101 Watercolor Techniques - Fundamental for every watercolor artist.

1. Introduction: Many of us do have a preconceived motion about watercolors, that it is a very tough media, and it takes a lot of time to understand not only about the colors, paints, paper, et cetera, but also each and every technique that we should be using for any of our watercolor paintings. Though today I have thought to take a class where we are going to discuss 101 watercolor techniques. Each of the technique is unique and every technique has its own use in a future at. Ty Sangam Ty ornat an artist instructor, mother, grand owner of Wiping persons where we manufacture handmade, sketchbook, artist great paints, as well as a Skillshare talk teacher. Overall, we are going to attempt ten final projects. Every project has about ten techniques being discussed initially and then using all those techniques in our final project. We are starting with some basic techniques like wet on wet, wet on fry, understanding gradient washes and much more. Finally, if you are someone who is starting out with what colors and wants to actually have a ride with this medium, then this classes for you. Go ahead and join me in the next video. 2. Materials Required: Let us understand everything about paper, paints, watercolors, et cetera, which we are going to use throughout the entire class. This is the first final project which we are going to do, and the size of the paper is 31 by 20 centimeter. This is the second project that we're going to attempt once you are done with the first 20 techniques. For the techniques part, I'm going to use a really big size paper. The size of the paper is 26 by six centimeter or ten inch by 14 inch. Of the paper, which I would love to use throughout my entire watercolors techniques part. You can use both the sides of the paper. If you are someone who is new to watercolors and doesn't want to waste much of paper, you can use both the sides of the paper for painting all your techniques or understanding all your techniques, how you go about it. You need a palette for sure for keeping all your colors or the palette where you want to mix your colors. Now, there are two kind of mixing which we will also learn in future. One would be on the palette and one would be on the paper. All those kind of techniques also will need a palette for sure at your disposal. I will go ahead with any kind of 12 to 18 shade colors. This is artist grade colors from various brands, Licina, whole been, Windsor and Newton, et cetera. I will show you a few basic brushes, which I'm going to use throughout the technique section as well as the final painting. We will need a flat brush for sure. Now this is very, very important. I will keep a larger flat brush for applying my water and a smaller flat brush. Now this is usually used to lift up your colors. Then the next is your Princeton six Neptune brush, this is more like a mop brush. Again, for applying your water or a larger space for colors. I'm going ahead with size six, silver black velvet and refile three by zero, mop brushes. One very thin brush that we need. This is silver, ruby satin, zero, zero size brush. Again, this is the brush which I would be using for completing all my paintings. Now we need an as pencil scale rubber. There are two kinds of erasers, which you can see, one is the needable eraser, and one is this kind of an eraser, which is majorly your non da store, any kind of other erases that we usually use. Now needable eraser helps you to take out all the graphite marks from your paper. Usually, you'll see that it also remains on the top like this. This is a tissue, which is very, very important. Even in our technique section, I will show you how important is the tissue. You can use a tape. Now this is basically a masking tape. Again, this is a cheaper masking tape, which you can only use if your paper is 100% cotton, 300 GSM orals, you might have to go ahead with some of your washi tapes, which doesn't take off any of your paper and it doesn't peel off your paper at any point in time. I will have two jars of water, one fresh supply of water and another for just going ahead and aching off the colors from your brushes. That's it from the supply perspective. Let's go ahead and start out with our technique section now. 3. 1/101 - Watercolor Techniques: H Let's start with our first wash and it is flat wash on a wet on dry method. Now, what is wet on dry? My paper is dry, and I will go with wet colors on top of it. I'm starting by just making a pool of colors, which I would be using for this flatwh. Flat wash is nothing but an even layer of wash of pigments on top of your paper. Now, this even layer of pigments that spreads over your paper can only happen if you have this kind of a pool ready for yourself. If you continuously add some of the other pigment on top of the water or the pigment that's already there, the pool, then you will not have the single color that you can apply on top of your paper. We are going from top to bottom, and even we will go from bottom to top. You can also do a smash from left to right or from right to left. It all depends upon the fact that how you want to have an even wash. For me, doing a wet on roy is a bit tough compared to if I'm going ahead with a wet on wet method. That really allows the pigments to automatically go ahead and move around on top of the paper evenly. We will see that in the next video. Flat wash is usually the basics of watercolor techniques. If you can actually master this flat wash. The other washes like gradient wash, as well as arctd ph will become much more easier in the process. You can go ahead with any of the watercolor sheets available on your palette for doing this flat wash. I have gone ahead with Opera. 4. 2/101 - Watercolor Techniques: L et's experiment with a wet on wet flat wasah. What I've done is, I've already applied water on top of my paper, and now I'm going with my compose opera color, and you can see that I'm evenly trying to add the colors from top to the bottom. And then I will again take the colors from bottom to the top. If I only take from the top to the bottom, what happens is the colors might get way more lighter as the bh will keep applying the colors and it will go lighter and lighter till I reach the bottom part, and it would become more of a gradient wash rather than it becoming a flat wash. Whenever you are doing a flat wash, it is important to not only go from top to bottom, but also from bottom to top. You can also go sideways, that is from left to right and from right to left. Even distribution of pigments is the key. And secondly, if you are doing a wet on wet technique, it becomes way more easier as water does a lot of work for you rather than we trying to do an even wash on a wet on dry method. The next thing is going to be a gradient wash. 5. 3/101 - Watercolor Techniques: Variant postes is one of the very important postures that any artist can think of, and today we are doing a wet on dry method. We are starting out with compose opera going from the top. I one third of the paper, and then washing my brush and taking the watery mix again, washing the brush again, and then again taking it towards the bottom. I will again go ahead and wash my brush. This is a way to make your pigments lighter and lighter as you reach towards the bottom part of the paper. I will again go with the same way I have done it right now. You can go over and layers, or you can also go ahead with one single layer. I would leave that decision up to you. You can go with a round brush or else, you can also go with a flat brush. Flat brush might give you a better outcome compared to a round brush as I have always seen that a flat brush can easily go ahead and spread very well the colors on a larger piece of paper. Let's try this with two colors now. 6. 4/101 - Watercolor Techniques: Radian wash wet on dry with two colors. I'm going ahead with the same color that we have used till now. It is going to be my composed opera. We are going from the top, and we will only approach till the middle point. From where you will see that I will go ahead with my true blue color. Any blue is good, you can go with bal blue or any other kind of blue like ultramarine, which I'm going to use from the bottom, and I will move till the top. Now, this is a bit difficult. If you are even taking a bigger paper, as well as you are going ahead with this kind of wet on dry method, you might get patches, and that's what I wanted to show you through this particular exercise. If you are looking for a bigger paper, you must and must go ahead with a wet on wet method. If you're going with any smaller spaces, this wet on dry method is good to go ahead with. Rest, I would always always ask you to go ahead with a wet on wet method rather than a wet on dry method. Can see very well that I'm also getting a bit of patch at the middle portion, so I will go ahead with the same color. That is my compose opera and start getting the colors towards the top. It might also mean that I will get a darker value compared to what I would have expected. So that way, I would say that you have to take or you have to be much more careful in a wet on dry method rather than going ahead with a wet on wet method. Let's again start with our ultramarine and go from the bottom and reach to the middle part. I have been very careful while I'm doing the swatch so that I know that the colors are evenly distributed as well as I get these two shade gradient wash, which I have been looking forward to. Next one would be a wet on wet. 7. 5/101 - Watercolor Techniques: Ohh This one is a wet on wet two shade gradient wash, where we will apply one layer of water on top of the paper, and then we will go ahead with both the colors, gently apply it from the top, the first color, and gently apply. The second one from the bottom, and you will get a color that would be absolutely stunning in the middle. Along with it, the gradient wash from the top to bottom will be absolutely even. One thing to keep in mind while you do this kind of washes, that all of these washes that you do wet on wet will become one to two shade lighter than what it appears right now. Why, as this is watercolors. And when you apply watercolors on top of a wet surface, it will become way more lighter compared to if you are applying it on top of a dry surface. So if you are wanting any particular color which is way more darker, I would always suggest you to go ahead with a wet on dry method rather than a wet on wet method. If you are planning to cover larger sheets or larger spaces, it is a wet on wet method that you should always go ahead with. So these kind of things you should always keep in mind while you are doing any of your watercolor floorals, landscapes, et cetera. It clearly helps to build up your fundamentals, and it can actually ese you through the future paintings that you plan to do. We will be doing a painting in the coming time, that is once we are done with the first tech techniques, and you will see that some of these techniques have been used over there and how easily we can achieve the results if we have few of our fundamentals in place. Every watercolor technique that we approach or that we are using in our watercolor journey will have some amount of positives and some amount of negatives. So always always keep in mind that few of the things that you are trying to achieve, even in a wet on wet method might go ahead as way more lighter, so you might have to go ahead and apply one more shade or one more layer on top of the colors that you have achieved right now. This particular shade as we move on to our next technique, you will see will become way more lighter, as I did tell you earlier. It's time to move on to our next lesson now. 8. 6/101 - Watercolor Techniques: This is kind of a special case where we are going to go ahead and do a gradient wash with three different colors. Now, I am choosing the colors which are closer on the color wheel. That is one is yellow, then is either you can take compose opera or some of the other orange or quinacrodon cooral kind of color, then go ahead with a blue or purple, whatever shade you want to do. I would leave the decision absolutely up to you the kind of colors that you want to use or the kind of bins that you want to get. You can also go ahead with the same colors that I am using right now, which is majorly my yellow, then some amount of your red into it quinacodon coral and going with the yellow in a darker value shade because it is a wet on wet technique and the color that I want to get with the gradient wash is a darker value compared to what you have seen me applying over here. Now it's time to go ahead and apply some more of my quin acrodone coral. I would leave this decision up to you. You want to use red, orange, quin acrodon coral. Every color looks absolutely amazing. You can mix some of your shades, like either you can directly take purple, or else you can also go ahead and mix your compose opera and blue to get a shade that you see towards the top. There can be multiple colors which can be used for a gradient posh. Now, since this particular place is really small, and hence I just thought to go ahead with the colors that are closer on the color we two, three, four. Any kind of shades that you want to go ahead with you can use. You can also mix your colors and then use. I would leave that decision up to you. I'm making the colors a bit more darker. Now, this multiple gradient wash can also be known as a variegated wash. It's not exactly a variegated wash because variegated wash can be done anywhere on the paper and you can apply any amount of colors, shades, pigments, et cetera on top of the paper to get a variegated wash. But it is somewhere similar to an intermediary between a gradient wash and parcaor wash, which might intersect between these two kind of techniques. There are many techniques and watercolors, which you will get where you might find these kind of intersections. Let's go ahead and move on to our next technique now. 9. 7/101 - Watercolor Techniques: Now we have come down to varicated washes. What is exactly varicated wash? Now, arcate wash is basically a wash, which we usually do in a wet on wet technique. We start out with any shades of your choice and just keep applying it on the paper. Now, if you really want to see the kind of shades that do not give muddy mixes, we have to go ahead and check out a bit into the color. A theory is a very, very important concept, and we are going to touch upon it in one of our technique section for sure as there is a lotlon from there so that we do not end up any kind of dark mixes that we need or even can get colors like black or darker value in blue by only mixing the colors like burn Ciena and the ultramary, or multiple colors of one single shape. I'm going ahead and applying the yellow first and then I'm going ahead and apply either you can apply the orange, red, nacodon coral, and some amount of purple on the top. I would leave that decision up to you how you want to go ahead and apply your cavas, but it's mostly to give you a look and feel of how you can go ahead and apply colors in any way to create beautiful skylines or for creating beautiful silo days. All of these are usually used in skies to a greater extent, as well as to a lesser extent into the fields. It is very, very basic that we all need for all our landscape paintings, as well as it comes very handy when we are doing any kind of floral paintings. Let's go ahead and move on to our next lesson, which is very important and it's all about lifting your colors. 10. 8/101 - Watercolor Techniques: Let us understand a very important technique, which is all about lifting. Now, this is a wet paper, and I will have a damp brush, which I would use to actually pick up my colors. The next one where I'm going to tell you about how to pick up the colors from a dry paper with the help of your damp brush. So let's first approach this part of the painting where I'm going ahead and applying a burns in our color. On the complete paper. It's an even flat wash, which I'm doing with the help of my flat brush. As I did tell you earlier, that the flat brush can really do a quick flat washes for a larger piece of paper, and you can also exercise it even in your future paintings. I am making two blocks right now. One of the blocks is damp, and another one will not be damp or wet anymore when I'm going ahead and applying the damp brush on top of it to pick up the colors. I'm using a flat brush and just going ahead and picking up the colors. Again, rubbing it on my tissue. And then again, going ahead and picking up the colors. This is a repetitive and iterative process, which we are going to do for picking up or lifting out our colors in many of our future paintings. One of the most important usage of this is when you are drawing your sum, or when you are drawing your moon, as well as you want to show any kind of a light effect anywhere in all these places, this has got a great use. Though I can say that it's easier to do it this way rather than masking, Mask always gives us a hard edge, which we don't want in soft paintings like these. I will add two to three lines over here. You can continue to see how I use my damp brush because this is something that you need to practice before you go ahead, start with your final painting. I have a final painting after the first ten of these techniques that we are going to cover. The next one will come up after we are done with first 20 techniques. This way, not only we are going to only explore the techniques, but also learn how to use them in our final paintings very easily. Many of our techniques, by nature, we use in any kind of watercolor paintings that we do, but sometimes we are also not aware of it. So this whole techniques part might help you to understand that in more detail. 11. 9/101 - Watercolor Techniques: Let's go ahead and check out the next technique, which is all about removing or lifting out your colors with the help of a damp brush. I'm going ahead and using a damp brush on a dry paper, and all I'm going to do is just use my tissue to lift out the colors. Now, this lifting out technique is a bit difficult, and it might not help you to take off the entire color from the paper as there are some staining ness of the color that always stays on the paper once it is dry. Hence, we need to repeat the process in one particular part of the paper. So going over in one space, once, twice, the, particularly to pick up the colors is something that I have realized we need to do very often. You can also go ahead with a bigger flat brush to make your colors lift out from that space a bit more easily than what I'm doing right now. But I wanted to make some thin lines at this stage, and hence, making that thin lines is only possible once we are going ahead and using a damp brush to do the same. Moving on to the next technique now. 12. 10/101 - Watercolor Techniques: Let's go ahead and focus on our last technique, which is dry brush technique. You can pick up any colors on your flat brush and just take off all the extra colors or the fluid water which you have on your brush on a tissue, and then start applying it on the paper exactly the way you see over here. So overall, it's going to be like this once you start applying it. It is often used in techniques like painting old doors or some wooden areas, or maybe even for trees, branches, et cetera. If you are someone who has been looking forward to work with textures, this is a great way to create textures on old wooden suitcases or even on old wooden doors, barns, et cetera. I will move on to one of our full painting after this. It is broken into two parts. One is all about starting with a sketch, and then we move on to the painting, where you use all these techniques to finish it off. 13. Practice Execrcise 1: Let's have a look at all of our colors now. This practice exercise is majorly a wet on right technique. Now, in a wet on right technique, you have to understand how easily the colors can be blended with each other. Wet on ry is a tough technique compared to wet on wet, but let's try it before we move on to the easier one in the next practice exercise. Go ahead and marking our horizon light, then we are going to mark our sun. Once we have marked our sun, we will start with the lightest value moving on to the darkest value. As we progress, do make sure that you are blending your colors quickly, or else, the paper may dry up fast, and you may get some of the harder edges which we would really like to avoid throughout the entire process. Going ahead with the lightest value, and this is my Naples yellow. I am adding this color in and around the sun area or just above the sun area. I and around the sun would be majorly somewhere around my opera. And then I will add some blue as well as some amount of ultramarine towards the top au. Let's go ahead and keep blending our colors. I'm using a mop brush because my mop brush can hold a lot more water. This is a 12 in to 12 centimeter paper, so it becomes really easy. To just see how we can work on this kind of a paper. Going ahead and adding some of the quin atrodon coral on top of the yellow color that we have added. I genuinely like to use the naples yellow shade because this doesn't react with blue to give us any kind of grease. That way, I can avoid many of the muddy mixes, which usually we may produce during our paintings. Though we have a much more detailed understanding of the color theory as we progress, but over here, I would like to avoid any kind of bad color mixes. Going ahead with my royal blue, in case you do not have royal blue, you can also go ahead with any of your cerliu blue. We will add some more of our Naples yellow. As you see, the colors will become way more lighter once the paper dries up. I'm going ahead again with some of my opera and addict in and around the sun. As you see over here, I am trying to just go ahead and mark out the area, which would be majorly my sun. I'm using the tip of the brush just to mark that area so that we don't push the colors into the sun. You can also just use a masking fluid to mask out the area like this. Or else go ahead with some amount of your any of the other masking tape, et cetera, which can be also used for just masking out the area of the sun. I'm using a mix of my ultramarine and some of my alo blue, but you may avoid using to blue, teal blue. Sometimes doesn't mix very well and give good colors. So it's important to mostly go ahead with ultramarine. By mistake, I did again, pick up some amount of teal blue. So I would just push the colors towards the top and add some amount of my royal blue again to push the color towards the top, using some of my ultramarine now towards the top area. As I know, I have covered quite a lot of area in the top part and hence, I'm just going ahead and pushing my blue color towards the top, so that's somewhere or the other. I don't see much of the teal blue coming below and it's mostly the ultramarine that we have added. I like to blend my colors well, you can see that there is some more blending, which is left towards the bottom area. Now the colors look really organic and they have moved into each other on their own. This is something that I always say you guys should keep in mind when you do water colors, the colors need to move into each other on their own. If you are not genuinely allowing the colors to move into each other in watercolor, then it may become really tough in your watercolor journey, because water is primary compared to your colors in watercolors, and water has to do all its job. Though we are doing a wet on dry method, but as you can see, we continue to add few of the colors even in a wet on wet way. As we have already added the colors and now we are just blending it in all the areas where it is needed. Some more of my ultramarine near the horizon line. I'm to go ahead with my green. Now this is majorly my yellow green, which I'm going to use. I will also mix some of my forest green along with this yellow green and then create two different shades for my bottom or the greener parts of the bottom area. I will go ahead and start adding this color with a mix of my forest green to. The blue which I had on the palette, I am using it to my advantage. I really like to keep it that way. My paper is still wet, that is the sky and the colors I'm moving into each other. But since I've kept a darker value, which is blue towards the horizon line. It might not be very difficult for me at this stage to let the colors move into each other because blue mixed with green will only give a darker shade of green. That way, I would say that I'm pretty much safe in this case. Now, if you are not having something which is similar to this one and would like to secure the space, you can go ahead and just use a masking tape below your horizon line. That way you can secure the space and not allow the colors to move into each other much. Once the paper is dried, then only you start using the bottom part of the paper. I will go ahead and add some amount of the yellow green now to mix it with the forest green that we have added and make the colors look a bit more darker and not separated. They should look that they are two shades of the same green grasslands that you see over here. I think a bit of yellow would be a great advantage at this stage. You can go ahead and add it, and then again, blend it with some of your darker shade of your green, which can be for a screen or else, you can also go ahead with any of your blue shade to add this kind of a darker value over here. My horizon line has blurred out a bit because of the colors moving into each other. It's time to add some darker values. It can be the forest green that you have, or else even a mix of your blue and any kind of green that's there and just blend it. So that it makes the line look more organic and we can see that there is a portion of it, which is majorly the area that is in the far away grasslands, and some of the grasses are intards the bottom medium. Now going ahead with some yellow, once your paper is dry enough and trying to blend the corners before that. Now, this blending you can do once your paper is not so dry, which is that there is still some amount of moisture left on your paper, and you can do this with a clean damp, I would say a flat brush. Any kind of flat brush or smaller flat brush is always handy in this case. Now going ahead with some of my yellow and adding it in the sun, just blending it, making the left side more lighter with the yellow color on the right side. I will keep it white. But I think the white that I wanted to keep is not as is. I might have to go ahead and add a bit of my white at in to it before I finish it off. So let's see how the painting is turned out. But before that, let's try to actually pick up some of the colors, which we have already added. Though this is a very soft, subtle sun, which I want to show. But still I guess it has become a bit more darker and somehow It becomes and if you keep adding colors, which is a kind of mistake that all of us do. It's absolutely fine if these kind of mistakes do happen, we have a white quash or any kind of white opaque water color like titanium white to fix all these mistakes. Fixing my mistake now, and let's have a final look at it, how the whole painting will look. Once we are done with the left side, we will move ahead and go to the next painting that you see on the right. It is a bit more advanced than what we have done right now. So it might take about 12 to 13 minutes. And then you can go ahead with the next first project. That is a beautiful evening by the beach or beautiful evening that you can watch. And the sea waves move, so all of it put together looks so so good. Let's move on to the next exercise