sea must have tried, but I don't want to touch it and ruin it. I'm just going to quickly dry this up. So everything is now dry and we're just going to go with the last bits of this painting, which is going to be adding some detailing into this white part. So for that, we are going to be taking indigo and we need the indigo to be the dry brush technique. So use a tissue to dry your brush and remove all excess water. I usually try it out on the edge of my tip to make sure that my paint and brush is dry. There I think it's still got a lot of water, so I'm just going to pick up more paint and just no water. That's good. Now, I think. So what we're going to do is we're going to add in those dry brush strokes and we are going to add it starting from the left and the right of where we need to add those strokes and then just move on to the top. So, what we are going to do is, hold the brush at an angle when we are doing, like that. See that? The dry brush technique see that in the middle but just don't let it happen only in the middle. Extend all the dry brush techniques to go onto these areas as well so that it looks harmonious and continuous throughout. So a lot of dry brush techniques is involved in such beaches where the light is there. So that's why we're just going to add a little bit, not too much. See, so that area now has a lot of light effect and some of them you can have. So now I'm picking up indigo. See, now it's not dry anymore. I have a little water in my brush, not too much. A little consistency of the paint, but not dry brush technique. This, we are going to apply and you can have some lines on there and the same towards the bottom. So make those lines in different lengths. See, I've added some, let me add some more here. So you can see the line is a little bit thicker and then goes extending towards the right. Then I'll make it a bit thicker here, then again a line. So it's just trying to create different forms and shapes. So we already have our wet, on wet indigo here and on the dark, we are adding little thicker ones. So observe what I'm doing here. I'm not making a straight line, but rather I'm just adding it in a tiny curve manner. Let me show it to you up close. So see a tiny curve manner. Just like that. So it's there's a wave and it's falling down like that so that's why I'm making those tiny curves. Then I extend some. So see, it looks as though there is a curve and something that's falling down, isn't it? So I need to add some more to this area here. So just some lines you can see and that tiny curve that I was talking about, I'm going to add it to this side as well and to some areas here and some here. So now we're done with adding the indigo we'll just go and add the last bits into our painting which is going to be adding some white weave thing in our water. So let me take my white paint and we will start with adding the white form. So, not a lot. We just need a very little of it. So clean your brush thoroughly because I just used indigo. So I don't want to see I have a lot of indigo still in my brush. See the water. Then I'll pick up white paint and make sure that you take the paint in the tip of your brush nicely because we are going to use the tip of your brush. So use a smaller size brush and use the tip of your brush to get this. Mostly we are going to add some dry brush strokes into the edge here. So again, it's going to be dry brush stroke. That means make sure that your brush is dry and remove any excess water. So mine is already very dry because I've been taking directly from the tube of the paint, so it's very dry. I'll just add it to the edges here. So I leave some gaps while adding, let me show too closely again. So I leave some gap in between the two layers and the same you can do to the other sides as well. See, so we've added some white forming strokes. There. Now we've added so many there, let's add in the other places. So again, make sure that it's dry because we just want to add dry brush strokes. So you can see I'm making so many dry brush strokes in straight lines, and we'll do the same to the other side as well. So in some areas you can have a little extra form kind of thing, and then extend. Now, next thing, we are going to do some lines on the top. So now we have to make sure they are using the very tip of our brush and make some tiny wave like forms. Let me show it to you the up close again. So, see, that was very tiny and small. Let's do that to this side as well. So see it's very small and I will add some here like that. It's like that there are some waves but very far away. Doesn't it look like that in the painting? So let's add some more. See. I think this is now really good enough and if you've made any mistakes when you were doing the dry brush stroke. If you've made any mistakes you can moisten at this point of time, what I'm going to do is you remember my raw sienna that had spread here, I am going to apply some white on top of it and get rid of those mistakes. See. My raw sienna is not visible anymore on my sea area and it's looking much better. There. So any places where you had your indigo, you can add white at random places. So you see the two gaps between the indigo lines that I had. I just added a little bit of white there so it looks as though that wave, it started to break there so it's got that little foamy part. That's it for this painting. It's done. So now, we can remove the tape and because we've been only adding the white strokes, we can go ahead and remove the tape. But if you want, I just felt I should add something to this side here. That is the dry brush strokes. Some dry brush strokes to the edge of our beach wave. I just felt I should add some there. That's it. So now, we can remove the tape. I didn't want to rush into this painting because this is just too beautiful to be rushed into. We have to make this right, isn't it? So, there you go. This is the beach for today. 70. Day 56 - Sunset Beach: The colors we need today are Indian yellow, orange, a rose, a little bit of ultramarine blue or cobalt blue, violet, burnt umber, and Payne's gray. We are going to have a beautiful sunset beach next so let us add in our horizon line, and again I prefer to go it around one by third of my paper, so that the horizon line [NOISE] there and then we'll add in the lines of the beach. The beach is going to be I think somewhere like this, and we'll have other lines as well. That's it. That's our pencil sketch and we can start painting from the top. We'll paint the sky first. Applying the water onto my sky region I'm just using my small brush as in this size 2 mop brush because it's just a small area and I can just quickly do it with my brush itself and there. I've just been thinking, well, I've been applying the water and I think that let's just apply the water to the whole of the beach area. It's fine because the colors that we need to paint, let's paint it that way. Apply the whole of the beach area. It's all right if your paint spreads to the bottom part of the horizon as well. I'll show it to you. Now this line is where you need to keep your stopping part of the water. Right above this line we'll apply the water because this is the beach area and this has got to be light, so that's right. I've applied the water onto my paper and I'm going to start painting. I'm going to start with Indian yellow. I'm picking up a nice consistency of the Indian yellow, and I'm going to apply it in the middle. Right in the middle area there, see that? I've applied the Indian yellow in the middle, and I'm also going to apply in the middle area here like that. This is where the reflection of the beach is going to be seen, so apply it all the way down until the middle there, in the middle area. Remember it has to be in the middle and the middle here as well. That's a lot of yellow that we applied then we're going to go with our next color which is orange, and we are going to add the orange in lines. See, just a little bit of lines in the middle and then we'll also apply the orange in the water like that. Like this. Towards this region we'll apply the paint, the orange paint in the water towards the middle. You'll see that your yellow paint is spreading a lot, so you can pick up more yellow and just soften these. I would make those strokes straight, so just more yellow. See, I'm taking more yellow and I've softened and blend those regions. You can see that your orange has also spread, but that's all right. Now the next color that we're going to take is we're going to take a pink shade, and we are going to apply it at the bottom here. That pink shade we'll apply at the bottom here and make sure that it's lighter towards the middle, just the middle and applying the paint in the edges and that's also what we are going to apply in the top region. You can see that when it mixes with the yellow it's creating a slightly reddish orange shade, and that's all right. Again this pink now we'll apply towards the water region as well, so in the water region we'll have lighter pink. Let's go ahead and fill the rest of that part of our beach area with the pink. This is carmine. You can use any pink shade that you have. I'm filling up the entirety of the ocean part now. Above the line where we applied the water until there, I'm filling it up with pink and also right to this bottom part I want it to be pink ow and apply other color later but it's going to be pink for now. Make sure that you get the blends correctly. That is very important. Blend it like that towards the center and forming lines. In the center as you can see that it's those wavy lines of yellow, see. Now we have added a lot of pink. Let me just add more in the top region before it gets dry. It's really starting to dry, so we have to add more. I lost the orange that I have added so I'm just going and adding more orange there, adding a little bit more orange so that we still have some of the orange in the sky. Just work only if your paper is still wet. You know that, so by now we know how the wet-on-wet thing works. Now we've created a nice blend, what we need to do is now add in more colors. Add in more colors as in what I'm going to do is I'm going to add a little bit of blue. Here's my blue, and I'm going to start adding blue from the left side. When you add the blue on top of the pink it's going to turn violet and we are going to create a violet shade. [inaudible]. I think now that's enough of the blue shade that I have added, and now let's wait for this whole thing to dry so that we can add in more details. Let's wait for this to dry. Now everything is dry, so I'm going to re-apply water onto the ocean part to add in more details, and I accidentally touched my hand while it was drying and I got some bleeds on my hand [inaudible] here, but it's okay. We will cover it up when we paint now the next layer. Right below the horizon line is where I'm going to apply my water, and now when we are applying the water we have to be very careful because we don't want to move the underlying paint too much. Just apply a single coat or even if you're applying double coats make sure to not run your brush firmly over the paper such that it's moving all the paint. We don't want that. You see, just lightly such that you are able to re-wet that region. I have re-applied the water. Now what we're going to do is, we are going to use a beautiful violet shade. That's what we are going to do. We're going to apply this. See that? When you're applying, be very careful of the horizon line and don't extend it too much over the yellow. I've actually extended it too much over the yellow, isn't it? You can wipe that off. See, I took that off and the same I do to the right side. There, like that. That's our horizon line. We know we're going to take the violet and we're going to apply it on the top, but we're going to apply it again in the form of lines. So it's just going to be on top of this. But clearly those pink and the yellow shades that we applied are going to be visible. We need them to be visible. So just apply on the top. Not too much, just very little. You can see how much I'm applying. Now this region where I ruined it up, I'm going to cover it up with a bit more of my violet. See, it's gone. I will also paint here in this bottom part, because this bottom part, I want it to be violet here at the bottom where it's joining. Just some lines towards the yellow is fine, but not a lot. So now we have added the lines on top. Just spreading really going over it with my brush in this kind of motion so that I blend the whole thing and I get rid of these hairs. See that hairs here? So if I do that, I will get rid of those hairs and I will also have a little amount of blending on paper. So now it's all of these violet here and we've got these different shades. Now let's wait for this to dry so that we can add in these and also the last final details. So now these regions are now completely dry. Let's paint our sand now. So I'm going to apply water right below that line where we did for the sand, there. I have applied the water. What we're going to do is, we are going to be adding burnt umber. So it's going to be medium to dark tone of burnt umber, and we'll add that to the whole of that area. I have added the medium to dark tone of the burnt umber. I need to add more in order to get a nice color. Because we applied water, it tends to get lighter. So make sure that you apply more. Picking my burnt umber and adding it. I have added the burnt umber. So now I'm going to make this area a little darker. So I'm going to go with Payne's gray and add it to the bottom here. So it's just burnt umber mixed with a little bit of gray or you can go for black shade and we're just adding it to the bottom here. It's just to get a little darkness to that area. Now what I'm going to do is I'm going to add in some splatters. For that, I don't want my splatters to be on my beach area. Let me just cover that up again, re-paint that area. There, it's gone. So what I am going to do is, I am going to cover my beach area with my tissue. Then using my small brush, I'm going to add in some blooms. It's blooms. See? It's forming smaller blooms. So we are just adding water blooms there in those areas and some to the the left. There I have added some blooms. If you feel that some of your blooms or larger, you can just use your brush and blend them, so that it won't have the blooms. Now while the paper is still wet, there is something that we need to do. So we know we're going to take a darker tone of burnt umber, and we need to add it right below where the wave part is ending. It gives the shadow and gives this thing a little dimension. I will just show you, dry it below that. Like that, you don't need to add here because it's bent slightly. So all of those here, and then it goes thinner here. Again back here, make them slightly bigger. See that? So now we have added that little dimension to our wave. Let me just blend this because I think this area had dried. So we've added some splatters there, we've added the depth to the wave. Now we need to go in and add detail to our ocean itself. So I'm going to be using violet and we're going to use a smaller size brush. Using that, we are going to add in. So at the top regions, we have to make sure that the paint we use is light and also not a lot of water. So just using the tip of the brush, we're going to just add in some lines. Just some lines wherever you can add. Smaller lines like that. Not longer lines, smaller lines. A lot of smaller lines. These are smaller because they are far away and we don't get to see any details there. Whatever you think you can add just some smaller lines at certain places. Some of them you can make it slightly thicker, but even then, very slightly remember that. As you come towards the bottom, you can actually make them a little thicker. See, it's thicker. Now what I'm going to do is, we have added so many lines at the top, now I'm picking up my violet shade again and we're going to add a wave here and I'm going to add the wave like this. Observe my line. Do you see that? Like that. See how the wave is? It's a curved line. Can you see it up close? It's a curved line. I can't hold my brush like this and paint. It's a curved line like that, and then when you reach here, you can go to add some straight lines and end that wavy part. We just try to create a wave shape. You can do that with a darker tone of the violet. Hoover over it again and create that wavy shape. See. Now, it's created a wavy shape. We'll now go on and add more lines to cover up any extra detailing. This is very much different from what I had taught in my oceans and beaches class. Now, we'll go in and add more of the lines and detailing and towards the bottom you can actually go with darker shades because it's more at the bottom and you can actually see the details. Now, let's add a bigger wave detail here. Just adding, see. Go and add in details like this. It's just with your brush. It's a wet on dry method so you don't have to worry if the paper is dry or if the paper is wet. It's wet on dry, so as you're applying your wet stroke and directly you're adding as many lines and strokes. See that, like that. I want to add some more lines, but small lines. Wherever you feel, you can add those lines in the water. This wave area here, I'm adding more lines to it and then extending the water towards the bottom. See, it's formed like a wave, but then we have the water breaking at the bottom part of it and extending like that. In these areas, add a lot of small ones. That is towards the further end, we'll be adding smaller and lighter lines. See that, a lot of lighter and smaller lines. That's a lot of smaller and lighter lines. Towards the bottom now you can add larger lines and thicker. You can see now towards the bottom we add more thicker and thicker lines. Then here at the end also, I will paint because I want to give that wave a dimension, like I said. Towards the end, I will paint the end of this wave. Again, like I said, when you approach the bend here, make it thinner and again, it goes thicker here because it's the bend and you have to understand the perspective method so we have to make sure that we take care of that bend and not paint there. Now, it looks as though this thing has a dimension and it's flowing, isn't it? There's one thing that I want to do, so I'm just going to apply a little amount of water right below this wavy line because I want to give depth to do it. Note what I am going to do. It's very important here, I am applying some water and right below this line and this line where I'm joining them, I am applying water below them because what I'm telling you is, we have added depth to this line of the wave. The other places are fine because they're far away in the painting, but this is now closer to the viewer and we need to add a depth to it. Instead of applying water to the other areas, what we will do is, we'll apply water to the area right below because there is a separation that we can clearly see so that we don't need to go and apply the water to all the other places in our painting. Here, I have applied the water. Also we just applied this violet so it's spreading, it's okay if it doesn't spread, it's okay if it spreads, my point is that. But I need to add depth to the region below that wave. For that, now I'm going to take violet and I'm going to apply under it. Then this thing is going to spread a little into the bottom one. I forgot, I have this angle here because of my bunny, so that angle is not necessary, but also it's good to have a little angle so that your paint would flow down in that water. Now, we have added a little bit of dimension to that wave as well. Did you understand the technique that we just did giving that part of the wave a little extra dimension. Now, when you look at it, this is a different wave, this is a different wave. Before we did this, this wave was looking flat and this wave had a dimension because we apply the shadows to it, so this is the reason why I did this. This is actually it, but I think maybe we can add in a little sun. I just want to add in a little sun to make this extra beautiful. I'm going to take my white paint. It's all dried up again. Wait. Taking my white paint and I'm going to add a little thinny, tiny sun in the sky. It's very tiny, you can see that. I have added a thinny, tiny sun. What we're going to do is, we're going to add some white lines onto our ocean just to make that reflection of the sun to add some bendy lines like this. You see that? That's it. It has to be right below the sun. That's it. There you see the sun right below these bendy lines, and that's it. We're done with the painting, so let us remove the tape. Everything is now dry? Yes. [NOISE] Here you go. 71. Day 57 - Purple Beach: The colors we need today are Indian yellow, raw sienna, cobalt blue, violet, and a little bit of white gouache or white watercolors. For this page, so we are going to have our horizon line somewhere right below the halfway point of the paper. Let's just add a straight line for the horizon. Then, for the beach, we'll have some waves in the beach. There. Then let's have some more waves. It's just a having different layers of the beach waves. That's it. This is going to be our sketch. Let's now paint the sky part first. We are going to apply water to the sky area, just the sky region at first. Since this is a small area, we can quickly apply the water. Here, I'm applying the water, and apply it right up above the horizon line. Make sure to cover the edges. Those are the places that dry out so quickly. We need to make sure that we cover the edges. There. Okay. That's it. For my sky region, I've applied the paint. I'm going to go with my smallest size brush, size four because I just want to add a lot of things into my sky. I'm going to start with Indian yellow and I'm going to apply it into my sky. I want to add in a sun here, which means I'm going to leave that area white. I'll apply the yellow. The area that I'm applying the yellow is around the sun. I'll leave a gap for my sun. See, I've left a gap there for my sun and I have applied the yellow. But if you feel that your yellow is spreading towards the sun area, you can wipe it off like I'm doing. Just wipe off any part of the paint from the sun region. In the other places, apply the yellow. Let me just clear out and make it white in those regions. Now, I've left white. Now, the next color I'm going to add is raw sienna. We are going to add raw sienna towards the edges. That is towards both the edges just because we want to give him the sunset colors actually. It's just a brownish tone that we want to add there. Also, the raw sienna helps with blending with the other colors that we are going to add. That's why we are adding raw sienna. I have added the raw sienna. Now, I need to clear this up one more time because it's spreading on to my white regions, so let me clear it up. See, it's just lifting off the paint and clearing that area. I'll take more of raw sienna and apply to the left and the right regions. Now, towards the top region, I am going to apply a blue tone. I'm taking cobalt blue and I will apply towards the top. Right from the top. You can see it's already started to dry, so we have to work quickly. I will apply the blue tone. I think now I'll switch to a larger size brush because it's a bigger area. This smaller size brush will take a longer time so that's why I'll go with my size two brush. See, I have applied right next to the raw sienna. It doesn't create green shades quickly. This is the reason why we use raw sienna. You can also use yellow ocher in its place. Just note that. Then we'll just paint the top part of the skies with darkest of the darkest blues. Let us use cobalt blue, but use a darker tone. Here, I am applying towards the top. I have applied the darkest tones. You can see that. Make sure you cover the corners because that's the regions that dry out quickly and also where the paper absorbs the maximum paint. It's also because the tapes absorb a lot of water. This is the reason why we should paint in the corners. There. Now, we have covered with blue. The next color that I want to go with for the sky is violet. Now, we're going to add some beautiful clouds into the sky. For that, we pick up violet and we will add it right on top of the burnt sienna and the region joining the blue. See that? So that region and then in other places in the blue sky as well. Just some smaller strokes and, see, some clouds will add. We'll also add it to these regions. Be careful not to apply on top of the yellow only in the burnt sienna regions because yellow and violet would mix together to form brown. Actually, if you want to add a darker brown, then you can mix those two colors, but otherwise don't mix the violet and the yellow together. There I've just added some smaller spots and clouds with my violet in that place. Then I will add some towards the sky as well. Observe how I'm adding the clouds. I'm just making these round shapes with my brush. It's just like fluffy clouds, some fluffiness, and then the rest you can go by adding the straight lines just like we have learned all those times. If you want to add fluffy clouds, don't drop the paint. But always I prefer to use the side of the brush when I'm adding clouds. I'm using the side of the brush and adding fluffiness to my clouds, but then don't use the pointed tip. Somehow, I think that's not really helpful in getting the shapes. You see. I've added some smaller clouds. Let me add some more. I'll add several smaller clouds at random places. You can see, I'm adding towards the bottom because it's forming a lot of hairs kind, but that's all right. I'm just adding the clouds to wherever I feel I want to add the clouds. I have now added the clouds into my sky. I'm going to leave it at that, so this is going to be our sky region. Now we have to wait for the whole thing to dry. The horizon line part is now dry, so we'll go ahead and paint our beach area. I'm going to apply water to the whole of my paper at the bottom, right below the horizon line, very careful around the line, and also don't make any large pools of water. Here, I'm lifting my board so that my water would flow down and would just be even on my paper. I have now applied the water. I am going to touch the horizon line and apply because I was not touching it with the flood brush in case I overran to the top. Let me just cover up that area as well. There I have applied the water. You can lift your paper to make it even, like I said. Now we have applied the water. What I'm going to do is we're going to start with a little bit of raw sienna and yellow. First, I'll add some yellow., so I'm going to add some yellow into my water just right below where the sun rays we have added. See, right below that and then we'll go with raw sienna. Pick up the raw sienna and add it to the regions where you have added. Then here at the beach region, that is going to be more of the raw sienna visible because it's beach and the little sheen of water on the beach, that is the wave, the water receding out, reflects more of the light, so that's why we see more. I have applied raw sienna there. Now we'll go with the other colors. First, I'm going to go with blue, the blue that we applied for the sky. We are going to use this blue and we're going to paint it. See, I have painted it using the blue, so use a nice blue tone and just paint it. It doesn't mix easily with the raw sienna to form any green shade, so it's okay. Just blend it in the water along the line like that and the same on the right side as well. Here the top also, so we just want a little underlying tone of raw sienna. This is the reason why we applied it. Then here you can go on the top, leaving just little amounts of raw sienna. Pulling back with my blue. Just blending it and the same towards the left side. Now you can see I've blended that part and it looks somewhat blended, but now we're going to add more color on top of it. Now we're going to add the violet on top of the blue. This is because when we add violet on top of the blue, it's going to have an underlying shade of blue itself, making it look really beautiful. That's why with the violet on the top, so pick up nice amount of violet and add it on top of the blue and on the left side as well. You can see now we have added and we have a lot of those reflective spaces in our ocean itself and also in the beach area. Here I have applied my violet paint in all the places that I wanted on top of the blue but you can see here like for example, that underlying blue helps a lot. Now let us wait for this to completely dry so that we can add the final detailing. This painting is going to be in a lot of layers, so let us work on the next layer for our beach. This is because I just want to give that ocean waves and all that depth in my painting and also I just wanted to teach you a different way just like we worked with layers in our galaxy. Now I'm going to re-apply the water onto my paper. Carefully, we'll touch with our brush. You can see I'm using my Size 2 brush itself. Ideally, I would go with my flat brush, but I know that many of you may not have the flat brush. This is the reason I decided to go with my Size 2 mop brush and I am applying the water. You can see when you apply the water, the paint actually spreads a lot, but it's all right. You just let it spread the way it wants. Now it's wet, so I'm going to hold my paper at an angle so that if there is any extra water on my paper, it will just flow down. That's it. We have added the extra water now. Now what I'm going to do is I'm going to add in more detailing for adding those more extra detailing. Now, I'm going to go with a concentrated amount of my wireless paint and I'm going to add it. I'm going to add it to my horizon area at first. I have added to my horizon area and then some to those areas. See, I have made some lines but are not touch the center because we need it to be somewhat light. I'll go back on this region again and I'm using the pointed tip of my brush and I'm going to be adding some small lines into the sea part of my beach. The beach is here, so now we're painting the sea part, so that's why. Remember we using concentrated violet, that is a dark violet. If you're mixing violet, then you might have to mix a large quantity to get a dark. Try mixing indigo and red together so that you'll get a dark violet shade instead of mixing blue and blue and red. If you mix with indigo, then you'll get a nice darker shade, so I'm just adding some strokes. You can see that some straight strokes, and we'll add it to the left and other places. Then here, we're going to add in. I can actually see it, I don't know if you can see it. There is that first wave pencil mark there. Right below the pencil mark, I'm going to apply the water. Also note, I'm keeping my paper at an angle here so that all the paint would flow down and it wouldn't flow onto the top above the pencil mark. Here is my pencil mark and I'm painting below it. Because I'm painting below it, it wouldn't flow up. I've painted it all the way to the right. Now I'm going to just add some depth to the right side of it , adding some lines. Can you see the lines that I have added? Just adding some lines here towards the right side of that wave, that's it. Then my next pencil mark is here, so I am going to add there and I'm going to be adding below it, but this time, I'm going for a slightly lighter tone. Here, I'm just reapplying my paint because I think it's getting lighter there. Then there's the third one, which I'm just doing very quickly. See that? Now we have added two of our main waves. Let me just add some more detailing on to this area here. Then if you want to add in some lines, you can do so like this, very slowly and by using the tip of your brush, just draw some lines. You can also add that to the top region and maybe also to some areas here. Now we have added in the waves. You can already see how it's getting like a beach, isn't it? Now we have to dry this up so that we can add the final layer. This is now completely dry and we can go ahead and start adding the detail. For that, I am now going to pick up my violet and now we are going to add in the waves properly. Let us start with, not the big one, but the first wave that was here. With the tip of my brush, I'm just going to trace along, but not the entire way. But you see, I stopped somewhere there and then we can go ahead and start continuing. I'm just adding some strokes and I'm adding it in the form of lines. Let me show it to you up close. I'm adding it in the form of some lines like that and then I will add the same to this side as well, just adding some lines like that. We'll do the same with the next wave form, adding some lines like that. Let me show it to you closely again. I'm doing this with my brush to add in those lines. Then I'll go over it again, but I'm not going all the way over. You can see I'm leaving slight gaps and also do this line thing. We have one more here, add in those lines again. This time when I'm adding the lines, I'm diluting my violet. You can see I'm picking a lot of water. I have dropped in a lot of water there and I'm diluting it to add in those lines now here. I'm going to add in those lines here, a lot of lines, but I'm going to be using the diluted paint of my violet. I've used my violet, now the last thing to add is some waves with white itself. Here is my white paint. I'm going to pick up my white paint from there, a nice consistency of the white paint, and we're going to add it to the top of the violet. When we add it to the top of the violet, it's going to turn slightly light violetish color because it's not going to be perfectly white. That's okay, that's exactly what we want. Let's apply on the top like that. See, I am, again forming some lines. I will show you. This is going to turn definitely lighter. You can already see it's turning lighter. That's why don't use a concentrated amount of white, just a light violet shade would do. Here, I am applying in the form of waves. Right above this region that we applied the shadow for the waves, that's where we will add in our white paint and just extend under there. I'm only drawing until there, I don't want to go all the way. Then the same with here. Right above all the violet lines that we added, that's where we are going to be adding this white paint. You can see it gets lighter after drying. See, it's almost light, but then we can still see those waves. That's why we are adding the white. Some of them can be dry brush strokes like that. These are a little dry and maybe some smaller lines there. Here, we're going to add some dry brush strokes. Let me make my brush completely dry. Now that's dry and I'm going to add in my dry brush strokes onto this part. My brush is now dry and you can see how I'm getting those dry brush strokes, and that is what I will add to this region. I just dipped my brush in water because it was too dry, but to let me clear it up. You can use some dry brush strokes and add some dry strokes. You can do the same to some of these regions as well just towards the outside. It would be just like the foam in the ocean. These will get lighter, so don't worry there. Actually, that's it for our painting. Once you add these dry brush strokes, that's it, you can remove the tape. If you feel that your white is too light at certain places, you can go around with another layer and it would just become a little more bright, but don't make it too white. We want it to be somehow lighter because this is a sunset scene. That's pretty much it. Now we can remove the tape because we're done with all the waves. Here is our final painting. I hope you liked it. 72. Day 58 - Iceland Beach: The colors we need to do are Payne's gray, burnt umber, and sepia. Then we'll also need white watercolors or white gouache. Today, we are going to paint a beach in Iceland. Let us have the horizon line somewhere above the midpoint. Let's say I start from here and I'll draw a straight line for the horizon line so that's the straight line for the horizon. Then let's say, we'll have some mountain here. This is a beach in Iceland. Just a little mountain shape. That's it. Let's extend this a little bit onto the sea area. Here, this is the main pencil sketch. If you want, you can actually sketch out the beach part itself. Let's see. I'll have my waves somewhere here like that, then a bit more like that. Then I'll have my main wave. Let me make my main wave bigger there. That'll be my main wave and this, the foam part of my main wave. This is our pencil sketch for the beach so let us start painting. What we're going to do is we're going to paint the sky first. Let's apply the water onto the sky region. I'm applying onto the whole area. It's okay to apply onto your mountains as well. I thought maybe let's apply to the whole of our paper, but let's not do it. Let's paint the sky and the beach separate. Here I am applying the water, make sure that you apply only to the top area. Since this is a small area, we can do it quickly so there, done with applying the water to the sky region. We're going to start with painting the sky. Let's make it cloudy or a slight rainy day. Well, it's Iceland and I don't want it to be having clear blue sky today in this painting. I'll take my Payne's gray. I'm going to take it in a medium tone of Payne's gray and not too dark and I'll apply it in my sky. See I've applied a stroke and it's a medium tone so just apply that and also apply to the mountains, but you can see I've left a slight gap. Then I'll apply to the top. Maybe I'll apply a little towards the horizon like that and just some lines there. Actually, that's it. Let's extend this line that we did all the way here. Actually, that's it for my sky. I will wait for this to dry because I don't want my water to be flowing up when I'm painting the beach area or I think maybe let's paint the mountains snow because the mountains are farther away and we don't want it to be too much detailed. In order for the mountains to not flow up, we need an angle on our paper so that we can control the water flow. That is, so I'm going to keep my tape under my paper. Then I am going to paint the mountains. For painting the mountains, I am going to go with burnt umber. Here I am making a burnt umber and I will use it on the mountains. Here you can see I'm painting along the border. But it will not spread too much towards the top side, mainly because we have a flow towards the bottom because we have the tails so it'll spread somewhat. It will form a little bit of hairs, but that's alright. We'll get rid of it later on. For now, let's just go ahead and trace along the mountain. Along the horizon line carefully. There, so careful along the horizon line and apply the paint onto the whole of the mountain. Now what we're going to do is we're going to add some shadows. We've already added in the burnt umber. Next, I'm going to go for sepia. Remember if you don't have sepia, go for brown and black mixture or you can use Van **** brown. Now this one, I'll apply on top. You can see it's a slightly darker tone and this darker color will apply on the top of our mountain. This is going to be the shadow areas. See some of these areas are in shadow. That's why we are applying it. I would also apply towards these regions. I will leave some certain little areas of burnt umber, I did not apply paint there so I'm going to leave that little teeny tiny area to be lighter and some here as well. We have applied a stroke see? Like that. Let's do it the same way here. Just only applying along the side. This is the reason why we applied the burnt umber at first so that you can depict some of the lighter details on the mountains. Then we applying the darker tone on the top. I've extended all the way until there so you can see because our paper is wet, it's likely spreads towards the top. Here we have to make sure and take care of the water on our brush. If we have too much water, then it will spread a lot. If you have only a lot of paint and less water, it will not spread too much. It will stay like this, just a little amount of spreading, which is the ideal amount of spreading, and only apply along the line of the horizon and because there is no water towards the bottom, it'll spread towards the top, but not much because we have the tilt on our paper and we're controlling the flow of the water. Now just go over and clear any uneven shapes that are formed. We're done with the mountains. Now let's wait for this to dry so that we can paint the beach. Now the whole thing is dry and we'll paint the bottom part. For painting the bottom part, it is going to be quite exciting so here is what I am going to do. I'm going to apply my water to the whole of my paper so right from the top, that this lies below the horizon line, I have applied the water. Apply the water multiple times. If your paper is not 100% cotton paper because we need to paint the whole thing with wet-on-wet, ignore these lines for now. Actually, those lines were not needed because now we're going to paint with black. But I just wanted to show you what is it that we are going to be doing. Also, you'll be able to see it on your paper. I won't be able to show it in my camera, but that's alright. We are going to start with Payne's gray, and this time we are going to go with a dark concentrated amount of Payne's gray, go with black. I use black as Payne's gray. That is, I use Payne's gray for my blacks so start applying and careful along the line of the horizon. There. I have applied the first line. Now, let's just keep applying more and more. Just note one thing towards the right, make it slightly lighter in tone. This is the reason why I actually go for Payne's gray, but even if it is black, go for a lighter tone towards the right side because this is the beach and we want to show a little grayish and then we'll add white on the top later on so we want to add white watercolor on the top. It will be even visible with black, but let's just keep it slightly lighter. That is lighter as in a medium tone of Payne's gray towards the right. There, so we have a medium tone of Payne's gray towards the right, but we want to add darkest of the darkest tones towards the left side. Blend those darkest tones towards the right. This is the reason why we apply the water at first, so that will get the perfect blending. I'm sure that by now if you've been following from Day 1, you are very good at blending, so I'm not worried about blending part. More dark tones towards the left side. Now I want to apply an even more darker tone. If you're using black this would be even more darker by now, because I'm using pink gray, I'm having to go with multiple layers. But if you're using black, then you know that you've already got the blackness on the left side. By now you can already see I'm picking up concentrated paint directly from this well, and not mixing on the palette because when I mix it tends to get slightly lighter. There I'm picking up more. Let me make mine as darker as possible. You can see now this side is very dark and we've gradually made it lighter towards the right. This is the beach part for now. Let's now wait for it to completely dry so that we can actually add in the form in the water and any other slight light detailing that you want to add. Now, let's take out our white gouache, or white watercolors. I'm using this designer's white gouache, zinc white from Winsor and Newton. You can also use titanium white or actually any white in your palette, and I have it already in here, and this is what I am going to use. We are going to paint the beach area. Let's use a smaller size brush. Take a nice consistency of the white one and let's actually start from here on the right side, because you can see a harsh line where we did the separation between the beach and the horizon. First thing first, I want to get rid of that harsh line. I'm going to go over with my white on the top and see that harsh line is gone. Let us apply the white in more detail. You might have to apply multiple times in order to get white. The reason I actually told you to make this region lighter because it's much easier. If it was pitch black, it would have been difficult. Now, once we have applied along the horizon line, we can get to drawing our lines. I can actually see those lines in here. But maybe if you've applied black, you won't be able to see it. But then try doing this with your brush itself. Try sketching that with your brush. That's why you need a smaller brush. Use the pointed tip of that smaller brush. Then let's try it. Somewhere around here. Like that and I have the next wave somewhere there. Then my next wave all the way here. Then comes my bigger wave. My bigger wave is going to come all the way here like that. This is our beaches bar. This here is the sea or ocean and this is the beach. We're adding the form. That's why we need a nice amount of white. Then, once you've done the outlining, now we can go ahead and make the form. Towards the horizon we'll add these lines. Remember to pick up the white and a nice consistency so that you get those lines and you know that there shouldn't be a lot of water in your brush. If there is not a lot of water in your brush then this whole thing is going to be lines and then convert directly to the dry brush technique, that is the dry brush stroke and let it do that. I'm adding more and more lines. Did you see that just lines towards the horizon? Because this is the horizon, so the words there, I'm just adding some lines. Until this region, I have added lines. Next now let's add another wave or something there. I'm starting there and I'll go somewhere like this. You see, I've made another wave shape and I'll follow along. Don't make it exactly parallel. Make some slight bends and curves so that it looks like a wave and remember to take nice amount of white paint that is most essential. Then again, inside of that new wave that you added, you can add more paint. Towards the top, I'm actually covering it up with a lot of white. I don't want all those gray to be visible. There. You see only some little amount of gray just that very tiny amount of gray. That's all we actually want. Here, paint all the way there and then, see, I've made a line like that. Then, now I'm going to do the same on the top, but I'll leave a little gap of gray there and join here at some places. Again, I'll make a gray. Now this looks as though it's a wave, isn't it? Then let's color the whole point at the top. The whole part at the top, that's where I'm in. See, now we've made that whole part. Now again, let's do the bottom part and see some of it because I'm not painting, I'm not taking a lot of water in my brush, I'm just picking up paint each time. Some of my strokes are dry brush strokes. So, that's why I say, let it go on to its natural dry brush stroke mode at certain places. Just at certain places, let it do on its own and you get the beautiful stroke that we're looking for. If you want, you can go over it multiple times. If you think that your white is not white enough and it's still grayish, you can add more on the top like here I did. Now, let's come over to this wave again. Just add some small lines along. See that wave part is done. Now let's get to the bigger one. For the bigger one, I need a nice amount of white and we're going to start big here. Let's take the paint, the white paint, and we're going to now follow the rule of perspective here. The rule of perspective here is something when it goes away from us, so the horizon is the furthest point in this painting. When it goes away from us, it should get thinner, and when it comes towards us, it has to be thicker. This is now a little further away than this closest part here. That is why the wave starts to being thinner here and as it comes closer to us, it gets thicker and thicker. See that? Let's paint the whole part inside of that. Remember, we did the mountains in the Night Sky 1 in which in the whole of black we added mountains. This is almost similar because some strokes are dry brush strokes as well. Only these certain strokes that we are adding right now is dark strokes. I've added the paint on it. Now, I'm going to go around and make these round strokes because I want to get rid of those straight lines on my paper. Let's just add these round strokes just so that it doesn't look as though it's having a straight line and also don't make it perfect like that. I drew a line at first, but now we have to make it imperfect, so let's do that. See, I've added some imperfection here. Let's do the same all the way here. I have added some imperfections, so now what we'll do is, we'll do the dry brush stroke. For loud paint from inside of this and do the dry brush technique. Less water on your brush. Remember, we need to get the dry brush technique. So from here, from the inside, just do these strokes towards the right side, and do this all the way towards the right. Now we need to make sure that we add in those dry brush strokes all the way there. But at certain places, you can have an extra bit of form. You don't need to have the dry brush stroke itself. Keep adding those extra bits of form and then convert it into a dry brush stroke. It's just letting both the wet-on-dry stroke and dry brushstroke to mix together on its own. See, I've added so many white there. Now I'll blend it along with the dry brush stroke and create those dry strokes. And then, I'll also create some dry strokes at certain places like that. Let's keep painting. When you've added these dry brush strokes, actually, that's it for the whole of this painting. Don't forget to add extra white, if you think that you know, your white is too light. Like for me, I'm going over with another layer because I think it's too light now. Just at certain places. Actually, that's it. This dry brush stroke is the hardest part when we're painting the beaches, trust me, and if I had more time, I would have liked to work on it more and make it as perfect. But I think this is good enough for now, so let us remove the tape. There you go. This is the beach in Iceland. Trust me, this dry brush stroke is really tough and I actually do want to work on it a lot more. But because of the time constraints, I'm not doing it. There you go. 73. Day 59 - Beach Drone Shot: The colors we need today are: viridian or emerald green, raw sienna, a dark green, sap green, burnt umber, bright blue, indigo, and white watercolors or white gouache. Today, we're going to do one of your favorite beach, [NOISE] the top view. But the major techniques in this painting is already covered in my oceans and beaches class. We're going to take it one step further and do some more beautiful detailing on top of this one. Let us start with applying the water. There is no mental sketch, let us just do it directly with our brush [NOISE] itself. Apply the water onto the paper. Obviously, we have to make sure that the water that we apply is even, no large blobs, no large bulls. Cover the corners. Everywhere, apply the water evenly. Make sure that the water that you apply is really even. Here, now I have applied the water on my paper and I'm going to stop painting. I'm just going to create that angle on my paper because I love to have that control over the waterflow. Here is my tape. I'm going to keep it under my paper, so I have the control over the water. We are going to start with viridian. Here is viridian or emerald green, whichever is there in your palette, it's almost the same. Let's start from the corner here, and let's apply like that. [LAUGHTER] I know this looks like a Northern lights now. Anyway, just apply the whole of the paper on the left side of that curve that we did with the viridian or emerald green. We've added it. [NOISE] Now what we're going to do is, we're going to go for little amount of a lighter green. Let's take green. You know that my green is dark, so I'm going to go for a little bit of yellow mixed into my green and there is the lighter green. This is what I will apply towards the right. I'll be mixing other colors first, because this is too lighter green for ocean. Here I will apply the green at first. Let me create a curve like that. There. I'll create a curve like that and I've made it join. I'm also blending it along with the viridian, you can see that. Create that curve shape. [NOISE] Now I'll go for a little amount of bright blue and I'll add this blue on the top just at certain places. We can see when you're adding the blue on top of the green, you are getting slightly a viridian shade, but slightly different. This is bright blue or phthalo blue, and that's what we're adding on the top. You can see it has that greenish tone, but then slightly different than the viridian. Now let's go back to our viridian, and let's start adding the darker tones towards the top because I want that area to be darker and also maybe some areas here. Just apply some random tones. There, I have applied my viridian. Now we'll go for indigo, so we're going for the darker now. The indigo, I will apply here. Now we are adding some of the little detailing on our beach. Here, I've added the indigo and I'll drop in some small spots like that. See, I used the tip of the brush and I just dropped some smaller spots. Let's also add maybe some lines and spots there, and maybe a little amount of detailing here. There, I have added some of the spaces. Now, let's just blend these together because we do not want it to have a lot of indigo in this bottom places. At the top, we'll have the indigo nicely. See those two drops of indigo that we applied, they spread and formed a nice blend with our viridian. Let's just add a few more spots at certain places. They are also going to spread, but not like before. Now we need to get going. Let's start with raw sienna. Here is my raw sienna and I'm going to apply it. This raw sienna, we are going to apply it right along the edge of that green shade that we applied. Do you see that? Right along the edge of that, we'll apply the raw sienna. Let the green mix with the raw sienna. Here I can see that it's not mixing because the water is gone. I'm taking my green again and I'll go over it on the top and blend it somewhat, so that they're. Now that looks blended. This is how you can actually make it blend. Because what I observed was that, this part here had lost the water content and was starting to dry, so I immediately picked up some more green and I blended it along towards the middle here, which had water. Now there is even consistency of water. Don't apply extra water at any place, that's very dangerous. It's the Number 1 rule of water control, which you might be aware by now. Now we're just going to go ahead and start painting the rest of the areas with our raw sienna. Pick up raw sienna and keep applying towards the bottom and places. Here, I am going to do a shape like that because I want to apply some green there. All those areas, apart from the shape that we did, we apply the raw sienna. Let's have some vertical strokes here. It shows the stroke marks after it dries. This is why I'm changing the strokes. Now we have added the raw sienna, so let's now go for the greenery. I'll start with a sap green first and I'll apply to those areas. Now when you apply it right next to the raw sienna and patch it, you will see that those areas get the little amount of greenery. There. We've added the little green that we wanted there. Let's now add more detailing into our green. I'm going for a darker green. Remember if you're green is not dark enough, you can go and use indigo to mix with your green and you'll get darker. This is what I am applying to my greenery area and make sure to apply some smaller spots as well so that it looks perfect. Now I'll add in some more indigo on the top to get an even darker shade. This green was darker, but now I'm going for an even further darker shade. This I am doing with indigo and you can see I'm just dropping some little beams at random places. Now what we'll do is let us switch to another brush. I've switched to my smaller size brush and we're going to pick up burnt umber. Now we'll take burnt umber and we're going to add some. Let's actually get rid of the angle on our paper. This region with the raw sienna is still wet. We have to make sure of that. If your paper is not wet, you know what to do, wait for the whole thing to dry and reapply the water because we need this stroke to be wet on wet. Let's apply some detailing on to the beach area. That's what we're trying to do. Let's add some here as well. This is why I said we're going to go one step further than the beach lesson. Just applying some. You can see I'm applying in the form of lines not dropping my paint. Just making some lines detailing and maybe some lines like this and then little speck of paints at some places here, and some near the green areas as well. I'm adding some lines. You can see the lines that I'm adding are in different directions. I'm just trying to get some shapes on my beach area, some dark tones. We don't know what they are, just some dark tones that exist on the beach. Now I'll go for an even darker door. I'll take sepia. I'll apply to this area and apply some lines because I just want this part here to be slightly darker. This is the reason why I'm adding sepia. Also remember, I am adding in certain lines in different directions. I think that's it. It looks as though it's some rocky texture there, isn't it? We're done with the base layer. Now all we have to do is we have to wait for this whole thing to dry so that we can add in the form in the water. You can see the whole thing looks blended after it has dried. Even these lines, they all look natural on the paper. Now we're going to use our smallest size brush again. Before we add in the foam, we're going to add some rocks in the water. For adding in those rocks, what I'm going do is I am going to pick up a nice darker consistency of my raw sienna. Then we are going to add some shapes. Just some smaller shapes. Try making some random smaller shapes. Let me show it to you up close what I'm doing. Here, just some shapes like that. I'm sorry, I didn't realize that I wasn't showing. There. Some shapes like that. Very little. We are going to do this at a lot of places, even in the water. It's just some rocks in the water. Don't worry about the exact shape. Just make some random, very bad strokes. We're doing that with raw sienna. Let's pick up raw sienna. Let's add some here. You can see how I'm adding them. Just randomly. Lots of strokes, small rocky shapes. Let's add some towards there. Maybe let's add some deeper, not deeper because here it's actually closer to the beach, some in the beach as well. I have added the raw sienna strokes. Now what I'm going to do is we need a little amount of detailing on those rocks. Very little, not a lot. I'm taking my burnt umber, take a nice concentrated amount of burnt umber, and we're going to add it to the edges of some of the rocks. Not on all of them. Just on the edge of some of the rocks, we need to get a darker tone because as I always say, a shadow for any subject that you draw is a must. This is why let me show it to you up close again. This time, I promise I'll show you properly. [LAUGHTER] Here. See? Just a little teeny tiny amount. Like that. Just some lines just to make sure that we do have those shadow. There like that. You don't even need to add it to all of them, just some of them to make sure that you actually have some shadows. That's it. Now we are done with the rocks and we can get on to painting the foam. Let's make sure that we drive this first. This is now completely dry everything. We'll start with our foam. Here is my white gouache that I'm using. Use your white watercolor or white gouache, whichever you prefer. We are going to do a lot of dry brush strokes. Remember, the last piece that we did, similar to that, we're going to do a lot of dry brush strokes, but don't be worried. First, we will make the line of the beach. Here I'm going to have my first line somewhere here. I'm going to have them a little broken kind. I don't want to go into perfect beach shape. Here, I'll go closer to the ocean or the sea part. They're taking more. Here I'll do some bendy shapes. I'm just trying to make this look a little real. Then some bendy shapes all the way to the right. That's the first line of our beach formed. Then let's now add in the second line as well. The second line is going to be in fright, overlapping one of these rocks. Just go closer to that. Let's go again. It's going to overlap these rocks as well. Make sure you draw on top of them. That's why I said it's going to have a lot of form anyways. It's all right, even if your strokes are not that perfect. There and goes here. Now we've added the two major lines on the beach, now we'll add in the dry brush strokes. For adding in the dry brush stroke, let us do this one first. Towards the top because the beach wave is coming like this, that means the form is towards this side. That's why we're adding. Add in lines towards the top like that. See that. Keep picking up the dry brush strokes as in keeping up dry paint, not a lot of paint. Then keep adding. We will add it all the way here. It's totally random. Keep adding them. Then let's take more. Keep adding. You can see I'm covering some of the rocks as well. It says if the water is splashing onto those rocks, it just makes the whole thing beautiful, isn't it? Just keep adding all the way towards the top. Keep picking up your white paint and add it. All of my strokes are towards this corner here. Not always upward stroke. My point is, it's like converging to this point. That's why all of my strokes are going to be like that. We have some here and you can have them in different layers. I've left a gap there and then I'm adding some form here and add some here. Now there's water in my brush. Let me get rid of it. Or you can actually go directly from your tube as well. If you take directly from your tube, then it's going to be even more concentrated. See that's a little more concentrated amount of white paint. You can do that as well. I have added enough there. Let's now add this one. To this one, I won't add a lot like here on the side, but I'll add a lot here. Let's add a lot to that side. Here I just want it to be having that line and we'll add it there. Let's keep adding. What decide and hear all of it is going to be facing upwards. Have it go up. Upwards like that, see it's going upwards there. We've added a lot of waves there. Now, let's just add in other random places. Here I have not added along the line, but now we'll add it along the other places. Here, now we have to make sure that our brush is really dry itself because we only want very little amount of paint. We only want some dry brush strokes. Make sure that your brush is dry and you are getting these drier strokes. The same will add it onto the rocks as well. It says though there is a lot of farming areas on the rock. See that. It's not that clear anymore. The same to these ones apply on the top. Make sure that you can actually see those form on the rocks. We definitely have foam on the rocks. The main reason is because you know that we observe or the water is splashing along on those rocks and we are able to see them. In other places just do these. It's very light. You can see there is clearly not a lot of paint on my brush and you can't even actually see many of the strokes only towards the rocks I made. It may make it more evident. That's a lot of paint. I'll make it a big form there. In other places, I'll just go and keep adding. Now, I just want to lastly add to the top here because I feel that it's light as well. Here, just going with some random strokes so that there is a little amount of fog, not allowed lot but see if you just add some lightness there so that it doesn't look too plain. That's it. Let's dry brush stroke. We have to be really careful. You can see there is literally no water in my brush. See the shape of my brush. I explain this clearly in my oceans class. If you're still not getting the dry brush tool, then you definitely can check that out. I'm pretty sure that once you paint those projects, you'll be able to get this one right. I think that's really good enough for now. Here, oh, my God. Do you like this one? I already do anyways. This is our painting for today. Let's remove the tape because all we were doing was the dry brush strokes. There you go. This is our beat for today. I think this is my favorite among the beach right now, but I don't know. Maybe the next one might be even better than this. [LAUGHTER] 74. Day 60 - Tropical Beach: The colors we need today are bright blue, sap green, a dark green, Indian yellow, indigo, raw sienna, burnt umber, emerald green or viridian, cobalt blue, and white watercolors or white gouache. Now we're going to do a tropical beach. Somewhere below the half point let's have the beach line until around here, and then I'm going to have the beach to curve and form here. Then we have some rocks in the ocean there. Actually, you can see some part of the beach at the back. Let's have some further rocky texture on the beach again there, so like that. We're going to have some trees or some green areas and like that. These are going to be the green areas in some places here, and then we'll have two palm trees here. These palm trees are going to extend out on top of the beach like that in a slight bendy shape, so you see that. Let's have that palm tree all the way towards the top. Let's have a smaller one as well right next to it like that. Then the branches of the palm tree like that. [NOISE] This is our pencil sketch. We're going to start painting. Now because we're going to start painting this one and we have the plan tree here this is going to be quite a little bit of tricky, but let's do it. We are going to apply the water. But when we are applying the water, we are going to avoid the palm tree area. Avoid the palm tree. That is the trunk of the palm tree. The leaves are fine, so just the trunk of the palm tree we have to avoid. All the way here because we can paint up to the horizon line actually, the greenery is fine. Paint the sky region by avoiding the trunk of the palm tree. Follow this line. We'll also avoid the rocks. There I've skipped the line of the trunk, just that, and the rest of the areas I'm applying the water. Here I'm applying the water, and we'll also apply now towards the right. It's fine, it's clear, so let's quickly do it. I'm going over it again because this region is now starting to dry. As I said, keep working by adding more and more water as soon as you see that it's starting to dry. Now again here, I am going to go and skip the regions of the rocks. There are some paint and that's what happened there. Skip the regions of the rock and paint above it, and also this line of ocean and paint above it. [NOISE] Now we have quickly applied the water. Let us quickly paint the sky also. I'm going to go with bright blue and we'll start from the top. This is a very tropical place. It's going to have clear, nice, blue sky and we apply it. There I have applied at the top and also apply to these regions. Towards the bottom, you can see my tone is lighter. The darkest of the tones at the top. Always make sure that the darkest of the tone is at the top. Here, the darkest of the tone at the top, and go lighter towards the bottom. Same here. Let me apply the blue, and I will apply along the trunk of my tree avoiding the trunk. Make sure that you make your strokes somewhat horizontal like that. Now let's make it darker towards the top again. Keep picking up a darker tone and apply to the top. Then now, when you reach here, I am going to leave a lot of space. It's going to be the clouds in the sky. You see, I've left some large shapes, and I will also leave so many shapes there. I've gone lighter towards the top. Let it have that cloudy shape, and you can also see your paint spreading. Let it spread the way it want. We won't stop it. Let it spread. That's all right. Let me just blend this area because this looks unblended. Now the next thing we are going to do is let's add the greenery also. That green I want it to be on wet stroke. While these regions are still wet, I want [NOISE] to switch to my smaller size brush. Here is my size 4 brush, and we're going to use that. We're going to pick up green. Here is my green. As you already know, since my green is dark, let me pick up some yellow. Let me make it into a sap green. What we need is sap green. Here I have made my sap green. This sap green we are going to apply. You can see I've applied in the gap there in between the two trees. See my water has actually dried but the top part is still wet, so I get a little about blending. We'll do the same here. See this area, it's still wet. It's spreading out. That's what we want. We want it to be not that clear, which is why we are letting it spread. Let's have that tree extending upwards. Then some green again here. Then, now what we'll do is we'll have some green right in between those rocks. Not a lot. Just a little. You can see I've added a little teeny tiny amount there and maybe tree or something here, like a shrub, so that's why it's extending upwards. This one is separate from this. There's not going to be in a tree growing there, so I'm not going to add that. Now let's go with the darker strokes. For the darker strokes I'm picking up a darker green. See the darker green, mix green with indigo if you're green is not dark enough, and then add it to your greenery. Just at some places. You don't want it to add to all of the places. Just at some places so that you show how much depth you're painting is having. That is your bushes, the trees, they have some depths. Just apply at certain places, and also for the tree you see, I've added some darker tones on top of it. Let's add some towards here. Then maybe let's do this one. A little amount here. Here we have added some little depths. If you have applied too much, just spread it along so because we don't want it to be too dark. I think that's good enough, so I've spread it around. That's our main greenery at the back. Because there's a clearly separation between the sky and actually the beach area, let us go ahead and paint the beach. For now, for painting the beach, what we are going to do is we're going to apply the water onto the whole of the beach on the left side as well, because we're going to follow the same principle that we did for yesterday's beach. Let's apply the water here only along the line. Because we need to paint those rocks, so let's do it. Applying the water. There applying the water, you can slightly touch the green areas. You can see it spreads out slightly but very slightly touch it. I think it's okay to allow it to spread a little. But don't touch the trunk of the palm tree yet. Now what we are going to do is we're going to go with viridian, but we are going to mix a little bit of yellow into our viridian. That's the color that we're going to do. A bit of yellow into a viridian and a bit of bright blue as well. Then we get this tropical kind of color, and this color is what we're going to apply. See the color that we got, so it's a bit of viridian, a bit of yellow, and then take a bit of bright blue. See, it's like a greenish turquoise color, and this is what we apply. Again now I'm going to use gravity because there's too much water on my paper and I want it to flow down. Use that paint and apply it under this curve. Remember this curve, that's where we are going to apply the paint. Apply it all the way there. See now we have added that viridian shade for our ocean. Before it starts to dry, let us add in the raw sienna for the ground. The raw sienna, I'm adding the rose sienna because this area is still wet. Let's add in and let it join and meet the beach area. That's the beach. We've made it join the beach area. Now, we'll go with the darker detailing on our painting on the water area. For the darker detailing, wait, let me just absorb these extra water on my paper. There's just too much water in this area, I think. Let me just blend it. I've softened those water. Now, I'll go for a nice darker tone of raw sienna, and I will apply it towards the left side. Just towards the left side, not towards the beach area. Towards the left side, I'm going to apply a raw sienna like that. You can see I have applied. I have applied the raw sienna again like in a curved manner. It follows along the beach again. I want more here actually so that's why I'm adding. Now we have allowed it to curve along. That was too dark. That's perfect. We have added it along the curve. Now we need to add darker tones in to the beach area. I'm picking up indigo and I'm going to add some darker shades into my water. Here just add some shapes or some darker spots. It's just some darker spots at certain places in the sea. Picking up indigo and add it. Towards the horizon you can see I'm adding it as a straight line, then towards the other places, we'll just drop in some random indigo shades. Maybe here, a little bit of shades, some here. I will also take some blue shade. This is cobalt blue that I am going to use, and I'll also add some cobalt blue. It just makes the whole thing interesting. Just adding some shades. There. Then these areas with the indigo, I'll just blend it along so that it doesn't have too much of the darker tone. We'll see now we have got an overall lighter tone in those areas, and if you want a further dark tones at certain places, use indigo, more of indigo now. See, I'm just adding slight darker tones at certain places. Want some darker tones here, and you can see they spread and blend nicely on the paper. That's it for our background layer. Now, we'll wait for the whole thing to dry so that we can paint the rocks and the palm trees. The whole thing is now dry, so let us paint the palm trees and these rocks and some just random detailing. For the palm trees, I am going to start with raw sienna. We're going to pick up a raw sienna and we are going to apply it onto the tree. We'll just directly using the wet on dry stroke itself. Where I'm I getting these paints from? I've ruined that part of my paper. Let me just try to clear it up softly. There is a lot of some white there. It's from my hand. I don't know where I'm picking all of these paints from. Let me wipe it off now. Lets get back. Sorry about that. Here is the raw sienna, and apply to the whole of the palm tree. I've applied to that palm tree, let's apply to the other one as well. For the other one, there, I have applied to the whole of that. Now, we'll wait for that palm tree to dry. While it dries, we'll add in the rocky areas. For adding in the rocky areas, I will add some raw sienna there. All of these rocky areas I will add with raw sienna at first. Since I've added in those rocks, now I'll add a little bit of detailing onto it. Again, for the detailing, I'll go with burnt umber. I'm just going to drop some darker spots of paint at certain places on those rocks. You know how we always add in the shadows. You can see just some random places drop in the burnt umber. Just at some places, not all of them. See, I have added in the detailing with the burnt umber. Now, next thing is let us draw the pine trees. For the pine trees, I am going to start with yellow, so observe how we do this. I'm going to start with yellow and I'm going to make the bronchus first with yellow. I've made the branch, now I'm going to do the leaves. Just do these lines first with yellow. There is a reason why we do with yellow, because when we do with the next colors on the top it'll be visible more clearly. This is the reason why we'll do with yellow shaded first. Do it for all of them. This is what the most time consuming part of this painting is. That is to do all of these palm tree leaves. Let's just quickly try and finish that. Let me show you up close how I'm doing it. Just adding these lines, using the pointed tip of any brush that you have, just make sure that your brush is pointed, that's it. See, and it doesn't have to be perfect because this is like the underlying stroke and this is a watercolor painting. I like things to have it look like a painting rather than looking like a photograph. Because to be honest I feel that photographs are there for purpose and we're trying to painting it. Then we need to show it as something. When we're painting it, it needs to look like a painting. I've added, see. I've added to both the palm trees. Now comes the next bar to add some extra detailing onto that. I'm making sap green. I'll add the next part of my stroke with sap green. On the top just go over the top like that with dark green. You see when you're adding with sap green, you have that underlying yellowish tone there. It'll give that debt to your palm trees. Do this for all of the branches, the leaves. This one, smaller tree. Also observe, I'm not doing it a lot. I make sure that a lot of those yellow spaces are visible. That's how we have to do it. This is why adding the second part is actually easier. The yellow was the most difficult part because we had to cover the first entire thing of the leaves. Just one more color with the trees and be done with the trees. Now what I'll go with an even darker shade. We need to add in a darker shade. Remember, you don't need to do even as much as you did with the sap green. Just some small random lines. Just a little teeny tiny amount of line. Not a lot. The leaves of the tree is done. See, both leaves are now done. The last thing to do with our Foundry is to make the trunk. Let's get burnt umber now. Using burnt umber, we're just going to add some shadows. Here, I'm painting like one half of my raw sienna area and add it in. It's like it has a shadow. We'll draw some lines like this, some little amount of detailing on the ranch. The same we'll do here. I have added a little bit of the burnt umber, just a little amount that you see there. Maybe you can add a little to the side as well. Then we'll draw in those lines. Just see the lines that I'm doing. Just a little amount of lines on our tree. Then using burnt umber again, last thing to do is just add maybe a little drops of brown at certain places it looks like the legs of those trees or some branches, but very lightly, just see very lightly. Now, only two things remain. We need to add that little amount of beach scene in the background. For that, I'm going to go with blue and I'm going to paint that area. This is just simple. We just have to fill in that little part with our paint. Just a little bit on the right as well. Just make sure that your line is straight. Mine was actually bend at first. See, now we have added that given that depth to our oceans. It's just like these rocks are in the front. That's what we wanted. The last thing to add is our byte foam in the ocean. Pick up your white paints. It's just going to be simple. We don't want a lot. Just use your white watercolor or whatever gouache you're using. Just add in that curved stroke, so we don't want it to be exactly curved. Just a little amount of foam, that's it. Then the word the edge there, add some extra foam just to show the water crashing on the rocks. Just keep adding some more towards here. You can add in the foam that is led the foam towards the right side. You can see how likely am doing it. You don't need to have it too dark. When I say a dark, I mean too concentrated amount of fight is not needed. Just go and keep applying some of the white to some areas. Then maybe some foam at certain places. You can see, I'm just adding in them in the form of some lines. Just go over your brush like that. Maybe a little foam there. See, just a little teeny tiny amount. Make them dry brush strokes. Actually, that's it for the painting. Now, we can actually go ahead and remove the tape. I think because all of the areas are dry, we've done the palm trees, we've done the land. I just wanted to make this as simple. There you go. This is our final painting. 75. End of Week 10 - Beaches :): Here are the six paintings that we did for the beaches theme. I really love this one because of the sun's rays and the reflection on the beach itself. Then here is one sunset cleaned one. This is quite different from the one that is covered in my oceans and beaches watercolor class, and also another purple shade sunset one. Then we have the beach in Iceland. Then there's my usual favorite, the top view. This is a little bit slightly advanced than the one that is covered in my oceans and beaches watercolors. Finally a tropical one. This week is also one of my favorite. Honestly speaking, each week is my favorite than the previous one, I really love all of them. Reference images waiting for you in the resources section. You can check that out and try that for yourself. 