now. 14. Practice Exercise 2: Blending in a wet on wet method is more prevalent when you are covering bigger spaces like skies or bigger masses of trees, et cetera. Let's go ahead and mark out a area, which is going to define our small sun and then a horizon line. I'm going to mark my horizon line towards the bottom part as the majority of our focus is on blending. Understanding how the colors mix directly on paper. Allowing the colors to move into each other naturally and getting a few organic mixes, which might not look dirty, as well as they just don't give you any muddy kind of final outcomes, which you may not like in your painting. L et's go ahead and just apply some water on top part of the people, which is going to be my sky. I'm not going to occupy the smaller circle that is going to define my sun. Hence, going in and around it to define the other parts. This is a big mob brush, which I have. You can also go ahead with a flat brush of your choice. Once you have an even coat of wash of clear water laid on top of your paper, we are going to go ahead with our small simple mop brush. This is three by zero, or you can say it is smaller than the size zero, which you usually get in a mop brush. I'm going ahead with my cenari orange color initially and then a bit of my nekles yellow into it so that the colors become more and lighter in value compared to what we have applied towards the bottom butt. Go ahead with the sun or you can say in and around the sun. We are not going to touch this area. We have not used any kind of masking fluid. Nor we have used any kind of our masking tape to mask out this area. I'm consciously going in and around the sun to make it look absolutely organic and it is bright and vibrant because of which, I have to make the orange color in and around it very vibrat. Now going ahead with a beautiful neutral tint from the brand Winsor and Newton. I have been using this neutral tent for quite a few years now. And if you are looking for some darker value like this, then you can easily go ahead with a neutral tint or else you can also use a lamp black color That is absolutely fine because many of these shades do come in a particular box of shade of 12 or 15 or 18, whatever you get in the market. So it's absolutely okay. If you don't have the neutrotan, you can try using black instead of that. Mass plaque or lamp plaque or any of the other black color that you have. Mixing a bit of my Naples yellow into the orange. You will see some of the mixing I do on the palette and some of the mixing I even do on the paper directly. Just exactly the way we are doing over here. Now, this mixing, which happens on the paper, gives us a variety of colors, which usually we do not see when we do a mixing on the palette. Hence, it's important to not only work with one single technique of mixing on the palette. You should work in and around. Like, either if you are going ahead with some of the color mixing on the paper, you will see that the colors gradually move into each other and they even give rise to way more number of shades compared to what we can usually observe if we are mixing on the palt. Hence, it's important to continuously mix the colors and get the shades of your liking or choice on the paper as well as on the palette. Mixing some amount of neutral tint into my orange and getting a darker shade now. Sometimes I do like to add a bit of the darker shade while I am moving from the top towards the bottom. Now, this part is majorly where I'm trying to add a few clouds towards the top area. Go ahead with some of my darker shades of neutral tint. Initially, when I go ahead with, I start with the lightest value. And slowly steadily, I keep adding darker and lighter values to my painting. Altering my values not only helps me to keep my painting more impressive, as well as the color expression is much better. It also helps me to understand where exactly I want to add the darker values, as well as the lighter values. How I can play with the values to make the painting look more appealing to anyone who is conserving it. The clouds are to the top. While they come towards the, they will become more and more smaller. Hence, I am not trying to add a lot of clouds to the bottom area. Defining the darker value towards the bottom, and then we will go ahead with some of our grains to mark out the area, which is majorly the horizon line and below that. You can start out with any green of your choice. For me, I'm going ahead with some amount of my forest green mixed with neutral tint, but I really did not like it, and hence I had to go ahead with either olive green that you have on your palette or some amount of any other darker shade of green or lighter shade of green, that has a bit of yellow tinge in it. That's what I like to add over here. I'm mixing even some amount of my brownish shade that I created by mixing my neutral the orange color towards the bottom area so that the shade of green looks more earthy. I am looking forward to more earthy colors at this stage. We are going to mark out our horizon line by using our damp brush. That is majorly by actually lifting out the colors with the help of our flat brush. We have done this technique earlier and I'm only going to use the same technique for this painting. There are a lot of techniques which we have explored and all these techniques have major uses either in our paintings now or in our future paintings as we progress. These easier exercises are basically an add on for each one of you who is struggling with watercolors and wants to go ahead and explore it. I am adding some of my darker sheet of brown at this stage and marking my horizon line in a better way. We are going to go and add some of our neutral tent now. Once you have added the darker values of neutral tent in and around your horizon line, it's time to go ahead with the darkest value of neutral tent now and apply it in some of the spaces wherever it is needed. Playing with your values has always been the key if you are working with a limited palette excise, over here, mostly what we are doing is limited palette. Now remove the tape and angle and have a final look at both the paintings, which you have done. This is excise two. Let's go ahead and move on to our final project. 15. Project 1/10 - Evening by the Beach - Colors: Let me tell you all the colors for this painting. It is Naples yellow, Quin acrodon Coral, the next would be compos Opera, royal blue, ultramarine, indico, and neutral tint. 16. Project 1/10 - Evening by the Beach - Part 1: This is the first project for the class. Here, we are going to do easy watercolor seascape painting. Though I know that we haven't touched much upon the colors that you should be using and how you should be choosing all of them, which would be touched upon as we progress with our watercolor techniques. We are starting out with our basic horizon line. You can just about 6.5 centimeter for this kind of a paper size. But if you're going ahead with AO size pickle size, then of course, your dimensions would change. For me, the dimension will change only to select less than half of the p is what I see. My Clouds is going to take a major portion of this painting. I'm going ahead and drawing a few lines, which will really show my shoreline, as well as it will show where exactly my sand is, et cetera. Let's go ahead and add these with our pencil sketch, and then we will go ahead and start applying colors on top of it. All these techniques might not have been covered now. There are mostly few of the techniques which I'm going to use, which is more into a wet on wet technique rather than it being wet on dry. Once we are done with the first part, that is majorly the area where we are drawing, we will move on to the second part of it where we are going to start out with our first layer and then moving to the second layer. Layers is something that I usually do in my watercolor paintings, and none of my paintings are done in one single lay. Usually there are at least two layers which I use for my watercolor landscape paintings, and there are more when I work on with my florals. Though I am a believer that you can actually finish off a painting within two, two, three layers. Go ahead and marking a small sun on the left hand side, I would leave the sun on the left rather than taking it on the right or even in the middle. I'm a strong believer that we should always focus on the rule of thirds and then mark out our areas or our focus points. Go ahead and adding water on the top part of the sky, you can use any brush to do so. For me, I'm using a thick more brush kind of a brush for adding all of this water over here on the sky. Let's have a closer look at it, how my water is flowing and how my paper sheen is, how the top of the paper looks like once I've applied the water. Since I have taken completely 300 GSM, 100% cotton arches paper, it's way more easier for me to control the water. Always always go ahead with papers that you are more well versed with, where you have spent a lot more time, so that it's easier for you to go ahead, concentrate and paint on top of them. Paper is a very, very important factor in your watercolor paintings, and I would like you guys to also focus on the paper part more when you are starting out with your watercolor journey. Let's go ahead and work with the lightest value. It is basically our Naples yellow. Now, I'm starting out to apply it in and around the sun, and then we will move on to our next value, which is majorly composed opera. These are the two colors which I really love using my mob brush to add both of these colors because it can really hold a lot of colors. It is three by zero aqua soft brush. It helps me to add the pig pins quickly as well as evenly on top of the surface of the paper. Now going in and around the sun. Now sun is a very, very sensitive area, and whenever you are painting either a sunrise or a sunset, it's important to go around the sun. Bit later compared to where you are applying your yellow. You can always start out in and around the sun also, but I would prefer to leave a bit of the part in and around it in white and then move on to our next color, which is more of composed opera. If any place I don't like the color, I will pick it up with the help of my mob brush or any of your flat brushes. Picking up the colors or lifting out the colors is a very, very important technique, and it is one of the most important areas that should be touched upon or that is usually touched upon by me, at least in all my paintings. If you know how to lift out your colors well, you would be in a position to actually create a good painting. Because in watercolors, there is no way that we can get back to the original color or to the original white of the paper. Hence, it is important for us to exactly know how to lift out our colors if there is any mistake that we have created, going ahead with my compose opera and starting to apply it from the left and moving on to the right. Now it's time to add a bit more of my darker value of composed opera. I am again using the same brush and adding it from the left, and again, a bit of it on the right. All the directional painting or the sky painting is directional, that is mostly horizontal. There is no other direction which I going in this particular painting. There are more of directional clouds, et cetera, which you can make, and you can learn all of it in one of my classes that I've given recently, as well as a few of my other past classes too. Overall, through my watercolor exploration experience, I do understand the more you paint, the better is your understanding of your colors, paper, brushes, everything, and even better is your outcome. I'm going ahead and adding some amount of my ultramarine and then adding it towards the bottom area. Ultramarine, when you mix it up with compose opera, you will get a color that looks a bit more like purple. That's absolutely okay. If we are even getting the colors more like purple. It is a evening sunset by the beach, which we are trying to show over here. And I'm going without any fears when I'm applying all of my colors. This is something that you should always keep in mind as a useful tip. Do not fear watercolors. If you're fearing watercolors, you will not be in a position to nail your painting. Just go with a free mind and start applying your colors. Don't think about the final outcome. Only keep enjoying the process of applying the colors on the paper and how beautifully the final outcome comes out, whatever comes out, just start appreciating the final output. Watercolor is a medium that will only start growing on you when you stop wearing it and start to partnership with it. I would use the similar colors. That is your compose opera and some parts of the purple that we have actually made. The whole of the painting is done with very, very light and subtle colors, and this will also appear one or two shade lighter as we are doing wet on wet technique. Applying some amount of yellow, my paper is still wet. That's one of the reasons I can touch upon few of the areas if your paper is not wet. Please leave it as this and go ahead with the top part of the sky where we are going to apply the mo Picking up your colors with the help of your damp wet brush. That is a damp wet flat brush. You may be very successful at this stage, or you might have to repeat the process two or three times even in future. So those kind of things will, of course, happen in water color paintings. You have to just take it with a pinch of salt is all I can say. Sometimes one single process even of lifting up the colors might be a bit more ley, and it is not so easy as we think. Going ahead with the top part of the sky, where I'm applying my royal blue, and this is from the brands and. This is a very, very light blue. If you don't have this blue, please go ahead with celium blue. It is good enough to start covering the top part of the sky. Some of the white spaces I have left on purpose empty. I'm going ahead with some of my yellow to fill up those paces. This is majorly the yellow, which is Naples yellow as it doesn't react with the blue to create a bad kind of a green or a muddy green or even any shade of green. And that's one of the best things. It's Naples yellow date from the Branson ear and I have been using it for years now. You would have seen many of my other classes earlier, where I've used the same shade. Adding some of your darker values. It can be your ultramarine or donrne blue into the shape that we are now applying. It is a darker value compared to the royal blue that we did apply initially, and covering up some of the spaces of the sky. Again, I'm using only one single brush as you can see for covering the entire space of the sky. I don't believe on the fact that we have to make a lot of dramatic clouds at this moment. It's a very simple and easy painting. We are working wet on wet. And that's what is in my mind when I'm working through the entire process of the sky area. Trying to lift out the colors from the area near the sun, for sure, that is a very, very important part. Applying some of your ultramarine more and some of your royal blue mixing it well, going with this deeper value with some of your co to process it, though, I will not say co is a lot. It's just a bit of it to make it more darker. Since the color that I have got right now towards the top part of the sky, will turn way more lighter and applying a bit more darker color is very important at this stage. You can see the top part of my paper is still very wet because of which the colors are moving pretty evenly throughout the entire part of the paper, and every shade that I'm applying for the sky has turned out really soft and simple. They look very organic when they are mixing up with each other, and that's what I always wanted. Go with a bit of yellow to blend out with the blue that we have added for the top part of the sky. I can't continue working towards the bottom part as you can see the bottom part is and if we keep working in the bottom area. You will see that we will get dry patches and those patches, I really like to avoid in all my watercolor paintings. Again, removing the colors with the help of my flat damp brush. Just wash your brush well and again start lifting out your colors wherever it is necessary. It's time for us to start focusing on the bottom area, which is basically a shoreline or seashore. We are going ahead with a very light wash of water on top of it, and then we will start applying the colors. In and around the sun, it would be lightest value. I am going ahead with my Naples yellow at this moment and applying it in and around it. Once we have applied the Naples yellow, we will go with the darker values like your compose opera and some amount of your blue and purple that we have already applied even earlier for the sky. I would be majorly using all the colors from the sky for showing the water ripples, as well as some of the bottom area where there's seashore. We are going to go ahead with one or two shade darker with the help of blue. Just blending my colors into the yellow part that we have already added, and then going with some of my compose opera to start applying the colors even from the right. The left part has a lot of compose opera, yellow and the colors of the skies, hence, this looks pretty organic as of now. Let's see how we can work it out even on the right side. The left part was way more lighter or way more smaller as well compared to the darker side or the right side where we are going to apply the darker lighter values in a bigger space or in a bigger area. Just blending with my composed opera. You can see that I'm picking up the colors from the right side and this is majorly a huge palette, which I've kept for myself. It's easier for me to actually choose my colors. Check the colors on top of the palette and then start applying it. Now I'm applying some blue as well as a bit of purple and opera. Blending it well to just show you how beautifully the colors move into each other, or pigments move into each other when your paper is having some amount of moisture in it. Now, this can be also said as that this is a wet on wet technique, which we are going ahead and applying at this stage. So I would leave that decision up to you, what you really want to call. If you want to go ahead and call it as a wet on wet technique or wet on moist technique, that's absolutely okay. It's up to you to decide what you really want to say. For me, a wet on wet technique is always works great. They have a beautiful final outcome. You can majorly have a look at how beautifully the colors move into each other, the pigments flow, and how soft is the final color. Adding some of my purple. Now you can either p a purple or if you have a purple or be available, you can use that purple from your palette. For me, I love to prepare it and hence I'm mixing some amount of my compose opera, then blue to create this purple. The shoreline, initially, what I'm making is way more lighter than what you will see as we progress. Let's start applying our neutral tent now. Now neutral tent is a shade that I have always loved to use. I don't usually keep any black on my palette. Though there are many of you who might have a black like Mrs black or lamp black. Whatever black if you have, you can use it also. But for me, I love to use this neutral tent and mix it with my blue. Then get a shade which looks a lot more darker and start applying it on the paper. I have not used a lot of this neutral tent, a bit of it for covering some of the areas of my shoreline. Now we will pick up a bit more of our neutral tint into the pines that we have already applied and start applying it from the right and on the left. That gives me a lot more understanding of how I want to add this color on the totality of my shine. If I like to keep it a bit more lighter as I go towards the part, there will be some reflection of the sun in the watery beach area also. Hence, you can also see that you may like to apply only a lighter value of it while you go towards the middle or a bit on the left side where there is the sun. Applying some of my colors even on the left part. I'm cleaning up some of the spaces. Now, this cleanup is okay. If you can do it, if you may not be in a position to do it, that's also okay. Let's go ahead and splatter some of our water on top of the shoreline. This is one of the best exercises. Splattering is something that is very, very important. We would be learning about it as we progress. The next techniques that you're going to learn is more about splattering itself in much more in depth way. Adding some more of our splatters on the shoreline. This kind of a splatter effect will only come up when your paper is moist or wet. If your paper is dry already, you will not be in a position to get this kind of an effect. Be very sure when you are applying any of your colors or any of the techniques, how you are going to get the final outcome. As the paper is wet, I can still apply the darker value to show the shoreline in a better way. You can see that my brush is rolling from the right and moving into the middle part. I can see a bit of patch on the left. We will fix this. We can use a dam brush to fix this part if we are getting any kind of patches anywhere in our painting. As I earlier, I will use my damp brush to clean up some of the patches if it appears as I don't like to have a final patchy outcome, for sure. Let's move on to the next video where we are going to finish this painting. 17. Project 1/10 - Evening by the Beach - Part 2: The second layer is all about adding some more lines, and finishing off the painting in a better way. We are not going to actually go ahead and add lines everywhere, but at starting out with the first part. This is a very, very light color, which I've taken, and now I'm just trying to again merge it with the background color. As you can observe over here, but mostly, you will see that now I will go ahead and start adding some of my opera color. This is basically compos opera. You can also go ahead with carmine or any of the other colors of pink, which is available with you. What happens if you overdo a painting somewhere is what you can see over here. I have picked up the color from where exactly I did not want, so leave it at it and start adding your colors only when your paper is dry enough. Do not go ahead and start adding the colors if your paper is still wet. I'm mixing some of my royal blue into the color of pink and then start adding the color even on the other side, which is majorly the top part. Here you can see because of the picking up of the colors, some of the area has got a kind of flower effect, T though I would not say it completely a qualifer effect, but something which is similar to it. Now going ahead and just adding some of my pints, or you can say this is a red alt kind of a shade. And then applying some blue towards the bottom area of it, just to make it look very organic with the colors that we have already applied. I like to use the same color shades, et cetera, which we have used for this guy even on any of the other parts of this particular painting. You will see how organically all colors move into each other and they look so nice and beautiful. I would be adding a bird in the top part of the sky, which is something that I've realized will look good in this painting. But a single bird is all I want at this stage. I have moved on to a smaller flat brush, and I'm just blending the colors, which I've added for the horizon line on top of the horizon line. There can be simple trees or maybe a small land mass area, which can be seen and blend it up with the damp wet brush. This is a flat brush, which we have pain using this kind of technique very often, and I use it in many of my paintings. Even it be floors or landscapes everywhere, it looks very nice. I'm using the same red Vallet kind of a shade, which I have got it. This is majorly a mix of your royal blue and some of the other shade. That is the composed opera. Though I will mix some of my blue as I'm going towards the right, even in the bottom wave area, which you can see over here and the top part, I will, of course, go ahead and change my colors to a greater extent if I want some darker values in few of the places. And then go with the lighter values in the other areas. But mostly first, always try to paint the lighter areas and then go ahead with your darker colors to add the darker values on your painting that way. Your watercolors will be easier for you. And you can paint along very quickly in any of your watercolor painting. There is no need to come back. There's no need to lift your colors. And to a great extent, you can control your colors as per your needs and as per your wants. I just erased out the pencil, apo graphite mark, which we had for the sun, because now this sun really looks nice, beautiful, and we don't need to do much at this stage. It looks very organic, starting out with the darkest values for some of the areas of my waves. I want to just add this as a wet on dry method. I'm not going wet on wet, no softer details. Only more of hard edges that we are going to get in this painting. D When you are at the defining stage on majorly adding the last few strokes. I would say that this is at a stage where we are mostly done with the two thirds of the painting. It's only one third, which is left. All the area is covered. It's just some of the areas where we are required to add some of our lines to show the ripple effect of the wave, as well as you can see the pattern of the waves like they move from left to the right, and they move in a way that you can see all the lines will move to one single point on the left hand side. Which is also called as the invisible point. This has been one of the very, very important concepts which I have taught even earlier. In many of my other classes, you can go ahead and check that out. It's a very, very important concept and cups very handy in many of your paintings. We will touch upon it even in the further techniques or any of the drawing sessions that is there in future, which is coming because we overall, we have ten paintings that we would be touching upon. Going ahead and adding a very, very light value near the sun area. I'm not going to cover the entire area that would not show the reflection or the waves in a good way. Not to overdo a painting at any point in time is something that we all must learn in the process of doing watercolors. Watercolors is a medium where we all should know that less is more. Trying to use the colors of the palette for your watercolor paintings because always just picking up the colors from the main area where you have all the colors stored is not a great idea because you may pick up very darker values. From the palette, we have lighter, darker colors already available, and it becomes way more easier for us to pick up any kind of shade color, et cetera at this moment. Mixing up with a bit of your blue now, and then adding some of the ultramarine to create a shade that looks, amazing or very, very organic is all I can say. I'm extending a bit of the land mass even on the left side and will make it way thinner as we move towards the sun area. At this moment, I think I'm very happy with how it is turning up. I might have to go ahead and look at the bird, which needs to be added. It will take a bit of time to add that bird and to create this beautiful sun down at this moment, I would say. It looks so amazing to me. I cannot tell you how much I am pleased the colors of the sea, the colors of the sky. It gives me so much of calming sensation within. It makes me feel like as if I'm already there on that beach, and it's making me feel so much full from the creativity perspective, that really I am so so excited to teach this particular lesson to you guys. It's one of my favorites. The colors, the skies, the water, everything, has just come together so well. I will go ahead and add a pint of my neutral tint towards the base area of the right side land mass that we can see in the painting and then just blend it with very little clear water. Blending it is always a great idea. I think blending is one of the best exercises that we must have while we started with watercolors. I think blending gradient washes. This is something that is actually the base of any watercolor painting. Okay. I guess the bird is just around the corner. Let's go ahead and start adding it. You can even start with a pencil lying and then go go ahead by painting the bird altogether. A very simple sketch of a flying bird. It's easy to me. Go ahead and just extend the wings, and in the middle, there's a bit of a body of the bird that we are going to add. And the wings are going to be a bit more longer. So yes, that's what I'm adding on the right, as well as the M graphite marks are always. As I use a very, very light graphite mark pencil, which is majorly my two edge pencil. You can go ahead with HB or maybe a one shade lighter whatever whatever is available with you. That's something which I cannot tell you. But yes, having said that, make sure that there are no graphite marks when you are going ahead and painting your watercolor paintings because that's very, very important. Owise, these graphite marks will show up, and you will not get a great final outcome. I guess this is it. This looks very nice. Now it's time to go ahead and start adding the colors. The color is, of course, the neutro tent, which we have added for some of the parts in our painting. I'm using the same color, a bit of it for the legs, and then we will use the same color for the other parts too. We're finally done almost with the entire part of this painting, and we have to move on to the next ten different techniques which we are going to learn, and they are equally amazing and equally important for any watercolor painting. These all techniques we will be using in a floral bloom, which we are going to add on as we progress in this watercolor technique section. Okay, so time for learning next ten techniques, which will take us to 20 different techniques that we have added on in watercolors. It's essential for any bigner. Or any middle or advanced level watercolor artist. Something or else is always there for you. So go ahead and look out for all the techniques you may already know it. But some of the techniques which we already know sometimes, we just use it very often, but we are not sure of. We are not ready to accept it as the techniques, or this is the particular outcome that we are getting in all. Okay, let's remove the tape pattern angle and have a final look at it. I'm very happy with the clear nice crisp edges which we have got. 18. 11/101 - Watercolor Techniques: M. Today, we are going to discuss about splattering, and there are three different exercises where you're going to explore splattering. Let's go ahead for the first one. I will go ahead and apply a layer of your burn sienna on top of the paper. And once you have applied the burn sienna, the paper is quite wet. At that moment, only, we will splatter some clear water or any kind of water where you have even washed your brushes is good to go ahead with it. Just apply it and see how the water moves or how your paint moves from that particular space once you did splatter some water. Movement of pigments is very important at this stage. As you know, once the pigments start moving to different areas, this water that you have splattered, those particular areas become lighter in value because of the water splatter and the pigments will move in and around it rather than staying over there. At this moment, the moisture on the paper is very high. Hence, what I can say is the splatter will not give you a great outcome. If you are splattering on a moist paper, I would say that gives a better outcome than what you will observe for here. But knowing, what is the exact amount of water that you need on top of the paper is very important. You can see that within the first 1 minute only, I'm doing all this exercises and the full video is real time. 19. 12/101 - Watercolor Techniques: O This is a second kind of splattering, which we are trying to do over here, and this is basically splattering on moist. Now moist is a surface, which is not as wet as we had in the first case. So I would allow this paper to remain wet for a longer period of time, which means that I'm not going to apply a lot of colors on top of it. Once I've applied the layer, I will just move it around for a few more seconds and just see that I don't have of glaze on top of the paper or puddles of water floating around. That way, I can really ensure that the paper or the area is not overloaded with lot of water or it's not as wet as you have seen in the last case. So you need to go ahead and check the moisture or the amount of water on top of this paper before you go ahead and splatter it. I will show you exactly how we are going to do this. Believe me, the first step is to apply your even layer of pigments on top of your p, and then you can see how the glazes on top of the paper. It's not as glazy or it doesn't have a lot of moisture on top of it, just the exact amount which we need. Now I'm going ahead and splattering this clear water on top of it. You can see the left side was way more lighter. That is the displacement of the colors from the part of this paper was way lighter compared to the one that you observed now. That is splattering one, moist paper. 20. 13/101 - Watercolor Techniques: The third method of splattering is one of my favorites. It is moist to dry kind of p. I will show you how exactly I do this process. But first and foremost, it's very important to apply an even coat of paints on top of a p. Once we have applied this color on top of the paper, e, we might have to go ahead and wait for a few seconds for even a minute before we do any kind of splattering. First of all, it's important to go and have an even coat of flat wash. You already know how I have done my flat washes. Either you can do a crosswatch, or you can go ahead and do a flat wash from the top till the bottom. I like to do a crosswatch as you can see over here. I'm trying to have an even coat of pigments on top of this portion of the paper. I have divided my paper of course into ten equal halves and you can do it on any size as you want to do it. This is an A three size paper and I'm doing it on an A three size. You can even go ahead with a smaller size rather than doing it on this. Now it's time to wait. Now, waiting is the most important process at this moment. You might have to wait for one or two or 3 minutes, depending on the kind of paper that you are using, if you are using 300 GSM, 100% cotton paper. Then it might be that you have to wait for a longer period of time, as well as it is also dependent on the climatic conditions that you have. If it is too hot, then your paper will dry up very fast. If it is cold or moist enough, then your paper might stay moist for a longer period of time. So keeping all of this in mind, then only you can think when to go ahead and splatter. I've just picked up my paper to show you how exactly the moisture on my paper is and what's the shine. It's moist to dry kinds. It's not exactly moist completely like we did in the last one. Here you will see that the splatters will become more bigger, and they would look more like a olflower effect. Now, flower effect, I'm not sure if all of you are aware of, but it's mostly happens when you have moist to dry kind of a paper and there is a backgroun of the water on top of the paper. Let's wait for a few more seconds before we move on to the salt technique. 21. 14/101 - Watercolor Techniques: H Let's start out with the fourth method, which is splattering your salt on top of the paper. Now, I have two ways of doing it. One is your paper is moist and you are splattering your salt, where exactly you will see that the salt will not displace your pigments to a greater amount, or the salt will only create some of the marks or displace the pigments very slightly compared to the one where you have really moist surface or you have good amount of water on top of your paper. You sprinkle some salt, and then you will see that there is a lot of movement of pigments from that particular space of the salt ad to in and around the areas. Let's start off with the first one. I have added an even coat of wash on top of the paper, and I need to wait for approximately a few seconds. That is half a minute to 1 minute before I check the paper and see the amount of moisture that's there on top of the paper. This is a very, very important step to exactly note the amount of moisture that's available on top of your paper. No one can frankly tell you what exactly should be the moisture. It's the kind of trial and error method. Every time I try to see exactly the amount of minutes or the amount of seconds, but that might change a lot depending on your climatic conditions as I did tell you earlier. So I am now taking some amount of salt and applying it on top of the paper. My paper is not really wet at this moment. You can see that my water on top of the paper was sitting along with the pigments for quite some amount of time, and that's the reason that you might not see a lot of movement of pigments. Let's go ahead and let it try to see the final result. 22. 15/101 - Watercolor Techniques: Let's talk about the fifth method. This is a very, very interesting method. We are going to go ahead and apply a layer of colors on top of a paper. I'm using my flat brush for adding this even layer on top of the smaller paper. Once it is done, I will go ahead and start adding my salt on this absolute wet paper. Let's use the same salt, which we did apply on the left side of the paper. And now I'm adding just the exact amount of salt also on the right hand side. I really did not want to think much while applying the salt, any place anywhere you can go ahead. Only I wanted to keep the amount of salt on most similar to what we did apply on the left side. Hence I have gone ahead and used the same salt that I did apply on the left side. There there would be no change that you will observe in terms of the salt. Only the textures will be very different on the right side, and the texture would be very different on the left hand side. We need to go ahead and wait for a while before we get a final outcome of how this part looks, and you need to give it the time for it to dry off, and then only you can observe how the whole of the displacement of the sort from this particular area looks like. Very excited about the result and we can see a stark difference between both of them. 23. 16/101 - Watercolor Techniques: Masking with masking tape is a great method. If you are planning to go ahead and just mask out a particular area with your masking tape and then just not allow water to enter on it. If you are planning to do layers of masking, then this is not a great idea. I will show you the kind of mistakes that you can commit if you are planning to go ahead with layers of masking and just apply negative painting. So negative painting surely will not work with the masking tape. If you're looking for negative painting, masking fluid is the best way to go about it. I'm applying my ultramarine blue over here throughout the entire space, and then you will see that once the paper is dry, this particular area will remain as white. But as we continue to add more and more layers, the colors will move into each other or into the area where you have masked out with the help of your masking tape. Therefore, I always say that masking tape is only good for one layer rather than working with layers. If you are planning to go ahead with negative painting, masking fluid is the best way to go about it. Go ahead and applying one more layer as you can observe over here. The water or the color which has pigments in it might enter into some of the spaces. What happens if you keep using the same masking tape over the area where you have painted? The paper where you have added the pigments and water may not be at the same level or there is a change or a shift in the straight form of the paper, which you usually get initially. Now there is a bit of buckle which happens, and that bit of buckle is being used by your water to enter into few of the spaces, as you can see over here. This can continue to actually hamper your work. If you are planning to go over end layers, you can improve it a bit with the help of your tissue, but still it will not give you the 100% results. Let's go ahead and again apply one more layer of this masking tape and then go ahead with the other p. It is just for your knowledge and sheer importance of using your masking fluid rather than using only masking tape. All of these exercises do come very handy when you are working with watercolors because there are a lot of mistakes that we tend to make in watercolors, and this might be one of them which you may have also committed or can comment in future. Do understand the masking tape is only a one time use stuff whereas if you are going ahead and wanting to mask various areas for negative painting, your masking fluid is the best way to go about it. We will be even experimenting with masking fluid after we are done with the white ash. 24. 17/101 - Watercolor Techniques: Let's go ahead and work around with white ah. Sometimes. What happens is we do not have any masking tape masking fluid or anything. At that time, any white bake watercolor or your white ash can come as a help for your highlights. You can apply it on the areas where you want to just add some of the white touches of watercolor. L et's go ahead and add a clear flat wash of my from in blue color. We have done enough of our burn Cena earlier. This particular part, I just thought that it would be great if we can choose some other shade and column. Going with a simple watercolor, which is opaque nature that you need to keep in mind. No acrylic colors can work if you are trying to work around with only one single medium. I have got this question in a lot of my other tutorials too. Your watercolor is water as a medium. Even wash can work because wash has also water as a common medium. Whereas for dryl your medium is not water. It's something else, and therefore, even oil will not work. If you are applying to work with oil in watercolors, it would be completely a mixed media and we are not going to do that in any of our paintings. Now going ahead and making a few lines, as you can observe over here, these can work great as you highlights with a smaller brush. 25. 18/101 - Watercolor Techniques: H A very important part of masking is how to mask your particular areas or paintings. I will first use my brush cleaner and then dip my brush in it. Once I have dipped it well, I will pick up some of my masking fluid on my brush and then start applying it anywhere I would exactly the way you observe over here. Once the masking fluid is completely dry, go ahead and apply a layer of color. Once the color is dry, just pick up the masking fluid or erase it out with the help of the masking fluid eraser. As we are done with those particular areas. We have also picked up the masking fluid. We are going ahead and again applying it in some of the other areas. This particular method is great when you are doing any negative painting, where we are trying to explore various or different layers of negative painting. For me, it's important to use masking fluid because that gives me a better coverage, and there are hardly any leaks of water into the areas where I want to preserve and we. It is a bit different than your masking tape, but it works great for any painting swear there is in depth layering that you are particularly wanting. Go ahead and start applying another layer of colors. Once you have applied another layer of colors, you will see that you need to let this layer also dry. Once this layer is dry off, you can easily pull up the paints with the help of your iso. Then the particular area where you are actually removing the masking fluid from will remain one shade lighter, than where you have applied the colors. It's a very easy way to go ahead and keep applying your paints layer by layer by layer by layer, and it gives some beautiful amazing outcomes. You can try it for shapes like butterflies or leaves or simple shapes like spheres, squares, et cetera. Go ahead with anything of your choice and start doing it. I think you will be in a position to nail this kind of paintings completely. Let us move on to the next technique now. 26. 19/101 - Watercolor Techniques: You can use your palette knife for many purposes, even for drawing branches. Let's go ahead and explore this particular side of palette life plan. I'm going ahead and using my brush to draw two whole lines, and now I'm taking a palette knife. Go in few of the spaces where I want to draw the branches of the trees, dropping in some color and trying to spread it with the help of my palette knife. If you are ever looking for creating very thin branches for your trees, I think this is a great way to do it. Sometimes we are not having that perfect brush or we are not getting that perfect kind of stroke with the help of our brush. At that particular time, this palette knife can come to your rescue to a great way. Have used two x speed in this particular video, except all the other videos that we have loaded in now. You can see that I'm sorely extending all the branches as you observed in the bottom one. We can continue doing this process even for the left side of the tree and have more branches coming in. 27. 20/101 - Watercolor Techniques: You all have seen many ways to draw your branches, trees, et cetera. For this particular painting, I'm going ahead and applying some ultramarine. Once we have applied the ultramarine blue on top of the paper, you will see that I will not leave a lot of water. It's more about a flat wash at this stage, and then we are going to use our palette knife for lifting technique. This is a great method for lifting in any of your paintings where you have this absolute amount of water or the correct amount of water on top of your paper along with the pigments and start using this for more of your paintings. Let's go ahead and create that beautiful flat wash first where we don't have excess water on top of our paper. We have just the correct amount of pigments and water on top of the people. Once we are done with this, then we are going to start lifting the water on top of the paper. You will see that it is easy, but there should not be any puddles. That's one of the reasons always using a flat brush for these kind of paintings is good to go ahead with and understanding the technique is most important. With the water you need to play. I understand it's water and watercolors, but solving the paper, how much water I have kept on top of the paper is something that you must continue to explore your watercolor skills with. I feel that there's a lot to do with water in water colors compared to pigments. If you know more about water control, you can easily nail the paintings. As you can see, there was no putle of water and it's easy for me right now to actually pick up the colors from the paper. I'm using the tip of my palette knife to go ahead and do this. You can use any smaller palette knife too for doing this process. You really don't need this particular bigger palette knife. You can have any kind of smaller palette knife too. Continue adding more branches if you need and then have a final look at it. We will move on to the exercises now. 28. Practice Exercise 3: Colors for completing the small exercises is Opera Qin acrodon coral, Naples yellow, ultramarine, neutral tent, and violet. This exercise is going to be very interesting. It's the third exercise from the series, and we are going to use a lot of techniques that we have launched to date. The first one would be your blending, the second would be your masking, and the third would be your splattering these are the three most explod ones along with some amount of lifting that we are going to use for the water area. Let's go ahead and mark our horizon line. And once you have marked the Horizon line, we will go ahead and start adding a small mountain. Now, this is a snow clad mountain. That's one of the reasons that I would be masking it with the help of my masking tape. What I usually do is I do place my masking tape and just cut it out with the help of my scissors, once I draw on top of it. And then we are going to go ahead with our top area, that is the sky. Once you have added this masking tape, as you also saw in one of the techniques section, that it can very well mask out the areas, which you want to save for whites of the mountains or whites of the snow, whites of the grounds, anything that you want to save. I am going ahead and using my opera to start out with the sky area. This is it on Roy Method, another technique that we have already learned. Go ahead and just adding some amount of my coral along with it towards the top area. And a bit of your Naples yellow. Now Naples yellow has been one of my favorite colors to go to in most of my painting. It gives that subtle soft effect rather than making the painting look very bright. So that's one of the good ways to go about it. I have siched my brush to a really large one as I want to cover bigger spaces. I am going ahead and just adding some of my blue ultramarine color on the top area and then blending it with the help of my clear water towards the bottom area. You can see that blending is always the key in most of the paintings that you are going to do. So if you know a blending method that is good or working rate for you, I'm pretty sure about it that you would be in a position to nail your paintings. I will go ahead and just again add some amount of my colors in the middle area as you can see over here. The colors were really soft and subtle at that moment, and I wanted to add a bit more darker values. That's one of the reasons, I like to go ahead in layers, or you can say that I go ahead with the colors. Once I feel, I am more comfortable with it, adding lighter values initially and then going ahead with my darker values. Some amount of purple towards the top area of the sky. This really makes the blue stand out to a greater extent. Though you may not observe it as a absolute purple color. But once your painting is tried off, you can see how beautifully the color works out for you I'm going with my neutral tent to add these shades of the clouds for the sky area, and I work from the bottom area, then take it towards the top. I'm starting in and around the mountain area. The back side of the mountain area has a lot of clouds, and usually they are smaller in size and shape, not a very huge kind of formation that we are going to do. Some smaller clouds that we are going to add. I'm mixing some amount of my ultramarine into the neutrotan and the purple which I already had. So this is basically a mix of all these shades to get a color that looks something similar to the one, which are seeing right now. All I can say is it has a lot of neutral tint in it. It is majorly dominated by neutral tint compared to the other colors. So you might not observe the other colors very well at this moment. Once your paper is dried off, as it has ultramarine in it, there will be some kind of granulation even for this sky area. And that granulation really works great. When you have a final beautiful outcome of the clouds. I'm using my size one or size two brush as this is a very, very small paper. I am not using a big paper for completing this painting altogether. It's around 12 centimeter. It's not absolutely square a bit longer, so maybe 12 by 15 centimeter or something like that. You can also use 12 by 12 centimeter. It can be a square paper. It's absolutely okay, whatever you are comfortable with. The exercises are on smaller paper as I want you guys to explore the Techniques on a smaller paper, and once you are more comfortable, we will move on to a picker paper where we are going to paint our beautiful and outcome that I always always adore working with a flower. I am going ahead and adding some more of my darker values. I think it has become too dark. I might have to lift up some of the colors wherever it is needed. These kind of things do happen in many of our paintings. If you want to just lift off your colors, take any damp brush. Damp clear brush, of course, it needs to be, and then you can pick up the colors from the area you want to pick it up. I would pick it up somewhere around the right hand side. You will see as I pick it up. You can observe that I am adding very lighter value of clouds towards the top area, not adding any darker values. I am adding all the darker values towards the bottom. As I move towards the top. I will just merge the colors to the same background areas, which I have. Okay, picking up the color with the help of my damp brush. This method, particularly, you also know. I have already discussed it in the technique section and you can go back to it if you are someone who is new to watercolors or doesn't know how to pick up the colors. It's a great way that can be used for any of your paintings. You can also use a flat brush for lifting out your colors. We will be discussing it as we progress in the water area. The whole of the painting is rear time so that all of you exactly know how to work it around for yourself. Because if you are not doing it rear time, that you might be confused at some moment, what to add, how to add, how I am progressing, hence, everything is being kept rear time. I'm going ahead. I'm using some amount of my onrene blue and ultramarine to add the colors towards the bottom water area. I will just go ahead and cover the area. We can also apply some of our darker values more like your indigo as you observed over here and create some waves structure. It's okay. If you want to create, if you don't want to create, that's also fine. There is no hard and fast rule that you have to go ahead and create it as I am seeing. So yes, I'm also picking up some of the colors, and there might be some splattering technique which we will see how it works. Okay, adding some of my darkest value. That is the same neutral tint which you did observe that I have used for the sky area. I like to use the colors alternately for the water, as well as for the sky. I like to use the similar kind of colors for most of part of my painting. I don't like to go ahead and use a lot of shades or create a lot of shades. We will use the similar one for approaching most of the areas that you need to cover. Just pick up some of the clear water on your brush and start splattering it towards the bottom part. You can see that the splatters are very light because my paper is very, very wet, as you have observed last time. So there were three different scenarios. The first scenario was where you were adding water on a very I would say, watery kind of place, or there was more water, moisture on top of the paper. It was having a lot of water content at that moment. And hence, the splatter will become very feeble. If you are going ahead on a paper where it is moist too dry, you will see that your colors or the colors will move a lot more. As well as the splatters will be more like they will be more distinctive, and you can see them well. Compared to what you can observe in the first place. Okay, I guess, we are good. I'm just trying to add some of my lines, and then again, I will go with my splatters as I'm really not happy with how it has turned out. So it's okay. You can always go head on top of this platters again and make a few lines. Again, adding this platters as you know that I'm someone who loves to add these kind of splatters for all my paintings. Continue adding it with your clear water. And once it is done, you might have to leave it to dry off before you start with the middle part or the mountain aium. You can do another thing that I've done over here. I have gone ahead parallel and just taken off the particular masking tape from all of the space. And then I will start applying my colors. Make sure that if you do this kind of technique, you do not touch any of the areas or else the colors will move a lot, and you might not be in a position to have a good outcome or exactly the outcome you would like to have. As my paper has dried off, more, now you can observe that the platters can be seen very, very distinctly. Going ahead and picking up the similar colors, like the tint and adding it in few of the areas where I think it is necessary. Just below the mountains, usually we see that the area is a bit more darker. I'm going ahead and adding some of my smaller lines, torts, et cetera for showing the rocky areas of the mountains. It is a slow and repetitive process. So you might have to go here and add some more dots here and there with a smaller brush. You have to go ahead and keep working on it. Make sure that there are some dots and lines which you add. And it is not equal at every. Some of the places will have value. Some of the places will have just a few dots here and there. Once this is done, we will go ahead and just pick up some of the colors from the water area to show that there is movement in the water as we are not going ahead and showing any kind of reflection into the water for the mountain area. Heads. There is movement in the water, which needs to be shown properly. So go ahead and add su more splatter if your paper is still wet, which I did, but I don't think that there's much of a difference at this stage. Go ahead and just use your flat damp brush, pick up the colors, use your tissue, and start picking it up in all the areas wherever it is necessary. Two to three lines. If you can create that's good, it can really show that there is movement in the water. I'm happy with how it is turned out. Then now, let's go ahead and move on to our second exercise. 