76. Day 61 - Boat: The colors we need to do are: bright blue, emerald green or viridian, cobalt blue, Indian yellow, orange, red, burnt umber, and permanent brown. Hey. Hello. We are starting with boats this week. Let us start our first painting. We're going to sketch a boat right here in the center of our paper. Let's just start. Don't panic, I know boats can be quite tricky. Let's start with somewhere. This is the center point towards the left. Let's start. Draw a slanting line like that, there. Then let's have another slanting line. See? I've had two slanting lines, and then I'm going to make a slight curve here. Then go towards the center. The same towards the right side, a curve there, and join it. Now at the edge of the curve. Not towards the very tip, but somewhere here, we'll start making the shape of our boat. I am starting to add like a, we can see, it's a curve again. We are going to have it towards the bottom like that. It's like a very bad S shape. Then have a little base there. Then we'll do the same towards the other side. Here at the center let's join that base with two vertical lines like that. See, we've added a slight small shape for our boat. Let's just add some more extra lines there. Now just some inner heart, because you can see it's just the front now. We need to add something extra to that boat. Let's say we have, I don't know, some housing on the boat, like that. Add in a hole in it like that. Something of that sort. Now we need to join the base. Here my base goes like that, and towards the inside like that. Then let's have that inside come out, and we'll have to join it to the boat like that. There. Now it seems as though there is a boat shape there. We need to join that. This is like the inside of the boat. There is one thing that we need to do. Do you see this bend here? A sharp bend? Instead of that sharp end, we need to now get rid of that sharp end. What we're going to do is, this line coming from there, try joining it to this. See now? It looks as though the boat is going there in its shape, entirely, like that. This also now looks flat, so I'm just going to add in dimension. There, something like that. Let's bring it down. Again, we're not going to see that vertical part. Now the whole thing has a dimension in the water. Let us now get to painting the whole of the water. I chose boat for now, because we've done with water, we've done with oceans, we've done with beach. I'm pretty sure now that you know how to paint water, you're very good at painting water. Although there's one thing here I want to do. I feel that this side here is really thick. This is why I said boards are a little bit tricky, but not that difficult, if you try. Even I make mistakes. See? I just wanted to correct it because I felt that it's going out of the frame too much. That's much better. Because if this was too inclined towards the other side, now it looks much better. We'll start painting the water first. For painting the water we have to apply the water to the water area. Here is my water, and I'm going to apply it to the whole of my area. We're going to skip the boat regions. Except for the boat region, the rest of the places we will apply the water. Carefully do this. Apply the water evenly onto the paper. Along the edges of the boat just be careful, we don't want to apply the water along any of the edge of the board. The rest of the areas we will apply the water. There, I have applied enough water. There is some areas here. Just cover the entire surface with water. Make sure that you don't have large pools, blobs, or extra water on your paper. Cover the colors really well, and make sure that you have covered the entire area around the boat as well. Lots of videos to be covered. Now, I've covered the whole of my paper. Now, what I'm going to do is I need that angle again so that we get the control of the flow of water. Here, I'm adding my masking tape under it. Now, we'll start painting. I am going to start with slight bluish tone. This is bright blue that I'm using and using the bright blue we will apply at the top. This is not the sky, it's the whole of the water, the vastness of the water that we're seeing. We'll just apply that to the whole of our paper. Make sure to skip the area of the boat. We don't want any area of our board to be touching with the paint. I've covered the whole. Now, when you come towards the bottom, pick up more concentrated amount of paint. Here, our horizon line in this painting is away that is out of the paper. This is the reason we're going lighter towards the top. Usually, I say we should be like making lighter to darker towards the top that's because the top is the closest part to our painting when the horizon is in the middle. Here, the horizon is further away so this is the reason why we are going with a darker tone towards the bottom. Make sure that you apply lighter tones as you go towards the top and darker towards the bottom. [NOISE] There now I have applied bright blue onto the whole of my paper. Don't mind the darker shades on the left now. We've applied the blueness of the water area, the ocean. Now, we'll add more colors onto it. Next color that we are going to add is viridian or emerald green. This we will apply on the top of the bright blue so that most of them are just going to mix and create a dark waves blue shade. Let's apply that onto the whole of our paper. This is why our bright blue that we applied, bright blue or taylor blue, was somewhat lighter but here it should be lighter than the bottom, remember that. Pick up the viridian or emerald green and make sure that the bottom part is the darkest. There adding a lot of paint to that area. I have added and now I'm going around my boat. Now towards the top, what I'm going to do is I'm going to add small lines like that with my viridian but observe it is a very lighter tone. Just some small lines with your viridian. See, we've added lines to the top there. Towards the bottom is where we will add the darkest of the tones, there. Now, we have added a lot of those darker tones of viridian towards the bottom, so now we'll go on to add the next detailing that is the water detailing before we get onto the boat itself. Let's add the water detailing. For adding the detailing on the water, I am going to be taking cobalt blue. Here is cobalt blue. You can also take Prussian blue or in fact, any darker blue that you have. I'm taking cobalt blue and what I'm going to do is I'm going to take a little bit of viridian itself and I'm going to mix it with this cobalt blue. We see the shade we get, a dark turquoise blue color. Using this, I'm going to paint in the water area. It's a blue and a little bit of viridian mixture and using that, we are going to make these shapes. When you make these shapes, see it's the water shapes where you press your brush and lift and add these strokes. Make sure you have a lot of it at the bottom. It's fine to have a lot at the bottom. Blue and viridian mixed together so that you get a darker green turquoise, blue shade and observe at the bottom, we'll have it completely covered. Each time all of those strokes are such that it's going towards the boat. I think now I'll remove my masking tape because you can see the hair is forming and they're spreading downwards. I don't want them to spread downwards anymore. I'll have these wave shapes. Make sure that the shapes at the bottom part of your painting are the largest ones. Like here, you can see these are the largest ones, no wonder the paint is not applying there. It keeps turning into white. Maybe the sizing of the paper is gone. Now towards the top, as I'm saying, go with thinner strokes, so you see there are my strokes are thinner and also getting smaller. We don't want a lot of strokes at the top, just a little few lines. The same applies to the right side. Thinner and smaller lines. They're smaller as I'm moving towards the top. Don't press and don't apply a lot of water because now the top region is really almost dry in my painting, so don't apply a lot of water. See the thing that I'm picking up, it's almost dry and you can go over some of the ones that you have previously done in order to get rid of those hairs and to strengthen the color on them. See, it's getting lighter each time here, something is wrong with this side of the paper. No matter how many times I try, it's just getting lighter. We don't want to work too much. The water area is now done. Let's not wait for the whole thing to dry so that we can paint the boat and its reflection. There, I've dried the whole thing now so now I'm going to paint inside, let us apply water. We're going to paint with the wet-on-wet technique. The whole thing, just leave that first surface of the boat, that line there and the rest of it apply the water. Apply the water to the whole of the inside. Now we've applied the water to the whole of the inside and we'll start painting. We are going to go with an orange shade, it's just a nice dark color for the boat, so we will apply the orange onto the whole of the boat. Carefully along the edge, we don't want it to go towards the water area and destroy the colors on our water. There, we've covered the entire boat. Now I want to give some shadows on our boat. For adding the shadows, I am going to go with a red and a burnt umber mixture. Actually, if you want, you can actually go for the permanent brown, which is the same shade that I'm mixing. Permanent brown, you can actually mix it with a lot of shade, we've already done it in the sunset lesson remember? Using permanent brown, I am going to apply it on top of my orange and let it mix. See, I applied towards that side and I'm just going to let it blend naturally on the paper. We've just applied on the top of it and just in some areas like that, and we've also applied towards the right side. See here on the right side, I will apply the whole way, permanent brown. The reason we apply the orange at first is because of its transparency. See we can still see the orange through the brown shade. Now we need a little more depth. Now next color that we will go with is burnt umber and using burnt umber, we'll add it to the sides on top of the permanent brown. Just a little bit of color. The same, we can go towards the right, just add a little extra brown on top and blend it along. Now you can see we've got that beautiful blend of shade. Now, let's paint the dark areas. For painting the dark areas, I am going to go with yellow. What I'm going to do is, actually, I thought this is supposed to be a whole shape and something that the water should be seen through it, but there's no time to do that. What I'm going to do is I'm going to paint the whole thing yellow and we'll cover it up with something else. Let's add the yellow paint in there and also, the yellow paint is what is going to be lining the edge. You can draw along it and you'll see that maybe your orange or permanent brown will spread slightly to that area and that's fine, let it spread. Like this, you can see it's somewhat spreading. But that's all right, and we want to paint yellow , towards the right. I actually went a little outside of the lines because I was not getting the correct angle on my paper. That's all right. Now the next thing is to paint inside that little thing. I'm going to go with burnt umber and I'm going to cover that box, so it's going to be a little wet-on-wet thing. Don't let it spread too much, just inside. Honestly speaking, I don't know what that is. Let's just jump out of the boat, then let's take more brown and we are going to apply the inside part of the boat. That's the inside part of the boat that we have painted. Let me just clear out the paint from on top of this thing. Now, we want to dry it, we will strengthen the shapes once more. The last thing for the boat is to add something detailing. So here, pick up some red shade. On top of the orange, we are going to add the red center portion. See, it's red and you remember the center vertical line that we added so that is with red. There's also supposed to be a line joining here and what's the other side? Those we add them with red so there. I always have paint on my hand here somehow. Have no idea why [NOISE]. Wait, the red is spreading here so let me just clear that up. I know we're just doing this like on a wet on wet so that's why all of this is spreading. But it's alright, trust me. Take a bit more yellow and paint on this surface. The boat part is done so let us now add reflection to the boat. For adding the reflection, again, what we're going to do is we're going to mix our cobalt blue, or you can go for your Prussian blue and mix it with viridian again. We're creating that quasi, green, blue shade again. See the darkest lean to shade. We're going to clear that again and this time it's not wet on wet, but we'll do it on the top with wet on dry so that it's as dark as possible. In order to make it dark, mix in a concentrated amount and this is what we're going to apply. Note here, we are going to start somewhere, like right below the red line, somewhere there and then we are going to do these strokes. You see how I'm doing it like in a zigzag manner so that's what we are going to do somewhat in a zigzag manner. Keep adding those strokes and the same for the right side. Keep adding some zigzag strokes and let it taper towards this side so that it has the boat shape on the water also. Then we'll paint the whole of the inside so mix ups, natural shade, mix enough paint. Let us learn like painting the whole of the inside. You can see that. Let's keep adding in the inside area carefully and make those lines horizontal lines itself so that there's a uniformity in strokes. Also, when we are doing this, let's just add some extra circles or shapes as well. See, I've added some extra circle shape here and some lines. See that. Some extra shapes. Not all of them has to be in joining the same thing. That some round shapes, maybe some can extend outward. That's it for this boat. Lastly, what we can do is let's take a bit more burnt umber, and let's make those edges of our centerpiece a little bit more prominent. That's it and maybe add a little bit more brown to the top of the boat just to make it look, have a little bit of effort in that area and the same I have added a little bit of burnt umber towards the bottom. We can just blend that into our boat. Don't worry, blend that with the water because now you can see it looks a bit more darker to work with that side. We need to have a darker because it's got that reflection area. This is actually it. If you want, [NOISE] oh my God, we're already out of longer than 30 minutes, but it's alright. I'm going to quickly add a rope so what I'm going to do is I'm going to take some white paint, see that? That's a little amount of white paint and I am going to add a rope like that towards the outside. That's it. That was just with the white and that's it for the boat so let us remove the tape. Here's our final painting. I hope you like it 77. Day 62 - Ship: The color that we need today is Indigo. Today, we are going to do a beautiful ship. Let us have the horizon line somewhere below. Today I'm going to be using my scale, so my ruler, so there. We have added the horizon line. Let me just rub off in the middle where I want to add the ship, of course. Here is the ease of the ship where it's going to be, then it's going to have the water. Let's have some more base of the ship. I think the first line was not enough, so a longer line. Then it's going to have the water edge and that's the end part. Then here, let's have the forward part of our ship. That angle is not enough, I need to make it more angle. That's much better and then that front part goes all the way and joins the back. Then here there's going to be some lighter strips of light, which is the lower deck of the ship, will add that with paint later on properly. Then we need something the sails of the ships are attached to, the lines, the rigor mass. This one is going to be really long ones. Make sure you make them as long. Let's see, We have another one in the center. I want to make sure that they are all in the same line. The next one is going to be here, and I start from there. There I have added lines so they are just going to be having a lot of lines. We'll add them with our brush later on. This is basically it for the pencil sketch and let us start. Let us get to painting. For painting this, we're going to apply water to the whole of the paper. Let's apply water. The whole of the paper, forget about the horizon line at the moment, we'll add the water properly later on. First, let us just add the proper blending for the sky and the water. There I am applying the water, make sure that you apply the water evenly. Remember the water control lesson. Don't ever forget that. Let's apply the water, line the water evenly multiple times because I have a lot of wet-on-wet technique to do. I can't afford my paper to dry in between. I will do this as many times as I can. Now I have applied the paint and we're going to start painting. I'm going to start with Indigo. Indigo is the shade that we are going to paint with, and I will start at the side. I am applying indigo and first I will apply the indigo shade very lightly, see light as I go towards the bottom, it was only darker towards these corners. Now, I'm going to go apply my indigo paint in a very lighter consistency and I'm going to leave a huge gap of white there. Don't bother about the ship at the moment, just let the whole of your paint spread, and towards the bottom also, we'll apply the paint. Just this little area we have left white, just a little amount of area over there, we have left it white. If your paint is spreading towards that area, just remove that spreading and let it not spread because we want to preserve that little amount of white over there. The rest of the areas. Now let's go. We've applied the Indigo to all of the places. Now let's go ahead and start applying the indigo in a more detailed fashion. Concentrated amount of indigo, and we're going to add these cloudy shapes. Let me show it to you once again. If you go back through the clouds lesson, you remember holding the brush at an angle and doing these strokes and always from the side towards the center. That's how we do it. There from the outside of the paper towards the inside. That's how we will add our strokes. Let's add some darker strokes here. We've added a lot of our strokes. Now let us actually make smaller clouds. For adding the smaller clouds, I've removed the extra paint on my palette. You can see now I've run across my palate. That's because they wanted to remove the extra paint on my brush. I'll make these smaller strokes so see like that. Smaller strokes, very small. I've added those smaller strokes. Now that is something that I wanted to see my white is almost going off because a lot of my paint is spreading. I am going to lift a lot of my paint from those regions and make sure that my white stays the same. I've lifted off a lot of the paint so that my white stays the same. I think we've done a good job with the sky. But maybe some places we can get some more at, like the corners and some areas. I think that's good enough for now. Let's wait for this whole thing to dry. Everything is now dry, let's go ahead and paint the water region now. For painting the water region, I am going to apply water again to the area below the horizon. I know that there's already indigo paint there. We'll just apply don't mind the shape again for this layer. Just go ahead and apply water on top of the base indigo, there. I have reapplied the water. Now we're going to pick up more indigo again and let us just paint the whole thing. Make sure to follow along the horizon line. Now we've added the water area. I just want to add in some waves in the water so I'm switching to my size 4 brush. I'm going to pick up now some good amount of indigo. I'm going to start adding it to the water area. Starting from the horizon line, I am going to add in some shapes, some wavy forms, towards the horizon, make them smaller. Everything towards the horizon will be smaller and make them bigger towards the bottom. You can see my strokes are shaped facing the ship. It doesn't have to be that way, but I am just doing it like that. Again, add a lot of these smaller strokes. Bigger towards the bottom, smaller at the horizon, see they're smaller at the horizon, and bigger ones towards the bottom. We have added enough of the waves. Let's now dry this up so that we can add in the ship and that's the last thing. Here everything is now completely dry. We'll paint the ship itself. Now we are going to go with indigo itself, but a concentrated dark amount of indigo. You might have got it by now. This is like a monochromatic painting, one single color. We're doing all of these different shades because these are wet-on-wet, they turn out dry. Did I say wet-on-dry or wet-on-wet? Anyways, because these are wet-on-wet strokes, they get lighter when they dry and now we're going to add them wet-on-dry strokes. Let's add to our ship. You see it's almost as dark as black because it's indigo. Use a very concentrated amount of indigo. Listen, if your indigo is not that dark when you're using the concentrated amount, please don't be worried. Go ahead and use a black shade. I know it doesn't come as a monochromatic painting, but hey, don't push yourself. It's just because of the paints so don't worry about that too much. Apply the indigo shade on the boat. This is why I said, don't mind any of the horizon line or the boat line. It doesn't really matter so long as you're painting it with a darker shade. Now towards the bottom, when you're painting try having these bendy shapes, it's just because we want to show the waves touching the boat. That's why. We will add some more waves later on. I think we should add some more. Because the boat is not too dark. We need some more darker lines, I feel. Obviously we need the reflection of it. What we were adding earlier was the waves itself. We need the reflection of the ship. Let's add in a darker mound of indigo or black, whichever makes it darker for you. Here I've got the whole of the ship now. Now is the time to add in all of those lines, those details. Oh my God, this is going to be interesting. No, I was going to start from the right, oh my God. I always forget that workflow on the paper you're supposed to soften the left side and I have a more control over my stroke. If I have my paper inclined like this. Drawing a straight line all the way to the top. Another one here and another one there. That's the three main lines done. Now, what is left? We need to add in a lot of horizontal lines and rigor lines on the ship. Let's go with the horizontal ones first, we're going to do this with our brush. A lot of brush control is required. Also to make sure that you don't touch any of the areas that you've already painted. It's very, very tough I know, but let's do it. We're going to have horizontal but in a slight angle. It's not exactly horizontal. We have something like that at the top. Then we need another one at the bottom. It has to be bigger than the one at the top. If I started here, I'm going to start a little bit towards the left. We have to make it follow the same angle inclination towards the top. We could all do this with making the pencil sketch and just tracing along. But what is the fun in that if you can't do it with your brush itself? That's why I try to do it like that. Here we're just adding some maybe the sail is still on it. That's why we have some extra volume, there. The sail is folded on that wooden mast. Then another one at the bottom again, we have to follow the same angle. Don't forget that. The same on this. Let me have the folded sail. Here's the folded sail. I lost one at the bottom. That's again going to be bigger and in the same angle. That also has the folded sail. We've added the first few ones. Now we need to add on these ones. Let's see. Let's make our first one here. It's again almost in the same angle as the other one. We just have to be careful. On this one, it's going to be slightly longer than the first there and the sail. One more on this. You can leave a slight gap for the sailing. It's like attach to those ropes, so that's why. For this, again another one. Look like this. See it's attached on a rope or something like that. We've added a lot of those sails. Now what we need to do is add in a lot of those rigger lines. This is where we are going to use a rigger brush. Don't worry if you don't have a rigger brush, you can actually go for a smaller size brush like this one, which is the size 1 brush. All you need is a very pointed tip. Go for a size 0, size 2/0, or even a size 1. If that's what you have, we just need a pointed tip. I'll show you what a rigger brush is. Rigger brush got its name from the use that it was used in the past, which is drawing the rigger master ship itself, rigger lines of the ship. That's why this brush is called the rigger brush. It's also called as a script liner. Liner brush. It has various names by different runs. For example, the Silver Velvet Series even calls it a script series. I think Skoda might have a different name for it. I'm not sure now, let me check. This one. No, it doesn't even mention any images, it just has the series name. Just different names. Don't worry, you don't need the rigger brush. As I said, go for the smallest size brush that you have, that's the most important thing. I am going to pick up a lot of my indigo again, and now we're going to add in all those mast. Oh, my God. We have something here that the mast is going to attach to. Then now let's add. The first one we want to attach it to somewhere here. Let's do it. Hold your paper in whichever angle is most comfortable to you. For me, it's like this. I like to do my lines like that. I can't do like that, that's why I hold it at an angle. Here is what I want to reach. There I have added one line. We need so many lines. From there, I'm going to attach it to this crossover point. That's the next line. Just note one thing, try not to break your lines in-between. Even though if you actually do, it's going to be fine. Even I might make that break in-between, it's totally fine. It's just trying our best. Again, the next line, I am going to attach it somewhere there. Then from the same place, attach to the crossover point. Then I'll have another something here that these ones can attach to. Oops, no water. You have to break which was turning into a dry brush stroke. See that. I'll start from the bottom again and follow along somewhere to the middle. There, now what? I need to go and make the surface on the ship itself. It's got these lines and another line. It's like the bridge of the ship. We need to do that and let's add these vertical lines. Now, what else? There are so many lines that is needed. The ship is constructed of so many lines. [LAUGHTER] You can't even imagine that how many are there. Here you need one that goes over to the top. Another one there. Another one that attaches to here. Then from here to here, here to the center. Actually just the point is just keep adding a lot of strings such that it looks just messed up with a lot of strings. More water. I've added a lot there. I need to add a lot, lot more. Each of these is going to have a lot of these lines. Oh my God, I have to be quick. These lines are just what is taking the most time now. I'm just joining it at various places. I have no idea, just adding a lot of lines as much as I can possible. That's literally what I am doing. Just make them cross and join it various places. That's it. Like for example here at the right, all of the mast can be joining something here at the back. You can have something at the back to join all those lines. These vertical mast also, I feel that they are still so thin, there's lots of line missing so I will add so many lines on top of there as well. Whoops, I spread this out. See, this is how I get paint on my hand. I'm running out of time now. What's missing? This not to be added here I feel. Any space, don't let it have any space at all. That's basically the thing. Just add a lot of these string lines. I've made these center lines thicker. You can see that by adding more lines there. It's just it's got more thread and it's a thicker line. That's what it is. I think that's enough. If you work too much on it, it will be too much. I am out of time now. I'm so sorry, this one is more than 30 minutes. The last bit that I need to do is add some reflection on the ship area. Here I'm taking my indigo paint and I will just add. See. Just right at the start of the ship, add these small lines in the ocean. Not a lot, but just a little. see. Now that makes a whole lot of sense. Let's remove the tape. Here is the final shape painting for today. I hope you like it. Actually, we had to do those windows in the lower deck as well, isn't it? Forget it, it's okay. This is already looking really beautiful. 78. Day 63 - White Boat Reflection: The colors we need today are cobalt blue, indigo, Payne's gray, raw sienna, and burnt umber. For this one, we are going to have the horizon line in the middle, although I'm not very happy about it. Let's add the horizon line in the middle. I've added the horizon line. Let's add a boat. Somewhere in the center, make a curve like this for the left side of the boat. Then we're going to have it slanted a little towards the bottom somewhat like that. Then the front side of the boat, we are going to have it angled towards the top. This is basically the shape. Then all we have to do is, not a straight line, but using curved line, join it. Seeing using a curved line, we joined it, and let's do another line in parallel to that curve. Let's just add a front to our boat, some lines like that, and some holes. For the holes, we are going to follow the perspective. This boat is at an angle, you can see. I think I should draw more of an angle because this looks like really not enough. I'm looking for my eraser, which I can't find. I found it. I'm just going to add a little bit more angle towards the bottom. It's just basically this front side making it bigger and towards the bottom. If you want, you can make it more. Yeah, I think that's much better so that it's more angled and you can see the perspective thing. Because this is the behind and this is the front, our circles are going to be bigger towards the right. See some bigger circles. Then the next thing we need to do is, let's add some small lines on our boat. One here and one there. That one is going to be larger and longer because it's the closer one. Then let's add in the sail on that one. There. This one, the sail it's a straight one, and then the horizontal bar below it. Let's add another one to this side as well. Then there'll be lots of lines which we can add later on. In the center of the boat, actually, we need to have the railing. Here, again, railing off the boat, and it goes on the other side as well. Then the path goes like that. Then in the center, let's have a small deck where the people of the boat is going to be because I'm not going to add any people on it. It's better to have a deck for them to sit on. At least we can justify that's where all the people are. You get my point. There, adding deck. Let me show it to you up close what I have done. I have added something like this. Then from the edge, I have added an inner line here. It shows inside the depth part. You can look at the painting up this close. Pause it or something and try sketching it. This is our main sketch for the boat. There is something else that we need to sketch again, so that's going to be the reflection. Because this boat is going to be in white, we need to add in the reflection, which is really important. Here, I have added those thin lines. You can see the zigzag lines. This one is for this mast here. Then comes the boat. Then for the next mast. Again, for the boat. This is for the main mast. We've added both the reflection. Let's leave it at that for now. We'll start painting. Again, for painting this, it's going to be quite tricky, but let's do it. Usually, for these kinds of paintings, we could use a masking tape and prevent all the white areas from getting colored. But I know I don't want to use masking fluid in this Hundred Day Project, that's why I'm not using it. This makes it a little difficult without the masking fluid, but let's do it. Avoiding the sail of the ship, we apply the water. We apply the water for the sky region first. In fact, if you avoid the whole of the boat area, you can apply water to the whole of the other areas, mainly because the whole other areas are going to be mostly in blue tone. Even if your sky spreads towards the bottom, it's going to be fine. Although we're only going to be painting the sky at first. Here, I'm applying the water in all the areas, but you can see I'm avoiding the masked area, so careful around the sail of the boat. Here and here, that triangle is avoided. We got another triangle to avoid. Another triangle is avoided. Honestly speaking, get masking fluid. This painting would be much easier because just cover this whole thing and the reflection on the whole boat area with masking fluid. Then all you have to do is finish off the whole of the background and then go along with the book. It's really simple, try it. I'm not doing it, but you know how it is just go along and try it, honestly. I won't paint on the reflection areas. Outside of the reflection only we will apply the water. I don't want to bother too much about the bottom part. I've just applied right enough below the horizon line and we are going to start painting. I'm going to go with cobalt blue and I'm going to apply to my sky. There, I have applied on my sky. Again, as I said, this is why it's so difficult without the masking fluid, because if there was masking fluid, this sky is pretty much just a simple blend. If there was masking fluid, all you had to do was go all along on the top and you never have to worry about painting on top of these masked areas. Just avoiding those masked areas, trying to get that perfect blend. But again, I think it's a good exercise also to try and get this perfect blend without the masking fluid. Here, darkest color towards the top, don't forget that. Then lightest as you go towards the bottom, it's lightest. You can see it getting lighter and spreading. Dark towards the top. Keep applying the darkest tone at the top and spread it along slowly and lightest towards the bottom. You can see this is so tough. Don't make any vertical strokes. I just did and that was a mistake. Just go along horizontal strokes. We want horizontal blend on our paper, so keep adding horizontal blends. There, I have added those horizontal strokes and what I'm going to do is, I'm going to just re-run along and remove some paint from these bottom areas. Not too much, just run along your brush and let you get a little bit of clear sky there. Don't press your brush too much, then you'll create a harsh edge because there's water here and there is no water here and it can't flow. Just very likely to remember where I said, you can absorb some of the water and paint. That's what we're trying to do. Just let it blend and we're just picking up and removing some excess water. That's good for now, I think. If you want, you can add more to the top. That's really enough. But I see a clear separation here. Let me just blend that as well so that I get rid of that clear separation in my sky. Perfect. Now we wait for the whole thing to dry, the sky to dry. The sky is now dry and let's paint the water area. For painting the water area, we'll apply water towards the bottom of the horizon. Again, note here, make sure that you skip the boat and its reflection. Not to apply along the boat. Here, skip the boat area and also its reflection. So only along the outside of those zigzag lines that you applied, that's where you will apply the water. Avoid all of those lines. There, I've applied on the left side. Actually, since there is a separation between the left and the right, you could actually go and just paint the left side right now. Your paper would stay wet because this is only a slight smaller region that we're painting right now, so let's do it. I'm taking indigo and I am applying it to my paper. The darkest tone towards the bottom, and I'm going lighter as I go towards the top. Lighter. See, that was very light. Towards the top, we go light. But now we need to add more paint. This is not the lightest, so more dark at the bottom. See, and lightest towards the top horizon. I'm holding the paper at an angle, you can see that, and I have added my indigo towards the left. Can you see that? We have added our tone, the lightest towards the top and the darkest towards the bottom. Before this dries, now it's not going to dry too quickly because there's still a lot of water there. What I'm going to do now is let's paint the right side as well. Here I am applying water to the right side. Again, careful along the horizon line and the boat itself and also the reflection of the boat that we sketched, so careful. Keeping all those areas, we'll apply the water. There I have applied the water and I will paint with indigo. Darkest at the bottom, lighter as you go towards the top. You can see I'm carefully avoiding the zigzag lines and also putting in all the areas in-between. Do it carefully and also remember to hold your paper at an angle like this so that the paint would flow down and the darkest areas would be at the bottom, which is blend here as well because I felt that it's still just a little too light. Now we've added indigo, the darkest tones to both sides at the bottom. We'll add in some wave shapes. For that, I'm going to pick up my smaller size brush. We are going to go with indigo again. Go for a nice darker tone of indigo, and we'll add some wave shapes. See the shapes that I'm adding, I added all the way here and I stopped. We'll add some more in similar manner. Let's continue this wave here. Try to follow along a straight line, but don't go inside. Let's see, we continue the wave there. This one is a smaller one there because it's further towards the horizon. Let's have more of such waves, then continuing here. Then let's have some other wavy shapes, maybe some smaller waves here towards this side. You can see they are lighter and thinner towards the horizon. The same for the right side, add smaller waves. That's it. That's enough for the horizon part. I created a harsh edge here, I'm just going to soften it with my brush. There, I have softened that area. Well, there's one more area that we need to add the wave in, that is that area between these two mast, so the water. That is the reflection of the mast that's also the water area. Let's apply the water to that little tiny amount area. I'm using my smallest size brush because it's a little area. Here, I have added. We'll go with indigo again, and we'll apply a darker tone towards the bottom as usual. Don't forget, you need to do the horizontal strokes. Don't do vertical strokes because we need to get. Did I drop water here? I didn't even see that. Oh, no, let's just spread and blend it. When did that even happen? Did you guys see it? I didn't. Now, I need to do those waves. Adding the horizontal strokes back on this. Lighter as I go towards the top, that's too much paint on my brush for a smaller area. Here, I've washed my brush and removed all those extra paint. Then I'll go all the way towards the top. That's much better, isn't it? We have added in the reflection. Didn't I soften this? Why is this still showing me a harsh edge? Come on, soften up. Running my brush along so that it softens up, that's what I'm doing. Without a lot of water, a dry brush if you run along it, it will soften. See, that softened now. We'll take indigo again, and we'll add it in this middle portion here to continue the part of this wave. A little somewhere here also. We've done the whole of the water area, now we'll wait for the water to dry so that we can paint the boat. It's dry now, now I'll paint some areas of the boat. For that here, I am going to start with raw sienna. I'll take nice amount of raw sienna, and we'll add that line of the boat first there. Then the deck of the boat, also that we will paint with raw sienna. We'll paint the whole thing at first and then we'll add in more details onto it. I'm painting with raw sienna. It's a wooden deck, so that's why it got raw sienna color. We're just trying to get wooden color inside, and little inside part of the boat that's seen here, that's also going to be with raw sienna. Then I think the mask also, we can make that with raw sienna, but we need to give it a shadow later on. Here, I'll paint, let's do this first, a straight line of the mast, the sail part. I don't know the terms of boat, I'm not a boat person. I'm an aircraft person, you know me. There all the way to the top, the vertical lines. Since we're already having raw sienna in our hands, what we're going to do is let's paint at the bottom some parts not a whole, so like that. This is because it's got some watery area, so that's why it's not completely having the raw sienna stroke. But what I mean to say is, let's add this raw sienna to the water so that's the reflection of the mast, and the same here like that. I've added the reflection of the mast in the water, see that? I washed it. I shouldn't have, there's one more thing that we need to add and that's the horizontal part here. The little cage or center portion that we added is more dry, so I'll add some detailing onto it. I am going to take burnt umber and add some window shape or something there. I don't want to go too much detail into this, so I'm just adding it like that. It's like there is a window or something, and this is our justification to where all the people in the boat are. Anyway, that's also at the top, isn't it? The top area and then now let's go for Payne's gray. Before we start with Payne's gray, what we're going to do is we are going to apply water to the boat. To the whole of the boat apply the water. I know it's a small, delicate area, just apply the water. Then we'll take Payne's gray a lighter tone and we will apply this towards the top, not the whole area. Note, I am applying the Payne's gray just at the top and just some areas. I'll apply towards the right here. I want a little shade there. I have applied, and maybe we'll add some lines. See I've added two lines there. That's all. Then we'll do the same for the reflection as well, so take the water and apply along the reflection. Actually, we'll do the whole of the reflection and then we'll do it for the mast as well. Apply water to the whole of the reflection and then we'll take raw sienna, no. know am I saying, Payne's gray, and we will apply in some areas just like this and on some areas of the mast as well, we just don't want it to be too white, that's why we're adding it. I had not applied the water clearly that's why it's forming dark edges, but there, I got rid of it. Now is the time to add in some detailing on to the sails itself. Let's wet the sail inside of it. Both of them. We've wet the inside. Now I'll take my Payne's gray and I will just add just some lines and detailing on it. Some wet on wet lines and the same I'll do to this one. You see, just a little amount of lines so that it's just not too white. That's all we wanted and now this is dry so we'll add in those little small circles and that we're going to do with wet on dry stroke of Payne's gray. Take Payne's gray and add in those smaller circles on the boat. Then we have this edge of the boat as well and let's just add in a little some line at the bottom, some line here. It's just adding some final details. Maybe some darker lines along that mast for some shadows to all of it with Payne's gray. Then because we've added a long the mast we need to show that in the water as well. Then there is this edge of the water because this is Payne's gray. Then lastly, let's add just some strokes in the water, it doesn't have to be perfect. Some zigzag lines. Now we have added a lot of these zigzag lines. Then what I'm going to do is I am going to add some more of these zigzag lines in the water itself. This is where the water itself has some ripples because of the boat and we will add that. That is with Payne's gray and we are adding them, there. You can see how I have added those ripples. Just maybe some here as well. I'm running out of time, it's already 30 minutes. These board lessons are very tricky. I think I'll send out an email in Skillshare that it's there, but it's not less than 30 minutes. That's done. I want to add in a little more detailing so I am applying water to the board region itself again. What I'll do is I'll take Payne's gray and I will apply to the bottom. Because see, the part where it is joining the water cannot be that really white as it is seen now. We need to definitely add some joint and maybe some detailing on the water. That's much better for the reflection of the boat, isn't it? Now the only thing last left to add is the rigger lines itself. For that, I'm going to go with white. Here I'll take my white paint in a nice consistency on my rigger brush. Go for the smallest size brush that you have. That's very important and using that, we'll add in the lines. You need one there, one line like that and actually these lines of the boat. We need to be doing with the, see those lines, it's the bridge of the boat. That also we need to be doing. All of these masked lines just join them to the boat. You can have as many lines as you want. Just remember yesterday's one where we had a lot of those mast lines remember. Just like that, we'll have a lot of them. But this time we're doing all of them with white. But we can also add one or two with black as well. For adding those one or two we'll take the Payne's gray. This is already now 32 minutes. But I just don't want to stop without adding the details. See, very lightly, very small one I have added and I'll add just another one small there and there and I'll add another one that goes there. These are as thin as possible. Do you see that? Last thing to do, I am sorry, but I think you need to add that small little line for the mast in the water. It's absolutely necessary, see? Just some lines. I know it's just some lines, but we cannot skip the details. If it was not important we could have skipped but there, that's it. [NOISE] My clock shows 33. There's the painting for today. I hope you like it. Let's remove the tape. Here is the boat for today and it's so long. I know, but I love this. I love how the reflection has stand out. Here you go. 79. Day 64 - Sail Boat: The colors we need today are cobalt blue, ultramarine blue, crimson, Indian yellow, orange, scarlet red or any red, indigo, and Payne's gray. Let us start the next one. For this one again, I am going to have my horizon line in the middle of my paper. I think this is approximately the middle and I will draw a line in the center, so that's the horizon line, and then we'll add a small boat. Let's just sketch out the boat there. That's how the boat is going to look like, so that's the main shape of the boat. Then maybe we'll have some railing on it. That's the railing which will add with black later on. Now we need to go with adding the sail, so here it is. In this one, the sail is going to be quite very long until the very top. You can see that, and then we'll add the first part of the sail, and make it joined like that. Now we need to have more sails and lines. We'll have another slanting line joining towards the end here. Then we're not done with, let's add the main sail. This main sail is going to be in a curved manner like that, something that's curved. Then let's add another curved line like that, and let's say that this sail is maybe slightly bent, so there you go. Because it's bent, I am going to add another curve inside and make it bent like that. That's how it is bent, you can see that. Then we just need to know draw the other lines. The other lines, we'll do that with our brush. This is just the main sketch that's it, and now we can start painting. Again when painting this, like I said, this is going to be quite tricky because usually, we should be doing masking fluid to cover this up, but because we don't have masking fluid, I have but I don't want to be using masking fluid in this project, so I'm just going to go ahead and start painting directly by painting around these areas. I will take my brush, and I'm going to apply water to the areas around the boat. The boat, we want to leave it as a lighter tone for now, and not apply any color to the area of the boat. We'll skip the sail region so carefully along the line. In fact, actually, you can go a little bit inside. Don't make it exactly on the line, but a little bit inside, that's fine, and the same with the bottom. Cover a very little teeny tiny amount inside, not the whole just let me see if I can show you. In which angle would it be appropriate to show you? See, in this angle, see that I've gone a little into inside the line. Just do like that so that you know we don't get that extreme separation between the two lines when we're adding the sheets. Don't mind the horizon line, just go ahead, and add in the colors all around, and the same here, a little inside of the boat but leave the boat here, don't go inside, and the same at the top. This extra line that we added was the railing, so you can actually paint on top of it, it's fine. We also need to paint in the area in between the two sails. We'll apply at water there as well, and like I said, you can go a little bit on the top of both the rails or the sails. Now I have applied water, let me apply water to the rest of the areas. There I have applied the water to all of the areas. Now, we just need to make sure that our paper stays wet, so I'm going to go over it once more and make sure that the areas that I have applied water are wet enough and doesn't dry quickly, so I'd have to run over it multiple times because I'm using a smaller size brush, my size two more brush, and I'm not using my flat brush to apply the water. That's why we have to be extra careful this time. I think that's really good enough. So now what we're going to do is we're going to start painting. We are going to start with cobalt blue or you can actually go for ultramarine blue as well. I picked up ultramarine blue and I wanted to go for cobalt blue. Let me just wash this off. This has got a lot of green on top of it. That's cobalt blue now. I'll start with cobalt blue at the top. This is where I said, you will have to skip the area of the boat, which is why it's quite a tedious task. If it was with the masking fluid, we would just go around with a straight line and it would just work out fine, but since we're not using masking fluid, we'd have to go around that. Honestly speaking, if you have masking fluid, go ahead and use it. It's really good guys. This painting would be much easier. You could just go and do that straight line, and just avoid painting the area of the boat. We've done with that. Let's take a bit of yellow. That's yellow, and I'm going to apply my yellow tone little somewhere here. I want a nice dark yellow. I'm using Indian yellow. Here, I have applied the yellow, and now the color that I'll go for is orange. At the base, I'm going to go with orange, and let it flow to the bottom of the horizon, that's fine. Also, apply the orange on top of the yellow area, so we just want a little of yellow there, that's it. Let's go to the left side as well, and quickly apply in our orange. We also need to make sure that we apply in the area in between. You can see, I'm not going with the darker tone, but with a medium tone of orange, and I have applied it all the way under there. What do we apply in the middle? In the middle, what we're going to do is let us make a gray shade. In order to make the gray shade, let's take ultramarine blue. We're going to mix ultramarine blue, then a little bit of red. This is alizarin crimson, so any crimson shade, you can see that's a violet now, and the last color that we'll add is yellow. We're not with the gray yet, so now we need to make it to get gray. Let's mix a little bit more of mold blue to that mixture. It's closer to gray now. I want it to be a little reddish. That's too much reddish, so bluish. Here, that's the gray I want. Like a little bit of red, a little bit of bluish, but only very little teeny tiny amount of yellow. Do you see that? Now we have mixed it. This has a lot of water. I don't want to be applying that lot of water. I'm going to release that water onto my palette, not too much water. This is what I will apply in the middle. You see we get nice cloudy shapes and the ultramarine is going to probably separate on the paper. Let's try it out. That region is now dried. I have to go over it again. Here I'm using my brush and I will add in these little cloudy forms onto my paper. Not to add it to smaller clouds at the bottom. That was with gray. I need to soften this out because the water in-between has dried, the paper dried out too quickly. Now I've cleared it up and now I'll add in the clouds. Now I have added the clouds in between. More of the paint you can see in my palette how it's separating. See the red, see the blue. This is why we mix the gray. We could directly use Payne's gray, but I really love them mixing because when you mix, you get those differentiates. Look on the paper here. Even Payne's gray would never give you that because it doesn't separate out as pigments. Whereas when you mix out a gray, it's just so gorgeous that it will spread out and we'll give you these beautiful colors. Let's go ahead and add some smaller clouds towards the bottom as well. That's it for the sky of this one. Now what we're going to do is we're going to take violet. Sorry, why did I say violet? Oh my God. I was thinking of something and then I just spoke. Orange and then we're going to paint with orange into the whole of our bottom part of our painting. I think we did something similar when we were painting water, where we first painted the whole of the water with one color and then we added ripples onto it. I think we're going to do something similar. That's why we're taking orange and we'll just apply the whole of our paper with this medium tone of orange. Just go around it quickly so that your paper is wet. Here, my paper is wet. Also, observe I'm holding my paper at an angle so that the whole thing just flows down. But that also make your clouds to flow down. That's alright. Let it flow. I have added in the orange for the water. I'm just going to go over and add a little bit more darkness to my clouds because now they all seem to be in a single color. I am going to make some more of that gray tone that we made and add it on top of my cloud. Just a little darkness because I always talk about depth in a painting. You remember, we need to get that debt, which is the reason why we are adding a gray on the top. Let me just make that gray now. Getting there. Yeah. That's much better. You can see the paint is thicker now because you use a smaller brush and less water. I'm just going to add on top of it just in some areas you can see when I add on the top, there's already some. Then we'll also add towards the bottom, make sure that your paper is still wet. That's very, very important guys because we don't want to be creating any harsh edges. There we have applied and will also apply some towards the bottom. Let me just soften some of these cloudy shapes that I added and also dropped a blob of water here on my paper. I just take some more orange and blend it so that I get rid of that water blob. The whole thing was still wet. It was okay for me to just do this blending process and get rid of that extra water. There, I've gotten rid of that extra blob of water that I dropped. This is how we can correct mistakes. Now the next thing is let us paint the water ripples. For painting the water ripples, I am going to go with indigo this time. Let us pick up a nice consistency of indigo. See, I'm releasing the water from my brush because I don't want too much water on my brush and I am going to add ripples. Just do it in different angles and add in the ripples. The whole point of this, I know the ripples are really hard. We've done ripples in a lot of lessons by now. But it's still one of the hardest thing to do trying to get these different shapes in the water. But if you observe my strokes, I am just totally doing it in a random way. I will show it to you again. It's starting at the tip and then pressing your brush and then at the same time going with a wavy motion and then lifting your brush. You can practice this on a different sheet of paper just to make sure that you get those ripple strokes and then when you do, you can directly apply it onto the paper. At the bottom, we add a lot of ripples. Then when we go towards the top, make them smaller. We don't want it to be larger, which is cool. Smaller, smaller ripples towards the top. You can see I've made it more smaller and I'm drawing line towards the horizon and my color tone is also light. Keep a note of that. I'm not going with a darker tone of indigo, but a lighter tone. Now I'm just blending that lighter tone onto my paper in those areas, see. We'll do the same for the right side before it dries out so it's starting to dry. I'm taking a little amount of water and trying to blend out that area. I've actually blended out the whole area. We can just see a little amount of orange in some places and that's the reflection from the sky region. That is one thing I want to do. You see the little yellow that we applied in the sky there? We need to bring that down onto the water area as well. Take some yellow and add it to the water region. Just make sure not to run over the indigo areas. Because if you run the yellow over the indigo areas, you are going to create a green on the paper. Just only in the orange regions that you see. See these are orange, this was orange. Only in the orange areas, run it with the yellow. Now see, it's perfect. We've added that yellow reflection into our painting. Now, again, we'll go with adding some of the extra ripples in the water. Now I know we added some ripples at first, but now is the time that we will add more detailed and maybe some larger ripples on the water. Just go and add the different strokes in different shapes. See, I'm adding some more strokes. Like I said, towards the top just go for maybe like teeny tiny lines at certain phases just with a pointed tip of your brush, add some lines. Same towards the right side. Just some lines here and there not a lot. You only want some lines just to show it's the water, but that area is not going to be too much detailed. Then towards the bottom of the boat, apply somewhat darker tone of indigo and just leave it there. You see the bottom, I applied a darker tone. Then let's add more ripples. I have added so much more ripples towards the bottom. I think that's good enough. Now, we will get on to painting the boat and the reflection, once everything is dried. Where I'm I dropping all these paints from? I see a lot of white spots on my painting, it's were I'm dropping the water onto my paper, maybe it's from my brush. I'm dropping them somewhere. Or when I'm using the water it's just dropping. Let's wait for this to dry. I have dried it off. Let's now paint the boat and the sales. I'm using my smallest size brush and I'm going to apply water to the inside area of that boat and because we don't want to leave it white, this is the reason. We'll take a little amount of Payne's gray and we're just going to add it to the boat like that. It's a gray boat, not leaving it entirely white. That's it. Then we'll add some little darker tones. Just a darker tone towards the left side, and also a little bit towards the right. The middle portion remains lighter and see I've lightened it up a little bit. Then now let's paint the sails. For painting the sails, the first one, I will apply water to the inside region again and we are going to paint it with Payne's gray. Just take Payne's gray and along the line, now we follow the line. Even though the sky colors had gone inside of that, it wouldn't affect because see, we're just painting along the line. And the reason why I said let the colors bleed in is that so that, when you are joining in two colors, it forms a harsh line there. Whereas if you let it flow a little bit inside, you won't get that harsh line because you're going over the edge. Observe this one, for example, it's gone inside the colors of the sky. Let's just apply water and when we are painting inside, I'll show you what I mean. Here, let me just apply water to the inside part of my scene. Then we're going to use red. Here I have my red and I will actually go over the edge. See, when we go over the edge, we get rid of those veins anyway because we're using a nice red color, but also at the same time we make sure that the color don't form a harsh edge at the edge. See doesn't form a huge harsh edge. There's be still a small harsh edge, but not as great as if there were two colors joining in. Apply the wet on wet, red stroke. Apply the red into it. I have applied the red color in it, and that's it for now. Let's go ahead and paint the reflection. Then after it dries, we'll add in the lines for the same. For adding in the reflection, now, I'll go with indigo. The first thing we're going to do is we're going to paint right under the boat, see that? We are again going to make those zigzag lines, remember, so just some small zigzag lines like that. Then somewhere around here, we have those exact lines that we need to add. This is the one corresponding to this sale, this main one. Let's add and just keep adding those zigzag lines. Then I will also add again to the right side more zigzag lines to the right side. That is corresponding to some of the lines that are there. We've added the lines. Observe what I'm going to do now. I'm going to take indigo on my palette and I'm going to mix it with red so we get a darker shade. Do you see that? At dark purple shade. More indigo so that it's more darker. That's why we need more indigo. Let's add a little bit more red. See it's like a reddish, purple shade, but darker version of the red. This is what we are going to add now at the base. This is going to be the reflection of the main sail. This is why we mix this color and add that. What's the bass? Again, just make these zigzag lines and keep adding those zigzag lines. You can also take some red and add it to certain places. We'll see the red, but not a lot. Did you understand? Then now I'm going to take indigo and I'm just going to add some more water ripples, the detailing at the bottom part of my painting. Because these are closer to the viewer, you need some more details. That's why let's just add, these are wet on dry ripples strokes that we need to add. Not a lot and you can see as I am going towards the top, I am making it lighter. See my strokes are lighter towards the top and thinner. That was too dark, it's alright. I'll just make some more lines above it. Now that's much better. We just need to add some more to the right side as well. Just some lines to the right and add it. Just these lines, maybe smaller ones towards the top. That's it. Now the last thing that we need to do is add in the lines. For that, I'm switching to my smaller size one rigger brush that I had already explained. We'll take indigo and we will paint the masked lines and we also have the railing of the boat. Something like that. Then [inaudible]. Then there's the rigger line here. Just to add a lot of those lines you know by now. In this one, I will join some of them to the edge here and paint the edge of that sail. Then we need to have this edge join somewhere, some strings joining that then let's have some string joining that here. There's one more thing that we need to paint. I actually forgot about that. Let's just go with the exact dark shade that we actually mixed, the red and the indigo shade. We need to add it to that curve part of our sails. Remember I said that the sail is a little bend. Just that. There that's it. That's our painting done. I would call it done, but I just remembered. There's just one teeny tiny thing that we need to do. Because this boat doesn't have a housing or anything, we need to add people onto it. Don't worry, just some shapes, like a head, a body, something of that boat. It's not going to be detailed. So maybe this man is standing, not going to be detailed. But see, this looks like a man is proposing to a woman on the boat. That would have been a great scene. It's done. Let's remove the tape. I didn't mean to do it like that I just thought this one is sitting and this one is standing. When I drew the hand. It does not like that. Let us remove the tape. There you go. Our next painting, I know these boat paintings are way longer, isn't it? It's just because for me, I would have gone on to adding a lot more detailing onto this but I think you get the hang of it. I was doing these strokes very fast. I would have done these very slow trying to make them perfect, but I was just running out of time trying to make this into a 30 minute one. Maybe someday, I'll make a class on boats and I'll go really slow with it. 80. Day 65 - Docked Boat: The colors we need are; burnt umber, scarlet, permanent brown, Payne's Grey, and some white. In this one, we are going to have our horizon line somewhere at the top. Let's say here at the top is our horizon line. I'm going to draw a line there, that's the horizon line. Then now we'll add the boat in the center. The boat is going to be a vertical line like this. I think I made it too much towards the right. Maybe I'll make it here. That's the vertical line that I want. Let me get rid of that and then the other vertical line is somewhere there. This is the two edge of the boat. Now we need to find somewhat center point a little at the bottom. What we're going to do is we are going to join our boat to that center point and make it a little flat there at the bottom. Then join the other bits as well there. Then this flatness at the bottom, let's make it another two vertical line. This is again, the center of our boat. There, that's the center. Now what we need to do is, don't make a joint like a straight line, but rather make it curve and join the top and not exactly the top. You see I've left a teeny tiny gap here at the top where I joined it. The same thing we'll do to this side as well. Let it bend slightly and we join it. There, I have made a join. Now we'll have some more lines joining with the curve and then on this side as well. There. I think I'm going to stop with that. Then some lines like this towards the center. These are just lines on the board, we'll do them later on. For here now, what I'm going to do is I'm going to add a base like that and a base like that. Then maybe I'll have a float or something there. The ship is docked somewhere. We're going to just add a dock to our painting. Some lines and here we'll follow the rules of perspective. When we come closer, we want it to be getting bigger here, you see that. We do it there. We've added that. Then something flat at the horizon there. That's the surface. Maybe we'll have some poles. If I say that this here is the main line, then we need to make sure that the poles also form the rule of perspective so each of these poles need to be bigger as they approach the horizon. Not horizon, as they approach towards the bottom. Let's just get that. Let's forget what's there in the back of it. Then we'll add like a small housing inside the boat. Some windows for the boat as well. There, that's the main sketch and that's going to be for the sketch. No, it took five minutesbut glad that the painting is going to be a quick one. I hope so. I keep thinking that when I start every painting, and then it ends up being 30 minutes or more. Anyways, so what we're going to do is, we are going to apply the water surrounding the boat area. Skip any part of the boat and apply the water. The same towards the right side, skip all the parts of the boat, it's okay to apply on top of the poles, that's fine. Carefully around the ship or the boat, whatever it is. Then let's go all the way at the bottom. Have to go over and over again at the top because it tends to dry out quickly because when we're applying towards the bottom, the upper part starts to dry. We just have to make sure that we apply the water evenly. There I have applied water onto my paper, now I'll just go over and over again so that the whole thing stays wet enough for me to work on. I have applied a lot of water, so I'm just going to lift it up so that any extra water on my paper just flow down. Be even my paper. I have to make sure that I have the edges covered properly. There I have covered all of the areas. Now what we're going to do is we are going to take burnt umber. Taking burnt umber, what we're going to do is we're going to apply it onto our paper like that. Just some vertical strokes, I don't know what they are. It's just something in the background which we do not want to show clearly. Maybe some trees, some, I don't know, sales of board, whatever there is. We do not want it to be detailed. This is the reason why we are just adding it as like that. Do this the hole to the right side. Something in the background, which we do not want to depict clearly. Taking burnt umber and we are doing this, add some darker lines at certain places as well. You can see I'm going with a darker paint at certain places. Just gives depth to whatever there is in the background. That, as I always say, is very important in any painting. Here, I forgot to mention, don't let it touch the horizon line. Then just flatten out the bottom, just using your brush. The same with the right side. I know that it's going to spread and create whatever. That's fine, let it spread. Maybe some areas can also spread. See, just I've dropped down some of them. Just some. We don't want the whole thing to be spreading. Now, we're done with that. Now the next thing is, we'll take some brown again and leave a little gap at the horizon little, see that, and go for a medium tone of brown and apply it. Make sure that the tone that you apply is medium at the top, and then when you come down, it's lighter. See, I'm applying a lighter tone towards the bottom. The same here. Apply medium. Although this area is not water, so it's fine. You can see, I'm going with a lighter tone towards the bottom. Go all the way down. Although this is just nothing, there's no paint. But that's good to have your paint go all the way down. There, going with the lighter tone, all the way down, there is nothing there. It's just whiteness of the paper, but also just make sure that there is something. There we've done some of the major background work. Now we just need to wait for this whole thing to dry so that we can go ahead and paint the foreground. This was all for the background, wasn't that really simple? Here, my background is now dry and I'll start with painting the boat. For painting the boat, what I'm gonna do is I am going to apply water to the whole of that inside part here. Leave that small balloon circle at that place. Also, leave that bottom line. Just the inside. We'll apply the water. My brush has underlying indigo from your yesterday's painting. I just painted it a while ago. I'm just painting all of these together. That's why I still have that indigo in my brush even though I've washed it. There I have applied read the water. I said red because we're going to apply red. Here. Now I'll take some red shade. I am going to mix it with a little amount of brown. That's my burnt umber and I mix it with my red so that I get it like a reddish brown shade, but not as much as the permanent brown. This is why It's just red itself. Then we'll apply the red in our boat. We apply the water at first and we're painting the whole inside area of our boat. More red, brown mixed together and give me the color. There, applying the hole inside part of my boat. I've applied the whole inside part. Now, we need to add in some of the detailing. What I am going to do is I'm going to take a concentrated amount of burnt umber. Notice the water on my brush, see, it's almost as dry. The brush is very dry because we do need the wet-on-wet stroke but don't want it to spread. This is the reason why we are painting a concentrated amount of burnt umber with little water in our brush. No water in fact. We'll add the lines along the line that we added. Remember, so there and we'll also add it to the left side of that center, so the left side of that, air. Then using this dry brush itself, we're going to add some detailing onto that base. See, it's very dry. Let me show it to you closely. See my stroke was like really dry. That's why I'm getting that stroke. We'll do the same towards the right side. It's very dry. I just added that dry stroke because I did not want it to be detailed. The same thing I'll do and from my brush over at the bottom hair. It's actually paint that middle portion. Let's run through the bottom there. Now we've added that. The next thing that we're going to do is we are going to pick up our concentrated amount of burnt umber again, and we are going to add those lines. See those lines that I'm adding, the red is probably still a little amount of wet paint, but that's alright because we are adding these lines and our brush is almost as dry. That's how we're adding these lines. See, we've added those lines. Now let's paint that little balloon shape there. For that, we're going to take red and we're going to paint it. But we're going to leave like a little circle in the center and then blend our paint inside. You can see color variation. A darker color towards the outside, but little lightness in the center. If you've lost it, you can use your brush to lift some paint. You can see that how it's turned out. Now what we're going to do is we're going to add in some more extra detailing onto the boat. Now we'll go with permanent brown and we're going to add it to our boat on the red shade directly. Just add some strokes like that. Don't use a lot of water because then you wouldn't get these strokes. Just use a lighter tone of not lighter, darker tone of permanent brown but with little amount of water. Use that and add in these strokes and the same from the right side as well. Observe my strokes, they should follow along this line. That's what we are doing. Follow along that line. We don't need to go all the way to see we've added some stroke. Now, I'll go with a burnt umber. Now that's an even darker shade than permanent brown. I will add it to some of the areas, see, just towards the edge, covering up darker edges. We can actually do the same towards the top. If you feel it's too harsh, you can soften it out like that by just washing the paint from your brush and just using a dry brush, you can soften it. Here I will add in now the darker burnt umber strokes on top of it. Now we've added the details onto our boat. Now let's paint the reflection. For painting the reflection it's going to be really fun. We are going to take the scarlet or the [inaudible] we used and we are going to just start adding those ripple strokes. Remember. Go around the boat at first. Here you will follow along like that and make those ripple stroke. First, what you can do is try getting a rough shape of the boat. It goes like this, and this is the shape of the boat. I've done that then now quickly before that settles in get rid of that line by using and adding the stroke on the top. Then now you have the shape of how your reflection is supposed to be. There. Then let's apply the color in there. I know this is too lighted now, I mean, too bright. We'll add in the next color. That's the red. What I'm going to do is I am going to take the permanent brown and I'm going to apply it inside of my reflection and going to go around the edge, because remember on the edge we used the permanent brown, so go around the edge with the permanent brown and also the hole along the inside. Here. Now it looks much darker and similar to the hole along the inside I've added with the permanent brown. The reflection looks much more like the top right now. But we're not done yet because now we need to add further darker tones, so I'm taking burnt umber, and now we'll add it to the corners. Take a nice darker tone and observe how I'm doing it. I've done some lines then have some lines coming out, see that? That's all with brown. The same to the left side, have some lines coming and popping out. Then we will have some brown shades in the middle as well. See now that's much more better. Since we're still adding brown shade, we'll keep on adding. There're supposed to be a hole there, but since that hole is with white, we won't see it. But we can see it in the reflection. Let's just keep adding all the way. It has to be straight. I think I'm going all the way at an angle because I've kept my paper at an angle. That's fine. Another smaller one here. I know how to solve that angle. I'm just going to make this bigger. Let's say that there was a mist or something on the top of that chip. I don't know what that is. Maybe the sale is down. Who knows? There. Also something, another hole here and a small hole here. Then I'll keep adding a lot of these small lines. There. Now we have added a lot of those lines. Now what we're going to do is we need to add in some more reflection or lines in the water. I'm taking burnt umber and I'm going to add some lines there. That's the lines in the water. It's not going to be all the way towards the bottom. Just at the horizon is where we will see these small lines and the delling, so pick up burnt umber and using the pointed tip of your brush, just keep adding some lines or strokes, and they have to be straight. I think that's enough on that side, and I'll add some to this side as well. Done on that side. Now the last thing for the reflection is to add the reflection of the holes, so right here, we'll add the reflection for the holes there and then this one, that's a larger one, so we add more. Then there is this one which is even larger, so we need to get that. That goes all the way down. Now the last thing to paint is this dock itself. I'm going to go with burnt umber again and we are just going to paint the inside of that area. Don't forget to follow the rule of perspective. Also see I'm leaving some slight gaps inside and I'm almost going for a dry brush stroke. See that? Almost dry and leave some white spaces. That's what we're doing. But here you can go for the darkest strokes towards the left side. But when you are reaching towards the edge, let those strokes be like a dry brush stroke. There, we've added that part of the dock. Let's add in the poles as well. I said this is going to be quick, didn't I at first? It's already 28 minutes and I'm panicking. [LAUGHTER] My clock here shows 28, that also includes the time I used the dryer, so that's why I have hope that [NOISE] maybe after editing, it will be [LAUGHTER] lesser, but anyways. Then for the dock area as well, just add in some of strokes like that. Most of them are dry. You can see that it's a little dry and a mixture of not dry strokes, but it's still much better. It's not dry. [NOISE] What is now left? I think I just want to add some water to these left regions and add a little bit of brown paint because I felt it's too white over there. I'm not adding too much water, you can see. Just a little amount of water. Just adding little brown paint. So you see it's got some more of that color. We can actually do the same here, a little brown tone. It's too much. I'll just spread it out back there. That's much, much better. When you apply water, this also spreads out a little, [NOISE] which actually makes it more interesting. Here, now we've done that. Oh my God, it's already past 30. I just need to add in the poles. Here, I'm picking the Payne's gray, and I'm going to paint inside the windows. You don't have to make them clear and also maybe leave like a small speck of white, and some poles at different places, and some mast lines. [NOISE] Now what we're going to do is, we've painted the Payne's gray. I'm just going to spread it out with my brush by using water. You'll see the whole thing has got a slight [NOISE] Payne's gray tone. That's what I want to give, because I don't want to leave it white. Just using your brush, spread it out so that it wouldn't be white as a whole. Don't worry, just spread it out. I will show you how it turns out. There, we've spread it out. The whole thing is now Payne's gray. While that dries, we will add in the last amount of white. [NOISE] Let me go to my rigger brush and I'll take in some white and I will add in those last lines. Also I want to add some vertical lines here. Maybe they are lines of whatever there is in the background, and some lines on my pole lines as well. See. Then a little bit there. Something on my boat. Just at certain places, you can see I'm not applying them clear. But in a very literal line when we add those lines, they actually make the whole boat stand out. Also maybe let's add something here, something hanging there. See, it's as though something is hanging there. Now let's have some lines joining here to the dock area. These are the lines joining the boat. Oh my God, I can't believe that I said this is the quickest one and this is the one that's taking me the most time. I just don't want to skip on these details. See, I've added the line for the shape. Then you can add more lines and add a pole line in the center, lots of lines. [NOISE] Now we've added lots of those lines. The last thing, as I said, is to add in those windows a little more. Because we spread out the paint, now we want the windows. They don't have to be detailed. Do you see the shape of the windows? [NOISE] That's it. I got a harsh edge here. I'm just going to soften that. I don't like harsh edges anywhere. I will go all the way down. The same here, soften any harsh edges in my painting. There. [NOISE] This is it. This took a long time. Oh my God. [LAUGHTER] I'm really, really sorry. Let's remove the tape. I know it took a long time, but it's really fun, isn't it? Honestly speaking, it's taking a long time because I'm not cutting out anything. I'm just speaking while painting. In total, if you look at it, it is actually just 30 minutes to paint this, isn't it? When you're following along with me, I only took 30 minutes. The extra five minutes is my talking process actually. There you go. 81. Day 66 - Boat Reflection: The colors we need today are cobalt blue, orange, a dark green, indigo, burnt umber, scarlet, Indian yellow, Indian gold, and Payne's gray. Let us paint the side view of a boat now. Here I will have my horizon line about one by third of my paper. There. Then let's have maybe a mountain or something in the background, in the horizon very far away. Then, now we'll have our boat. Here I am going to start adding this as the shape. Then I'm going to add the front portion of the boat. Something like that. You can see I've made a shape like that. Then we will add, that's too much all the way to the down. Something like that. Then comes the backside. I've added that. Then let me add the front part. This is some line on the board. Here, I am going to curve it, see? I'm adding it as a curve. This curve is what I'll join here. Then it forms the inside of the boat. Did you see that? I need just need to make sure that that curve is not too big, there. Then, again, for the inside, I need to add an extra line for showing the inside part, and then maybe we'll have some seats or some planks or something here. There's our main boat. Then we'll have a string attached to some place on the boat here. Maybe should we add something here? There's nobody on the boat. Something here is where the string of the boat is going to be attached and it's going away like that. This is our sketch, so let us now get to painting. First we'll start with the sky, of course. Let's paint the sky. Forget about the mountain now. Let's apply water to the whole of the sky region. I hope that I can make this one at least quick. But then with the boards, the most difficult task is trying to get all of these. What do you say? Detailing and the reflection. It just takes a lot of time. There, I have applied the water and I have applied also a little bit to the area below the horizon. Here, I've applied the water, and we are going to start with cobalt blue. I'm applying cobalt blue towards the top and I leave it there. Then the next color that I am going to apply is orange. I will apply orange towards the bottom, I'm not going to touch the blue are, no. I'll just apply a lighter to medium tone of my orange and just leave it there. It's just some lighter tones, and you can see the part where the blue is joining the orange will try to form green, so don't let it form green. Not green but like a muddy color, so we just have to go over it like that. Now the next thing is to add in the mountain, so let us add in the mountain. I am going to go with indigo, and not just indigo. What I'm going to do is I will take indigo and I'll take green as well. I'm going to mix my dark green with a little bit of indigo and I'm applying into the mountain. See? We know that the mountain because we're doing the wet on wet technique, this thing is going to spread. But that's all right. Here, applying my paint, just apply along the line of the horizon. Take indigo so it's a mixture of indigo and green. Don't apply a single color. Take indigo, apply it and take green, apply it. Don't mix it on the palette too much. Because we just want to get this color diversity on the paper itself. Like that. Here I have applied my indigo and my green as well. It's in the background. I just apply some green, some indigo at certain places. See? It's just some background shape. Now what I need to do is I need to soften out the base because the base is water. I don't want it to be spreading, so I am just using my brush and running along the edge and softening it out. See that. When you soften it out, you get soft edges like that. Now we're done with the background and we'll wait for it to dry. Actually, if you want to make the background interesting, what you can do is you can pick up a little bit of brown and add it to certain places. It just looks as though there are some things on that mountain, we don't know, but just some things. If you want, you can add in different colors. Just adding little indigo and some things in the background. I don't know, there may be something there. Now once you have softened the background, we'll wait for it to dry. You can see now it's completely dried, and there is our mountain with some uneven details because we don't want to show clearly what they are. The mountain is far away. Now we'll paint the water. We'll apply the water right below the horizon line. There is the horizon line, and just right below it, we will apply the water. Now, when you are applying the water, make sure that you keep the areas of the boat. Skip the areas of the boat and apply the water. Well, let me see. Actually just do one thing. Don't skip. Let's do it this way. This time we're not skipping the areas of the boat. Let's just apply water to the whole of our paper. No skipping. Let's apply to the whole of our paper. Right below the horizon line there. I have applied the water. Now what we are going to do is we're going to start painting. Let's take orange, and we're just going for that very gradually lighter tone of orange. You see? It was a very lighter tone of orange, and we will apply that onto our paper. It's very light. Let's also take some yellow and apply it towards the left side. But you can see how much of yellow I'm taking. It's very less amount of yellow, very lighter tone. This is what we apply, so there. I have applied it. Then, now what we'll do is we'll take a little amount of the cobalt blue as well, and we are going to add it to the water. Very little observe the amount, if at all you have a larger amount of paint apply it to the bottom and make sure that when you apply to the top, you only have a little. I went on top of the mountain. Let me just wipe that off. Otherwise it will be just odd. I was just too fast and impatient. Pick up the blue. see? The blue and add a very lighter tone towards the top. Leave that yellow region there. Now, we'll take a little more of our blue and start applying to the right side. The right side is where we want more paint. But when we are applying, just make sure that you don't go too much inside the boat, even though there is water. If it's flowing by on its own, let it flow, otherwise, don't do it purposely. That's all. The blue. Here's the blue I apply at the bottom, very bottom, all the way towards the left. Then as I go towards the top, I'm just doing it towards the right side. Did you see that? At the bottom all the way towards the left, then just along the right side. Like that. Now we have a nice blend on our paper. Blending is the most tough part you might know by now. Now we're going to add some more detailing. Take your brush, I'm going to use my larger brush itself. Now we are going to take more of our cobalt blue, but observe the paint consistency, not a lot of water. It's just mint. See. See on my palette. Taking that, we will add in shapes now. We're going to add waves on our painting, see like that. We're going to do the same and create a lot of waves. Before now, until now, we've been doing those waves with a smaller brush, but this one we'll do with our larger brush. Each time when I'm going upwards, you will notice that my waves are getting lighter and smaller. If you do apply a darker color, dry your brush and remove those extra paints like I did here accidentally. I'm removing those extra paints. But this is our stroke for the bottom. Then we'll take more. I don't want it to be concentrated. Here is the paint. I will add some strokes here and here, I am going to go for some normal strokes. Remember our paper is wet, but it's not too wet so make sure to pick up as much less water and paint. See, I am drying my brush and only this, I will apply to my paper. Towards the top we don't want a lot of lines. That line that I added to the top was unnecessary. I thought my brush is lighter and I'll get a lighter stroke at the end. I am just softening it out. See. Now that's lighter. Anytime that you make a mistake, it's always possible to correct them. Don't just panic out. There we've added a lot of those strokes. This is mainly our background. For now, the water background. Let's also add in some detailing onto our books, for adding the detail onto a boat. Again, make sure your brush is not that watery and we are going to take Indian gold. Don't worry if you don't have Indian gold, just mix a yellow and orange. I think a yellow and orange mixture would be really good. Thought of saying yellow, orange and brown, but I don't want to add brown into that mixture. Because we would add brown later on. Taking Indian yellow and let's keep that angle on the paper. I'm adding to the base of my boat. Just a line like that. That's the base of my boat. Let's also add in some there. That's Indian yellow. I wanted to show you how we paint using the wet-on-wet technique, completely wet-on-wet. This is the reason why we've added it. That's that. Then I think we can go for a little amount of brown as well. We are going to add brown. This time, make sure that your brush is really dry always. We're going to use the pointed tip of our brush. Using the pointed tip we'll paint along the edge. See that? Pointed tip of the brush and right below the Indian gold or the yellow that you applied paint along the edge. That's it for that layer. Then we have to draw the whole thing now. This is now dry and we'll get back to painting. I'm going to use my smallest size brush now. I'm going to use scarlet, but I'm going to mix it with a little bit of brown to get that little brownish red shade, but not too much. That's it. Then we are going to paint the edges. Remember, we already applied some Indian gold to that area. Let it be that gives us a nice orangish shade when we are applying. There is that line, add it. This is the reason why I said, even though you apply the water onto the whole of your paper, it's fine because we are going to go with the darker tones on our boat and it doesn't affect much. See. Some red and just in some areas will give it darkness. Towards the right, I want to make it more dark. I will also pick up some brown and add it to the right side on the top. Just so it looks darker towards the right. See that? See how I have added towards the right side and we will be doing the same. Let's pick up some red and let's add it to the inside of our boat as well. The inside, which curves towards the inside like that, and here. Again, we'll pick up some brown and this time we'll add it towards the top region of that so it blends along with the read only at the top. There like that. We have added that part of the boat. Now let's paint the base. For painting the base, I will wet that whole region. There I'm wetting that whole region inside. We are going to use Payne's gray. Our usual just apply the Payne's gray at certain places and also a little more towards the right because the right side, I want it to be a little dark, but you can see just a little, not a lot. Then let's make the line prominent. That was too much paint. Let me get rid of the paint, extra paint just a little. But you see. That's basically it for the outside part of the boat. Let's now go and paint the inside part. As I said, we have some box here. Let's paint that box, and I'm painting that with burnt umber. There. Then there is something inside the boat and that I am going to paint with blue. I don't know what's that. Something inside the boat. Let's not focus on what it is. Just paint the whole thing with blue. There. Now we need to paint the background inside areas. I am going to go with brown itself and I am going to paint the inside background. We just applied the blue and you'll see that the whole thing is just going to spread and let it spread because the inside part of the boat here is not the focus. But you will see, it's beautiful when it spreads because it just creates a soft blend of that region. Also here you will see that. sea. This is how we've made the inside part. Then teeny tiny amount here towards the left. Now we've painted the whole inside part of our boat. Now the only thing remaining is to add in reflections. For adding in the reflection, I am going to go with indigo as usual. With indigo, we didn't not sketch this out. We have to do it with our brush. Here, all the way down. Here, and then something like that. That's this part. Then we need to sketch out the shape of the boat, because it's reflection. I love doing reflections because you're just doing these. I didn't notice these weird shapes in the water. See. Let me just paint inside that shape then more. When you reach here, again, some curved shapes and there. That's it. Then we'll paint the whole inside of that reflection along the line of the boat. We'll have to be painting inside. All of the inside of the line that we just made, paint inside with your brush. What we just created was the outline to show us how we are supposed to be painting that. Painting the inside and here to the right side. I have added some weird looking shapes already, so I'm just going to add some extra shapes detached from the main one. That just makes it more interesting with the reflection. I don't know why the water plays this way but then it's just beautiful when you add these extra detached ones. We're not done yet. There's one thing that we need to do, which is, here we know the base of the boat we are going to soften it so you know that there's a hard edge there. Because of that hard edge we won't be able to get a nice join between the boat and the reflection so I soften that edge like that. Don't use too much water because you will make the reflection lighter, so if you do make the reflection lighter add more paint and make sure that you get rid of any extra water that you applied but we need to soften the edge like that. I'm softening the edge, you know the brown shade that we applied? That brown shade that we applied mixes with the indigo and also the yellow so just run your brush along. You see now there is no dark edge separation between the indigo, that's exactly what we wanted. The last thing to do now is to add some lines in the water. Just very lightly, some lines not a lot, just very feeble lines. When I say very feeble, what I'm going to do is, here in my palette I mix my indigo with a lot of water so that my stroke is light and then I remove all that excess water from my brush and then I'll add these lines. Now when I'm adding these lines, see they are very light and at the same time there are some lines. This is what we will apply to the areas further away, and there. Now the last thing to do is to add in that, remember that thread that we wanted to add? Here I'm going to take indigo again and it was attached to something there. From there I'm going to take it, there that's my thread but now we need to add the reflection for that. That's the most interesting one so we'll go and add in, see those shapes? This is why I said I love doing the reflection. We're just doing some random, I don't know, just funny shapes in the water, some bendy funny shapes that's how we usually add them and make them join with some part of the water. There we've added that cute reflection and maybe, I don't know, I'm just adding some lines here, something inside the boat maybe and another line there because I wanted to show a plunge there so let me just soften that. This box actually we joined it with the burnt umber, so I'm just going to make that burnt umber stand out again, so I've just added on top of it so now that's standing out from the other one and maybe you can add in some lines like that inside the boat. I don't know what these are but it definitely shows some detailing. Lastly, maybe you can use some Payne's gray and write some numbers. I'm just doing something that comes to my mind, I don't know, 1, 2, 0, 3. I don't know what that is. I don't know what the number is. It just came into my mind directly right now. There's one thing I want to do, so I'm going to pick up some white and you don't write where this string is joining, I want to add some white on top of it, just at some places. It just shows the wire is twisted it's not just going straight so that's why we add these somewhere. Now, that's perfect. I really love it right now. I think that's good enough. When I made the horizon line, I made it too much with my pencil so that's not clearly evident. Let me see if I can get rid of my pencil marks. No, it's not possible after painting, too late. Anyways, this is our boat for today I hope you like it. Let's remove the tape. Just a background, simple background that we did. Here's our final boat for today. 