29. Pratice Exercise 4: Colors are Naples yellow, cellar orange, and neutral tint. We are going to go ahead and first make a sketch of this mountain. And I'm going with a very, very light pencil, which is my edge or two edge you can go ahead with. Usually, we get HB pencils in the market, whereas two edge is usually known as a drafting pencil. I like to use it for all my watercolor drawings. It's a very easy sketching that we are going to do, and then we are going to learn how to blend our colors, as well as keep some whites in our skies. So this is something that I always always say in all my sky paintings. Try to keep some good amount of white in your skies. It gives a beautiful outcome for anyone who is having a look into it. We will go ahead and use a few basic techniques like wet on wet and wet on try. We have learned how to make wet on dry lines. We will use almost the same kind of techniques to just make the rocky terrain of the mountains. Okay, let's go ahead and apply some water on top of the paper. And once we have applied water, we will go ahead with our Naples yellow. Once we have applied the Naples yellow, we are going ahead with some amount of our neutritan along with a mix of our Cenear orange. You can mix either Cenear orange or quinacridone coral into the Naples yellow to get a color that is similar to the one which you observe on the paper right now. I will be wetting the entire surface. I'm not going ahead and wetting only this sky p just like the last exercise. This exercise is more wholesome, and it's about wetting the whole of the area that you observe over here. Start with a very simple gradient wash, that is darkest value towards the top, and as you come towards the bottom, it is more of the lighter value. I'm going ahead with my mop brush to apply my colors on top of my paper. This is a very, very small paper, which you see over here. 12 centimeter by 15 centimeter or 12 into 12 square papers, whatever you want to use, please go ahead and use it for this painting. Once you have a subtle colors already on people, go ahead and make some amount of your orange into the neutral tint and you get a brownish gray kind of a sheet that you start applying on the people. If you're not happy with that, you can also pick up of the colors on your brush and start applying it as I'm doing over here. A bit of the darker values, I will also apply as I go towards the bottom area. This is more of a wet on wet method that I'm using right now on top of my p. I am continuously adding some colors and just making it a bit more darker in few of the areas where I think it is necessary. Now, this particular part is kind of a trial and error. When I say that you need to know all your techniques, one important aspect of watercolors is also going with the lightest value initially and adding the darker value, slowly introducing it to your painting. So that you exactly know how your painting is developing. This one particular I would say aspect of watercolors is trial and error, and no one can actually teach you this. It's just that you have to keep experimenting with it and understanding it. You can only do these exercises or do this wet on wet part till your paper is wet. Once your paper is dry, we cannot do it anymore. Start applying some more of the darkest value towards the bottom right hand side. We're slowly going to develop even the mountains. You will see how I do it. But in between adding some more of the values for our clouds is something that I want to go ahead with. I've always fallen in love with different kind of skies, and I've always experimented a lot with the skies, as well as the water and all of these kind of paintings. Skies remain one of my favorites. And if you are someone who wants to actually explore various kind of techniques, I think this gives you a lot more opportunity to understand the techniques along with it to give a way to the different situations where you are experimenting with the colors, as well as the kind of sheets that you're selecting. For me, this is kind of, I mean, not a very I mean, one of a kind of colors that I select. I select very different shades in this complimentary colors altogether. Sometimes you can also go ahead with split complimentary colors. And those are the kind of things that you need to explore at every moment. When I see about colors, many of you might not know exactly the kind of sheets, colors, or color theory that I'm talking about. Split complimentary colors is more about choosing colors from the opposite side, as well as two colors that are closer to each other, like the one here, which I select Naples yellow and citar orange. Along with it, I'm using one of the other darker sheets that is neutral tint. Not only that, I only use a limited palette, which means three shades in total to create a painting. There is a lot of different, not only techniques, but the kind of knowledge that we pour into each and every painting, which somehow we are not aware of, and we do not recognize at that moment, but as we keep looking into it and going into it further, you get to understand that it's not only about just blending, splattering, et cetera, there is a lot more in terms of color theory that we are going to learn in our future paintings too, as well as the exercises are going to come up, different kind of values that we're going to select, et cetera. But having said that, each and every aspect in watercolor has a lot of importance. Not only your brush soks, et cetera. But it's also about some kind of a knowledge or some kind of an understanding of the colors that makes your painting really, really attractive. Okay. I guess I have spoken a lot. Let's go ahead and just add some of our darker values into the mountains, like I have done it over here. As well as we are going to just blend out a bit of the colors as I think it has become way more darker than I would have expected it. So yes, cleaning up a bit, as well as adding some of my orange and your Naples yellow in the areas where it was way more darker. And now it has become lighter or just blending it with the darker values did not create a very good outcome. You will have mistakes, and you will do mistakes and know what a color painting. All you need to understand is every mistake doesn't need to be taken to your heart. Once you have done a mistake, just get over with it and go ahead and just improvise it further or let it be as this. And then you can always try another painting. Okay, great. I think, just a bit more clouds, making it a bit more heavier as it goes towards the bottom part. Some more lines. You can go ahead with your size one or size two brush for this. Loud your brush with some of the lighter or darker values of this, um beautiful neutro tint. Now, this neutro tint is, of course, from the brand Vincent and Newton. I initially tried scenario. What happened is it's a very, very good color, but it does flow a lot. Now, there are a lot of characteristics that a color also has. Like it can always move or flow a lot because of which, it might become a difficulty for anyone who is looking into it and who is working through it. If it moves a lot, you will get less opportunity to control it. Like here, I can control the color to a greater extent compared to the maybe some of the shades which I can't if they just keep flowing, or keep moving into the whole of the space to a greater extent. Okay, good. I have mixed the same sheets that we have used earlier. And it's time for us to let the paper dry off to some extent and start applying our beautiful shade. That is our neutritent. Yes, I have been using this shade for many years now, and believe me, this is one of the most sought after shades of mine every time I want to paint my skies. Skies always like have the majority of the beauty in it. You have so much to learn from them. They continuously change, and you really can't capture it through your lenses at every moment. Either you can continue to have a video of it, to capture it, or else just capture a bit of it and use it as an inspiration for your paintings. Okay, adding the darkest value now, and I have already mixed some amount of orange. I'm adding this darkest value in few of the other spaces to make the rocky terrain of the mountain. The colors are the same as the sky as I did already mentioned earlier. Now, why I have kept the same colors? There is rocks, as well as there is snow on top of the mountain. The colors usually shine on the mountain. So once these kind of things happen, you will automatically see that the same colors are getting reflected, and it would look certainly amazing when you are working with watercolors like these. Okay, the reflection of the light happens on many of the mountain peaks, and you can see it very well if you ever get a chance to see Kachinjanga. So I had did a recent visit, and I saw Kachinjanga during the morning Sunrise. It was an amazing view, and believe me, there are reflections, which do happen. So keep that in mind. Not always, maybe, but, yes, there are times of the day where you get to see it. Okay, adding some of my darker values even towards the bottom part. Right now, you will see me just working very quickly at this moment, not paying much of attention to the details, as I'm not into the details as of now, slowly adding the darker values and only the areas where it is needed to create the crest and troughs, as well as the rocks of the mountains. Adding the last few details after this. I for my background part of the mountain or that is on the back side, which you can see. I will go ahead and only apply my dry brush technique. That is something which I want to really show you comes very handy for these kind of purposes. Make sure that you are now not applying the details at e. It's on the a few dots or lines that you were adding at this moment. We really don't want to had a lot of darker values because we have already done that. It's a small dot lines, et cetera that is going to define the whole of the mountains from here on. You can always go ahead and pick up the colors with the help of your damp clean brush that comes very, very handy for any kind of painting which you want, either it p or damp flat brush, or else, either it or damp round brush. We have already done this in the past exercises, as well as in some of our techniques. I am using the same technique even here in our painting. Along with techniques that we have learned, there is a bit of an understanding about perspective, line, drawing, et cetera that comes very handy. Though I will not say that everything you need to do it on your own, or you need to learn to a greater extent, but a bit of it can help in your journey. I will add some bits and parts here and there wherever I can for your learning in this particular class as it has everything that you need for starting out your watercolor journey. So let's go ahead and next look forward to the first or like the second big painting and the second big project. It's a floral. We will be using a lot of splattering, as well as a lot of wet on wet technique. Over there for completing the painting, as well as it's a bigger painting. You can do it on a smaller paper too, but I did prefer going ahead with a bigger paper as that really helps me to build up my confidence to a greater extent to become an artist or to help myself feel like an artist and just continue to work like an artist. It's the way I really give my dreams a way to show the creativity or to just show off my own creativity. It's a great way. So I guess this is it. We are almost done any dots, any lines here and there. That's it. And then remove the tape pattern angle. Always do not try to tear off your tape. Removing the tape pattern angle also helps you to save your paper from tearing it off. I have, of course, done it in a very quick way. But overall, you should not try to tear off your paper. It should be safe after all exercise that is stare. Make sure that your paper is dry before you just take off the complete tape from both of these painting. Okay, great. I'm very happy and let's move on to our next big project. 30. Project 2/10 - Colors - Cosmos Flower: Colors are composed opera, inacrodon, coral, indian yellow, me green, burn Ciena, forest green, CPA, ultramarine, and do keep a sap green or olfran by your side. 31. Project 2/10 - Cosmos Flower - Part 1: So guys, this particular painting is not really about sketching, but we will explore sketching in detail as you know that I am a person who loves to understand and sketch a bit before we cohe with our painting. You might feel that this is a bit of a difficult painting compared to the last two, which we have done in exercises. We are going to explore a lot about splattering in this particular painting. If you want to give it a pass and move on to the next set of techniques, I would say that you should at least try it once before you skip it because there is so much to learn throughout this particular painting that it is certainly going to help you in your watercolor journey for future. Okay. Let's go ahead and first draw a small circle. I have taken a small coin and started drawing that circle. Once I did draw the circle, I have made a few lines in all the directions. You can see it. These directional lines actually help me to understand how I want to place my petals for more cosmos flower. Now, my cosmlower is something that I always always love to paint, too. I haven't done that in the few months, frankly, but the one that we tried in one of my other classes where you are actually exploring seven different florals and seven different styles over seven days. It has a daisy in it, and every one of you might like to go ahead and check that out. It's easier and beautiful painting or similar to the one that you are doing right now. I usually use a drafting pencil and this drafting pencil is two from the brand monograph. You can go ahead and use any other stretching pencil like HB or maybe two HB, though I would always always prefer HB over two HB as well as a H. That is also okay because the graphite marks are way more lighter and when you are actually painting with watercolors, you exactly know that this is a very, very transparent medium. Because of its transparency, it's important to go ahead with only the particular graphite marks which are way more lighter and don't you don't see it through once you apply the colors. That's something I always like to keep in mind or use a needable eraser to make it way more lighter before you coheit with your painting. Okay, it's time to add some of my other petals too. If you are unable to see it on a smaller screen like a phone, you should go ahead and just switch on to a bigger screen like your iPad or a laptop or any other bigger screen which can help you to actually understand this painting in a better way. I will keep on adding more and more petals. I really glow slow at this moment as I am trying to just gauge through the fact that where exactly I need the petals and the petals which are towards the bottom are a bit wrap up, or you can say they are looking towards us and hence they are not an ex circle which we are going to make. Keeping all of that in mind, you will have these petals which are just in front of us way more smaller than the ones which are on the top. If you keep this in mind, it can help you to understand how each and every petal is practically done in this particular painting. Okay. Great. Let's go ahead and keep adding more and more petals even on the right. I'm going to finish this off very quickly, and once we are done, we are going to go ahead and just start with the background wash. The background wash is not going to be very simple. It's going to take up some of our time as there is a lot in terms of the painting that we are doing. We are not going to go ahead and just add only a background, the color, or we are not going to protect this particular flower. This particular flower is way more lighter in value compared to the background which you are going to add. And hence, there is always a possibility to add one layer of your masking fluid protecting all of these parts and areas. But in case you are unable to do so, go ahead and let it be as is, we are going to go with our thinner brush and cover the entire background. It has to be really I'm working on a 300 GSM, 100% cotton arches cold press paper. I always go ahead with arches paper, either a B 185 GSM or 300 GSM. I prefer 300 GSM over 185 when it is a bigger painting, as well as there is a lot of heavy washes. This particular painting has good amount of heavy washes. I strictly never place my particular flower in the middle of the painting. I am one person who loves to place it either on the right or on the left side. Not exactly anywhere in the middle, that really doesn't work as a composition for me. Though there is hardly any composition in terms of other elements that we are adding, it's just a simple background that is there in the I mean, as we follow, you will see, but rest everything is really simple and easy. Okay. There are a few times. I'm using my eraser just to erase it off. If you're someone who's not well versed with sketching, go ahead and check out in the resources section, you have a sketch of this. You can download it and just trace it on your paper, and then go ahead with your painting. In the middle, usually you have pollen stamens and everything that's in the middle part, and we are going to add that even in this particular flower. Though majority of the area looks very sorted. Though I am not going to define it individually in this flower, it's only just with my various variations of colors as well as lighter and darker values of colors, we are going to change it. That's it. I guess, you need to keep in mind when you are even working with your watercolors. As I did tell you earlier also, that masking fluid is always an option if you want to go ahead and just mask out the flour on the sides, exactly the way I'm showing it right now with my fingers, or else even leave it *** and just follow how I am going ahead and adding the colors on this painting. This is something which I have learned over the years that you always do not need a masking fluid. And most of the time, I prefer not to use masking fluid, what I've usually seen with masking fluids that initially for two to three months or six months, they are great. And post that, they starts becoming more and more I would say sticky and they do not get lifted up easily. There are lots of issues that we usually face with masking fluid, and hence I like to avoid it in most of my paintings. So there are situations where we can not and hence in those situations, I like to add it. I would say this painting is very simple, easy, very touching, and I am in absolute love with it completely. I have loaded my brush with some of my yellow, and this is my beautiful Indian yellow from the brands inlier. I have been using this yellow for many years now. Most of you who have been following me over here on Scelsare, or else even on my YouTube channel or my Instagram channel, watercolor dot Illustration et. You exactly know that how beautiful the shade is, as well as in various classes of schare, we have also used the same shade. I'm using may green. This is a beautiful shade from the brand chimenke, and I have, again, used this, uh, particular color in many of my older paintings, too. If you do not have this may green, you can use any of your light green for completing this part of the painting. While I go just near the flower, you can observe very well that I go very slow at this moment, as well as I just go ahead in a way that I do not spoil any parts or I do not get into the shape and size of the flower that we have added. The important way of adding the particular water in and around this that you just leave out the flower and some spaces in and around it rest. You can continue adding a heavy flow of water on the other parts that would really help you to just spread the colors as well as the whole painting will come together very very easily that way. Okay, great. I guess I'm happy with how it is turning out. Some of the spaces, we need even some of our darker and lighter values. We are going to add that You will see that the whole paper I'm not going to use, I would leave some of the parts even in white. I love to use the white of the paper in many of the areas. This color looks more like radian. I don't know why it is, so you can use some to along with some green to get a shade that looks more like radian. But I think I will just give it a pass. I'm not very happy with how it has turned out. Mixing some amount of olive or any of your other sap green can be a great help at this stage. Using the scene colors that we have used even in the top for the bottom area too. This is the forest green along with it. I'm mixing some amount of my dontne blue. The nonten blue is one of my favorite blues, which you must have seen me using in many of my earlier paintings, too. L et's take a closer look at how I continue to paint the edges. This is something that I always say, use the tip of your brush to add the colors on these parts of the flower. It's important to exactly know where you want to add the colors or how slowly you go about it. When you see a particular painting, you always follow it as real time. Some of the paintings, of course, we can not do real time. I do understand, but most of the videos that I add on Skillshare are real type so that you exactly know how much time it took me to complete a painting and similarly, you can also just go ahead and complete yours along with mine. I always always motivate you to complete any painting along with me. It would be a great idea to just watch it first at two X speed, maybe understand how I am progressing and then go about with the family painting. Okay, I guess I'm just mixing some of my colors again here and there and making it move. Watercolors is all about water. If you have good amount of water on your paper, it would do all the work for you. You do not need to work very, very hard then. You have to just sit back, relax, and just enjoy the colors, how they move into each other. Some of the areas, of course, are drying up a bit more faster. I'm not sure exactly why did this happen altogether. Is it because of a particular pigment, which I'm using or some of the pigments have reacted with each other. So not much idea into it, but still continue to add the colors. It's not actually hampering any particular parts as per se, or it is not going to even change my painting to greater extent. But it looks like a background, and I'm really not happy with how these backgrounds usually happen on a painting. Though, I guess I should be in a position to fix it very quickly as we progress. Let's continue to work around with it. Never get lot into these smaller thoughts of not being able to do as you want or it's not exactly working out, like you must have thought, we can go over the colors again and maybe it would get a bit darker. It really doesn't matter. It's just that we just will go ahead and fix it very very quickly. So do not worry about anything that you are doing in watercolors. Water is a great great source of predicting everything that you have done til. Okay. I guess I'm happy with how this has turned out. At this moment, I am pretty relaxed and I'm happy with my background to a greater extent. There is a lot to be done on the right hand side, but yeah left hand side looks very much sorted, and we might have to go ahead with some splattering to make it look more beautiful and a bit more organic. I'm going ahead and lifting a bit of the yellow, which I think is in excess on the middle part. So that's where I'm going ahead and just picking it up. But that's okay. In some of the areas I'm even also going and adding some amount of my yellow. So those things will always always happen. As you progress with watercolors, what happens is to our eyes, we might like something, and we might just not like a few things. And those are the things that you might have to go ahead and continue to change or add or do whatever. You see that line has got over here. I will go ahead, load my brush with some paints and go in and around it to correct that line. These kind of smaller things have got a lot of importance in watercolor paintings, and I would ask you to continue doing it or exercise these smaller corrections everywhere that you want to do. O. I have really gone slow at this moment and you can see that I'm even adding some more darker values in the bottom area till it is wet. You can continue to work on a wet area, but if it becomes dry, then it becomes very difficult to work on any of the areas. So keep that in mind when you're working with watercolors, if your watercolors are just drying up, you may not be in a position to work around with it any further. So just stop working on that particular area and leave it ***, or else you can also go ahead with a spray bottle. We will see how to work with spray bottle very soon in some of our technique section, as well as exercise it in one of our exercises. Okay. I guess I continue to just add some of my splatters on the areas which are already done. Now, this is semi wet kind of a situation. It's not completely wet and it's not completely dry. This is the correct moment in which you should always add your splatters. It should not be too wet. It should not be too dry. If it is very dry, you will not be in a position to see your splatters anymore. And the textures will not be formed, whereas, if it is too wet, again, everything will become really blur. We have already gone through three of our most important techniques section where you see how those platters work. So yes, that is it. I will continue to add some more of my yellow on the right side. Excited to always always paint my backgrounds. This is something that I've learned over time. Backgrounds are usually done in two, two, three ways. You can keep it warmer, or else. You can also do it with colors like green, yellow, and then a darker value of greens, which are more easier and simpler. You just see those os those colors in nature, and then you are just exercising it. Whereas in case you want to go absolutely contemporary, you can also use the colors that are there within the flower for painting your u uh, backgrounds too. Those kind of things we will also do as we progress with our watercolor paintings. I always always say that watercolor has a lot of scope. It's all about how much we practice and how much we research into it, how much we experiment with it. Experimenting is a thing that all of us should continue to work around with horrors. It might be a possibility that we will not be in a position to naive any of our paintings. You know, after a while, what happens is that you are in a loop, and you continue to work in that loop. If you really want to break the motroni of that particular loop, It's important to go ahead and step outside your comfort zone. And that comfort zone is what I say experimenting with water colors with different colors. Your maybe sketching, improvement, and any aspect of drawing, et cetera, will ultimately lead to a progress in your whole creative journey. And that's what we are always always looking forward to. Adding some amount of my may green and just adding it, mixing it with the yellow that we have already added on the right. You can see how easily the yellow mixes up with this may green. My green is one of the most favorite drinks that I used in my watercolor floral paintings. For a while, I haven't been using this color, but now once I've got back to it, I think I would love to use it even in my future paintings. I will use the same pattern of colors, which I've done on the left and then just leave this painting ***. I'm not going to touch it at each and every place. This is something which I know about watercolors. If you continue to touch your watercolors, you might end up not having a great outcome. Whereas if you just leave it ***, where I say less is als watercolors, you continue to get a better outcome at it. Okay, great. I guess this is it and how it looks almost. If you want to splatter or just blend it a bit, continue to blend. You can see lots and lots of white spaces, which has been left in the painting. Still this painting will come together very, very quickly and nicely. So never ever think that keeping the wide spaces is not a great idea. It's always a great idea, and the final outcome is even more expressive that way. Let's move on to our next video. 32. Project 2/10 - Cosmos Flower - Part 2 : This is part two, and all we are now focusing on is the cosmos. You need your paper to be absolutely dry before you start out with this part of the painting. Let your paper dry completely before you go on to the whiter parts of your flora. Go ahead and add some water, leave the middle part, which is basically going to be in yellow. I would add the water on all the other parts of the florals, or you can even go individually petal by petal. As I always say that you should not actually start working on an acent petal. But over here, we are going with very, very light washes of some kind of a carmine, pink kind of a color, and you can mix your brown with blue to get a dirty black kind of shade, which is not exactly brown, black, very light shade. To add to the darker values of this flora. Before that, I'm adding the water thoroughly on all the petals as you can observe over here. This color is basically your quin acrodon coral, but if you don't have this color, please go ahead with any pink, carmine, scarlet, or any kind of a pink that's variable with you. It is good. We are starting out from the middle part and extending it outwards. That's how I will go about adding the colors in all the parts of the petal. Water is going to do a lot of work for us, and hence, when you are extending the colors, you will observe that water is going to allow the pink color to move towards the outer parts rather than it being in the inside. Mix the brown with some two to create the shadow area for this cosmo s. White and pink kind of color is all we want to create. Let's have a closer look at it. My paper is still because of which I can go ahead and just extend the water very well and pull it towards the middle part. Now, this is more about pulling the colors, or you can see I am starting from the outer part and moving inwards when I was applying the pink part, I was moving from the middle part and moving outwards. That's how I will go about it for most of the petals till I start actually defining each and every petal separately. So let's continue to work on it for each one of them. You will often see me using my hand just to correct in a few of the places where I think it is necessary, but you can also go ahead with the tissue rather than using your fingers. I just love to paint, and that's one of the reasons I don't think much when I'm using my fingers to correct it or when I'm using a tissue to correct it. It's all about just the creativity and the beautiful colors flowing into the water or the white areas and how they just become a bloom on paper. Okay, adding values of this quin acodon coral onto the p. As I said, that you can also use any kind of a pink color to do it. So I go with compose opera. Compose opera is another pink bright or vibrant shade that I always love to use and most of my paintings. M You can switch on to a smaller brush and just blend your colors a bit wherever you are not happy or the colors are really more. You know that right now your paper is wet, and lifting your colors will be way more easier than lifting it out when your paper is absolutely. We have seen this exercise just before, and it's always a great idea to work with the lifting technique when your paper is in a moist condition. O. Adding green onto the stem area, and I will go ahead with my bit of darker value of green, as well as lift out the green wherever I think it is necessary the darkest value because all you don't want is the background as well as the stem to look similar. Therefore, try to have a lighter stem color compared to the background. That's all you need to keep in mind when you are approaching the stem. Rather than thinking about all the colors, shades, et cetera. I always like to go with the thought process that's important rather than thinking about the colors that you really need or want. All you know about the colors is the mean green, which is a beautiful green that we have been using throughout our painting. We can go ahead and also use it for these parts. I will add some of the lines here and there just to make individual petals look even better, as well as you will observe that once I start adding these kind of lines, some of the areas I need to even blend it with clear water. I usually keep a blending brush by my side and use another brush. But there are times where I have only one single brush adding the colors, and then just going ahead and taking off the extra colors into the water, washing it well, and then again, just going ahead with the clear brush to blend the colors over here on the paper. Those kind of experimentation and those kind of work, I continue to do it in any painting that I see or I like to approach in my way. L et's go ahead and again, do the same process. This is a pretty iterative process, which you will observe that I will continue to do throughout this process of the floral part. Some more lines and some more blending, which means that you have to go ahead with another brush and blend it and pick it up till it goes towards the middle part. Some more of this darker values to actually show individual petals well. So if you don't give this criteria of showing off the petals, otherwise, what it will show of is as like a complete one petal flower, which we don't want. There are various petals, at least six to seven petals or eight petals in this flower, and we should be in a position to show all of them. Oh. Painting each and every petal is a very iterative process, as I did tell you even earlier, and individually actually showing of this petal is even more iterative. Hence, I would just add some music. You can continue to go on with this process and just follow along paint it. I'm pretty sure about it. All of you have some basic knowledge now of techniques, et cetera. And if you have followed the techniques, you will be in a position to practically nail this part of the painting. I have usually a big size paper because even if I have to pink my floral, it has to be big enough so that it can easily accommodate all the colors rather than using very smaller brushes to complete the whole of these parts of the floor. The Starting with the middle part now and it's simple yellow. Indian yellow is one of my favorite colors. I'm going ahead and adding the Indian yellow over here. Once I have added the Indian yellow, you can use a bit of the orange into it or add a bit of pink into it to make it some orangish color so that you can add that color and make some variation of the colors even when the paper is still wet. So what happens is we want variation of colors even in the middle part. I will introduce brown, as well as darker shades of brown. Towards the bottom part, it would be darker and towards the top part, it would be lighter. So that's how we will go about it and continue to work through this each and every even smaller, smaller details is important. Keeping it wet or keeping it lighter or not detailing it is one part of it. But not going ahead and even working through smaller parts is something that I like to avoid. I love to paint on every smaller part that's there in a floral or in any part of the painting. Though there are areas where you will see that I like to keep it as white, those areas, of course, will remain. But rest of the areas, I like to paint it in the colors, which is really appropriate. You can use a CPR over here for the darker value of the browns or else go ahead and mix some amount of your blue into your burn Cena and get a darker value for this part and keep applying it. You can also pick up the colors where you think it or it is up to the ma, those things will and will prevail. Oh. Sometimes even the simplest of the paintings where it has to remain really, really simple like over here, the middle part, we are not detailing anything and still I did lift out the colors to a extent and again, add it wherever it is necessary. So these kind of things do keep happening in every painting, sometimes you are just not satisfied with the final outcome, and you continue to paint it till you are in a position where you are satisfied with it. So these smaller picky things I also do, and then let your paper dry off to a good point. But before that, I will again go ahead with some more of my colors in the middle part and apply as it really doesn't show off much of variation in the shades, as well as the darker values are hardly there. So those kind of lines need to come up, and we will just touch our brush and lift it, touch our brush and lift to add these tt kind of structures as you observe over here. Once these are done, let your paper dry off and then remove the tape pattern angle. I'm pretty sure about it, you will have a fantastic outcome in your final painting. Removing my tape now. 33. 21/101 - Watercolor Techniques: This is one of the very exciting techniques where you are going to learn about blotting or again, lifting with the help of a tissue paper. Let's go ahead and have an even coat of wash throughout this entire block, which you see over here, and I'm applying my ultramarine. You can go ahead with any of the other blue shades for this part of the painting. I always prefer using ultramarine as a blue shade, but you can also go ahead with pal blue or any of the other blues that you have in your pallet. Once you have covered the entire part of the paper, and when your paper is having a good amount of mature on top of it, you have to take any tissue, make it into a roll like structure, and then start tapping off the colors from the part of the paper where you want to actually lift it out. It is usually used in many of the cloud paintings. I'm not a person who is in favor of this technique or uses this technique to a greater extent, but I have seen many artists doing it in their cloud paintings. You can always go ahead and use your tissue to pick up the colors this way. And then apply a darker value shade of supposedly brown and ultramarine to create that dark kind of color, which looks more like black, but yet not black. It's a dirty mix. And apply it over here wherever you think it can give the shadows of the cloud properly. This is a simple technique and it can be used very in a much, much more versatile way, I would say. It can be also used for your ground or for any of the other structure where you want to create some kind of textures. So overall, this has got a great use even in any of your future projects. 34. 22/101 - Watercolor Techniques: We are going on to our next technique, and this is all about back runs. Now, what do you exactly mean by backgrouns? It is like you have a tape that is attached on the sides, and then you have some water that you have applied on top of the tape also. Once you are done with the painting, almost it's a semi moist dry kind of a state. The water that was there on the sides of the tape just flows into and it gives a cauliflower kind of an effect on the edge or may create some of the textures in your painting, which you may not like. So those kind of things do happen in this background kind of a state, and we are always, I mean, this is particularly a state which every one of us should know or should be aware of. If you want to go ahead and use it as a texture in your painting, great, please do it. If you are someone who wants to avoid it, I will share a few techniques by which you can avoid. First is when you have applied your water on top of the paper, make sure that there is not a lot of water, which means that there are no puddles on that particular part of the paper. That way, what you're ensuring is, there is an equal spread of colors, as well as equal spread of pigments. Your extra water is oddly taken out. And once your extra water is taken out, there are no chances of backgroun. I am right now going ahead and cleaning the sides of the This is what I have been doing for many years now, in many of my paintings. It has helped me avoid this particular situation in most of my paintings. I would say, though there are times where I do have backgrounds or I do have mistakes like these. I can't do much about it. And it usually happens in paintings where I am not using any masking tape, and I'm even wetting the back side of my paper. It has good amount of water on the board drolic board, which I'm using and just flows back into the painting. You can't do much about those cases. And hence, I just let it be. But in this particular painting, if you have a semi dry or moist kind of a situation and you start pouring a bit of water from the sides, you will realize that there are small movements of paints or pigments from that particular area from your corner basically into the interior parts of the painting and which gives an outcome that your corners have some kind of texture, et cetera coming in, or you have not let your corners remain boring. This is one thing that I always always follow. Keep your corners absolutely boring. In a painting. Now that helps anyone to perceive your painting as more expressive, as well as it gives a feeling to the painter or to the people who are watching it. Even artists can watch and painter can watch your painting, whosoever is watching it, that this is a very, very expressive painting focused on that particular subject where you want to focus rather than the entire paper and detailing every bit of the paper. Let's move on to the next technique, no. 35. 23/101 - Watercolor Techniques: Let me explain you one of another very famous problems that we usually face and out painting, and it is a qualiflwer effect. What is exactly ifloer effect? It is basically a semi dry condition, or you can say the moisture is good enough on the paper where you are not applying any more paints, but you accidentally drop some water or just add few drops of water here and there. And from there you get this kind of displacement of pigments on top of the paper. The pigments move from that particular area where you did add the water into the other parts of the painting. So through this painting, what happens in these cases is that you get an outcome, which might not be of your choice. So all I can tell you is there is an easy way to go through this. If you have a very simple background, just go over your background once more and get done with it, or if you want to add another layer, that way also you can avoid this kind of a mistake. I have done it in many of my past paintings, and it has been really helpful. Though I have introduced this mistake in my painting just to show you how it works, and we have to let this paper dry off, to understand the last technique, which is the background, as well as this particular technique, which is majorly a qualifloer effect. So both of them, if you have to learn, it has to be like you have to give it some time. Once the paper dries off, we get to understand it completely. Even on the sides in the middle left part, you have seen that I have introduced a bit of water just to show you the background in a better way. These small issues we all face in many of our paintings, and we are always struggling as big nurse. I just wanted to make your life a bit more easier by knowing or just acknowledging the fact that these problems do happen and all of us have faced it in the past. You might also face it and may use it to your advantage in future paintings. 36. 24/101 - Watercolor Techniques: L et's have a look at how the mistakes which we have discovered, that is backgrounds and this alfer effect looked like. On the other part, I have just started a clear wash of water, and then I'm going ahead with my pouring technique. Now, what do we mean by pouring technique? Now, pouring technique is usually a technique where I take some good amount of water or some great amount of water on top of my paints, which is neutral tent, and then try to paint with it. I usually pour this paint directly on the wet surface and then just move my paper to allow it to move to various parts of the paper. This can be very much used for painting, any mist or any kind of backgrounds where you need some lighter values. So yes, that's a great way to use this kind of a technique in your painting. I have used it in my past for painting mist, and I absolutely love it. Let's go ahead. I have already added the color. I will go with one more darker shade of it. I will take the neutral tint from the brand insin Newton. I have been using this brand for quite a few years now, and I know that this paint doesn't move to a huge extent, which I usually faces a problem for scenarior. And hence I have shifted to Winsor neewton neutral tint. L et's go ahead with some more darker values and try to add it on top of the painting. I usually add it towards the top so that it doesn't move all along the painting, that's something, which I really don't want in this part of the painting, and hence I have applied it on only the top part. Once this is done, we will go ahead and just apply a bottom dark line to make the horizon line. That's how I just say that sometimes keeping your paintings absolutely simple is always great. Move your painting, move your paper, or else you will not see how these colors move and how you can use it to your advantage. Okay, great. I guess I am very much happy with how it has turned out. I will just take off all the extra water that's there on top of the people. I do like to avoid the cauliflower effect, of course, in a painting like this. And hence, we are very, very aware of the fact that tissue comes to a great use when we have any mistakes or when we commit any mistakes or about to commit mistakes, guys. So that's something you should keep in your mind. Go ahead and making a small horizon line, it just completes my painting to a large extent. Okay, guys, I'm good. Let's move on to our next important technique. 37. 25/101 - Watercolor Techniques: Our next technique is very interesting. It is using your sponge. So This particular technique is basically inspired from the pa fact that many of us do love to add lots and lots of textures into our foregrounds, or even into the wooden doors, windows, or the fields that we paint in landscapes. All of these actually led to this particular part of my technique section. Let's go ahead and apply a clear wash of paints on top of the paper. This is a flat wash that we are doing equal distribution of paints throughout the paper, and then I would use a sponge. Now, how does a sponge help you to create lots and lots of textures? I will use a very small part of the sponge and just go over it in any part of this paper to create the kind of textures that I thought. Okay, so this is not what you should look at. I'm just trying to have one more darker layer of paint or else you will not be in a position to see how my sponge is working at least in this portion of our paper. You see my sponge over here, and I will go ahead and just dabbing it off on my paper, and you will see that there is some amount of lifting that has already started happening. You can go over various paces again to create some more of the lifting. Though, I will not say that this is of great use if you are planning to lift out. Altogether, this is just to create some kind of texture for your paintings. It helps when you are making any wooden panels, or you want to paint wood, or you want to paint old barns and also. That way, I guess this is a great technique. You can also use it on a reverse way. That is, you just tip this particular sponge in any kind of as that you want and then go over a white paper to create textures. So it works both ways. I will just show you a quick example if you are good and happy to go around with that. I think it's also a great usage of sponge in this way. If you believe on spontaneity, this particular sponge can help you in a lot of way, just add some textures and try to build humans or just add some fields, et cetera, and go for a very spontaneous painting. Spontaneity also leads to a lot of creativity. Moving on to the next technique. 38. 26/101 - Watercolor Techniques: The next important painting is all about laying. Now, what is this layering? I usually use the layering technique for many of my paintings, and I like to do it in two to three layers. If even I'm doing an outdo painting, I'll like to create it in two to three layers, but I know that when you are doing a studio painting, you can go up to five or six layers if you are doing any floral painting or you want to add light and shadows into your painting. In those kind of paintings, yes, where it is more detailed, et cetera, you can go over in many layers to create that. I have applied one clear layer of my paints, and then I'm going over it with another layer. Once that layer of paint has dried off. You can go with a third layer, fourth layer, fifth layer. L layers really help to actually make or break a painting to a great extent, and I think that this is a very, very important technique in many of your outdoor paintings. 39. 27/101 - Watercolor Techniques: Let's talk about a very important technique which is really required when you are trying to paint wings of any supposedly leaves or wings of a flower. You want to displace your paints. If you are trying this out, I think this is a technique that you must know. First, always apply color on top of your paper. Once you have applied it, take a script liner brush. Script liner brush is the best to do this technique. You have to just keep cleaning up the script liner brush on the paper, and then again, wash it. Again, just dab off the extra water from the script liner brush and start applying it on the paper. You will see how easily the colors are getting displaced and you can make tree like structures for your background or even you can create wings for any kind of flowers. All you need to know is the paints that you are using. Paints is a very, very important part of this. If your paints has a lot of staininness in it. What happens is displacing that color becomes very tough or displacing that pigment from that particular area, even with a script line of brush becomes really tough. In those cases, I can only tell you that you should use the colors that has really less amount of staininness. Keep that in mind, and I feel that you will be in a position to nail this kind of painting. But just continue to do this process. It's having a clear tissue by your side. Then just using the script liner brush, taking off the extra pains from the script liner brush into a bowl which has extra clear set of water. Once that is done, just tap it off on the tissue. All the extra water from the brush, again, get back to the bathing and start doing the repetitive process. Of course, it's a repetitive and iterative process. But the kind of outcome that you can get through this process is really, really amazing, and I am truly amazed by the way we can create these beautiful veins like structure. We will have more of it coming soon in our paintings, but till then, you can try this particular exercise. Next technique is even more helpful with controlled, I would say, water and paints in your brush to create soft background trees. 40. 28/101 - Watercolor Techniques: I have used for something of trees in the winter season and much better. Let's start out by adding a clear layer of water on top of your paper. Once you have added the water, we will go ahead with a very simple and easy exercise. Just have some controlled water and p scrip line or brush. Then we will start with a very, very simple light lines. Once that is done, we will go ahead with more and more of these lines to create that soft. Let's see how I am going ahead with my script l b. Script liner brush never picks up a lot of pains and it. That's one of the reasons I always prefer a longer hand ch which I can control to a better extent compared to my brushes. Han said that, whatever is available with you this technique. I'm pretty sure about it, you may get a great outcome or even if you are getting into some broader trees or making a few mistakes. That's okay. You get to learn that, this might not be the best way to approach. You can go ahead with any of the other brushes or maybe smaller size and shape of brushes to create these kind of structure. Okay, I am happy with how this has turned out. We will move on to our next technique and the next technique is even more interesting than the currents. So it's all about mixing your colors on palette and paper book. 41. 29/101 - Watercolor Techniques: And it is all about mixing your colors on the paper. I love this technique. I have literally grown so much with this technique that I really can't emphasize the importance offered to you guys. Go ahead with my neutral tint and applying it towards any of the parts and just leave a few of the places which are white. Then go with some of your tine and the colors just move into each other on the paper. You know, you will get various other colors if you try this, much, much bigger paper. The kind of sheets you will create will be way higher than when you mix corner palette. Let's move on to the next where you mix in at 42. 