82. End of Week 11 - Boats :): Can you actually believe it's already Week 11 finished? We have done with the boats as well, so we had a boat in tropical water, then we had a monochromatic shape, and this one is my favorite because of the white reflection on this one, so another boat then, sunset one. Oh yeah, I love this one as well, just because of the lack of too much colors in this one, and then finally another boat again, so I hope you like this boat series, now you have some great reference pictures waiting for you to try out. 83. Day 67 - Bonfire: The colors we need today are Indian yellow, Indian gold, orange, burnt umber, sepia, Payne's gray and burnt sienna. We will also need whitewash or white watercolors. Welcome to this topic, light. For the first day, we are going to paint fire. Let's see, we're going to have wooden logs here at the bottom and the fire at the top. Let's paint. Let's start with our sketch where we're just going to sketch some wooden logs in the fire. Just roughly we have to sketch them. They need not be all in the same angle. You can see some of them are inclined, some of them are in different angles. That's pretty much the wooden logs at the bottom. Then let's just for your sake, just quickly sketch out. Not just outline, so make sure it's very light when you're sketching them. See, something of that sort, just a quick sketch. That's all it's our pencil sketch. We can start painting straight away and we are going to be painting the fire itself first. For that, we will start with Indian yellow. Let me just clear my Indian yellow. It's got a lot of green on top of it. We don't want green on your fire. That's why let me just clear that out yeah, that's all clean now. We'll go with a nice good shade of yellow. Picking up nice amount of yellow. What we're going to do is we're going to go around with our yellow on the top. I mean, we will go around the edges of our sketch. We just have to do this quickly and also have a medium amount of water on your paper. See the paint's consistency, it's a medium tone. There's a lot of water. Make sure that when you're doing your strokes, you have those water in your brush and you are able to form these strokes and also leave out a lot of white spaces, here. In between here, you can go on adding, but make sure to leave a lot of white spaces. There are a lot of white spaces that I am leaving and keep painting. If those areas that you've already painted have started to dry, you can go ahead and run along them once more so that you keep it wet. Remember where I said that if you find any areas drying out, this was in the water control lesson. If you find any paint that is drying out, just run on top of them and just try to keep them wet. That's what I'm doing any places that I see are drying out, I'll go over it with my brush and I won't let it basically dry out. A lot at the bottom so see, we've added a lot of the shapes. Now let's go and add some more here at the center. There's basically a lot of white spaces involved and there's basically lots of yellow. All those spaces where we want to keep it white, just leave it white itself. But the other places we'll just paint. I think that's good enough with the yellow, and I think I am going to switch my brush to my size four brush. Here's my size four brush, and now the next color that we are going to add is Indian yellow. Don't worry if you don't have Indian yellow, mix yellow and orange together. This is what we will add, this color added just to certain places, not all, but certain places on top of the yellow. This is the reason why I said that we have to keep our fire wet enough so that when we add in the Indian gold on top of it, it blends naturally and doesn't create any harsh edges. Actually, even if it creates harsh edges, it's going to be fine. Plus also this is one painting that we can even do it with gouache. Even if it's a harsh edge, don't worry, I have actually done this painting once with gouache. Now I'm doing it with watercolors for this class. Trust me, it's all right, even if it doesn't spread. We've added the Indian gold shade. I'm taking a bit more yellow because I just want to add to certain places, that's good. Then we'll go on to the next color, which is going to be orange. Now we have to be more careful we don't want to apply orange in too many places, just at some places. You can see I have applied to some of the edges, some in the center, some towards the outside and right, actually, that's it. That's all what I will be painting with the orange. Now let's paint the wooden log itself. For that, I am going with burnt umber and we are going to just apply it. That's the wooden log, one of them. Actually, you can also paint with different colors of brown. Next, I'll go with burnt sienna. Don't worry if you don't have all of these browns, all you have to do is just make sure that you mix different yellows and browns together to create different shades of brown. That's all we need. Here I have painted some with burnt sienna. Each of these logs, I am just trying to create different shades. I'm painting one side of the log with burnt sienna. This is burnt sienna let's paint this one as well. Now, I'll go and pick up my dark brown band, umber shade, and I will add it to the other side of the log so you can see I'm letting it blend. It just looks like a smooth transition. It doesn't have to be a smooth transition trust me, like I said, this can be done with the gouache painting or gouache [LAUGHTER] colors also. Just keep adding so many logs at different places. You don't have to be all of them facing in the same direction. Let's have some in a different direction, some facing a different way and just mix up all of the brown shades. That's exactly what we need to do, just add. We've added a lot of logs at the bottom. I'm just going to take a little bit of Indian yellow now. I am going to apply to these areas in-between the logs, just at the top regions. This is just to depict some light on that area. Here. Just that area is a little bit lit. That's what I am trying to show. Maybe a little there, I have extended, you see that. I think there's another log here that I want to add. That's pretty much it so we've basically added the fire. Now all we need is to color the background. For adding into the background, I'm going to go with sepia at first. If you don't have sepia, mix your black and brown together and you get sepia. What we are going to be doing is basically apply sepia all the way at the bottom of all the logs. See, wherever you have stopped your strokes, apply sepia at the bottom. Any of those log shapes will be at the bottom. Like that. Keep applying sepia so it's like really the darkness at the bottom, so this is just a quick way of painting the fire that I'm showing here today, so it's sepia which is almost like a black-brown. That's what we are using. You can see, you can have your sepia strokes go all the way to the top of the wooden log and then you can have it blend along, so you see that if you have it blend along, you will find that it doesn't look as weird. Just make it slightly blend into the background into that wooden log area. The same way. More sepia, all the way to the right we'll add sepia. That's sepia all the way to the right. Now, let me just blend certain areas. I know these wooden logs, they don't look much clearer now but that's all right. Now we'll just go on painting, paint along the edge of the wooden logs. We've painted all of those areas now, so I'm going to now switch to my size two more brush and I'm just going to soften that edge around there and pull my sepia paint along and I am going to apply my water to all the areas. At present, I am applying water but I'm not touching anywhere near the fire areas, so I'm just quickly applying the water but you can see I'm not touching the fire areas. We're just applying the water here so that your sepia doesn't harden out and create a harsh edge, so stake the paint all around. This is just water and there's ground paint on my brush which is the reason why it's showing some brown you can see. Now we've basically applied water to a lot of the places, but keeping the regions around. Now what we're going to do is we are going to take Payne's gray and we are going to apply to the top regions. Here now I'm going to hold my paper at an angle like this and we are going to paint. Go for black, you don't necessarily need Payne's gray. It's just, I love using Payne's gray, I think I've told this hundreds of times now, so just don't bother. Now all we have to do is make sure that we blend in all the areas and apply the dark Payne's gray. In my case, I really have to apply it a lot of times and also now this is the hardest part in this painting that is to go around each of the fire areas that we painted. That's the hardest part. I think we've done this in one of the Galaxy ones when we painted the comet and also I think we did it in the mountains when we painted the volcano one, so just like that, we are going to be doing something similar. We just have to be painting around the edges of all of the fire areas. That's it. That's the time-consuming process in this painting. This is the reason first I'm going with all the other areas. I wish I could get a black I think I have a black somewhere. I just usually refrain from using it, but since this is taking a lot of time, I'm actually thinking of using it. Towards the bottom try mixing sepia and the Payne's gray together here at the bottom. Can you see it mixing around? Also with your Payne's gray, when it comes to those regions, mix your browns together, actually this is the main reason why I'm using Payne's gray because if it was black, it wouldn't mix this well with brown. I mean Payne's gray mixes with the sepia very nicely the same way black is not going to do so. That's the reason. Let's keep painting. I'm applying the paint. I have to be careful, let me put that back onto my paper and I'm going to go carefully along the edge. There, I did that edge. I have so many of my edges to do. Let me rotate my paper and I'm so sorry if this is disturbing, but I'm sure you know what the entire process is. You just have to paint around the edges of the fire that we did and make sure to preserve all of the colors. We're just going around with our shade, with our black or Payne's gray or whatever color you're using. I'm using Payne's gray. There, I've done that part. Let me go around each of them similarly, we can actually shift to a smaller size brush. Why am I not switching to a smaller size brush? Let me use my smaller size brush. Here is my four smaller size brush. This is much easier, I should have switched long time ago. Now again, more and more edges of my fire. More edges and I'm just running over these areas again because they are starting to dry and I cannot afford to let any part of my painting dry, so this is the reason. Now go around. Now I'll take some brown and I will add it to those regions. Now I clearly have a mix of brown and black on that side. Now I'll get back to my right side. Right side, this region has dried. I need to go over it again so that I get a perfect blend there. I blended that area then what here? Some more here. Just all of the sides. Make sure to keep adding your colors and let them blend. Why do I see some dark edges here? Let me cover that up. Maybe the paint dried faster and that's why I see it. That's done, now this side. I have covered most of the edges towards the right. Now let me just take some more of my sepia and I'm going to blend it along with my Payne's gray and see this region is starting to dry. That's why I'm getting these brush strokes. I'm just going to hold it down like this so that my paint would flow down and would get rid of those stroke marks for me on its own. Because if your paint has gravity, then they'll at least blend together somewhere. Here I have added a lot in all the areas and blended as much as I can. How about these areas where I'm seeing a lot of separation between my brown? I'm just running my brush along and getting rid of any harsh edges. Now, when this dries, it'll be much, much better. I think what I'm going to do is towards this right side, I'm just going to drop in some water for some blooms. I like that effect. Like that. Some bloom effect. There's too much there. Let me just get rid of those blooms. But only some blooms are really exciting. Now that's a lot of blooms in that area. If you think that you've made too big or too much bloom, just pick up some more of your Payne's gray and cover those up. We only want small blooms. That's much, much better now. Now what we have to do is we have to wait for this to dry. I love to see how the blooms turn out after they dry. This is how it ends up. Since we're not done, now what we're going to do is we need to add in a lot more of our slides, more detailing into our fire. We are going to pick up Indian gold, or you can go for orange and just add these strokes. I know it won't be clearly visible, so go for a concentrated amount and just add these drops and strokes on the black areas, just some extension of the fire, like that. Then we'll also do the same with some yellow. It's not going to be visible. Let me tell you one thing. If you want it to be actually visible, go for cadmium yellow. If you have it, that is opaque and will appear on the top. I'm not using it just because I do not want to shift my palette. What I'm going to do is I'm going to take some white paint. Here is some nice white paint. I'm going to mix some Indian yellow with my weight. That's a nice white paint. Can you see that? This I we'll apply onto my paper. Because it's white and it's opaque, you'll get more of it. Here you can see how that's turning out. Any edges in which you've ruined it up, you can add it up. Make shapes. There are various edges in which I want to clearly add more details. That's what I do and it's the white and mixing with a little amount of Indian yellow, so that Indian yellow or Indian gold in fact. Then lastly, let's add in a lot of these splatters. That's a lot of splatters. We've added a lot of splatters all around the edges that makes it look more interesting. Now, we're almost done. All I want to do is I want to take my bond amber and add some lines on to my logs. Just not the whole thing. Just in some center line to see that makes it more interesting a little bit. That's why just some lines, that said. Now that's much, much better. If you do have the time, you can go around and soften the edge of the edges of your yellow paint that you applied. How do you soften it? Use a damp brush, make sure that you remove all the excess water. Then run your brush along the edge like that several times so that that harshness of the edge will be gone. I'm not going to do it because I love it the way it is now. But maybe, not all the places, some of the edges, if you soften it, you get that soft look. See here it is soft and here these are harsh. If you do have the time, go ahead and do it. I might do it later on if I have the time, but for now, I'm going to remove the tape. There you go. Here's our final fire painting. I hope you like it 84. Day 68 - Firecracker: The colors we need today are Indian yellow, Indian gold, permanent brown, burnt amber, sepia, and Payne's gray, and we'll also need white watercolors or white goulash. Let's get on with the next one. For this next one, preserving the white of the paper is very important. Just in some areas. Those areas that we need the paper to stay white, we are going to mark that with a pencil. Let's see. We have the stick of our firecracker coming here, and then it expands like that, and this area here, so let's just mark it with our pencil. We will also get rid of this pencil mark, so we'll make sure of that. This area specifically is what you want your paper to stay white. Then follow along the line of your cracker, and let's add the rest of the cracker. Again here, there, that's the darker's end. This is the area that we need white which will not be painting. Let's paint the other areas of our paper first before we add in any further detailing on our painting. Here's what we're going to do. Pick up your brush and apply water to the whole of your paper, but skipping that little portion where you want the white to be preserved. Here I'm using my flat brush, but I'm not touching those areas. You can see I'm skipping that little portion that I had applied. I will use my flat brush to apply the water. There, let's just keep applying. Apply the water evenly on the paper. I think I'm going to stop with the flat brush and I'm going to take my smaller size brush and now go around those regions. My brush still has Payne's gray from your yesterday's painting, which is the fire. That's why you see those little gray shade. I just painted that a while ago actually. We are good to go. Let's see how we're going to do this. First we are going to start with yellow. That'll be Indian yellow, and let's apply this yellow shade. Somewhere around that white area that we want to preserve. We've applied the yellow shade. Then the next color I'm going to take is Indian gold. Mix your orange with yellow and add a little bit of brown maybe if you want to get that perfect Indian gold shade. But Indian gold is a beautiful color. You can actually mix it with alizarin crimson and Indian yellow. It is PR83 and PY150, if you mix them together, you will be able to get that beautiful Indian gold shade. Here let's apply. I've applied that Indian gold around. Now the next color that we will go is with, permanent brown. I am going to apply my permanent brown all around my paper. This is just the lightest of the brown that we will use, we'll go with further browns. But let's just cover our whole painting with this now. I've blended all of those regions. You can go on top of your Indian gold regions as well. Because actually the permanent brown mixes with the yellow to form Indian gold itself. That's another way to get Indian gold, just mix you a permanent brown which is this reddish brown shade with yellow. You'll get that. Usually for making permanent brown, I say, you can mix your brown and red together and you'll get permanent brown. Actually, so brown, red, and yellow, you will get Indian gold or brown, yellow, and orange. It's a lot of mixing in hold, but he'll definitely get there. Here I am painting next to all of those yellow regions. It's fine. We don't want too much of yellow, so we've now covered the whole with permanent brown. Now we'll go with our next shade, which is going to be burnt umber. Let's apply the burnt umber and we'll apply it to the sides, all of the sides. This painting, in fact, we want it to be as dark as possible along the outside so that we can add in the lights. Only little portion in the center is going to be that bright. There is a reason why we applied the permanent brown at first, I had explained this in a previous lesson as well. I can't remember which one, but I remember saying this that when you add the permanent brown on the top, it brings out this underlying color in it rather than applying the brown straightaway. This is the reason why I do it like that. We're not going to do this like clouds. Just go ahead and mix the whole thing. Then I'll take a bit more of my Indian yellow and I am going to mix it with these tones here. Did I say Indian yellow? I meant Indian gold. I am going to mix it in these areas because I think it looks like a cloudy shape now, so I don't want that. This is the reason I am going to go round and round like that, and also, let's give a little bit of gravity to our papers so that the whole thing just spreads around nicely, and now the dark color that we will use is sepia, and let's add it to the edges. Like I said before also, if you don't have sepia mixed brown and black together and you'll get a nice darker shade. Here is the sepia that I am mixing. Keep adding those darker shades towards the edges. So it's always good for us to work from the lightest to the darkest. So this is the reason why we applied yellow then Indian gold and feminine brown, then burnt umber, then sepia. So it's just working from the lightest to the darkest colors. Always, that's how we should be working on. Keep applying. I know this gets rid of any pencil sketches that you've made, but you'll be able to see it somewhat. So don't worry about that. In your paper, it won't be seen in camera, but it can be seen really well in your paper and if not, then also it's fine. I'll show you how we can trace that pencil sketch back. That's more depth that I have added. Now I want to get for Indian yellow and add it again to this region so that I blend these because it looks odd without the blending. There now I've blended it. Let me pick up sepia. Now, how can we make this even more dark? Any ideas? We need black, isn't it? Let's go ahead and add a darker tone on top of it. Now I have added the Payne's gray and let me pick up the color again and I will go over the top with the Payne's gray so that I make it even more darker towards the edges see. So that's the next dark color. This is because towards the edges, I want it to be as dark as possible. So this is the reason go with black. In this case, it's always best to apply the underlying colors that we have already added. I know that you might say that it's a whole lot of waste of paint, but not because there are some areas when we are applying with our brush, some areas that the color appears to be gone. So those areas are mainly because you have an underlying color. Imagine if the whole thing was white, then it wouldn't be this beautiful in blending also. So now have added the Payne's gray to many of the edges. Now, I'm just going to blend some more with my Indian yellow here at the center areas. You can see that these regions look as though it's not blended. So let's take in the colors and blend in towards the center. Now that looks blended, isn't it? I think that looks really nice. I see some areas, but it's like a mixture of color, isn't it? But I like it. You can add more strokes wherever you feel that you want to add in here. I think that it's very light, so I am adding some strokes. But the more your paper starts to dry and the more you apply your paint, you're going to get the stroke marks. So don't do it. You can also do this using the layering technique that we learned in the galaxy lesson. So you can also use that method, or you can just use the methods that are used now. Layering is much better if your paper is prone to start drying quicker. So this is the first layer. Let's wait for this to dry. So this one is now dry. Now I will show you how we can get that line back. So what we are going to do is, we're going to start with Indian gold. The gold shape that you have made, or Indian gold if you have and we are going to use this to paint along the lines. So here the line is still visible because we used a lighter tone there. So there I have added that Indian gold. So just to the bottom of that, let me add in yellow so we blend yellow with gold, see that. Always paint on my hand and I drop it on the papers. Somehow this is never going to stop. I don't know where I pick up these paints from and I've ruined that part, but I knew exactly how we're going to correct in mind. So it's okay. So I've added Indian gold. So the next color I want is burnt umber. So here I am going to pick a burnt umber and we are going to add in that firecracker so you can see it's darker version of the burnt umber and don't draw it in a straight line, just make these not staggered, but slightly distorted line that's been burned and the firecracker feigned the whole inside of it and actually, you can even go for a darker tone, which is sepia towards the end there. So it's really dark there but see the blend here. It's not properly blend. So we need to blend that. Use water to blend in your brown shade with the Indian gold. See how you blend it. So now that looks much blended. We'll in this edge. Let me blend that as well. Now the whole thing looks blended with that color, isn't it? Now I'll show you how to get this other end. So for the other, again, I dropped paint, what am I doing? I dropped water and that is going to again create a white area. My God, this is a disaster. Don't worry, I know how to correct this. In this painting, it's going to be fun. I think you've already seen the final painting, even know exactly how I corrected it. So the next color is, I am going to go for Payne's gray or black, whichever you're using, and actually, again, where is this paint coming from? Is my hand producing water? Not Payne's gray. I'll go for Indian gold itself again. So no water here, Indian gold again, and here we're going to trace down this line and apply it to the bottom. Trace down that line. Then same to this side. So we have that little glowing thing there. Then we'll take the burnt umber again and join it in a tapered edge. You can also go for sepia, join it as a tapered edge and see you create a nice blend there. Now I'll go for my Payne's gray and I will add the edge of my darker or did it go bending? Yeah, I blended a lot. That's all right. So I'll pick up my brown again and let me make that base a little bit more thicker and tapered, so that's our firecracker, doesn't need to be in a perfect shape, you know that? So let's now get to adding the other details. For adding the other details. First I am going to use my yellow and I'm just going to add some yellow to the edges of that whitespace. Just in some places. See, just in some places, not all around. Now we've added that and we are going to be now using white, paint, and clean your brush thoroughly. We don't want any brown, yellow, or white paint and now using our white, we are now going to make the crackers part. So it's just basically from the inside. Add these lines and some round shapes. Let's see some lines from the center where we kept it white. So this is the reason why we preserved a lot of those white. So now what we're going to do is make some longer lines, then, some V-shapes from that line. So it's just basically this is now the lengthiest process where we have to sit and add all of the lines in our cracker shape. Here, let's add them. You might have to use a nice concentrated amount of white, titanium white is the best for this purpose. So if you don't have, you might have to add multiple times, that's it. But here, just see how I am doing it. This is all there is to it. So just keep adding and at some point, we'll add some stars to let me show that once again. Again, seriously all of this coming from I don't understand. Not paint water, this water in my left and my right hand always. I don't know why. I'm going to keep this pointed upward so that I don't touch the paper with that and this brush is not too big. I'm going to switch to a smaller size one, which would be much easier. So I'm going to go with my bigger brush and let's take the white again. First of all, just go ahead and add in all those lines in different directions. Then in some areas just do these extra lines. See that? Then let me show you the star shape that I was talking about. Here, extend all the lines. Let me add in the lines first. I've added a lot of line there. Here at the end of this one, I'm going to add in a star. That's basically do this, and have those lines at the end. See? Like a star. It's just crackling, that's what it is. You can have these broken crackles as well. See? Some broken crackles, so that's why I'm saying it doesn't always have to be in all the places. Keep adding in all the directions. That's the most lengthiest process in this painting. But did you understand the reason why I said that now we need that little spot of white to be white itself? That's the reason. You can all see it's making sense now. We've added the main crackles now, now let's add in some bouquet effect, and that's how I'm going to get rid of my stupid mistakes on the paper. I'll switch back to my size 4 brush, and what I'll do is I'll take some nice, white, but in a diluted consistency now, and I am going to add some circles on my paper. Listen to me now, this is the time to cover up all your mistakes, if in your paper you have so many harsh edges or somewhere where you've made some mistakes, cover them up with this. [LAUGHTER] With the white paint, just paint on the top and cover them up. See? That's what I'm going to do now. That's why I said these mistakes that I have done are okay because I'm covering up all. I just hope that my hand stop producing those extra water. I don't know where it's picking up that water from. I think I know now. When I'm going to dip my hand into that water jar, it's touching the edge of the water jar and that's why I'm having water in my hand. My God. I'm so sorry. Let's just keep adding a lot of these circles at various places. These are some of the bouquet lines, it just makes the whole painting interesting. Make the circles in different sizes, some of them big, some of them small. Just different sizes and in all of the places that you can think of. What shape is that? Let's make it a perfect circle. Am I running out of time again? Yeah. Before I run out of time, I want to show you the next bit, so which is going to be, let's mix our white with our yellow and create a slight yellowish shade. We need it to mix with white, otherwise, yellow is not going to be appearing. Use that to create some bouquet lies as well. They're in two colors, so add them, maybe some overlapping some of the circles that you've already done, and some independent ones as well. Add as many circles as you want. Let me add here some mixing with some yellow, and let's keep adding. Know water. I don't want it to be that I'm making it concentrated so that some of those circles are transparent. In order to get it transparent, add water. You can see the consistency now, I've added a lot of water. When I make those circles, see they are less vibrant and becomes a little bit transparent. That's what I want to add. Like I said, cover up all the parts where you think you've made mistakes or you can see some harsh edges, add as many circles as you want on the paper and get rid of every mistake. This is why this painting is so much fun because you are covering up anything that you have ruined and just making things easier for you. Enough with the yellow, let me add some white now. I think I'll go on some top of some of these. We have added a lot of circles now is the time for some splatters. In order to make the splatters large, make sure that you have a diluted paint consistency so the splatters will be large, and then splatter in the paints. See, because your paint consistency is much higher, as in, you have a lot of water in your brush, so that's why your splatters will be large. Now the paint consistency, that is, the water consistency is lesser, so I get smaller stars. Not stars, smaller splatters. I'm not going to make too much smaller splatters, I am happy the way it is now. This is basically our painting. You can see in the center, that area where we left white is much better. Just soften out any white extra shades that you see there so that it doesn't look odd. Because if you look closely in mine, you can see the white spots, so I wanted to get rid of that, so just clear it up. But overall, this is it. Let's remove the tape. There you go. This is our beautiful painting for today. 85. Day 69 - String Lights: The colors we need today are cobalt blue, crimson or pink, Indian yellow, Indian gold, sepia, Payne's gray, violet, indigo, and white watercolors or whitewash. It's a string lights for today. We are just going to do this beautifully. I don't want to run this with any pencil sketch. we're just going to start painting directly. It's going to be a simple one today. I know I say this quite a lot recently and yet it turns out to be more than 30 minutes. [LAUGHTER] Let's see how long this one takes. It's actually the elements in the painting that takes a lot of time. For example, when we were painting the boats, it was both the reflection, the rigger lines, and lots of things. The same here when you're doing the fire or the light, there's a lot detailing involved when you're trying to add in those lights, isn't it? That's why it was sticking a lot of time. Let's just hope we finish this one quicker. I have no idea. This one also has lights, so it might take longer. Well, the thing with when you're painting along with me is that you've already seen the edited video and you know how long this video is, so you already know whether this is going to be a longer one or a smaller one whereas me, I am painting this, I'm talking along with it. I don't know until I finish this that whether how long I'm going to take for this. Let's start. I have applied the water. I am going to start with cobalt blue. I'm applying cobalt blue to the top of my paper. I'll just keep applying. I'll make sure that the top is really dark. I'll just apply more cobalt blue. I've applied almost to the center. Now I am going to take crimson. Let me just wash that stroke because that has a lot of blue or some violet that I mixed for another painting. There, crimson and I will apply it to the bottom there. That's crimson. I applied. I am blending that along with my blue all the way to the top. This blending is really simple because all we're doing is now we are applying the pink and we blended all the way to the top. That's a simple blending one, isn't it? Then we take the next color, which is yellow and I apply it at the bottom there. Let's keep going all the way to the top. Don't bring your paint down because your yellow would eventually turn into an orange sheet because it's lighter. This is the reason here. You are going to go upwards. Here, apply the yellow, go upwards and there's your pink, goes towards the blue, and joins the blue. Now in order to get more darker tones, I am going to take indigo and I'm going to apply to my blue. Here, indigo at the top. Let me take some cobalt blue and I will apply it along. Applying the cobalt blue from the top, it already has the indigo. It will just blend. That's violet turning there. I'll take my pink now and apply it onto my paper and come all the way down. But I'll stop there because if I go any more down, it will turn my yellow into a brown or orangey shade brown because there is a little amount of blue there. Now I'll go upwards again. That's a very beautiful blend there. Now, we need to go ahead and add in some clouds. For adding in the clouds, I am going to switch to my size 4 brush. I am going to take violet. Not violet as a whole. What we're going to do is let's take violet here on my palette I'm going to mix a little bit of indigo to my violet. It becomes a bluish-violet tone and that's too much water that I will apply to my paper. Let me get rid of all that extra water. That's now too light, so I think I need to mix in a different place with a lot less water. There is violet and there is indigo. That's much better and there's less water as well. Now we will just go ahead and apply our strokes onto the paper and we'll also apply to these areas. Here we are going to make smaller clouds, whereas towards the top is where we will add larger ones. See, I've added a larger one to the top. I'm going in round shapes like that. We will add rounded shapes here as well. More here. Just a lot of clouds we will add to our sky. It's basically violet mixed with indigo to create a bluish-violet tone. We just don't want it to be too violet. That's the reason. Let's keep applying a lot of those strokes here. Then let's apply here as well and at the bottom. I think you already remember the skies lesson. We just have to add in a lot of these strokes and make sure that the water on our brush is lesser than the watercolor paper. This is the reason why I have to mix a different one so that I get the perfect watery consistency. Let's keep adding some more. I've added a lot of smaller ones there. Now what I'm going to do is, I am going to take a little pink shade. For my clouds at the bottom, I'm going to add it with pink. That's why pink, mixing pink in my palette. And along with these ones, I will add pink ones at the bottom. On top of the yellow, what we're having is some pink clouds. There very small pink clouds at the bottom. I see that my paper has started to dry, so I'm just blending the edges of these, making sure that they look blended. I'm using a damp brush, I have made sure that my brush is dry when I'm doing this. Otherwise, I will create blooms on my paper. This is now good enough. I'm just running along the edges to make sure that I get rid of any hairs. I don't like so know hairs in my clouds. Think that's now good enough or we have to do is, I think, let's go ahead and add the base in our painting. For adding the base, what I'm going to do is I'm going to start with Indian yellow. Just because this is sunset scene and I am going to add little amount of Indian yellow, little detailed mountains or something at the bottom with Indian yellow. Why do I say oIndianoIndianoyellow for Indian gold? I just realized, I'm so sorry, I'm using Indian gold. The golden shade, apply it to the bottom, all the way to the right. Just make these random shapes, whatever you want kind of shapes and fill up the whole bottom. See, I've filled up the whole bottom. Now we're going to fill up the front of it. I'm taking bond amber, and I am going to fill the inside part of it. Actually, let's take sepia because it's more darker. Taking sepia, I have filled the inside part. This just at the top, it leaves like a golden tone or a yellowish tone. That golden tone will give the effect of the sunlight there on that part of the foreground. Did you understand by we added the gold at first, just so you'll get that little tiny amount of that golden shade in the foreground. The rest of the places with just applying the sepia and covering it up. There see that golden touch. That's exactly what we wanted. Now we will go with sepia again. Let's just add in some shapes. This is where are no string lights are going to be attached. I don't know some random shapes. I think my yellow is dry, this is the reason why I'm painting, but my not mountain the foreground that I just applied as not dry. If I apply, it'll just blend naturally with that. Something like this and some kind of shape is there, and that's where the string lights are attached to. That's what I'm trying to do. There like that, and that. If you want, you can add some detailing or some bushy shapes into the front. Like I'm doing here. I'm just addinikeg some twigs and some little detailing. Not all the way. You can just add in some places, just don't cover all the way because we want to actually preserve some of those Indian gold shapes. Here I have added that a little pole shape. Now we have to dry this whole thing. Here I have dried up the whole thing. Now we are going to add in the strings for the string lights. For that, we are going to go with Payne's gray and I'm using my smallest size brush, use a size one brush with a typically the smallest point that you can get with your brush. Let's paint. Here I have my Payne's gray or black if you're going to be using black because we want it to be black. My Payne's gray is as dark as black, that's the reason why I use it. Let's add that. I am going to be starting from this little pole that we made. We're going to add a string all the way to the top here. That's going to be, and I'm starting on the left side of this pole. Starting on the left side of that pole and then I'll make a U-shape at the bottom. Let's do that. Starting on the left side, I've made a U-shape. Now what we are going to do is I will extend that all the way to the top. I have extended. Don't worry about the curved edges that you get. Let me clearly tell you, don't worry about any curved shape because these lines they need to have dwell line. I will just show it to you, so don't worry about that. We've added one of those lines. Now let's add the second one. I think the second one is, I have a little bleed here so I'm going to start right on top with it. Right on top of it, and I'm going to maike it all the way till here. I did it in 1 g. Another one again. That one is going to be from here to here. Let's do it. This one is smaller, it's easy, there it's just that. Now let's do the parallel, smaller lines. This one, especially the parallel lines, will be seen because it's almost straight. Very close to the one that you've already made parallel one. It can join at certain places, see that? So that and the same for this one. For this one, it's going to be quite tricky. Listen to me. What we are going to do is, let's have, it's going to be in like the lights that are hanging because it's got dwell line on the electric pole there. This is dry. I might pick up paint as I run, I usually have that tendency to pick up paint like that. It's joined here. Then I'll make another U-shaped not U but lengthy curve. Also note these curves, they have to go smaller and smaller towards the bottom here, following the rule of perspective. The next one should be smaller than the one that we already made. That smaller. Go smaller again, each time, make your curves smaller than the previous one. Let's do that. Smaller, smaller, let's do small. Also, not just smaller also, they should be closer to each other also. That's all, all the perspective rule. In here, when you reach towards the end, you won't even see the curve. Let's do the same on this one. We won't see any larger details here. But as you come towards here, that's when you start seeing little amount of those curves. I don't want the curves to be seen on all of them. This is the reason why I said that even if I have a bend, see I added a curve there and it just gets gets rid of my band. It doesn't have any problem at all. Here I've added all of the lines. The next thing before we add in the string lights are, I've seen lots of string lights everywhere, but I love to do perfection in so many of these paintings. That's why. Let's add in the string lights. For that, I'm joining the two wires. See that? And here as well. I've joined those two. Now. It's the edge of each of those joined of the curves that you made. They should all be vertical, don't make it slanting. They should be vertical. Here as well. As you go towards the further end, you won't see much of those line details. We are done with the line mainly. Now, we will add in the details with white. That is the lights itself. Let's do that. I'm going to take my white paint and we are going to start. Let me show it to you. Let's do from the left side, because I have a tendency to start painting on the right and then picking up that same paint in my head always. So from the right, what we will do is make these gluing circles in our painting. Just with your brush, make those circles. We've made these circles, so we are going to do something along with making those circles. For that, I'm going to use another brush. Using my other brush, I am going to have some yellow paint in that other brush, and this is a size 1 brush. Just keep it in hand and keep some yellow paint ready on it. What I am going to do is I'm going to apply a little tinge of yellow to the top of my white. Let me show it to you up close. Can you even see the yellow? Just add. I see that I have ruined the roundness when I added the yellow. So let me just remake that into a nice and round shape. There. But do you see that glow of yellow that we added? That's what we will do. We are having that yellow paint in a brush. Here is the white. There. Yellow. Just add yellow to the top half. That's basically what we are doing, to the top half. We don't need to add to all of them as well. Here the next thing that I want to do is I'll be adding a little black and to where the light is joining because this is not yet done. Here for all of these slides, but I'm going to do is I'm going to leave a slight gap between this black area and then draw the light. There, that's the light. Also make sure to have your lights go smaller as you go towards the bottom. That's also absolutely essential. You can see my lights goes smaller towards the horizon. In this main the horizon is here, so that's the reason why they go smaller towards the horizon. At the end it's so close together that you just see lines joining them together. Now let's add yellow to each of these. Here's my yellow paint. I will just apply slightly at the top. You don't need to add to all of them. Yeah, I'm not going to add to that. I'll add to these ones. These ones at the far end off probably won't see it, so let's just get to adding more lights to these areas. There's one huge light here. Then there's one here. Another one here. Remember to make them smaller as you go towards the bottom. Too small there, so let me make the other one's bigger enough. Those are just now so many lights at the bottom on that one, see. So we'll just add so many dots right next to each other such that even the line is not seen. See that? We're done with adding the white, so now we need to add in the yellow. Let's just add yellow, not to all of them. Just to some maybe. I think I will add yellow to some of these ones. That's the lights. This one is too yellow. Let me just blend that. We've added that glow on it. Now the last thing left to do is add some, the shape of the bulb at the top. I said it's going to be fast. Here again, I'm running out of time. It's just drawing something at the top to join those gaps. Remember we left a gap between the light and the string. Just draw a little shape. Let me show it to you up close. Here adding a little shape to join those lights. That's exactly what we are doing. Here in these further end ones, they're just going to be some smaller dots,. Only the detailing will be seen as you come closer. There. These bigger ones will have much detailing. I don't need to do anything more, we're done. That's 29 minutes on my clock. After editing it will be much lesser. That's the final one. Did you see how much detailing I went on to adding the lights. It's just if you want your paintings to look real, that's how you do it. There's our final painting. I hope you like it 86. Day 70 - Lightning: The colors we need today are cobalt blue, indigo, crimson, Indian yellow, Payne's gray, and some white gouache or white watercolors. Let us paint lightning today. No pens or sketch, we're just going to directly start painting. Let us apply the water on to our paper. The whole of our paper we'll just apply the water. Remember to apply the water evenly on to your paper. Make sure that you run your brush multiple times in order to ensure that the water that you apply is even. You can hold it at an angle. Also to ensure that it is even because any extra large pools of water would flow down and would accumulate at the bottom, which you can absorb with a tissue like this. Apply water multiple times. Make sure you do that. There I have applied the water evenly on my paper. Let us start. Where did that come from? I think it's the brush. Is it? Well, no. Some blue shade. This is cobalt blue, my cobalt blue is very dark. I am going to apply this cobalt blue. You can see I'm just applying some random strokes. We will also apply random strokes. Leaving some white gaps, but it doesn't matter, it will spread out anyway. But let's just still do it. Applying my cobalt blue there. I have added a lot of the cobalt blue. Now, the next color that I will take for adding there is crimson. It's almost like yesterday's one where we painted with blue and then crimson. Let's add the crimson. But again, the crimson, we're not going for flat shade now, but rather we are applying some strokes like this and you can mix your crimson along with the cobalt blue. You can see that it creates some violet shades. Just keep adding. I think it's almost the same colors that we used yesterday. Yellow now towards the bottom. See yellow at the bottom. But when you try to join along with the crimson, it forms into a nice orange, red shade and let it do that. That's fine. I've added the cobalt blue. Now is the next most interesting color, which is going to be indigo. I'm going to mix this indigo with my cobalt blue so that I get a darker bluish shade. But do you see it's not as darker indigo. This is more like Prussian blue. If you have Prussian blue, use that directly. See the blue that I made, it's more like Prussian blue or PB60 Indanthrene blue, these kind of blues, that's what we're trying to create. This one, now, I will apply to my sky. I will apply in some random shapes, see? I will leave some white gaps at certain places. I will apply my strokes, applying towards the top. I know clouds are the most toughest part for everyone because to have your paper stays wet for as long as you're doing the clouds is the most trickiest part I know. But the longer you practice on it, the faster you're going to get it. Keep adding those strokes. Then towards the bottom, I will go for smaller detailing clouds like that on top of my crimson. Don't go over to the yellow, there. I have added in some nice clouds with a colors similar to Prussian blue. Which I made out of indigo and cobalt blue mixing together. Now, I'll take indigo itself directly and I will add some further darker shades, just only in some places. Taking indigo, this is adding depth to our clouds, more indigo, and only in some places. I've added depth to our clouds. Now, let me add some further clouds at the bottom. What I'm going to do is, I'm going to pick up crimson and I will add it along the edge there. You can add some on top of the blue itself, and it will turn into a red, purple, violet shade. But make sure that your paper is wet. Don't do this if your paper has dried. You know by now how you have to keep your paper wet. That's a very important lesson, don't forget that. Then I'll go for smaller clouds now at the bottom. I've added a lot of smaller clouds at the bottom, that's it at the bottom. Now, we are just going to add some detailing to the extreme bottom. For that, I'm going to use Payne's gray there. Payne's gray from my palette and we'll just add it on top of the yellow. I'm just making some random shapes. Some areas of my paper are still wet and some are completely drying. I'm not bothered about whether it's dry or not, I am just adding my strokes, and making some bushy shapes. Use black if your Payne's gray is not as dark as mine. Add more. I promise, this one is going to be quick because I'm just done with the background already. There's only very little to add to the foreground. That's the background done. Now, we can dry this up quickly. It's now completely dry. Let me just pick up some more Payne's gray and add in some poles or something to my foreground. As in the ground area. Just some poles or I don't know, some lines or something that I want to add in. In fact, you can also add in some pole lines, not detailed but some small pole lines, maybe some detailing whatever you want to add there. I've added some little teeny tiny amount of lines and detailing into my foreground. It doesn't have to be any detailed. The most important part is now adding the lightning itself. For that, what we need is a smaller size brush, a size 1 rigger brush or a size 0 or even smaller than that if you have the smallest brush that you have and it needs to have a pointed tip. That's what we're going to use and we need white paint. Let's get to it. Here's my rigger brush, and here is my white paint which is dried up and I need to activate it. Let me go around it and use a different brush and a lot of water to activate that pink chunk of white. Come on. I have activated my white paint a lot. Now, what we are going to do is I have the white paint on my brush. You can see it clearly. Now comes the most interesting part. This little white space that you left here, we are going to add lightning there. Let's paint that with white. Let me explain now. There are several ways that you can actually add lightning. You can use a masking fluid and mask out this white area. Then at the end, all you have to do is remove the masking fluid. This is another way of doing it, that is to use white paint and to draw these lightening lines. When drawing these lightening lines, it can be quite tricky. Make it as though if your hand is shaking to much. Just to see I'm shaking my hands a lot. I'm trying to follow in some along the white regions that I have made, but it's not absolutely necessary. Don't push yourself to do it. Also observe, I have made this line but as I'm coming towards the bottom, towards the horizon, I'm making them thinner. Make it get thinner and thinner towards the horizon. See, it's now almost vanished at the horizon. Like that. Then now what we need to do is add in more branches to this thing. Let's add in branches. No, I always start from the right. I'm going to do with the top. Here, branch. Just have your hands as if you've got some shock and you're shaking, so there. See, that's one branch. Let's in fact have a lot of branches for this main one. All of those branches make sure that they go thinner as you go away from the paper. That's very important. You can have some of them overlapping. It's almost like drawing a tree branch, but then with shaking hands. Let's add more over here. I have added a lot over there. I am going to add another bigger one that starts there and goes smaller. I have added one there. Then let's add another one there. I know this one is very simple, isn't it? If you get the hang of it, then it's very simple. I feel that some days we should be able to create a gorgeous masterpiece even if it is very simple and just look at it and smile. That's a very great, beautiful feeling, isn't it? Some more. We're going to create a lot more smaller branches to these ones. Very small, not even visible on the paper. Might not be visible on the camera very clearly. Let me show it to you up-close. Can you see them? They are very small and light. Just add them, the same to the areas here. I'm just adding some smaller ones and a lot of them just adding them. That's basically it. I've added a lot to that region. Now there is just one thing that I would have loved to add a glow to it, just afraid that we might ruin it. But if you want to try, in order to add the glow, make sure that your brush is clear, doesn't have a lot of any other paint. I still have a bluish tone which is why I don't want you do it. What you would do it is just run over. Actually see, it's nice. You're pulling off some of that white tone. Not all. I think that's enough. Even there I have the glow. See. With a plain brush, damp brush, if you just run over, you get that little extra volume on top of the white. That itself is very beautiful because you get that glow, but that also means that you're pulling off some of the white. Just make sure that once it's dry, go over the top once again with a little amount of white paint. Now you see, it's got that white and it's got that glow as well. You can actually do this for the whole of your painting. Don't worry, you won't ruin it, trust me. If you might have this doubt, why am I not doing it then? Let's just do it. I'm going to go around onto the very bottom. I want to add that glow. See, I did not ruin it. I just added that glow of white all around. Because I pulled out paint, I just need to run my brush with white on top again. That's our beautiful lightning painting. Actually, that's all. Today, I definitely finished it faster. My clock says 20 minutes. [LAUGHTER] Oh, isn't this gorgeous? I love the colors on this one. I hope you got this right and I hope you like this. There's the final painting. 87. Day 71 - Fireworks: The colors we need today are a pink or crimson, violet, Payne's gray, Indian yellow, Indian gold, scarlet, cobalt blue, and white watercolors or white gouache. For this painting, we are going to have a horizon line. We'll have the horizon line somewhere at, two by thirds of the paper at the bottom. Let's draw that line. That is all for the pencil sketch of this painting. Let us start. We're going to paint the whole of our sky and the whole of our paper. Just let's apply the water to the whole of our paper. It's going to be super fun. This one, let's apply the water to the whole of our paper. There I am applying water. There I have applied the water and it is evenly applied onto my paper. Let us start painting. We are going to start with slide pink tone, and I am just going to apply that pink tone onto my paper just randomly. Can you see just and I'm holding like almost away from the ferrule of the brush. It's my strokes are very loose. I don't want it to be any detail so you can see how loosely I am doing that. Then I've washed my brush and I'm going to pick up some violet and I'm going to do the same. Just some violet shade. I will add to my paper at random places in between the pink shade. There I've applied the violet at certain places. Then I'll take some yellow. Also I'll apply some yellow. I think I'll go with Indian gold, which is much better shade. I will apply some gold shade to the bottom. Once that is done, now I'll take Payne's gray for applying to the edges. This is the night part of our fireworks. The night part, we'll paint it with Payne's gray. The dark depth part of the night, we're painting with Payne's gray. Pick up Payne's gray. Nice and dark. Go with black, if your Payne's gray is not as dark as mine, remember that and they're applying it. You can see and also I'm applying it towards the bottom. Any place where you want your night to be dark and seen that's where you are applying your Payne's gray. Mine is getting lighter, so let me add some more. I will add in some areas between, and I will blend it along with the violet. We don't want a lot of those. The whole thing should look blended and it shouldn't appear straight out into clearly visible. I've added more Payne's gray and I will add it to the sky so that it's dark and deep dark. You can see I've added more concentrated version of Payne's gray and it's now extremely dark towards the sides. Now I know it looks odd, but we're going to blend it. Let's now take violet again and we are going to blend along the edges. Violet, so it's just some shades that we wanted. That's why we start with a lighter shade and we'll move on to darker shades. There violet. We've added violet. Now let's get to the crimson again to go with a nice concentrated amount of crimson this time. We are blending that along with the violet. They're creating that beautiful blend. We just want to blend together nicely. Then let me go with my Indian gold now and I will blend that at the bottom. It's going to blend with the crimson to form like an orange shade and with the Payne's gray, it'll bend to form like a dark brownish shade, but that's fine. Now is the interesting part. What we're going to do is we're going to pick up our Indian yellow first. We're going to add in these vertical strokes towards the bottom. You see the strokes are vertical. Then we'll take the pink and we'll add those vertical strokes again. All of these strokes, make sure they are vertical, see that like that. Vertical strokes. We'll also add some purple, we'll make them vertical strokes. Then towards the edges go for Payne's gray. The paper is starting to dry so I have to be quick and make these stroke. You can see in my brush there is some little amount of pink. That's why I'm getting these little pinkish shade, but that's all right. Here I am adding at the bottom again. Go for a darker shades towards the left side. Only along the horizon, the horizon line is there. From there is where you have to follow these vertical lines towards the bottom. Also have your paper holding at an angle like that. Make sure that it's there and just bring down your paint like that. The same here. Bring down your paint at the horizon, make sure that the edge is dark. You can add some darker colors towards the edge if that's missing. I have added paints. Let me add some more now. Taking that in yellow, and adding towards the horizon. That's the horizon line. I've added a line like that. Then now I'll pull down the paints again, then crimson towards the bottom. Then violet at the extreme bottom, some violet paints. That's a lot of little detailing that we have added. Now this is the whole thing is the background. We have to wait for it to dry. I'm just applying a little bit more of paint there because I feel it's starting to dry and also my paper is getting lighter there. I've applied some strokes and I'm blending it with the rest. I'm getting the stroke marks because my paper has started to dry. But that's really all right. There, that's our background layer. Let's wait for this to dry. There it's completely dry. Now one thing that we need to do is make sure that we get that water line for our horizon. We have that line that we did with the pencil sketch. I can see in mine, maybe I can show it to you up close, you see that line? That line is what we need to get back. I'm just using water on my brush and I am running along like that, see? Just one line. You can also go vertical strokes again so that the strokes are vertical and you preserve those strokes that you did. Make sure that you go vertical itself. I think that's much better in order for us to preserve the vertical strokes that we did. Let's go vertical. There, vertical strokes. That's the vertical strokes we've done. Reapplying the water on that horizon line makes sure that the water is brought out into the foreground. Then we'll take our small brush and using Payne's gray, which is going to add in some strokes, some lines. As usual, the way we used to paint water, so dark towards the left, smaller as you go towards the horizon. Here, just smaller lines. Very small, make sure they are small lines. A lot of these smaller lines, and towards the top, I'll make sure that I make them as small and very little. I don't want long lines at my horizon. There. I have added the water. Now it looks like water itself. The next thing that we're going to do is let us pick up Payne's gray, and on top of the horizon, we're just going to add some sort of land, or I don't know. Maybe there's some buildings there, some land, but we don't know. But this is going to be top of the horizon. Straight on top of the horizon. Some of the paint will flow into the water, but that's literally all right, let it flow. I'm going to add all the way to the right side. Maybe you can add some vertical strokes like that. It might looks like some building or something of that sort that's there, we don't know. That's for the foreground. Now let's wait for it to completely dry. It's dry, now we are going to add in the fireworks. Here comes the most exciting part. What we're going to do is, first, let's take some scarlet red. Make sure that you take a concentrated amount of red in your brush, a lot of red, and here we start. Note how I am doing this. We'll make some shapes like that. See, I've made some shapes like that into my sky. I'm going to make that in a circular shape. There. I've made some lines. Let's leave it at that. Now it is the time for our white gouache or white watercolors, and to do a lot of mixing. Let's see how we can do that. Here is my palette. We need our white paint. Let's take the white paint. I'm making this come loose, it's hardened up, let me loosen that up. That is loosened up nice. Well, so now I'll go with my smaller size 1 brush. Bigger brush, but remember, just use the smallest size brush that you have. A size 0 or size 1, typically, or even smaller than that, you just need a pointed tip. Then using that pointed tip, we're going to add in the fireworks. You know where we added those red. From the red, add some line to the center. Do that in all the directions. Don't join them at the center, but rather, just like that. See, so that already looks like a firework, so you see why I added those red spots. You could do it the other way around as well, but then the white needs to come on top of the red. This is the reason why I added the red first. Then in-between these, just add some smaller lines maybe for the smaller parts of the fireworks. There. That's one of the firework. Now let's add more. More and more fireworks, more beautiful this is. How about we add something here. For adding something there, I'm going to make this one straight. From the center, lots of lines. Leave a slight gap in the middle. Just make these lines. Now we've added lots of those lines. Now let's add smaller and bigger lines. See, I'm adding smaller lines, bigger lines, just lines in different directions. That's one. Then this is not done yet. Now what we need to do is add the end to each of those lines. That would make it more like the fireworks splitting out. Make it for each of the lines, let it have that firework line. Just a small line, do you see that? I'm using the tip of my brush and using it to make these lines. That's another firework added. How about we bring some color into our fireworks. I think I want to add more to this, because it looks just alone, and I'm doing that thing again with my hand. I've seen artists, actually put a dry tissue like that on the paper and paint. It's much helpful. I should do that too. I'm going to add more lines to this one. Just some small lines, I think, wouldn't mind to make it interesting. That's much better. I like it now. Let's add. Now, let's make this more interesting, like I said. What I'm going to do is I am going to take my white paint, and there's already some blue, so I'm going to reuse it. This is cobalt blue. Just go ahead and add white to your cobalt blue, mixing white with cobalt blue so that you get like a bluish white. Note one thing. When we are adding white and making these veins, there is never a possibility for us to get blue tone itself to paint in the sky. Some of the colors that are big enough to appear on the sky are cadmium yellow, cadmium red, cadmium orange, or there is top with green, but there is a green, I forgot the name. Yes, cobalt green. Those colors are really opaque and would appear on top of the sky. If you have those colors, you can actually use them directly or mix even a little amount of white. Little amount of white is enough to make those colors pop out. Here, we have added a blue tone. Let's blue. We'll get a bluish shade now. How about we add some bluish fireworks in this side? It's just different amount. I am adding the fireworks in this manner. Just adding these lines, separating out from the center and just add a lot of those lines, lots, lots. I still have a lot of time. I always keep an eye on my time to make sure that I'm not running out. Isn't it really unfair? I promised this would be less than 30 minutes and imagine that we're going around to more than 30 minutes. Oh, I can't imagine. We already did that for the boats and I don't want that to happen again. That's why I keep checking the time to make sure. We have a blue firework over there. I want to add some white in-between that, so already mixed here. Let me take some white, and I'll add some white to the top of that one. It looks like a multi-colored firewall kind. See that one? It's got white at the top and bluish tone at the bottom. Similarly, you'll be able to add a lot of different colors. Shall we add one more there? Yes l feel I should add, and this time I want to add a yellow one. Here is some yellow and I want to mix with it on my palette. We'll go with either Indian gold or Indian yellow and mix it with white in order to get a beautiful light yellow tone. The white makes the yellow transparent, which will make it appear on the paper. Here I have applied the white, and I'm going to apply here in this part. I think I'll make it like that one. From the center and obviously these lines can overlap, so it's fine, just keep adding a lot of those lines. They can overlap. There's no problem and fireworks overlap because they're just firecrackers, they burst in the sky so they can overlap at places. Like here, these ones are touching. I have added, let me know add the end to those fireworks. Now, we have four different fireworks in the sky. Just using this yellow paint, I'm just going to do something else. I am going to add some little drops of yellow paint onto my land region. See, I love this about already. It looks as though it's in some far off city with so many lights, isn't it? This is what we are going to do. We're going to add some lights on them. This detailing mix looks so beautiful. See? Oh my God. It's the same white and yellow mixture that we have added, and added on top of that black area that you added. This is the reason why I wanted to add them so it's like some far off city there. Here, there are some buildings. We add some vertical ones as well. Let me show you up close so you'll see. Adding some closer and smaller ones. It's just using the tip of my brush. I have added some smaller ones. This looks more and more really beautiful, isn't it? Let's do one more thing. Let's add some lines from the ground area just to show as if there are still fireworks that is climbing. There's one going all the way. It's still going, it's going to break. That one, it's still going to break, that one, it's still there. Let's add here some lines from the center. That's why this region has got a lot of smoke because of the firework is bursting out from the center of the city, so this is the reason why it's yellow there. That's the reason why we painted yellow. Then the sky is all glowing up because of the blue and the pink and because of all these fireworks. I hope you like it. The last thing that we can do is don't go too much into it, but I feel maybe we should try it. Just some white and maybe some little lines on the water, because these fireworks need to have a reflection on the water because it's water. Let's see. This firework, I will add some lines, not a lot of it, just some very light lines. I know you can't even see it, let me show it to you up close. See, very little amount of light and the same for all the other ones. Note, even a lot to my brushes are almost drying, so those strokes are even almost a dry brush stroke that I am getting. You can actually pick up that little amount of yellow to add in that stroke at the water. See, now in that little amount of reflection is there. Let's do the same for this one. When painting on the right one, we have to be very careful because this is actually on top of the black area, the Payne's gray. That's yellow on my brush. I finished it at exactly 30. That's it. Let us remove the tape, there you go. I hope you like this one. Today is fireworks' day. 88. Day 72 - Street Lamp: The colors we need today are Indian yellow, Indian gold, sepia, indigo, Payne's gray, and burnt sienna. We also need some whitewash or white watercolors. Today we are going to do lantern. That would be the last one for the topic light. Just a lantern on this right side. You've already seen the final picture. Let's just sketch the lantern. Something like that. See the shape I have made. Then we'll make the base of the lantern. That's going to be downwards there. Then somebody like that and this can be the main face lantern. That's why I'm drawing that first. Let's extend that all the way down. That's the first one. Now we'll have some more extra lantern on this one. Let's have the second one somewhere here. That again will do the sketch. Let me just rub that off. I want to show it to you properly. Start from the base of that. The same shape that we made here, that is what we will be making. There, I've made that half hexagon shape. Then let's create the angled face. Let's make that join onto this one like in a car. See how I've joined that one? I think that's too small. Let me make that slightly bigger. I think that's much better. Let's do the same. We've joined that. Let's just create the shape for the lantern itself so that you give it a beautiful shape. Something like that and then let me show it to a close. I added another, something like that. Let's have one more lantern here. I think this time I'll start somewhere here. The flat portion again, the half part of the hexagon, and then the base. That's too thin a lantern. Let's make it not too thin. That's much better that's the next one. That next one, again, let's have it showing into the same place, but this time make good lengthier. This shows as if that lantern is facing in a slightly angled direction. That's what it shows. So then, we've added that now let's add the [inaudible] base like that. This one is already joined up, and then we need the thing parallel to this. Something of that sort. I really don't know what kind of lantern it is, but yeah, just some lantern shape that we are making. Maybe we'll have another shape or something there. I get this one is on the other side. You have the [inaudible] shape here. This is the lantern. Now let's just cover it up. I know the pencil sketch of this one is the most lengthiest. But once we're done with the sketch, it should be much easier. Then we have the lines there. Then let's add just like a crown or head to the lantern. Not much detailed, but you can see just a little crowny shape. That's our lantern for today. That's just a pencil sketch that we want. For the base, you can actually have it go bigger towards the base. You know, it just needs to have a solid base for it to be standing there is the the lamp post has to be solid. That's why it's going bigger towards the bottom. This is now the main sketch. Let's start painting. For starting to paint, what we are going to do is we're going to apply water to the whole of the paper. Don't worry about any surface at the moment. Just apply water to the whole of your paper. As usual make sure to apply the water evenly on your paper. There. I am applying the water evenly and I'm making sure that I apply multiple times so that my paper stays wet long enough for me to work on the wet on wet technique. Make sure you cover the edges nicely. I think that's good enough for me right now. I'll switch to my Size 2 brush as usual and I will get to painting. I am going to start with Indian yellow at first. That's my Indian yellow shade and I will start at the lantern area. Just applying inside the lantern. Don't bother about it's spreading out, it doesn't matter. You can see I've painted the left and the right side and that middle part I've left it white. I don't know if it's going to spread out and eventually spread to the whole of my lantern, but I got to give it a try. Here I've applied and I've left a huge chunk of white there, so let's see. I'll do the same for all my lanterns. That's a good coverage for now. I wash off that Indian yellow and now I'm going to take an Indian gold shade. So go for orange plus yellow shade. You can mix a little bit of brown to it if you want, and I will apply it to this left side. So just a little bit to the left side of my lantern and also maybe to the top there. This lantern, the yellow has spread. Let me try clearing it out with my brush so that it doesn't read, and so does here. I'm just clearing out so that that white area can be preserved. That's what I'm trying to do. There, that's much better. Now let's paint the rest of the sky. That is the rest of the areas in our paper. What we are going to do is, we're going to go for like a mix of indigo and sepia shade. Here I've got indigo and I will apply to this left corner. That's what I'm going to be applying, so it's indigo. Indigo all the way in all the left places. So darker indigo towards the left. Darker indigo towards the left side. Just cover the whole of that area. Then I'll wash that off and now I'll go with sepia. Here, pick up a nice amount of sepia and just blend it along with that indigo and also apply it right next to the lantern area. Make sure that you blend it nicely with the indigo. It's going to create like a brownish, bluish tone. Just paint and also the whole of the right side. The whole of my right side. Here, when you reach the lamp, be careful. Just go along the edge of the lamp only, don't apply on top of the lamp. Just when you reach the lamp, just be careful to go along the edge of the lamp. There are some yellow that's flown out, but that's all right, we'll just keep addition to that glow in our painting. There. Then you can actually paint that crown shape of our lantern. Paint on top of it as well, that's fine. Towards this side, again, onto the crown. Cover up the crown of the lantern, it's fine. This side again, avoiding the lantern itself; at least the yellow region. The rest of the regions, you can actually apply the paint it's not a problem. Now, because of paper has actually lost the amount of water that we had applied at first, so you can see it's not spreading a lot like the yellow had spread out. That's why it's okay to paint the whole thing. So now I'm going to go with another layer because my indigo towards the left side is starting to dry and I want to make it more prominent. So here I am taking more indigo and adding to my paper. I've taken more indigo and I've added to those regions. There. We don't want that clear separation between the indigo and the brown so let's take more brown and add it. I think I've dropped water there. While I was dipping my brush in water, that just slashed here, that's right. Here the up, under the edge of my lamp. When you apply your color like that, you'll see that it doesn't spread a lot towards the yellow regions but also when you are able to blend nicely with the indigo. Don't make it too dark here, otherwise you'll not be able to see the pencil sketch in the end just so that your paint blends nicely with the indigo. You can see how it blends. I just don't want it to have separation between the indigo and the brown, that's why I am doing this. I have added that little glow. What you can do is you can pick up a little more of the Indian gold shade and apply it to the areas around the light so that you know, it's a little bit glowing in those areas like here you can see I'm adding that Indian gold into my brown. You can see that below here in this area. Just use a little bit of gold paint and apply it at certain places on the dawn so that it adds to that gold. Now, what I want to do is towards this left side because it looks kind of blank, I am just going to dip my hand in water. I'm just going to add a little teeny tiny amount of splatters. See. Just do that. I mean, dip your hand in water, do it with your hand because it's just more better when you do the splatters with your hands. Witth this with the brush, I think that it's uniform. I found this new method to add the splatters, which was much better than with the brush. If you've accidentally dropped to these areas, see there's one splatter there. I'm just going to pick up some Indian gold and blend it in that area because I don't want to splatter there. If there are areas that you don't want splatters and it's called the splatters, just pick up some Indian gold and mix it. You've got the splatters to the left side. I think what I'm going to do is I'm going to add maybe something to the left side such that it looks more interesting. I'll go with payne's gray and I'll just maybe, add some shapes. Just some darkness and it's just going to look dark, but then it just makes it look as though there are some things within those blue regions. Something there. Okay, so just adding some things. I've just added some, I really have no idea, but I'm just trying to make the background look much better. Adding some colors at random. Just so that it doesn't look like something. So this is just it looks as though there is something in the background now. That's what I'm trying to do. Now all we have to do is we have to paint the main lamp itself, lamppost. I actually do this with a wet on wet itself so that we can bring out the details later on. My paper has almost started to dry. You can see the amount of water. This area is now almost really dry. The amount of paint that I am going to take is very less. I'm going to with sepia. Actually before that, let's add the glow on the lamppost as well. For adding that glow, I'll go with Indian gold and observe the concentrated color that I'm picking. It's just literally no water on my brush. There's no water on my brush. That's what I am going to apply. I have applied it to the end of my lamp to just one side. It's just I am trying to add the lights here, the lighter areas because of the shadow from the lamb itself. That's what this is. Let me show it to you up close. You remember that we had something here and another mark here. Those are the areas in which I am trying to add that golden shade. Maybe something here. Then on this. We added that glow to those places. Now we'll get to painting the lamppost itself. Let's go with sepia. I'm taking concentrated amount of sepia, again, no water and lots of paint. That's what we will use. Here, using that, I am tracing along, the lamp itself. That's the main lamp. Let's go all the way down. The thing is just a little wet. Make sure that it's not too wet so that it spreads out a lot. By now, you've had a lot of lessons on water control. I hope that this is fine. Otherwise just try it out multiple times. You will get to know the correct amount of water to do this. The best exercise is to try this on a different sheet of paper and see when the paper actually starts to dry. There I have added. Now you can see how that glow comes out. See the Indian gold on the side. The same way we are going to do for this part of the lamp as well. So let's paint that. This is sepia, if you don't have sepia, mix it with a little bit of brown with black, you'll get sepia. I've added the lamp area, let's join the bases of lamp. Then there was something here. That appears in front of the lamp, so it's fine. Actually this is just some shapes on that lamp, some designs. We actually don't know what kind of designs they are, but just some random design. Now, how about we create some in here? Because I've seen lamppost like that. Now we have added the main things. What we have to do is to make sure that we wait for this to dry. I'm also feeling I should add a little bit of water drops to this side. I've just added few more drops to that side, and quite some drops here, but I'm just going to blend that onto my paper. Now we'll wait for this to completely dry. All of this is now completely dried. What we are going to do is we're going to take some burnt sienna. Now we're going to paint the head of those lamps itself. Using burnt sienna, I am painting the top head of the lamp. Then I'm going to take sepia again and I'll cover the head of the lamp. Just mimic some designs. See that, and I will apply the paint. Because your burnt sienna is still wet, the sepia would flow into that region and just blend along naturally. You will see that. Let it go on the top and blend in. Naturally, it's fine. We'll just keep on taking the burnt sienna and these lines. The lines on the lamp with burnt sienna at first and then sepia towards the bottom, and just join along with more sepia at the bottom. See, that's one amazing looking lamp, isn't it? This is what we're going to do for all the three lamps. Here, burnt sienna at the top. Then sepia for the head. I'm literally just creating something with my brush for the crown shape of the head and just joining towards the edge of that burnt sienna so that your sepia and burnt sienna looks as though they are one. It's got that glow in that part. Then we go for burnt sienna again. Then sepia at the bottom. The same thing for the other lamp. The other lamp is behind this lamp area. You could be doing it behind. There's the sepia crown head. There, then what else? That's adding the base. Every time I think I would do it faster then I end up with no time. There we've added the lamps. It's already looking really beautiful. Because I want to add something to this painting to make it more interesting, we are going to add some snow to our lamppost, so I just want to make sure that this is like a snowy thing. Let's just take some white paint and make sure that your paint is nice and diluted because we want some larger snowflakes and some smallest snowflakes. Drop that onto the paper so that you know that invalid details here doesn't look more prominent. Not too much. Make smaller snowflakes towards the right. Large ones to the left. I've got some larger ones and then I've got some smaller ones. See now the left part doesn't look so bad and we have the light more prominent. In fact, actually, I'm done with it's just saying 30 minutes off the clock. This is our lamppost. Even I was panicking at first when I was beginning and I thought I ruined it when I added those splatters the second time. But I now love it really. It's just really experimenting. This is like straight out of my head, there's no reference for this, and I love the way that this has turned out. Let's remove the tape. I also liked the way where I decided to make this with the wet on wet technique. It looks as though it's a snowy day in the background because the snow is what the person is seen and the rest of the things are the background, although the light is the main feature. We have the lighter spots here for the light, the mix here. But the lamppost is a little blurred, but not too much, not too spread out. The main thing is to just get the key. That is the right consistency for the lamppost. That's what's most important in this painting. There you go. I hope you like it. 89. End of Week 12 - Light :): It's end of Week 12. Can you believe it's already 12 weeks of painting? The week light is now over, and here are the six paintings that we did. We started with fire, and then we did this firecracker, some string lights in the sky, lightning in the sky, fireworks, and as street lamp. I loved this theme light mainly because of the different variety of topics that I could cover. I actually had so much in mind, maybe some Chinese lights and so many that I wanted to try. Maybe I'll leave them as reference pictures for you to try out for the theme light. 90. Day 73 - Lavender Field: The colors we need today are Rose, Violet, Sap Green, and Dark Green. Are you ready for this week's theme on flowers and flower flower? Let us start with our first one, there is no pencil sketch, we are just going to start directly. Let's apply water to the whole of our paper. Apply the water evenly and make sure that your paper can stay wet long enough for you to work on-wet technique. The edges nicely, here I have applied the water, so now we'll get to painting. We are going to start with a rose or quinacridone rose shade, so pick up any rose shade and just apply it onto the paper. I'm applying it to my edges and my strokes are vertical, you can see that. I will apply to all the sides, don't apply in the center. In the center, come all the way down and you can see the lighter tone that I am applying, so use a lighter tone. I've given it that base coat of being that I wanted so the middle area here is white. You can see that. Then we go with our next color, which is going to be violet. I'm going to be adding some violet on the top. You can see some violet on the top, so don't make it too much, just a lighter tone of violet again and this is what we are adding. You can see we have that piece being shade, and then we have that little violet shade. It's good to have that pink in the background. Then we have now added the violet shade. Now we have added the whiter shade, what we're going to do is we're going to go for green. I want to make sap green. You already know by now, my green is dark, so I usually mix it with yellow to get sap green and there I have sap green and I will apply this at the bottom. Only if your violet is light, would you get this green on your paper otherwise, it will turn brown because violet and green creates a beautiful brown so we have to be very careful. A sap green, so that's why you'll have to make sure that the violet that you applied is lighter. If you applied a darker violet, then you wouldn't. You can already see it's an olive green color, this is because of the violet, so, but olive green color at the bottom is actually fine because we get that little olive green base for our flowers. That's actually fine, so I've added the base green to the whole end of my paper. Now I'll go with more greens. Maybe, just some, not whole, just in some areas. You can see I'm leaving some gaps and then adding those greens. I have added the greens, now while our paper is still wet, we have to now start making the other ones. Here is my smallest size brush. Switch to a very smaller size brush. Actually, I think I'm going to go with the synthetic brush because that holds lesser water, so here's my synthetic, this is a size two brush. If you're not using expensive brushes then the brush that you have, most likely is a synthetic one. Trust me, everyone usually has a synthetic brush because those are the brushes that you actually started with and they are synthetic, they're not natural hair ones. The first thing we're going to do is we are going to start with violet. Here is violet, so pick up a nice violet paint in your brush and we are going to create some flower shapes, so see, like that. It's just something that goes in the background. Make sure that there's no too much water. If there's too much water you would have it spread out too much. Like that, see and make it slightly bigger at the bottom. It's like drawing a pine tree, even the wet-on-wet technique, but just starting out in the air, that's what you are doing so let's add that in different height. Just like again, just like you would do for a pine tree then you're adding them, wouldn't you add them as standing out in the air, like that. I mean, when you draw the pine tree, you draw them in different heights, that's what you would do. Let's just add them and let's add them in different directions. Let's add one here. I've added one there, so it's all using the wet-on-wet technique. Can see that. Let's just keep adding a lot of it. I'm adding them in different directions, different heights, different lengths. Just add as many as you can. Just lavender fields. We've added a lot of them. Now what we can do is we can add some more in the background this time. Now, what I'm going to do is I'm switching to my size four brush that is a little bigger brush and pick up some violet, make sure that there's not too much water. That's why I'm dabbing off the extra water and I'm just adding some strokes in the background because I feel that these areas look a little empty. So just adding but see the stroke that I added. It's much lighter shade than the ones that I actually made. You can have certain darker spots, but not too much. That's it for the ace. When I'm done here, there's one thing that we now need to do. I'm switching to my synthetic brush again and I will take sap green. Take a nice amount of sap green. Again, make sure there's not a lot of water on your brush. Using that sap green, I will add a base to each of my lavenders. Even though they're far away, they need to have a base. That's why use your sap green and just draw some lines and make them join towards the bottom. Let them be in different directions. They may not be in the same direction. You can see some of them are like this, some of them are in different, towards right, towards the left. But just make sure that you do have a base for each of them. Also some of them, you can actually have the base in the middle. I think that's really enough for the major chunk of the background work or actually if you want, I'm just tempted to do this. You can add few little ones with pink just to make this interesting, but not mandatory. Only if your paper is still wet. If your paper is not wet, don't go adding more because you're just going to spread the whole thing and you're going to create dark edges. In order to avoid that, don't add these pink ones. Only add them if it be pretty wet. Mine is still wet. This is the reason why I'm adding them. That's really enough, but I need to add the base. Here I'm taking the green, and adding a base. Now we wait for this whole thing to dry. Let's wait for this whole background to dry. There you go. This is now completely dried and we are now going to add in some more of these wild lavender flowers. First, I am going to go with diluted consistency of violet. You can see how diluted it is. It's got a lot of water which is why it moves around like that. Let me remove excess water from my brush and we are going to add some flowers. Oh my God, not again, see as usual, I have pain in my hand. Now, where is this from? I have no idea. Wherever it is from, I've dropped a paint there. I'll cover it up with a flower later on. We add these flowers. Just add them like that. Let me show it to you up close how we do that. Let's add one here. It's adding these small spots and making sure that they are thinner towards the top and then do the same towards the right side, but thinner towards the top. See that and in the middle, we'll join them with a line so don't worry about that. Just this, keep adding a lot of these flowers. This is just me trying to make it quicker. You can actually go and if you're doing this on a larger sheet of paper, you would take much time to add the detail into each of these flowers. But since we're just doing it really quick, and this is a 30 minute session. That's why we're going through smaller, not too much details ones. Add those lavender flowers in different levels. Also you can go in front of the ones that you've already made because those are in the background and these ones come out to the front. So this is the hardest task that is to sit and add all of these flowers in the foreground. Just going on adding as many I can make. I've added so many to the foreground now. Let me just add a base to each of them. Here is my sap green and what I will do with the sap green is remember I said we will add it inside, so just draw like a stem in the center. Center of each of them, a stem in the center. Now let's join them to the bottom. You don't have to fill up all the way to the bottom, so just make them joining somewhere to this messy place here. We will cover it up later on, so for now, let's just add the base for each of the ones that we added. I have added a lot of them now, so I'm going to add a lot more and now I'm going to make the detailed once, that's where I'll cover up this big mess. That's a bit pad darker than the ones that we've already done. Now we'll add those. Adding bigger ones now, and you can add them in different directions, different places. Nothing there, nothing on the hand. Where else do I add? Let's make a big one here at the top. How about some here in the front? Another one here maybe. Maybe we will add some pink ones. Let's get pink. I'm taking a dark concentrated amount of pink that's why it appears on top of this and the whole thing was a background, so we're now working in the foreground with our strokes. I think I have added enough of those, so let's get to painting the grass. Here is me making my sap green and I'll go through the center of each. That one extend all the way down. Where is another one? That's another one, another one here, and now the pink ones. Now I have added the base for all of them, so now we just need to make more grass. For adding more grass, here is my green, and we are going to do this so make these thinner strokes upwards in different directions. They need not be in the same direction, so we'll just add as many thin lines you can. I'm just going on adding a lot of these grass. Now, we've added the grass with the sap green, now let's go with a little tad more darker green. Here I've mixed my dark green a little, so if you want to mix a darker green, either mix it with black or indigo, or you can even actually mix it with burnt sienna. This was actually suggested by one of my students. Well, actually, if you mix green and a brown together, you can actually mute down the green bit more. That's adding green to the existing ones. That's the base done. In order to make this interesting, what you can do is you can add some green splatters at the bottom, just a little amount of green splatters at the bottom. Trust me, there are a lot of ways to do this. You can go on adding more details to this, and also if this was bigger, I would paint these leaves of the lavender more detailed manner or this was like a picture which has got a lot of lavenders in one frame. You could also just take this little frame and paint it larger, so then you would paint each of these lavenders in a more detailed manner. This was just me trying to show you how you can paint a larger section of lavender fields in a smaller frame. This is done. Let us remove our tape. This is the first time I finished something so earlier in so many days. Here's our final painting. I hope you like it 91. Day 74 - Flower Field: The colors we need today are Indian yellow, Indian gold, sepia, dark green, sap green, scarlet, and orange. Let us make the pencil sketch for this one. So here we are going to have a horizon line somewhere at the top around maybe one by third of the paper as usual. So here I have my horizon line and below that are going to be the flower fields. So we're not going to draw too much detailing but I just want to draw some of the larger flowers. Let's say we have a larger flower here. So that could be maybe one of the larger flowers. So just add some of the larger flowers in the picture so that it's there and those are the larger ones. Maybe some here. I don't know what these shapes are but I just maybe did some shapes when we add them as flowers maybe it might make more sense. So just some shapes that I have added and we'll get to painting. So let's paint the sky region first. That is the far off area behind the horizon line. So here I am applying the water evenly onto my paper. So I think that's enough water on my paper that I have applied and now I'll start painting. So I am going to start with Indian yellow, my yellow color as usual, and I will apply that at the top. So here I am applying yellow at the top. Then I'm going to go for orange. So the next color is orange and I will apply this right above the horizon line following along the line and I will blend this with my yellow. So there that color is now blended. So we have a nice blended area at the top. I'm just going to add in some little clouds maybe at the top and for adding those clouds what I'm going to do is I am going to take orange and I'll mix Indian gold with it. So all you need to do is mix yellow with your orange, that's it and you will get this color. Actually you don't need Indian gold itself. I am just adding some smaller shapes in the sky. You can see I'm using a smaller size brush, so go for a smaller size brush. So using that smaller size brush I have added some cloudy formed shapes and I will do that a lot towards the left side. There I've added more and towards this bottom regions I will make them smaller. See, I've added a lot of smaller ones. So I've added smaller ones there. Let me just add some more at the top. So that's now good enough I think. I have added the glow that I wanted. Now the main thing is to now go and paint the flowers on the field area. So let us now paint the field. So for painting the field, what I am going to do is I am going to apply the water on to my paper. I'm just going to skip these larger flowers that I sketched out but I will apply the water towards the bottom of my horizon and it's okay even if you touch there and your orange paint is just going to flow down, that's fine. So skipping the regions of my pencil sketch the other regions I will just apply water. Here I have applied the water. So before I forget there are something that I just want to add. So that's going to be, I am going to take sepia and I'm just going to add some little shapes in the horizon. So that's why I'm using a smaller size brush and just add, it might be some far off trees or something that's there in the background. So I'm using sepia to add that on to my orange. That looks much better. Maybe we can add some lone trees in certain areas there. So see, we've added something to the far off horizon and since we've now added water to the area below our horizon line we are going to paint those regions. So let us see how we can start. I am going to start with yellow. I've applied yellow and I am going to apply it right below my horizon. I'm holding the paper at an angle here so that when I touch the horizon line all of those paint instead of flowing up would flow down instead. So we only want it to flow down, so this is the reason. So you can see the sepia is flowing down. It's alright. Here I have added the teeny tiny amount of yellow to this center region. So that's a lot of yellow that I've applied. Then next color that we are going to take is we're going to go for green. So I will take my green and I will apply it instead I blend it along with the yellow that I applied. So you can see that yellow glow in the middle and then my green is just going to blend into that yellow. So there's my green and I am blending it. So see now we have blended it and the middle portion looks as though there is some glow of yellow there. So remember I think we already painted a mountain like this in, I think that was Week 3 when we added a little bit of glow to the mountain. So this is how I usually do the glow. So we've added a lot of green, now let's add more green to the other regions. That is the regions where there is our flower. So let's just add the green around our flowers that we sketched. We need the greens to be darker towards the bottom, so when you reach towards the bottom make sure that it's dark. So you can see I'm using a darker paint here at the bottom. So I've gone over some little parts of the flower, that's fine. We'll paint that later on. No need to be afraid of if you've gone over the flower area. So that's basically it. I have covered all of the parts. Now I just need to apply one more time to ensure that there is enough color in my painting. So green towards the left. Now let me take more green and I will apply it towards the bottom. So darker greens towards the bottom. You can see, I have applied the green towards the bottom and lighter towards the middle, that's how we should be doing it, so here that's why I'm taking more green and as I go upwards, my strokes are lighter and they blend along nicely. Now we have added in the green paints. Now, all we have to do is, we have to wait for this whole thing to dry. I just noted something. My background, just even though I held my paper, it spread all the way to the top. What I'm going to do is, I am going to take my brush and run it along and mix it. See, I add water so that the harsh line is gone. This is only because my sky area is ruined, so if yours is not, you did need not, do this. Let me just spread that out, I take some more orange and I apply it at the base there. That should get rid of any extra. Thanks. See where it got ruined because the water from the background spread to the top. I got rid of that and I applied paint into my sky. Now this paint can flow down. It's not going to affect my bottom part because it's still wet. That's much better. Now, I will dry the whole thing, and will add in the flowers. Here is everything now dry down, so I go to my synthetic smallest size two brush and what we are now going to use is, we're going to use scarlet. Now this is quite tricky because you need red that is opaque in color. Opaque is a property of watercolor, so it's the opacity or transparency. If you're using transparent red, it wouldn't work out because it would mix with the base color. But if it's like a red light, cadmium red, scarlet, or you can actually check the tube to find out if it is opaque or not. Let me see how I can show you how, where it mentions the opacity of the color. Let's say I have these tubes. Where does it mention? If you look at the tube, you should actually be able to see it mentioned that, it doesn't say I can't find it in this ShinHan tube. Let's see white nights. Yeah, I can actually see it. If you look at the white night one. Not clear. You see that small box there, it shows half filled. That means this is semi-opaque or semi-transparent. I think you go with the first one, so this is semi-transparent. If it is opaque, the whole box would be colored in your paints. That is an opaque pigment, so we actually need opaque pigment, but I'm sure you can try this out with any red that you have. Let's go with this red shade this is, scarlet. Now what we're going to do is we are going to drop in. This is the hardest task in this painting. That is, we are going to drop in this red paint on to our flower field. Again, this is also an opportunity for you to fill in any dark edges or mistakes that you did when you were doing these blends, cover them up with flowers. It's very tedious task, but then you've got this it, and cover entire field with flowers. Don't paint the middle for now, let's leave the middle out. I'm adding these smaller dots, see that? It appears on top of the green because my pigment is opaque. That's a red shade that I'm using so that is which one is it? Let me just check which one is it. I think it's rose matter, or is it permanent red? It's permanent read from our Philosophy goal. Does it say the opacity? I can't find it in the tube maybe you're not looking close enough. I don't want to be wasting time on that, I can't find it, but think it is opaque enough, that's why it's appearing nicely. Let's do this. Make sure to close because these are really small. It takes a whole lot of time to do these ones. You can actually leave sudden gaps, a little gaps at certain places. Just adding some in the middle, they will add it later on. For now, let's add towards the sides. Now I've added a lot towards the background, so now next when you're adding, try adding them little bigger. See, it's a little bigger than the one that we did previously. The next line make them slightly bigger again, and this time actually you can go for different zigzag manner. It doesn't have to be exactly the same. Now is the moment that it can actually go for adding bigger flowers. You see when I'm adding those bigger flowers, they do appear nicely on top of the green. This is mainly because of the opacity of the red, so just keep adding all those bigger flowers. This one, it's a nice and dark red. In case you don't have this red, I just thought of another idea use gouache red on top of this. That is a nice option to get this opacity on the top. If your red is not this vibrant enough, go for gouache. I have nine minutes to cover this entire field with red flowers. That's larger flowers. You can see just some random shapes, that's what we are making. It doesn't have to be some real shapes because you know, the flowers are twisted, and turned in different directions, so you won't actually know in which direction they are. That's why we are adding this. Now I will add different shapes of flowers in other places. Just to follow along, add as many flower shapes, make them smaller towards the horizon and closer to you, they would be larger so we'll just keep adding them. Here's what we are going to do in the center. In the center, let's mix a little bit of yellow to our red. It's a light orangish shade. Because you're mixing your same red that you used, your the color that you end up will be opaque itself. That is, if you are using an opaque red. We're just going for a little lighter tone in the middle. At the top, again, go for those smaller flowers. Here, see the smaller ones at the top, and keep adding. It's not going to be clearly evident that it is lighter, but then it helps when you're actually looking at it very closely. If you're looking at it far from far away, it won't be seen, but closer to the picture it will actually be evident that it is lighter than the painting. This is the reason why we are going with a lighter tone in the middle area. I did not think this through. This is now going so slow. I'm running out of time. Would you forgive me if I actually speed this up a little because you know it's just the same process. It's actually just adding smaller ones to the horizon. In the center, it's orange and towards the side it's red and getting bigger ones towards the bottom. Would you really forgive me if this is just a little bit forwarding that I do. I mean fast-forwarding. You know the process, it's entirely the same. I know that definitely it's not going to be 30 minutes. It's more than that maybe 40, 45. This flower painting, maybe it's one of a kind that takes lots of time to add in those tiny detailing, maybe I don't know. There I have added in a lot of these flowers so there are still some things to do. What we're going to do is we're going to take burnt umber and I am going to paint those center parts of the flower. Some center parts that I had left out I want to paint the center of those flowers so it makes them look real. Not all, they are not all in the same place, but if we can actually add some burnt umber to some of the flowers, just in some parts. That's already coming into picture. This burnt umber, I want to spread it out there. See that flower now already looks much better, isn't it? Let's do the same for the other ones as well. Just spread out towards one side so that it looks a little blended in towards those. Then now the next thing left to do is to add in the base. I'm taking green and I'm adding. You can see thick green and a small brush and we'll add in the base. Let's just keep adding and I am just adding a lot of grass here at the bottom. These are the ends of flowers. Just keep adding them. I do really want to add a lot more, so let's say what we can do is we can cover up the sky part so that we don't drop paint there. I'm going to take some red and I'm going to splatter it. That will give me a lot of those flowers again. They'll give me smaller flowers and those regions so that's what I'm going to do. Add the largest platters towards the bottom and the smaller ones towards the top. I have added a lot of splatters. Now the only thing remaining to be done is to just add some more grass. We're adding a lot more grass at the bottom part helps. At the bottom makes sure that none of these green parts are visible. We just need to cover them up with grass. I think we're done now. I would love to go and add a lot more grass in these regions, but since we're running out of time, I think we can stop it and let us remove the tape. There you go, so here is our flower field. I ran out of time a lot, but I hope you like this one. In fact, we could just go on adding a lot more details to it, but I like it now when I look at it because it's looking beautiful. Maybe something that you can do is you can add in some white splatters, which would make it interesting. Let's see, some white splatters at certain places that would make it look interesting. Not on the sky, I forgot to cover up the sky, but that's all right. There that's much more beautiful now. I like it now, so there you go. 92. Day 75 - Branch of Flower: The colors we need to do are violet, rose, indigo, sepia and burnt umber. For this one, let us now quickly make a sketch. We'll have a branch that goes from here to the top. Double lines for the branch. Then let's add in flowers. There'll be one flower here. That's the middle portion of the flower and then let's add in the petals. You can always see that whenever I'm sketching, I sketch out very lightly on my paper. It is just a good practice to sketch out lightly onto your paper. That's one flower there. Then maybe I'll have something circle there. Then let's have one, another flower there. They are going to be in different direction. As a child, when I used to paint flowers, all of my flowers were all in the same line, same direction. As we grow up, we learn that you're supposed to have dimension, you're supposed to have depth. Your flowers are supposed to look different, different shapes. All of those things we learn as we paint. See that flower is pointing that side. That needs to be different obviously. Let's add another bud here, maybe. That's a small bud in that one. I think I'll add another flower here and this flower is going to block the stem of that branch. The flat bar. Another flower here maybe just trying to add as many flowers as we can. That one is ruined. Let me just rub that off. Something of that sort and maybe I have another one here. Let that phase, this center part and the flower. That's another flower there and maybe again, you can have another flower there which is not that clearly visible. Maybe something there not clearly visible again. Those things go in the background. Here I have this, the round shape and maybe I'll have another large bud or some round shape there. This is our flower. Let me show it to you up close so you can make your sketch if you want, you can pause it right here and make your sketch. That's our sketch for today. Let's get to painting. For painting, what we are going to do is we're going to apply water to the whole of our paper. Except for the flowers, the rest of the areas we're going to apply the water. Skip the flowers. Not all of them, just some of the flowers. I'll tell you which of the flowers we're going to skip. This flower here. It's one of the flowers that I want in the foreground, I am going to skip that. There, leave the bud that fine. I'll skip that flower. Let me apply water towards this edge. This flower here, we're not going to skip that, but actually we're going to skip just part of that. You see these petals? These petals, we'll skip. These petals of this flower will skip but towards the right, that is right. Just those petals, except for those petals will go around to apply water again. Now, this side as well, we will apply the water. We are again for this petal, these three petals, we'll skip. Cover around these three petals. I've applied water. Except for those three petals. I have applied the water and we'll skip the whole of this flower. Forget the branches now, it's okay. The whole of that flower and the bud as well we'll skip. Let me go round again. Flee along that flower and that bud as well we don't want to paint over the bud. Here I am applying the water. What else? This flower again I'll skip this one. These ones towards the right are fine, we are not skipping them. I think I've covered all so now let me explain which ones are the ones that I've skipped. I've skipped this flower, I've skipped the bud, I have skipped to the three petals of this bottom one, l've skipped this flower, I've skipped the two petals of this top one. Those are the ones that we need to avoid. Now you can go ahead and run over any areas that you find in your paper is drying. I'm actually looking at them under sunlight, so you can look at it in a tilted angle and see where are the areas that your paper is starting to dry. Those are the areas that you need to reapply the water. Also holding the paper at an angle insures that the [NOISE] water that you apply on your paper is even. Now I've got even consistency of water on my paper and we will get to painting. For painting, what we are going to do is we're going to create a red purple shade. Here is my thing. I've got my purple here already on my palette. I'm going to reuse it. Here is the purple that I'm using. It's just a normal purple. Mix that, the lead with your purple so that we get a red purple shade. This is what we're going to use. Apply it right between the edges of the flowers. See the petals right between the edges and also maybe on top of these branches. These areas where you've created those petals, just apply. I will apply all the way here. I am trying to not have my paint on that part there, but even though if it spreads, I am totally fine with it. l'll go into these regions as well. Now there are certain things that I need to take care of. We applied the water on it, but I don't actually want any paint on top of that, so I'll just remove any paint from those, but if it spreads, its fine, but don't apply paint on it. I accidentally did. Here, I will apply my red purple shade in these regions, but I will not deliberately apply on the top. These petals, we did apply water on them, so they are definitely going to spread out. The water and the paint will spread on top of them, but I am not going to deliberately do it. See, I have applied some paint and it's just random. It's going to spread. The next color that I am going to take is indigo. I have indigo paint. Here, I am going to apply this indigo paint at the bottom here. I'm starting here at the bottom and I will apply my indigo paint. Since my paper is still wet, I am going to create some wet on wet shape. That's it. That's some wet on wet shape in my painting. I don't know what that is, but maybe something's there in that background. We'll do the same. Here, there needs to be some shape and join it by a small line to that. Let's add some here to the background as well. I'm going with a lighter tone of indigo and I'm blending it with my violet that I added. See? I have mixed that part. l accidentally went over it. Let me clear that shape. See? Let me now take indigo again and I am going to create some shape here. I don't know what that is, but just something in the background just to make this painting look as though there is something there. That's it for the background in that area. Let's now go ahead and start applying indigo again just in some other areas of our painting. Better way you are applying, that's fine, but just make sure that you blend it with the red purple that you created. See, I applied. Then I'm taking red purple again and I am blending it to that area. Now my indigo, even though there's an indigo there, it looks blended. Now the next thing we are going to do now is we're going to make more of that red blue shade. We're going to drop them in certain places. Let's drop them in certain places and also drop them in the center of the flower. Drop them in the center of this one. Drop them there. [NOISE] We have dropped those red purple shade. Now what we're going to do is we're going to take a lighter tone of indigo and we are going to create some petal shape for these flowers. See? I created a petal there and I made those petal with my brush itself. Then I'll paint the whole rest of my painting with that lighter tone by skipping the outside region of that petal. I know that this looks a little bit difficult, but trust me, just all you have to do is wherever you created that violet spots, go with very lighter tone of indigo. See, that's a lighter tone of indigo that I'm taking. Create some new petal shapes and then go around it with indigo. Here I have created some petal shapes, now that looks like as if there is a flower there. It doesn't have to be detailed, so that's why these are just wet on wet flower that we just added. Here is one. The rest of the areas just blend it along and you can blend it along with the red purple shade. You know that we applied water in these regions, so we will only go around those flowers and you will see that your shade would actually spread to those regions. But see now what has happened because I made around, this is actually called negative painting. You create the space and then you paint negatively around it. But because I painted negatively around it, these things actually look like flowers in the background. That's why it looks beautiful when you do that so that those things are now in the background. There's something there. I didn't know what it is. There's some flowers there. These are things in the background. In order to make this interesting, you can just pick up a little violet and you can add the violet in certain areas, but only if your paper is wet. My paper is still wet, so this is the reason why I am adding violet. You can see the consistency of the paint. There's not lot of water in my brush, so ensuring the water consistency is very important in our paint. See, I don't want to stroke marks to be seen so I'm just going to go round and blend. That's the background done. That's a whole of the background done and now we just have to wait for the whole thing to dry so that we can paint the flowers and then it's done. I've dried up the backgrounds now. Now we'll go ahead and start painting the flowers itself. What we are going to do is you can see those are there in the background and it is trying to form a beautiful blend so now we'll paint the flowers. It's not much to paint in the flowers, what we're just going to do is pick up the red purple shade that we made again and we're just going to apply it towards the center of the flowers; so see, some there and here towards the center. Here, the center of that flower, the center of that. All of the flowers towards the center we apply the red purple shade and then observe. We're not done yet, so we're going to go with a brown shade burnt umber and we are going to drop that burnt umber into that center, into the very center of the thing that you made so it's just showing depth to the center of our flower actually. Pick up burnt umber and add it to the very center. Again, now you see it gives that flower a little amount of depth. Now, we'll go into further detailing. First of all, let's add in the branch. Here I'm going to add in the branch using sepia, so let's pick up sepia. Here is the end of that branch. Remember to go around the petals of the flower, so there's that flower here and here's the petal. Going around that petal and that's the flower around that one as well. There, then we still have to add and there's that bud or whatever round thing there is. Then all the way to the top this is our flower and that one. Note here I've reached all the way to the top but I don't want this to be a harsh line, so I'm going to soften the edge. Wash your brush and soften the edge of that branch there, see. Just apply water to that little color and soften it, so it's not a harsh edge anymore and we'll do the same to the other side as well. Just applying water and softening that edge. See, now that edge is softened and we can actually do this to some other edges as well. I've softened that part, but do you know when you soften them you actually extend the brown paint outwards so you'll have to wash your brush each time. Make sure that you remove that extra mark that you're having and then use a tissue to dab off. See now, I've removed those harsh edges and at the same time I have softened the edge of that brown. Let me show you up close. This one, you can see how it is. It softened up all the sides and this one I'll set as well. This is softened so I don't want it to be lose there so that's why. Let's do the same to this side as well. You can see I've created a line, but all you have to do is just make sure that you get rid off. Just keep applying water, wash your brush and do that. See, now I've softened that and let me take sepia and run over that edge again and then just dab off all those water. That makes it that soft and thick, so this branch now it looks softened all the way down. Let's now get back to adding some of the details. What I'm going to be doing is these petals, let me apply water to them. We're not going to paint the whole thing but just a little, so apply water to the petals. I have applied the water. Now what we're going to do is we're going to take some pink shade, but a very lighter tone. See the tone that I'm taking, it's very light; a very lighter tone of pink. We're just going to add along just at the bottom and maybe some of the edges. See just like that. We're going to do this for all of the flowers, so let's add in the water. I watered up the hole. Now, I'll take my pink shade and I will apply mostly towards the center extending outward and maybe some of the petals towards the end. See, just like that. That's it for that petal. We'll do the same to the other ones. In fact, you can even pull out paint from that center portion and apply, the rose, there. Just a little random, that's it. Now we've got this one. All of these flowers that I am showing, we are just doing easy version of these ones. You could actually spend a lot of hours in adding details to such painting. It could take a lot of time and you could spend all of that time doing that, but because this is just a 30-minute session, that's why we're not doing them. I've added to that flower as well, the remaining is this one. I just added a little extra to the edge of that one because I want some of the flowers to look different maybe. I'm covering the whole of this one, this particular flower, there. I think now much better. All we have to do now is to add in the branches for the different flowers. I'm going to go with sepia and make a joint here and for this one. I've added that one. What else is remaining? There's supposed to be something there. Then this one has like a branch, maybe, then we're supposed to join this. Then just join that a little. Then we do have to be in that little ball over here so some of the balls and the buds. Let me have applied the paint inside. We're going to go back to our red purple shade. This time, make it more purplish and we will apply the paint. I've left a little amount of white on one side, and I will apply a darker purple to the bottom. See, I've added it like it's got a shape. Another one, I'll make it more red maybe. Let's apply water to this one. We have this bird, there's water on my brush, but that's cool because I actually want to paint it with pink, there's paint on my brush. There is that bud. Then I'll take some things and I will apply to one side of it. Yeah, that bud is done. Then I have this one to paint in which I'll go with the red-purple shade but I will leave a little white in the middle. Then I have this one, which I don't want to leave any white so I'll paint the whole of it inside and one side I'll make it darker? That is pretty much it. That's the flowers that we want to do, but there's something that we can do to add some detailing, so that's going to be take this pink shade and we'll add some dots, see those dots and add them because they are like extra things from the center, which we'll add in a while. Add these dots with a little bit of pink. Let's add it at different places and here as well. The last thing to do now is to join those dots. For that, I'm going to go with a very lighter tone of violet, very light and we have to use the pointed tip for brush. Using the very lighter tone, just adding. It doesn't have to be perfectly added. See, very lighter tone of violet, and I add them all towards the center of my flower. I don't know what it's called, but it's part of a flower. I'm not a flower person so I don't know the names of it, but I know how to paint them, so there That's it for the flowers. I hope you like it. I've rollover in this one as well so let's remove the tape. Here is our final beautiful painting. I feel that maybe these background colors, you could make it more vibrant. All you have to do is make it more vibrant when you apply to the wet-on-wet, so more darker tone maybe so then it'll look more interesting. I've already done it, I can't do anything now. But when you're painting, maybe if you watch this first and is painting, then you can actually have the background more vibrant so the white will stand out more. There you go. 93. Day 76 - Violet and Rose Flower Field: The colors we need today are Indian yellow, rose, violet, and burnt umber. We also need some white gouache or white watercolors. Next, we are going to paint a beautiful flower field. Again, for this one we'll have a horizon line somewhere around one by third of the paper. Let's say there. Think it's straight enough. That's my horizon line. Let's say, I'm going to have my vanishing point right there. If that is the vanishing point, then all of the fields are going to be from that very point. Let's see. Just adding the outline. Next big field there, then goes there. That's the outline for the field. That's all for the pencil sketch as well. Let us get to painting. We'll paint this sky first. For the sky I'm going to apply the water and also observe I'm not leaving the horizon line. Just apply water to the whole of the paper. It doesn't matter that it's going below the horizon line. Let the paint spread if it wants, that's fine. There is the sky. Now I'm going to switch to my smaller size brush. This is my smaller size brush, not my usual Size 2 mop brush. I'm going to start with Indian yellow. Here, I'm just adding some Indian yellow strokes like that. You can see just some Indian yellow strokes towards the left side, and I've extended towards the right. That's the first. Then now we are going to go with a rose shade. Here is the rose. We are going to apply this rose right next to the Indian yellow and below the Indian yellow as well. Whatever spreading down towards the bottom would be the rose and not the yellow. That's why we have the rose and we apply it. You can see how light I'm applying. Applied this lighter tone also towards the top so that yellow is only there towards the left. Towards the right side is actually the rose shade. Some of my yellow towards the left has gone. Let me just add it up again. There I've blended it up. I wonder where my yellow is going. The tape and the paper is absorbing it. That's why. You can apply more if you want. There. That leaves the yellow and also the pink is gone down. Let me just apply some more pink at the bottom. There you go. Then the next color is, again, we will be painting with violet. Take a lighter tone of violet. Don't forget that. You need it to be a lighter tone of violet. This lighter tone of violet we will apply towards the right. There. Like that. The sky for this one is with a lighter tone of violet, yellow, and pink. More pink towards the side. There. Violet towards the right side. That's how the sky is going to be. Then let's get some little amount of brown. I'm just going to add something there in the horizon. It's far away. You know that our paint is going to spread towards the bottom. It's fine. Something there in the horizon. We don't know what that is. That's it for the sky region. It is very light, as you can see. I don't want it to be too vibrant. Although maybe a little more. That's it. Not that much. Now I'm going to hold my paper at an angle like this. In order to keep it like at an angle, I'm going to have my tape under my paper as usual. Now there's my tape and everything is just going to flow down. We already have the water until this point you can see there. I'm going to apply more water. I'm going to apply water to the whole of my painting. Onto there. In case you see the top part just flows down let it flow at the moment. I don't mind. I've applied the water. Now I'll switch to my Size 2 mop brush, and we are going to start painting. For painting, here is what we're going to do. We're going to start with a violet. Very carefully when you apply the violet. Here is the violet. I'm leaving a slight gap there at the moment because I'm worried that it might spread to the top. Apply a violet and actually apply the violet in alternate. Do you see that? Alternate violet, lights just changed. I can see the sun came out of the window. Now the sun is right here. I can see it. Light just changed. Anyways so we'll apply the violet. I think now I don't need the angle. I'm done. Otherwise, the whole thing is just going to flow down. The next color, I'm going to take a little bit of pink. This is what I will apply in-between. Now, this in-between the violet, I will apply the pink. Here's the pink, goes the violet in-between. Then comes the pink again. This huge thing that you see it's pink. The largest one it should be pink. That's pink. Then getting back to violet in the next one. It's alternating between pink and violet. This one should be violet as well. Two more pinks to make. That's pink. That's also supposed to be pink. Although I don't want to cover the whole area. I'm just going to go with a little bit of violet there at the end. That is I just wanted to finish off with violet. Now pick up more of the paint and we'll have our strokes. But all the time we're going to have the strokes upwards. Don't do it downward from here. Because the fresh paint that you picked up would be at the top if you apply it like that. We want the darker tones to be at the bottom. This is the reason why whenever you pick up fresh paint do it upwards, so that all the darkest of the paints would be at the bottom. Do this for all the places up until the vanishing point, which is there. Lastly there, so now our paper has started to dry. That is the sky region so I will apply at the end. See it's almost dry so it's okay for me to do that. Although if you're afraid that it will flow up, you can actually hold it at an angle again so it wouldn't flow up to the horizon. To see that area is spread a little, but I think we can cover it up by adding a far-off mountain later on. Forget about any spreading right now. More and more violet each time and do the upward stroke all facing towards the horizon line. There. I'm done with the violet, now I need to go quickly with the pink before these regions start to dry. There pink. These regions had actually started to dry so I'll go with my pink shade see. But when you go over with the paint, again, it will stop the drying quickly because you are applying wet paint, and here as well. We've actually applied the main paints for the field. Don't worry about the hairs or anything, I actually let it be because the whole thing looks blended. Otherwise, you would form a dark edge between the separation of each of these parts, which I wanted to avoid. That's one main thing. Now, we'll go and add in more details. For adding in the details, I'm going to switch to my synthetic smaller-size brush and we get to the detailing. For adding the detailing, let's go with a darker tone of violet snow. Now it's a concentrated violet and we are going to drop in just some drops of paint like that, see and make sure that all of them are upward. Even if you're drawing any lines, make sure that they are upwards and towards the bottom, dropping paint like that. Darker tone of violet. This is where all the detailing in the fields would go. I don't know if you can see closely. That's all the detailing that I am doing in the field. Let me show it too closely and know it's violet, so we won't be able to see it in much detail but this is how we do it and see as we go towards the top, make the detailing less prominent. Not too much detailing, the words the top reduce the detailing. See I've reduced my strokes. That was a lot of detailing towards the bottom. We're going to do this for all of it. More here then don't pick up any more paint. Just keep adding some strokes there. That's done for that. Let's add to here. Especially at the dark regions here, if you can add lines like that, here. That's it. I'm not going all the way up there. You can see how now this looks like it has some volume you see. That's why we added those textures. Just adding texture and getting rid of those vertical strokes. Now towards here, just add a vertical stroke all the way there. It just shows some darkness. That's it. Same here. That's it. Wash our brush and we just blend this edge here because it's forming a dark edge. If we blended, it should be fine. That blended. Now we'll do the same thing for the pink. Pick up our pink and let's just add in those strokes. I know you might think that this looks difficult but it's not. It's just me dropping my paint and doing these random strokes with my brushes. Do you see that? We're going to do the same thing. Just keep doing that. As I've reached the middle, I am going to tone it down. I'm not picking any more paint. Very little. See, I've toned it down not applied a lot of more paint there. In those regions, just undo the middle here. If you think that area is unblended, or if you want to blend that in there and if you think you've applied too much, you can actually blend it. See now that doesn't look as though it's there. Again lastly to the one here, I'm going to go with lighter strokes now. I think I need to add some towards the edges and here, I forgot about that. Don't go all the way to the other side. That's not needed because that's far away. We only need to do what's closest to us, which is this area. Done. Now you can see some of the detailing on the fields. Now, what we can do is don't pick up a lot of paint in your brush just a little and we're going to add some small splatters to the bottom side, so for that, pick up violet paint, but now for the splatters, we have to be really careful and let's cover something at the top. Let me just get a scrap piece of paper. I'm covering the top. I don't want it to be in the sky. Here in this bottom region is where you're going to add the splatters. You can actually cover up all these areas, so you can see just splatters towards the bottom, and make sure those splatters don't have a lot of water. I don't know if you can see clearly enough because there's just too much light in my role now, that's actually too much light. I never thought I would say this for my room. Too much light but in fact there is. That's that. Now let's add to this one. Then I splattered some here so you can actually get rid of it. You just have to get something and get rid of it. These ones I can spread it out so that it looks even. There. Now I pick the pink for the splatters and we'll add pink splatters. Just adding pink splatters at the bottom. You can see now how it looks after adding all of these splatters. I don't know if it's visible. I can actually see them, but how do I show it to you? I've no idea. See, you can actually see the spatters at the bottom. Now let's wait for this to dry. Here, it's now completely dried. What we're going to do now, remember these hairs that I said we will get rid of, we'll do that first. I'm just going to take some burnt umber, and a little bit of brown, and we are going to apply here and make some mountains in the background. Make them very small and different height. But such that you get rid of all of those problems that you've had. Any flowing up towards the horizon. Now when you do this, actually, the reason why I don't do it separately is that, because if you had added the sky, then the bottom part, and then added the mountains, you would have a really harsh line there. This is the reason why artists actually loved their paints to flow in different directions and then add the color, so that it wouldn't form a harsh edge at one corner. Let's just fill it up. Filling up my mountain with color. There, now there's a background [inaudible] it doesn't have too big harsh line. If it was two colors joining in one place, you would have a harsh line. This is the reason why we do this. Let's get to adding some more details in the foreground. It's going to be quick I suppose. It's just taking some more violet, and we will add it like that at the full ground. It's now the whole thing was wet. Now we're adding in wet on dry stroke, so the whole thing is now dry. Earlier when we did it was wet, that's what I meant. Let me just tell you some more thing. When we are adding these violet strokes, we want them to be adding in a curve. I'm picking a violet and I'm adding them. I'm loosening up as I go towards the top, because we don't want a lot towards the top, and we don't want too much detailing. Keep on adding them. I'm loosening up now. I'm not picking any more paint. But I will go lighter, not picking up any more paint. See, it's getting lighter and lighter on my brush. I won't pick up any more paint. But I'll just keep adding to that. That's pretty much it. I won't add all the way there. Next thing is for the other areas. For these ones you can loosen up actually pretty quickly. See my strokes, is just as if there are some lavenders protruding out from each of them. Stop. I won't add any details to those ones. Or you can go for a very lighter tone. That's still too dark. That's it. Maybe a little towards this side. That's it for that region. Now for the pink again. I'll do the same thing with the pink. Something coming out in pink. Let me show you the strokes closely, how I'm doing it. It's just these upward strokes with my brushes. I know it looks a bit difficult and time-consuming, but the end result is going to be just really beautiful. As we go towards the dark, let's get lighter. We are not going to apply a darker tone. Here I'm lightening up my color. I've removed all the color on my brush, and I will just blend. See, not a lot, just a little. This end I've just blended it. The same thing now we need to do towards the one in this. Let me just add a few more strokes to some empty places here, feel it's too empty. Let's take too the next one and we will add it to the one on the right. Washing my brush, removing all the extra paint, and there. That's all the detailing done on that area. The last thing left to do now is to add some splatters, and we'll add them with white. Here is my white paint, and I am going to just add some splatters here at the bottom. That was with white. If you've dropped it in other places, you can just absorb it back. We only want the splatters here at the bottom. That's it. That's done. Let's remove the tape. Here's our final painting. I hope you like it. 94. Day 77 - Sunflower Field: The colors we need today are Indian yellow, Indian gold, burnt umber, Payne's gray, orange, green, and indigo. Let us start with the next one. For this one also, we'll have a horizon line somewhere around one by third of the paper. That's the horizon line. I've drawn it lightly because I want to add in flower. I've got a large sunflower here. We'll add in the petals of the flower. Here is me adding the petals of the sunflower. It's just simple, just keep adding these petals. I've added a lot of petals. Now let's add some more in the background. Needs to be multiple layers of petals. That's one sunflower there. Let's have the stem of that and a leaf for that. That's the leaf for that sunflower. Then maybe we'll have another flower there. Another flower there. We'll just draw it lightly. These are the ones that are going to be in the background. We'll just draw them lightly with your pencil just to fix the position for you and make them smaller as you go towards the horizon. There, another one there, and another one there. You can see I've not even made any details, but this looks funnier shape, but it's not a problem. We're not going to make it any detailed. That's all there is for the pencil sketch. Let us get started. What we are going to do is we're going to start with the sky first. Let us apply water to the sky, and it's okay to apply on top of the sunflower. It's fine. We'll just apply water to the whole of this guy now. Make sure that you apply the water evenly. It's just a small region so you should be able to paint it quick. We've had lots of skies by now. I'm pretty sure that you are confident with skies. Even if you're someone who's just starting out, don't worry, it's just a simple sky for this one. We are going to start with yellow. Here is my yellow paint and I'm going to apply the yellow all the way at the horizon. There I have applied the water, and then Indian yellow. I'm going to leave a huge gap there. That's not because of the sunflower, but because of the light. I want the light to be there in the background. That's why I have left that gap there. Let's apply to the whole of the sky at the top, just leaving that huge gap. Then we apply to the whole of the sky. Apply the yellow. Remember about the huge gap. Let it be there. Now we'll go on to adding more strokes onto our sky. I'm now going with orange and I'm going to add some cloudy forms. One here, on the right side, some there. Then, especially at the top. You'll understand why we're applying orange, although you might have seen that the sky is a different color in total. Here is the orange that I've applied to my sky. That's orange done. Now what I'm going to do is I am going to take burnt umber. Here is me taking nice amount of burnt umber, and we're going to paint on top of that orange. But when you take burnt umber and paint on top of that orange, you get that underlying tone of orange. This is the reason why we applied orange at first, and this is exactly why. When you look at it now, it looks brownish but has this underlying tone of orange. That's exactly what we are going to do for the whole of the sky. All of them will have brown but will have an underlying tone of orange. Let's add some more. If you want, you can actually apply towards the depth some more. Let me add some more smaller ones towards the bottom. There. Now I'll take my brown and I will apply to the top of those there. I also want to add some more smaller ones. Let's say I add many, many smaller ones. You can actually leave some of them as orange itself. It looks beautiful with both the colors. I've blended the dark background with orange a bit. The bottom here as well. Now we're done with that part. You can take a bit more yellow and apply at the bottom here. There's a whole lot of white in that area. Now we've done with the sky. That's it for the sky. Let's wait for this sky to dry and then we'll paint the bottom part. The sky is now dry and let us actually paint the bottom part. For now painting the bottom part, we are going to apply the water by avoiding this main sunflower here. Or in fact, if you want, you can apply over the sunflower. Actually let's do it this way. Let's apply over the sunflower, but just got to be careful. When we're doing the main colors, we got to be careful. I think it's easier for you rather than skipping around the sunflower because that's going to take a lot of time because of the amount of petals it has. Let's just apply the water. I don't want it to take a lot of time, that's why. Applying the water all the way until the bottom. Here I have applied all the way to the bottom, applied the water. Now we'll start painting. We are going to start with Indian yellow. I will apply it right below the horizon. All alone. On top of the sunflower is fine because it's going to be yellow anyways. That region is fine. The only region that we need to take care is the bottom part when you're applying the other colors. When you cross the region where you're done with the sunflowers, see there are some flowers there, when you're done and crossed those regions, we've crossed those regions, now we'll add green there. We are going to go with green and we'll add green to paper. I'm using dark green from White Night. It's just green. That's what it's called. It's really dark. You can see how dark it is. I'll apply that straight onto my paper. Also I will apply on the top. This is where I said now you have to be careful. Towards the bottom, let's make it as dark as possible. See that's very, very dark towards the bottom. As we go towards the top, it's lighter. This is where I said that you have to be careful, so I'm only applying in between the petals. Now we have to be careful around the petals. Also applying the green at random in these regions. It's not all the way up. We have to take care of the petals of this sunflower as well. Even though it's in the background. We have to skip that. Then keep adding darker colors towards the bottom. I want it more dark enough. I want it darker. I've added it darker there. Now, what we are going to do is we're going to pick up a darker tone of indigo, so this makes my green more darker. I'm going to apply this indigo towards the base of my green. Applying towards the base of my green, the bottom part to make it as dark as possible. This is the reason why I'm applying this indigo. See now that's very dark. Now we'll get back to the green and just blend it along because I don't want it to look really flat and unblended. Remember to paint around those vectors. That's enough depth and darkness. Here again, we blend these regions. We're done with those regions, but we're not yet done with the background. Next color that we will take is Indian gold. We are going to apply the Indian gold. But again, now when we apply, you need to skip the flowers. Now we have to be careful. The paint is still wet there, you can see it flowing and you need to apply the shade. But now, like I said, you are going to skip lots of areas, see. Leave a lot of yellow areas like that. See, I've left a lot of yellow area. Keep your paper flat and leave a lot of yellow areas and also paint around the flowers. We have this main flower that we sketched. It's just a rough sketch remember and the same thing here. Let's paint around that, and this one as well and this one then something here. We've left a lot of gaps around. Now what we're going to do is at the base, you see the base where this green is joining, we'll blend that in. That's going to create greenish, brownish tone because of the orange. Again, because of the orange as an Indian gold. If you're mixing with orange, then you will have orange in your pigment, or the Indian gold also consists of red, which is why that will also create these browns in your mixture. More Indian gold. I am just blending them. Now, the next colors that I am going to take is I'm going to take Brown, and I'm just going to add it to my Indian gold, again at certain places, and all of those places where you had actually lifted lighter for the sunflowers in the background. Leave it lighter again. Here, again, picking my brown and I'm adding it to the top at the horizon part, leave it lighter there. Let the brown come like that and let it go lighter there. Other areas, let's apply the brown. Here I am joining all of my brown and my green together. They'll join and blend together. We pick up more brown and let's just add it. They'll just blend together. They just creates and even blend and that's all right. Here I'm blending again with my brown. See this area is now blended. Anytime, always just make sure that all of your strokes look blended and doesn't look as though it's got a clear separation from the rest of the picture. That's what we want to try to make. That's for the main background. Now, we'll paint the other flowers I've switched to my smaller size brush and note what I'm going to do. What now we are going to do is, I'm going to take my brown and let's paint this flower. It's there then we had this sunflower. Then there was this flower. Let's add some more small sunflowers at certain places. There, there. Let's make this one big. We've added the center portion of those sunflowers, now we need to add the flower itself. For adding the flower itself, I'm going to go for yellow and we are going to paint the petals. See how I'm doing it. Just using your brush, make the petals with a nice dark yellow. I know this again looks a bit tough, isn't it? Just using your brush, make the petals. Seeing where you've made the petal of that sunflower, let's do for this one. You could actually also do with Indian gold. See that, that brings out that sunflower. That's one flower there. Let me add to other places. That's one sunflower there as well. Maybe we can actually do this one as well with golden shade so that it brings it out. That's golden. For these ones, just make it all around. See, around the brown. Just add it around brown quickly to small ones around the brown like that. You can add any details when those are in the background. That's why we're not adding them there. That's a lot of sunflowers in the background. You can actually leave these dots. What I'm saying is pick up your Indian yellow and have these dots in the background. It just looks as though there are lots of sunflowers there in the background. We won't be seeing anything up close or clear because it's just the background. But you can see now it looks as though there's a lot of texture involved there. That's what we're trying to do, there. Right side looks much better now. I want to do it for the left side as well. We didn't any brown spots. First let us add the brown sports. Taking my brown and think we had a larger one here. I did not add that, then maybe some smaller drops. Then shifting to my Indian gold, I will add those. The sunflowers in the background. That's a sunflower. Then, like I said, let's drop in our golden paint a lot in those areas. We still have the big sunflower to paint. But don't be worried about that. Let's just add our other sunflowers at the moment. That's one huge background almost done. Let me just make this more prominent and try to go around the [inaudible] once more. Now that looks much better. All we have to do now is to wait for this whole thing to dry so that we can add in the majors main sunflower and some branches at the bottom. It's all dry now. Here's how we're going to paint the major sunflower. We'll first take some burnt umber and paint the big center chunk. There. That's the center chunk done. Then I'm going to take some amount of sepia and add it to the bottom so to give depth, so it's not coming so I'll take a little bit of Payne's gray and I'll add it. It's just black as you can see, almost as black and I add it to the bottom. So adding it to the bottom makes it get that dwelt tone. The top part is brown and the bottom part is black. So the next thing now is we are going to be in the petals. This time what I want to do is I'm going to have another brush in my hand ready. Just stay with me here, note what I'm doing in here. I am going to paint each of those petals. Just note, I'm painting each of those petals so I don't want all of them to dry out. What I'm going to take is I'm going to take a little bit of Indian gold and I am going to paint not just the edges. Let me show it to you again. So here is another tool and now I have the Indian gold in my hand and I'm going to go around the edges. Don't have to do with this for all of them but you see it gives that petal a nice look. That's what we want. So let's keep adding. This, we are going to be doing for the main ones. The main ones, I mean, is the one that is in the front, the one that is in the background we'll paint it in a different way. Go ahead and add in all of the major petals. What did I pick up? I picked up Indian gold. Indian yellow, that's what we need. That's the yellow. I've added the yellow, so now I'm going to go with the gold and just add it to just some of the side, see. Like that. It gives it a dwelt tone. So this is the reason. Let's get back to painting. Oh my God, I'm running out of time again. Let's do this real quick. Back to Indian gold and I am applying the gold tone only to certain places. So now we're done with the major layers. Now what we're going to do is we're going to add in more petals. So these petals that we are adding in, let's add them with Indian gold. See that? Add those back behind petals using Indian gold. So that makes it look more interesting. These flower fields there and flowers, they're like taking a long time and I didn't want to cut out any lesson that I had planned. So I had the whole flowers plan like before I even started shooting and now I don't want to even change the pictures. But I think you love all of these when you finish it. It's just going to be beautiful pictures. There you go. I've painted the behind ones where that sunflower now it looks beautiful. Oh, I love it. So now what we are going to do is let's just add the stem. My clock already shows 30 minutes, that's including the drying time. But I'm pretty sure that this is going to be lengthy. So here is green. I am going to take green and I'm going to add the stem. So that's the stem of the sunflower and there is probably a leaf there. There is another leaf of that very same sunflower there. So I've only painted just a little part of the leaf, you can see that That's because I am going to add some yellow to blend it up. So here I am picking up yellow and I've used yellow to blend it up. So it just gives that dwelt tone, even though it's completely in the background, it still pops up in the front. So now the only thing left is to, let's mix sap green and we are going to add the stems for a lot of those sunflowers so leaves and just add in these leaves and stems. A lot of these leaves. Added lots of leaves and stems so don't hesitate, just keep adding them so it's just like those things in the background. There are lots of sunflowers there. We're just standing right next to the drawings and looking so that's why. I think that's good enough for now. What I just really want to do is I want to take some white. I knew I should finish off, but I just love to make things perfect. So I'm mixing a little bit of white and brown together and I'm just going to drop some drops of white there. It's just a little bit of brown and white mixed together and I'm just putting some dots there. You know what this is. The sunflower is just not perfect and it's got these details in the center so that's why I wanted to do that and some Indian gold and I wanted to add some depth to each of the centers. So just take Indian gold and apply it like that. Yeah, I think that's much better. I think now we can remove the tape. So here is our flower field for today. You can see the sunflower, I love this one. This is just amazing and I love the yellows and the golden color in this one. There you go. 95. Day 78 - Flower Basket: The colors that we need today are Indian yellow, Indian gold, orange, rose, red, cobalt blue, bright blue, indigo, viridian, or emerald green, green, violet, burnt umber, and permanent brown. For this one. Let us have a basket, or ways of flowers, some thing. That is the base. I don't know it's just some plate, or just something that maybe some things of that sort and it's resting on a surface. Then we will have some flower there. Maybe some tulip flower there. Another flower here, another flower here. Some tulip again extending out. Then maybe some lavender flowers here. Then another flower standing. Another bigger flower here. Maybe some other flower there. I'm just outlining the shapes of the flowers for now because we don't want it to add any details. Also let's add a huge sunflower, just like we did yesterday. Then I think another set of flowers, then something big blue flower here. Maybe some violet flowers extending outwards, then some another flower here. You can actually see what I've done here for all the flowers. I've just made rough shapes because I don't want to get into too much detailing for each of these flowers. I want to just do it roughly. Here is the reference picture up close for you. You can cause that and paint. Let us now paint the whole of our flowers. What we're going to do is we are going to paint using the wet on wet method. I'm going to apply water to the whole of my paper. For this one, the water consistency on the paper is quite important. I will explain it to you clearly. First of all, let us apply the water. I want the water on my paper to be always even. It shouldn't have any large pools are blobs of water. We only need a sheen of water. That sheen of water here on our paper is very important. I have applied the water. You can see now there is that sheen of water, but this is too much for now. I'm just going to wait maybe two seconds, not two seconds, but maybe one minute to let that water flow. Let's keep an angle like this on our paper so the water would all flow down. Then I will show you the consistency. For that, you can have your tape place it under there and let the water flow towards the bottom. That is the consistency that we want to work on today. Let's just wait for the whole thing to dry. Not dry, but the water to sink in a little bit. Come on, flow down. Let me see. This still has a lot of water, so I need to make sure, but this does not mean that you should apply less water at first because when I'm waiting, I'm waiting for that water to sink into the paper. If you apply lesser water, it's not going to work. You need to apply more water itself. So don't think that you don't have to apply a lot of water. You do have to apply a lot of water and actually wait. It's even better if you can apply the water, wait for it to settle into the paper, reapply it, and then wait again and use it the second time, so that gives you more time to work on your paper. This is Canson 300 gsm, 100% cotton paper. This is the reason why I don't have to do the second wait. You can see now it's much lesser than the previous amount of sheen that I had. This is what I will work on. Let us start. I'll show you what I'm going to do. I'm going to start with rose crimson, or rose. We are going to look at this. It's a lot of water you see, it's, flowing a lot. Take less water in your brush. Grab your brush and remove all those excess water. I also don't want that now. Let's just add, so you can see I am adding along the edge of flowers just trying to make probably like a rose shape. This is a whole wet on wet. Remember that, then the next color I am taking is orange. I will apply the orange as well. See I've applied the orange. Don't worry about how this is going to turn out at first. This is just a rough sketch of the background layer at first. Then comes the tulips. Always, I'm picking up very little water in my brush so you can see the paint consistency. It's very light. Not light, the paint is concentrated, but the water consistency is very light. That's tulips added. Now, let us actually add those lavender. Here is violet and it's wet, but now you will see that it's not spreading out too much. The main reason why it's not spreading out too much is because there's no too much water on the paper. That's lavender added. I want to add in that. I'm doing and adding another line on the top. See? We can actually add some more here at the background. I'm going to add, so just dropping in some paint like that. Then what color? I'm going to add in a blue flower. Let me take in some nice blue. I will add it here right next to the sunflower. I will add in the blue. Then actually let's paint the sunflower. Taking brown and I'll paint the center part of my sunflower. Then I will add in the yellow petals. Each time carefully, we don't want too much water on our brush. That's the most important thing. The sunflower has to be huge because it's large flower. It has to be huge. Then let's take Indian gold and apply in-between for the back petals. Also somewhere in the center. I don't know if that looks like a sunflower, but if it doesn't, we'll make it look like some other plant. Then going to my crimson again, now I'll apply a little more on the top. Then again, I am going to paint this flower. Now I want red-purple flowers. Here is my purple and pink mixed together. Maybe I'll add it to this one. Adding some red to the rose, to some side. That's one flower there. What else? Let's have another flower with yellow, or Indian gold. Then let's have a flower with red. Let's have this tulip again with red, actually and a bit of orange, the orange didn't come. Let's take yellow. It's just basically filling out all of these flowers with different colors. That's what we're trying to do. Do you see that? I've filled out those colors and they're going to spread, you know that, let it spread because the paper is almost nearing to drying. That's why it's not spreading too much. I've added some flowers there. Let me add maybe a blue flower here and some blue flower here as well. What was this flower? I don't remember, but I'm just going to add a teeny tiny amount of yellow to it so that its light. Now what we're going to do is we need to add green, we need to add a lot of greens. So we're going to fill up the rest of the places in between those flowers with green. Here I am adding and here in between the flowers, then the stems for each of the flower, add them with green just carefully. This is why I said the paint consistency is very important in this and also the water consistency because you don't want too much water and neither do you want too much paint. So each time you can actually add. See, I'm adding some leaf shape there now, so you can also do that. Just dropping your colors and make the shape of leaves. You can see here, I'm adding more leaves and here as well. This in the center. We've painted all the flowers in the background. You see that? Now let us paint this vase or whatever that is. So I am going to use permanent brown for that and I am going to apply right below. So you can see the whole thing is still a little bit wet but not too much. That's the face then here is the other side. Painting wet on wet with these flowers is the most difficult task you might know by now. Then I am going to go with burnt umber and I'm going to apply it towards the right side. This is like adding the shadow. So here I've made a line there, and this is how we add in all the shadow, and the darker edges to this basket or vase or whatever that is. So here now you can see that dwell tone towards the right side needs to be extremely dark. We can have that line in the middle. So that's like the main basket. We're not done yet. This is just the basket part. So what we're going to do now is we're going to wait for the whole thing to dry. The whole thing is now dry. What we are going to do is we are going to paint around the background now, then later on we'll add in more details. So for painting the background it's quite tricky, so let's just apply water to the whole of the background. So it is definitely tricky and definitely tough because you are now going to skip around all of the flowers that we made. So that's definitely tricky and time consuming as well. Let me just see. I've covered the major areas now. Which angle can you see? Actually you can see already. Now I'm going to sit and cover all of the edges of my flowers, of my flower ways, of my sunflowers, all of the edges very carefully. Because the edges of these flowers are smooth, that's again, one of the hardest thing for us to do because they are using the wet on wet method. So then how do you paint around? Because they're like soft, isn't it? It's like a fine line you do have to go around and look for it for example, this one, I just go around it even though there are some hairs that's extending outward. So there's nothing you can do it, you just have to do it. You've already seen the final picture, so you know how this has turned out so I'm pretty sure you will understand in the middle of these ones. Then I have this one and this white flower. I'll paint around it. Then there's this flower. I've applied water to all of the edges. Now, I'm looking at places where my paper has dried out or the water is drying out because while I was focusing on the other regions, it might have started to dry and those are the regions that I am applying the water now. Done with that. Now, I'm going to add the background. So what is in the background? The background is a mixture of bright blue and viridian. That's like a turquoise blue color. That's turquoise blue, and I am going to apply it in the background. So see, just apply the whole of the background with this color. Let's just do it. Apply the whole. I took indigo by mistake, but that's all right, and creating that blue again. So hold the paper at an angle and let those paint flow and also I've mixed it with a little bit of indigo now, and I actually liked it when I mixed it with indigo so I'm letting it flow down. What I'm going to do is now I'm going to pick up some little amount of Indian gold and I'm going to apply it here. Right there, I apply, and maybe I'll add some Indian gold there. It's just going to mix and create some gorgeous colors. So you can actually totally understand, this is something straight from my mind because I clearly don't have an agenda as to how I'm doing it. But I think it'll be beautiful. Blue, viridian, and maybe a little of indigo if you want to create a darker shade. So painting round. Let me hold this upward because these flowers, they have too much water flowing next to them. Don't worry about our background of the flowers yet, because we'll add it more details later on. Right now, just focus on adding the background, which is these strokes, and a little bit there and here. Also don't worry about the bottom. So now I'm taking some indigo and I will apply towards the top and just some sides. Here as well towards the side, I will apply the indigo and blend it in. Let me blend this region as well. Maybe you can take more Indian gold and blend in. So I don't know why there's that yellow but its just start off maybe some yellow on the wall behind something. Indigo again. We're just trying to make this whole thing as rough as possible. There's no specific rule as to how you're supposed to add the indigo. I'm just adding in random places. You can totally see that. Just note, I'm doing vertical strokes. That's all that matters. Then more viridian maybe and apply. More tones towards the right and at the base. That's it. Now, let's dry this up quickly so that we can do the flowers again and make it more detailed. Here it is all dried up, so let's now quickly add in the details. I'm starting with violet and I will add on the top. When we added those underlying violet tone at first with the wet-on-wet technique, that will be there and it'll just add beauty to our foreground strokes with the flowers. This is the reason why we add that wet-on-wet stroke at first. Any harsh edges formed by the background, we are going to get rid of it now. Here is my rose, and I'm only going to paint around the edge, you can see that, and then I'll just spread the paint inwards. See, I've just made some kind of flower shape there. Then we have more of these rose shapes. Here now I will make rose shape. Let me show you up close. I've made a rose shape. I'll show it to you with the orange. You can do that. Pick up orange and start with the center, then make a small line. Let me show it you close up, small line. Then another line crossing the other one. Now crossing that one. See, we are going to keep doing this and as you do it, make your strokes bigger. This is why that background layer that we added is going to be helpful. See now that looks like a rose and that background color is helpful there. We're going to do this for all of our major flowers. A lot of roses there. That's a rose, I think. I want to add in a rose from this one. Then let's add in an orange rose here. Then let's make the sunflower properly now. Here is the Indian gold and we are just going to trace along the edge of the yellow ones but color the background ones, so trace over the yellow ones like this. But color the background ones and apply some color towards the center. That now looks already interesting. Let's pick up more Indian gold and I will make a rose out of this one as well. That's a lot of roses. Then let's make our tulip. I've painted one edge of that and I'll blend water along the other edge. It's just some shape. Let me just create an edge for it. Then we have this white flower, so we only paint one corner of it, then we have another orange-ish tulip here. I've painted that. Then I'll take orange and I'll paint the right side. Maybe we'll go with a little bit of yellow as well. Don't panic. For this one, it's bound to look scary and to get panicking, but don't. It's okay if you can't get this right, I also might not get this perfect in my first try when I'm starting out in my journey, so it's fine and we're already running out of time. Let's have some kind of flower. I'm just drawing some petal shape there and I'm going to do the same this side. Just some strokes that I have added. See? I'll add some here as well. I think there's one more blue area here I wanted to add something. When you add those strokes, it pops out, but there is already a little background layer for you there. Now let's just add the stem for each of those. That is the stem for this one, stem for that, the stem for that one, then the stem for each of these. Just add the stem. There's this large reddish-purple flower here at the center. Let me just add some strokes. I've just made these curved strokes so it's like some kind of flower. We just don't have to bring in a lot of detail, so don't worry about adding too much detail. Then let's have lots of branches and leaves. We actually need a lot of leaves. Just add in as many leaves as you can and make sure that all of your leaves are standing out. See, out of this picture, I have added my green above and adding these leaves, they can go on top of your flowers as well. That's it for the flowers, but now I just want to make some detailing for the ground. Here I'm picking up indigo and I'm just adding to the base there, something like that. We don't know what it is, just some base that I'm adding. That's where this thing is resting on. That's why we're just adding a little bit of base. The last thing to do is picking up some burnt umber and covering onto the right side again and blend it along with the indigo. There I have the burnt umber on the right side and what we are going to do is here, just take water and blend it towards the left side. Just blend it along the left side. Just water now, not paint, just blending it along the left side. As I always say, there are a lot of ways that you can spend hours adding detailing into such kind of flowers and pictures, but this is just one way of showing it. Let me quickly dry this up and we can remove the tape. Let's remove the tape. I actually love this loose style of painting and if we were painting on a larger sheet of paper, we'll make this much more detailed, each of these flowers, but did you understand why we painted the background lighter first and then added on the top like that? Because that makes those flowers pop out, so there you go. 96. End of Week 13 - Flowers :): Here are the six paintings that we did. I hope you like this. This one is my favorite one. I wanted to add in a lot more detail, but half an hour is too less. I know that many of you have told me that it is okay to have the main things go more than half an hour. But, I wanted to keep it to that because that's a promise I made, isn't it? Some of them did even cross this week. This is the field and then there's this gorgeous flower. Oh yes, I love this one too. Speaking, I actually love all of these. Here are the six paintings that we did this week. I hope you like them all, and I'll see you in the next week with the next topic. 97. Day 79 - Lighthouse Grass Landscape: The colors we need today are cobalt blue, indigo or Prussian blue, Payne's gray, permanent brown, burnt umber, raw sienna, and some white watercolors or white gouache. The topic for this week is lighthouse. Let us start with our first lighthouse landscape. We're going to have a lighthouse somewhere in the middle and then just land in the bottom area, you've already seen the picture so let's make. I'm going to be having slightly angled line. You can see it's not straight, it's not vertically perpendicular to the surface which is going to have it at some angle. You can see both of these lines such that they extend towards the bottom. Let's make that a little lengthy and then we'll have the land at the bottom area. Here then I have the top part of my lighthouse so I'm just going to make the quick sketch of that, observe how I'm doing it. I will add balcony structure there. Anything above that line that I have drawn, let me rub it off. Then that the balcony. Then we'll have the house or little cabin on the top. I don't know what do you call it. Little. Another head and then maybe like a dome on the top, just something. This lighthouse, has something on the top like that. See like that. You can add just two small windows. This is basically the pencil sketch for our lighthouse and we are going to start painting. Don't worry about any of the lighthouse parts, we are going to start applying the water to the whole of our paper. Don't bother about any part, just apply the water to the whole of your paper. Make sure that the water that you apply is even. Let's just do our usual process of applying the water to the whole of the paper. Take your time in doing this as I always say, remember that's the most important part. Keep at it. Go on and do it. Keep doing it, apply water to the paper multiple times. We are really going to work on the wet on wet technique a lot so make sure you apply the water nicely that's very important. Now I have applied the water and we'll start painting. Here is my size two brush and let us apply to the sky. For the sky what I am going to do is I'm going to mix a darker bluish color. For that, I think this is already ultramarine blue on my palette. Let me get rid of it, I don't want that blue. I've gotten rid of that. Now what I will do is we are going to take cobalt blue, go for any dark blue. You can also go for crushing loop what I'm going to do is I'm going to take cobalt blue and I'm going to mix it a little bit of indigo to it so that it turns darker. If you have Prussian blue, go for it, or else try mixing a darker color like indigo to your blue so that you make a darker blue and this is what we are going to paint. Apply to the top part of your sky and I am just applying in strokes like that. You can see I'm skipping the region of the lighthouse. Just be careful around the lighthouse regions and keep adding these strokes in any way that you want. It's just a sky, we've painted the sky a lot of times so it should be simple. Then after leaving a gap here, I will do the same and apply to the bottom making sure that there's enough color at the top because the top is the region that always gets dry quickly, mainly because of the tape and all the paint runs down in between the tape. That is towards outside of the tape, so that's why it gets lighter. Just make sure that you paint those regions. That's it for my blue tone. Now I'll go for my next color, which is going to be Payne's gray. Getting to my Payne's gray. Go for a darker tone of Payne's gray and now I will apply this. It's like what I'm implying is rainy, cloudy day. I've accidentally gone a little on the top and it's absolutely fine. Keep applying and also apply to any gaps of white that you had. Then also apply to the right. See here towards the right side and it's okay to go on top here. On the top of the lighthouse, it's absolutely fine. Leave as many white gaps so you can see just, when I see it as meaning I'm just implying that I've left a lot of white gaps. Let those white gaps be there. Now, the next color that we are going to take is raw sienna and that's how we'll start. I am going to apply the raw sienna, to the ground area and we're still working on the wet on wet technique. There I am applying the raw sienna at the bottom and apply the whole part of the bottom with raw sienna. Here now I have applied the whole, I am just going to apply a bit more of raw sienna. That's now the raw sienna applied. Now, we're going to go with our next color, which is going to be burnt amber. Here I am taking burnt amber. Take it in a nice amount in your brush and we'll drop it towards the bottom. It's just basically applying the color to the grass areas. This is like dried up grass. That's what we are trying to add. Add that to the bottom. We just want it to be in the wet-on-wet technique that's why I said we have a lot to work with the wet-on-wet technique. Just keep adding. You can see I've applied in the form of a bit of foliage. Now what we'll do is we've got to take our brush and using the burnt amber itself, we are going to make these vertical strokes like grassy strokes. Can you see that? Just like grass growing there, make these grassy strokes at all the places. That's what we're going do right from the bottom on to the top area. In different angles, different directions, just do those grassy strokes. Keep adding them. Also at the bottom. There I've added a lot of grass there at the bottom areas. Now, let's just pick up more of raw sienna. Try adding some of those raw sienna strokes. You can even in fact go with yellow or Indian gold. Here is Indian gold and I will apply these golden strokes as well in certain places so you can see it turns out golden. You know how to mix Indian gold by now so we just makes it a little bit of brown, orange, and yellow, and you'll be able to get that golden shade so using that applied at certain places. We've now applied the golden shade. Now we're going to add a touch of green as well. For that touch of green, here is my green paint. But this time, instead of yellow, we are going to mix a little bit of raw sienna, do it so we get like an olive green shade. If you mix it with raw sienna because it's an earthy tone, you get an olive green shade. If you mix it with yellow, you'll get lighter greens. In this case we want it to be like an earthy tone, which is why I am mixing with raw sienna. You can see I'm releasing all the water because my paper has started to dry and I don't want to introduce extra water onto my paper. Just add, no some places. Your paper already has some brown so when you apply, it will still be that all of greenish shade, so applying onto the paper. Observe I'm making these vertical strokes itself because that's what's important. Now we are done with the background. This is mainly how the background is. Now we wait for this to completely dry so that we can make the foreground, which is the lighthouse, and add in some extra foliage. That is some grass to the front area. Here, the paper has now completely dried and we'll get to painting the lighthouse first. Here is my smaller size fur brush. Today for this lighthouse, I am going to be using permanent brown, which is a mix of red and brown. Or there are other ways to mix permanent brown. You can mix violet a little bit of rose and yellow and you'll get this nice, beautiful brownish shade. This is what we're going to use. It's just basically simple. First, we'll just apply the permanent brown on to the lighthouse. Just make sure to follow along the line and also stop at the bottom there where you have these grassy strokes. Try using the negative painting method. Negative painting is just basically, doing this negatively painting around the space. You're just trying to negatively avoid the area of the grass. You can see what I've done there. That's exactly what we will do. Then don't bother about the windows for now. Just paint the whole thing. Here is the permanent brown. Let's paint the whole thing. That's the line. Now I'll paint inside. I'm just going with directly the wet-on-dry technique. You can see that directly applying the paint without applying the water. You have to make this quick and get rid of any harsh lines. Harsh lines follow when you're too slow to apply the paint to the next stroke. In order to avoid that, just try to paint as quickly as possible. Basically, I've added the paint to the lighthouse. Now we need to add in the shadows, always important, shadows. I'm going to go with burnt amber, which is like a darker shade and this is what we will add for the shadows. For the shadows, which side should we go with? Where are the light from? There's a dark cloud here that's blocking the light. There's more light towards this region. Actually let's just add the shadow to somewhere in the middle and towards the right. You don't have to add it to all the places. Always observe the painting to look at where the light is from. Here there's a darker cloud. There's more light towards the side and actually light is at the backside, I feel. Ideally this whole thing needs to be under shadow, but we'll just add to one side and slightly in the middle. The extra details. See that. What I've done is I've just added burnt amber on the top and also make sure to add it at the whole area at the top here. The reason for that is because there's a balcony here and there's probably a small surface that's protruding out from the lighthouse so that makes the shadow to be appearing right at the top. That's why that area is going to be under the shadow. Then we paint just right side. Can you see now where the shadow is? The area is right in the center and what's the right side? We've given that lighthouse dwell to one. This is the reason why I said that when we were painting with wet-on-wet, the first layer, if it went on the top, it was fine. We're done with that main part. Now what we'll do is we'll add some details to the top region. Here I am taking Payne's gray. Now, is that balcony region. The best of it, I want it to be white. I'm just taking my paint. I've drawn a line there, and then we'll add the balcony now. Use a smaller brush. The pointed tip of a smaller brush is very important. We'll just add that balcony shape. You can see, I'm just adding something of that sort. Then there's that housing inside. Then there's the top part again. Maybe another railing on the top. That's the dome at the top. I've outlined the dome just now. What we'll do is we'll paint inside the dome. Let me just make the things on the top now. That's something there at the top of the lighthouse. Now, we'll paint inside the dome. For painting inside the dome, what I'm going to go is with a lighter tone of Payne's Gray. We don't want a darker tone, just lighter tone of Payne's gray. You can see, I've added the color in it, but not the whole. Like that. That's the rule. Now, let's just add some shadow into this housing. We've decided that the shadows are going to be towards the center and what's the right. Those shadows, again, is going to be there and maybe some towards the center. See, I've just added some stroke in the middle. We can also go with shadow for the dome at the top towards the right side, something of that sort. That's our lighthouse added. Now, we'll go on to the foliage. For the foliage, we are going to go with raw sienna at first. Pick up raw sienna and keep adding these strokes. What I am going to do is I am going to switch to my smaller size brush, which is my rigger brush, Size 1, so we need a pointed tip. My Size 4 brush is still too large I feel. This is the reason why I'm going with my smaller size brush. Using that will add these foliage. Add lots of them in these places. This is like the foreground. We've already added lots of background grass. Now, we just need a lot of this in the foreground to be visible. Just keep adding these. We're almost done with the painting when we finished with the foliage, the only thing left to add is the windows. Let's just quickly finish with the foliage. This is going to be really simple. I want to finish it before 30 minutes. I know many of you actually texted me to say that it's fine even if it goes above 30 minutes. I'm so glad you said that because I was so worried about last week. All of the paintings was more than 30 minutes, but I really want to keep it down. Keep adding those strokes. You can already see how this thing is coming into picture with all these strokes. Let's do it. I've added a lot of these raw sienna foliages. Now, we are going to do some burnt amber foliage as well. Not burnt sienna, burnt amber. Let's add that. That's going to be in different places as well. Just use the tip of your brush and make sure that you get them at various places. What we're going to do is we will have some of these foliage extend here where you made the negative painting part. See that? Let it go on to that and towards the bottom. Towards the top, I'll make these smaller ones. I am making literally smaller ones and towards the bottom, the larger ones. Smaller ones towards the top. That's pretty much the grass, but I think we need to add some more here because actually I can see a lot of white area there, which I don't want to have, oops, a drop of water there. Add the smaller ones towards the top as well, that is with raw sienna as well. I think I'm good now. I'm not going to add any more. The last thing to do is to add in the windows. What I'm going to do for the windows is I am going to take a mix of burnt amber and Payne's Gray, or you can actually go for Payne's Gray itself. I was just trying to create black, literally a lot of black. Here, I have mixed black by mixing a little bit of burnt amber into my Payne's Gray because it gives it poor black. I will add in two tiny windows right where I have sketched them. I can see it in the paper, but I know that you know you can see the sketch there, but here, that's the place. Then just wait a bit for that black to dry because I want to add in a little bit of white around it. Why don't we first take white and add in other places? Or actually we can go with black itself. We can play in black with other places. We need to add in windows here. There is a small window there, there is a small window there, there is a small window there. I've added three tiny windows there. This balcony thing that we added on the top of the dome is gone because we mixed Payne's Gray on top of it. Here we can add that again. That's much better. Let's try up those windows and then we'll add in the white. Here, those windows are now dry. What I'm going to do is I'm going to take a little bit of white, just a little amount. I am going to add it around the window using my pointed brush. There. That's basically it. That's actually a painting for today. We can remove the tape. Here's our final painting for today. I hope you like it. I really love these clouds and the lighthouse and, of course, the grass as well, this whole painting. There you go. 98. Day 80 - Sunset Lighthouse: The colors we need today are rose, violet, Payne's gray, burnt umber, and a little bit of white. We're going to go with a very simple one today mainly because I want to show you the pop of colors when we are having a sunset scene, that is, the colors on white surface. The lighthouse is basically white, but we need to have the reflection onto that, the shadows, I mean. Let's see how that can be done. Here is my horizon line, basically just around there. We will have some land in which the lighthouse is on. Let's have another extra in the front as well so it's like some rocky surface. Then the lighthouse here on the right side. When adding the lighthouse, again, go for the slightly slanted line, like that, and this time, let's have a different top. No housing, just a balcony and a slight like maybe, what do you say? It's a roof where people can stand. Something like that. That's the simple one for today. Today's windows, let's have them in a different manner. We have a window there, let's have a window towards the center, and the next window is here at the bottom. Also, let's have a small door to the lighthouse here. This is basically maybe the lighthouse has a winding staircase and that's why it's got windows. Maybe you get in through there, you turn, you take a left and then you have that winding staircase, so that's why you got these windows at different directions, probably. [NOISE] Let's start painting. What we are going to do is we're going to apply water to the whole of the paper again. Don't bother about the lighthouse or any part of the sketch, just apply water to the whole of the paper. Again, since we have to work on the wet-on-wet technique nicely, apply the water evenly and make sure that you apply the water enough for us to work on the wet-on-wet technique, take care of the sides. Also, if your paper is not 100% cotton, then also you need to be very careful. Keep applying the water like I'm doing multiple times. There, now I have applied the water and I am going to start painting. I am going to start with pink or queen rose, whichever shade you have, just go with that, and I'll starting at the top. What I am going to be doing is I'm going to make this line at the top, and now observe carefully. I am going to have the light source to be on the right, so it needs to be white in that area. The left side is the only place where I'll add the paint. Keep this area towards the right as white as possible. There I have applied the paint and I've accidentally dropped drops of paint, but I'll just move those away, there. This, you can actually go slightly at the bottom. Here, we have the light source, so just keep extending it, slightly blending it onto the background so that the entire light appears to be from the right. Just blend it, we don't want the color to stand out just on the left side. This is the reason, just do these strokes and blend it towards the right side so that it doesn't look too much. Then on the left side, make it nice and darker, especially at the top. I wanted to add it to the bottom there, the light is there. Now, you can see all the lights towards that region. Now, the next thing to do is to paint the water. I am going to take some violet and I'm going to paint the water, and observe, I'm holding the paper at an angle because I want my water and all of the paint to flow down. Here, holding paper at an angle. I don't care about the rocks for now, I will add them in detail later on. For now, just adding the whole of my bottom part with violet. Remember to hold your paper at an angle so that your paint would flow down and not towards the top onto the paint region. I've added violet towards the bottom. What I want to do is I am going to take a little bit of pink and I'm going to add it to my water area. It looks as though there is that pop off the pink from the sky as well only towards the left, of course, because that's where we have added. I accidentally put my first stroke on the right here, but that's okay, we can cover it up with violet, and there. The right side is mostly violet because all of the light area is there so we don't want anything there. Anything should be towards the left. I've basically added the background, all of it. Now, we need to wait for the whole thing to dry so that we can paint the water, the rocks, and the lighthouse. Let's wait for this to dry or let us dry it up. Here everything is now dry. I am going to start with violet again, and what I'm going to do is I'm going to run along the horizon so that I get a straight line. That's where it is and I will apply in a wet on dry stroke. For now again, I am going to go with the wet on dry stroke. What I am basically going to do is I'm just going to cover up the whole thing with violet again. This is top portion of the rock that I am going to avoid because that's unnecessary. The rest of the areas, we are just going to add the paint. Make sure that you don't create any harsh edges. You just have to quickly pull down all the paint all the way to the bottom. Now we have the bottom and next thing is, let us paint the lighthouse mainly because here at the point where the rock is touching the lighthouse, I have not touched that with water, so that's still dry. I'll be in the lighthouse now, so this is the part where we need to take care of light in the lighthouse. Here, I will apply the water to the whole of the lighthouse. Then actually, I think I will switch to my smaller size brush. That's much better. Here's my size 4 brush, and what we're going to do is we take a little amount of violet. It's violet, add that little amount of violet. We add it to one side and also the top. Then you can also take a little amount of pink to add in a pop of color and you add it to the same path. That's it. You don't add anything to the right side, you just leave it as it is. Then it shows the light at that region when we add the doors and the end, it will make sense. For now, let us just leave it like that. Now the next thing to do is add in the water ripples. Earlier on the paint was still wet. Now I'm going to go with a nice tone of violet, darker tone, and I'm going to add in some water pools. Just pick up a nice tone of violet and add in the water pools and make sure that you make them smaller. You've already done water so it should be easy. Don't freak out now, so just add these little pops of color to certain places in the water. We're just adding a lot of lines, you can see that. We have added the water. Now, the next thing is, let us paint the top part of the lighthouse while the water dries so that we can add in the rocks. Here I am taking burnt umber and we are going to have a wooden top, so that's why we're painting it with burnt one. Let's add a nice solid base and then