30/101 - Watercolor Techniques: The next ps, if you mix your colors in a palette. Supposedly, I had a color called this neutral tint, I'm mixing some amount of ultramarine in it. You will get a shade that looks really in between blue and the neutral tint somewhere like Indigo or maybe a bit darker than indigo, but you will never get a lot of shades or you will never create a lot of shades. Of course, you can keep creating with value and maybe a particular area will be in one value, particular area will be another value. But the kind of diversity which you can achieve with the help of going ahead with any of the shades between these two and applying it on the paper to create larger number of shades and colors on top of the paper is not what can be achieved with a flat wash like this. So that's all according to me, I would always always suggest to mix on the paper rather than on the palette. But yes, there are necessities where we even need to mix it on the palette rather than on the vapor. So those kind of things will always remain. But use it very in much more intelligent ways, all I can say. 43. Practice Exercise 5: We are going to use only one single color, and that is neutral then from the brand Wins Newton. I have been using this paint for quite a while, and this is one of my favorite. Go to paints. Let's go ahead and draw a very rough outline. This is basically the rocky area for my fkgrounds. As well as for my fkgrounds, I will drop in a few dry trees. For my backgrounds, I would be using the technique number 29, which we have learned last, where we are going to paint some blurry trees wet on wet. As well as. Now, this is a really small paper. You can also do this exercise on a bigger paper where you can really allow your paints to flow, move, et cetera in the way we have done our pouring method. So all of it put together, we are going to use a few of the methods that we have learned, the techniques, et cetera in the last 30th technique and work around this whole painting. Let's go ahead and start with our background. The background is going to be very interesting. Almost a similar way we have done our pouring method. I would just apply some clear water. Though this water does have a bit of blue in it, but it really doesn't matter as we are going with a really dark shade like neutral tint. If you are going ahead with any of the other shades like blue, Prusian, blue, et cetera, make sure that you a clear water on top of your paper. I'm going ahead with a really big size brush and dropping in some of my paints towards the top part of the sky. I will use my book now to move around this color. You can see how easily the colors are moving in a wet on wet technique. Now, a wet on wet technique is one of the most interesting and beautiful techniques that anyone can explore. For me, I love to always always explore a wet on wet in a way that I can have a very expressive final outcome. Ill my paper has good amount of wetness, or you can say good amount of water on top of it. You can keep adding some darker values too and make your paper move a lot. If you make your paper move a lot, the colors will move, and you will see how they are making some clouds beautiful skies for yourself, you are doing work compared to what the colors are doing for you. This is a kind of mist that I want to show over here. So that's why I'm not going to add or keep continuing to add lots and lots of clouds or lines, et cetera. We will keep it simple, keep adding, darker, lighter values, wherever we want. Let the paper move, let the colors move. Water will do its job and water colors, and we are going to enjoy it to an overall extent. Watercolors is very interesting at this stage, I would say, because there is so much of unknown at this point. We don't know how the whole painting is going to turn out. It's just a few areas where we have just added some colors, and that to we are working with one single color. Though I think we have to touch upon a lot about the values and how we create the values. But I guess at this moment, we can keep enjoying the painting that we are doing. For everyone who is willing to do the left side of the painting, it's coming very soon. I will be uploading it. As well as along with it, you will understand that I do go ahead and always wash my paper. Sometimes what happens is that the colors don't come up as per your expectation, and you really have to just wash your paper or go ahead with one more painting for me. Washing the paper is always a good option and just trying to get to the final outcome is something that I always, always for love for. So keeping my head straight and just thinking about what can be the final one. No thinking much about what I have done. What can be done better is always my thought process, which is mostly like your journey rather than being the final destination. Let's go ahead and start out with the darkest value for the bottom area. I will not be adding it in every part, the rocky area, I will leave it, and later on, I will go ahead with a darker value in those areas. In some of the areas, we will just add one or two darker drops. That to, you can see and just follow along. The whole of the painting is real time, so you should not face any problems regarding the pace of the video. To add some clean water in the middle part. You can see how I'm introducing it with the help of my brush to make the colors move a bit towards the bottom area, though, you might feel that this may give you some cauliflower kind of effect, but it will not as my paper has good or the cos amount of wetness, which is required to not allow the I mean, the qualiflwer kind of an effect to happen. It happens when your paper is dry and semi moist kind of a situation. So in those situations, I think backgrounds, as well as your qualifler effect is most and most prevalent or Keep touching your areas, whenever it is even not required in those areas, of course, you will get problems like qualiflower effect. Okay, great. I guess this is going pretty well. As of now. We will just introduce some more of our darker values as I did tell earlier and this time with a smaller brush. I'm going ahead with my silver black velvet. I mean, this is all black velvet, silver brush, and this is one of the smallest zero size brush, which I have with myself. Just keep introducing some dots here and there, and then we will also introduce some soft lines. You will see that those soft lines really give such a beautiful background tree effect. As we practice during our session. I think it was in techniques 28 and 28 or 29, you will find it. You can go ahead, check it out. If you haven't done how you can use with a controlled brush kind of an approach. For this part, you have to wait for a while. You should not have puddles of water or a lot of water on top of your paper. Or else the color will just move a lot more than required. That's one of the reasons I always go ahead and wait for a while before you go with adding these kind of lines. This is 185 GSM, 100% cotton arches paper. If you are someone who is using 300 GSM, make sure that you work on top of it with the kind of wetness that you can judge. Now, this is something the wetness and the water control is up to you. You have to understand it. Keep experimenting with it. All I can say is there will be almost a no shine kind of effect on your paper. At that moment, you just know that there is some moisture on the paper, but not a lot of moisture, which will lead your colors to move a lot. Of course, that we are not even looking forward to. The colors will only move. Now my paper has dried off completely, and you can have a look at it. It's time to start adding your bottom part. That is the rocky area. This rocky area is having a darker value, which is neutral tint to add on. I am going very slow at this moment. It's just a final few lines, final few areas. We are going to complete, and then we are done with this painting. This is, of course, one of my favorite paintings from all the exercise series that you're going to attempt. Believe me or not, something that I have realized over the years is that the better is your approach towards a painting or the light headed you are towards a painting, the better would be the outcome, rather than just thinking much about the painting, just enjoy some live music and keep painting. All the paintings will never be a masterpiece, and that's absolutely okay. We are not here to create masterpieces. We are here to learn something, just help improve our creativity and move on. If you have even done some mistake, you exactly know that you have learned something and you will not commit this mistake in future. That's what is always the takeaway from any painting that you are attempting. Okay, introducing some more of my darker values in few of the areas. I just think that the rocks look a lot more darker in this bottom part and the left part compared to the right side, so I might have to just go ahead and introduce a bit more color even on the right. So that the colors look even right, or else the colors are not looking much even in this case. And to add some more foreground trees, I will go ahead with my thinnest brush as I can control it in a bit of way, so you can also use a script liner brush if you have it with yourself, or else any normal thin brush can do. Trees are very easy to paint because you just go ahead, make a line, and then just again branch it out. We just go ahead in an iterative process to paint it. There is one single tree, which would be larger and in and around, I would be making uneven or the trees that are larger, depending on the fact that none of them, of course, are as large as the one that I'm painting right now, but the others are smaller in some places or larger in some places like that. It continues. There is a randomness and they are all uneven. That's something which I always follow for painting nature in water colors. Now move on to smaller branches and smaller I would say plants, et cetera rather than a been trees. They are all dried. It's autumn season. So yes, we have to make some dry trees now compared to what we did earlier. Let's also go a bit with the season. I love the autumn and the winter season to a great extent because in India, we don't get to feel in our sight much of the season, but in Derry, I could enjoy the seasons a bit more. Okay, let's continue to add some more of our nicer and beautiful in outlines to make it more and more interesting. I think there is nothing less or more in this case. Whatever just seems good to your eyes. Just make those four or five plants. Of course, we need dry dry one absolutely. And continue to add that. Once it is done, let's move aside, and let's go ahead with our one of the most important parts at this moment, which is finishing off. Now, how do you get to know that this is it? We're not going to retouch it more from here. I get to know it that I'm not going to retouch it anymore when I see that in and around the subject, I have almost finished out or I have not much more area left. I always keep some areas very boring, and that should be there in a painting or else the focus never remains on your subject. So that's it, and let's move on to the next painting, which is on the left side. I know you all are waiting for that beautiful clouds skies and martins. 44. Practice Exercise 6: Let's start out with a basic sketch of mountains. What happens is that sometimes when I do sketch the mountains, I am not very happy with how it has turned out. It is going to happen even over here. So do not sketch right now, you will get an opportunity to sketch. I will erase this part and then come back and again, Roy. Yes, these kind of drawings and these kind of things to keep happening for each one of us, whosoever is working with watercolors, because towing is the basic. And if you don't get that correct, initially, sometimes these two happen ya. It's not that always we get the best of the outcome and always we are like, Okay, this is how I would have liked it to happen, and it sometimes comes in the second time. And that's absolutely okay. Only one thing you need to keep in mind, never use a very dark graphite pencil. Watercolors are transparent and you will be in a position to see it. Um, like, because of the transparency of the people, hence, always always try to go ahead with a very light pencil that doesn't put any marks on the paper, and it can be easily removed. So a two edge pencil, an HB pencil, or a edge pencil, all of these are good to go ahead. L et's now make our mountain. It's going to be a very simple process. Go a bit slow, there would be a foreground mountain and there would be a background mountain, as well as there would be water in the bottom part. I'm leaving majority for the sky. Now, the sky is to tell you that I do commit a lot of mistakes, and you will see that how I will be adding all the colors to my sky and then again removing everything, washing it with water, and then picking up all the colors with my tissue. So do not do not try to attempt it now. As I'm saying, I would be going ahead and giving you the opportunity where we will be pinking together in one speed. So this is maybe around ten or 11 peed where you do not need to follow it. Exactly the way you see over here. It's just for your reference that everyone can do mistakes, and I always always pe up my mistakes, and I love to show it to you that yes, all of us do have or do put up with a lot of mistakes. And yes, we sometimes can edit it and actually make it into a beautiful painting. There are times where I do not get a good final outcome. So that's also okay. I'm going ahead and applying some good amount of water, a generous amount of water on top of my paper, and going with my tissue to just dab off all the extra water. Though these colors have some amount of stainingness, and because of the stainingness, you will see that the colors will stay on top of the paper. Though the color scheme remains the same, hence, it is easier for me to go over it and just paint. I have a beautiful Winsor blue from the brand Winsor and tan professional great colors. You can go ahead with any of the other colors that's available with you like Cobalt blue. It is somewhere similar to the color of Cobal blue, and I really really love the Cobal blue color. So do not wait for the colors, go ahead and start applying. We are going with Cobal blue or winsor blue on the top and the bottom would be more about our simple, pf opera shade. So many of you asked me that if you don't have opera shade, you can go ahead with any of your other pink shades. But Opera is a color, which you cannot make on your own. And hence, we can all mix colors and give rise to Opera. That's one of the reasons you need to have Opera or a palette to get a sheet that is similar to this one. But you can go with any of the lighter shades like your car mine, et cetera, which can actually work for you. I always go with a lighter shade initially, and once I am happy with the lighter shade, I will go ahead with a bit of a darker shade of the same blue. You will see me also applying my yellows and my paints along with a bit of my other purpose. So this is Naples yellow. Naples yellow works best in these kind of paints. Why I say that because it doesn't react with the blue to give a green kind of a shade. But make sure that blue that you are using also doesn't react to give you any dirty shades. Now, this pincer and Newton blue is good, and it doesn't give me any dirty shades. But there are shades or da Naples yellow, which is available in the market that gives bad or dirty shades. So be very sure of the colors that you are using or the kind of colors that you'd like to use in your palette. I am going with some of my blue and a bit of purple that I've mixed in it to make it a bit more darkle. I'm going with my size for brush at this stage and making some darker clouds. You can see I dab off my extra paints on my tissue and then again, go to make some of my smaller clouds dots here and there. Let's go ahead with a bit more darker sheet of blue, as you can see, I love to add the blues to my sky. And the colors that I use for the background painting, I usually use those same color even for my clouds. Like if you are going ahead and using supposedly, very light purple for your background, I usually use some amount of purple and blue maybe for painting my clouds. That way, I'm complimenting the colors also with each other as well as they look super amazing once your painting is complete. I will tell you more about colors as we progress in this journey. There is a lot that is left if I have to say about colors. There is so much that we have to explore, analogous colors, complimentary colors, how you choose only warm shades, how you choose cool shades, et cetera. Let's just wait for all of that then you can load your brush with some of your quinacrodon coral, or else you can also co ahead with the mix of some amount of the opera that you have taken along with it, the Naples here. Now, these two colors will give you a color that looks a bit more orangish than the opera that you have used, and that particular shade is quite close to Quin crodone coral. Though I have not used Quin acrodon coral per se, you can mix these colors and make colors like these. Every color, of course, will not be exactly similar to the one that you observe on the paper. The idea is frankly not to go ahead only with the colors and look at the colors and finalize the palette, et cetera. It's more to understand how we use or control the water of our paper, how you can just go ahead and edit all your mistakes, and how you can create a beautiful final outcome. That's something which is always there in my mind. How do I make things more interesting, as well as just show off the mistakes also that we usually don't in any ping. It's time to add only smaller clouds now. We are not going to add a lot of larger clouds at this moment and blending it with our lighter values. That is Major opera and some amount of Naples yellow is all we are expecting over here. We are going to also introduce a bit of purple into our clouds. So just hold on and make yourself very calm when you are painting clouds. This is something that I always say. Watercolors is not about being very, very fast. It's being patient with your colors, with your brush and let them all share with each other. Let them all just partner with each other. Once we have applied all the larger clouds towards the top area, it's time to concentrate a bit more on the bottom part. We are going to in some of the smaller purple area over there. And let's just go with the flow. You do not need to think much when you do these things. I have learned over time that if I think more about a painting, I'm going to spoil it for sure, but whereas, if I think less and just go with the flow, I'm surely going to nail that painting. And that's what happened in my last painting. I was just thinking too much about the water, the water control, and how I'm going to add the colors, et cetera. And finally, I could not Actually make it. I had to literally wash off the entire water on top of the paper and then again start. So these things do happen. And if you go with a free mind, I'm pretty sure you are going to mail it. Sometimes you might have observed that I add the clouds, and then again, I take it back, then again, then I again take it back. So this is how I continue to work. Yes, we do even remove it with the help of a damp brush. So I do this exercise pretty repetitive till I am happy with how it has turned out. Now, you can see that I've got a very, very dark color and I'll try to merge it with the background that I already have. These smaller aspects of painting will continue and if you want a red violet kind of a color, you can just make some amount of pera into the violet color which you have in your palette, and you will get a color that looks more like a red violet. I prepare my own colors in the process, and I would always always ask you guys to also prepare your own colors. Okay. Once you're happy with how your clouds have turned out, it's time to concentrate a lot on your bottom area. You should always always check the paper before you start with the bottom, which is majorly the area that has the mountains. I would be doing it in a very, very interesting way. You would love it. Believe me. Go ahead and apply the Windsor and Newton blue shade which you have. Then once that is done, you should go ahead and start applying a bit of purple. You will see how the colors just merge into each other. They move into each other so well. And you will get some more shades, which usually you don't expect or usually you don't get if you just add the colors on the palette and then add it on the paper. So mixing your colors on the paper is always a great idea compared to mixing your colors on the palette. I will not say that mixing your colors on the palette is absolutely a bad idea. Of course, we need colors, which is important to add to a painting, and hence we should have the final painting where there is, of course, the color that is mixed to. Hence, let's just see how much the beauty adds on as being mixed on next set of colors. I've started adding the purple as you can see earlier also, and I'm adding it in darker and lighter values in few of the places. Most of them you can see is in a way that the colors are moving into the blue. I don't need to do much work. At this moment, just make sure that your complete area of blue is not covered. We will apply some more of the blue. We will apply more of the purple. So more water also you can apply. There are that can be done even in a smaller space. This is another thing that I've always learned about watercolors, which is excitement to do watercolors. I am so excited always to work with watercolors. And that excitement really holds all of these paintings together. Even if I am wrong, if I commit any mistake. I just go with a very, very positive mind that this is going to work out, and this is going to work out in my favor. So all that really gives a very, very good outcome. You have seen that I did add some amount of purple and now I'm again going with blue and adding it in few of the places just in the form of dots and all. Some of the places I'm covering it completely. Some of the places I will not. Some of the places you can also add a bit of water or just clear it out. It's a simple, easy process experiment and understand experiment and understand how you want to practically just develop a pat. This particular exercise is all about experimenting. It's not about going with any set rule in your mind, getting a fantastic outcome, knowing this is the only outcome that you are going to have. And finally, you are going to get a beautiful output. All of those thoughts. You can just giggle on the backside, enjoy the journey, and just enjoy the watercolors because watercolors is an amazing, amazing medium. L et's remove the tape pattern angle and start painting the bottom area. Though my paper is not dried up completely, I would ask you to just let your paper dry up the mountain area. I did not have so your patience at this moment. I just wanted to complete the painting as it came out so well and I was so excited to just finish it off and see how the whole look and feel of it is. I'm going to do a very, very simple color over here. The blue and the purple, which we have used for our sky, we would be a sky as well as for the mountain both. We will be using the same colors for this water area. Adding some more purple towards the bottom area into the blue that we have already added with my flat brush, and then let's see how the whole painting has turned out, keeping my fingers crossed. I know already you have nailed it. You guys are doing just great. Post this painting, we will be going ahead and doing a fantastic exercise where it would be a stepwise, easy process of painting a sky and more things into a bigger paper, et cetera. Though there would be very less work at this moment, I just want you guys to get the hang of watercolors and get to understand all the techniques. Mm techniques is the key. If you know the techniques, if you know the water control, but not holding on to only those aspects and not enjoying the flow is something that I always always refrain from. So I just expect you guys to also do the same. Enjoy the process. Enjoy the flow. Enjoy water colors, and you're going to get something seriously seriously amazing. Yeah, there's so much of happiness always in my voice when I talk about watercolors. The watercolors make me feel so happy, not only happy, it makes my soul very happy. I always find a purpose when I learn watercolors or I even teach watercolors. So I guess this is now the time to also make my foreground mountains. I've just used a simple blue and purple kind of shade to add the mountains, but I can see that the water is flowing towards a bit water area. I will use my flat brush and just remove the extra colors from there and make it a bit more white. That's it. Enjoy it and remove the t pattern angle once your paper is completely dried off. Oh 45. Project 3/10 - Sunset in the Paddy Fields: This is going to be a project three, and we are going to use our entire paper for completing this painting. I am going to even share a very important and quick trick with each one of you who is new to watercolors about how to keep your paper wet for a longer period of time. The first step right now is to mark our horizon line. Once we have marked our horizon line, we will go ahead and then start with our painting. You can take about 8 centimeters and mark it is mostly towards the lower part, or you can see it's a bit above one third of the p. That's all we are going to mark for our bottom area, which is the paddy fields or any kind of fields that you want to add, I am pretty much okay with any kind of fields that you want to depict through this painting. I would ask you guys to go for a bigger size paper because that leaves you with more opportunity to understand how you want to paint your clouds, how you want to paint your skype, then even your fields, et cetera. Though there is more work involved on a bigger size paper, but chances of going wrong goes way more lesser than going ahead if you are working on a smaller paper. Let's just add some of our water on the back side of the paper. I'm using a spray bottle right now to spray the entire part. You can go ahead with either a spray bottle or you can also add it with the help of your brush. Like this, you can add on the paper, even on the back side, just the way you are now adding on the front side. Simple, easy, and yet this is going to be the biggest trick that you can use for all your paintings. This is the master of keeping your paper wet for longer and longer and longer period of time. It really helps you. Not only to pay for a longer period, but also gives you with more opportunity to experiment. For me, who stays in a place which really keeps, I would say, warm during or hot during the hot summers and warm also during the whole of the year. It's not a place which is very, very humid and cold where my paper stays wet for a longer period of time than I would expect. And hence, I really need those extra time and those extra hours. And who doesn't like to have those extra hours? I guess every one of us likes it. Let's start out with our yellow color. This is going to be an Indian yellow. I'm starting out by marking my sun. Once I've marked my sun, I would go ahead with Naples yellow and some amount of Cenear orange to mark in and around it. As well as I would add this cenar orange even towards