the little balcony. The little something at the top. Let's paint top inside, and then the line and now let's add in the balcony. I've added that and I think that's dry now. Let's paint in the windows, and the windows we're painting them with burnt umber. Just paint the whole thing inside, and the door as well. That's the main part of the lighthouse. Now let me try this up quickly so that we can add in the rocks. Here, I've dried it off. Let us take burnt umber and now add in the rocks. We start where the pencil sketches, I can actually see it here. It's not evident in the camera, but just go with your pencil, mark, and add it inside. Follow along the sketch. I've followed along that sketch and I'm just going to fill it up now. That's why I said don't bother about the violet. That's really fine, and that's that second layer. Here, I've painted the inside part of my rocky area. I'm not done yet. Now what I'm going to do is, I'm going to mix my burnt umber with a little bit of Payne's gray and create a dark brown color which is going to be like sepia. My sepia is finished. That's why I'm making sepia. We'll mix black and brown together. Then I am adding it to my rocky area. You can also add small rocks extra out in the water. I'm going to do the same. I am going to add some extra rocks. Just adding some rocks. You see that? Like that. Let's go on doing that. I am mixing Payne's gray and getting that darker tone. Now, what I want to do is, I am going to just add some darker spots onto my rocks, especially at the bottom here, because those areas are the areas that are prone to have all the, let me explain that. I know this painting looks very easy, but I chose this mainly because to show this rocky texture. Imagine the rocks are stacked upon each other. When they're stacked upon each other, all of the shadow areas would be at the bottom part. That's why more shadow at the bottom. But also when you're trying to add the shadow, just try making these rocky shapes. Can you see that? I am adding these rock shapes. So just pressing my brush in different angles and trying to generate that shape. You can actually do that in various places. See that? Now, I will go with burnt umber and I will apply right next to those so that they look a little blended and don't look as though they're too much standing out. You can see closely. I know it all looks mixed up, but that black is still there. See that, those lighter strokes. We want those lighter strokes to be there. There, and I've left some lighter areas there. Can you see that? That's because the light is here, and even though the lighthouse is there, you might think the lighthouse is blocking the light. No, the lighthouse is on the other side of those rocks, and so there's light falling on this region which makes it lighter. Keep that area light. That's pretty much it. But let's make this more interesting. What I'm going to do is, let us add in some birds. Where do we add the birds? Let's add it towards this left side. My usual, adding these birds in different directions, different angles, flying at various positions. Maybe seagulls. Actually, we can turn them into seagulls, and I do want to turn them into seagulls. Let's see how we can do that. Towards the horizon, smaller, remember that. That's a lot of birds. Now let's turn them into seagulls. What I'm going to do is, I'm going to pick up some nice amount of white paint. We are going to apply it onto the birds in just some place on the top. I know it's not even clearly visible, but see that little drop of white on the bird. That turns them into seagulls because they're mostly white and black together. I don't know how to explain. Not exactly, but this makes them it looks like having a shadow and flying. That's why I think that one looks much more evident, and you don't even have to add it to all of them. Another thing is, in these places, you can add white birds as well. Some white birds, there. I think that's now good enough. Although I do want to add in a little more of violet lines onto my water because I feel that it is too light. I'm just taking violet and I am adding some lines. You can add some more lines. Just lines. Note how I'm making these lines towards the top. You can actually make these lines. Let's actually make an extra depth to that area because that area needs to have a little bit of reflection. I actually forgot about that. We've added a reflection, Let's add that little amount of reflection to all the places there. That's much better now. Then adding these lines to various places in my water. That's basically the painting for today. Let's remove the tape. Here you go. That's the final painting for today. I hope you like it. You can actually see that rocky texture, see on that. That's it. 99. Day 81 - Northern Lights Lighthouse: The colors we need today, our sap green, red, violet, sepia or burnt umber, Payne's gray, a dark green, orange, and Indian gold. Today we are going to do Northern lights one. I know that many of you had trouble when we were doing the Northern lights. But that's okay, let's try once more. But with the lighthouse theme on it. Let us have the lighthouse somewhere here on the left side. I'll use my ruler. Let's have the edges papered like that and at the bottom is like the rocky part where the lighthouse is. Maybe a small railing or fence where people can stand and watch. That's the rocky part and I'm just going to extend this whole rocky part towards the right side. It's going to be sea here, but we don't want to stress or show any that part. I'm just going to stretch my rocks there. Then for the lighthouse here so this light house, it's as if we're standing at the bottom and looking at it, that's why we see a lot of the Northern lights in the sky. We have the ring of the lighthouse around and then the top part. Then maybe a tower at the top, that we can add later also so there. That's the pencil sketch. Let us start painting. I'm going to start by applying the water to my sky region. Pick up your brush and apply water to the whole of the night sky. Remember to skip the lighthouse region, we don't want to paint over it and neither with the rocks. So just outside. Consider this like a brush-up of the Northern lights exercise. It's very good if we go back to whatever we have learned and trying to get memories of those paintings back, isn't it? I've applied water to the sides, but I'm going to use my smaller brush to cover the areas right next to the lighthouse. It's got some paint from some previous painting it's all right. There, lying closer and also along the edge of the rocky area. Then on the left side, here we go again. Let's just brush up water all around again so that it doesn't dry out quickly, you know how to apply water by now? Here Here applied the water. What I'm going to do is I'm going to hold the paper at an angle so that my water would flow down and I will have control over my watercolors. There you go. The first color that we are going to use is we're going to make a nice green color so let us do that. For this one, while I'm painting the Northern lights, I'm going to switch to a smaller brush because I want to make some shapes in the sky and that's too large brush for my paper. Let me take green. There's my green, let me make some nice yellow color with it so that I get a sap green. If you have sap green go and directly use sap green itself, that's fine. I need more yellow, so I'm just trying to make the best sap green. You can see it's still very dark, so that's why I need more yellow so more and more yellow, think that's cool enough. Now I'll start painting. [LAUGHTER] This is yellowish, but that's fine. Just different colors, that's what we're going to do. There, I'm making the shapes and closer to the lighthouse I will apply, but I won't touch the lighthouse area, you can see that and then I'm going to follow this one right next to it. Then just going to make some shapes, you can see that's why I'm using a smaller brush so that I can make the exact shape that I want and also the angle of my paper is going to help to get the control over the watercolors. Our paper is drying quickly so we have to be faster. That's it and then maybe I'll draw some streaky lines here on this side, and maybe some here and I'll add a little speck of color to this side as well. There, now I've filled with the green. Now I'm going to go with a red purple shade so for that here, I will take my purple and I will add some rows to it so that I get the red purple shade or you can actually make that red purple shade by using red and blue mixture but just adding more of the pink to it, that's it. My paper is drying out quickly, so I have to work fast. Here, I'll just apply the color and I'm going to apply right next to my green again, in these places. If you remember, the northern lights, we actually did purple green one. We'll just try to remember that or go back to those lesson and see, there's just too much water here, which I'm going to make it flow out to the side and absorb with my tissue because it's just too much water at the bottom. Now all we have to be quick. The next thing I am going to go back with my blue and cover the rest of this guy. My paper is drying out quickly today. I think maybe it's the weather or I don't know, whatever. Picking of my blue as in indigo that we're using. Using indigo, I'm covering up the other areas of my sky. This is a different technique than what we learned because I'm using a smaller brush and I'm trying to create these shapes in the sky with my brush so you can see that? I can't remember, No. Actually, if we did something like this when we did the Northern Lights one, maybe we did where we're trying to create the shapes with our brush itself, did we do that? I can't remember it clearly now, it's been so long, isn't it?. Along the edge of the lighthouse, and along the other side so don't worry about your paper drying because you can actually go over with green once more, but just make sure that you don't have too much water on your brush, you remember that's the key thing if you remember my class from water control. That's what we just need to be careful about. That is to make sure that the water in your paper and the brush matches, then you won't get any blooms, that's just the only thing that we have to take care. There you go. I've applied the blue to most of the places now, I need to go over with the green again so that I get rid of any hash edge that I might have formed. There's the green, I am going to go over and you can see I'm blending it onto my blue. Just use any brush that you have blended so you can see I'm forming hash edges here, but then if I continue it all the way towards the top, I would get rid of those hash edges. You can see actually I'm doing it in an angle so that I get these shapes and streaks in the sky. That's exactly what I want, you can see I'm drying my brush so that I don't have too much water on my brush because I want it to spread evenly and create these nice shapes. This is one completely different technique that we're doing today so that you actually want to see those streaks of light. This is the reason why we're following this method otherwise we would have just let the water do its place. This is another technique that I wanted to show you when trying with Northern Lights. It's somewhat like if you were painting with some acrylic painting or even with gouache, you could adopt this same technique. See, I've actually touched this area now so I got to go all the way up towards the edge of the paper so that I have uniformity throughout. Again on this side just making sure to blend all the regions, that's what we want. I think lastly, just this region because I see some unblended areas. Now you can see this slightly blurry sky that we have achieved. This is exactly why we did it in this method so that you can see, actually, you don't see the streaks of lines, you don't see it as harsh edge, but rather it looks different, doesn't it? You can either wait for this to dry or you can go ahead and paint the ground. I'm just going to go ahead and paint the ground. What I'm going to do is I am going to take sepia and I'm going to apply it to the ground region. You actually don't need to wait for it, that's fine. Making sure to apply my paint right after the previous stroke so that my paint doesn't dry out. There, I'm taking burnt umber, I forgot to say the color in die, no said sepia. Now this is burnt umber, so it's just a mixture of any brown that you have that what we are trying to add, a dark brown shade. That's basically what we are applying. Towards the right side, you can also actually apply some Payne's gray, also. Just trying to get some dark shapes in there, there. Now I'm going to add some green into that area. Here it is, the rocky part, but let's assume that in this left side, there is some maybe more algae growing on to that area. That's why I just slightly drop in some greens in between the dark brown shades. It's not going to be clearly visible but then if you look at it closely, you'll see, that's what we want to add. Just a mixture of brown, and green at certain places. Brown and maybe some Payne's gray. That's the rocky part done. You won't actually see much of the green. I can actually see it with my eyes. I don't know. See some dark green shade. Now you can see the green in this angle. That's why we added that green. That's it. Now let us wait for the whole thing to dry so that we can finish off with the lighthouse. There everything is now dry and we'll start painting lighthouse. For painting lighthouse what we're going to do is we're going to start with a nice dark orange color. Just add in the orange as a straight line on to the lighthouse. Follow along the left side and add a straight line all the way towards the bottom where it meets the rocks. Forget about the railing now that will add later on, so don't worry about it. That's the orange. Now what we're going to do is on right next to it, we're going to add red. We're going to mix that orange with red. That's red next to the orange. The left side is just lightly glowing that's why it's got the red shade. What did I say? Not red, the orange shade. That's why it's orange here on the left but the right side is going to be slightly darker so that's why we have the red shade. Let me get back to my orange and add it properly once more so that it blends evenly, there. Going with my red again. Let me turn this. As usual, this is my most comfortable position to draw any lines with my brush. Go with any brush stroke that's most comfortable. You discover it as you paint. Mine is for me to draw any lines, it's like that. That's why I usually do it like that so see. I get perfect lines when I'm in that direction. It's easy for me to follow along any shape when I hold it like that. Let's fill that up. I can extend my lighthouse and cover up the mistake. I have to take some more orange and blend the whole thing. See, I know it's not too visible. That is the orange part. But what we are going to do is we're going to darken a bit more the right side. For darkening, I am going to take this violet and remember we made the red purple shade so we're going to make that red purple shade again. You can actually mix red to your purple and make that red purple shade. This color we're going to add to the right side. When you add a light and a dark tone to one side, that's when you get that dimension. That will make this lighthouse look as though, as you know it's bent like that. That's why we are going to use it and also make it to the top. Now I have to blend the whole thing. I'm just going to use my brush and blending everything. Dark the light, just blend in using your brush. Just run your brush along and you'll see that it blends properly the same way we tried to blend the sky region. Now you can see it's pretty dark on the right side and it's got some more dimension now. You can add actually more to it. What I'm going to do is, I'm going to add more violet. See, I've added a bit more violet. That's now too perfect line. Let's blend that. Now that's much better. See? That's much better, you can see the dimension. Now for the top part, I'm going to make that top part to be nice and blowing. Let's say it's got some light and it's glowing. That's why I'm going to add some Indian gold, so a golden shade. If you don't have mixtures, orange with yellow and you'll get the shade and I've joined it. Now we have to wait for this to dry, for me to draw the orange and the railing and some windows on our lighthouse and we'll be done. This thing is dry now. I'll pick up my orange. I'm going to add the top region, so that's orange. This is a balcony, but we're looking at it from the bottom angle. That's why we see it like this. Just take the orange and draw some lines and some railing. Let me show it to you up close what I'm doing. That's the lighthouse and I've drawn another line. Then just drawing some railing thing. It doesn't have to be or you can actually paint the whole thing if you want. I just like that, that's it. Now we'll draw some windows and finish off with the railing and all the other things. I'm going to go with Payne's gray and we have our railing at the bottom. I made a mistake there. How do I fix that? Let's see. I got another railing at the bottom. See what I did when I was drawing that arc? I mistakenly did another extra, I mean, went all the way down so I made another little arc. Just improvise, and that's how we can fix our mistakes. I might do the same to the other side and just add in the vertical lines. That's the railing at the bottom done. Now let me just add maybe some pools or something little extra just to make it not look too alone. Another pool here, maybe. Now the windows. Here a window. Again, we have to go with a perspective thing. The lighthouse is tapering towards the top. When you draw the windows, the windows also need to taper. Small window at the top and larger towards the bottom. The bottom one is slightly bigger so you have to do that all the way towards the bottom. This is again bigger. I'm trying another one that's going to be even bigger than the previous one. See what I did there. That's how we're going to add in. Finally, let's add another one down here, which is bigger than the previous one. How about the door? I'm not going to show the door, let it be. Then the tower at the top. Oh, yeah. There, I think that's pretty good enough. You can add some railing of some kind to the top. Yeah, much better. I just added two small tiny windows, maybe I add one in the center as well, a window up there, or a door, or something. That's pretty much it. You can add in stars if you want, but I'm going to go for a no starry sky. Or should we ask our stars? I don't want to add stars in here, but I'll probably add a tiny amount of stars in the top region of the sky. Let's try that. We pick up my white paint. I did that because I wanted smaller stars so that's why. There you go. I just added some smaller stars in the sky and that's it for this painting. I hope you like it. I know the northern light part is very difficult, but trust me, you have to try and practice. Even mine is not that perfect, but I like it because that's what I wanted to get these streaky lines. There you go. That's the final painting. I hope you like it. 100. Day 82 - Ocean Lighthouse: The colors we need today are Indian yellow, burnt umber, burnt sienna, Payne's gray, sepia, viridian or emerald green, bright blue and indigo. Today we're going to have a lighthouse in the middle of the ocean. We've already done ocean, so it must be easy for you now. Let's just start and add our lighthouse somewhere in the center. Again, remember the slide, the V-shaped angle for our lighthouse. For this one, let's say it's got this bottom part in which it's probably like the rock or the stand on which the lighthouse is. That's this basically. Let me show it too closely. This is what I have done. I had a V-shape first and then I did a curve. This bottom part is where the lighthouse is standing on. It's probably some kind of trank or some surface and then on the top, another arc at the top. Let's just make the top of it. For this one, it says if we're looking at the lighthouse from slightly angled from the top. So that's why we're able to see the top part here. Something like that. Then obviously we can have a tower in it, which we can add later on. There you go. This is our pencil sketch. I'm just going to trace out a little part of the ocean waves for now, just observe. Let's have some ocean wave on here. That wave is going to touch this bottom, somehow like this. Then the rest is just if you can remember the lesson promotions. Let's add another wave breaking down here. That's another wave breaking down behind the Lighthouse. So extend that. Let me show it too closely now. This is the pencil sketch. Let us now start painting, which is the most interesting part of all right? So let's go. Let me start by applying the water. If you remember the lesson from oceans. This is a wave. I'm going to skip adding water to the place in-between that. That's going to be white. Then I want this area that I had marked. Let me mark it some more clearly, so here. Then there's going to be a wave here. Inside this and this and the lighthouse, those are the areas that we do not need to apply water right now. Pick up water and apply it to the whole of your paper except those areas that I mentioned. When we started with a simple lighter. Now we're going to move on to tougher ones. Tougher in the sense the background is slightly tougher because it's again, oceans. It is really difficult, but also very satisfying. We need to keep applying the water multiple times. We don't want our paper to dry off quickly. Remember that. Also avoiding the lighthouse areas, which is very important. I've applied water using my flat brush and covered a lot of areas. Now, let me cover the other areas. It is right next to the lighthouse where I want our water to be about skipping that wave. This is the wave that I'm skipping. It's raining heavily outside this. Oh my God. Again, I've skipped that area and covered the outside part of it. We have to keep applying water to the other areas that we had applied before so that it doesn't dry out quickly. Again, that area then there's that area between the wave. I had the wave to be like splitting in a haphazard manner. Then here going again to the edge of the lighthouse. I've added that, but now my top part has started to dry, so I need to quickly apply water again in that region. Oops, I applied water onto my wave here. Let me grab that with the shoe. You can hold the paper at whatever angle that suits your painting. For now, I want to keep my water at the top. That's why I have this towards the top. Now, I want to water towards the bottom. There you go. That's done. Now when we're going to paint this, we are going to use a technique that we hadn't used before. It's very similar to the wet on dry and wet on wet techniques, but it's called as dry on wet. From the name, I hope you can understand, it means a dry brush on top of wet paper. That will give us a lot more control over our painting. Synthetic brushes are the best for that. Synthetic as in, which is not natural hair brushes. If you're not using any expensive brushes, then your brush is synthetic. I'm pretty sure that any person who is using a natural hair brush will have a synthetic one because that's the brush that we all started with. The basic ones that you get, those are synthetic ones. This is a synthetic brush that I'm using. It's because it doesn't hold a lot of water and will keep the brush dry for longer amount of time. It's starting to dry. [NOISE] I'm talking a lot and it's starting to dry again. We start to quickly apply water, [NOISE] so don't want it to dry. [NOISE] This doesn't hold a lot of water, so I'm having to pick up water again and again and again. Anyway, so that's the whole point of it. Dry on wet is dry brush. In order to create a dry brush, what I'm going to do is, first we need to mix the paint. We need a turquoise green color. Remember the turquoise-green color that we used for the ocean. That's bright blue plus viridian or emerald. Mix more of the emerald green so that we get that beautiful ocean shade. Let it go. [NOISE] Let me mix a little bit more blue into it because I want it to be slightly more bluish. A little bit at that. This seems perfect shade, but now you can see there's a lot of paint on my brush and there's a lot of water here, so it's not dry. What I'm going to do is I'm going to release all that water. See, release all that water. We want the brush to be almost dry. It's called a dry on wet. Then see, I'm drying my brush. It's just paint on it, absorb all the water, and then we'll paint. When you paint, see it's somewhat lighter because you've taken down the amount of water. But then what you will see is that your paint on the brush is more controlled. It's in a way the same as the wet-on-wet technique but just that you get more control over your paint because if there's too much water in your brush and you're applying to the wet paper, it just spreads a lot. We don't want it to spread a lot, which is the reason why we are going for the dry brush. Here I'm picking up fresh paint and I'm drying it and I'm directly applying to my paper. You see, it doesn't spread and it doesn't form those hairs. This is why we are going for the dry on wet. The first word obviously refers to the dry brush and then the paper. It doesn't spread too much in this way, which is really nice. Let's just go ahead and paint a lot of the dark region using this method. I think I'll just go ahead and keep picking up viridian or emerald green, whichever you are using, and I'll keep applying that on to my ocean area right up to the wave that we made. On the wave there, I have a lot of water still because I've got my angle and that water has accumulated there, so that's why it's spreading, but that's all right. Make sure to get that brush really nice and dry so that you have control over the flow of water and paint. Let's go to the other side now. We don't want the water on our paper to be drying out. Carefully around the lighthouse because we don't want the paint to go on our lighthouse because it's got to be a different color and you already have seen it. You've already seen what color it's going to be. I've applied the emerald green to the top. Now we just need to make this more exciting and add the ocean lines. What I'm going to go is go with indigo. This time remember we need very less water. Make sure that you absorb all that water from your brush and see it's just indigo paint now. Also, dab it so that you get all those excess water. This is really dry now, and this is what we're going to add. Add it on top, so this will not spread the paint and this will give nice blend in the paper itself. Apply that blue indigo towards the top so it's showing the depth of the ocean. Here here applying towards the top. Then what I'm going to do is using my brush, I'm going to make these lines and some crooked lines. You remember some wavy lines. Because our brush is almost dry, we get those beautiful lines without it spreading too much, and we really do not want it to spread, remember? Just apply it at random places and in the shape of a wave. Remember to be extra careful around the lighthouse because that's really important. I'm applying a lot towards this side. It may make some emerald green as well. I've mixed a little bit of emerald green into that indigo. You can see I'm getting a slightly darker shade. Let's do that. Pick up a little bit of indigo and mix it into that emerald green. You get a darker shade, and we'll apply that also. Now we've applied a lot towards the top side. High bottom side is almost drying out. Let me just add water. Because there is a separation between this and the wave, I am able to apply water again. Here as well, there is that separation in the wave, but here there is no separation between the wave. What I'm going to do is I'm going to leave a slight gap when I'm applying the water so that my water doesn't go up, but then I can just join it with paint later on Here, I've applied it. Now is the time that we have to be really careful when we're applying. Again, we're going to do the dry brush method a lot. I mean, the dry-on-wet technique a lot. What we're going to do is we are going to take indigo and we're going to mix it with that emerald green. See the shade that we get. Indigo, emerald green, or indigo and viridian. Here, I've adjusted the lighting. The weather here is really unpredictable. You remember I just told you it was raining and then all of a sudden the sun was out. Oh, my God. There, I had a little water peeping into that side, so I reapplied a little bit of viridian. That's it. Don't worry. We got to paint the bottom part, and remember we mixed up indigo with a little bit of viridian and created this beautiful shade. This is what we're going to be painting towards the bottom. Here we can go ahead and continue painting on the right side and join the water that we had applied. That's the wave. That wave here again as well. The other areas, I'll go on applying my viridian and my brush is almost dry and I'm using this synthetic brush. Then I'm going to take a little bit of indigo and I'm going to provide some darker areas. We can give darker areas in our ocean at wherever. Each time I am picking up dry paint, as in not taking a lot of water but my paper is wet so that will cover up for whatever I'm trying to do. My left side is drying, so here I'm reapplying the water, just making sure. You can already see even my paper is drying. All you have to do is to just make sure that you're not touching those areas where you're actually applying the paint because see, I applied water there and that has gone up and see it has joined there, but that was too much indigo and get rid of that, and I'll take viridian. Now, it won't seep up because I've applied the paint and I've moved the water all the way down. Let's take dry indigo and keep applying on to that wet area. Let me just apply here. Then now taking and mixing indigo. You can see how dry my pallet is. How dry the mixture is, it's not having a lot of water. This is why I call it dry on wet. It's just an extension of the wet-on-wet technique itself. Don't worry too much about it. Let's apply here and in this gap. Right below the wave, you can add indigo to certain places. This is just painting the ocean just like we did in the oceans class. I'm in the oceans week and also the oceans class. Just applying and then going ahead and applying these strokes by leaving a lot of white gaps. Here what we are going to do is we're going to apply the viridian, but by leaving a lot of white gaps. I'm going to make it lighter towards the bottom. My brush is dry. You can see that. Here I'm going with lighter shade. It's very light. Keep absorbing the water and I'm leaving a lot of gap there. These are all the gaps that I'm leaving forming the ocean. We'll add a lot more. Don't worry about that. Leave as many gaps as you can, and just add the waveforms. You can see how my brush is dry and I'm applying to the wet paper, and it doesn't spread too much, but rather stays in the same shape that I want it to be. You can add indigo to certain places. Now we've added a lot of these shapes. I know these look weird, but we need to straighten all of those out. If you remember the ocean and we can, if you've done that along with me, then it shouldn't be difficult, so don't worry too much about it. Now we've covered so many areas and the top part, dark and lighter towards the bottom. You can have more indigo at certain places. Just some dark depths of the ocean. Some colors in between the waves. They're picking up indigo again. I'm just applying to certain places like here, I want to apply some extra. It's just totally random, so don't really worry too much about it. It's just random. There you go. Now I've applied many of those things. Now, all we need is to do the waves of bit. What I'm going to do is I am going to pick up Payne's gray. Here is Payne's gray. But again, we're going to use the synthetic brush itself so that it's almost dry. We don't want. Add very little amount of paint. Let me see. This is almost like the color that we are using. Make sure that you absorb all the water. We'll just apply to these areas where the wave is. It's almost like the dry brush technique. Let me show it to you clearly. See, it's almost like the dry brush technique, but we're trying to move around that line. See the line of the separation which we created when we were painting. Just try to go along and you don't need to apply a lot. Just very little. See that? Just to depict some water splashes and some shadow effects, that's it. The same goes for this wave. It just do not keep it too white. That's it. Now we have to wait for the whole thing to dry. You can soften out any hairs that are forming. This makes sure that your brush is dry. As you see, I'm using a dry brush, soft and out any hairs they do see. Everything is now dry. Let us paint the lighthouse first now. For painting the lighthouse, what I'm going to do is, I am going to apply a little bit of water to my lighthouse area. Here I have applied water. We are going to start with Indian yellow. It's a nice, beautiful, gorgeous yellow lighthouse. There I've added the yellow. Don't worry about the centering for now. Just apply the paint. There I have applied my Indian yellow. Also applied that top part. There I have applied my Indian yellow. Now we're going to add some little bit of detailing on to our lighthouse. For that, I am going to go with sepia, which is dark brown. Pick up a dark brown shade. You can also mix little bit of black with burnt umber. I'm mixing a little bit of Payne's gray with my burnt umber because my sepia is finished. I need to look for the two, but I can't find it. I've misplaced it somewhere. Anyways, so you can see the paint again, I'm not going for a wet mixture is almost dry. We just going to apply along the sides and right below add a line. Maybe it forms a slight window or something. We don't want it to be too clear, just like that. See. Then maybe I'll add another line or something. Here another. What I'm going to do is I'm going to take a little bit of not that. Let's take bansiana that's much better. A little bit of bansiana and I will apply it on top of my yellow. But you can see it's almost dried-up paint. It's dry. See, it didn't apply a lot of wet. You must be familiar with the dry brush technique by now. Then let's go back with the brown. I'll just add a few lines and stuff. This is like it's still rust on the lighthouse. Maybe this has got metallic parts and it's got rust and dirt on it because the sea water is always splashing right next to it and creating all these dirt. That's why we don't want it to be perfect. Here you can see I'm adding these strange lines and using a dry brush mostly so that it's just not perfect. That's it. We don't want the yellow to just be too perfect. See, something of that sort. We can see clearly, like that. Then let's get back to my burnt sienna. I'm going to apply this towards this top area actually. Then I'll wash my brush, dry it off, and then I'll just spread the paint towards the top so that it's just not white, but that area is now colored. You can see the burn sienna now that I have applied at this bottom part, spread to the top, and that's all I wanted. We'll not be applying paint, but we just wet that area so that the whole thing just got a lighter amount of burnt sienna. What's left is this bottom part. For that bottom part, again, what I'm going to do is we have the wave here, so now we need to be careful. What I'm going to do is I am applying water just up to that area. Then I will take burnt umber. Just going to drop it towards the top. I think I need to show you this clearly. Maybe you can see more clearly in this camera. Like that, just drawing these lines from the top such that as if it's dripping the dirt. Have you seen this when there is water slashing in this place? It's like dripping all that dirt. See like that. Then let's just cover up that bottom part nicely. I know this one is quite tough and got a lot of elements than the lighthouses that we've done, but I just wanted to cover something in a little bit of detail. Let me just soften the edges of these paints that we have applied. By softening mean, taking my brush, drying it, and then just using water to just spread around, there. You can use water to spread out the other colors. As you can see just spreading out. Then it now looks as though it's dripping the dirt. Just add these vertical lines towards the bottom. I'm using a bit of Payne's gray to make it darker because as you know, my sepia is missing and there. See, now it's actually very much better, isn't it? Let's now add other lines and whatever detailing. Let's add a line of black. I didn't add it with too much detail. It's almost dry. Make sure that your brush is really nice and dry to get most of these effects. Then let's go ahead and paint the center. I'm going to be using Payne's Gray, go for black. Like I said before, you can add some dry lines and dirt and stuff. Maybe some line dripping like that, see. Then the top part and we need to add some tower. There I've added a tower kind of thing. This lighthouse is already looking really nice, isn't it? Anyway, so just add whatever lines and details that you can add. That's it and this skin cover-up for the window. Let's say we have a door here. Again, it doesn't have to be perfect. See the driest stroke that I have made so just something of that sort. The lighthouse is done. Now, let's get to the ocean part. Oh my God, this is already a lot of time, isn't it? The ocean part, we need to go with white and that would be the last of it. Here's my white [NOISE] and I'm going to take white paint nicely on my brush, there. What we're going to do is, first, we're going to add lines further off in the ocean. Let's now go ahead and add all our lines and whatever detailing that you want to add. At the top just make these random wavy lines at random places obviously. See. Make sure that your brush is not having too much water. Just dry enough to get some nice dry strokes. The dry brush technique and the dry stroke is really important when we're adding these ocean lines and ocean waves. Major junk of painting ocean involves understanding the dry brush technique. I know it can be quite difficult and overwhelming, but the more you practice, you'll get it right. Remember about the paper, you need extra paper. If you're not using a textured paper, then it is not going to work properly. Just keep that in mind and you are sorted. Many of them are just lines, so just add as many of these lines and closer lines you see. As you're drawing them, just convert them into dry brush strokes like that. Now we have a lot to cover here. In this area let's now cover up the dark edge that has been formed from the crashing wave. You remember this part. When we were doing the oceans. Just remove that harsh edge there, applying my white paint and removing any harsh edge. See now we've already taken down the weird-looking part of that wave because we added a lot of these. Now just the bottom part here. Here we're going to have a lot more of these dry brush strokes towards the outside. It's got a big pool of wave crashing, not pool like a big wave crashing all around it. That's what's happening there. You can have some crashing onto the say this part of our lighthouse. See I added some dry brush stroke and it looks as though as it's crashing. Now, let's just keep adding. Now, what I'm going to do is here in these places, I'm going to add a lot of these wavy lines. Remember that line that we added for the beach? The beach top view or most of it had so many of these lines. We need to keep adding those lines in this area at the bottom. How long has it been? Oh my God. I'm taking a lot of time, but I wanted to show this one. I know I'm sorry. A lot of these waves at all the places wherever you could add them. I know many of you told me that going slightly about half an hour is okay and that you can manage it, but I really always try to keep it at half an hour, but sometimes some paintings like these, they just go through, especially when it's got so much detailing and when it's so much fun, I love these ocean ones, especially that just so addictive, isn't it? There I'll add a lot of dry brush strokes. These dry brush strokes also helps to create the wave effect. I really like it. You can keep adding as much as you want. It just adds more beauty to the whole painting. Just dry. See, added a lot of those dry strokes. There you go. I'm going to stop at this now. Otherwise, you can just go ahead and add as much as you want. This is really addictive meditation. You just keep on adding as many strokes as you want. But there you go. Let's remove the tape. There you go. How do you like it? If you want, you can also add splatters, but I just skipped it because I added a lot of these dry brush strokes and it already looks beautiful. There you go. This is the painting for you today. 101. Day 83 - Lighthouse Crashing Waves: The colors we need today are, bright blue or Phthalo blue, indigo, cobalt blue, viridian or emerald green, burnt umber, permanent brown, a little bit of red, and Payne's gray. For the next lighthouse, let us add the pencil sketch. This is again, a wave-crashing one that's slightly different you've seen it, so having the lighthouse in the middle, extend the right one a little bit more downward because we want the wave to be there. Somewhere here I'm drawing a ring, and then I'm going to extend the lighthouse slightly bigger this side, another arc, and then let's now have a smaller surface inside. Then like a small hut or something on the top, the dome part. Then for the wave, that's the wave, and then we're going to have a large wave crashing here. Crashing on to the lighthouse. That's the large wave, so this whole area part here is going to be the wave. I still got the light playing with me, the sun is coming off and on each time. Do I have to do something? This light here, I can see that streak of light. How do I prevent it? Well, I think if I hold my paper like this and it's better, but then the palate's got light, I hope you forgive me for that. Anyway the last bit is I need to add the ocean, so will the horizon line of the ocean that's going to be somewhere there. Like again, one third of the people. That's the horizon line, so let's start painting. When we say let's start painting, we need to start by applying the water. Let's start applying the water, we will skip the lighthouse, of course, again. Carefully around the regions of the lighthouse. It's okay to apply below the horizon as well. We're going to go for one single flow of water. Keep the lighthouse on both sides carefully, is it too much again the light? Oh my God, it's too much. Here, I just did the light ones more, so applying the water because my paper's started to dry. Observe here, we're not going to leave any gaps for the wave part, which is going to apply to the whole thing. Apply except for the lighthouse, so only the lighthouse is what we're going to skip the rest of the areas, we'll just apply water. This is like a different method or technique that I'm going to show you here. Applied the water, remember, you have to apply multiple times in order to make sure that your paper stays wet long enough for us to work. That's done, so we'll start painting. I'm going to start with bright blue, let me wash off that first because it had a little thin the viridian from yesterday's. Bright blue, and I will apply that bright blue onto my sky region. See? I've applied that bright blue is phthalo blue, its just the same pigment, and you can leave white spaces, so remember the first ever lesson, when we painted the sky. That's this one, so darker towards the top. As dark as you can make it towards the top darker. Then lighter towards the horizon and obviously adding them in lines. See don't worry about the horizon line filling below because we're just going to paint it with indigo, which is like a darker blue, so it's fine if it mixes. Done with that part of the sky. Here again, in order to get control over our water, we are going to go with that dry on wet technique. That means, dry brush on wet paper, and the paper is wet, so we need to get along with the dry brush. I'm going to dry my brush here, and I'll take indigo. Here is indigo, and you can see it's really dry and I'm using a synthetic brush. I explained yesterday why we use a synthetic brush for these kinds of cases, and just along the horizon, apply the paint and note carefully, I'm holding the paper at an angle is very important because you want the paint to flow down so the the paper is wet and it would definitely cause the paint to flow even though you're applying dry paint. That's why hold your paper at an angle or keep something in it, something large enough to give it a nice angle. We need that, it's very important. Then along the horizon line we'll add this. I'm adding along the horizon line, and you can see our paint is dripping down because of the water that we have applied, and let it drip down, that's fine, so keep taking indigo and draw along the horizon line. Straight line along the horizon and also this is the backside of the wave, that's what we're adding, so keep adding. Don't add them vertical, add them horizontal. Although they may form hairs and spread around, that's fine. You can see I'm adding them and added it right next to where the wave was. Because I'm adding dry paint, you can see it's not spreading too much in giving in too much because this is striping. But if I had picked up wet paint, then it would just keep on flowing down. This is why I said I need control over my paint. That's why the synthetic brush. The lights playing again, the sun's gone. You can see the change of light that just happened immediately. Did you see that? There, I'm applying. Apply the Indigo and it's a dark tone of Indigo. Then what I'm going to do is towards the right side, I am going to go with cobalt blue. Or you can go for ultramarine blue and we'll start adding blue into a mixture. Here. Blue, bluish, bluish there. Now, keep the paper at that angle itself. Now, one thing that we can do in order to get that horizon line nicely is to run a dry brush. This is a dry brush. I hadn't used this brush today. Just try it along so that you get rid of any hairs that might have formed just like that so that you just get that clear line. But you don't want it to be too perfect. This is the reason why we went for the continuous line. The continuous method. Then now we can add some clouds into the sky as well. So what I'm going to do is, I'm taking up my dry synthetic brush again. It's very dry. What I'm going to do is let's take a little bit of Payne's gray and we'll add it. You can see my brush is dry and so is my paper. That's why it's not blending too much and I don't want it to blend too much, but that's why I'm going for the dry brush on the wet paper and just applying some lighter tones. This actually needs a little bit of practice. Don't worry, you will get this right. This is just a [LAUGHTER] new technique that I wanted to show you. Here again, the brush is dry, really dry. Just make sure that it's dry. See, it's dry. That's what we're applying so that it doesn't spread and it will just form these beautiful cloudy shapes in the sky. That's what we want. Just add some smaller clouds. It's like how he would paint with gouache. I don't know if many of you are familiar with gouache or not. If you are, then you wouldn't know because you're just adding these clouds as you would add when you're trying to add them with gouache. If you have a lot of hairs spreading out, you can actually see I converted them into some clouds there. It actually looks like clouds. It was actually the indigo that spread to that area, but I just made it into clouds. See. Now we have clouds in the sky. Let's get back to our wave part. That's that wave crashing. It's already added and because we used the dry brush method, it did not spread out a lot. Did not spread out and fall down even though we had water around. Let's now go ahead. This is dry, I think, but we have the separation between the wave. Now it's all right to apply water at the bottom again. We'll just continue painting. I'm going to go with blue, nice amount of blue. Oops, wrongly. Apply the blue at the bottom. We can apply a little bit of viridian here, just to give it a little nice touch there. Cool with the blue rest of the area is blue again. You can see because we're going for the dry brush method, this doesn't even flow up or cause any uneven areas or hairs it just forms natural-looking hair as you see. Let's take some viridian and oh that's indigo. Wait, here is viridian. I've added some viridian there, taking more and adding, that's more of my blue. Now I've covered the whole of the bottom bar. Now we need to add more detailing into our wave. Here I'm going to go with indigo, but you can see the paint that I'm picking up is very light. Can actually not see it. Where do I see? See it's not spreading around too much. This is concentrated trained but dry, and that's what I am going to be using. I am going to apply it right below the wave here. Adding some depth to our wave and add some lines. This is like part of the wave breaking off, and because we're using dry paint, it doesn't spread out. I had a lot of these dry lines, you can see how dry my paint is. See, I've added lines like that. Let's add some more here. I have added so much of the detailing into the water. Now we just need to paint, like add some depth into our ocean. What I'm going to do is I am going to pick up Payne's gray, and I'm going to add a little teeny tiny amount of indigo to it. so that it's slightly bluish. Then we can actually go with normal brush that you used to paint because we want it to be slightly watery mixture. Then what we're going to do is, see there is water there, we had applied the whole of our paper with water. I'm just using my brush and adding a little amount of that paint. You see, I did it like that. It shows us if this wave has got shadow towards the top and the bottom part is breaking down. Leave a gap at the top, leave a gap at the bottom and just add and then the area that it is joining the lighthouse, there also, we need to add some darker spots. It's got to be, use your brush at an angle and just drop it, and also right next to the lighthouse, in the inside part of the wave. Let that wave crash down, you can see how I've joined it. You can wash off the paint from your brush and just soften the edges of those spots that we made like this, so that the shadows of the wave are softer. See? The same at the top, just soften each of the edges. When I say soften, what I'm doing is I touch my brush along the line, and then I wash my brush because I've picked up paint from the paper, dry it off, and then fairly repeat the process. Then just, the edge gets softened, so that's what we're doing. See? The edges are now softened. I need to soften more areas. Just soften all of the edges. We need to apply a bit of paint to this side because this is the innermost part of that wave and so it will be darker. See, I've applied. Now, make sure that you blend it along and soften the edges. Mix a little bit of blue to that mixture when you're adding, you can either mix indigo, or you can mix even cobalt blue when you're making those waves. See, it's coming up so nicely, you just need a little amount of blue and dry paint. I know this looks little bit of difficult, but don't worry, you can do it. We've done that part of the wave. Now, what's left to do is actually painting the lighthouse itself. Now let's wait for this whole thing to dry. Or maybe not, we can start painting because this is dry. I'll go with red for the top areas. Let's apply red. I have applied red. That's a very crooked shape. Let me correct that shape, much better. Although not perfect. That's all right. Then I am going to go with permanent brown and I'm going to mix with a little bit of brown, burnt umber. What you can do is you can mix red with brown and you'll get this beautiful shade. Then I am going to add sienna to that bottom area. We just need to keep adding more and more colors of the lighthouse. Let me see if this is dry. This is just fine. Actually, almost all of it is dry so we can go ahead and paint. I'm going to go with brown. We're going to paint with brown. I'm afraid my hand is going to attach that and it's going to ruin the whole thing. Let me see if I can paint without touching it. I'll rotate my paper, and that'll give me the best way to paint without actually touching it. Where that wave is joining, we need to paint, and stop there. That's where the wave is crushing onto the lighthouse. There. Now we just need to give darker details. So I'm going to take Payne's gray and we need to have the shadow of the wave, so there. That's the shadow because the bottom part has got to have nice shadow. And also let's assume the light is from the right. So I'm going to add a line in the right side, and I'll just blend along with the brown. See. Taking brown and blending a lot. And maybe aligning the arch here that we did, it's like that. Is this dry? Yeah, that's dry. So let's add the railing as well. It's very difficult to draw because this part is still wet, and if I touch my hand there, it's going be tough. I just wanted to get, this is actually a good practice for me as well. There, I've added the railing, you can see just added an arc and then some vertical lines. There, that's the lighthouse. Now, definitely we have to wait for it to dry. Wait. I can actually draw the pole as well, so here. There's one shadow part that I've missed. So the shadow was on the right side as I said. So this dome needs to have shadow as well. So let's add darker brown paint towards the right side of the door. So see, it's got a nice shadow towards the right. I've dried it up. The last bit left to do is obviously to go ahead and add in some white lines in our painting. So going back with my bigger brush, the size one bigger brush and I'm going to pick up nice white paint. There, nice white paint, and we are going to add some lines first in the background. So just like we did yesterday, some lines. Lines further off in the ocean and make sure that the brush is really nice and dry so that you get the nice dry lines. We don't want it to be too wet and thick, so we just line is like that. And bring the lines forward slowly. Enough of the lines in the background. Now for the paint part. Make sure that the brush is really dry, don't forget that, and let's have the wave. What we're going to do is outside of the wave, the brush is really dry, dry brush technique and make it extend outward just a teeny tiny bit so it looks as though it's splashing. See the splash going look. So do it in all of the directions and dry brush, dry brush. Very important, remember that. So I check my brush dryness usually on the side like this, it's dry so that I can add, keep adding. So I'm going to add a little bit towards the right side outside of the wave. Let's have it extend outwards. Nowhere else. We have these places. These places already looks as though it's a splashy end. You can add some more dry brush strokes, but just make sure that your brush is really dry. Before you apply it onto the paper, you need to check it on some other paper. Because the moment you apply that and it's got a harsh edge or if it's not right, it's done, you cannot undo it. So this is the reason, make sure that it's dry. So you can see I'm completely sure it's dry and that's why I'm applying. So see how it's turning out. It's as though [inaudible], it's splashing. So that's what we want. Add some in between the shadow areas also because it's water splashes, it's found to be everywhere. Let's also add some onto the lighthouse. See, my brush is not dry. Then right here, let's have it splash here. Now, let's add lines coming out from the wave like that , so many lines. Just add these shaky lines, make sure that your hands I know as if it's shaking [LAUGHTER] and you're almost done. Obviously you can add dry strokes as well so that it looks as though if it's fall seeing the strokes are dry. That looks really good enough for me, and that's this slide thing that I need to do. See, I went with the white over to on top of my lighthouse, which I don't want. I know it's the waves splashing, but then you should understand the wave is splashing at this angle, so it wouldn't cover this side, the front side of the lighthouse. So this is the front side and that's the backside. So it wouldn't cover the front side, so I just need to get rid of it. So the color that we used was brown and [inaudible]. So let me just get rid of that splash on top of the lighthouse. There, gone. Now I'm going to just go and add in some windows or something on the lighthouse. What you can do is you can pick up black and just add something of that sort. See, just like that. Maybe strengthen that arc a bit so that it shows the depth. Maybe some pools in there. That's pretty much it. I like it. How do you like? Do you guys like it? As many of those white lines at the bottom. I think we can stop now. It already looks very, very beautiful. Let's remove the tape. So here you go. Do you like it? It's another wave, so we did another wave yesterday and today also a wave. 102. Day 84 - Cloudy Lighthouse: The colors we need today are bright blue, Payne's gray, burnt amber, Indian yellow, sap green, raw sienna, and indigo. Let us start with today's Lighthouse. You've already seen it. It's quite simple. We're going to have the Lighthouse here towards the left side. Let's again draw the Lighthouse and an arc have the dark. Let's have the extended a little bit outwards so it's like a balcony there. Then something in the middle as usual. Probably like a heart or I don't know what do they call this thing at the top, another arc, and then let's complete it with a dome on the top. This is basically the structure of the Lighthouse and join this end and at the bottom, let's have another arc. The Windows, of course, we can add that later on. Then we're going to have some bushes here in the front, all the way up to here and this is the land area like that. Let's draw the line of the water that is the sea. That's the line of the water and the rest is all sky. This one is going to be quite simple. Don't be worried about it. Let's now start. We are going to apply water to the whole of the paper. Don't worry about Lighthouse and it's structured right now. We will draw it later on. Just apply water to the whole of the paper right now and follow your usual procedure for applying the water that is taken care to come up with the edges and every surface of the paper and making sure that you apply the water multiple times so that your paper stays wet long enough for us to work on. Keep applying the water, especially at the top. That is that the edges where the tape is touching because those edges are where the water would flow out of the paper. Keep applying the water nicely. There I have applied the water, so let's now paint the sky. We're going to make this quite exciting. I am going to start with Taylor blue or bright dots go with any blue that you have and I'll start applying at the top. I'm going to follow the negative method here to draw my clouds. That is, I'm going to add in my blue. Then I'm going to leave shapes in the form of clouds. See, so that's one shape that I'm leaving. Any darker shade that you can see that when I'm picking up fresh paint from my palette, I go and apply it to the top because I want a place to be darker and the bottom areas should be lighter. That's why when I pick up fresh paint, I don't want to apply it at the top. That now my brushes got paint but lighter so I can apply it to the other places. See, I've left cloudy forms. This is like negative method. See, I did not apply at the top, so this is now very dark. I'm going to smooth it out so that they become lighter. There again and towards the bottom and these areas, I'm just going to randomly apply. You can leave certain gaps if you want. That's pretty much it for the sky with the blue. Now we go without other colors. For other colors, I want to depict my sky a little bit more in a smaller way as in using smaller brushes. That's why I'm going with my size four brush now and we are going to use Payne's gray. That would be the shadow of the clouds. We did that in the first week. I did skies in the first week mainly for this reason and because it's covered in a lot of lessons, sky is like the most important part. These areas of the clouds, we are going to fill but don't fill the entire thing. We need to leave some areas white and we also need to cover it up with gray. This is the reason why I'm using the smallest size brush, because a larger size brush, we're likely to cover up the whole white area. Go with a smaller brush and apply in the smaller cloudy shapes as you can see. You can add more to the horizon and to this side as well. There you go. Let's just flatten out these ones at the bottom, which is further off towards the horizon. That's a nice cloudy sky right now, isn't it? Let's go ahead and paint the bottom area now. Before it starts to dry, we are going to paint with sap green. What I'm going to do is I'm going to pick up my dark green. This is my dark green from White Nights. You already know it. Then I'll mix it with yellow to get nice sap green color. If you have sap green or hookers green, you can go ahead and directly use it. What I'm going to do is I am going to apply a little bit of yellow to my paper first. Here I'm starting with yellow and I'm applying the yellow. I've gone and applied my yellow. Then I'll go ahead and apply the green on the top. So that that green is going to mix with the yellow to form a more lighter green. You can either mix directly on the palette or you can mix it on the paper as well. In this case, I prefer to mix it on the paper because it just creates a slightly different look. Here at the top, what we're going to do is we need to create some shapes. Create whatever shapes you can. The paper is slightly wet. It's almost dry towards the bottom while we were working on the sky, but that's fine. Just add in these bushy shapes or whatever you can. You can see that. Also to the top of the yellow paint. That's the end. I wanted to create sap green. So that's why I'm mixed with yellow. But if you're directly using sap green, you can just go ahead and directly use it. You don't need the yellow. Here now I'm going to go with a darker green. Mix indigo with green if you want to get dark green or you can mix with black. Or in fact, you can also mix with a little bit of an odd dark brown, but then you'll turn it into a slightly olive green color. Now what we're adding is we're adding the shadow to the bushes. There. I'm adding to the base here. These, you can add here some detailing like that. Just observe what I'm doing. I've got very huge light coming from here. If I go to adjust the sunlight right now, my paper will dry. So I'm just going to try and ignore that. You can see my hand the sunlight. The sun is directly facing the window right here now. But I think it's clear whatever we're doing on the paper, so I'll just continue. When it gets too bad, I'll go and change it. Or maybe right after I do the first layer, I'll try to change the lighting. Here you can see what I'm doing. I'm just dropping in small bits of paint at the bottom. I know the sunlight is hitting here and this camera is gone very bad because it's too wide because of the sunlight. Only the top camera is working for now. There. I've added the bushes to the bottom. You can see how it's turned out. It's looking gorgeous, isn't it? Before this thing dry, I want to go ahead and start painting. What I'm going to do is I'm going to take raw sienna and we are going to apply at the bottom. We're going to fill the sand area with raw sienna. When you touch it, the green is going to blend with the raw sienna. That's absolutely fine. Draw the shape of the land area that we did. We'll add some rocks there. It's fine for now. Just go and cover up the whole thing with raw sienna for now. There. Let's now finish off the bushes. Here is green and the dark green. Let me cover up the base areas once more nice and dark. You can add it to the top of the raw sienna. You can have the bush extend a little outward on to the Razi in that area. It's fine. Because it's not going to be a perfect straight line with the bushes. That's why we are doing this. Just dropping in some random beans there. Then let's also have some brushes in this and here. Just a little bit I have dropped there. Can you see that? Now, before we head to adding the ocean area, and the rocks, I just want to give some texture to this part over here. What I'm going to do is I'm going to pick up burnt umber. That's burnt umber. I'm going to hide this part because I don't want to be having it there. I'll just drop some splatters to this region. See, I've added some splatters. You can also add and drop in some paint if you want, like that. Now we wait for this whole thing to dry so that we can add the lighthouse and the sea. Here. Now I've adjusted the lighting, so let's continue. We're going to paint the ocean part. For that, we are going to go with a mixture of Payne's gray and a little bit of indigo. The ocean part, it's going to be lighter, not very dark. Just pick up your brush and see the shade. I mixed a little bit of indigo and Payne's gray. That's what we are adding. So add it along the line of the horizon like a straight line, and around the bush area, all the way to the end. It's just a simple one. Actually these lighthouse landscapes are very simple, isn't it? Then it's just trying to approach different subjects or topics. That's what we're trying to do. As we approach towards the bottom, make it lighter. There. That's now lighter, and darker towards the top. Then if you want, you can pick up Payne's gray and make sure that your brush is really dry. See my brush is dry. You can add some very thin lines. Mod large but very thin lines just to depict the water. That's it. But not even too much. If you think you've added too much, you can just soften it out like what I'm doing. The paint that I applied is still wet. Bold the paint. That's why I'm able to soften it out. There. I've softened it out. Now we can go ahead and start with the lighthouse before we add in the stones. For adding the lighthouse, there you go. This lighthouse is also very simple. What I'm going to do is I'm going to apply the water. Now, meaning to paint the lighthouse using the negative method. That is, we have the grass at the bottom, so we need to be applying water around the pointed edge of the grass that we did. Around that we apply the water. There. Now, I'm going to go with Payne's gray, and I'm going to drop it. Where do we want our light source to be? Let's imagine our light source to be. The shadows are at the bottom, all towards this side, I have done. You can see. For example let's say this cloud over here. The white part is at the top, towards the right and the shadows are at the bottom. Somewhere this side is where the light is on. That means we will have the darkest sides of the lighthouse towards the left side. I'm going to wash off my brush, and just blend it towards the right side. The right side, the Payne's gray is going to be very light in tone, almost nil. See? See that almost new towards the right side. Towards the left side, you can go for a darker shade, as well as we need to be adding towards the top area here. The shadow of the balcony. That's what that is. I can adjust that, all we need to do is, join the lines properly, there. That's now the lighthouse. But I want to make this quite exciting as in a little bit more. I'm going to add a little bit of rust. For rust, I'm going to go with a little bit of brown. This whole area is still wet. What I'm going to do is not a lot, but just add maybe some shades of brown at certain places. See, so now that's got like a brown touch to it. Not in all places, just some places maybe in some season the sea came all over and it was splashing water and the whole thing rusted. See, I just blended that and that's a little tad of brown there. That's it. Then for the top area as well. Let me apply water to that top area and then we'll have our gray on the whole thing. Then the dark gray towards the left side. There. Now let's soften all of it. There. That's it for the lighthouse. Or if you want, you can add some rusty areas to actually the top part as well. I've added just some burnt umber and I'm going to soften it there. I've softened it. You can see now closely how it's gotten a little touch of brown at certain places but not so evident. It's giving it a rusty look. Now all we have to do is add in some nice rocks. I'm going to go with burnt amber and mix it with a little bit of Payne's gray so that I get sepia. There. Then we'll add in the rocks. For adding in the rocks, what are we doing? Just like that. See what I'm doing. Just some tiny dots at certain places towards the tip, that's where the rocks are. You can add more to these areas. You can add smaller ones, larger ones. I'm adding some larger ones towards the bottom. There, we've added a lot of rocks there. Now, let's add some to the front, here. There, that's some rocks. Now, the only thing left to do is to add the dome and the rest of the lighthouse. For the dome, let's go with a lighter Payne's gray again. This time just adding the dark shade on the top, slightly darker towards the left and the tower and then the balcony. The railing there. Maybe we'll add a window or something there. Then we need to add in the window. For this lighthouse, the window is towards the left side. It's facing this side, so we only see a little part of it. That's what we add. See, that's the lighthouse. I'm going to just drop in my Payne's gray here at the bottom, like adding sudden lines just to as if that balcony is attached using some mechanical structures like that. You see closely? How close? Yeah, see what I've done. This is what I have done. That's pretty much it. You can finish it off, if you opened. We can add some birds if we want. Yeah, let's add some birds. Just those small birds, add them in different directions. We've already added birds in a lot of our lessons. Just use a smaller pointed brush and just add them in different directions. There, that's it. We're done with today's. Let's remove the tape. This is again, was a practice for that clouds one and adding some green bushes. Also we learned to add in that light rusty look. That was most important here. Wait, there is just this slight something that I have actually forgotten to add. There is this base of the lighthouse and I wanted to show you by painting it in negative. This is Payne's gray and we have the grass area here and we are going to paint the bottom of that lighthouse by using Payne's gray, but then using the negative method that is avoiding the grass and painting the bottom. See, that's how we add the bottom. That's much better, but that's something that I had forgotten so we can remove the tape. There you go. This is today's painting. I hope you like it. 103. End of Week 14 - Lighthouse :): We are done with the topic Lighthouse. Here are the six landscapes that we painted. The first one this, which was like a dark sky one and then we had a simple one, but then we learned to add the white in the birds. Then the streaky northern lights one. Of course my two favorite ones, the ocean ones, with a weave crashing onto the lighthouse, this one and this one. Lastly, we did this one. All of these are my favorite, but especially these two because I don't know, I love the ocean. We're done with the lighthouse topic. You have the reference images to dive in. Let us see next day with the next topic. 104. Day 85 - Misty Forest: The colors we need to do are, Payne's gray, burnt umber, a dark green, sap green, lemon yellow or any lighter yellow, bright blue, and maybe a little indigo if you want to make some more darker greens. This week we're starting with dense forests and light through the forest. First we are just going to do a nice misty dense forest. There is no pencil sketch. Let's just dive into it directly. What we are going to do is we're going to apply water to the whole of the paper and today I finally cleaned my palette after so long. Let's just apply the water to the whole of the paper. We want our paper to stay wet for a longer duration of time, most of the time, most of these days. Let's just apply the water evenly. We need to apply an even of water. Applied multiple times to make sure that it stays wet long enough for us to work on. It'll give us enough time for us to work on , so keep applying. You can see I'm holding the paper at an angle. This is to get an even of water on my paper. Because when I'm holding it at an angle, all the water would flow down and none of the places will have any large blobs or balls of water. This is why keeping an angle helps. See I'm dropping water but then still it would all flow down. It wouldn't form any large pools and it helps to for us to prevent any pools of water forming in any places. When you're holding at an angle, important thing to note is that the water at the top is going to flow down, so we need to make sure that we apply an even of water at the top. Just do it multiple times so that it stays wet long enough for us to work on especially if you're not using 100% cotton paper, but by now we are at what they are we. I lost track because I'm just going on continuously painting each subject. I don't know which day, but I think it's somewhere around 80s, I think, isn't it? We've been doing this for a long time and you know how important cotton paper is by now. There we have applied the water and we're going to start painting. Here, what we're going to do is I'm going to make it slightly forest thing. What we're going to do is let's take a little bit of phthalo blue, so phthalo blue, or light blue there, and then let's mix a little bit of sap green or green with it. You see the color that I have it's like a green turquoise blue shade. This is what we want. This is almost the same color that we used to paint for the oceans, but I used to mix bright blue and viridian together. Now I'm mixed bright blue and sap green or my dark green from White Nights. That's what I mixed together and I'm going to apply to my paper. There I'm applying it at the top. See, I'm applying it towards the top and I have the angle on my paper so you can see my paint would flow down, and I'm making both vertical and horizontal strokes, which means that it doesn't matter which way you're painting on, just make sure to have nice amount of mist on your paper. This is the misty background that we are adding. I need more water, I want my paint to be nice and flowing. There. I've applied almost fill that area. You can apply in any random manner, it doesn't matter. I'm just dropping a bit towards the right side, and then I'm taking a little bit of green and I've added it to that mixture and I'll add to the right side and to the left side as well. It's just showing the denseness of the forest. That is the misty background part. Next we're going to paint the bottom part and we're going to have it green and brownish. It's like wet mossy floor. Starting with yellow, I'm taking yellow just because I don't have sap green, I could go and directly use a sap green from another tube, but I'm just trying to not because I can easily mix my green and make sap green see. I've made a nice sap green. I need a little bit more yellow, and I'll get a nice sap green, so there a bit more green, yellow and that's my nice green. I am just going to apply it at the base here. As you can see what I'm doing is I'll just blend my green in that background, see? Use a lighter tone. Don't go for a dark tone or dark mixture and keep that angle on your paper so that you're paint flows down. Then I'm just going to apply my green tone all the way towards the bottom. Just making some random shapes. You can see what I'm just touching my brush in random motion like that. There is no strict thing that I'm doing, it's just totally random so that your paint just flows and mixes randomly. Only because of the angle that I'm holding these lines that we added, they've formed naturally and we're not going to touch that area anymore. We'll let that be, but we'll try to add more detailing towards the bottom. What I'm going to do is I'm going to switch to my size full brush can't see anymore it's gone. The writing on the brushed is gone with so much usage anyway. Now what we're going to do is we are going to get to it and I'm going to use more sap green. I'm going to mix more of my yellow with my green. Or alternatively, what I can do is with my tape, let me put that under the paper for the angle. There. That would give me the angle that I want. Another good color that you can use this phthalo green light. This is from Sennelier, it's a very good color, gives a bright green shade. Don't worry if you don't have this, you can actually mix lemon yellow with a green shade or a darker green shade, and you will get this shade or you can actually mix yellow and green together like I did. I'm just going to try and use this. I know I said I won't use different colors, but I think this is a very nice color if you have, but don't worry, if you don't have this, it's absolutely not necessary we just want different kinds of green that's it. Here is my sap green, and what I'm going to do is I'm just going to drop this green onto my paper. I think now I don't want the angle because I want the paint to stay there and not to flow down. What I'm doing is I am just picking my green shade and dropping them at various places. We just trying to give some texture. This is the ground area and this is the really backside of our misty forest. We don't want to touch those areas again. The sound that's coming right through the window right now. Doesn't matter. What I'm going to do is just dropping my paint right on to the paper nicely. I think you can still see clearly. The sun is not too much bothering, hope not. There I am dropping in the paint. I'll take some of that phthalo green. You can see how beautiful it is. You can also use hookers green or the sap green. I think if you're using sap green directly, this might be the shade rather than the mix that I am obtaining. Just go with it and apply it to certain places, and you can have some lines in the middle and a flight like that. Just you can see this is just totally random what I'm doing. There is no strict rule. Then what we'll do is let's take some burnt sienna. Here is my burnt sienna. Did I say burnt sienna? It's burnt umber. Oh my God, so sorry. Anyways burnt umber, we just need a nice dark brown color. We can mix a little bit of Payne's gray to it and we get an even darker shade, somewhat like Zapier, and we will also add that. It's just yellow. Some things in the background, some dark shapes and just the ground, mossy part. The muddy floor on the forest, that's what this is. Just keep applying at random places; totally random. We need a dense brown so make sure that you use the nice dense brown and apply it at certain places. You can also take burnt sienna to give a different brown if you want. [NOISE] Then for depth or darkness, you can again go and mix with more Payne's gray and make it darker. See, I've mixed with Payne's gray and I'm adding so it's now really dark you can see. But I'm still leaving a lot of green spaces at the bottom and then I'll go for a darker green as well. Here is my dark green that I usually use. That's really dark. You can add the dark green. I'm adding the dark green mostly to this right and let's add some to the left side as well. It's just basically adding a lot of these extras to the ground. Well, that's what we're trying to do. Different shades of green, that's what we are trying to do. To make it even more darker, you can actually mix with indigo and you'll get an even darker green. See that? Mixing with indigo. My brown is getting lighter, so I'm going to go over it once more. There's my brown and mixing it on my palette with that Payne's gray mixture, and I'll go over on the top. There. Let's take somewhat of that sap green or phthalo green or whatever green that you are using and add that as well. Just add it at various places. There it is. Now we're done with the background layer. What we need to do is let us wait for this whole thing to dry so that we can add in the background trees. We know the background is completely dry and we can start with adding the trees. What we're going to do is we're going to add different layers of trees to our painting. We're going to mix a nice beautiful color. What I'm going to do is I'm going to take some dark green; so here, taking some dark green. Then I'll mix some Payne's gray with it, so it's a bit more darker now. Then I'm going to mix a little bit of brown with it. That's it. Green, Payne's gray and brown, so that it's dark black color, but then it's got that touch of the trunk, which is brown, and it's got a touch of the green for the mossy effect on the trees. That's what we're trying to do; that color. Then we need to start with the very background. First, when we are trying to add, we are going to be using lighter shades, so use a lot of water. As you can see, I'm taking a lot of water in my brush and then I'm putting it on my palette, and the shade that I have is very light. See that? It's very light now so that's what we're going to use. Using that lighter shade, we are going to add trees. I'm starting at the left and I'm just adding some trees. Make them thinner, and as it reaches towards the bottom, what I'm going to do is I'm going to dab it and just blend it along. See? It looks as though it's misty. Let me show it to you closely. I just rubbed a bit of tissue along so that it looks as though it's just got that misty look. Let's take more. My god; the sun. You can see the sunbeam here on my palette, but it's not affecting the painting so let's go ahead; keep going. Make it thinner. Thin trees towards the background and you did not come all the way to the same level. There, I just dabbed off so that's like really in the background. It's just blended off in the mist. That's what we're trying to do. Let's keep adding a lot more of these trees. Each time at the end, what you're going to do is just dab it off and make it just blend along into that misty area. Let's keep adding. There. See what I'm doing? This is the step that we have to keep doing all the way. Make sure that your color is light. We don't want it to be too dark so that's why I'm using a lot of water in my mixture. Then not all be in the same line. You can see. There's just too much mixture for us to be seeing anything clearly. You can also have different branches like these. You need not have one single tree Let me run that along. See I've added a branch to that one. Let me add more trees in the background, then it will make it more interesting. I think this one needs to come a little bit more down. See, we've added a lot in the background. For these background trees, I want to add just some branches. Make sure, again, it's light. The paint that I'm using is very light. See? We'll just add some branches. Now just to make sure that those trees are not weird, they need to have some branches, so just add them. Let's add another tree here. Adding branches. You can see, I've added a lot of branches, but these branches are maybe light. We've used a lighter tone. Now let's go with a further darker tone. Let's mix the three colors, green, Payne's gray, and a nice brown. Next color, we go for the next shade. [NOISE] Let me show it to you, at first we used a lighter tone like this. I think now we need to go into, it's too dark. Let's see, yeah. This color, and in the end, we go with the darkest. I think we will need to mix more for that, so the darkest. You can go with a further darkest tone, see. We're going to go with these different shades. [NOISE] Let's go with the next shade, just going to be, add a bit more water, and let's have the trees. This time we'll have trees that are darker than the previous one, you can see. They need not be straight also, you can have some trees at an angle, and they can come a little bit more downwards. [NOISE] What we're going to do is, we are going to do and blend it towards the bottom, but we'll add the bottom part of those trees later on. So pick up the shades. There you take the tissue and blend it. [NOISE] You can actually do like this also. This time when you're blending it, [NOISE] try going sideways. Or you can also just add some like this. Let me show it to you clearly. We will add and make it clear later on, but see just I did it sideways so that it would just blend in. Let's just make it. [NOISE] We'll add the details at the bottom later on, don't worry. [NOISE] All you can do that like I did. I did with the brush and I painted to the sideways, and then I just stopped it off so that it's lighter. Let's keep adding more, get it off. Just added a little lines to the base and then dab off some part of it with the tissue, that's what we're doing. So I need more of my colors, so I'm taking green, [NOISE] Payne's gray, and brown. [NOISE] This is a nice dense forests that we're trying to make. Mix the color nicely and keep adding the trees. You can add branches like I said. You can add branches to this other trees that we just added. I've added the branches. Let's keep adding more of our trees. You don't have to be filling in all the gaps, we'll be covering the back trees as well. You can see I've made the next one to be covering partly on the top of the previous one. There, and dab a little. Also let me add some branch. Keep adding more trees. Don't worry about the base for now, [LAUGHTER] we will do it properly later on. But for now, all we need to do is keep adding those trees. You can see already the denseness of the forest coming into the picture. Let's keep adding, so add the trees in different angles and they don't all have to be straight, so keep adding them. There. So we've added the trees in the next color shade. Let's go a bit darker now, so there. Mixing those three colors again. [NOISE] Now you can see my mixture is really dark here, and I'm going to go with the darker mixture. These areas are now dry. I can paint on the top and I can go with my darker shade. Trees can be a bit thicker now, now that you're coming closer to the viewer. So that's why they are thick. They'll extend a bit more downward. Let's just add in the base like we added, add something like this. So I've just made a few lines and just added it to the brown. When it dries and we add more things at the base, it'll make sense. For now, it's fine. The branches, whichever way you want to add the branches. Let the branches be extending in front of the other ones, it's fine. Let's keep adding more trees. We'll have another one there probably. It's going to be slightly at an inclined angle. Maybe I'll have a nice branch out of this one. When you're branching out, make sure that you have the branches going thinner towards the outside of the tree. There, we've added the base and it looks odd, so I need to add more trees. Let's add more towards the right. Another one towards the right side here and I'm just going to cover the whole thing towards the right as if that tree is out of the picture just a little and that's the base of that tree. How about we have another huge tree here? Let's have here. You can see the trunk is not even because I'm drawing at an angle like this, I'm holding my brush like this. You don't have to have the trunks of the trees perfectly even because they're trees, they are bound to have different shapes of the trunks. Just go ahead and keep adding there and let me just give it a nice base for this one. We've added a lot of trees now. If you want, you can add more trees in the background. Actually what I think is, I think it's got a little bit of lesser trees here; I feel. What I'm going to do is I'm going to add lighter trees again. For adding lighter trees, you know what we have to do. We need lighter paint. There is my lighter paint that we used at first and we got to be really careful, so just adding in the background. We should have added this at first, but then it's okay to add later on as well. I'm just showing you so if you missed out any and you feel like you want to add more, you can do that. Remember what we did with the blending. See that. When this dries up it'll be fine because it'll go in the background, but now when you are adding more trees to the background what you have to make sure is that don't make it go on top of any of the foreground trees because this has to be at the back. I'm only filling in areas where there are no trees. See there's a gap there and there's no tree that's going to disturb that tree. That's why I'm just adding and blended it. Similarly to other areas, make sure that there are no trees to disturb them. Like here there is that branch that is in the foreground, so I'm painting around that branch. My paint should not go on top of that branch because it'll disturb the foreground layer, but there. I've added so many of these trees in the background. This is looking so nice already. We'll just go into the last bits which is to add some detailing in the foreground. This detailing in the foreground is going to be let's take some brown and let's drop some of these into those tiny areas that we made some brown strokes remember. Let's add them. It's just few detailing in the foreground, the muddy floor of the forest. I'm just dropping paint in a random manner. You can see it's not at all clear, just some speck of paint here and there and then we'll also add the phthalo green that I'm using. Go for sap green or hookers green or whatever green that you were using, the sap green. In this case, we want the green to be visible on the top of here. It's better if you can mix it with a little bit of lemon yellow or cadmium yellow. That will make it opaque. That is, the paint would be more opaque and visible on the top. This phthalo green is a nice color because it makes the color be visible on the top. You can see it's visible, so that's why I'm using phthalo green. Now you understand the reason. Don't worry if you don't have phthalo green, what you can use is either you can mix with lemon yellow or you can mix your green with cadmium yellow. If you mix with them, you will get an opaque shade and you will be able to get it on the top. If all of this doesn't work I have another solution for you, use a green gouache color. Gouache will always appear on the top. Mix a darker green and then makes white with it or mix a yellow gouache with it, so you'll get a nice green color and it will appear on the top. That's what exactly we want. This is the reason. Here I'm using phthalo green, so just apply at the top. We'll just make these small shapes. These are the forest ground with so much tiny bits of detailing moss and whatever there is on the forest floor, just dirty stuff. Just keep applying them. You can see I'm not taking a lot of water in my brush, so many of my strokes are going into dry brush stroke. Let it go dry because this is we're trying to mimic the floor. Here the strokes have been really dry. See, it's dry and I'm just letting my brush slide across to get that dirty look at the bottom. Then maybe you can also add a little teeny-tiny branches or details. What I'm going to do is I'm just going to drop some green sheets onto my trees, so just a little. You know what I didn't know, I was going on painting the tree and I've touched right there and see my hand now. Anyway, what we just need to do is just draw some little paint, so it'll be some green-ish tones. It doesn't need to be too perfect. It's not grass actually, so it's the moss growing on the trees because it's so misty, it's so watery. That's why it's got that moss. Lastly, to the one here on the right. We're done. This is the largest painting for today. If you want, you can pick up some dark green and add some detailing onto your floor. It's absolutely not necessary. You're just giving some different colors. This is why I said the bottoms of these trees we won't worry too much about them because we've added the green shade to the bottom, so [inaudible] there. All of the trees at the bottom, just cover them up with some moss so that it doesn't look odd. Let's take some brown and add it to these ones. There, it's looking so beautiful already. If you want, you can add some grass or some branches with Payne's gray. I can go on adding more and as many details I want, you can never stop. See, I just added a branch there. You can forever go on adding as much details as you want into this painting, you can never stop. It's like you can make this as beautiful as you want. In fact, you would have added more trees in the background. You can add more twigs, branches, you can add more things to the ground, you can add [inaudible], you can add some leaves. There are so much things that you can actually do and then you need not to do all of those. I can either stop now. I think I should stop. It's already so much time and why I'm I not stopping? Because I just I feel like adding more and more details. I'm just adding more twigs. Why I'm I not stopping? I've stopped. I'm not going to go and do it anymore. There you go. Let us take off the tape. Here is our final painting, how do you like it? That was a nice misty forest for today. 105. Day 86 - Cherry Blossom Forest: The colors we need today are indigo, a dark green, bright blue, Payne's gray, burnt umber, pink or carmine, and red. Today we are going to do another forest. It's going to be similar like yesterday, but also completely different. We're going to have some trees here and in the background as well, so no pencil sketch. Again, it does not have any pencil sketch. It's just paint directly. Here is my flat brush and I'm going to apply water to the whole of my paper. Pick up water and apply to the whole of your paper. We have to apply the water multiple times in order to make sure that our paper stays wet long enough for us to work on all the background washes that we want to apply. Give it a nice coat multiple times if you need to. I'm going to run over multiple times on my paper so that it will stay wet for me. I don't want my papers to be drying off. That's why. [NOISE] Here I have applied the water to the whole of my paper and I will start painting. I'm going to make a darker blue color again. But this time, instead of using the blue, I'm going to use indigo. Here is my indigo, add to that. That makes a little bit of the green, so then I get a bluish green color. Green and indigo. That's a nice bluish green color. More blue, a bit more blue because I want it to be bluish. I think that's pretty good now. Or if you want to make it a bit more bluish, you can actually go and mix blue. Maybe a little bit too blue would make it a little bluish. That's the perfect color.. This is what I'm going to paint and I am going to apply this to the background. Observe here, don't apply to the whole of the paper. I applied on the left side here, and then up until here. These are the areas that we are applying the paint. To the bottom let's apply. I'm going to take a little more indigo, mix, a little blue with it so that we get that bluish tone and add it so you can see the color and you can see where I'm holding the brush. It's at the end, which means that my brush stroke is really loose. I can hold the paper at an angle so you know your paint will flow down there. I'm taking indigo and let's apply indigo towards the base. Just a second. Let me wipe this off at the bottom because there's water flowing down. More indigo at the base and let that flow. Just under here, that's all I want. A little bit more blue for the base. Here, you can have, so it's a darker tone towards the base, you can see that. Now we need to go to the other side before it dries out. Just applying water so that it doesn't dry out, but I won't touch this area because I don't want to merge it, so I'm going to go with orange now. That's a totally different color, you can see that. The right side, we are going to apply orange. Picking orange and apply it nicely onto paper towards the right side, you can see. Then when you come here, just leave some gaps. You don't need to go and directly mix with the indigo, but it's also okay if you accidentally mix a little bit, it's fine. I'm just going to create some brown tones and let it. There, taking orange. The right side side and leave it slightly lighter towards this middle area of the orange part and there I'm adding orange. Let's bring it down. There, I've brought brown. Let me wipe off that water bit again. You can see that water. Because I'm holding the paper at an angle, this is why that's happening. Let me get it off, there. More orange. Now, what we are going to do is, now we're going to add more things into the background. Let's take burnt umber, which is like dark brown, and we're going to add it into the background. So burnt umber and bring it to the background. Let me switch to my size full brush. I think I'll leave my people flat now. I don't need the angle so that the paint won't flow down, so here I'm taking my burnt umber and just applying it onto the paper. There, I will apply some towards the top of this indigo as well. It's fine. Let's now take Payne's gray. Nice Payne's gray and we're going to continue with that Payne's gray and apply it towards the left. Here are all the little tiny detailing that goes on the left. You can do that with Payne's gray. This is the ground that we'd made. Let that go on with Payne's gray. Add more Payne's gray. I know it looks funny now, but don't worry, you'll be happy with the final picture. You can apply a little bit of Payne's gray to the right side as well, but make sure that you apply most of it towards the left but you can also see, I'm leaving some tiny gaps here and there. Then let's take some indigo as well and give that a little bit towards the bottom. Some indigo there. You can see I'm applying some indigo and I'm spreading it around. Now my indigo, I'm just spreading it around like that, not too detailed. You can see that. [NOISE] That's pretty much what I am going to be doing with the background. Now let's wait for that background to completely dry. Here we go. You can see how it stands out after drying. The background is lighter and you can see how this all blend together. What we are going to do is we're going to be using indigo for the left side. We're going to be adding trees just like we added yesterday. So lighter trees for the background and then getting darker and darker trees towards the front. Here I'm mixing a lot of water so that I get a lighter shade. We're going to be adding the trees. These are just background trees and we'll do what we did yesterday, we'll just blend it off towards the bottom. Just let it blend. Just dab off that base so that you will absorb the water. More trees. These are just background trees that we are adding. Let me absorb it off. [NOISE] Then we keep adding more and more trees. Make them slightly thinner as well. We want the foreground trees to be thicker, so that's why. Also remember to draw them at angles. Also because we don't want the trees to be perfectly straight. You can have branches for the trees. Wipe off the bottom. We'll do the same here. Here is something that's going to be slightly different. What we're going to do is here we did with indigo, but then when we reach towards the orange area, we're going to be doing the trees with brown. Again, lighter brown, almost the same tonal value that we did for the indigo. I'm using a lot of water here and just join that. Brownish when it comes to that orange area. Did you understand that? That's just the difference as from yesterday's. We need two of those colors. The indigo for the base. Let's absorb it. Here, indigo for the base, and now I'm approaching to the brown region. Here I go with my lighter brown and there I'm adding brown. Let me add branches. There. The base absorb it. I think that can extend a bit or downwards and then absorb it. We're going to keep doing this now. We're over to the right side. Over to the right side, meaning we're going to be doing it with brown so more brown, that's more brown, branches. I'm absorbing that at the bottom. We need to keep absorbing that at the bottom so that it blends with the background, just like we did yesterday and here is another tree and that's the base. Then let's just add here. I'm going to skip a little region here. I'm not going to add anything there. Here what I'm going to do is I'm going to let this trees be not visible. The ones that are top. We are going to be making it nasty towards the top. Let that absorb. You see what I did? Just dab it off with your tissue. Both sides on the top and the bottom as well. It's just that misty look on both the sides. Do you see that? That's what we want. Let's add a few more in a similar manner. Many small ones, but absorb the top and the bottom ones as well. They are like no, you only see a little bit of, this is one technique where you can create that misty effect. Now we're done with the background trees. Let's now add some more trees to the front of it. How do we do that? More darker color, isn't it? One shade darker than the one that we used before. A little bit darker of indigo. Let's just go and I had those trees, so there. I'm going to blend that. More trees, you blend that. Let's see another one here. Blend that. This process is very similar and it's also very satisfying, isn't it? To see the trees coming up in the front each time. Again, now we got to be careful for this one. We need to go with one shade darker for the bottom one. They're one shade darker and join the burnt umber for that tree. But this is like a two tone trees. We have some orange sunlight here, and this is like the dark enchanted misty part. This side again. Blend the bottom. I think I won't add in here because I have other plans for this area. Let's just keep it at that. Now what? Let's add more detailing towards the front. This is, as I said, different. Only the trees are somewhat similar. This is dry. Yes. Now I'm going to go for the darkest bits. That's why I'm taking very dark indigo. You can see it's maybe the darkest tone now. We are going to add the tree in the front and the tree in the front, you can see how dark I'm making it there. That's going to come all the way to the bottom. This is like right alongside the viewer, there. Now, this is the tree that's going to be the interesting tree in this picture. There's going to be another tree at the background there towards the left side and these trees are going to have large branches extending outward. This is the tree in the front, right next to the viewer, where they can see the camera man is standing right in front of this tree and taking these pictures. That's why you see the branches in detail. Let's add more branches and the branches are going to extend all the way here and it doesn't matter that you're using indigo because the darker shade of brown would look like black anyways. You can just go ahead and keep using your indigo and adding the branch. I'm going to add some larger branches for this one also. But this branch here, I want it to be a little misty and since it's towards that side, so what we're going to do is just absorb it, absorb a little of the paint so that it gets lighter. See, it's lighter. But then have something from the same direction and make it darker. Here you can see how dark I'm making the paint. It's almost like you're using black or Payne's gray. If your indigo is not this dark, go for black. It's almost the same, it doesn't matter, so don't worry. Let's go and make those extra branches and then this is like a large tree going upwards, isn't it? Maybe it's going to upwards and it has branches there and there's this branch of that tree coming from the top. Now let's make teeny tiny branches arising out of these larger ones that we made. Let's make branches. We need lots of branches. Make sure to be using a pointed, small brush. It's absolutely essential that our brush is pointed and small. There. Add more here. Let's have something on this. Just add as many smaller branches as you can. Just small, tiny branches and use the pointed side, pointed small part of your brush, pointed edge I mean. Let's have something dark here. Let's have branches. This is the main tree that's giving all the excitement for our painting. We're done with adding the branches, but we're not done with the painting it, you've already seen it. It's got more elements in it, isn't it? Let me just make this branch a little more thicker here. That's cool. Now for the interesting part, the base, let's just add more detailing. Here I'm taking indigo and just adding some things to the base here. This is like they're all the leaves are the dark depths of the forest floor. Just some dark stuff. You can have some grasses, or some twigs or something, some lines going upward like that. Then just go dab your brush and all like that at the base. This is just us trying to create some things in the base of our forest. Add in most of the places where you see there are your tree was not easily masked. There also you can add them and you can add twigs or renewal. See branches like these. See so many detailing, just teeny tiny detailing, and we'll do the same for the right. Here I'm going for dark burnt umber, and here I'm using burnt umber, so just mix the burnt umber in those areas so it's like a perfect transition there. You can actually not see even you know what color is that, it just goes on. Let's keep on adding, and just a little bit towards the left. Lots of detailing here. Let's just add here, it's somewhat like a pathway that I want to show. Make it add in an angle there so that it's a pathway here. We covered up the pathway, so don't worry. Just here and there. Now for the last exciting bit, which is going to be using a nice, gorgeous pink or red shade that's got a lot of blue in it, and it's turning out to be violet, that's why I'm washing it off. I know we have. You can either go for pink or red. I'm going to be using a mixture of both of these colors and we are going to add it. This is the tree, so just use just a small dash lines like that and add them wherever you can see, just I'm adding some small lines though. It's not at all detailed, just some things. Each of these branches, we are going to be doing that. That's going to be a lot around here, and that's what's going to cover the front part of this tree. We'll just keep adding these small details. Just these tiny dots. That's what the branch or the leaves of this trees are going to be in this color, so that's why. They need not be in too much detail. Just remember that. That's why I'm just going through these tiny drops of paint like that in different and they may not be connected. Don't worry about those things now. We can just go ahead and add it to all of the places. Exciting places where you think that you need to add them. Keep adding them. It's just these tiny speck of dot. You can see what I'm doing. I think a lot of dots and that's with cadmium, or pink or rose, red. You can use whatever that you have. Actually if you want to add some yellow, but then yellow wouldn't appear on top of this. In order to make it appear, you might have to go for like an opaque yellow, such as a cadmium yellow if you have, or you can go for cadmium orange. These colors would appear nicely on the top. You can use that. This is why I said, don't worry much about this background area here. Just keep adding these tiny dots. There, keep adding. I'm adding like as if it's hanging onto the ground. That's what I'm adding here. You can add more. Just covering all of those branches that we did had these small lines or small dots. In fact, what you can do is, you can take the brush and you can add some splatters. It'll just go everywhere, see. It doesn't ruin the picture, it just goes splatter splatter in these places. Then, what I'm going to do is, I'm going to add in some lighter shades as well. In order to get that lighter shade, what I am going to do is, I'm going to take some white paint. Let's mix that white paint with the pink. I'm taking my white paint and let's mix that with the things you see, it's a tad lighter, and let's just add it at certain places. It's just those white flowers, amongst these pink ones. We can see some lighter shades. You don't have to worry about where do you add them, it's just totally random. Just add them wherever you want and don't be too much bothered. This is just totally random. Let me add some here. You can see. What I'm also doing is that, here some more of those splatters that were there so when I touch them, those spread around as well. You can do that. Just spreading around those splatters as well. You can either stop at this and just let it be or I'm too much obsessed with detailing in you might know that. Here I'm going to go with a little bit of red as well. Just taking a little bit of red and adding amongst the others. It's seriously not going to be visible guys, but I don't know why I do it, but still I do it. Just at certain places. Covering up maybe some of the branches. I think I want some extra bit here because it's like coming all the way to the ground, isn't it? That's good enough. How about we add some darker leaves to the left? Here, what we're going to do is take that indigo paint and add some detailing towards the left side. This is like, they're some branches there, but they're like so much covered by the misty area, that's why it's seen as dark. I think that's good enough. You can just add some maybe branch or bushes, something like that at the bottom, but no need of too much detailing. But you see how it is. It's the misty that is that branch coming down and we have a pathway or something that's lit and just some detailing on the pathway. This is just a misty enchanted forest, and that's it. We're done. Let's remove the tape. Here is the painting for today. I hope you like it. 106. Day 87 - Forest Sun Rays: The colors we need today are Indian yellow, Indian gold, burnt umber, sap green, and a dark green. Today we are going to paint the sunlight through the trees. It's very exciting and also at the same time, a little bit difficult. No pencil sketch. Let's just go ahead directly and do it. We're going to need a nice brush to apply the water onto your paper. Use whatever you have been using and apply the water evenly onto your paper. Today, we need the paper to stay wet really long because we have a lot of background work to do, so make sure that you apply the water nicely and evenly onto the paper multiple times. You may even want to wait for the paper to dry a bit and then reapply the water so that you get that nice even consistency and the paper stays wet for a longer duration of time. I'm going to be applying the water few times onto my paper. Just keep applying. Let's keep applying. Apply multiple times because we really need the paper to be nice and wet. We can't afford to have it dry at certain places like when you're painting at the top, the bottom part dries or vice versa. We can't have that. Make sure that you apply evenly. Now I think I have applied enough water. Let's get to painting. Here is the brush that I'm using and we are going to start with yellow. Indian yellow, whatever yellow that you have. Pick up a nice amount of yellow and then we're going to start in the center. We're going to draw streaks of lines. Remember the sun rays one so some thing similar to that in the center, we are going to do that. One thing to observe and note is that some place in the center, we are going to be leaving a slight gap. We're not going to paint that white area and we need to keep paint off that white area. The rest of the area just keep applying this yellow streak so that in outward you can see I'm doing all of them outward. Outward from the paper, away like streaks of lines. This is the reason why I said we need our paper to be really wet, we can't afford it to dry. Because imagine what would happen if you're adding these lines and then when you reach all the way around, some other parts have dried and these lines are not going to be wet-on-wet. That is something we can't really afford. This is the reason why I said, make sure that your paper is really wet before you can work on the whole thing. Then now we need to lift off paint. Another important thing. Here I'm going to use a large brush, a synthetic brush because it holds less water. It will not add any more water onto my paper. What I'm going to do is I'm going to dry it off on my tissue. I'm going to pull off paint. See, I added a line there so washing the paint because there's yellow paint then drying it off again. We are going to do this in all the directions. We're just going to lift off some paint so there's that streaky lines like that. Wash your brush each time because you're lifting the yellow paint so that will be there on your brush. You can see how I'm doing. Washing my brush, take off the paint, something to the bottom. Wash the brush. Each time wash the brush and lift off. Now, let's go to the other sides. Now to this side. Just try to do that in most all of the directions there again. We've added a lot of streaks for now. I'm missing one to the right side. Let's do that as well. There I've added to the right side so now we need to work quickly again. What I'm going to do is I'm going to pick up my brush and we're going to start adding brown. Let's take brown and using brown, I'm going to add streaks. This is why I said we need the paper to be wet. In the other areas where you had applied the yellow in the gaps, try to add these streaks and you can fill up the bottom. That's fine because we need to anyways, work on the bottom part. This is burnt umber that I'm using and we are going to fill up the gaps. This is why you see my paper is already started to dry, so I'm going to be using less water so that my paint will just mix nicely. We don't want any uneven surfaces. Then what I'm going to do is actually towards the top let's make that lighter. Just blending it and adding the lighter tone and let me add this side as well. Adding to all of the sides. This is why I said this is slightly difficult, isn't it to get that perfect blend? If you think that you're not able to get that perfect blend you can go ahead and add some more yellow in the middle. You can see I'm adding yellow so that it blends with my brown. Anyway there so we've added those streaks or light. This is the streak of light in the middle of a forest. Now we need to work on the other colors. Let's start with yellow itself because I'm going to make sap green. I need to make a nice amount of sap green there. I don't want to mix my green so I get sap green here. Now I've made sap green and we're going to start. We're going to start, my paper is still wet note that that's very important. We are working on the sides and just applying the paint on the top. This is why I said make it lighter with the brown at the top regions and let's go over all of the regions and just keep adding the green and to the right as well as you can see my right side it almost started to dry so this is almost dry but it's okay because it's the leaves of the trees. I'm not going to go all the way towards the center because that area needs to be light. Here we are going to add the leaves or the branches that are green or throughout so leave these areas and lighter sap green. You can see the green that I'm using. It's very light. What you can do it is you can also go ahead and take some Indian yellow and you can also add that so that will be another not a tired lighter shade. I'm going to add that here also to the left there. Now let us paint the base at [inaudible] floor. What I'm going to do is I'm going to take brown and we're going to paint the base, the base, it's okay it will have lighter tones. First let us add the base with burnt umber, you can see I'm just adding to the whole of my base region. There just adding some random spot of paint. Now to get that lighter shade what I'm going to do is I'm going to pick up Indian gold and just going to add these Indian gold to the regions where there is yellow. You can see this is a streak of yellow. Here is another streak of yellow so I'm going to add it there then yellow. I'm going to add yellow, going to add there. Now you can see, see it looks as though these areas are illuminated by the sunlight and the rest of them are darker. That's why I apply the darker brown to the rest of the areas and the area below there. This is brown so I'm going to add dark brown there. The brown region add brown, see brown at the base and brown there and brown. Let's take a little bit more of the Indian gold and apply it so that it doesn't look uneven. These are the yellow region so wherever you have the yellow paint, so you see now it looks as if the whole things are eliminated. Now let's again work on our trees. I can go with now a slightly darker green. I've mixed a little bit of dark green into that and I'm going to drop on top of this. We already have the base sap green that we have added now I'm adding a slightly darker green here so just lightly will have that and the scene to the side note to all of the places just random some of the places. See I'm adding I can add to the green area here as well, so there. Now we've done with the background now we should wait this whole thing to dry so that we can start adding the trees just like we used before but if your paper is still somewhat wet you can try to do some more lifting so that you can get those streaks of light much better. Not working because my paper is almost dry now, I'm trying to get this a bit more not working, It's okay so what I'm going to do now is to wait for this whole thing to dry so that we can start adding the trees. Here my paper is now completely dry and we can start adding the trees. What we're going to do for adding the trees is we are going to work with two colors which is going to be burnt umber and Indian gold. Don't worry if you don't have Indian gold, you know how to make it by now mix it a little bit of orange, brown and yellow together or we had created it using some other method, what was it? Violet and why did I mix? I can't remember now. Anyways but you already know it so what we're going to do is here is our Indian yellow ready and then the run, so let us start. We're going to start but you know how we are going to do it we need a lighter shade at first because when we're adding the background trees so that's why I have added a lot of water you can see this is watery. I'm taking that watery mixture and I'm going to make the trees. Keep your tissue ready because we need to be using the dabbing technique lot to remove the base and a lot of detailing. Here I'm starting and here what I'm going to do is I'm going to do broken lines for my trees because I'm not going to touch the rays so wherever there are rays I'm leaving them blank and adding. See that so we need to be working quickly because in those blank areas what you're going to do is we are going to join them with Indian gold. Here join the whole of your tree with Indian gold and then what we can do is we'll use your tissue and along the line, can you see that along the line dab off the paint so that it looks light. See as if light is passing through it so that's what we need. The tree will still be visible because you have that little bit visible but then there's light which mass off a lot of the sun rays. We need to get the sun rays there and obviously we need to let the base mix on, so here this is what we're going to be using we're going to be using the tissue a lot so that's why keep that in your hand ready to dab and then towards the center what we're going to do is we're going to use a lot of Indian gold itself so keep the golden paint in hand because we don't want to be using darker colors for the center. Here I'm taking the golden paint and I'm going to make the trees with the golden paint itself to the whole of my paper. But quickly in the lighter areas we need to dab off, so see it is there but then we've cleared the areas where the sun rays are. This is what we are going to do. A lot of areas in the center we are going to add so see directly through the white area and now carefully let it go take off. See take it off. Here I only had to take off the center region because it's not crossing any other white lines that I had it but see you need to take it off so that tree is there but it's lighter because it's through the light. Let's keep doing that, keep adding a lot of tree. These are very light so this is the reason why I'm using Indian gold for here so there takeoff, takeoff from that lighter region of taken off paint. The base of course I need to blend it and more trees, I'm going to add one there. Quickly here, here and here and the base. See, you can either go for directly broken lines like I did here. This was a little bit towards left of the center so that's why I added brown there but then I realized let's do the golden ones first so keep adding the golden ones there and there, there and there and the base. Now that's much better for the background ones. We have more to add so what you can do is you can actually mix the brown and gold together. If you're making this mixture just mix more of your brown to it that's it so see it's a brownish golden color and we are going to add with that also so let's see here. I need to break off, break there, break there, and there. You see that's how we create the break in the streak of light and then I need to do at the base as well. Let's do in the other places. You can see my tree branches are haphazard, they're not uniform, and that's all right because the tree trunks are not going to be perfect so this is the reason why we do that. The whole thing is just dabbing off the paint so that you create those streaks of light. Let's keep adding more. Then we start from here. Here when you reach, what you're going to do is you're going to take off from the yellow regions. Wherever there is yellow because the white is gone now so you'll take off paint from the yellow region so that it's like this. Now towards the outside it's more of the yellowish regions so that's where you take off the vein from, the yellow regions. There, so yellow, yellow, yellow, yellow, and there's another yellow and there's a slight bit of yellow. Seeing that's gone very light. Let me fill up the other regions. This thing I dabbed with the tissue too hard so it cut the other places as well. Just going to soften. That's much better. Now, we can go in with the next layer of color which is going to be more brown. You can mix more brown and that's a darker shade, isn't it? We'll go and these are going to be the foreground trees. Again, we will have to be very careful. I think I'm going to switch the brush to a smaller one. Here is my brush and I'm going to be switching to that smaller one, and here is my brown shade and we're going to add the full ground trees. So full ground, as in they are in front of the other trees, but we need to be taking off paint from them as well. What we're going to do is the areas where the yellow are, so here, yellow, yellow, here, yellow, here. See, it now looks as though it's in the background, but let's make these brown and what I'm going to do is we can take golden shade or yellow paint in fact, and join them. Those regions where actually the paint at the sun rays are, they would be lighter and the rest of the regions would be brown. You see that? Actually, let's do it like that. What I'm going to do is take the golden paint and we are going to add it to the regions where it is going to be some light, so here. It's going to be the sunlit area here. This much region is going to be the sunlit region and then the continuous part of it is going to be darker. Now I added a tree in the foreground. I don't want it to come all the way under here. Let me just blend that. To the top there. We need to mix that. Here is my golden paint and just blend it along in towards the center and let's not make it this dark, so around that middle area, let's make it lighter. We'll just use your dabbing technique to remove paint somewhat from that area so that the rest of the regions are darker. See. That region where the tree is it's lighter. I want to add a branch to this tree. What I'm going to do is I'm going to take golden color and I'm going to add the branch using golden here and then as I come outside, I'm going to make it into a brown so it's darker towards the outside. See. Darker towards the outside, and dab off really in the center region so that it's light. See, it's lighter. This is in the foreground so that's why we can actually see the branch, but then there will be still the sunlight passing through so this is the reason why we have to add the sunlight in this manner. Let's go ahead and add more. The golden paint, and I'm going to add a foreground tree here. Here is some red region, and the rest of the region, I am going to add it with brown towards the base, and let me cover the base and also the region just in between where there is no sunlight. I've added the brown, but so now what you need to do is we're going to soften it and mix it. In case we don't want that streak of brown to be too visible. But you see, so what we've done is, we have just softened that part so that light can get through. But see this area is lighter because of the sun rays, and you can use a little dabbing to remove that street. Where else can we add more? I think I'm going to add a tree in this right side as well. Here is Indian gold, golden shade in the middle, and then comes to brown at the bottom and at the top. I'm going to add a branch to this tree and I'm going to add a branch with gold as well so here. Goes towards the top, here it goes with brown. Dark off a little in the center areas because you want it to be light. Now you can see how the light is passing through. We're done with the background trees, now let's go ahead and add the foreground trees so that's really in the front so go with our darker golden shade. You can see I'm picking golden shade but it's more dark, and using that dark shade, I've added, and now we're going to use the darker brown as well. So nice, dark burnt umber shade and make the tree, so here it's coming all the way to the bottom and here let's make it go all the way to the top. This is like in the foreground and it's got to be dark. You can see that? Here at this area, I want it to be dark and this area, I want it to be dark. Now I'm just going to blend those regions. Blend it nicely so that it doesn't look uneven. There, I've blended it. That's the tree in the foreground on that side. Let's add some to the left side. Left side here. Again, and the darker brown thing for the top and the bottom all the way and other areas. Where are the areas? Is here. So what I'm doing is the area where there is darkness. You can see that this is brown region and now we need to blend those regions because we don't want it to be looking like a birch tree. Just blend using your brush and taking a little bit of water and just blend it onto that gold, the brown, so that area is now lighter but then it doesn't look uneven but it's blended. See. That's how we add the foreground trees. We can make this a whole lot interesting. We need to add some leaves. Let's go with green paint. Dark green. I'm using dark green here and what I'm going to do is I'm going to just drop some. Remember like we did for the cherry blossom tree yesterday for such a liposome tree, I'd like to assume it was, so I'm just going to let's assume that it was and we're just going to drop. You see. There's going to be the green background but overall on the top, you can add these small shapes so it's going to be acting like a tree. There. Let's keep adding some more. I going to add to this side as well. My clock is wait over 30 minutes now. But this topic it's very interesting and at the same time very time-consuming. Some here. There. More green. I've added more green there. Now I'm going to just add in some of these regions in the left because I feel that it looks empty. You need to make this whole painting interesting, isn't it? There. Remember, don't go on top of any direct streaks of light. We need to avoid that. I'm avoiding as much as I can. You can see I'm just adding only to those darker regions. That's good. Now, what we're going to do is we're going to add a nice little base elements for our forest floor. Just add some nice space little elements. I've just covered the whole of the forest floor. But remember these regions, we have to keep it lighter where the sun rays are. Other areas you can just add twigs and branches if you want. It's like the forest floor just I had these random strokes at the bottom. Now because we're adding it on with wet on dry, the whole thing is going to be more darker than before. But then the forest floor with a dark brown shades will be there. There. Now I've added, what I'm going to do is maybe let's drop in some branches just like we did yesterday and the other days. Just some small branch. Usually I'm adding these branches to places where my tree ends are looking weird, so that's the reason why I add them so that it doesn't look weird. Then you can also take the Indian gold and drop it to those areas where the sun's rays are touching. Remember I said, so the areas where you had already added the Indian gold, you can add on top of them, like here. Just some ideas. Now you see that little lit areas. It's as if there are dry leaves on the ground and they're lit by the sun. In fact, this painting, you can just go on adding details for ever. I think I should stop, but let me just grab a little of the green paint and I've made sap green with mixing yellow. I'm just going to add a little bit of leaves to these regions. I wanted it to be light because there's streak of light there. Because there's light, it's going to be lighter. Here you can go ahead and add with sap green or on these yellow regions you can add the leaves with a little bit of yellow. See this white region. I've added the leaves with yellow and just dropping a little bit of green onto them. They're very light now, you can see that. Just added the yellow and dropping little amount of green on top. There, that's the branch. I think we can add more. What we're going to do is I'm going to make this mixture really watery so that it'll be lighter. There, now, I have added a lot of water and it's going to be light. Using that light watery mixture, I'm going to add some more background stuff. When this dries, it will look as if it's in the background because it's really dry and make sure that you don't go over any of the trees. I just wanted them to be lighter. I'm just trying to add some interesting more details onto this painting because it lacks green. It's already really good enough. That is just one thing that I had to do where I remembered earlier. I want to add some darker branches here on this side. It's between the trees and its top because it's the edge of our painting and go with darker brown. Because it's at the edge and that gives a [inaudible] you can see how the streak of light is not affecting the one at the corner. But literally, where the yellow is, you can make it slightly lighter just by taking off the paint. It still has the light but lesser, we do not add gold to this. It's just brown like the ones we used to do in the other days. Here, let me add more brown ones. It's like a tree branch going in between the leaves. See that's exciting, isn't it? That's going towards the corner. That's dark brown. We can add more if you want. Just going to add one more tree and I promise I'll stop. Green between the trees. There. Now that's much better, isn't it? I like it much better after adding those trees. As I promised, I've stopped. Let's not do anymore, but you get the idea. If you want to add more branches, more leaves, more trees, you can do, you can just literally go on adding so much details into this painting. It's a never-ending process. You could add more leaves, more trees, more background stuff. This is how you would do it. One way of adding the sunlight. We'll learn more way. The painting is done, so let's remove the tape. Here is the final painting. I hope you like it. 107. Day 88 - The Forest Glow: The colors we need today are Indian yellow, Indian gold, orange, red, permanent brown, burnt umber, and Payne's gray. Today let us have a look at another way of painting the sun rays. The sun rays is going to be somewhere on the left side, and it's going to be darker towards the right side. Again, no pencil sketch. Let's just dive into it right away. We are going to start with applying the water as usual, so make sure to apply the water evenly on paper. It's all weird. I say this every single day. Maybe there's one one person who joins us on this day, maybe they thought they will check out this video. I have to explain, so that's why. Let us apply the water to the paper evenly. You might have to apply multiple times just to make sure that your paper stays wet. Make sure to cover along the edges because that's where it starts drying up quickly. Using a larger brush helps to cover a larger area, it's not absolutely necessary, you know that. Let's just keep applying the water. I'm going to be applying a lot of times because my paper, it's starting to dry quickly now because the weather is almost getting dry, so that's why. Let's just keep applying the water, without forming any large pools have lobes of water. Holding the paper at an angle might help because that will make sure that the new large pools of lobes are formed because the water would just flow down; anywhere where there is a pool, it would just flow down instead of not allowing it to form any pools. This is why holding the paper at an angle always helps. You can hold it at any angle towards the top, towards this side or whatever side. Just keep applying the water. I have applied for a long time now, and I think it's probably enough. Just ensure that the sides are covered. My brush is starting to shade already. Let's start painting. I'm going to start with my size 2 mob brush as usual. I'm going to start with yellow. That is the lightest tone where the sun's rays are going to be. Just like we did yesterday, we are going to start, and it's going to be, like I said, somewhere on the left side. Let us draw the rays. Can see, I'm drawing the sun's rays, and I'm leaving a large gap in the middle, which is absolutely essential because that's where we want the light to be. Today, we're going to be doing it differently. Like I said, we're not going to cover the whole thing, just these rays of light. You can see. Just in all of the directions using Indian yellow or whichever yellow you're using. There. That's yellow. Done. Now we'll start and keep adding all the other colors onto a paper. The next color that we can use is Indian gold. Don't worry if you don't have Indian gold, you know how to mix it. It's a little bit of orange, yellow, and brown together, you get a nice golden shade. This is what we are going to paint in the intermediate areas. That's why I said it's going to be different today. The intermediate areas where it's between the areas of the yellow, that's where we are applying. You can see now it's already looking like a sun, isn't it? Just apply that nice golden shade. Done with the shade, but I think my yellow might have gone lighter, so I'm just going to pick up a little bit of yellow. I'm just going to add to places where I feel that it's like that, can see these areas. That's it. That's perfect. We're not done yet. That region in the middle, that's going to stay lighter. We're going to go with darker shades each time. The next shade that we can go with is orange. This mixture, if you made it with orange, yellow, and brown, now we just need orange. We're just going to add more of the lighter areas in our paintings. There's going to be a lot of foliage. What we're going to do is, we're just going to drop paint in a similar manner. We can see I'm dropping them to the areas here below, and maybe I'll have some branches here. Maybe some in these areas. Just use the tip of your brush and just drop the paint in a similar manner. That's good. Some here as well. On top of the rays, that's fine if you're adding them. Now we can go on to the next shade. The next shade would be to go with any darker, red shade. Now that should be further away from the light source. This is the light away, first orange, and then see towards the right, I'm adding the red and towards the extreme bottom, you can add the red towards the top. Those areas orange, then we are going to gradually upscale our colors. Red in those areas. Now let's go with the next color. Here I'm going with permanent brown. Don't worry if you don't have permanent brown, what you can do is mix red and burnt umber together, you'll get a nice brownish color. Now this is our next darker color, which we are going to apply. Apply this to the rest of the areas. You can leave some gaps. Those would be like the gaps in-between the trees where you can see the sky. Here, the sky is just going to be white. It's all right to have just a little bit of whites in through. Here, what I'm going to do is, I want to have a little bit of golden touch the trees. I'm just going to pick up a little bit of Indian gold and add it at certain places here. I'm going to first add to the whole of the background. This is just going to make it interesting. You will see in a moment. Don't panic, don't worry. All we need to do is just pick up the golden shade or mix your golden shade, whichever way you're doing. Now you can see I've covered the entire paper and this also looks like a mess. Don't worry. I think I'll switch to my size 4 brush because I want to add smaller detailing. Here, taking permanent brown. What we're going to do is, we're going to drop this permanent brown, you can see, like the shape of the foliage on the trees. I'm going to do that on top of the red and on top of the orange. Don't go all the way towards the center because that area needs to be light, remember. Just keep adding. You can see I'm leaving certain gaps, so those certain gaps will not be white, it will stay yellow. This is the reason why I applied that Indian gold shade at the background there. In fact, you can go ahead and see, I've mixed that permanent brown with my Indian gold, so I get a little bit of darker, golden shade. But I can use that also, see. I know you may not have that Indian gold shade. If you are using permanent brown, just mix a little bit of yellow to it. That would be yellow, red, and brown, and you'll get this little golden-ish color. That's what we just going to use. There just add those colors and more permanent brown. I want to add the third here. These are just the little detailing that goes into our trees. The foliage of our trees, that's what we are trying to get. Let's add some here. I know this is closer, but don't worry, this is the top part or the foreground trees. That's why we see these dark foliage. Let's now take a darker Indian gold again. What I'm going to do is, I'm going to add some foliage here with Indian gold. I know it looks as though by of these shapes are now gone. Why did we even added it first? You'll see just in a moment. Don't worry. I'll get that up. Now, we need to go with the father darker shade. From that, I'm going to go with burnt umber. You see that? The next shade that we're doing is with burnt umber. Now again, this has to be extremely away from the center light source. I'm going to be only doing to these dark areas and to these areas towards the right, here. Of course, we need to add to the bottom. I forgot. That's like the ground. For the ground, let's go first with the permanent brown. We need to add the permanent brown to the ground areas. We need to add a third lighter on the top. Here I'll go with my Indian yellow and just add some foliage towards the top like that and we add the permanent brown back. Now I'll go with the burnt umber towards the bottom. The extreme bottom furthest away from the light. We've done this kind of exercise before, but those times we were actually blending it. I think there was one with the moon where we had used these colors and there was also some other one where we had used these colors, but then we were trying to do it away from the light source each time. I don't know if you remember that. I'm trying to create a path here. That's why I've kept a lot of space dangling here. This is going to be like a path in the forest. My mind is still with the oceans. My God. There, permanent brown, you can go with Indian gold. We have added a lot of these things. Now here comes the exciting part. This is why we wanted to have our paper to stay wet for a longer duration of time. What we're going to do is we are going to lift off the sun's rays. Very important. Just like we did yesterday. Yesterday we lifted off at first and now we're going to lift off now. Here. We're going to lift off and you can see, I've lifted off from the whole of that area. Now, all you got to do is wash off your brush, dry it, and we're going to do it in all the direction. You can see it takes up a lot of the paint and you got to clean your brush off that paint, dab and remove all the water and do the lifting process again. This is fairly a repetitive process. That's all you have to do. You got to remove like this, lift off paint in an angle like that so that forms the rays. Let's go towards the bottom as well. Just remember that after each time of lifting, you have to wash your brush. Don't go with that brush towards the paper again because I can assure you, see, this is the pain that I lifted off. If I touch it with this again, this area is going to flood with that paint, which we do not want. That's why, here. This side. That's the key thing with lifting. Each time we just have to be careful. That looks fun already, isn't it? Let me get one more a little bit further towards the side. It's okay I've extended this because I'm going to be adding shadows there later on, so that's fine. Any extra ones that you want to solidify, you can do more on that. Like this one, [inaudible] a bit again. I think it looks much better now. This looks really better. Now what we're going to do is we're going to wait for this to dry so that we can add in the background trees. Here, I've dried it up. The whole thing is now dry. We'll start here at the center. We are going to add trees. What we're going to do is start with the lightest tone which is yellow. There. That's yellow and we're going to add the trees. The trees are going to be with yellow on the lightest regions. I'm not going to draw in the center. What I'm going to do is, here is yellow, and I will extend this towards the bottom. Leave it as it is, it's fine. Have your tissue ready, don't forget. Then what I'm going to do is in the center, I'm just going to use water and just join that bit. The water is going to push that paint towards the center and you'll just get a lightest version. This is another way to add the trees. Yesterday remember what we did was we painted the whole thing and then we dabbed off and removed the paint. This is another way of doing it. Let's add some more. Here, yellow, not on the white, and here the yellow. Then I wash my brush and then just extend my paint using water. It is connected, but then it is lighter. I hope you can see clearly. There, you can see how that line is connected, so that's how it is. Let's make this go all the way up. But when you go up, you can add darker colors because now it's like putting away from the paper. There, go and all the way towards the top, you can go with a darker shade which is like brown. Yes we have to do this multiple times on the whole of our sheet. Again, that's where the time-consuming process is, but also the funniest. Not funny, I mean the fun part, isn't it? Let's do it. Here the tree, there and there. I've added it in broken lines. Now all I'm going to be doing is joining them using water and then I clear off those areas with light. See? It's there, but those areas are having that light shining through them. That's what makes it really beautiful. That was in the center. Now, for the trees towards the outer region, we'll go for the Indian gold shade. Here is the Indian gold shade. I'm going to add a little more water to it because I want it to be lighter. We don't want it to be too dark. Add water there and towards the top. You can go in and add brown because it gets darker towards the top and also towards the bottom. I got to be fast and blend in where it is supposed to join the tree. You can see. Clear those areas of paint so that it's sun's rays shining through that. See how clear it is and how we have got the tree. This is the second way of how we are going to add all of those trees. Let's just dive in and keep adding those trees. Again, there's going to be one here. That's really a way. Here going with dark brown. I think you can go with dark brown in some of these center areas as well. Let me then join that. When joining, make sure that you keep your brush clear. I'm only using water to join and if my paint flows down, that's why I'm dipping my brush and I clear it off again. That's what I do. Here I use water to join them and then if there's too much paint, I wash my brush again and then I dab and remove that paint so that way those regions still remain clear. That's how I try to do the clear part. Let's add more. The light is all the way towards the left, so towards the right side, I am going to add some trees here and that you can add ways, no that's permanent brown. Just keep adding. These are just different ways that I am showing you. All the way towards the top, you can go with the burnt umber. Also remember how you can join them using water. Join those areas lightly so that light still passes through the trees, but then the tree is still visible because you know the light is not going to. What do you say? Cut the trees. You still can see the branch through those rays. This is the reason why we follow this method. Let's go and keep adding. I'm just going with a slightly angular tree here because not all the trees are going to be in a straight line. There. Washing my brush clearly. I am going to pull my paint here as well. I've added a lot of trees there. Let's just keep adding. Here is where I'm going to add the background trees. I'm going to solve the light and I'm not going to bother about these lights anymore. I'm just going to keep adding my trees. I'm going to go with darker tones now towards the right. Here is the road that I was talking about. Take care to leave that gap and draw along the line of that road. That's burnt umber that I'm going with now because we're going with darker shades. You know you can have so many trees closer to each other. Now I'm going to go with even more darker tones. I'm just going to take a little bit of Payne's gray and mix it. You can also use sepia. I forget every day I should look for my sepia too. Now, before we add any foreground trees, I want to add some background elements. Background foliage. For that, I am going to start with Indian gold. I'm going to just add some foliage. You can see this is in a similar manner that we added the foliage. That's why use a smaller size brush. That's very important and the closest areas towards the lit areas, we are going to use the Indian gold, that is a golden shade. Just keep that golden shade and just add the foliage. See, I'm just adding these foliage strokes. This is why I said don't bother about the bottom part. Bottom part we're just going to cover it up with our strokes. Don't worry. We'll take more Indian gold and cover up almost all of the bottom part. It doesn't matter because it's going to be dense and thick. That's why I've just known directly applying. We'll add the darker colors on the top. Now I just want the whole thing to be having that color first and some towards the top. I know these areas are not lighter, but I'm just trying to go with the first colors. This is like Indian gold, the first colors. I'm going to be doing this quicker and as such, doing lesser strokes. But you can go ahead and add a lot of detail into this. That is, add a lot more foliage in your painting. Pick up the Indian gold shade and I'm just adding a lot of background foliage. Then the next color that I'm going to add is permanent brown. That's why that is the next set of colors towards the top of the Indian gold. Here adding Indian gold. I'm going to be adding very little of these so you can add more foliage. Because literally I'm running out of time. I know that you've all said that it's all right if the classes go beyond 30 minutes, but I just wanted to keep it simple. This is just my way of showing you how these can be done and then you take it up on your own. Isn't that the best thing? That's adding all of the detailing. Those are the foreground details, that's why we don't need to add also a lot of them. Here now I'm going with the darker brown on the darkest side, that is, towards the right where we need to add the darkest of the shade. At the top here, going with the darkest tones. That's the darkest tones added. Now, like I said, how long is it? Not much yet? It is past 30 minutes, but I think it's fine. Let's just keep adding. Here now I'm adding a permanent ground to the bottom. This is why I said the bottom of those trees it shouldn't matter now, I'll just cover them up with these smaller strokes, see. Let those Indian gold be visible through that. Just keep applying these smaller strokes. Towards the bottom, you can go for the darker burnt umber mixed with a little bit of Payne's gray so that it's fairly dark be one the dense the forest area to be darker towards the bottom. That's why. It's just adding the mixture of all of these colors together. That's basically the idea of the painting. Now, what I'm going to do is on to adding the foreground trees. There are going to be some darker trees in the front, so these are still light. You can go with the darkest tones. What I'm doing is mixing a little bit of burnt umber with Payne's gray so that it's really dark. That's what we are going to add for the trees. See, these trees are really dark. I'm going to be drawing in-between the foliages, so it looks as though these foliages are belonging to that tree and it's in the front. Let's just add few more such trees. [NOISE] I've left a gap there. I want to just join it with a lighter brown shade. It's slightly lighter. That's all. Now, all that is left to do is to add the shadows. What I'm going to do is, this is the light source and here is our trees. They're all going to have shadows towards this direction in the path. That's what I said. It's going to be scattered all around. There is the shadow of that tree. There is the shadow of that. We need to cover up the right edges with some foliage. Here just adding some foliage, you can add them with permanent brown because they look odd there. Just add the base of these trees with some detailing and foliage. Now that looks much better. That looks like a path, but I don't want to leave it at that. What I'm going to do is we need to have some dirt and stuff there. I'm just splattering some paint. We can also splatter some burnt umber and just spread it around a little. See, now that's much better. I could have [LAUGHTER] literally added a lot more details here, trust me. What I'm going to do is, this tree here, this is in the foreground because this is towards the front. I'm just going to darken that tree, otherwise my perspective will be off. That is, the color perspective will be off. I need that to be darker. That's much better now. I'm just going to spread these colors around adding foliage at the bottom. These ones as well. There you go. The painting is done. I think I need to dry it off before I can remove the tape. You could just go on adding a lot more details, a lot more foliage into this. I stopped midway, not midway, but I stopped at this because it's already way past or half an hour deadline and I really wanted to keep it short. That's the reason. There you go. That's the painting for today with the sun's rays in the left side. We learned a different way to illuminate the sun's rays today. That's it. 108. Day 89 - Forest Lake: The colors we need today are Indian yellow, orange, red, permanent brown, burnt umber, Payne's gray, and sap green. Today's painting, we are going to be working in layers. If you don't have a hairdryer, you're going to be a little bit frustrated because we have a lot of layers that we have to wait for it to dry. Please bear with me. We will start by applying water onto our paper. No pencil sketch. Let's just go ahead and directly painted there. We apply water onto aquifer. Apply it to the whole of the paper. Make sure that our paper is enough wet, hold it at an angle. If you don't want to form any large pools are blobs of water, which is why I always hold it at an angle so that my water would flow down. Also because I've taped the four sides of my paper, it would prevent my paper from buckling. Also my paper is 300 GSM and 100% cotton paper. You guys already know that. Since we're going to be working in several layers, I think for the first layer, I think the water's pretty good enough for me now. I will start painting. I'll switch to my size 2 brush, my usual brush. Here is what we're going to do. I already have a little bit of sap green here, which I'm going to reuse here. This is sap green. That's what we want. We're going to use a lighter tone of sap green. Here, that's why I added a lot of water to that mixture. Just going to add it like that towards the middle. I'm drawing a line there. I'm going to be applying this sap green to the top of it and you can see how light it is. It's very light. Let's just apply and you can see how watery it is and also how light it is. It's very light. Just a straight line. There. I'm done with my green, but let's now add further colors. I'm just going to take a little bit of yellow. Again. I want my tones to be light. Use a lot of water. When you use a lot of water your tone will be lighter. Just going to add these to the top. Just randomly. It's just totally random colors. Don't stress too much about it. Then what I'm going to do is, let's pick up some orange. Again, we'll need a lighter tone. Make sure you use a lot of water. You might be thinking what is going on. You apply green and then you're adding orange on the top. That's all right. Just go with the flow. Again, we need slightly flatter line at the bottom. Now you can see it just created a whole bunch of random mixture. Doesn't make any sense. It's alright. Let's add some orange areas towards the top as well. Then let's go with some darker green. Here is my darker green. I'm just going to drop it at certain places in the middle. This is dark, but I'm using a lighter tone. That's why it's not too dark. This is like the background layer that we're adding. That's pretty much enough for the green there. What I'm going to do is I'm going to pick up a little bit more of the sap green and just add right below there and in the center like that. Just added a little. You can take more of the sap green and just add it somewhat like that. But make sure that you keep the line that's there. Don't let the paint flow down unevenly from that point. Just added a bit of sap green. This is our first background layer, which doesn't make any sense now. But anyways, you already seen the final picture. Let's wait for this to dry or dry it up. I'm going to use my dryer to dry this up. This is my background. Here it is after completely drain. You can see how it has turned out to be just a whole bunch of paint here and there, it doesn't look right. But when we add the other elements into it. It'll make sense. We're going to work on the next layer. Remember when we were doing the galaxy, I think and we painted in layers, I taught you how to apply the water. That's what we're going to do. We are going to reapply water to the whole of the paper. Use the largest brush you have because that would cover the largest amount of area. Make sure to apply the water right after the first stroke. When I say after the first stroke, so you see that line there. I'm going to touch right there and draw. That's how you bring out the water each time and that's how you would apply water onto the paper. We need the water on the entirety of the paper again. We're going to be working with the second layer now. No, I think I'll still use a size 2 brush. We have now the water onto the whole of the paper. But now we working on the next layer. The next layer, I am going to start with yellow. This time see I'm not using a lot of water, but I'm drinking a lot of paint because I want it. But still it is going to be wet on wet. It'll be lighter. Now you use a darker tone. Here I'm using a darker tone of yellow. I'm going to start. No, I don't want the angles. I'm not going to hold it like that. Then I am going to start dropping the paint. There, I'm dropping paint. Just dropping bits of yellow. You can see we don't want an angle today. Just let it be here. Pick up more yellow and align to the left side as well. That's it for yellow. No, I have more places. Taking the yellow, and I am going to add some more here. Then, I'm going to apply at certain places. Here, at the top, not all the places. You can see, it's just certain places and the same with this side. You might have already seen it, this is like an autumn landscape. Very, very odd for the current climate. I'm painting this early, but I think when this will be uploaded, it will be like almost summer in most of the places. I'm in the Northern Hemisphere, just bear with me. Then, next color, we're going to be taking some orange. Again, let's just drop some orange at the bottom of both the places we added, just a little bit, and then some onto the tree. You've seen the final picture, so you know this is the trees and this is how we are adding the trees. Just dropping bits of paint. I think now is the time that we can switch to a smaller brush because we're painting the trees and I want the leaves to be smaller. That's why I'm switching to my Size 4 brush, and here is the orange paint. I'm just adding smaller bits in blocks. You can add smaller bits and blocks. The same to the right side. On to the yellow, at random places. The whole thing is going to be wet on wet. It's going to just spread out nicely and create gorgeous textures on our paper. Gorgeous background and leaves. Let's just get on with it. Then we also need to add the reflection in the water. I'll switch back to my Size 2 brush and I've taken yellow, and I'm just going to add it here at the bottom, like that. We are adding the yellow and because it's the reflection, we don't need to go and do those drop thingy. Here, I made it with drops, but when you're doing at the bottom, we can just go ahead and add our paints like that, just a few lines. Actually, the same on the left side. Then the same with the orange. We just add orange to the left as well, I've added a lot of orange. I don't want this to be spreading and leave the center gap because there is not going to be any tree here in the centers, there won't be any reflection. That's why we leave this center part. Let's get on, continue with our trees. Here, I'm going to go with red now, the next shade, and I'm going to drop it on the top of the orange. That's now the next darkest shade, isn't it? Dropping on the red shade. It's just various colors of the autumn tree. I'm just showing you a different tree landscape today. A forest with a stream in the middle and its reflection, so that's what we are doing. A lot of red, and drop them. This is all wet on wet. My paper is wet, you know that, you can see that. Okay. Let's just drop carefully, and drop some at the bottom as well to add some at the bottom, not as if it's falling down. Now let's add some green to the bottom. I want sap green, let me mix my sap green. Here is my yellow, and here is my green. There is my nice sap green. I'm going to add this to the bottom, okay? I'm going to add this at the bottom. [NOISE]. That's pretty much most of the tree part as in, the background part, again done. Next, we will have to wait for this to dry so that we can work on the third layer. In any case that you feel that you've lost the color, you can add it. Like I'm taking some yellow and I'm just adding it. Okay? Let's maybe also add a little bit of brown into the ground area. So that'll be the vet itself. Towards the base, just add it, and let's add it here as well. That's fine for now; the whole background. Let's wait for this whole thing to dry. Here, after drying, you can see how the whole thing has turned out. It's all slightly blurry and that's the background. Let's now go ahead and start with the foreground. For the foreground, here is what I'm going to do, I am going to start with a bit of Payne's gray and burnt umber, mixed together, so that will give me a dark brown. You can go ahead and use sepia as well. Here, I'm just going to pick up my sepia or the Payne's gray, and brown mixture. I'm just going to draw these shapes. This is like the shapes in the land. Not clear, just creating some effects in water. We can see the edge of the land. You can see it's slightly messy creating those shapes. Then what we're going to do is we are going to join them with different colors that we've already used. I just did with yellow. Now, we're going to add a little bit of orange and we're not going do it for the whole thing, just at random places. Here is a little bit of green. I'll take a little bit of green and add it. Now I've made the background blend into the foreground. Let me show it to you again. Here is my orange, and I'm just going to blend it inward. You can also just use water and just make that whole thing blend together. Then when you add the trees in the front, it will not be visible feed marks, but you can just use the same colors that you used in that background area and just blend in that brown together, so that, the brown will look like it's the edge or the tip. But just make it the edge or the tip. Add somewhere towards the inside also, just to make it look as though it's the ground area. We're going to do the same thing towards the right. There is my ground and there it's extending outward. Maybe I'll take a little bit of green. I didn't add any green on this side. Here is a little bit of green. Then I'll go back to my brown. Now, I'm going to join with the other colors that I had used. That would be a little bit of orange, some red, and then maybe towards the top, I'll just blend in with a little bit of water. See, that's how I've made the ground. The edge of that land area is what we need to add some line shapes. Then towards the inside, we'll just drop in some things like that. Now, we've created the base, the land for both the regions, and we just need to add the trees. Let's pick up burnt umber, a nice amount of burnt umber. What we're going to do is let us make this have a little bit of a light or something. We'll use permanent brown. Don't worry if you don't have permanent brown, mix red and brown together, that will give you a nice reddish brown color and this is what we're going to add first. What I'm going to do is I'm going to add the tree. Here's how I'm going to add the tree. That's the trunk of my tree. Don't worry about the base, we'll add some leaves and stuff later on, so don't worry about it. About the tree, that's going to be the branches are covering it. That's why just add a few branches and let the tree continue on in between. You can add branches in between. Now, let's go with the darker shade and add it to the right side. That gives a dual mixture. I don't know if you can see but slightly towards the left side it's a lighter brown color and towards the right side it's a dark brown color. That gives a dual color to the trees that we're adding. It's just like when we painted lighthouse, we tried to add one color to the right and then one color to the left, you all remember that. That's basically what we're trying to do here, we do the same. Let's just pick up and add more of these trees, don't bother about the base for now. Some more trees and you can add several branches and remember to darken one side. I'm just taking the burnt umber and putting it to the right side. So that the right side is darker, and then you can just basically, what we're going to do is let us add branches. Adding a branch and make sure that it is thinner as it goes outside. Then let's have it split and going in various directions. Let's have some branch here. See, just small branches at various places. Let's do the same towards the right side, so permanent brown again and adding here we don't have to make the tree box all in a straight line. You can see mine, this one is slightly bend and I did it on purpose. Now, let's go with the branches and the right side, darker, so there's burnt umber and darker on the right side. Let me add branches. We've added a lot of branches. Now what we're going to do is we're going to add just a few twigs and branches on our ground. Just added a little blonde or a branch there. You can add more of it and maybe some smaller ones there as well. Now, what we need to do is we need to add in some reflection of the trees. This is the next layer that goes in the water. What we're going to do is not the whole place, just a place where you want the reflection of the trees, add some water. This is the next layer that goes into the water area, so here I've added some water. Let me add some water to the right side as well. Here, I just used my same brush and you can see I've applied water to just that bottom area. Don't apply too much water, just a little. We don't want it to be spreading too much. I think it's a little bit too watery, so I'm just going to wait a bit. Then here is my burnt umber and brown mix. What we're going to do is just right below the tree, we are going to add the reflection. So it's pretty simple, just follow the same direction as you've added the trees. Here, this one is starting here and it's going to lean towards the side, just do the same and this is the reflection in the water. There we need the reflection for that, so that comes like this, and then it's going to bend there and then it's got branches. So that needed to be too much detail so don't worry too much about it. This one has got a branch. That's the reflection part. Down rather too much. Let's work on the videos and while the reflection rise, we'll finish off with the painting. Just adding some foreground details. For that we'll start with orange and just drop in. You don't need to add to all the places, just random. We already have the background details, so just adding it to some random places just to get that little beauty in our paintings and get rid of these harsh edges of the branches. See that. We'll just do those areas, we'll apply some paint, and also to the base of the tree so that it looks as there are some leaves that have fallen down. Then let's go with the red. That's the last. Just add some drops of red details. Adding that red would make those trees look more solid as in these branches where you made them stand out in the air, because the other layer is like wet on wet and was in the background. Just covering it up at the top, and here just adding at some places. I don't know if you can hear ice cream dump truck is outside. It swings by almost every day around this time, evening. That's the time I usually spend painting so, everyday I can hear it. Here, just drops off and you can also add drops of red to the bottom. This was the background and now you know what the other background was. That was like the extreme background, maybe some forest way further away. That's why that weird looking background was there. But now it all makes sense, doesn't it? Just added some details. I'm covering up any weird looking areas, so any mistakes, any harsh edges, any mistakes that you've made, just cover them up at this point. Perfect time to cover up your mistakes. I'm covering up all the harsh edges of the trunks that I've made. You see, I'm using a very concentrated amount of red and just covering up all of those harsh edges of my trunks. Now my tree looks much better in the foreground. Is this dry yet? No, this is not dry yet. What I'm just going to do is, I'm going to quickly dry this so that we can add some dried fallen leaves on the water there are floating in the water and that'll be the end. Before that is this region dry? It dry, but let me try just adding a little bit teeny amount of detailing here because I forgot the reflection. That's really fine. Just a little I have tried to add with the lighter tone of permanent brown, and now I'm going to wait for this to dry it. Here I've dried this up. Let's finish off with some floating leaves in the water. I'll start with yellow. Pick up nice amount of yellow and just add some leaves or just some details you can see. This is some leaves that has fallen on the water and it's floating out. That's yellow, and now we'll go with some orange. Let me add. There's going to be more right next to like under the tree, so that's why I'm adding a lot there, and finishing off with some red. Don't add too much, don't make it look as though there's a tree on the water itself, but just fairly enough to cover any blind spots or mistakes that you've done. If you've got any harsh edges there, cover them up with a dark red. That's much better, isn't it? I think this is good enough for now. We've added a lot of detailing. I mean, we've done several layers and it looks good to me now. These are all bag. These green here that we added, that was the ultimate background. Then this is the background in the land region here. Then we added more land, I mean, the foreground because this is in the front and blended it with the background, and then we added trees and added the foliage, which made it look both in the background and the foreground. There you go. Let us remove the tape now. Here is the thing for today. I hope you liked it. 109. Day 90 - Dense Forest: The colors we need to do are Indian yellow, Indian gold, sap green, dark green, burnt umber, permanent brown, and Payne's gray. Let us start with today's. There is no pencil sketch. Let us just do it directly. Again, we are going to wet the paper. We have a lot of work to do in the background, so we need our paper to stay really, really wet. Make sure that you apply the water evenly and also a lot as in multiple times. Then if you want, also, you can go for the method where you wait for the paper to dry after you apply the water and then reapply it. This way, you will be able to get that water to stay longer on your paper. We really need that. We really need our paper to be wet. Here I am applying the water onto my paper. I've given one coat of water. What I'm going to do is I'm going to wait for one minute or two minutes to wait for this to sink in and then I'll reapply the water. I had waited for the water to sink in a little bit. You can see it's somewhat still wet, but the edges are dry. Now I'm going to apply another layer again, as in re-wet the paper so that now my paper would really have a lot of water and would stay wet long for me to work on my wet-on-wet technique. This is absolutely necessary because we really want our paper to stay wet longer. That's the most important part here. I've reapplied the water. Let me just cover up the edges some more. Here I've applied the water and now we are going to start painting. We're going to paint a different painting today. Anyways, you've already seen it. What we need first is we need a very dark green color. Let me pick up the dark green color. This is the dark green. If you don't have dark green, mix your green with indigo or dark blue or black, and you'll get this dark green color. This dark green color, we're going to start applying in the center. This is the extreme furthest part. The depth is what this is about. That's pretty much enough. You don't need to apply all the way towards the top. It looks like a pine tree or something, isn't it? Anyways, let it go. Then I'm going to apply sap green. My sap green, I make it with Indian yellow and this same green. Here is my green and yellow, and here is my sap green. What I'm going to do is now I'm going to apply the green next to it. See, I've applied the green, and now I'm just going to apply all the way the same towards the left side of it. Apply the green all the way. You can leave that tiny gap in the middle. That might go off when the paint spreads or something, but that's fine. But here at the moment, I've added the green. Now I'm going to go for an even lighter green. What I'm going to do is I'm going to take more yellow. At this point, if you're using sap green, add yellow to your green so your green would be lighter. That's what you're going to do. We'll take some more yellow. There's yellow and I've added it to my green. Now that's lighter. You can see that. That lighter yellow, we are going to apply. Also what we're going to do is, this is the furthest point, and we're also going to be applying a V-shape here. That color then I'll start applying here towards the left. The sap green, I'm just going to make that again because I want that curvy part here. Now we have that V. We're going to have that V all the way like that. Here's my yellow. It's just dabbing your painting so that you get the paint all around, this is the furthest point and it's dark there. Now the next color that we'll go for is we'll take yellow itself and we'll apply. Right in the front, let's take yellow and apply. Again, going with yellow on the left side. You can see how the color variation is, how we have obtained it. The next color that we are going to make uses Indian gold. You know about Indian gold by now, yellow, orange, and brown. You can use that to make your Indian gold shade. This is how you're going to transition to that golden shade at the edge. Here, golden. You can have a little bit go into the yellow region. That's fine. Same here That's my golden applied. Now I'm going to go with the darkest color again, which is going to be permanent brown. This is a transition from green to brown, that's what we're trying. Get that brown shade and apply towards the end. There you go. The same towards the other side, towards the left side. Then we'll go with the furthest darkest color, which is going to be burnt umber. Here, that's the darkest color, here is burnt umber, and we'll fill the edges with that. Fill the extreme edges with burnt umber. We're not done yet, now we're going to add more of it, but the burnt umber is finished. Let me get that. Here's my burnt umber. Now I'm going to go with my smaller brush and brush along with the same colors. Then we also need to do the ground. Now is the point where we will do the ground as well. Here, I have my brush and the darkest green starting there. I only want it under there. That's not the tree, that's actually the furthest point. All the other things will come towards the foreground, don't worry. Yellow and green, sap green, the next one. That's why I said when you add the next colors, this will go to the extreme background and we will be adding more foreground details. Don't bother as to, oh, this is looking like a pine tree or something. Pick up more green. Now I want to go with the lighter shade again, so taking my yellow and mixing to that green. I add too much. There, that's the lighter green. Then on the left side as well. There's a lot of background work in this, so bear with me and we also have to make sure that the paper stays wet. Then the next shade was yellow. I dropped water with my brush. That's okay, I'll just blend it up with my brush. There, that's yellow. Same to the left side. Then the next color was Indian gold. What I did is, when I went through the second time, I just dropped these colors a little further outside. That is, I reduced the amount of the fatness of the green and the other colors here so that I could have more depth towards the side. That's what I did. There, I've added the Indian gold. Now let's add the same towards the left side. It can even extend a little bit into the green. This is totally the part of the forest, so please don't be stressed and worried as to how the shape is supposed to be. Now permanent brown going with the darkest color again. That's permanent brown. Don't worry if you don't have permanent brown, mix brown and red together, you'll get that brownish red shade that I'm working on here. Towards the left also, you can add some strokes. For this painting, most of the detailing is in the background, so we need to work on it a lot. Now for the right side, burnt umber. Now towards the left side, the same thing, burnt umber. Now what we're going to do is we need to add depth and thickness towards the bottom. What we're going to do is now I'm going to pick up this darker green color and I am going to add it to the base here. What that's going to do is that's going to add depth to the trees or the bushes here. Just bear with me. Don't worry. Again, the same thing I'm going to do towards the right. Just blend it naturally, don't worry too much. Towards the right for the depth, what we're going to do is we're going to take some brown and we're going to add brown as well. That whole thing is going to have a lot of brown. Here at the base, you see, I've added brown and that's green. That's what's adding the depth. Now let's finish off the main ground. For that, I'm going to start with a lighter tone, yellow. We are going to just add these small lines and stuff. It's just the pathway, you can see that. Then I'll add on the top with Indian gold, so it's the leaves that has fallen down. Then we need to join and blend it along with the background as well. The same thing on the left side as well. Now you can see that path clearing. It's not going to be extremely white. We will add details, but we need to further work on this, drop some burnt umber at certain places and towards the bottom. It needs to be really nice and dark. The dark burnt umber towards the bottom and little lines like that. The same, let's blend that a bit. We can have it joined together by a very light version of the burnt umber. That's a light burnt amber we have joined together. That's some of the background done. We're still a lot away from the foreground. Now we are going to work on the background itself. My paper is still wet. This is the reason why I said we need a paper to stay wet for a longer duration of time. Now we are going to add the extreme background details, but with the wet on wet technique itself. I'm going to mix sepia. I'm taking Payne's gray and mixing with my brown. You can see I'm having very little water in my brush now because my paper has started to dry and I can't afford to have me introduce any extra water. There, I'm tapping off all that excess water, there's no water on my brush, and I'm going to add details. What I'm doing is, I'll be just adding tree trunks in this manner. See? They'll be like the tree trunks of the trees and they'll be in the background. These are the background ones we'll add for the ones in the foreground. Now we are working on the background, don't forget that. Remember to use the water consistency rule to not introduce any extra water onto your paper if you want this to work right because otherwise when you are drawing these branches, you might ruin the background layer, which we do not want to happen. That's why be extremely cautious and careful. There that's gone. Let's keep adding. We just want to show the denseness of the forest. You can see I'm forming that V line here also when I'm drawing the trees. That also we have to be careful. Remember also to have the water consistency right on your brush, guys, that's very, very important. I've added a lot of the background trees. This is now the extreme background. Now we can wait for this whole thing to dry so then we can add things in the foreground. Here my background is completely dry, so let's work on the foreground. I'm going to start with yellowish green, the yellowish green that we made. That's where the foreground is going to start. That's somewhere here. The rest of the whole of the things is going to be in the background. That's almost sap green, more yellow. That's the yellowy green. That's somewhere around there, and just going to add the small leaf-like thing that we use to add. Just don't bother about adding too much detailing, just tab along with your brush. You'll get it. No too much and on either side, so starting there. When it dries, it will not look odd. So don't worry. Done with the green. Now I'm going to go with yellow, which was the next color. Yellow, that would be on top of it. We can cover some areas of the branch that we did, but not all of it. Keep applying yellow, big nice amount of yellow. Now going towards the left side. We're just going to do this for all the colors. That is towards the left of that yellowish green. That's why we started with yellowish green. Drawing trees is literally very, very tough. As you can see, I'm trying to combine it into 30 minutes, but I'm pretty sure that this is going to go way over that. I think it's okay because these are very critical topics that we need to be aware of. Painting trees, forest, those are important. Here, the next color, which is Indian gold. I'm applying it, applying all in the foreground. These are not like the foreground detailing. Now more of Indian gold, and switching over to the next direction, that is the next left side. We're done with two of the sides, that is, we did with the yellowish green, yellow, and then the Indian gold. Now we are going to add some foreground tree branches. That would be with burnt umber. Pick up a nice amount of brown and we're going to add it. This is still wet, I think, but maybe we can manage. Now we need to look at the perspective line. Here that's the middle and there's the line. My tree is going to be starting there. We'll add the base of it, don't worry. That's where my tree starts and then you can have it go in between your strokes, so don't worry, and there. I'll add to the left as well. The left side will be here. That's where my tree is going to be. I'm going to split it into branches here. That's one main branch. We have another branch, and maybe this will split again. You can have more branch. Our forest is already looking really nice, isn't it? I'm going to just add more branches and smaller branches, in fact here. Small twigs and stuff you can see, and maybe some to the right as well. Now towards the extreme right, I'm going to add sepia. Here I'm going to take my Payne's gray and mix it with the brown to get sepia or a darker brown. You can actually go with black also, it doesn't really matter. Go with the darker shade and then mix it with brown so that you get really, really dark tone, and that's what we're going to add for the tree towards the right. Add your branch. We really need that contrast of colors. So that's why we are doing it with a darker tone, and same towards the left. I'm going to add some branches for this one, the right one because we don't want to be making this look symmetrical. This is the reason why I'm adding. Let's add some small branches. For this one, maybe let's add branch at the top. The top one, see what I'm going to do. I'm just going to make some branch come into the foreground. That's like the real foreground here. You can see I'm adding branches. From where the photograph is standing, probably there are more other trees outside in which you can only see the branch. Add some branches like that. We can have just the branch. I'm trying to draw the branches without touching this tree so that's way my hand is not properly doing and also trying to get the thinner strokes with a plot of the brush. There, that's much better. Maybe a little on the left side as well, another branch. That's much better. We will finish off with adding some foreground leaves on these and these. For that, remember the color I said that this halo green color would give a nice touch because it's not opaque, but I think it would still appear. What we can do is, you can use either, I'll mix a little bit of white to the yellow and green so that it becomes opaque. Or you can use cadmium yellow. Try to use colors that are a little bit opaque so that it appears on the top. One option is to use gouache. It's really okay if you don't have, I mean, this step is absolutely optional, so please don't stress that, I don't have this color, and your painting is ruined. Nothing of that sort. It's completely fine. I'm just picking and adding a little bit of extra greens. You can see it appears on top of the other colors. That's why I'm using it, but it's really optional. I'm going to add it to here as well. Just a bit of, I know, extra green on our painting. This is tailor green light from Sennelier. I love that color, but don't worry if you don't have. You can even use gouache. That's really good option. Also, you can use this color or any of your yellow, the next colors that we are going to add, you can use it to cover up any mistakes. That's the background added. Now, I'm going to go with the darker colors. I'm going to go with darker green. Now is the point where we are adding a little bit more extra foliage and darkness. So here to the same place where you had added those green. We need to add depth. So don't cover up the green that you added. Just let it be there. Now I need to do it faster. I mean, the fact that the time is over, it's like ticking in my head, oh no, time's gone. Like that. I'm going to make this quicker. What I'm going to do is, now, let's apply and add a lot of these foreground detailing. It's just dabbing along with your brush and adding several of these strokes. See. Just dab along. Mainly we are trying to cover the areas where we have added these foreground branches. See, we've added some branch here. That's really in the foreground and the leaves on it should be visible. That's the reason. See, I've added up to that branch. Now we'll do the same for the two ones on the right. It's just small dots that I'm adding. This is my size four brush. You can see the size of the brush. This is what I'm using. Just add these tiny strokes, and you'd need an stress about, I'm just dabbing. You can literally see. The time. I'm really aware of the time now. I need to be quick. But then there are some things, I mean, I can stop right now and leave it at that because it already looks so beautiful. But then when we start painting, how do we stop? When we know that there are some more things that we want to add. That's just the extreme difficult task. I have added to that branch. I'm just going to add a little bit more of the detailing. This is dark green that I'm using. Don't worry if you don't have such a dark green, you can actually see it almost looks like black. You can mix your [inaudible] amber with a little bit of green, if you don't have such a dark green. It's going to work out the same way, I assure you. So don't stress about using the same colors. As for the whole of this class, you might have understood by now that the colors that we use are not extremely important. In certain cases, for example, this painting itself, we did with a lot of greens, a different brown. It's