the bottom part of our paddy fields. The light of the sun is very, very vibrant and bright, because of which even the paddy fields, which is at a distance is supposed to not pure green. It usually takes up the color of the sun or the color that is very closer to the brightness of the sun, which is orange or maybe the brown, which has more of red in it. Something like that, we are going to depict with. Okay. I'm using a very big brush in a way. I would say as this is a more brush from the brand refile, and this is a very nice brush, which I have been using for quite some time now. It's zero by three. It has got a very nice tip. If you really want to work with the clouds, I think this is a great brush to start out with. Once we have added this orange, even towards the bottom, let's go ahead with either Sap green or olive green to mark the bottom area, and then we are going to work around with the darkest value of green that is either the forest grain or make some amount of donren blue into it to create the darkest and the darkest values of green, whichever you need for completing the bottom part of the paint. We would be using a lot of techniques for depicting the vision of painting the fields is very important, and how we put it on the paper is something that I really want to depict. It will have soft lines. It will have dark lines. It will have all kinds of lines to create the motion of the paddy fields on the right. Because the fields cannot be in one single direction. Usually, there is some kind of a wind and here the wind is mostly moving it towards the right. So we are going to experiment with that motion too. I'm going ahead with royal blue or you can go ahead with blue if you do not have this royal blue. It's a very light shade towards the top area. I will mix it with a bit of indigo to give a bit of a darker color and rest everything stays set. Blending of colors is the key, and I have been blending the colors with my round pig brush. Though you can also go ahead with a flat brush, flat brush is great for blending, and it comes in very handy when you are doing any kind of blending in mediums or oils. Though for this kind of a painting, I think even round brush is to go ahead with. My painting has got a background now and a beautiful blend, which is absolutely seamless between the skies as well as the bottom part. You should not be stuck to the idea that we need a seamless blend or something like that. All you should always think about is whatever and whenever you are painting with watercolors, make sure that your paper remains for a longer period of time. Because you have to go ahead and paint even the clouds on top of it, which is something that you can only do when you are that This is the correct amount of water that you have on your paper and you can still add the clouds. I would always say the major important aspect of a watercolor painting is to have the right amount of water or moisture on the paper, which allows you to even add the clouds. I'm going ahead with yellow occur right now and just taking off all the extra color on my tissue. Starting out with it on top of the blue. You can see my colors are not reacting with the blue to give any kind of grains. This is a great sheet that I using from the Brand Winsor and Newton. If you are someone who hasn't experimented with incent and Newton colors, I think they have the perfect blend and the perfect range of shades, which do not react and give any kind of muddy or green mixes. I've tried this with the royal blue that you have over here, and it really stays or gives the beautiful look and the glow that is needed when you are adding any kind of yellow ocher to your painting. I have used some amount of my brown now, and then I have added my clouds. As I was seeing that my yellow has taken over even the bottom part because of which my clouds were not seen very well. I would go ahead and mix some amount of my, um neutritan orals, you can also go ahead with paints gray. So I have used paints gray and then start adding the darker clouds. Now, clouds have to be dark and light both of them together, which we usually see. And for this particular painting, I'm going ahead with the darker clouds too. So yes, having said that, adding the darker clouds in some of the areas where I think it is necessary and then just adding some more of it towards the left side, few dots lines here and there. I would leave till my paper is wet. I will continue to work on it once your paper is dry. You cannot work on it any further. You have to stop the painting at that moment, let your paper dry absolutely, and then again, start applying water. So that's the basic rule. I have di said this in one of my earlier classes too. I think it's many of my earlier classes, too, but this is the key. And if you can get this, I think you will be in a position to nail all your paintings. Going with my cellular orange now in some of the spaces and mixing it with my yellow ocher. I'm using my size four brush, you will see that I will use minimum number of brushes for my entire painting. I always believe that you can go ahead with maximum three to four brushes for completing any of your paintings. You really don't need a lot of brushes. It's just the best set of brushes maybe that you can own and just complete any kind of painting that you want. Overall, there are smaller lines and smaller details, which I might add while I go towards the bottom part of the sky area, because you will see in and around the horizon line, any kind of clouds that appear, they're way more thinner, lighter compared to the one that you see above it, or they are way more bigger. And we will also use the same kind of techniques for completing this painting. There will be some clouds that I would be adding even to the top part and that particular area, you will observe will come up with clouds, et cetera that are not so not so dark in a way and they're way more lighter, but they're way more bigger in size. So that's the logic which I would be using for completing this painting. I can see very beautiful subtle shades appearing, but now it's time for working on the top part as I can feel that my top part is getting dried up very, very quickly, and it's important to add the darker clouds right away oral, so I will not have any further time to do it. Adding some amount of clear water, and then again, picking it up on my brush, adding it. Towards the right and towards the left. Not all the areas I'm going to cover. This is something that I always keep in mind not to cover the entire space, just covering some of the areas where I feel that it is important. You will always see that my brushtrokes are from the right towards the left so that I can make my clouds look fame because sometimes I even do it in a circular motion. So all those things work best. Wherever I'm going ahead and painting any kind of skies and clouds, et cetera. Some smaller dots here and there. And some of the dots I would leave just like that to work around in a way that my clouds look really impressive in this particular painting. I'm pretty much done with the top part of the sky. I'm not going to touch it more. I will now work on the bottom part, as I can see even the bottom part is getting dry, which I really don't want at this stage. I want to add some more of my darker shades into the painting, and then just add the forest green, then some amount of blue to make it even more darker while it is towards the bottom area. I'm adding right now my brown. You can see that the brown and the green will give some kind of sap green that we really want for this painting, and I'm going ahead and applying the colors, blending it. Blending is the key, as I always say. Any kind of gray gate washes, two or three different colors. You can even do variegated wash. There is no particular rule in which you should go or follow a particular rule in this case. Do whatever makes your heart happy, do whatever helps you to enjoy painting this particular sunset. I would say sunset are one of my favorites, and I express a lot where I'm painting any kind of sunsets. You can use any kind of erasor, rubber, sharper, et cetera, just to elevate your paper a bit from the top so that the water flow is towards the bottom, and the colors don't move a lot into the sun area. The whole of the paper is wet, as you know, now, what happens is that your water or the color that you have added, which is the brown in the bottom area may sp and go a bit towards the top, which we don't want in this case, and we want more of greens, et cetera to continue adding in the bottom spot, no movement, nothing, let the top part B *** and go ahead with only the bottom part. I'm covering the top part so that I can go ahead and just platter some of the water into the bottom area. Though this might not give us the best of the outcome, which is absolutely okay. Every time you will not get the best outcome. For some of the things, you can just leave it ***. Go with the flow, enjoy the moment. Enjoy the painting that you are doing and finally, we will have an outcome that is something to our liking, is all I can always always expect. For my fields area, it's important to add some smaller dots, lines, et cetera, which would look more like paddy fields. You will see all the motion that I do with my paper, paints, et cetera is absolutely simple, easy, and you can replicate it in your paintings too, even in any of your other projects that you want to attempt. I'm going with my thinnest brush, just moving the colors here and there. I don't have any particular color on my brush ases. This is only the color, which I've added towards the bottom, and I'm taking it towards the top. This is basically moving your colors or pulling your paints. And I'm pulling my paints towards the top to make it more look and feel like the fields. Of course, it's in any direction, but my wind is towards the right direction, hence you can see most of the fields moving toward the right bush. Once this part is done, you have to let your paper off before you start out with a second part. If you are not happy, you can continue to do this process, just the way I'm doing right now and add some more lines and some more movement into this grassy field or the grassland or the paddy fields. You will see that after the painting has dried off, the lines will become way more lighter, and you have to go with one more line of addition, I would say, This is how it is. If you are working on a wet surface, the lines will become way more dull and a lot more lighter compared to what you would expect it to. Then you have to work on dry to make it more darker. O. I will continue to make this movement, and this is a pretty iterative process. You can go ahead and make some amount of one blue into yours, even some amount of your pain into the green, and then add more of these lines as you observe over here. Some of the lines, you have to even turn a bit more on the right. I continue. To do this kind of a movement, but always make sure that you don't have a lot of paints on your brush, and you have to go ahead with a really small brush like a zero size brush, which I'm having right now. This is, I guess, zero, zero, from the brand silver, I mean, silver is a brand, and this is one of the brushes from that brand altogether. Yes, I can get the exact lines and the way I expect, it gives me the lines in the similar manner. Some of the lines, of course, will become a motical because you have the brush, which is loaded with some colors. Whatsoever way you try, all of them will not be even and randomness is the basic nature of painting nature too, so it goes really well that way. And that's one of the reasons I really love painting with watercolors. Watercolors has got its own randomness and nature has also got a randomness. So both of them blend together to give an amazing amazing outcome. I'm going ahead with my paint screen and green which we had and then mixing it with some amount of orange as we go towards the sun. I will use my flat brush for blending it with the grassland. You will see how I do that. But before that, let's just go ahead and complete this background bushes, or you can say some amount of foliage that we have got over here, and then move ahead with the other parts of the painting or finishing of the painting altogether. This last four to 5 minutes, we are almost done with the basics, and there is no way you can go wrong at this moment. Everything will go right from here. Believe me or not, the difficult part was the sky, the blending and the bottom portion, which you have nailed it completely. It's just some bit of detailing that is necessary at this moment and to show the glue of the sun, we have to make it a bit more orange. Near the area of the sun, and the rest of the area will remain the same color as we had earlier. O. I'm going to now work on the bottom portion as this. You will see how we are going to just add some of the paddy fields. I mean, I will show some of the paddy over here, and I will not detail it much. Believe me or not, these are absolute traspin, and you can have any kind of raspins that you want to show. But let's go ahead with some of our darkest value, mix some amount of paints gray and then start adding a bit of a broader area first, and then just add a bit of a line, which moves towards the bottom area. This is all I am going to do, and I'm going to actually add variety of them, some of them bigger, some of them smaller. Some of them with line, some of them not having a full line. So yes, that's how I'm going to add it for this painting. Adding a few more, as you can see, I am not happy and satisfied till now. All I would say is most important at this moment is to create two or three in and around the sun, where you will add a bit of orange and make it look like the bright sun. The rays are beaming through this body field, and that's what we are going to also add over here. It's something that I'm so excited about painting fields, painting skies, painting sunsets, everything just makes it come together quickly in a way that the colors are harmonious. The painting looks very harmonious in itself. It's soothing to the eye. It has colors that are even, opposite on the color, that is the blue and, the yellow. So all of this put together is something that I would always always love to create in most of my maintings. It is basically the magic that you get when you're working with water colors. Finally, I'm reading those two particular lines, which is the most important, and I would say this really helps you to make the painting come to life. I would go ahead with some of my orange now. You will see how I work with my orange and add it towards the top area. I will again go with one more. I'm not really not happy with how it has turned out, so I will use my brush to just pick up the colors and then goes with some of my orange. Whenever I'm not happy with it, I usually use my flat brush to pick up any kind of colors. In around the sun, it would be this shade, and that's what I had to add. But somehow it was more darker shade than I would have liked to add over here. Again, doing the same process in the next one, you can see how I'm coming up with all of these smaller details. Great, we are done. Let this paper dry off before you go ahead and remove it from the board that you have used. This is basically an acrylic board that I usually use for my paintings and have a final look at the painting now. 46. 31/101 - Watercolor Techniques: Water color is made out of two components, one is water, and one is color. If I have to talk about color, it has to be color wheel. I know as bigness, many of us to get put out with the idea that why do we have to learn color, color wheel, color theory, and so many other things. If you do not get into the technicalities of it and just understand a basic basics of it, I guess you are good to go ahead with. I would be choosing three colors. That is my red, blue and yellow. These are majorly my primary colors. You can take primary red, primary yellow, primary blue. I have gone ahead with the three different colors, one of which is my cadmium yellow. The second is my red, and this is Winsor red. The third is basically ultramar. That's the color which I have chosen. You can go ahead with any of the other blues that you have. It can be even, the primary blue, as I've told you earlier. Let's go ahead with the yellow. I'm going to do a very simple color wheel. First, let's put out the colors that are in our primary section, and then we will discuss a bit about the other colors that we can make from the primaries. Now there are only three primary colors, as I've told you. There is nothing else that is needed for making these kind of colors, or you can make all kinds of colors from these three shades. Though there can be various different kind of blue shades which you can use on the more cooler part and the warmer part even in the blue shades to create various different color wheels. As well as I'm going to tell you how to create color wheels using white and using black. So yes, it's going to be amazing. Let's first lay out our three basic colors. As I did tell you, now I'm laying out the red. After this, I will lay out the blue. Let us first understand the meaning of primaries. Now, these are the basic colors where there cannot be any combinations or you cannot create these colors from combining any of the other colors. They are the first t kepping stone in your color wheel. For example, you can have your other greens, browns, and even the various shades of purple, pinks, et cetera from these all shades that we are going to create from this colorway. I'm adding some tomarn right now, and then we will move to more cooler as well as warmer colors. There are lots to discuss in colors. I am planning to go step wise. First, let's understand how do we create a simple color wheel. Because this is a very, very important step for every beigner, and over here, we are talking about a color wheel that has any kind of three primaries, whichever you want to select. I will give you the option to select your own shades. I really don't want you to be a thinking about these are the only colors that can be used or those are the only shades that can be used. Let's prepare our orange. Now, there can be two to three shades of orange, like yellow, orange, orange and red orange. Why I say so many oranges can be made? Because if you mix 50% of red and 50% of yellow, you get an orange. If you mix more of your yellows. That is around septic 5% or 70% res 30% is red. You will get more of a yellow orange. And if you mix more of your reds and less of your yellows, you will get a red orange. So these kind of shades can be created. The orange shade will become your secondary color. And the other red orange and your yellow orange are basically a tertiary colors. Basically they are a derivative from all the color mixing exercises that you're doing. Though there can be various kind of color mixing exercises that anyone can do. These are just a very, very basic outcome that I'm discussing with you. I am a person who really loves to explore a lot of colors. And initially, when I was exploring the world of watercolors, I really added 48 shades of incident Newton professional colors, then some 32 shades of PWC, some around 36 shades of Mello Mission gold. Every brand new name I was going after them to just add to my color palette. But all I have realized over time is that I really do not need so many shades, and many of the shedes I have never used or opened up to date. All I have been using in my palette is about 12 to 18 shades, and those are the most huge shades for all my landscape, florals, as well as any of the cityscapes, et cetera, which I create. So you exactly need to only have a few shades that you are more comfortable with when you use them. I am going ahead and creating another shade of my blue purple. Why I say it that it is a blue purple because it is more of a blue color over here and less of the red color that makes it on the darker side. And the next would be more of a purple shade that we can create. There are various derivatives which I would be creating over here and you can have a look at it and try it. Believe me, this is a very, very important exercise for vagueness intermediate, as well as an advanced double artist. You can use any shades of blue, red or yellow to create your own color wheel. You might have often come across paintings that really are great to look at, and you might have also come across paintings that are not so good to look at. Why do we have this kind of, I would say, differentiator between paintings. So it's all about color choices that we make in each of these paintings. Some of the people love to work with harmonious palettes. Some of the people love to work with split complimentary palettes. Some of the people love to work with complimentary palette. And there are other artists who love to work with all the colors that you see in a palette. Now, that is where I would beg to differ from each and every one. If you are selecting colors, it has to be amongst these kind of ranges. Either it has to be harmonious, either it has to be any kind of complimentary colors, and either it has to be any kind of split complimentary colors. The colors that make up like all the colors, if it makes up a painting, then it's seriously going to break up that painting rather than making that painting because you will have a lot of colors that are going to give muddy mixes, and we really don't want any muddy mixes in any of our future paintings. This is all I have realized through my experience. By the way, I have created three shades over here, as you can see on the left, it is my blue. Then we have our blue violet. Then we have practically the purple or the violet shade, and then we have the red Vallet. Overall, all I can say is that the more you mix your colors, the more you learn about the colors. If you are using more of a yellow, as you can see right now on my palette and mixing with a bit of blue, you will get a yellow green shade. This is a perfect shade for many of our foregrounds, or even many of our backgrounds, depending on where you want to focus your lights on. I have realized the lights are the areas where we want to add more of warmer shades and the dark or the more further away areas where you want the cooler shades. So warm and cool shades are something that we are going to discuss next. So keep that in mind, and rest. Let's create the last two grids, which are left. One is the blue green that you can see. Now this has more of blue in it and less green in it. So I do add it as my blue green. And then I will go ahead with one more shade, which is majorly going to be my green. Some of the colors do love to create more shades from itself, like if you were adding about 20% of the blue and 80%, it would be more on the yellow greenish side. And then you can change it to 30% of blue and 20% of your some red, and then maybe you are adding the rest as yellow. It might be a combination of all of it, and it might turn out a bit on the green brownish side of it. So this might give you a color that looks a bit olive in shade. Well, all I can say is that whenever you are mixing your colors, you have to see what you come up with. Is it a brown that you are coming up with, or is it some another shades that you might not have seen earlier is all you're coming up with. Absolutely, okay. Just keep discovering your colors, keep the chart handy. Just know your colors very well, that whichever you are purchasing, that's the most important aspect of watercolors. Because if you can select your colors well, I'm pretty sure about it that you're going to actually nail all your paintings. We are going to go through two exercises once we are done with these basics of color. Let's continue to add the blue color into the primaries, and then I will move on to my next shade where I'm going to tell you how to create more of your lighter values into this color. 47. 32/101 - Watercolor Techniques: When you make color wheel, you can create various versions of it. One very easy version is just adding a bit of white into all the shades that you have created last time. That's a good way to also understand how you can create all the past kind of shades that you might have avoided earlier. The second one is to create more cooler shades with the help of black color. So you can add a bit of black in the shades that you have already created and get another color. So that particular part, I would leave it up to you, how you want to add a bit of black into it and then create various shades of it. I am creating one of it with the usage of white. Right now I have added a bit of white into my red, and you can see that I have a light, pinkish kind of shade over here. Once I have this shade, I will go ahead and add the yellow. Again, the yellow that you will see will be kind of a pastel shade, and this is an iterative process from here on. You have one more step in addition to the colors that you have created last time. That is adding somewhere around 20, 25% of white into the shade that was data. Always always keep in mind that we are not going to create very dark shades of white or maybe very opaque shades of white. It would be more of transparent shades of white that we are creating over here, and those are more to do with past kind of shades. Let's continue with our yellow orange, and then we will have our orange. After the orange, you can have more of your red orange. These are the shades. Continue to work on it. I will just add some music at this stage. There's not much to explain. You can just continue working through this color wheel. All I can say is not skip any stage because the color wheel whole concept is very important. Making all the colors or how to create your own colors is very important. Along with it, just to understand where exactly the colors fall is very, very I would say, difficult aspect if you are not aware of it, but it becomes really easy when you start understanding it. And this particular kind of thing is seriously amazing. You can actually create so many shades just by adding a bit of white and black. So there are practically about e 11 shades that you have already created with the white. And with the normal shades, along with it, you can create again 11 more shades with adding the black. Of course, I am even adding the primaries into it. Primaries are given to us. But all I'm saying is that you can create as many shades as you want, even adding simplest of the colors. Okay, great. I guess I had enough of talking at this stage, and it's time to just leave it to music and enjoy the whole process of creating these beautiful shades. Oh Oh. Mm. 48. 33/101 - Watercolor Techniques: Color temperature is a very, very important concept. Primary colors can both be warm as well as cool. For example, your lazarn crimson is a very cool red leaning towards the blue part of the color wheel, while any of the other reds that can be cadmium reds or even the cadmium yellow, you can see that these kind of colors are more leaning towards the warmer part of the color. A pool red, such as Colsar and crimson can be warmed with a bit of yellow. It is important to understand the color temperature, especially if you are planning any kind of landscapes or any kind of your clouds, et cetera. Why I say this? Because in this particular class, we are mostly dealing with landscapes and sky scapes. And hence, warmer colors advances, well, which you think if you are closer to your bottom part, or you are painting anything in the foregrounds. They would be warmer in shades. There would be more of yellows, light yellow greens, et cetera. And when you are going more towards the horizon or leaning towards the backgrounds, there will be more of the green greenish blue shade into it. Hence, understanding a bit about your color temperatures can always be a great add on when you are working with landscapes. 