just personally your choice. So don't stress, I'm done with that corner. We're done with the foreground. I'm just going to add a little bit more of that green and add that green a little in those areas. Maybe some to those just to add a tint of color. Not all the places just only do it randomly. This is optional, not necessary at all, and then there's the last thing. I almost forgot. We need to add the ground because that is just looks as though it's not detailed right now. This is transparent yellow, so it's not going to appear clearly. But you can actually go for opaque yellow such as cadmium yellow, I had explained. Cadmium yellow is opaque and you can use that. [inaudible], but now I can't find it. [NOISE] There it is. Cadmium yellow, so that's opaque and would appear on top of it. Maybe this is like a small, good color theory lesson for you. You can clearly see the difference now. That's the Indian yellow which was transparent and right here is my cadmium yellow. Observe what happens when I apply them to the paper. There's the cadmium yellow. See the difference? Yellow appears on the top. This is because it's opaque. So just a small color theory lesson. I don't know if it's going to help you. If you don't have this, you know what to do. Just mix it with a little bit of white paint so that you get the opacity. Mix it with Bosch. That would be a better option. Just add these yellow spots onto the ground. Will be like the leaves have fallen. You can do it with all the colors, the fall colors. So here I'm adding a little golden touch. Just add and don't add further detailing towards the extreme end because that's like, as I said, that's further away and the detailing should reduce [NOISE]. Maybe a little red. We never use red in this painting. Yeah. No. Let's leave it. I'm not going to use it and ruin it. Maybe I'll go with that green and just add some green to the bottom. Just add that. Lastly, add that some brown, just some brown spots. Now, this one was really long, wasn't it? But now we're done. You can see how we've added all the details and we've given the depth of the forest in such a manner and I've got paint on my finger. I don't know from where. Anyways, let's remove the tape. Here is the final beautiful picture. Of all the six paintings of this week, this is actually my favorite. Trust me, I would want to go on painting this for like one-and-a-half hours, adding more depth, detail, and everything into this painting. Here it is. Love it. There you go. 110. End of Week 15 - Forest :): Here are the six paintings that we made this week, starting with the enchanted misty forest and then the cherry blossom, the sun rays and we learned the sun rays in two different methods. Then there was the autumn forest and this one is my favorite. I think I'm actually going to make a larger version of this because I really loved this one. While I was painting this one, I was actually upset that I wanted to add a lot more detailing and my time was not permitting. I think I might actually make a bigger piece of this someday when I don't know. But soon, so I hope you liked these six paintings. See you all in the next week's topic. There you go. 111. Day 91 - Macarons: I'm not going to name the colors that we need for this painting today because just go with your instincts and choose all the colors that you need. You can go with any color, it doesn't have to be the same that I'm using. Welcome to the last complete week of the 100-Day Project. Last because the next week, it doesn't have six days, it has only four days. This week topic I'm sure you already must have guessed it, because that's the only topic remaining, which I mentioned in the introduction video, food and drinks. Let's go ahead. We're going to paint some macaroons today. French macarons, beautiful French macarons in a plate. Let's just start straight away. I'm going to to start at the bottom. I don't want to show too much of the plates because we don't have the time enough to add all the shadows and everything. Let's just make it this way. We're going to have the pencil sketch first. Let's make a lot of circles. Not exactly so close, they need to be semi-circles and such. There, I'm adding a semicircle and then I am going to add some volume to the left side. That's, is how macaron is shaped and another two lines in its center. That's where the creamy part goes, there. Then let's add some more macrons in front of it. The pencil sketch might be the toughest part in this one. You just have to bear it. Just note, I drew like an ellipse, I'm not completing it because I want to add in the macron on the top. Let's just add the base of this one first. Before the base, here is the creamy part in the center. I'll let the cream come out a bit. You see that? Here, that's the cream coming out. Where is my eraser? [NOISE] Because I want to extend the bottom a little more. Let me show it to you up close. That's the top. What is, is it the biscuit? Anyway, I'm sorry. I don't know how to say that. That's the top part. Then this entire surface here, that's the top part and then you've got the cream, which is this. Then, now we need the base, which is going to be the next biscuit part. Not biscuit, what do you call it? I don't know. Anyway. Let's add the one to the top of it here, that's the base. Let's add the cream on the top. There, that's the creaming my top. I'm going to add a slightly extra line here and just for the tiny details. Then here now is where we need to make it into an ellipse to cover the top biscuit. The pencil is the toughest part here you can clearly see that. Now you can complete the ellipse of the bottom one. That's two macarons sitting on top of each other, but we're going to have a lot of macarons in this picture, so let's just add some more. How about we had another macaron here, and I'm going to draw it on top of this. We'd have to rub anything that's inside. That's going to be the top of one of the macarons, and that's the base of the top one. Then that's the cream. Then that's the base of the one belonging to that. How about we add another one to its front? Because I need to add them to the front and let's rub anything from the inside part. That's going to be like this. I'll make the painting part easier so that we don't lose a lot of time because the sketching part is the most toughest part as you can clearly see. Another ellipse and that's the top half, the creamy part and the base. There. That's another biscuit done, macaron done. Let me add another at the base here. That's the base. The creaming part, then just adding the base of the first one and the top ellipse. Let's have another one sitting on the top of this. That's one, the top of that. Then here is a cream, the base of the other one and the top. Now let's complete this and let's just add two more in the background because otherwise this whole thing looks empty. We need to be making that in different angles of different sort. There, that's the base, adds the creamy part. That's one and another one to the top here. Once again, the creamy part. There, that's much better. We'll finish off with two macarons and decide. There, then that's the base. There goes the cream. That's the base of that big one. Let's just assume there is more down there, that's behind this one, and finally on the top here. That's pretty much it. Here I hold this up close, pause right here if you want to get the perfect sketch there, and you can make it. This is the sketch. If you want, you can just drop something there in the background there, there once more. That's the sketch. Should we add the plate? Let's not add the plate. Let's just make it, sitting on some greater surface like when we did with the flower waste, we made it, sitting on a surface there, that's much better. Now let's get to the painting part. What we're going to do is let's paint the background first and then we'll go into the micro ones. The backgrounds, we're just going to paint it with some unique color, choose any color that you want. I'm just going to go with one color of my choice. Just choose whatever color you want. It doesn't matter, any color. I have applied the water. Apply the water up to the whole part where the table is. Cover the table as well, that's fine, just don't touch the macarons. Rest of the area we'll cover it up with water. There I've added the water and now I'm going to take my smaller brush and, stepping from yesterday, I think so. It doesn't matter. Going around the macrons now. Carefully fill in all the gaps, why? Because we are going to cover the background first. It's going to be pretty simple, don't worry. Round the ones on the left. I'm going to add to the top because that is drying up, and we can let it dry. What color do we give in the background? What do you think? I think I'm going to go with a darker color because my macarons are going to be light in shade, and I need to choose a color that's not in one of the macarons. I'm thinking with the enum going with different colors for the macrons like yellow, red, green, and a little blue one. Okay, what we can do is, let's go with the indigo color and cover the whole thing with indigo. You can go with a nice color of your choice. Please don't worry, just choose any colors that you want to give the background. If you want to paint it yellow, if you want to paint it green, if you want to paint it red, just go with your instinct, any color. I'm painting with indigo because I think that gives a good contrast between whatever colors I've chosen for the macarons. That's the reason I am using indigo. Just need to give a stark contrast, so I'm taking my indigo paint and applying it to the whole area. You can see. Careful around the macaron side, we don't want it to go on top of the macarons. There. Careful around the background. We might end up running the shape of the macaron like I did here a little bit. I'm going to soften that little part. While I'm painting, I'm thinking in my mind, what exactly are the parts of macaron called? Is it cookies? The top part, the cookie, then the cream? I don't know, biscuit, cookie? What do you say? I'm just confused. There, then the edge. We got to be very, very careful. You know you could actually paint the macarons first and do the background, but I wanted to go and do this first. Get rid of whatever we have to do in the background. Makes sense, right? Okay. Now, getting closer. Here along the edge, I've reached along the edge of our table surface. I'm still going on adding. I've added indigo to almost all the places. This place looks lighter, so just trying to even out the colors. Just adding some more dark, dark, dark versions of the indigo, and blending it along. You can see all the time I'm holding my board at an angle so that I let the paint flow, I let it do whatever mixing it wants to do on its own. I've washed off that paint and we're going go and do the table part. For the table part, I am going to go with brown. Just that little gap, and around my macaron. Don't bother, the paint is just going to flow. That's fine. The same on the left side. There. Whoops, whoops. Got to be very careful around the edge. Anyway, there you go. But I'm going to do one more thing. Because this is still wet, I'm going to add in the shadow for the macaron on the left. These are the only place where you see a tiny little bit of shadow. Here, using dark brown, let's just add it to a smack around here. You see that? Just added there. We might want to darken the color a bit more. What we got to do is, let's go with a nice Payne's gray, and we've added brown at first, so now don't go all the way and draw the [inaudible], right below the macaron. Add a little bit of Payne's gray.That thing is there, it's dark and some shadow is there. That's just what we want to do. See? Something, I've added something there. There's a shadow there. The only thing. What we have to do is, we can wait for the whole background to dry but since these macarons are not touching any other macarons or the background, I think we can go and paint those macarons without wasting any time. What colors should we give for the macarons? I'm going to go with green, nice sap green color. This time I want to get a nice sap green color. Let me see if I have a sap green color. I don't want to mix sap green when using this. Actually yes, I have the sap green from White Nights, so I'm going to be using that. This is the same thing that's this and this because I can prove it to you, it's PY150, and PBG 7. PY150 is Indian yellow, and PBG 7, did I see that? PG 36. It's slightly different. They've used a different green, but you get almost the same, and they've added a little black in it, that's the PBG 7, which is the black color, it doesn't matter. But PY 150, that's exactly this yellow over here. That's a sap green. We are going to start painting. Observe very closely now what we're going to do. I'm going to apply water to the top of my macaron. This one, the one in the center. There, I've applied water, and now we're going to take the sap green and paint. I will apply the sap green on the top and bottom. I'm going to leave that middle part. Observe very closely, I'm leaving that middle part. What I am going to be doing is, from the top, I'm going to spread the paint towards the middle. That middle area is going to be really light, and so is the top part. We just pull down the paint from the top part. This gives that round shape already. You can see. Let me take some more sap green, and what I'm going to do is, I'm going to add to the base, not the base, but part of the biscuit like that. The cookie, the biscuit, whatever you want to call it, and soften it towards the dough. That has the roundness already, but we need to add it to the edges. Is this going to be lengthy? I hope not. Anyway, this is how we are going to be painting all of the macarons. We need to take care of light and shadow. When you make that part lighter, you can clearly see what it does. What it does is, it gives this macaron, it gives as though it's got diamonds in it. It doesn't look flat anymore. Let's paint the bottom part. I'm not going to apply water, I will directly go ahead because this is literally in the shadow of the creamy part. We can go ahead and add it. But we need to add a darker tone right below the creamy area. That's because? Shadow of the cream, obviously. Because that cream is sticking out of the biscuit part a teeny-tiny bit, you need to add the shadow part. This is how the entire macarons will be painted. Just blend along, and you can see how this bottom part is lighter, there is a dark part at the top. Let's go ahead and add the cream now. What I'm going to do is, maybe I'll make it a slightly dwell creamy thing. Here now, I'm going to go with dark green. The cream is going to be with dark green, and that's what I'm going to add there. That is going to be my cream. That's the creamy part. There's a little more on the top. What I'm going to do is I want to make a slightly different green, as I said. They've used a different green. I'm going to just make it more slightly yellowish green. Now is the time that I'll mix more yellow. That's more yellow. Add that. Adding that just gave it a little bit of depth. Let's just fill the rest of the bar. This is the top part of the cookie of the skit. One of the macaroons is done. We just have to do the same thing for all the other ones. Let's do it. The bottom part, that's the top part of the main macron going with light green on it. This is the top part, which was the top part like that. But I painted the whole of it because light is not on this macron. What is? The shadow of the top one has to reflect on the bottom one. Let's take a little bit of dark green and add it right at the base. That will give the separation between the two. You see that's really getting a nice separation. That's what we need to do. Add it to the base. Now we have that nice shadow. You can just blend along that shadow. See. Now there's a shadow from the top one. Now we just need to paint the whole of the other parts of the macron. We're just going to be doing this for the whole of the macron. This is the side of this macron. Then where's the base? That's the base. The base needs to have a little shadow from the creamy part right there at the top. I'm not going to paint the center now because that's still wet. We'll paint some other the macron and then come back to adding the creamy part. Let's paint this one on the right. I am going to make that slightly pinkish-red maybe. Let's do that. Applying the water onto this one. We have to be very careful. I've applied the water. What I'm going to do is I'm going to mix slightly pinkish-red. Here is my red. I'm going to mix it with a little bit of pink. That's what we're going to use. That's the base of that top one. I just need to spread the paint towards the top so that it gets lighter. See, it's lighter. Now we're seeing color, we just add, giving that circular shape of the macron. Only a little part in the center needs to be light. That's why you can just go and add in the color and blend it there so it's slightly lighter. You can see. Now going with the same color at the bottom. We need to add the shadow from the cream. I'm going to go with a nice red on the top of that reddish pink. There's that shadow. Now, let's paint this one. There's that little red tone in my brush. That's fine because we're going to be painting it the same color anyways. There. Now we're going with the same two colors. For this one, notice we made the lighter tones here, here, which means the light is somewhere from the top. This one, the lighter area needs to be somewhere in the top. Make that area lighter. See, you don't need to make that whole area lighter, just the top part. We need to go and add some more darker tones towards the bottom. Same let's add to the base biscuit part. I need to get this top area a little bit light. I think that's good. Now the other base, just always the key thing with food is to observe where the light sources, it is not just with food, it's with any kind of painting. You just have to know where the light source is from. Here we've chosen it to be somewhere from the top. That's where the lighter part are. We just need to get that light being visible on this. I've added the paint, but we need to make it lighter slightly towards the top because that whole area is in the top. See see that? I've made that area slightly lighter as you see. You see what I'm doing. This is the thing we have to go on repeat. I think that green is now dry. Let's complete it with the creamy part in the middle. Now, we need to paint all the other macarons. What color? Let's go with an orange one. I'm going to go with an orange one for this, observe the light again each time, just follow along with me. There is the orange. You need to be very careful. I've added the orange. I didn't apply water because you can also just go and do this, just blend it along with water so that the top area gets lighter, see that, and the base of that one. Also we need the base to be really darker, so go with a darker orange, just remember this dark contrast between the colors is what we want. So light it at the top because that's where the light sources. Then, getting down at the bottom, we are making it darker, and lighter at the top, so you see? Then let's paint the other side, leave the train for now. There. I've added the orange ones. What color should we give the other ones? Let's make this one blue, so I'm going to go with bright blue, this one here in the middle. It's just different creamy colors. Remember the depth because now it's again from the top, the shadow from the cream, right below the shadow area, the creamy part. Then we need to paint the top of it. I'm so running out of time, I thought I could do this faster. Now, there's just lots of elements to consider, isn't it? The shadow, the light, and just so much stuff. Anyways, we've added the blue, let's paint the other ones. I am going to go have some yellow macarons, so here's my yellow, and let's paint these one's nice. Yellow, and I'm going to make this one also yellow. So I'm painting the base first because we don't have to show any light, but you can just paint the whole thing. We don't need shadow though, so remember that. There was one at the bottom here again. This one is also in shadow, so you can actually paint the whole thing because it's got shadow from the one on the top, just the dark one is where you need to actually make it lighter. These ones just need shadow, so we can add the shadow later on. Taking my yellow and going to add the top one carefully. Now I've taken just water and I blend it along. See that's slightly lighter. Now, let's add the shadow. So for the shadow, I'm going to go with Indian gold because Indian gold is a little darker tone of yellow, so we just need a darker tone of yellow. If you don't have, go for yellow ocher, or, listen to me, just mix a little bit of yellow and orange; more of yellow so that you get that slightly darker yellow tone, that's what we need, so see? Just add to each where the shadow is. This one, the shadow is right below the green area, then for the one in the middle, the shadow is because of the macarons on the top. Just observe closely where we need to add the shadows. It's just basic stacking principle; you stack something on the top. So my hand, it's stacked on top of this, so there's a shadow here from my hand, so that's why. But the light is now on the top one, so the bottom ones are all under shadow, so that's just what we are trying to get here. Just blend along, and I can see that part is done. Oh, wait, I need to, this is still the cooking pot. There. Done with that macaron. What color is there, left, let's add these ones, pure red, no, pink. So just pure red on those. Then the red. Now, I'm going to blend it towards the top with just water, there, and the base. I've got an uneven blend of my blue here. What happened? Let me just soften that up with my brush, the whole thing. That's red done, but I need to add a little bit of shadow to the red. But that's not possible because what color is more if you have a darker red or you can actually mix a little bit of red with Payne's gray so that you get this darker red. See that? That's what I am going to add to give the shadow, there. Just a teeny tiny bit. We only have two more left. What color do we have? I think I'm going to paint it Indian gold. That's a good color, isn't it? Indian gold on this one, is at the top. Here's the base of that one. Now I need to do the shadow, so I'm going to go with a little bit of orange to the top, and on this one. Notice I'm holding my paper, so even though these two colors I've just painted, the paint would only flow down so it's okay when I apply the tone right below and add in the shadows, so just blend along nicely. Now I need to go and paint the top area. That's too much water on my brush. Very nice. Now just blending the middle part using my brush and just lifting off some colors at the top so that it's lighter. You can see now all of the macarons are really coming to picture. There's one there hiding behind. What color do we add to that one? Let's give it a pink shade. That one is right behind. That's like behind these ones, but it's behind when we look from here, but it's still on the other side and there's nothing on top of it, so that's got lighter shade at the top. We've done with all the macarons, now just to go with the creamy area. Let's go with the orange cream first. For that, I'm going to go with a darker version, which is red, and I'm going to add the cream for that. I think for these ones as well, what I'm going to do is I'm going to mix a slightly dark red. Here, I'm mixing a little bit of Payne's gray with my red so that I get a slightly darker red, and this is my green for this one. For these ones, I'm going to make it brown. Let's reverse it for this one. I'm going to add orange in the middle. Maybe we'll add orange for this one as well. For the blue one, we'll go for indigo. Even though it's the background, it doesn't matter because this area does not have the background. Indigo, because that's the dark blue, isn't it? Or you can go with a darker blue if you prefer. There's no pressure. I'm just applying darker tones. Let's go with Indian gold for these ones. Almost done. Just a little teeny tiny step left, which is to fill in the gaps because that's like the surface of the table. Here, I'm going with brown and just filling it up, the burnt umber that we used. I forgot this in the beginning. There's that tiny shadow that we need to add to that area. I'll go with the Payne's gray and brown mix and add it to that base because we need to add that shadow, see? That's going to be darker. This actually looks on the top. I'll add another macaron there because otherwise, this macaron looks as though it's staying in the air. Let's just fill it up with blue. No background area. There, we are almost done. I would have wanted to add a lot of detailing to this, but we're simply out of time. I'm just going to do some quick things. Let me take some red and I'm going to just add some drops, some little lines, and detailing. This is maybe like some sprinkles on them. Just take whatever colors and add them. I'm adding it to only the ones that are yellowish or reddish. The green one, I'll add dark green. I think only just last one is to add on this yellow. I think that's fine. I'm running out of time, you know it's already so much time. We could actually keep on adding a lot more details, adding more surface, the front, and everything. If you would prefer, you can go ahead and do it. Otherwise, here is the beautiful painting for today. Here is the final picture. As I said, we can add a lot more detailing to this, but we simply do not have the time to complete it in half an hour, which is why we're not doing it. But there you go. 112. Day 92 - Splashing Tea: The colors we need today are indigo, bright blue or phthalo blue, Indian yellow, Indian gold, burnt umber, and an opaque yellow such as cadmium yellow. Let us start with today's one. I've got a tiny streak of light here, but I hope that's okay because everything is still very clear. Let's have a gorgeous splashing the tea bag out of a glass today. Let's trace the glass first. That's the mouth of the glass. I forgot to mention this yesterday, you can check out my class on food illustration to learn all about light and shadow when painting drinks, glasses, food, and everything. I explain it clearly using real glasses and everything, so you can observe that and do. Now, that's the glass and let's not add too much of a base or anything. Is that too much of an angle? Let me just see. Yeah, I think that's too much of an angle. I need to reduce the angle. Actually, that could be the inside part. Draw two slanting lines like this. One on the inside as well because that's the part of the glass, there. That's the glass and we have the tea inside it. Let's have it in splashing out and the other end of the glass. This thing actually forms like an ellipse and if you draw a line in the center, these two slanting lines should be symmetrical. Let's add the handle. That's the handle so that's like the inside part of the handle that's visible. Then let's have the tea bag here. That's what's causing the splash and the thread joining that and the end of that tea bag. The splashing tea and that is tea inside here inside the glass. Here is the pencil sketch for today. Is this light bothering you? It's going to be very difficult for me to adjust. I hope it's all right. Let us paint the background first. I'm just going to apply water to the whole of the background. Skip the glass and also you can paint over the handle. It's fine. Just the glass and the tea bag and the end of the tea bag. There. Along the glass. I've applied the paint wherever I could. Now I'm just going to go with my other brush, fill in all the gaps. Here the edge of my tea bag. There you go. The water is drying up so I have to do this quick. We're going to go with a bluish background today as well, but we're going to make it slightly interesting. Start with indigo. The top. That's darker at the top. As dark as you possibly can get. Then going with the indigo just coming down with my indigo paint. Now careful along the tip, don't mind the line for now, that's fine. I will add this edge. I'm just moving the water around here that's why I'm holding it in this angle. Is this just a little bit of extra water here that I want to get rid off. I want to move around so that it blends there along that line. Note now I have painted up on through there. Up until here we have painted with indigo. Now towards the bottom, I'm going to go with a bluish color, so that we blend it nicely. This color is like clearly blue or bright blue from white nights and I'm just blending it. At the bottom is going to be this beautiful blue color. Any blue, just go with any blue, ultramarine blue, or whichever blue you have. For the other side as well, and for this side as well. This side observe I paint on top of the handle and that's fine. Oops, slightly went inside, but that's fine. To just blend it along and holding your paper at angle helps, because that's how you can have the paint blends so beautifully. Observe now what I'm going to do. You see that inner line that we had, I want to paint along that as well. All the way along the inner handle, I'm getting this paint and the same to the other side. Here is the other side and all the way along the inner line that we did and all the way inside. Just blend the paint. [NOISE] Now is the tricky part, we need to be working quick. Here is my brush and I'm going to dry it up. What we're going to do is you remember that paint that we applied, we are going to lift it off, so that leaves a lighter tone of the same color, but in the background. It looks as though we're seeing the background through the glass structure so there. Keep removing the paint along that line. The same to the left side. Takes a while and because it's [inaudible] blue. It's actually very staining pigment, it wouldn't come off all of it. It would leave that slightly lighter tone. You see that? I think that's good enough for that one. You can soften the edges. We only want the paint from the inside part of that glass to be taken out. Now the other thing is we are going to lift some more paint. But this time we're going to lift it off towards the top, so that's going to be either fog. If it's not the fog, what is it? The smoke from the glass because it's hot, steaming hot, hot tea. Just take it off. See that? In a wavy manner. It creates some squeeze like that. Make sure you dry your brush each time. When you're lifting off paint, you're very careful, because you don't want to be disturbing the entire background, so I'm not adding any water. Here's my tissue. And I'm actually dabbing my brush and removing the excess water whenever I'm doing this. I think that's much better. This thing is still flowing in, I need to take some more. That's good. The same from this side, just got to be careful. That's much better now. Now, all we have to do is paint the inside, so let's wait for this whole thing to dry, this whole background to dry. Here it is, the whole background has all dried. If you wanted to make this interesting, you could have added splatters or things in the background, but I was just going to go and focus on the drain first because we don't get much time, you really know that. Let's go ahead and start painting the other things. Here I'm going to go with yellow color and paint this whole thing yellow. We're just doing this as quickly as possible and paint everything that we want to paint. Usually teabags are our transparent, but let's make it like a slightly yellowish. When I say yellowish, we want a lighter tone of yellow or Indian gold. I'm going to go for gold. That's very light, you can see that. I'm adding the lighter tone, you can see the color that I'm adding is very light. Leave that circle, that circle we need to add indigo inside because that's like a hole and it needs to show the background, which is indigo. Here is the teabag added, so now we need to add. The tea bag goes at the bottom, which will be shown inside. I've taken brown and just add to the base like that and blend it along with the gold that you just applied so it looks as though it's inside. See that? There's something inside. That's it. Now we'll go and paint the tea inside. For that, let's first go with a nice golden shade. Here on my palette on the right here, I'm mixing my golden paint and I'm going to fill my entire glass with this golden paint. Now, we got to be careful. I'm going to turn my paper because you know, that's my hand how it likes when it wants to draw the lines straight. There. Red, Indian gold I mean. [LAUGHTER] Anyways filling up the whole thing with Indian gold up to the brim, up to the brim in this one, because it's splashing outside, so that's why this glass has up to the brim. Just focus on adding paint to the whole glass for now up to the edge clearly. We've added the golden paint inside. Now to give more depth and structure to the tea, taking brown. That's burnt umber and just going to add within the glass inside and make some shapes. It's like how the tea is splashing out. You can see just a very uneven random shape that I'm doing. It's not even straight. Then go add it to the bottom as well because this is like the bottom part of the glass. We need to go and just some random lines. I've added that. Let me take some more Indian gold and I will add to the top of it as well. It gets that too well. Shade inside. Something is going on there inside. When we add this flash, it will make more sense probably. Here I'm going to add this splashing part. Here is how it is splashing. That's again how it's splashing outside and remember the brim of the glass I have left it white. Note very carefully. I have left it white. If you couldn't manage to get it white, don't worry, you can actually paint it with white paint later on, so don't stress out. Taking a bit more of the brown and I'm going to add up here and here we need to make it darker than the teabag because we need to make it visible. It looks like something now, doesn't it? Something is going on. Doesn't have to be any clear, don't worry. Taking more of my brown and just adding to the middle. It looks as though something is there and it's splashing into this area. So let's give this splash also a little bit of detail. Now we need to add some more little tiny dots to the splash. Here I'm using cadmium yellow. Cadmium yellow is opaque and will appear on top of the blue. Don't worry if you don't have cadmium yellow, as I've said, what you can do is you can mix your yellow with a little bit of white gouache and add a little tint of orange to it so that it gets a yellowish stone and you can add it. I'm just adding this yellow on the top at certain places. See, I've added some yellow here on the top and I'll also add. This is just trying to give contrast between various places of the glass. So we're playing with yellow is here. I've got cadmium yellow, Indian yellow, Indian gold, and all of these colors that you can play with and for the darker tones, I've used brown. You can see that. Here I've added yellow and what you can do is you can add the small dots of the splash with the yellow. In order to create opacity, what I want to do is, I'm going to mix this with my Indian gold. The color will become golden, but it still will be opaque because there is an opaque pigment in it. See, it appears as though it's gouache, but it's watercolor itself. It's not too thick because this is cadmium yellow, which is watercolor. Splash there and some flashes as though if it's fire, isn't it? Just a little tiny at this edge and that's how it's splashing out. We're not done yet. Let's finish off with white paint. Oh, I can't believe I'm using my paint already and my clock shows 23 minutes. That's been long. The forest week was so long. Yesterday's was so long and seeing the time now and me picking up white paint, makes me so happy. Taking my white gouache paint and we are going to add, first of all, we need to get the handle in order. Here I've taken the white paint and I'm going to add here. Note how I do the handles. The handle is the part where it's going to get a lot of reflection of the background. That's why we let it paint all the way on top of it. That's the handle and this was the inside part. That's the real handle line. Remember to use a pointed brush there. That's one side of the handle done. Then let's draw the middle line. These are lines as seen when you place it on a background. With a dark background, you only see certain white lines. Those highlights because glass is reflective and you can actually see the entire background through it. Not reflective but you say refractive I think. Anyways, whatever. But you can see the entire background through glass and only certain lines would be visible when you're actually looking at the glass and that's what this is. Taking the white paint. We can actually go on adding more details. It's not perfect, but something that we can do. Here along that line, we need that, but we need to add more details there later on. The top rim here, what we are going to do is we'll draw a line along the inside like that. But you can see how that has formed into the line of the glass. Here again, along the edge, I will add my white, see. It's there and it looks as though it is not perfect and the handle is not either. We're going to have to take off some white. We can actually take a little bit of indigo or, no blue is the background there. A little bit of blue and I'm going to apply it on the top because the whole thing won't be visible clearly. You just need to get it going. A lot of lines here. Now there's that indigo in the center of the tea bag. I don't want it too dark. Just the same shape because we apply this using wet on wet and not all the string. You see, I've added the string, it's very light. Let me add that properly again. You could also use a white pen or whatever you have given needn't to use watercolor itself because this is just a line that we need to add. You can see that. Now let's finish off with some shadow parts. On the glass itself, there's going to be some shadows so you'll understand this if you watch my food illustration class. It's all about illustrating food and how, and where the shadows form. Just something there and I think there's going to add a line there or something. See that? On the brim of that glass, I need to add a little details. Just add some broken lines in that brim area. Here, we're almost done. What I'm going to do is I want to have something written on this because there's usually stuff written on this. I like the company or something there. Now, that's it. You can add whatever details you want to add. I am just going to add some splatters here at the bottom. I really love splatters with food illustration. We're just adding some splatters here at the bottom just to make this painting interesting. See it could be like some sugar drops or something. Just add the background doesn't look flat and there it is. Let's remove the tape now. There you go. That's the painting for today. I hope you like it. 113. Day 93 - Ice Lollies: The colors we need today are, Payne's gray, indigo, bright blue or phthalo blue, sap green, Indian yellow, orange or pink, violet, and raw sienna. For today, how about some ice lollies? I hope all of you like them. Let us just start with a pencil sketch. I'm going to make this really simple. I see that every day anyways. All we need are shapes like this and the stick. We're going to have a lot of ice lollies on our table here. Let's have one here. This one is like out of the table and only a little visible. That's the sticky part. We do need to give it a dimension. Here, that is one of the surface. See that. Now that already looks like a teeny tiny bit of surface. Don't worry too much we'll have that done with the paint as well. Another here. The stick of that. How about another one here? Let's say that this one is lying on top of another one. They all don't have to be flat. Some of them can bend like that. Here is the stick of this one. Let's add the stick of this one. Let's give this one a slight dimension. All of them need some dimension. This side looks empty, add just one more over there. That's pretty much it. Let's make this exciting. We are going to paint the background. In order to paint the background, we need to apply water. Let us apply water to the whole of the background. Skip all the regions of the ice lollies and just apply. I think there's a little thin phthalo blue on my brush, but that's all right since we're going with a darker tone. We have to apply water and we have to apply it as that. We do not touch any of the ice lollies, so just around, which is why I'm going with my normal brush and not the flat brush because I can't use the flat brush in such thin areas. Just keep applying the water to all the regions. This is the most tricky part, isn't it? To paint along the edges, that is to apply water along the edges very carefully. It's just tricky, but also I like it because you learn a lot of brush control with your hands. It's just fun. I'm using a Size 2, more pressure, you know the brush that I already used. I've already applied water in these places, but I'm just refreshing them. As soon as you see that some places where you had applied at first are starting to dry, you can go ahead and reapply in those places because we don't want it to be drying out. We need the water to stay there and because this is such a delicate space where we are applying the water, we cannot apply the water multiple times. All we can do is just observe the paper at an angle under sunlight or whatever light source. Note where the paper is starting to dry and wherever it is starting to dry, you just have to reapply the water. I see it's drying here. As I said, the most tricky and time consuming part is to apply this water. Stop drying. Don't dry. I think I've applied water to almost all the places and it looks good to me. Under the light, I can see water everywhere. We can see the waters there on all the cases. Just be careful with that. Now, we are going to go with Payne's gray. Let me just clean up my Payne's gray because it's got a lot of brown from where I've been mixing sepia. Just clear that up. We are going to add a background of Payne's gray and indigo mixed together. Just take your indigo and apply it at certain places and also use Payne's gray. They are almost the same colors. I'm just trying to create a blend of these two colors at random places so we don't want the table to be having a single color. This is the reason why I'm going for a variety of colors. You can see, so that's my indigo. Wherever you want, just apply it and let it spread in the water. You're applying the background using the wet on wet method. The whole of the background, if you want, you can even use some light blue sheets. Just see that makes it interesting. I've added that little tint of blue there, some indigo, then Payne's gray. Just a mix of all of these colors together will just make the whole thing more interesting. If you don't want actually use these colors and you want to go for a different color, you can also use that, but I chose a darker background just to give the contrast to my ice lollies. When you're drawing food and you're not doing it like an illustration, then it's always better to go for a contrasting background to whatever you are painting. In this case here the ice lollies are going to be in a beautiful color set. You can add some contrast to those using these darker colors. If you prefer, you can actually go for a dark green, indigo and Payne's gray as well. Any dark colors of your choice. Just let the whole thing blend into the background and we need to be looking at the places where our paper is starting to dry. If you see that some place else is starting to dry, just go ahead and apply. I can see it was drying there so I took my paint and I'm just going to apply the paint there. The three colors I'm using is bright blue, phthalo blue, indigo, and Payne's gray. I had a mixture of all of these colors. Can see, I'm trying to go around very carefully along the edges and there's no rule as to which color I'm picking. I'm just going with the three shades and just doing it randomly out of my head. Go with your instincts and let the three colors blend together. Now, look at this area here. I'm just going turn my paper so that I am comfortable to paint along the lines. Cool. That was the last bit. You can see I've applied the colors to all the places and we've basically done most of the background. Before the background dries, we just painted this whole thing and it's still wet. I dropped something. That's alright. What we are going to do is we are going to add shadows of the ice slowly here. Those shadows. We are going to do it with Payne's gray. Pick up a nice darker tone of Payne's gray. Also remember water control. You can't apply more water onto your paper because that would create harsh edges. We need the shadows to blend in. Here I'm going with a darker tone of Payne's gray, but then very limited water. You can also use your tissue to absorb the water from your brush. Here, the shadow. I'm going to assume that the light is from somewhere here. All of the shadows are going to be facing this side. That's the first shadow. Got to take more dark color so that the shadow is going to extend outwards, little like that. For the sticky part as well. That's two shadows. I mean the main shadow region. Let's just draw in this line together. That's one shadow of this ice slowly. Let's add for the others. Here, again, it's going to be this side. Observe closely. I made it a little here because this is like the top. Then let's have it at a slanting angle and see that. The thickest or the largest shadow would be this side, everything towards the bottom. That's where the shadow is going to be. The same here. It's going to have that shadow. But then as it goes towards the top, it needs to decrease because that's closest to the light. Closest as in that's more vesting is slanted. That's why we need to take care of that point. There and the same goes with this. A little bit of shadow there. Then this one shadow at the bottom. For this thing, it's going to have shadow at the bottom. It's going to have a little slanting shadow in this side as well. Because this is slightly turned in an angle, you can incline at an angle, you can see that. That's why we make the shadow taper at the top here and extend it like that. That's the shadow of that one. Don't worry, when we paint, the whole thing will make sense probably. Now, for this one, the painting is like almost drying out, so I need to work on it quickly. Extend. Again, this is at an angle, but it's got more angle. That's why it's have more, the same for these ones. This one is actually on the top of that one. Let's draw the shadow of this one first. Then the shadow of the other one has to be lighter because it's like on the top. Lighter, but I don't know how to explain it. Slightly larger because it casts more bigger shadow because it's on the top of something else. Make sure that there's no water. Something of that sort. I think we've covered almost all the places. This one is not going to have a lot. Yeah, this side. That's much better. If there's any place that's spreading or creating weird angles, you can just soften them up like here. I'm just trying to soften these shadow edges because they're like spreading. But remember, do not pull out paint. You can see when I tried to rub off, it lifted some paint off. Just be a little careful. That's it. That's our background done. Let's now wait for the whole thing to dry. Let's start painting our ice lollies. I remembered. I'm going to start from the left. Otherwise, usually, I have the tendency to start from the right, like I did for the shadows. I started with this one first. Now I'm going to remember there. I'm going to start with the left. What I'm going to do is we are going to apply water to our ice lollies, because again, we need wet on wet. I dropped the water. Let's apply water to our ice lollies. What this is going to be really simple now because all we have to do is to paint all of the ice lollies. It's going to be wet on wet because we know it's made out of water. It's not going to have any hard edges because it's frozen and the colors need to mix together. There I've applied the water. What we're going to do is, let's start with a nice screen first. This is the sap green that I used. I think on the first day, I still have it on my palette. Get sap green, hooker's green, or whichever green that you're using, and just add it there. Sap green. I've added sap green and you can see it's flowing in the water. Let it flow. Then next color I'm going for is Indian yellow. I'm going to apply it right below it. You see how that spread and how we joined together. We don't have to mix it. Don't try to blend it like we usually do with when painting sunsets or a nice blend. No blending today. Just let it be there, let the water do it automatically. Maybe I'll add some orange to this one. It's just to have different flavors. Going to look so cool. I've added orange. How about some pink now. There is some pink. What I'm going to do is I'm going to paint the whole top with pink and then I'll darken the top part using a darker version of pink or something like that. That's one of my ice lollies done, not done. But here, I'm going to pick a little amount of purple and I'm going to drop that at the top so that it's slightly different tone, mixes with the pink, and creates a dark purplish pink color. That's my ice lolly done. You can see this is why I said let it blend with the water itself, we don't need to be blending it by using a brush. But wet-on-wet is the best because if it wasn't wet-on-wet, you would get those lines; the harsh line separating each line which we do not want. Are we done yet? No, not done because we need to give this whole thing a dimension. Here's what I'm going to do. We need to create some white tones here. I lift off some paint and as soon as I lift off, you can see what happened there. This already looks as though it's got a two dimension, isn't it? That's what we're going to do. Use your brush. Dry your brush on the tissue and use it to create a white spot like that. But that color is still there and it just looks like the icy edge right there. Starting from that base region, we just lighten the color. That color is there, but now you can see how it has stand up. That's one of the ice lollies done. Similarly, we're just going to do all of them. I'm going to skip this one for now because the one right next to it, it's still wet. I'm going to paint the other one. All we got to do is repeat the same process. If you want, you can give other colors to your ice lolly. I am basically just going to go with the same colors because I actually like it. If you want, you can add slightly different colors, but that's totally up to you if you want to make it like a different flavors of ice lollies. That's totally up to you. Here, I've applied the water. There's my green, goes at the bottom. Here's what I'm going to do. I need to add a little bit of shadow to this side. It shouldn't be just one single color because there's always the shadow. Here, I just picked up a little darker green and I've applied it to that side, so that's now a darker region. Then going with the next color, which is yellow. You don't need to apply shadow to all the places, just some. That's my yellow done. Next, orange. That's orange done. I'm going to go with pink next and apply it to the whole thing. You know I still don't learn because I said I'm going to start from the left, but did you see what I just did with this ice lolly? I started from the right. That is, I started with the green. I should have started with the pink and then gone towards the bottom, right? Oh, I never learn. Here is my, oops, that's too much violet. I'm just going to wash that off and blend this existing violet. Now, for the lighter regions, where is the light? It's at the top. Taking off paint from the top. See that. Liftoff at the top region. Much better. This is at an angle, so there. Now, that has volume. Let's just do the same for all the others. Applying the water. First, the green. Nice. Green. I'm going to go with the yellow. Orange. Here's what I'm going to do with this one, I'm just going to slightly do a change, as in, when whoever was making this ice lolly, it didn't turn out to be perfect. Here's what happened. This is the orange and it didn't get applied in the layer. Possibly the orange spilled over onto the other region and covered in a way like this. It's just trying to make different interesting things just so that the whole thing is not uniform. A little violet. There you go. You can see how I've added that one. Now, for the light, where is it? At the top because this is in this direction. That's the top and just a little to that side. That's basically it. Which one else? I think now we'll paint this one. The only thing different about this one is that this is lying underneath another ice lolly, so It needs to have a bit of a shadow, as in, a little darkness at the place where the other one is sitting. Here, we'll start with pink at the bottom. Violet. Just note, just added a slightly darker tone there. Here I'm just going to blend this up because I don't want that violet to be too visible. But you can see I've made it darker to where it is sitting right next to the other one. Then just go with the other remaining colors. There, painted that. You know I was trying to do this whole thing faster and I've got a lot of paint that I made go out of the line. That's all right. My hand touched some here. It's here that my hand touched, you can see how it is. Gone uneven. I'll just try to flatten that out. The shadow for this one is going to be again, at the top. Not the shadow, the highlights. The lighter areas. The light, because the light source is from the top. There, something of that sort. Let's finish the other two. I shouldn't have drawn these many, but then my issue is I don't want to leave the paper empty. Which one could I have removed out of this? If I took this one out, then that area looks empty. That's why I didn't want to do that. Anyway, let's just go and paint. That's the green that goes at the bottom. Then comes the yellow. Let's finish off with the pink. You don't need to add violet to all of them, that's absolutely optional. This one, I'm going to leave out the violet. Here also, let's say the orange spread out, and let's add the lighter areas. The light is going to be on this side and the top. We're just lifting off paint and let's finish off the last one. Pink at the top, and comes a nice orange, yellow, and finishing off with green. Shadows on this one. Why do I keep saying shadow? I mean highlights. That's going to be at the top again. Here, lift off paint very carefully and also this region. That's much better. All we need to do now is to paint the sticks, and I'm going to go with raw sienna for that. Raw sienna or yellow ocher, those are the colors that you can use for the sticks. I think this one was pretty easy, considering the whole step was just repetitive. I went out of the line a lot on that one. There you go. How can we make this whole thing interesting? Have you ever had ice lollies and dip them in sugar, or if you dip them in powdered sugar, have you done that? Some splatters because this looks flat to me. If it doesn't interest you, you don't have to add the splatters, but I love it. Just going to add some splatters and it already looks different. This could be like icing sugar, if you've hear that, I used to love it. You can see it falls on the ice lollies as well and it just looks so cute. Just makes the background and the whole thing a little bit more interesting. That's all what we're trying to do here. That's pretty much it. I forgot the ice, take off the bottom one, there. Now I have to wait for this tiny bit to try otherwise it spreads. Let's just wait. That part is dried, although this ice lolly here is a little bit wet, but I think it's all right. Just going to peel off the tape because the edges have dried, which is more than enough for me. There you go. 114. Day 94 - Kiwi Watersplash: The colors we need to do are black, raw sienna, burnt umber, sap green, and a little bit of Indian yellow. Let us start. I'm going to add two half slices of a kiwi here. That's one slice, and let's have the other slice. I'm going to draw an elliptical shape. That would be the face of the other one, and let's just get the [inaudible] that's pretty much it. Actually, that's all for the pencil sketch. The rest of it we are going to be doing with paint, and in fact, for the first time today, I think I'm going to use black paint. This is ivory black. You can go for any black: ivory black, lamp black, whatever black paint that you've got, because my Payne's gray is not going to give me the dense black color that I want. That's the reason I'm using black today, which we are going to be painting the whole of the background. This is black color from Sennelier. Let us start painting. What we are going to do is we're going to apply water to the whole of the background. This is just because I want the background to mix nicely, not because I want it to be a lighter color. Here, I'm using my larger size brush, just going to cover the whole thing. Just skip the kiwi, the rest of the areas we need to apply water. Use the larger size brush you have, and apply water to the whole of the paper. I'm not giving it multiple layers because we just need to paint it with one color. Let's just apply water to the edges now. Skip the kiwi carefully. Remember that. You can see my brush still has phthalo blue from yesterday's painting. Phthalo blue is a staining pigment, it doesn't come off easily, you need to wash your brush with a soap, and if you get it on your table or some other surface, consider it gone, it just wouldn't go off unless you wipe it as soon as the color is on the table, so you'd have to do it quicker. Otherwise, gone. But since I'm painting with black, I'm not bothered about the phthalo blue coming on my paper. See, I've applied the water. Honestly, the background of this one is very simple. Simple. Black all around. We actually need it to be dense black. Did I use black for the night sky in which we had a nice galaxy night sky, or did I use Payne's gray? I can't remember now, but here is black because I need it to be black, and because there's water, it's going to turn lighter, so we actually do need to paint it a lot dark, and using dense color. You can see that. Also to be careful along the edge of our kiwis. Be extremely careful. From all the sides, we just need to be careful and because there's water on the paper, actually, it's lighter, so that's why we need to go with a darker tone, and we might have to apply the paint multiple times. If your black is not dark enough, you might have to apply the paint multiple times. Don't worry, I'm also going to apply it once more. Just need to be careful along this little tiny gap between the two kiwis, and my hand is shaking. I somehow managed it. Now, I just need to get darker color everywhere. The darker color is only at this place you can see now. I need to fill in the whole of my paper with darkness. That's all. That's why I said you might have to apply multiple times. A lot of black paint needed. I'm already out of the things that I had squeezed out so let me take some more so this is why I said we might need a lot of black paint. Here's the paint. You can see because my paper is starting to dry, I am not dipping my brush in water, but rather I'm just taking paint. Always, remember water control whenever you're painting because that's a very important thing. We shouldn't rule out water control whenever we are painting anything, not dipping my brush in water, but just going on getting my paint so it's just dry and no extra water is being introduced onto my paper. Because I wanted the background to be smooth as in no harsh lines this is the reason why I applied water at first. We'll go with as many layers as you want to add to get the darkest background, you can see there are still some lighter areas. I'm going to fill all those lighter areas and I'm going to make sure it is dark. Dark as in absolutely dark. That dark paint just make sure you get it as dark as possible because also, I don't think I've said this before watercolors dry and don't light up. It's going down into a lighter shade which we do not want. That's why, keep applying and make sure that the whole thing is just dark. I've made this left potion so much darker. I just need to do the same thing for the areas towards the right. It's just continuous streaks of paint and I blend together but just let me show you because my paper has started to dry so if at all I'm doing this, you see the line that the brush stroke makes, this is actually mainly because your brush still has a lot of water. In order to prevent that, what you have to do is make the strokes continuous so you can see, I got rid of that line at the top. Just keep moving those lines towards the end of your sheet. Alternatively, if you are using a synthetic brush, it would be much more helpful and also making a lot of paint helps, actually can you see on my brush, there's a lot of paint that I've picked up so that helps because see, that doesn't create a line so that's also one option. Just pick up a lot of paint because the more water there is in your brush, that line is going to appear. In order to get rid of the line, this is what you need to do. Look under light and you can see the lightest tones. Those are the regions that I am applying my black paint. This is almost like painting with gouache, except for gouache, we do not apply the water. I applied the water because I wanted the background to look extremely smooth so that's the reason why we applied the water. But I know that when we paint with gouache, we just apply dry paint and make sure that the whole thing is just dry. Whole thing just blend together like in swift brush movements like this but then it also works with watercolors so that's what I actually wanted to let you know. How does that look, black? Let me check. In this angle, you can see everything is black wherever it is not, just filling up with your brush. Any areas you feel are lighter, just go over with your black paint without dipping your brush in water so that's the key thing. Your brush is almost dry now, but then still, because you're picking up dense paint, there is enough water to cover up anything that you're painting. It took a lot of time, but then we finished with the background. Now we wait for this whole thing to dry so that we can paint the rest of it. Here's how it looks after drying. I can see some marks, that's because it's still not dry there yet. That's all right. Lets's go ahead and paint our kiwi. How do we paint the kiwi? What we're going to do is we are going to start with raw sienna. That's what goes into the base part. Pick up a nice raw sienna color. Don't worry, if you don't have raw sienna, you can actually mix a little bit of brown and yellow together and create a shade somewhat like this. Maybe add a bit of orange to it if you want to get slight golden tint. I painted that whole bottom part of the kiwi with raw sienna. Now my aim is to create shadows and highlights, always important. Here I'm picking a darker tone of raw sienna and I'll add a little bit of burnt umber to it slightly so that my brown is a little dark. Here I'm mixing it in the same place. We're going to add it. Just added and blended to the whole thing. Now you can take a little more brown and we can add to the extreme base because those are the regions that is going to be the darkest. We just need to blend the whole thing properly so just blend them with water. Always shadow important and shadows and highlights. My darkest highlights are going to be here at the base. I've added brown burnt umber, but now I need to blend that in. I'm just going to use my brush and blend everything. See, then blending that brown as well. That was one way of doing it. Let's try the second one using the wet on wet method because I think that would be much easier for the blending part. Here I'll take and I'll apply water. I'm just showing you different ways in which we can blend something to create shadows and highlights. Applying the water, that is of that half kiwi. I've applied the water, now let's take raw sienna you can see obviously because of the water, it spreads nicely. I am picking paint. No. Lets blend. The fruit nicely. That's the raw sienna paint. Rinse nicely in the water because we've applied water that it is a little dry. Here. I've applied the raw sienna, but now darkness or shadows. Here is my brown and, I'm going to apply it. This blends much better because we've got water. This kiwi is actually going to be having more light assuming that the light tosses maybe from the top. It's going to have more dicey light. I meant more shadow. It's very, very important. Added dark brown at the bottom. Now I'm just going to blend it along by using a little more raw sienna, and applying to the top of the existing one. Because we used water to blend that one. It looks much better. There. I think that's much better. Now, we need to add the top part. The top part is going to be a lighter green. What I'm going to do is, I'm going to take my yellow, and mix it with sap green to create a light green shade, and that light green shade, I will apply to the top region. This is kiwi. You've seen kiwi fruit? To this one as well. For this one, here's what I'm going to do. What I'm going to do is, I'm going to apply water to the whole of that center region. Just observe closely how we are going to paint this. Here is me applying water to the whole of that region. That's water done. Now, we'll take the green paint that we were supposed to use, that's yellow and sap green mixed together. What I'm going to be doing is, I'm going to apply this color towards the edge. There's water and it will spread towards the center. But we won't apply it in the center. But this way we don't get any harsh edge. But rather we get a beautiful shape that goes towards the center. Let me make that color again. That's the color and we're just going to apply it right in the center, leave a large gap in the middle. You can see, I've left a large gap in the middle , so that it's white. We leave it as that. Let's just paint the edges. For the edges, I'm going to give it a little more darker green. That's why I'm going with sap green. You can see just blended it along. There, that's my kiwi part. We'll let that dry. Meanwhile, we can add the splash. It's just going to be basically simple. We're just going to be using a lot of white paint. That's it. That's the true essence of what we are going to be doing, a lot of white paint and we're going to create just like we did with night sky. Anyways, there use a small brush which has a pointed tip. First of all, let's draw a ground line. The splash is going to be towards the top of this line. That's where the splash is going to be. Use your white paint. We're going to just do so many interesting things. You think it's tough but it's not, trust me, just go and follow along what I'm doing here. Just doing some lines like that. You see, small lines and some things that I'm adding. We need to have dense white paint otherwise lighter and grayish, which we do not want. Pick up a lot of the white paint, and just draw the shapes that I'm trying to do here. Here I am trying to go in an arc like this at this area. Then I'll come down using the same. My brush is almost dry and it's going to create some dry brush strokes. That's fine. Using those dry brush strokes, I'm pulling down. Now maybe I'll just join this together. Just to add some more. Then I'm going to go over to the right side. I'm going to add some bend here. It's just basically creating a lot of shapes such that it looks as a splash. Don't worry, I will show it to you. Here, maybe I'll go towards this side and add some lines. Done the base part. So now remember the water droplets that we did when we were painting rain, so we need that kind of stuff. Use a small brush and create some droplet shape or something. A lot of droplets, we are going to have a lot of droplets here at the top. These need to have some dimension. It's just a line. First, we draw the outline and then I've just added, see something inside. My brush is almost dry. We just need very little water because otherwise, the white paint wouldn't be as dark. Here, adding another slash, maybe to this side. That's done. Now we'll add a lot of droplets. So remember how we did droplets was just a circle and then painting some edge of it, so that's what we are going to do. You can actually draw so many small circles. You see? Circles, small circles. We can also add splashes. Don't worry. We need to give some color inside this, not color. But some dimension to that drop. It already looks like a splash. But wait, I think we need to get my brush to be dry. We'll add something in those. The dry brush creates a much better effect when trying to do a lot of splash areas. Now, there's one thing we need to do, I'm just going to add a little tiny reflection areas of this green onto that place. How do we do that? What we are going to do is, you know that green that we mixed? We are going to mix that green with our white, so then it will be slightly greenish. There's my green and that is my white. So my dense white, I'm mixing it with green. It's already turned lighter, so let me pick up more green, more green. There, that's a nice green touch. We're just going to add that in certain areas so that it looks as though this green is being reflected in those splashes in the water. That's what it looks like. Not all the areas, you only need to add it at certain places. Just see? Only little and maybe I'll add another stroke here. That's it. Let's also add a tiny reflection of this raw sienna. Obviously, what do we need to do? We're going to mix brown with white. I've taken burnt umber. The reason I'm taking burnt umber is because when I mix white with it, it's going to turn lighter. See, it's already turned very much light. I think in order to make it look like raw sienna, I'm going to mix it with a little bit of Indian gold, maybe. Yeah, that's much better. Burnt umber, white and Indian gold together gives me that little raw sienna color. Add a little of that there. I think that's it, I'm not going to ruin it with other colors. We can finish this off. There's only one thing left, which is to add some detailing onto the kiwi. For that, pick up your black paint and we need to draw those center lines in the kiwi, the fruit. Have you seen those tiny details? We just need to add the seeds in the center There, almost done. The last bit is to finish off with white. That's the white paint. Let me just add some lines in the center of the kiwi. When they dry, it'll look much better. Now, finishing off with spatters. I don't want the splatters to be on top of the kiwi so I'm just going to cover that up. See my tissue. [LAUGHTER] We're going to cover up my kiwi and add splatters. We've added a lot of splatters. Cover up the kiwi, we don't want others splatters outside. That's it. How do you like it? Let's remove the tape. There you go. This one is actually my favorite among the food ones now. I know it's a fruit, but it's a fruit, but yeah, whatever. Anyways, there you go. 115. Day 95 - The Cake: The colors we need today are Payne's gray, indigo, red, burnt umber, green, and yellow. Today, we are going to do a cake. Let us try and do it as quickly as possible. I know I see it every day, but I want to try finish this in time. It's very difficult to choose the subject when it comes to food, and especially if you're teaching because people are so particular about the food they eat like I cannot go for non-vegetarian because there might be people who are vegetarian. That's why I had to go with things like, which is possibly all right for everyone. We'll start with an ellipse which is going to be the top part of the cake. That's my wind shape. Let me just get that right. Almost an ellipse. Comes the bottom. It's a three-tiered cake that we are going to try and do today. That's the next tier, and then comes the base of that one. Let's go for the base of the next one. The entire cake is not visible, just the top two tiers and then a little bit of the third tier. This is how the cake is going to be. Maybe a little bit of the base. This side, the base is not going to be visible. Let's say it's sitting on a table and like a rectangular table here. I don't want the edge to be seen. Let's assume it goes like that. Let's have its other edge. Let's have table's other edge come out of this side. What I just did is, this is the side, and let's say it stopped somewhere there, and then I'm having the edge of the table come out. There, that's the table that the cake is sitting on. We just need to add some stuffings and some things on the cake, not stuffing [LAUGHTER] some decorations on the cake. I am going to fill it with some berries. I've got some berry here. Then let's say we've got a lot of berries here, they're not going to be clearly visible because they're dark. I don't know if you can hear the ice cream truck is here. Something up there. Here, let's add more blueberries. There's blueberries. These round things that I'm having are blueberries, then I'm adding some bigger ones. What are they called? Raspberries, I think. That's right. Then maybe we can have some strawberries too. Strawberries, they would be like a conical shape like that, and you can have more blueberries in different places and maybe some beautiful leaves just to add some color because we're going to leave the cake white. I thought that is the simplest way to make this painting quicker, so all we have to do is paint these things. Obviously, we need to do the shadow, so don't forget that, and the berries on the top. There's another blueberry. I'm going to add another set of blueberries here and some strawberries on the top, and maybe a leaf. Add many little blueberries and decorations that you want. I shouldn't add too much because then I would just take time for painting all of them, which we do not want. There. Again, that's some strawberries. Let's just add as many blueberries. There's the berry and maybe a leaf just to add that color. That's good enough. We can get to the painting. Obviously, we'll go to the background first. For painting the background, I think I can use my large brush because there's a large area that I can cover on the right. On the large area there and there. I've covered as much as I can. Now, I'll shift to my small brush, the size 2, not small, my large brush. I'll be careful around the edges. That's the table, the edge of the table, and also carefully around the cake as careful as you can. Also around this small blueberry to be very careful. There you go. I'm done. Now, I'm just going to strengthen it up because it's starting to dry. I'm done. What I'm going to do is I'm going to give it a darker background because we are going to add some lights in the background. Some lights or maybe some bouquet effects thing. I had covered bouquet when we were painting my Christmas class, but not in this class yet. No, we did, I think actually in the firecracker one. Just in order to make the background not look as plain, that's why I'm adding those bouquet effects here today. There. All the way along the border, very carefully. We do not want paint on our table, but we just want the background to be even, that's why we apply the water. Just carefully paint the background. I'm using Payne's gray. You can go for black also like we did with the last day. But today, I think I'm fine with using my Payne's gray or you can go for black, but we need it to be dark enough. If your gray is not dark enough, go for black. Very careful along the edge of the cake and this edge here, and this side. I think the paper is also different today. I can literally feel the difference. This is Arches. I had been using Canson so I can feel the difference as I'm painting. But Arches, it's still one of the best. Carefully along the edges again. That's why I've turned my paper because you know how the angle in which my hand likes to paint in order to get the edges correct. That's why I've turned the sheet. That's why always taping your paper down onto something that you can lift is very much helpful so that it can move around. Otherwise, if you stick it on the table, you're limited to that one direction, you wouldn't be able to move it around, which is why I always prefer to have it taped down to some port. Done with going around the cake. Now, I just need to strengthen my colors. I'm just going to go with more dark version of the Payne's gray so that I can darken everything up. You can see, I'm not picking up any water, just paint because my paper has started to dry. That's why I'm picking up dry paint, so that I can blend nicely. Remember what I said about the brush marks yesterday. We got to just do it all the way till the end, so that you can get rid of those brush marks. There, I'm just continuing. I have brush marks there now. I have to just continue all the way towards the bottom, and that's the way you can get rid of those brush marks. I think that's good enough. Shed a little bit more color here. I think it's still lighter. That's good. I've added the background. What is the next thing? I think the next thing is we can paint the table. I just realized, and I'm really sorry, I want to add some blueberries and some fruits here at the base. Just a little. That's it. I'm so sorry. Just that. Now, we need to wait for the background to dry, or not. Actually, let's just go ahead and paint the fruits. Let's not waste any time. Here is my smaller size brush. We are going to paint the blueberries first. What color can we do for the blueberries? I think we just go with indigo. That's a nice color, a dark color. That is perfect. Take indigo shade and just paint it. While doing that, all you have to be careful is just try to leave a little white spot. Now, it doesn't always have to be in the center. This one I did in the center, but not always in the center, so remember that. There are different ways. We're not going into the detailing part of the blueberries, but in case you wanted to do a detailed blueberry, that would be somehow like you need to give in the shadows and the highlights and everything. Here's how we would do it. I will show you it's for this one. Let me show to you closely. I think this camera angle is really good. How you would do it is have something in the center. Little gap. Let me paint that whole thing at the bottom of it. Then we need the highlight. I'm assuming the light source in this is from the top. I just go with a lighter shade towards the top. You see, that's how the blueberry would be the darkest spots at the base. If we were to do the same for the other blueberry, all you have to do is lift off paint from the top, so here, showing closely again. Lift from the top. Here's my tissue. Lift it off from the top. So that there's that little highlight and already that blueberry has a kind of a shape, isn't it? Actually, we can do that maybe for all of them, and I don't want for all of them to have that thing in the center. Let's do for this one maybe at the top. Here is the blueberry with the dark part at the bottom, because assuming the light is from the top or from that side, so the dark area should be lighter. Here, I've lifted off a little teeny tiny amount of paint. Can you see that closely? As I said, when we are doing food illustrations or any kind of painting, especially the light and shadow is what is mostly extremely important. Let's keep adding similarly for all of the blueberries. Just add the color and lift off from where you want it to be light. There. I'm lifting off paint. I've lifted off a little, and I'm assuming that the top of that blueberry is there. Same way here in this one, see closely. Let me show it to you closely. Indigo, and that's the top and the same for here. But you see just the bottom is lit. Is not lit. What do you say is having that dark shadow. We are going to do the same for all of the blueberries. This is how you would do it. Let's just get to it. There is my other blueberries. All the circles that I made, those are the blueberries. There is the circle. Let me just quickly draw another one before the other ones that I did start to dry because I have to do the lifting off. Let's lift off. I should do from the other one first. I've lifted off some there. Now, painting the other blueberries. Look at that one. There's a lot of water on my brush and this is not going to dry quickly. I'll just go ahead and add the other blueberries. There's one blueberry here sitting alone. Oh, no. It's alone, and one of the other ones there. Here's the other one. Now, I have to lift off. The one that I did here is actually still wet. I actually could leave that one, but the other ones are drying. This one, I have to do it quick, because it is starting to dry. There. That's good. Same from this one, from the top. Now, this one. All of them, just trying to get rid off a little bit from the top side, so they have a dark side and a lighter side. That's the light and the shadow on an object. We have two more blueberries. That's like part of a blueberry, it's not seen. We got another blueberry here. It's like right about this. In fact, we've got a whole bunch of blueberries here, and you needn't add light to that one. The main reason for that is this we assume that the light source is from here. It's like behind this whole cake, which is in shadow. None of the part of those blueberries are going to have any light. All we need to do is just add a bunch of detailing to those blueberries. Let's just add them. I've left some blank spaces because I want to fill them with little bit of red, so that it looks as though there is strawberries mixed in that part also. My other two blueberries are starting to dry. I'm not going to add any light tone to this one as well, because this is, again, behind this tire of the cake. That's what it always is. Observing where the light is coming from, observing where the shadow is going to be, which one is going to be in the shadow. Everything that's towards this left side is going to be under the shadow, which is why we're not going to be painting them. Let's lift off. Lift off from the top. Just added light spots to all of them. Now, similarly, just to the ones at the top. Now, again, for the shadows. I won't be adding any shadow to these three ones over here and that's because the light on those is blocked by these two strawberries, or berries. The strawberries, so the light is blocked, and this one is on the other side of the strawberries and directly in the light, so you need to have more light on it. The same applies to these two. It's not too much behind, especially this one is like directly in the light, so you need to make it lighter. You see the difference now, it will make sense when we add in the strawberries and the other berries. For the other berry, what was it again? Raspberry, yes. For adding the raspberry, here is what I'm going to do. Which ones were the raspberry? This one was a raspberry, so I'm adding a lighter tone of red. I added a lot of water and I'm adding a lighter tone of red on top of my raspberry. Lighter tone, we don't want a darker tone. Observe very closely and that's again the lighter tone, you can see it's not too dark. That's the lighter tone and we're going to do the same for the strawberries as well, so you might as well just go ahead and paint the strawberries as well with this lighter tone. Wherever that our strawberries and raspberries paint them with a lighter tone of red and that's another strawberry. We just have to be quick. That's done. Let me add more water because I want a lighter tone, that's why I'm adding water. Here we have added the lighter tone to almost all of them, so we just need to now add highlights to the ones which are under light. This one is under light, so I'm going to lift off from the top a lot, so you see that's lighter. A little from the top of this one. Well, that's lighter. A little from the top of this one and this one because that's also in direct light. Now, assuming we've done taking off the color and highlights now we need to add the darker tones of red and this is where we will take darker tone of red. For painting the raspberries, what I thought was using that. This is too small, so focus on this camera. Just make this tiny scale-like structure, small scales on them. It looks as though it's got something on it. I don't know how to say it. Do you see how we'd got that round little berry shape of that same thing? This is a strawberry, so what I'm going to do is again going to add tiny dots, so in case of strawberry, it's tiny dots. Then I'm not going to add those dots towards the top because we wanted a lighter tone and also try to lighten that part a little bit. Just spread out and lighten. See that's much better-looking strawberry. We'll do the same from almost all the others. We just need to add those dots for strawberries and scale-like things for the raspberries. This one is completely under shadow, so that's why I'm painting it dark. We don't need to worry about that one. Paint that completely, then here is another raspberry. Raspberry start by painting it in scales, so add it in the form of scales. See that? Little round shapes, so that's how the scales are formed. I'll make this into a raspberry as well, the thing. Two raspberries there and this one was a strawberry, so I'm going to go with dots. I'm not going to add the dots towards the light area where we lightened up, so there. Then where else? I'll make this a raspberry because yeah, it's small, so it's a raspberry. The scale shapes and this one is a strawberry because it's a larger one. I'm going to paint one section full and the base of it that looks darker and then towards the top, I'm just going to blend that so that it's slightly lighter towards the top. Let me show it to you closely, do you see that? Slightly lighter towards the top. I know it's very hard to focus on those little tiny details, but this is why food illustration is just so complicated and now this was a strawberry again, so we just need to add. Even without painting the cake, we are already, my clock shows 29 minutes since I started, oh no. I just need to add a little bit of shadow now to many places. I'm going to go way Payne's gray and I'm going to add to the base of many of these, so you can see it mixes with the red to give like a darker version of red. See, I added a little bit of shadow there and we'll add some darker scales as well to the raspberries, where it is a shadow always to the bottom side. Remember that, so there. Now that looks much better. Same for any of the strawberries that need shadows, always go for the bottom side. Here, a little at the bottom, there, that one, some dots at the bottom. Now the whole thing looks as though it has a shadow. I have put a blueberry here. One little tiny blueberry, I didn't do that because the background was wet. Let me just finish off the blueberry and lift from the top because it's got light. I just need to add in some leaves now, which I had added in many pieces. There is a leaf. There's a leaf. Leaf. Better where you had added the leaves. Just add them. Makes it a little bit more interesting. I think I will place one here and also we forgot to add the strawberries to that side. As I said, this side is like extremely under the shadow area. I'm going to mix red and Payne's gray together so that I get a darker shade, a darker mixture of red. See that, so that darker mixture of red and that's what I'm going to add. Assuming there's a raspberry, or strawberry, something there, you don't know, just under those blueberries or so it's there, but it's darker on that side. Also, we need to darken the leaf because it will not be as green as the other ones, so darken this green. Also now the main thing is to darken the bottom parts of the other greens. That's again the shadow. I said darken, but then we need to spread the color around and mix them gradually. See that, so that it looks as though it's darker at the bottom and lighter towards the edge of the leaves and gets an even mixture. That's very good. What is left? Oh, the table. I don't want to ruin this up, so let's just go ahead. Let's go with permanent brown, or which color should I, why am I so confused? I think I'll go with burnt umber itself and around that table. Just around quickly. Let's add. Just going around the berries and the cake. Need to go, now carefully along the line of the table. That's good and just hear now. It looks almost finished, but I don't want to make you finish off with something that looks incomplete, because we still have to add the shadows for the cake because it looks just empty as though we haven't painted it. At first things first, I'm going to add in the shadows for the blueberries on the table. So I'm going with a nice dark of tone of burnt umber. So here, this area in-between needs to be dark, here and a little bit here. See this, that was one part where we need the shadow. The last thing left is just to make the cake look like a cake itself. As I said, [LAUGHTER] that the most difficult part, most often difficult. I'm applying water to that region because as I said, the light is from here, and that's where the lighter region is. What I'm going to do is, I'm just going to pick up a lighter tone of Payne's gray, and I'm going to apply there. Now that makes it look as though it's got a little bit of shadow, something's there. That cake already got a nice shape. The same, we'll do to the left side here because that's also a way from the light source. A little bit of Payne's gray, lighter tone of Payne's gray, and that's what we are applying here. Just the base. See, it already has a shape. We're not done yet, there's this, again, the third dire of our cake. That's got to have the shadow, can be more darker, but not as dark as the background. We've got to be careful. So spread out this and make sure it gets lighter towards the right side. This already got a shape. What is missing? Shadows. Again, a lot of shadows. There needs to be shadow here at the base of all the blueberries, the leaves, and this area here is also under extreme shadow from the top here. Shadows here, everything at the base. We just apply water to the base of all the things on our cake. Here, that needs to have extreme amount of shadow, because just like the most shadow area, shadow here, shadow here, and here. I've applied water, now the last thing to do is to add the shadow itself. No need to panic. It's just a little shadow, a little towards the base. See, what I'm doing. Let me show it to you close. Just adding a little bit of Payne's gray to the bottom side of all of those. That's what makes it look real, because it's shadow and it's not like lying in the air or something. This one, this blueberry. Now it makes much more sense, right? The whole thing is complete. We can actually stop here, but I promised we'd add some [inaudible] lights, and now I want to add them. So there what we're going to do is, we just need to pick up some white paint, and you can actually mix it with some yellow so that we get a nice yellow, white color, mix white with yellow. All you need to do is, just add circles so they'll fall like [inaudible] lights. I'm only adding this because I promised I'd add this, but oh, no, my 30 minutes is over. I shouldn't call this 30 minutes anymore because this food lesson has been literally time-consuming. I'm not going to add a lot, but just because I promised, I'll just add them. A lot of circles, and also, these circles are ideal way to hide any brushstrokes or brush marks that you've left behind in the background. So if there's any that you want to hide, this is the perfect opportunity for doing that. Just different circles. I think I'll add one more here. Now I'm just going to add some white ones. Taking the white paint, and let's actually add next to our yellow ones. The last thing I want to add is some powdered sugar onto my strawberries and berries. Here I'm taking white paint, nice amount of white paint, and I'm just going to spread it on the top. I've covered up the entire background because we do not want it on the background. What else is remaining? This little bit. I mean, I could have stopped all of these, but I just didn't want to complete without making that complete picture just because I want us to get within the time. Now this looks much better and perfect. We've added in all the shadows and everything lighter areas, lighter areas. Just one thing I forgot, and I cannot unsee it. This area here needs to be a little bit more darker because that's also in the shadow from this part and the scene here. Just blending it lighter towards the right side. That's much better. This needs to strengthen the shadow of that little blueberry. Complete. Now, let us remove the tape. There you go. So that's the painting for today. I hope you like it. 116. Day 96 - The Pastries: The colors we need today are indigo, Payne's gray, Indian yellow, Indian gold, burnt sienna, burnt umber, and red. For the last of the food, we are going to do some pastries. Let's start with the pencil sketch. A lot of pastries resting on the table, that's what we're going to do, as simple as it is. First of all, let's have a croissant. It's going to be a little tough, the sketch, but don't worry. You can see the shape. Then the next part, then that's the next part of it. It should have been like that. That looks like a shell or something. Anyways, let's just add more things on to our table. How about like that? I don't know the names of all of these, seriously. That one is spiraled in, so nothing there. This spiral, this is the outside layer, goes in as a dwell line and there's a creamy or something like maybe jam inside. Let's have it like that. There it goes, the creamy part. Something like that. This one is simple. This is just a pastry with jam on the top. I don't know what you call all of these. Anyways. Like that. Maybe a puff pastry here on this side. How about that? There. Maybe some star-shaped cookies, how would you like that? I think we did star-shaped cookies in the Christmas lesson. If you have taken my Christmas lesson, you will know about it. Other than that, just don't bother. Just add a stary shape like that with the edges not sharp. That's all you have to take care of. Maybe we'll add some other cookies here. I'm just going to add a little dimension here. Then I'll add something here at the end here. I think this is like a cheese Danish , cheesy Danish shape. Just make a shape like this and then we're going to have the pastry part and the puff part. The pastry part, folding like that. There are lots of things on the table already. Let's get to the painting. What do we want to paint first? Shall we go with the background? We need to fill in the background. I will be adding a lot of yellows and browns to my pastry. Because it's basically, what we are going to do is we're going to paint the entire background with something darker. Let's go with either Payne's gray or indigo or you can have a mixture of both, like we did the last time. All we got to do is we have to carefully avoid all of the things that we have made and apply water all around. Again, that's the trickiest part, is going along the lines. If you have difficulty in going around the lines when you're painting this, you could actually go and mask all of these things using some masking fluid. Then all you're going to do is paint the whole background without worrying about painting along the lines. But as I said, I had promised myself that I would not use masking fluid in any project of this class, which is why we are going with this painting around method. But if you do want to use masking fluid, you are okay and welcome to use that. Where else? Just have to be really careful. With masking fluid, it would be a lot quicker. But then I feel that in the end, overall process would be so time-consuming because you would be applying the masking fluid and then you wait for the whole thing to dry because if you're using masking fluid, you can't use a hairdryer because if you try to dry the masking fluid using a hairdryer, it would stick to the paper so much that in the end, when you tear it off, the paper is going to come off. If you're using masking fluid, you have to wait for it to dry naturally. In the end, that's longer, isn't it? I think this is a much quicker way. Also, you learn a lot of brush control, like to go around the edges and paint along the edges, which takes a bit of time. But then it's good once you have mastered it. Just going around the areas that we've already done because they're starting to dry, but we'll manage it. I think I've covered all of the areas now and I'm just going to start painting directly. What color should I use? I think I'll start with indigo because it's a nice color for the background. There, taking indigo. Just apply it all around. As I said, with the masking fluid, painting the background would have been much easier, but then the time that it takes is the problem. If you are not bothered about the time that you're waiting for the masking fluid to dry and you do have masking fluid, you can use that. Carefully, along the edges of each of our pastries. Obviously, when we're painting the background like this, the colors won't be even because, as you can see, it's uneven throughout because each time I am picking up color, but then it might be darker at certain places right where I'm applying. Like here, there's some darker paint here. If you really want it to be even and flat, then masking fluid is the best option. But obviously, many people may not have it, which is why I am refraining from using it in this class. These areas are already starting to get dry. I have to do it quicker now. It's getting dry towards this side. You can see my paper is already dry. I've got to pick up a little bit of water and blend that whole area. There, I've done with the background. I'm not going to focus much on adding too much details because otherwise, we'll waste a lot of time, my clock is already showing 11 minutes. Now what we need to do is shadows. Don't forget that. Very important. Before the entire thing dries let's go ahead and start with the shadows. What I am going to do is here is my tissue, make sure that I don't have a lot of water on my brush. I'm going to pick up nice amount of indigo and we're going to start with the shadows. These areas, they had started to dry so want to apply the shadow towards this side, assuming that the light is somewhere from the opposite side. Here is where all my shadow is going to be. This little area is going to be under the shadow. [inaudible] It'll have a little bit shadow on here. For this [inaudible] here as well. There, and this one. Everything towards the bottom side, this bit will have the most shadow. See, I'm adding shadow most towards the bottom and when I come around the edges, I'm trying to make it thinner, and thicker towards this bottom area. That's what we'll do for all of them. That's thinner in that area and thicker as we come towards this bottom area. There, now for the star one. Those two areas were at the bottom and we have a nice bottom part here. Now for this circle, the background almost dried, so you can see how my strokes are coming. They are dry. That's all right. Just to try to smoothen them. Now for this [inaudible]. We have added the shadow for almost all of them. Just going to try to soften the shadows in which I've got harsh edges like this one. Let me try soften it because my people had dried so I have a harsh edge there I'm just trying to soften that with dry brush. I'm drying my brush and then just trying to go around the edge so that I can soften it. That's much better. That's all the shadows done. Now actually, we can wait for the whole background to dry so that we can draw all the pastries. We'll start with the [inaudible] one and we need to look at the light and shadow always. There'll be lighter areas and because this is like an odd shaped [inaudible], we have to just leave some spaces white. Don't look too much into where the light is coming from, but just focus on the dark and the light phases. Here I've applied water to the whole thing and what we're gonna do is we are going to start with a little bit of yellow. Need to wash that yellow, its got a lot of green on top of it. We're going to start with yellow and what we are doing is just add these yellow lines. You can see how I've painted it I've left a large white spot there and we are going to leave it white. What we are going to do is we apply the yellow paint to the other places. Do you see where I've painted? The yellow areas, but I left a large white spot. Now we'll go with Indian gold. Don't worry if you don't have Indian gold, yellow, orange, and brown and you can mix a nice Indian gold shade. This is now what we will use to add the next set of lights on the top line, the shape of the [inaudible] bread. There, using that. We can add at the base. Leave white spaces wherever you can so I'm leaving a lot of white spaces. Here I've left a lot of white spaces let me show it to you up close how I've painted it. Just lines like these. You'll paint the bottom part so the extreme white space is going to be there. Just paint it something like that and we'll do the same to this side, and to this side as well. First, on the edges, the edges should not be white because that's the place where it is mostly under shadow and the [inaudible] as well. Now the next color that we can add some depth to it is burnt umber. I think, in fact, these three colors would give shape to most of these. Now, this is only for the darkest areas and the lines on the pastry. The lines on the pastry and the darkest areas, so at the extreme bottom area. Just see the bottom areas and then this whole thing is still wet. We're just adding the linings separating the pastry, there and wherever you want to add some lines so you don't have to add them in all the places, but just some lines. Leave that white space on the front and there that actually already looks like a [inaudible] bread. But we can add a lot more detailing onto this if we want. But let's not waste our time let's just go ahead and do the rest of them. I think I'll paint this star now. We're going to start with applying the water first. Let's apply the water to the whole of that star shape. It's better to work with the wet on wet technique whenever we are painting shapes and trying to add light and shadow. Or you could also actually work on the wet on dry method it totally depends on what you like, so it doesn't matter. So I've applied water. Now I'm going to take my Indian gold and I am going to apply them along the edges. What I'm going to do is I'm going to leave a large white spot in the middle. Being as big as I can, so I haven't applied paint there, but we'll apply paint towards the edges, like this, there. So the edges definitely, and the center area. I've just left a large white spot there. Now we need to add the shadow areas. So go with brown, but our burnt amber. Or you can actually use burnt sienna. Burnt sienna will give a nice color. Actually, let's use burnt sienna for this one so that it looks slightly different. So you see, I've added burnt sienna to the bottom part, and we'll add to the bottom part. This a square. It gives the shape. You see as soon as I added a lining like that, it looks as though that cookie or what do you say that base tree has thickness, so that's what we'll do. Not much here because that h is not going to be seen, neither they're. So just these edges, and here. So there, that one is complete. Let's go to the next one. So I think we'll do the next one, which is this one. So again, what we're going to do is apply water to the whole of it. This one is really simple, isn't it? I mean, I love pastries and it's so good to paint them. I wish I had more time so that I could add more. Originally, if it is my choice to paint a painting like this, I would like to stack maybe two dashes, some more crystal bread, some more cookies and some more all of these. I would love to do that. The clouds gone and my sun is now too much on my paper. I've applied water here. So bear with me while I finish this and then I'll adjust the light. I am so sorry because I applied the water, that's why just bear with me. What we're going to do is. I hope you can see, I mean I can see from the dock camera is fine. So for this one, we are not going to do much. We just paint the whole thing with Indian gold. This is a simple one, paint the whole thing with Indian gold. Then we'll add the highlights with actually. Let's go at burnt sienna. Is that too much light? The sun is right right. Where do I put this? At burnt sienna. Now what we're going to do is we're going to apply the burnt sienna to the edge of the bottom of the spiral, only towards the edge, this side. So that would mean. So this is one edge and as it comes here, so then it will be the bottom here, at the bottom. There at the bottom, and here it would be. Again, that would be the bottom. So basically, you see what I've done. Just try to add like in-between that spider, some dark shapes. We're done with that and I'm going to adjust the light. Here, I've adjusted the light. Let's go ahead and paint this one. So again, I'm going to apply water to the whole of the art danish pastry, so that some cheese danish. We're going to start with yellow again for this one because there's a lot of yellow colors needed. So there, I'm just adding yellow in those triangular areas. There and there. Then the middle portion is actually going to be white, so I shouldn't have made the sketch so dark, but that's alright. So just the shadow areas are going to be with the yellow. So just some lines and there. The rest of the middle portion is going to be white, so I'll leave that. Then we go with Indian gold. So now we'll paint the rest of the stuff with Indian gold. We have to make sure that the paint doesn't actually flow into that white region, so carefully. We got here. So you can leave white spaces wherever you want. It will just add beauty to it. You can see how I'm painting it, and here. The thing with pastry is that wherever you add the shadows and lights, it is quite alright because just how the shape is, it might be bulging at one side and not bulging at one side. So it totally depends upon and also where. It's not actually just the shadows itself, it's where it's burned. Some places could be too much burned and some places could be not that burned, that's what dictates it. So here I'm going with burnt amber and I'm going to add it at certain places. Maybe those areas are a little burnt. I am going to make this area a little burnt. Maybe a little burnt here. I think that's really good. Let's just add base to this thing. Add a darker shade towards the base where the shadow is. There. Now, that's really good. I can stop at that. Let's paint this little, I don't know what it is. It's not cookie, but it's something made out of pastry. Just pasty itself, maybe there's something inside it. We don't need to actually show that. Here is the Indian gold, and just apply it, leaving a large gap of white there. We'll take the burnt sienna. Add at the bottom to show the burned areas. There. That's good. Now, again, for this one, what I'm going to do is I'm going to skip the region in the middle, and I'm going to apply water around it, like that. Because that region in the middle, we'll paint it later on. Let's just apply the water in that region. Then Indian gold. The Indian gold sheet, I am going to go around towards the edges. I am going to leave the area inside. Whatever pain that flows to that area is fine, but otherwise, I'm not going to paint it myself. That's what I'm going to do. I've applied the Indian gold. You can see, whatever is flowing in is fine, but otherwise, I am not going to paint it myself. I've added the Indian gold, and now I'll add the burnt sienna. Burnt sienna to the bottom areas where I want to add shadow, and you can also add it to areas you think where your pastry is burned. Maybe it's a little burned here, there. For the shadow, maybe you can add a little bit burnt umber towards the bottom. That's it. The center, let's leave it for now. Then we have this one here. Let's paint that whole thing. You understood now how we're painting this whole thing is just trying to get in the areas where it's being banned and where the light is and the shadow areas. There. I've added the whole thing, and I'm going to go with Indian gold, and I'm just going to apply. I've drawn some lines and I'm going to leave a lot of gap. That's a lot of white faces that I've left. Now we'll take the burned sienna and try to fill in some of the dark places. Don't need to fill in everywhere. Just some places where you think you need to show the burned area. I think I'll go at the bottom. There. That's fine. That's pretty much it. Then the last thing is this one. Applying the water. Don't forget about the lines and the things that I did inside. We'll paint that later on. We'll add the detailing later on. There's not much detailing. Don't bother too much about it. There. Indian gold inside the whole thing. I forgot to leave white spaces, but that's all right. Since I forgot to leave white spaces, let's lift. Just some areas. There. I've lifted some white areas. Now I'll go with my burned sienna and I'll add two places. Not a lot. You can see, I'm going with a very lighter tone and just trying to blend in along. See that. That's pretty much it. Now we can just go in and add the little tiny details that I was talking about. There's got to be jam in-between that. I'm going to add the jam. I'm going to use red and a little bit of Payne's gray mixture. This was already a mixture of red and Payne's gray. It looks like a dark now. I'm going to just fill in the areas in-between. You can see, I'm not going around in a straight finished part, I'm just adding tiny drops of details like that. Because there are some places, because this jam is squished inside. We just need to pick that. Oh, my God, this looks yummy. Is anybody hungry right now? Anyways, something of that sort. Then the next thing is this thing in the center. Let's apply water in the center. There's red in my brush, but it's alright, because we're going to paint been red. Then I'm going to take red. We are actually going to paint it with red. You can see I'm taking red, and we paint it with red. But then you can leave like little white space. There I've left a little bit of white space. That will be like the light in that area, and now we need to add the dark areas. Here, I'm going with a darker shade by mixing a little bit of Payne's gray with red, and just apply it to the bottom areas and some areas like that. All you got to do is blend it along with the red. There. That one is finished. The only detailing now left is with some burnt umber, but I wanted to add part of a chocolate. This has got chocolate seen through this. Only that much is seen, and this has got another rule of chocolate inside. That's it. I'm done adding all the details. Now, what I'm going to do is I'm going to finish off with adding some. I forget every time when I'm trying to say this and then I have to remember. What is it? Powdered sugar. We're going to add some powdered sugar on top of all of our pastries. We just got to take a nice bit of white and add it. Here, just add a lot. We don't want a lot on the table, so add most of them. Do the base pastry itself. Also try to focus on getting smaller splashes. We don't want larger ones, because it's supposed to be tiny and it's the powdered sugar. It's supposed to be tiny, and in order to get tiny, make sure that you have less water on your brush. Don't have too much water. It'll take time to add these stars, because you're not having a lot of water. You might have to do it multiple times. Then still much better than having larger splashes that doesn't look like powdered sugar. You can see, it takes a lot of time, but it comes out as smaller ones, which is much better. Oh, my God. Takes a lot of time and patience. I want to add to this one. I'm just trying to add it to these cookies or cookie pastries here because they look weird, and I want to have something on them. I think that's good enough and our pastries are complete. Honestly, like I said, if we had more time we would have added a lot more pastries. There are lots of pastries that I would have wanted to add and make some of these multiple. But obviously, with the limited time that we have, that's why we're going with just this. But I hope you like it. If you want and if you have the time, obviously, you can go research for more pastry pictures and add them onto your painting. Let's remove the tape. Here is the final painting, I hope you like it 117. End of Week 16 - Food :): Here are the six paintings that we did today. This is one of my favorites and so is this one. This is my ultimate favorite among the food one. I really love it. But all the others are my favorites too. Basically, there was not much time to cover the food topic, which is literally huge because there's a lot of light and shadow involved. It was really tough to fit that into a time-frame. This one, it took a lot of time. If I had more time, I would add more things into the background, add some fruits, some more ice lollies and everything. So I hope you like this week's one. Especially if you would like to go into a lot more detail with regards to food illustration, I have a class on that where I actually teach how to paint glasses, the light, the shadows and everything. You can check that out. It's just called Food Illustration. It's there in my profile. You can check that. 118. Day 97 - The Fun Meadow: We have some exciting colors that we're using for today's painting. So I don't want to reveal them until you actually see them. The major colors that you'll need are various shades of green, like sap green, a dark green, indigo to make it even darker. All the greens to dig and get hold off, and then few other colors. Before I forget, you also need some salt. Before you start, don't forget to get some table salt right next to you. We are at the last four days of the hundred day project. We've come so far. It's just unbelievable. Since it's only four days, we are not going for a topic. But rather, I thought that we'll cover some fun paintings that we haven't covered yet. We have done those techniques, but then I thought, let's finish off with a bang. Just some beautiful fun paintings. Maybe we'll get to learn about some colors. I thought that would really help you just **** some things that I just wanted to show. No sketch. Let's just start painting right away. We're going to have fun today. First of all, let's apply water to the paper, the whole of the paper. We will work with a wet on wet background, and we'll have some fun with salt as well. We've already done salt in the galaxy lesson I know, but I just wanted to show you some more with salt because it is one of my favorite things to use in watercolor painting, and I feel that we've only used it once. Let's just go to it today. Apply the water on your paper. Make sure that you apply it such that you have enough time to work on your background. We need the whole of the paper to be wet and we're going to be working a lot on the background. Apply multiple times, take your time. This is just totally out of my mind. I've painted this before and I thought that I'll share the entire process with you and also maybe add some tweaks to it. Maybe I'm just going to today, I don't have any reference, I don't have anything just going to slice them colors and everything onto my paper and we're just going to have fun. You needed to paint exactly the same way as well. These four days are for innovating. After watching this, if you have some ideas that you want to put in, if you want some extra colors, you can do that as well. I will be showing you something today that's got to do with these two colors here. I will show what these colors are. Let's just go. I'm just applying the water still because I want it to stay wet longer time. Come on stay wet. I think that's good enough for me now. I hope that this brush is clear and doesn't have any other colors from the previous stage work. I'm going to start with Indian yellow. I'm going to start with Indian yellow. I have no shape, no inhibitions or any anything in my mind. I'm just going to apply my colors. Here is my yellow. I am just randomly applying that color into my paper. I know I said, I don't have any shape in mind, but what I want to do is I'm going to go from a lighter shade of this yellow to a darkest of the greens to extreme dark, so that's why I'm starting with the lightest, which here is yellow. Apply wherever you want. See, apply wherever you want. Have fun. I'll go for the next color, which is sap green. Usually, I mix my sap green using this green and the yellow, but I've got sap green here today. Sap green, hookers green, whatever green you have or if you're mixing sap green then also fine. That's green. I am going to apply it. I don't know if you've seen it. This is one painting that I had done long back and I think I've already posted Instagram. I'm going to try that, but with it, little changes maybe I'm not sure. Maybe I've done exactly the same way, but just applying totally random. You can see that. I've applied the green onto a yellow. It turns like light greenish over there. Towards the bottom, I want to make it dark green, but I'm just literally applying randomly with my brush. You can just see, I'm just swirling around. All we need to make sure is that the paper is wet. That's what's important. Here, I am going to go with the next screen. This is my dark green. There, I am going to apply my dark green at the bottom. Like I said, that's what I was trying to do, trying from the lightest shade to the darkest shade. Maybe I dropped some. I don't know what I'm doing literally. Just let us have fun. If you want to add other colors as well, you can add. But I was thinking as a field. Green is such a beautiful color. You've been painting with me for almost 96 days. Here's something,. Green is my favorite color. My most favorite color is green. There are people who think it's yellow because I make a lot of sunset paintings, but sap green and this lean, especially from White Nights, is my favorite color. It doesn't have to be from White Nights but generally green is my favorite color. Here I've just literally put a lot of paints. I think I want to go with a little more sap green towards the top. I feel it's gone lighter and the paint is flowing down, that's because I'm holding this paper at an angle. That's fine. But I just want to still randomly drop some colors. Also by repainting those areas, you just ensure that your paper stays wet. I've got my darker shade again, I'm going to just go and in order to make the bottom part more dark, obviously I'm going to go and add indigo. That will give more dark color. See, when it mixes with the green and gives me a more dark color at the bottom if you really don't have indigo. But we're already at Day 96 and you know what to do when you're using indigo. You've used indigo a lot of times. You might have made it or you might have used black. I don't know, so just go with whatever you were doing it now. There I've added to the bottom, I am just literally dropping paint and I try to make that bottom part a little dark. I think you know I want to introduce a little different green. How about viridian? That's a little bit of different greens, so that's emerald green. To this side, maybe it's a different push or something in that forest area, I don't know. I'm just doing what my mind is telling me at this very moment. Then I'm just going to add in the form of field, so here I'm going with my smallest size brush. I'm going to go with the darker color, obviously which is green. I'm going to just add upward strokes like these. I think maybe it's grass or I don't know, whatever. But anyways, just adding upward strokes like this. Now is the thing that I want to tell you about. When I posted this painting, there was a lot of questions as to how did I do that on top of the darker color? We've already covered this in many of the lessons before. That's about cadmium pigment. Cadmium red light, it doesn't have to be light, but cadmium red and cadmium yellow. Cadmium pigments are opaque. I don't know if you can see clearly but you see that dark square so it means it's opaque. Opaque means it's opaque watercolors, almost like gouache, it's not transparent. Even if you paint this on a dark background, it is going to be visible. That's the specialty about cadmium pigments. At the moment here, it's okay if you don't have cadmium red and cadmium yellow, you can go and mix your gouache paint with a bit of yellow and orange to get this yellow color. To get red, you might have to mix red and white, but you might get a lighter red, but that's all right, who cares? First of all, what I'm going to do is, here's my brush and I'm going to just add a little bit of splatter. There's some splatters that has appeared on my paper. Just for fun. Now the color. Here I've taken the cadmium yellow on my brush and I'm going to drop it on my paper. So let's do that. When I painted this, I had this question. A lot of people are asking, how did I get that darker color, see, if I've put that yellow hear it mixes because the paper is still wet. But you get that yellow. You wouldn't get that with the Indian yellow or the other yellow if it's not transparent. Just go ahead and pick up the colors that you mixing to get this yellow or the cadmium yellow if you have it or look at the tube of paint and find out what is the property of that. Usually, if it's opaque, it will be a full box like this and if it's transparent, the box would be empty. Here, that's what shows what the color or the pigment is. That's one thing that I wanted to share. I see this if you can remember if I had shared this before in this class itself. I am going to add some splatters with the cadmium yellow. Here I'm taking the cadmium yellow in my brush and splatter it. You can see I get the smallest splatters and we have the larger dots that we have added. Just pour with the flow. Now let's add some cadmium red as well. Here is the cadmium red, that's too much water. I need to take off the water from my brush. Red mixes with green to form what color? You know it. It form a brownish-grayish color, green has both yellow and blue, which are the primary colors and red would just mix with it to form brown. But this doesn't. Why? Because it is opaque. It appears on the top that it pushes away the other pigments and takes its place. That's the most important thing about this cadmium pigment. There are other pigments that are opaque as well. That's one thing, that's why when you're painting this on top of green, you are not getting a darker color. You're not getting gray, you're not getting down. So that's one important point. There, the field. Let's just go ahead and add your flowers wherever you want to add them. Let me add some splatters as well. There I've added some small splatters and I want some to go once. I've added some biggest splatters as well so not done yet. I want to make this more interesting like I said. Here's my salt. I'm going to add some salt, not onto the whole paper. Here we are going to have fun and we're going to just add it in like a pattern. I know I said that I had nothing in mind, but this is what I had in mind. But still, just go and play with the whole thing. Add it like a pattern in between the flowers and don't go all the way towards the bottom. Just pick up the salt. Here is the salt in my fingers and I am just going to add it. The paper is still wet. That's why I said that you have to keep your background nice and wet, that we have to be careful about. I've added enough. Now, our job is to wait for this whole thing to dry. Obviously, wait for it to dry, as in, you have to let it naturally dry because you need to let the salt take the action, do whatever it does. All you got to do is wait. Actually this painting is complete. This is why I said, have fun. Let me tell you more about these. It's just really good information if you're really into watercolors and you know, you want to learn so much about pigments and how they work and how to apply them to paintings. This information is really important. I don't know why many people don't try to learn about these things, like important lessons. I've seen that when there are so many classes in Skillshare about these things. But then people prefer to just go about with main. I always try to focus my complete learning process in learning the colors. Because once you've learned the techniques, the next stage is to know about the pigments, the colors, how to mix them, what mixes what colors, and what is the exact color and shade that you can get? It is so much valuable, very important. That's one of the opaque ones. Then this is cadmium orange. As I said, cadmium makes it opaque. This is also opaque. This one is from Rembrandt. Where is it written? It's written somewhere that this is opaque, but even if it's not, it's not a problem. The cadmium, the name says it all. I can't find it in here where it says opaque. Whatever. That's something that is semi-opaque, semi-transparent, it just means that it's got a little properties of the opaque and transparency. Let me just show you what I was talking about actually. Here is my Indian yellow. I'm taking my Indian yellow nicely in my brush. Let me show you what I mean. That's Indian yellow. Nice amount of Indian yellow. I'm going to try it. Put it on the top. See, nothing happened. Literally, nothing happened. There's no color coming out. That's because it just picked up color from my brush. See, it's got green on my brush. That's because it's transparent. That is the difference. I'll show you again with that little cadmium yellow. I'll place it right next to where I placed the Indian yellow. See that, that is the difference. Very important difference. We can already see this order an action. It's looking beautiful. I'm not going to bore you with any more talks while we wait for this to dry. It's not dry yet, but I just realized that I want to add a few more flower spots to the right here in-between the salt area. Here I'll take my brush paint and add some splatters. I've added yellow splatters. Let me go with some red splatters as well. They're just a little to the right. All of those things that are going to act along with the salt and just give us a beautiful texture. Now, we got to wait. Here, after waiting for a long time, it's now dry. If there's any excess salt remaining, you can just wipe them off your paper. But look how beautiful this whole thing has turned out. I love the effect that these all create on wet watercolor paint. It's just beautiful. Anyways, so while I was waiting for it to dry, I was looking in my box of paints and I found these cobalt green. It's not fully opaque, it's semi-opaque, I would say because. Where is it? I just saw it. There, I don't know if you can see it, it is in the side. It's just got half colored and half not. It's written semi-opaque. But this is a good color for using as green. We've already discussed the yellow and the red. But here our blues and these blues are from Sennelier. Whenever I want to paint something opaque, and I want to paint over black color and make it appear even on wet paper, I use these opaque colors. The cerulean blue, royal blue and cerulean blue red shade from Sennelier. They are all opaque and they are beautiful blue colors. You can even make them appear on top of blue paint. Literally on top of blue paint. It works. There is no green color as such. But you've got blues and you got yellow. What else do you need for a green? Here I'll show you some things. This was a painting that I made on my own. I was just practicing it out before I try it out on a larger sheet of paper. I tried out all of these blue colors on black and indigo. You can see this is on black paint and all of these paints, these are all on wet. That's why it's a little bit blurred. But if it was dry, it would completely appear on top of it. The red, the yellow, the cadmium orange, that's cobalt green. I think this is the cerulean blue. This is the cerulean blue. I didn't try royal blue, but you can see it appears on top of black. Both of these cars, actually the colors, I first painted the whole thing black and then I painted the cars on top of it. You see how this has turned out, even this one, the greens I painted on top of it or top of the black. There are several uses for these colors. We're just trying to show you one of them anyways. Our painting is completely dry, so let us remove the tape. There you go. I hope you like it. 119. Day 98 - Fun with Primary Colours: The colors we need today are Indian gold, sap green, Indian yellow, Scarlett, Ultramarine blue or Cobalt blue, and Burnt umber. I'm not revealing the file picture today because it's a secret. Today it is something special, really special. We are going to try an animal. We've never covered that in this class and I thought we'll do something. But this is not about the animal painting, this is actually purely about colors, you will see in a moment. Let's just trace out the elephant quickly. This is difficult even for me, don't worry if it takes a lot of time for you to sketch out, you might need to try multiple times to get that sketch correctly. Let's just try it out. I have a crown shape here at the top. Then maybe something like this. This is already going out of my hands. I think the crown shape should have been a little more towards the bottom. In fact, I think I will leave this picture in the background of this is the picture that I'm using. You can see that I'm just trying to draw the elephant, not the background. Let's see. I'll leave the picture in the background so that you can make the sketch. Wait, that is the problem crown that I was talking about. Just try to get the sum of the shapes correct, so there. Yeah. Now that's much better I think. Then I'll go inside and then little extend outwards for the horns, and there. Now we go, and we have the trunk of the elephant going all the way down. We won't be able to cover the whole portion of the elephant. That's all right. Then this is an African elephant so it's got to have the ears. It's not Indian elephant, it's African elephant. Ears are actually slightly different. They have it in a different weird shape actually. That should come all the way around here. That comes, it's got to have a lot of ears that end like that. That's the difference between the Indian elephant and the African elephant from what I know. The next ear. This again, it doesn't have to be in the exact same shape because the ears are flapping in so they can have any shape. Don't stress about it. You can see I've just made something and now we'll make the legs. First of all, before that, I'm just going to add horn of the elephant so that I get the positioning of the legs. It's just basically looking at the picture and trying to figure out how everything is positioned. I think if I add in the horn, I would be able to position the legs slightly right of it. They should have been way down, but it's okay. I'm trying to slightly change the shape. There. Now the legs so I think the legs come somewhere around here and there it goes down. This is a front portion of the leg and then that one is the back leg. That goes like that towards the back. As a little portion of the right leg, it's going to be seen. That starts here. I think that's way too much to the right. Just make it closer, yeah. The bone I should have made the shape a little more bent towards that side, let me do that. That's why I have the picture for you so that you can look at it and you can get your own design. That's the leg, there comes to leg towards the bottom. That is the body. The back body. Somewhat. That's our main thing. We've got the eyes here. It's not going to be very much detailed. The eyes are in the side as you can see like that. Then we've got a lot of folds, there are a lot of folds in this area as well, the folds of the ears because it's bent. Then we've got several lines here and lot of lines on those as well. Let me just clear out the inside part of that trunk. Much better. Here is my weird picture. I think that this practice side is very weird. See, you don't need to have it much in detail, but we just got to have fun with the colors. Done with the pencil sketch. First of all, let's paint the background. The exciting background. What color do we give the background? Because the elephant is going to be black or gray in fact, or even brown. The picture is brown, so let's give it a different color. How about we make it greenish, yellowish color. Here's what I'm going to do. I'm applying the water, I will apply the water in the background. That's where we need to work. We'll be working with wet on wet. Always for backgrounds it always is best wet on wet, that's why. Let's apply the water. There applied. Just covering the outside area. Careful about ears of the elephant, the whole body in fact very carefully around the edges, but since the background is going to be actually lighter. Even if you go slightly on top of the elephant, that's fine because that's going to be darker. There. We've covered the entire thing with water. I'm just re-applying and also you can see I'm holding my paper at an angle so that water's flowing down. Okay, I've got it. Now what I'm going to do is I'm going to start with a golden shade, Indian gold shade. Go with an Indian gold shade, don't go with yellow. If you don't have Indian gold, just mix it with a little bit of orange. That is, your yellow. Mix it with a little bit of orange and brown and then add it. I'm telling you don't paint yellow. Just bear with me, don't paint yellow. Go with a golden or different shade, any other shade other than yellow, red, or blue. This is totally to have fun. Last three days left. Just imagine how far we've come in this challenge, isn't it so exciting. There. You add the shades wherever you want, them. Carefully next to the elephant. Then towards the bottom, I think I will add sap green, sticking green and I'll add sap green. It's maybe some background and it's standing on grass, maybe some grassy background. That makes sense, right? It's an elephant. Maybe add some background. I'm using sap green. This is from yesterday, what's left over that's why I'm using that. That green's over. Now I'll go and pick up some darker green, you know how to make it dark, you add indigo if you want. Just a little bit of green, not too much. You can see I'm not going into a very dark shade, but just a little so as to get a little depth at the bottom of my bushy area. Done. The background was not my focus, so I'm just going to leave it at that and now we have to wait for this to dry. Let me quickly try this up. Here I've dried off my background. Now is the point where we are going to have fun. Let's start. What we are going to do is we are going to apply water. Now we're not looking at the picture, the picture was only to get that shape of the elephant. That's all we needed. We look at where the highlights and the dark spots are, but the color of the elephant is not going to be that. What we are doing is, we're going to apply water to the whole of my elephant. My water is slightly green but don't bother. It's not my water actually, it's my brush that's got green on it. Here, applying water to the whole of the elephant, except for the horns. That's the only thing that you need to skip because they need to be light and not the colors that we are going to paint. Apart from that, everything else. Go ahead and apply the water. Carefully lowly edges. All of the edges, you can actually shift to a smaller brush if you want. We can see it. I'm applying all the way on the legs and everywhere. Now I'm going to shift to my smaller brush so that I can cover the other areas, these delicate areas. I'm also going to likely done just to get my hand angle around these shapes. Here, see, just needs to be pretty careful. Because now we can't afford to lose the shape of the elephant. It's not something that we can just let go. It's an elephant, it's got to have some shape. It just that be careful. When we were working with the background, it was fine because the background was light and the elephant was going to be darker. You could actually even have some green or the Indian gold go over the elephant and you could just cover it up with the darker colors that we were going to use, but not anymore. You can go over to the background or outside the pencil. Avoiding the trunk, rest every area. We're going to apply water, animals reapplying to the areas that have already applied because the water is drying. Actually, there's just one area in the middle which was supposed to be the background. I forgot, this little area in the middle. Let me just soak up the water from that region. We'll paint the background color later on. Just lie along the legs. That's the leg. This here is the other leg. Just the inside of that is going to be the background. Now I'm just going to reinforce water on all the areas because it's drying up. Because it's a delicate area. While we apply to the other delicate areas, the first place that we applied starts drying. You just got to add more water on top of it so that it stays wet. You can see I'm picking up water and just dropping and cover it up towards the edges and everywhere to paint for the elephants. You can even tilt your paper. If you add too much water, it will just flow through the legs and go all the way towards the bottom. It won't flow to the area that there is no water. That is, it won't go on top of the trunks. You don't have to worry about that. See, if I just drop it, it would skip the area of the trunk and just go directly towards the legs at the bottom. I've applied the water. I think it's more than enough. Now comes the fun part. What are we going to do? I'm going to first start painting the elephant yellow. Yes, you heard me, correct. Yellow. Here I'm going to take Indian yellow. It's alright, just pick up your yellow shade and apply it. I know this looks stupid. [LAUGHTER] But let's just do it. Let's just go ahead and paint our elephant yellow. We're just going to have fun. Trust me in this process, just go with it. Carefully along the edges and getting all the shapes right. Paint your elephant yellow. Very strange, isn't it? What is happening? What are we doing? Don't worry, we are doing something. I should have used a larger brush for this. I'm still using the smaller one. The area is too delicate and I don't want to be ruining it, the pie-larger brush. That's the reason why I'm going with this brush. Just pick up yellow and add it to all the regions. Just a little more areas left and then we're done with the elephant. Or are we done? I don't know. Let's see. Let's go on that side, just one more side left. We are done. Here is the final picture. I'm just kidding. [LAUGHTER] No, we're not done yet. Added yellow and make sure your paper is still wet. I'm reapplying into some of the areas. I'm also just dropping water on the top at areas that I can look at my paper and I'm looking at it from the side. I can actually see where the areas are drying. That's why I'm adding more water and looking at areas where it's starting to dry and I won't let it dry. Don't let it dry. We've done with yellow. Let's go with the next color. Maybe some of you have already guessed by now what we're trying to do. I'm going to create gray on the paper itself. The next color I'm going to use is red. When you try to add gray on your paper, try to go and make the gray color in this order itself. It's just fun to see it forming. It's red. I'm going to show up. Now paint with red over your elephant. Just go ahead and paint the whole thing with red. I know it looks very weird, but that's fine. Any red that you have, just go ahead and paint. Let's paint the elephant red. We've heard of let's paint roses red. But let's paint the elephant red. Very weird. But that weird thing is what's fun about this thing. Here I'm with my red paint painting my elephant red. I've switched to my larger size brush because I was tired of using this one brush and it was not covering larger areas, but I think the pointed tip of this can get the better sides. I'm trying to have fun. Even if I lose, some of the shapes or some parts, I don't mind. I'll just leave it. Just the trunk is what I have to be really careful. There I'm careful. I'm careful here. I'm still going on covering the edges carefully, just avoiding all of the areas. We still have to make sure that our paper stays wet, we can't let it dry. That's one thing we have to be careful about. If you start to feel that your paper is drying, just reapply and add some water. See, I'm adding water to the areas that I've already painted, because I can't let my paper dry and we also got paint that needs to flow. Just a side left. There don't paint it too dark, so that you can't even see the sketch. I can still see the sketch here. Do you see the sketch that we have made? Let that sketch be, we don't want to ruin the sketch. Is this the final painting? No. Now we're going to take blue. Red, yellow, and blue, the three primary colors we're going to mix together and form the gray. This was the fun exercise and as soon as you add blue onto the tops. This is ultramarine blue or cobalt blue. Use that don't use bright blue, because bright blue is Taylor blue. It's got a little bit of green content to it. You're like adding more yellow and blue to it. Not really. But then it's more tricky to paint with bright blue. Just go with the ultramarine blue or the cobalt blue and add to the top, and you will see the black color forming its shape. Not the black but the brownish, grayish, slightly grayish tone. You will get the brownish tone, but there is more yellow and you'll get the grayish tone where there's more red. It's you get a mixture of those colors. Rather than mixing on the ballot, you're doing it on paper. That's why we needed it to be wet on wet. That was crucial and just to have fun. We're having actually three layers on the top. Let me finish adding the blue color to the whole of my elephant. I'm not taking him in a lot of blue. I'm not using as much blue as I had used with the red. You can already see that. It's just a little bit of blue that I'm taking and it's still creating that magic. That is the real magic and the beauty of colors. Obviously, you're going to have some edges as a little bit red, because red is very dominating within the three and also the scholar that I used as semi-transparent or semi-opaque I guess. That's going to be a little bit dominating on my picture. But it's no problem, because we just having fun and we're creating something beautiful. Just another more places left, I went on top of my trunk that's all right. Actually it's already turned into that brownish shade. That's actually was on the picture. Not exactly that muddy brown, but some brown and it looks as though if the elephant is glowing, because of the red in the background. I know it makes no sense, but just something fun. That was some important lessons that I wanted to show with regards to the primary colors, mixing the three primary colors and the beautiful grayish from that, we can actually get with those colors. That was my whole motive and it basically to have fun. I've painted the whole thing and it sounds like almost brown now. Now what we are going to do is we're going to paint the highlights and the darkest areas so that we give shape to the elephant. We just got to look at it and see where are the areas, so outside of the face area, that's where the ears go. I want that area to be darker and then there's obviously this area. Then the folds in the ears, so that were lines. This time for the dark area, I'm going with blue. The more blue you add, you get those folds and colors. See that? The same towards the left and folds on the ear. This is not going to be perfect, but this is just showing you one way in which we can paint something. If you were to paint like to animal painting and you want it to do that, then this is not how we would paint it, but this is like a totally different thing and then there's the leg here, which is in the background. That leg in the background needs to be darker. Everything will form into shape. Now the paper is almost starting to dry and I'm only picking up color, so it stays in one place. You can see, see I applied the darker [inaudible] and it stays there because it's starting to dry, and the leg, the back, hind legs. That's why I said you have to paint it such that the background paint is still not the paint your pencil sketches seen through it. In case you feel that your pencil sketches not going to be seen that very well. You can actually make your sketch even more, slightly darker or you can do the sketch with darker pen if you want. See the shape of the elephant. I'm trying to add by adding the shadows and the highlights. I can see in the picture that this area is darker, right where the face is joining the area between the ears that's because it's got shadow. That shadowy area is what we are painting and when we paint the shadow, that'll give shade, the overall shape and then some marks and everything on the forehead. Then again, this area is the background, the inside leg. This is all with blue, that's the inside part. We have the entire part here again, that was the trunk. You can draw the trunk and the legs using the same so just using blue, draw on top of it, and add in the color. That's the background, see it's already coming into shape, but it's really weird shape. Now what we got to do is there are some highlights that we need to clear, there's a highlight here. What I'm going to do is use your brush and try to lift off paint from wherever there are highlights. There some highlights here and just here I feel so many colors that you can actually lift off, you see, so that's lighter. Then there's I think some highlights on the ear area as well, you just lifting off paint. There. I've lifted off from that side. Now I just need to do it from this side. Some areas and I will also lift off from here in the form of lines in the front like that, so make curvy lines and lift off. That's enough, but let us paint the lines. For actually painting the lines, here I am going with the pointed edge and taking ultramarine blue. You're going to use the pointed tip and going to add lines on the elephant. Do you see that? Just above the highlights that you have made. We are going to add lines in the front. As I'm coming down, I'm making my lines closer together. We'll have a lot of lines and making them closer together. Also it's almost stopped being a curve. I'm just adding straight lines as I reach towards the bottom. But see that's much better. Now what I'm going to do is I am going to wait for this whole thing to dry. Let's wait for it to dry. This is now dry, so let's finish off with whatever details that we have to add. This little area in between the legs need to be sap green and a little bit of the dark green. I fill that there. Now that's become the background. Now we got to take the blue shade that we're painting again and make the lines separating the feet just a little more stock and blend it to the background. See what I'm doing. I've made a line like that and then I'll just blend the paint in to the background using water. Because the background already has the same colors, it would just blend evenly. I'll just show you one more time. Here I've taken the blue and for this leg, right from that leg where it's supposed to start, I add thicker line. Then I wash my brush from the paint. Then just using water, I'll just spread that and soften the edge of that line. That there goes and it joins, and now it's like the background. The same thing you can actually do there just soften. Then we'll add some more darker lines. Take the blue paint and we are going to add more lines on top of the elephant. Also we need to add lines in the head, the ears, and other places so that the last bit of detail, and then obviously there's the eyes. Just in the corner. Two sets of praise. You can see it's coming out slightly blue from the top because we actually lifted off the paint, but that's fine. Let's just do our job and finish adding the lines. Don't make them continuous lines, you can make them slightly broken lines like I'm doing. See? here as well. Just add lines like that joining the trunk. I think some lines on the ears. Not too much. That was a long one. That's all right. I think that's really good. I just need to get the shape of the trunk right now. There I will paint outside of the trunk. Then soften this edge just like I said, so that it looks as though it's the shape of the trunk. See? The same I'll do all the way down towards that leg. I want to make it darker as the hind legs. Just soften and add paint. The scene towards that side, there. The only thing left is the horns, which is now too much white. What we're going to do is we're just going to apply a little bit of water. We're going to take a very lighter tone of burnt umber. Very lighter tone. That's even too much. Just a lighter tone of burnt umber. We're going to add that. That's too dark there. Any paint that went over my trunks now I'm clearing them up. See? Just revamping with water and clearing. I think now at this point I'll take some burnt umber and just add some lines and some shadow to my horns. Just some lines with a very lighter brown. I hope you can see that. You see it's just very light and just few lines to make that not be the white of the paper. That's what I've done. That's it. Now it's complete. But I know this looks weird, maybe and not appropriate. But then this was something what we did. You get all those highlights and everything using the primary colors we painted using. I mean we painted using three primary colors, and you see how it turned out, we just experimented. That's one thing with watercolors. I wanted to show you how you can experiment with colors, how you can create so many beautiful things. You can actually mix these colors on the palette as well and do it. But then this is also very much fun. Let's remove the tape. Here is the final picture. I hope you like it. 120. Day 99 - The Penultimate Lights: The colors we need today are Indian gold, permanent brown, burnt amber, Payne's gray, red, blue, and Indian yellow. Today you've already seen the picture, no secret today. I am doing the bouquet lights again, because we didn't cover one technique, which I wanted to show you. Let's try that. I'm going to apply water first, there's no pencil sketch we're just going to directly do it. Let's take our brush and apply water to the whole of the paper. Applying the water to the whole of the paper. Apply evenly, make sure that the water that you apply is even, we actually have a lot to work on the background. We really need the water to stay on our paper, so make sure that you apply it nicely. See, I'm dropping a lot of water, and then I'm just going to spread it around and make sure that it's even. I'll just hold my paper in different angles and let it flow to the whole of my paper. Let the paper soak in the water. I think that's good enough, and here is my brush. Here's what we're going to do. We are going to start with Indian yellow, and I'm just going to apply. Again, these days are for having fun, before it last four days, and now this is the second last day. My god, I just realized this is the second last today. Let's just paint here I've applied Indian yellow at the bottom, then we'll go with the next shade, and that's going to be permanent brown. If you don't have permanent brown, no issues, mix your brown with red, that's your permanent brown. I don't want the Indian gold on the sides, so I'm adding the permanent brown there. In fact, I only want a very little of my Indian gold shade, the rest of it I want it to be dark because the ground has to be dark for the colors to work. Taking the permanent brown and doing this. I think we've actually done this combo of colors before in a background. I think that's one of the moon ones. Also I think did we do it for the firecrackers one? I'm not sure, not the fireworks, but the firecracker one. I don't remember now. But I remember using this combo before. Anyways, so applying the color evenly onto the whole of the paper, and making sure it says as dark as you can make it. I'm just dropping the paint onto the whole of my paper and dark. That's a lot of dark there. Since my Indian gold area is starting to dry and picking up Indian gold and just adding again, because we added multiple layers of the permanent brown, so we just need to keep our paper wet. That's why I added again, and I want to go with red amber and add this burnt amber towards the left. There, adding a lot of burnt amber, and I will add these areas also, and towards the top as well. Let me hold the paper at an angle because I saw a drop of water which is now flowing down, there. If there's any extra water on your paper from all your paints, holding at an angle would help because basically, it will just flow down. You might be thinking, what are we doing because I'm just literally applying all these paints everywhere. There's no rule that I'm doing, I first applied some Indian yellow, and then I let permanent brown on top of it, and then here I am adding burnt amber on top of it, but I left a slight smaller area there. Note that. Darker, and like I said, because we are adding multiple layers, this area might start to dry, so I'm taking my permanent brown again and reapplying at the top so that my brown stays the same, even consistency on my paper. Now the brown, and we will go with more darker shade. Now let's go and add an even more darker shade, but for that, I need Payne's gray, which is actually finished on my palette, so let me add that. That's my Payne's gray. It's literally finished. Oh my God. There's nothing coming out of it. That's all right, I'll use it straight out of my tube. Payne's gray on the top. Let me see whatever I can get out of that tube, and there is still enough to last some more. Just adding dark strokes on the top, but here notice that area slightly lighter what we have left. I think there's a lot in the cap as well. That's good. Trying to add that depth with the Payne's gray. That's what I use for the darker shade. If you don't have, don't worry, you can actually go and use black as well. In fact, why don't I use black? Because why am I suffering to get paint out of this? Because it's really finished. I will use something else to squeeze out every last bit remaining on that. But here I have the ivory black that I was using last day so let me use that for awhile. That's the black paint and you can go ahead and apply the black paint to extreme dark areas and those extreme dark areas that would be towards this left corner here, make it black. Then this corner make it black. Then towards some areas here, make it black and in the middle here, these areas make it black. I've applied to a lot of these places and I can actually see my color drying up so let me just reinforce that with a little bit of permanent brown and Indian yellow. Like I said, the key thing is to just keep working on the areas where you see that your paper is drying so that you know you cover all the areas and you don't let it dry. See, these areas are starting to dry so just reapply paint. We reapply paint, reapply paint. Just don't let the paper dry, that's the key thing. I think we've applied the background nicely so that is the background. Now what we're going to do is we're going to paint those bokeh lights, but using a different method than we did before. What we're going to do is, here is my size 4 brush and what I'm going to do is I'm going to lift off paint so that's exactly what we are going to do. We're going to lift off in circles. It's a very important lesson and very tricky because lifting in a circle, I'm trying to get everything from that circle is difficult so that's why I left a little bit of lighter area here because we want a lot of bokeh lights there. We need it to be smaller as well so you see which angle would it be correct? Let me hold it at an angle like that. What you got to do is you got to whirl your brush around the area that you want to lighten. You can see it's lightened up somewhat, but we need to lighten it more so wash your brush, dry your brush on the tissue and repeat that whirling thing. We didn't do bokeh like this and I remembered that we had to cover this technique. See, that's one. Let's add more. All you got to do is to whirl your brush. It's really tricky, I know. You may have difficulty in getting it right and also your paint will spread back because it is wet. At least see, I made a bigger, but it's almost gone now so you still have to work on the existing one. In fact, this brush is non synthetic and it holds a lot of water even though we dry it, because it is a natural hair brush and synthetic brushes are the best so synthetic brushes, as in your normal brush, if it's not expensive, it is definitely synthetic. That is really good for lifting off paint and you'll actually see the difference between the lifting that I did with the other brush and this one. Because you can clearly see I am getting a much better circle with this. Let's do the other one. It's a little time-consuming. But then also fun to see the brush to whirl it on the paper and creating those light structures. That's why I said we also need a paper to be wet so we can't be lifting if the paper is not wet, lifting will not work when it's dry. We have to make sure that the background that we painted is really wet. Then lift off the paint and also leave sufficient gaps between two lights. That's one, let's get to the next one. I just wanted some light bokeh shades in that area and that's the reason why I left it a little permanent brown, the reddish brown shade so that we get that lighter bokeh in that area. I don't accidentally drop water so if you accidentally make any blooms, just spread it around and get rid of the blooms. Wash and dry your brush nicely when you're trying to create the whirling around the brush. It's really fun to do this. You can already see so many lights coming into picture. I had actually shared this process in one of my Patreon videos long back. I think it was a few months back. I think that was in the autumn picture. I don't remember. This is one method to get nice bokeh lights and actually the paint is not spreading too much now that's because my paper is starting to dry and so it will not spread much, as much as it used to at the beginning. We can make more efficient lights now, in fact. It's just the basic process of lifting in the form of circles, so this one I'm making it closer to the border. Let's make another one here. You can see each time I do the lifting, I'm washing my brush and drying it so that the pain that I lifted, I do not use that somewhere because see [LAUGHTER] that was nothing. Let me try somewhere else. How about here? I lift off. Just observe. I have lifted the paint and see the paint on my tissue so I need to get rid of that. Let's repeat this over in several places. The beautiful background is going to add to the beauty of these lights. So let's do some in this yellow region as well. Sunlight in the yellow region. Wow. In fact, if you want a smaller circle, go with more smaller brush. Let me try. This one is a Size 2, and I think I'll maybe add some smaller boogie light. See that one was small. So the most smaller brush that you have and you'll use it to lift off. You can get smaller lights. So actually let's create some smaller lights here at the bottom. This is a Size 2 brush. So if it was a Size 0 or Size 1, you could get a even smaller ones. That's so beautiful. What am I making? This at the bottom now looks like a pattern. So let me break up the pattern. I don't want it to look like a pattern. Because it's a small area and the paper is almost dried. It's not taking a lot of paint. So this is the reason why I'm not washing my brush each time, but rather just rubbing it in my tissue. Don't be too worried. So we have to do it quicker now because our paper is starting to dry and also the lifting properties reduce. So we can only lift so long as the paper is wet. Because if it dries up, we can't lift the paint. These areas are still wet. So I need to wash my brush. I am loving it. See already how it looks so beautiful, and note one thing. So see some of these has got uneven borders because of the water spreading. So you can use your brush to flatten them out. Just use a dry brush. A dry brush to flatten them. Just add more lights. Want to add some lights together just two of them together. One more. There's a lot of lifting involved. But I'm loving the twirling motion using the brush. It's just literally fun, isn't it? Let's not go towards this side. That's why I made it dark and also not to the extreme dark spots. Just in the slightly lighter areas that's where we're adding these lights, the boogie lights. I think that's enough lights with the lifting method, and any areas where you see are hardened, you can soften them up and now we wait for this background to dry so that we can add just some orbit boogie lights, beautiful boogie lights. So here's how it looks after drying. So it's already so beautiful. But now we're going to add some more beautiful boogie lights and we need white paint for that and some red so use whichever read you want to use. This is cadmium red, but you can also use colored red. It doesn't matter, and we are going to add a little bit of white to that red paint and we're going to add boogie lights in this region. You can see it comes out like a light red shade. So that's why we mixed it with white. But now what we're going to do is we're going to give that boogie light a shade. So it's already light, white and red. Then what do you have to do is pick up a little more red and apply it the sides. So more red to one side, such that it looks as though it's got a blend of those two colors. Let me make it clear again. So not exactly halfway, but see more red on one side, and you see that tone that we have just added, and that is another way to do that. Let me show you the second way. So that would be pick up the right shade, add your boogie light. Just make a whole circle. This would be more bright because we added the red and then pick up a little bit of white and add it to the tough to lighten. So you might have to add the number of times to actually get it lighter shade and wash your brush each time because it will end up the red onto the white paint. See, that's the tone that you get. But it clearly reflects the light that we see. So let's just add so many lights. You can actually have them pure red, pure white, and mixture of these as well. So that's how lights form, the boogie lights when they form, it just looks so beautiful. It's a photograph we hack anyways. There are lots of photographers who prefer to take such pictures. So I'm just adding a lot of them. Some of them, I will make them half white, but let me just apply the paint first quickly to many of the places. I've started applying the water on my hand to my paper again. Now let me add white to some of them. [NOISE] That looks half of that, so I need to soften it out because I don't want it looking like a half of thing, so just use your brush and some extra paint if you want to soften that out. Do you see that? Now, let us add some white as well to that region, so pick up a nice amount of the white and just add it. In fact, I will add on top of some of the existing ones as well, and you can see how that forms. I've added so many, so you don't need to go with a really big white because if it gets transparent after a while, that's also very beautiful, so you can just leave it and let it get transparent. [NOISE] I've added the white ones, maybe I'll just add another red one on top of that white one. But I'll mix it together. See that. [NOISE] Now, I'll just add some yellow ones to the bottom, so for yellow one, you might have to go with Cadmium yellow so that it appears bright on the paper because you've got a darker background because transparent yellow will not work. Remember the lesson day before yesterday's. So that is the reason. Don't worry if you don't have that Cadmium yellow. What you can use is you can just mix your yellow, white and orange together and you'll get a beautiful shade. To get that opacity, what I'm going to do is I want it to be a little bit orange shade, so I'm going to take a little bit of Indian gold and apply it to the edge, see that. Just applying a little bit of the Indian gold to the edge and I'll just mix it. Let's just add so many more of those slides. Here, let me see if Indian gold works in these regions. Here it works because it's Indian gold anyway so that's why it works. Let's just add few Indian gold. Just to make it fun, let's actually add like a greenish or bluish one, so I'm taking dyed blue here. This might turn into green. It didn't. That's great. I thought under the yellow background, it might but it didn't. I don't want it to be dark blue, so what I'll do is I'll pick up some white and add on the top and make it light though you could have actually mixed a lighter blue. That's fine. But anyways, oh my God, that looks beautiful. That color, I want some more. That's just so beautiful. Let's make more of it. I've got one here and maybe another one here. [NOISE] Then adding a white on the top. That's just so beautiful. So let's add the white ones now. Just adding a lot of white ones and I'm making them overlap some of my existing ground ones. You know when we're actually doing those lifting, if there are some bouquets that did not turn out the way you want it to be, that's a secret, cover them up and make them look beautiful. Cover them up as in not entirely, whichever side is, gone wrong or it doesn't look good, just got rid it out. That's the best hack to do it. [NOISE] I've added a lot of white. I want to turn some of them a little yellow, so here I'm adding yellow to them. Make sure that whenever you're adding the paint, you didn't get rid of the circular shape. We just need to maintain the circular shape, and also if you want to add like half side, that's also fine. Or give a little border, that's also find. These are all looking so beautiful. I think we are running out of time. If you want, you can actually add a lot more light, but this is just fine. It's just something the photograph for tick and it's just so beautiful. That was the lifting technique which I had never shown in when I was doing all of those bouquet, [NOISE] so there you go. Here is the final painting. I hope you like it. 121. Day 100 - Celebration Fireworks: The colors we need today are, violet, rose, indigo, ultramarine blue, and opaque yellow, and red. Welcome to the 100th day. Can you believe this is going to be the last painting of this 100th day project? Congratulations to those who have reached until here. It's a real big achievement. Oh my God. Can you believe 100 days? That's so, so long, isn't it? Anyways. Let us do our final painting. I know we have done this before, but I want to end it with fireworks. Unlike the fireworks that we did the other day, we're going to do a huge paper full of fireworks, and let's make it a slightly different color as well. Let's apply water to the whole of your paper, because we want to paint the background for the fireworks. This is really unbelievable [LAUGHTER] the last day. I really hope that all of you have enjoyed painting for 100 days with me. I have to sincerely thank you all for joining me in this 100 Day Project. It's so huge. When I started it, I was doubtful whether people would stay on for the 100 whole days. I've got to say, I'm really, really surprised and stunned by all of your performance. Everybody in the group and everywhere. Really, really amazing. Here I have applied the water. I think I have applied enough water now. Let's get to painting. Here is my size 2 brush. I'm going to take a little bit of violet and just going to apply it to the paper again today also. It's about having fun and embracing this final painting with fireworks. Just really congratulations to all of you who've reached until this point. Oh my god. Let's focus on the painting to what I have in mind. What I'm going to create is I'm going to make it a little bit foggy for the fireworks as well. The fog coming out when it burst. That's why dropping the paint. But then I'm going to leave a little area white, just a little area and it'll keep my paints spreads, that's fine. But some areas, I'll just leave white. Maybe there, here another area I've left white. My paint might spread to that area, that's fine. But otherwise here is what I'm doing. I've applied a lot of violet, I'm just going to add a darker color to certain places. You can see these areas have got a little dark area and so is here. Then we will go with the next color. Let's take the next color. Wash that violet color off. The next color is, let's go for a nice pink shade, like carmine or any rose that you have. We're just going to apply it in certain areas in-between. Not all the places. You can see I've just applied a little of those places. Then what we're going to do is we are going to paint with indigo. This is my indigo. It's got a lot of green. Let me clean that palette. There, that indigo. But what I'm going to do is I'm taking my indigo paint, but I'm going to mix ultramarine blue with it. That's ultramarine blue. I'm going to take ultramarine blue nicely in my brush. I'll mix it with indigo. My blue is going to be darker itself. See because I'm mixing with indigo, it'll still be darker. Ache as many ultramarine blue as you can. Let's ache more. That's ultramarine blue. Then now I'll take more indigo and I'll mix with it. It's still dark. But here is my purpose of adding the ultramarine blue. Ultramarine blue is granulating. I hope you remember when we did the moon exercise, we added ultramarine blue. When you're adding ultramarine blue and you're mixing with indigo, the granulating property of that ultramarine blue still always going to be there. I don't know if I've taken enough paint, but let's see if it works. If not, it's also still fine. Oh no, I was talking too much and my paper starting to drive. Here is the paint and I'm just going to apply it to my paper. My paper is drying so I have to be quick, I was talking too much. More ultramarine blue in the mixture. I need to make this watery because it's drying. Here towards the edges, all around the edges, I am going to apply the ultramarine blue and the indigo mixture. That's indigo. Let's take ultramarine blue nicely. I'm applying it. You can see I leave certain spaces. There as white and that's fine. The same with the top area. I was talking and my paper started to dry. Just got to do it quicker now. Leaving some areas white. More ultramarine blue. Remember to take the ultramarine blue, Let's see if it works. If it does end up with a little bit of granulation. I wanted to show you. This is something I tried before painting that elephant. I had used ultramarine blue and you can actually see the granulation, so yellow, red, and then last was the ultramarine blue and see how the paint had granulated. But I don't know if this will work on top of indigo and if it doesn't, it's still fine. Now going with a darker shade of indigo towards the edges, because I want it to be dark towards the edges. There dark edges. Nice and dark. If you feel that the colors have lightened up or anything. Here, I'll pick up some more violet. I'm just going to add in certain places, but try to preserve that real white area that we had here is the violet. Just trying to add I think some places here. Then next thing was a little bit of pink here and little in these areas. I think this will be better when it dries out. Let me try. I'm just going to pick up more ultramarine and actually just drop it to certain areas. Don't know if this will work and it's completely fine if it doesn't work. I'm experimenting, that's always fun at right. Here ultramarine blue. Let's drop it. Dropping the ultramarine blue to the top of the Indigo and some places. You can actually see how this is background this turned out. This background is actually from one of my older paintings in which I had maintained. The London clock tower and then the fireworks in-between. Adding London clock tower is beyond the scope of this class because it's going to take a lot of time and it's got a lot of urban sketching and little bit of buildings involved. That's going to take a lot of time, which is why I didn't go for that. But I thought that background might be interesting. Just adding a little this side because I saw that the paint was being absorbed by the masking fluid. [NOISE] Now, that's very nice background. Let's wait for this whole thing to dry. I've got to show you the ultramarine trick worked because look at this. This is not how indigo dries up. Seriously see the little tiny effects that it has on the paper that the granulation effect of the ultramarine blue, indigo would surely not leave those tiny pools of paint. It would just dry up somewhat like this. You see you see the actual difference between this area and this area that's the work of ultramarine blue. I mixed indigo with ultramarine blue. Granulating, less-known granulating pigment is equal to granulating. As always, I knew that I was worried because indigo is such a dark and dominant color, whether it would appear for example, it's here. But because that's a really dark color, you can actually see the granulation there, but these areas where we left it lighter, we can actually see, I'm so happy that it turns out like this. Let's get to the fireworks bit. Oh my God. For the fireworks, first I'm just going to add like flood, the ends of Fire. I think we had done something similar. We need an opaque yellow color. I know many of you may not have it to go and mix your gouache or the white paint that you actually use. You can either go for gouache. I know you may not have gouache, but the white paint that you use to get on your pupil mix that. Because when you mix with yellow, you'll get a lighter shade mix, a little bit of orange as well, so that you turn it back to yellow. Get it back to yellow. This is actually getting yellow that's going to work. What I am going to do is I'm going to put it like that in different places. That's just going to be like the the fire parts. You can see, I've actually let me draw one here. This is what I was talking about. Was it yesterday? No, I can't remember. I have a lot of gaps in-between some of the paintings because I make six in one go when the night take some rest and then I can't remember, No, I discussed this. I've put the yellow color on top of a dark background and it's still okay. Because if it's a cadmium yellow opaque, very simple. Let's just go ahead and add these tiny drops of yellow at different places. You can see what I'm doing. I'm taking the yellow and then I'm just touching the end of my brush. This is my size four brush and just dropping it like that. That was too small. Maybe one here, here actually, you can add some smaller ones as well. That looks good. [NOISE] Now, wash that off and I'm going to add some red to it. Again, we go for cadmium red or scar red actually and red is actually really good. Also because this is background is dry, it will not mix with the underlying paint. Is such a dominating color. Unless red is really purely transparent, then it won't work, but otherwise it's fine. This is cadmium red, even this color it works. This one is from Art Philosophy and it's just semi-transparent. I think that's what it says on the tube and I can't remember now. Have to check that, that's permanent red not scarlett. Since they've got the red in here, I'm not sure whether it's written semi-transparent. What am I looking? It's semi-transparent and yet even this red works. Here is my red paint and what I'm going to do is I'm going to dab it the end of that yellow. Many of the yellow, I'm going to dab it at the end of it. At the ends of many of those yellow ones, just add, at the end. Just trying to add the fireworks exploding part. Actually you don't need to add for all of them also. Dropped water. Let me take that off. You can also add separate red ones. I think we did something like this with the fireworks also because I remember doing it. Then this is holy fireworks, nothing else. There we have added so many of those things and now it's time for the literal fireworks. Bear with me, you can either use a liner brush like this, which gives you thin lines or you can actually go for a wide pen, like the uni-ball white marker pens or gelly roll pens. Whatever you have with you. This is acrylic paint marker. This also works or you can go for the white gouache and use a thinner brush as well. In case you actually can make thinner lines with your brush, and if you have a marker brush, like a non-maker or a gelly roll or white pen then you can also use that. I'm going to try a few of them with the white pen first and I'll show both the ways. Here is my paint, the fresh white paint that I just squeezed out off my Gouache tube and I am going to make the fireworks. That's too thicker paint. I don't want that. My hand is so shaking and isn't touching. I don't know how do I do this because, today it's that last one and I'm fairly emotional trying to finish this off. It's just too much. It's the last of this 100 day project. I won't to shooting for this class again, I wish we could make it 365 days. My hands are actually not working properly today. It's not as long as I had wanted it, anyways. There, much better. Try to get these lines coming out of the paper. Choose a center point. I chose somewhere right next to the white area that we left. This fog is like this firework just lost it and then that's the foggy part going. We just got to do it in all the directions. You can see they do not have to be uniform. All you need is to ensure that you have a lot of these lines and I'm trying to make them larger. The other day when we did fireworks, we did a smaller one. I was not at all like this. Today's firework is really special because it's the last of this class. We can have smaller ones in the center. Some more lines, see. Just adding lines. Let's have these break off as well. You've seen those fireworks, but at the end also start to break off. Like the little drop and the little shards also break off. That's why just trying to add to the ends. That's one huge one. Let's add another one here. Let's not make it on the same line. Let's actually make it towards the bottom. There that's my starting point. Why am I doing cross hand? You can see literally my hand is not working today. What I'm going to do is I'm going to add a little bit of colorful ones to it as well. What I'll do is we can take the white paint. Let me shift my palette so that you can see this side. There's the white paint I think because we had a background of violet, let me actually try adding a little bit of violet. What happens? That's a lighter violet tone and I'll take more white and mix it and a little bit more violet. That's like a lighter violet tone and I don't know if that will be visible at all. No, not working. Maybe we can go with a more darker violet, mixing more violet into my white mixture. Let me try that. The violet is on the other side of the palette that's why you can't see. There let me pick up more violet actually. That's now pretty dark, isn't it? Is that going to be visible? Yeah, somewhat. We can actually draw the lines. Actually, because you know the background was wet on wet, it tends to get lighter. You could actually just pick up the dark violet paint and add it. That was better. Violet. We just added a lot of these violet things in between. Let's add to these ones as well. How about we make that one pink as in rose or carmine shade. That's the rose shade. That works. Just towards the center, adding that. Because the background is wet on wet and it's also not that dark background filled with Payne's gray or black. It's somewhat lighter, so this actually gets visible on the top and I think that's enough, but I said I'll show you with the marker as well. Let me see if that is working. With the marker it's easy or using a gelly roll pen, all you have to do is add a lot of lines. Actually with marker it's more easier because you can actually just draw and you don't have to be controlling the brush. Brush control is the difficult part. You can add some extra lines here and there. That's like the aftermath. Just like the yellow ones. Lastly, I think I will just add not a lot, but a little amount of splatters. Not too much, but just a little. That's enough. I think that's it. Here is the final painting. Let us remove the tape. Here is the final main. Not just for today, but for the 100 day project, the 100th painting of this class, I hope you like it. Here are the 100 paintings that we did for this class and this one goes on the top. The 100 paintings, we started with this. 122. Congratulations and Thank You: I cannot believe that we have reached the end of this 100-Day Project. There are no more paintings to be uploaded to this class. I would have to actually turn off the reminder alarm set for uploading the project every night, which was actually going on for about past four months. It is like the end of an era, isn't it? If you actually look at the paintings that you have done, see the huge bundle, oh, my God. I might actually have a few more in this because there are paintings which I failed and some which I did and I felt that it's not correct or which went way over the half an hour, which some which took 55 minutes, so which I decided to throw out and make something else instead. My bundle is actually bigger than this but this exactly here is the 100 days of our work. First of all, a huge thank you to each and every one of you who joined this class and painted along with me for 100 days. It is a huge achievement. You deserve this class. You deserve to be praised. It shows the extreme dedication, extreme hard work, and the tremendous amount of effort they have put for this class. We have gone through such a variety of subjects. Honestly speaking, when I started this project, I wasn't sure whether any students would actually stick to the end. Today, seeing the number of people who actually followed along this clause is like, really unbelievable for me. I cannot tell you how surprised and at the same time, how happy I am that we all could do this. We did this together. If not for your support, I don't think I would have had the courage to keep uploading every day. I know I would still keep uploading, yes, because even for that one student who wanted to carry on but then this is just so huge and there is something else that's very special about this day. This is the reason why after the fourth week we do not have a break day because I actually wanted this to end today. Today, June 9th is my birthday. It's a huge achievement. I didn't plan for this to coincide on this day when we started but just last few days ago, I noticed that if I took off that off day, we could have it completing it today. It's just so special, isn't it? Many of you have actually messaged me to tell me that you actually don't know how you are going to continue after these 100 days because all these days you had something to look forward to. You had my class, my voice, my explanations to look forward to, but to everyone who has been continuing on this journey, I want to tell you that don't give up, don't lose that constant painting habit that you have nurtured yourself. I know you had something to follow on but trust me, after these 100 days, you are capable of it yourself. Just trust in that. Here is how you can continue. Please don't waste a lot of time finding pictures. Here is what you can do. You have set time that you had set aside for painting everyday's project. It might be after all the work is done or maybe before you go to work or whatever time in your day that you were actually going through the Skillshare class and following me alone, sit on the same time, whichever is yours by the way, sit in that time and find a picture. Please don't take a lot of time to find the picture. That is again, another I know very, very difficult thing to do. Finding pictures. Just take the first thing that comes in front of you and analyze it. At the back of your mind if you feel that, yes, you can do this, even if you feel it's a tiny present, go with that photograph because the next photograph that you're going to come across, you can do it tomorrow. You can do it the next day. Just go with it. Take the first picture that comes in front of you, wherever you are searching for. You have copyright-free resources where you can search for images. It can be sites like Unsplash or Pixabay. They're both available as mobile apps as well as on the web. Just go in there and search for the first object that comes to your mind, like for example, desert, sunsets, a sky, sunrise, or whatever topic that comes to your mind, even galaxy, moon, whatever. Not the first picture that appears but the first picture that catches your eye, that is the picture that you're going to try because even if you think that you know you can go with it, I'm sure that you can because see what are the projects that we did. It's just literally unbelievable that we did so much. I want all of you to be able to continue painting forever. That was the ultimate aim of this course, of this class to bring that painting habit inside you. If you think that it's still there and you want to continue that this is exactly how you can do it. Just find that one picture, the first ever picture that catches your eye, go and attempt that and I'm sure from today, every other day, you will have something to focus on. Of course, if you still want to paint along with me, you can go and check out my other classes as well. I have 13 other classes on Skillshare and there are so many paintings covering them as well. You can paint them one by one each day. I will basically be releasing other classes again, I've not planned anything for now. I will come up with something in the coming few weeks or months. I don't know. You have that as well, but until then, if you are someone who's been painting every day or every alternate day or whatever you should do is don't let it go. Please don't let it go. You deserve this. Once again, thanks to each and every one of you who joined this class and made this 100-day journey a memorable experience, both for you and me. We will forever stay in touch. Everyone who has completed the 100 days of painting within the next month. From today, the next month would be July 9th. Every single one of you will be getting a hand-painted postcard from me. That is something that I had promised long back. That is the deadline that I'm keeping, which is July 9th. Once again, thank you all for all of these beautiful paintings. Yes, I am thanking you for this motivation. Thank you so much. See you all in my next class. Until then, bye-bye.