49. 34/101 - Watercolor Techniques: L et's understand a bit about our secondary colors. Now, what are secondary colors? If you can just create one shade with the help of 50% of your red and 50% of your yellow? That is basically orange which you get. Now, there can be various kind of secondary shades which can be created with various kind of cooler and warmer colors of yellow and red. Hence, I will not say that you can create only one single shade in secondary. There can be multiple shades of secondary depending on the kind of shade that you plan to use for your primaries. So always always understand that a lot of secondary shades are dependent on the kind of primary shades that you plan to use in your painting. For our current palette, let's understand what our secondaries are all about. For me, over here, it would be my orange, then would be my purple and the lat would be my green. These are my secondary shades which I have created with the help of the primaries that I have chosen. But the colors of the primaries over here are more from the warm family. You can see the reds, yellows, as well as the blue is ultramarine. Hence, all the colors that you would be getting will be more on the warmer side. 50. 35/101 - Watercolor Techniques: What are your tertiary colors? Now, tertiary colors are the colors that appear in between the secondaries and the primaries. There can be various range of tertiary colors which you can create in between these sheets because you can always alter the amount of blue as well as the reds or or the yellows, whatever you are creating. And you can get various kind of sheets like your yellow orange, or you can get more of a yellow, yellow, kind of an orange, and then you can have more of a red, red kind of orange than a red orange, and then you can have your normal orange. Hence, there can be seriously many, many kinds of colors that can be created in your tertiaries, and this is a real open book at this stage. If you are not sure of the number of tertiaries that can be created, please go ahead, choose two colors and start making all the shades. You will see that Altering own even a bit of the colors here and they can create multiple multiple shades. I'm super excited. At this stage. Believe me or not, we have created around six tertiary colors like in between your yellow and the red, you can get a yellow orange, as well as a red orange. Similarly between the greens, you can get a yellow green and you can get a blue green. So all of these shedes have been created as a part of tertiary. I'm going to add all of it over here in the bottom part, and then move on to the next part of this color theory. Believe me, this is one of the very easy color theories that I'm teaching over here. There are various kind of color mixing techniques that can get into. But I think this is great as a big no, as well as it can help you to even paint most of your landscapes, your sea scapes, your cloud scape, or even florals, as well as the colors for the cityscapes. So mostly we are covering it all over here and we are going to move on to two beautiful exercises that I have selected for you. Oh. 51. 36/101 - Watercolor Techniques: S, let's go ahead and understand harmonious or analogous colors. Now, harmonious analogous colors, it's practically the same. They will lie just next to each other on the color wheel. So it can be your red. It can be your orange. It can be your yellow. So you can create a very small color wheel also, and you can create a more elaborate color wheel and then just select your colors from there. I can have a color like my violet. And then I can have a red violet, a, orange, maybe yellow. All of these are almost next to each other on my color wheel. I'm going from my do shades to my warmer shades. That's how I move into the color wheel and that's how I read into the harmonious shades. You can also create greens using all these shades of greens that we have created over here. M 52. 37/101 - Watercolor Techniques: L et's understand a very important concept that is complimentary colors, and I have been using complimentary colors for many years now for many of my paintings. And hence, this complimentary color over here that we are going to discuss is basically your yellow and the purple that are opposite to each other on the color. You're going to select colors that are opposite to each other, like you can select the orange as well as the blue. You will see many of my paintings have don tran blue and the cengar orange. So these pots shade really go great with each other and the final outcomes are also amazing. You should try out this color for your paintings, and I can tell you the skies as well as the waters or even the backgrounds can look great when you are going ahead with your complimentary colors. 53. 38/101 - Watercolor Techniques: No. Today, I'm going to tell you a bit about one of my favorites, and that is split complimentary color. What is split complimentary color? You already know the complimentary color. They lie opposite to each other on the color wheel. And when you talk about split complimentary color, it's all about this yellow green that is in the star. Then the blue green that is again in the star and the opposite would be red. So if you use these three colors for any kind of foreground painting or making your greens, then this comes to a split complimentary color. Again, another way to look at it is, you are considering blue, yellow, orange and maybe purple for your colors of the sky or something like that. That is, again, a split complimentary color, which you have considered. If you are taking any kind of orange and yellow orange with the blue, that also becomes split complimentary. 54. 39/101 - Watercolor Techniques: Neutral colors are created by adding a color to its complimentary. For example, the complimentary of blue is orange. By adding a little of orange to the blue, you can create a very pleasant kind of gray tone color, and that becomes your neutral tint in this case. Now, since we have already studied the complimentary color, it was important for me to even tell you how to create your neutral tonal values. If you don't have any kind of blacks or the darker values ts gray, et cetera in your pal. This is just one of the example of the colors that can be made. You can also try the red as well as the green to create a neutral tent that would be darker in value and see what you get. Always use your color wet to select your complimentary colors and then get a neutral offit. 55. 40/101 - Watercolor Techniques: This particular technique is not exactly a technique. It's more a task. I would like you guys to add a bit of plaque into the main color wheel that we have created and then create your own tone down values of the colors and see how you can get a cooler form of all the shades with the plaques. So go ahead, do that and let me know. Let's move on to our exercises now. 56. Practice Exercise 7: Let us work through our first exercise, and it is all about our split complimentary colors. We are going to use Naples yellow, Sennelier orange, and one of my favorite, which is neutral tint. Why is it sp complimentary colors? You guys already know that spit complimentary color are basically the colors which lie almost opposite to each other. I usually break up the complimentary colors into two different colors like yellow and orange. And opposite to it, I would be picking up something like a neutral tint. Let's just draw a horizon line now and once we do draw this horizon line, it's important to draw a few other lines that go somewhere close to the vanishing point. Now, the vanishing point doesn't lie on the horizon line. It lies above the horizon line. I would be adding a few more lines. Again, just to depict the kind of vanishing point, which is, of course, not on the horizon line, as I did tell you earlier. It's a very easy sketch drawing if you are unable to get it correctly with the help of a free hand line drawing. Go ahead and use a scare. Once we have added that, we will just add a small line over here. As you can see, this is practically to denote a holding that stands on a road. We would be drawing a road that you can see in the bottom area. And to the top area, I would be adding this holding. Once I have added this holding, I will go ahead and add two of my background mountains and some of the lines that will depict some far away buildings and some of the trucks, et cetera that I'm moving on this road. Always know that water color is not about making an exact sketch or making a very realistic painting. I always love to keep it very loose and energetic. That really helps me to give a great perspective to the painting, as well as it helps me to develop a beau outcome that is close to reality or whatever you see, but painting it in my own style. That is the freedom which watercolors have always given me, and I have thoroughly enjoyed it Tildate. For so many years, I have been painting with this beautiful medium. And this beautiful medium has not only challenged me, but also taught me a lot in terms of how and what should I be expecting when I am trying to paint something it has to be from within me and how I want to paint it rather than just copying a picture, photograph or something that I have observed. It's all about how I see it, how I want to paint it, and how I want to maintain a sketchbook. So many of you have asked me about my sketchbooks earlier. I do have other classes about maintaining your sketchbooks and how you can continue to paint on your sketchbook. But all I can say is a daily painting habit is very, very important when you are working through your sketchbook exercises or if you are working through your watercolor journey. It's important to practice daily. Yes, there are many times. After a few years, I did not get much of time, and I was struggling with a toddler, and I still have days, maybe six, seven days in a row where I cannot paint, but then I make a genuine effort to get back to my routine. That is something which I have been enjoying for many years. And this intention of painting every day comes from within, and I really want to keep it as. Okay, great. I think I have already added a small truck. You can add more trucks, if you want, you can add more cars if you want. I would leave that decision up to you. This is my first road painting that practically I'm doing with each one of you. I haven't painted roads earlier. The way we are doing it right now. I would be coming up with more compositions about road, et cetera. But believe me, this is one of my favorite paintings. I have done it on an A five sized paper. If you are someone who is in love with roads and the mountains wants to take road trips, et cetera, this is not going to be a mess. So you have to go ahead and make this. Drawing process should always be slow. Now why a drawing process should be slow? The outcome that you have is always based on the drawing that you have done. If you have a good drawing by your side, it's easier for you to actually have a good outcome with watercolors. You always keep in mind when you are working through a medium light watercolors. Will add a few more holdings in the far away area, and then we will apply water on the complete surface of the paper. Once we have applied water on the complete surface of the paper, we will go ahead with our lightest value, which is, of course, the Naples yellow. You can go ahead with any other yellow of your choice or even cadmium yellow is good. But Naples yellow is one of the colors that I love to add to my paints. It is usually bright and brilliant, as well as it doesn't react with other colors to give any kind of dirty mixes, even it doesn't react with blue. I'm adding some clear water on the left side, and you can see how the water is flowing. Watercolors is by the name water, and then it comes as colors, and I have always always told you water is a very important component in watercolors. If you know how to play with water, you are completely in line with watercolors. You can partner with this medium. You can never control this medium. Water has its own way of movement, and water has its own way of how it want to react with the pains, as well as the movement of it can't be controlled. Hence, partnering with it is one of the best ways to go about. Never try to think that Okay, we can really do something very amazing by just applying the paints on the paper, and it is done. No. You have to wait and see how the colors move into each other, the combinations. This is a estd combination. I would say, I have been using these colors even in the past, and I have got great results in the past, too. So I can use these colors even in my future paintings. The orange is brilliant and very vibrant. It adds the kind of beauty that is needed to enhance a dull color like neutral tint. Though I will not say it is dull color, it is more of a cooler shade that you are adding, and the Naples yellow does a great job ahead bringing the vibrancy in your painting. Okay, great. I guess this is it. I will just go here with some of my darkest value that is neutral tint, and then allow the colors to move. Over here, it's only important to see how I add the colors and how the directionally the colors are moving into each other. There is not much that can be controlled at this stage. All you can do is just enjoy the flow of water in water colors. Enjoy the movement of your colors, enjoy how they really create the magic on their own. We don't have much role at this stage. We are the background where less is to be done, more is to be done with the help of water. I'm continuously introducing some of the other shades here and there. First, I am adding Naples yellow, and then I am adding one of our favorite, which is our cinilar orange or else even a mix of your cenar orange and some of the Naples yellow. I think this looks more like cadmium and less like your Naples yellow, but the color has turned out very pretty, and that's most interesting at this stage. Go with some of our cenar orange again towards the bottom area, and then we will add some of our darkest value, which is the neutroden. You can use any of the other sheets like beings gray if you don't have this neutritent. As many of you don't have this sheet in place, maybe. Os you can also try out the blacks if you are not very confident or are not having the sheets in place with you right now, or it's not there in your palette. I think I will introduce some orange towards the top area and then see how the colors turn out. I'm really not happy this neutritent and the yellow moving towards the top area, so maybe I have to do something over there. All the colors I have introduced, and now it's time for the pi to dry up before he coed with H L two and L two is going to define all the areas in the bottom part. This is basically the mountain, then the road area, the trucks, the basic all the drawings that you have done for defining the area, which is majorly the road area and in and around it. All I can say is that the whole of the painting is mostly dependent on the top part, which is the light, and the light really defines a lot in this painting. I'm going with some of my orange and neutral tint mix. We'll also introduce orange in some of the areas whereever it is necessary, as you can observe right now. Oh. Now I'm introducing my neutral tent. Now, this neutral tent is basically very important to include towards the middle rounds as well as towards the absolute bottom area. I will mix the colors with the orange that has already been applied and which turns out to be absolutely. Let it. Once it dries up, we will go with a darker for ground mountain. I will continue to change the values. The values are in between the orange and the neutral tint. Some of the areas has more of orange and less of neutral tint. And some of the areas have of neutral tint and less of orange. So, yes, it is a. You can easily go ahead with Tim to add some of our buildings on the left side. I will go ahead with my bigger brush. This is my three by zero brush. I have been using this brush very often for most of my paintings. It helps me to cover larger areas very quickly, as it has got a n t, which helps me to work through the entire space in very amount of time. Though I know you might be finding this painting a bit longer because the backgrounds really takes good amount of time as you can see here, that there was a lot of water flow, there was a lot of plending, which happened with the yellows, the oranges, et cetera. So keeping all of that in mind, you have to give it the time. You can break up this painting into two parts, one is for the backgrounds, and one is for the foregrounds. Even after the mountains, you can take a small break and then come back to the painting because ten to 15 minutes are still left in the painting, and lots of detailing is to be done at this stage. Though the mood of the painting has been set during the initial part, it is all about adding the colors for the top and the bottom area. I'm going with my thinnest brush and introducing some of my darkest value for my building, adding a few dots. Some lines. It is absolutely abstract. I am not going ahead and defining anything in specific, just a few lines, few dots, few trucks that we will be adding, and that is it. You are going to nail this painting that way. M The foreground mountain over here is still wet, and I'm introducing some darker values. You can see how the colors are moving, and they are becoming a bit like a bloom, which is absolutely fine. Go with all the conferences. Just make the whole mountain black. On neutral tint. That's the only request rest. You can always go ah and do the kind or introduce these kind of things into your painting. It's time for something more beautiful and more, I would say, something that I really, really love to do in my paintings, which is roads. Though I have not in, like, really, really made a lot of roads or not made a lot of cars, et cetera. But recently, I've started enjoying doing even these cityscape kind of paintings to a great extent. I am making a few lines. You can see that I'm using the tip of my brush to do the same. Do not want to work through each and every detail of it, as I always say watercolors is more intuitive. It's not about introducing every detail into a painting. It's just going with the flow, painting any coolor photographs that you also, but in your own style, in your own way. And my style would be in between being loose as well as finite detailed, something in between that. So yes, I love to keep it that way. Some of the areas have to be loose, have to be blended well. Overall, I feel that this painting has my heart completely. I've introduced a lot of darker values towards the bottom side. And more of orange as it goes towards the horizon line. Now, we are making it lighter to the darkest value as we come to the bottom. That's how I look at this painting. Every painting has got a flow of its own. Either you start from the sky and take it to the bottom or you think how you want to go about it, like you make your skies more darker, you make your four grounds more lighter. And even if your sky is like a thunder storm or maybe rainfall kind of Kind of sky which is like re laden with water and I'll be really dark. For making the painting come to life, you need to have a bottom area that is way more lighter in value. Or else the whole painting doesn't add up. It has to be a play of your light and dark values. It has to be a play of your cool, as well as vibrant sets. And that's where the whole concept of color theory comes into play. If you know color theory well, I'm pretty sure about it that you are going to nail most of your paintings. But getting it to use or even allowing yourself to use the color theory in your own way is very, very important, and that's the whole thing which I would say can make or break any of your paintings to a great extent. L et's go ahead and use our thinnest brush to mark again a few small dots, as well as far away holdings. I'm not going to detail it here and there to make it organic and show that, yes, there's a far away land buildings, et cetera. And some kind of people with along with this hoarding, then your roads, et cetera, is given. So you have to just feel that. You have to just get that from the get that notion from the paint. It's not about painting everything to the poverty detailed. Just make sure that somehow you can going with my lighter value, a mix of my orange and neutral tint. And then I would go ahead and apply the darkest value of the neutral tint. Either with this brush, that is my size for silver velvet or else, you can also go ahead with your size 00 brush. Again, from brand silver. Yes, I have been using this ruby satin brush, and it is seriously amazing. I have used quite a number of them from this brand, and I am beyond words to let you know that if you are ever thinking of purchasing a thin brush, this can be one of your choices. H. Some more small buildings and lines, as you can see in our background, and then we are going to this painting. For drying, as well as I think, there has to be one more truck, which I want to add. Not sure if I'm going to add it right away or I'm going to allow this painting to, and then I'm going to add. I'm still deciding all those factors. Every time. When I go ahead with a painting, I'm just deciding, you know, on the go, I make a lot of improvements in the painting. And sometimes I don't have that in my mind. I just see that painting looks balanced or not. Is there something that looks missing? Do I want to add more trucks? Do I want to add more roads, lines, et cetera? Does it look dark enough? Or do we have to make it look more darker? Maybe the roads. If you're not happy with it, so all of it, slowly, steadily, you just built up. Every time you're not sure of that it's going to turn out perfectly. And every painting is experimental. Believe me or not, watercolors, you can never get a perfect painting in the first go, most of the time, as well as if I also paint one painting three to four times, every outcome is going to be somewhere different. And hence, you have to go with that idea that each and every painting is going to be a bit different than the other one. Similar art or, similar paintings, similar sketching, but still the outcomes can differ from each other. So yes, it's okay if you're not getting the exact outcome. It's absolutely fine. Just know that how you can use your split complimentary colors to get the finest or the bestest of the outcome is all I want you guys to understand. I would just leave it at this stage. You already know my colors. You already know how I am proceeding, so there's less to explain. Just adding a bit of music. You can enjoy the music and continue with your painting. A Oh L et your paper dry off completely and then remove the tape pattern angle, have a final look at this painting. I think that you would be very happy with how it has turned out. Though I think that some of the layers were not enough, and we might have just added some more of the darker values here and Let us move on to the next exercise now. 57. Practice Execrise 8: Let's start by knowing all the colors for this particular painting. I will go with a harmonious palette, starting out with my favorite, that is Nipples yellow. Indian yellow, cinear orange, then we will go ahead with our compose opera. Once we are done with all the colors from the warm family, we have to also select the colors from the cool family. I will go ahead with ultramarine. Then the next would be my paints gray. And the last would be my royal blue. You all know that these are a lot of colors, and that's one of the reasons I have kept this exercise as exercise number two. Dealing with colors sometimes create a lot of confusion, but here we will go step by step. We will see how we introduce the lighter values and slowly steadily introducing all the darker values. Let's go ahead and first wet the entire paper. I usually go ahead with a crosswatch, which means that I will go from left to right, right to left, and from top to bottom, and bottom to top. That's how I go about it so that there is an even coat of water on the entire paper. I have taped down my paper. This is a square paper, which I'm using for the second exercise. You can go ahead with any size. 20 centimeter is a good size. That's what I am using for this painting. You can even use a smaller paper, but what happens is sometimes you may not get the details that we really want in a smaller paper compared to if you are using a bigger paper. Going ahead with my Naples yellow. This is my favorite she date, and I have been using the Naples yellow for many, many years now. Of course, Naples yellow also differs from brand to brand. If you are using Sena Naples yellow, it might be different than the one that you are using in Windsor and Newton Naples Yellow. So keep this in mind that whatever color you are using might be a bit brighter or lighter. So do not compare it exactly to the colors that you see over here. As I can say that first of all, I always pick up a bit more darker value compared to what others might pick up initially. And then I do apply a lot more layers. I continue to apply layers so that I can get vibrant colors. So those are the tips for adding any kind of vibrant color. I'm going ahead with my really big brush. This is big, of course, because it is mop, and my mop brush is three by zero from the brant u This is Aquat and it is files and bicenlia, I guess. I have been using it for many of my paintings, and you guys already know that all these brushes really help you to age through your paintings in a bigger way. In case you any day want to invest in a good brush, this might be the one. I'm going ahead with some of my yellow, and then some of my orange. The orange that I have is a mix of the yellow orange kind of a color that you can see over here. I'm continuously adding blue as I need this blue towards the top area. I will bend it a bit more with my thickest brush, and if I even want to pick up any colors, it can be easily picked up with the help of my thickest brush. If you want a darker value of the royal blue that you see over here, you can of course go ahead with a bit of ultramarine in it and you will get the shade that you observe. The darker values can always be created by mixing a bit of any of the other blues. Now I am just picking up a bit of colors from wherever I think it is necessary. The color that is mixed up with the yellow will give a dirty mix as you can see over here. So we might have to introduce the yellow again a bit on the bottom side. And then just add some of the Indian yellow to get the vibrancy which you have been looking for entirely for this particular painting for sure. Okay, great. I guess this is it and now we are going to go ahead with our ultramarine. Ultramarine and a mix of dontran. If you don't have dontin, you can also go ahead with prucian blue. Now, these are the extra shades that you can always have in your palette. Prucian blue is readily available in every palette that you choose almost, so should not be a problem. I keep telling you about any alternate colors which I have used. I'm using some of my car mine, but if you don't have carmine, please go ahead with compose opera that's good enough. You don't need carmine at every place. So right now, you can see most of the strokes are horizontal strokes. All the strokes will not remain as horizontal strokes as we progress. So just hold on and you will see some good amount of fireworks happening over here. The paper has become quite dry, and hence we need a spray bottle that you should be using for spraying some extra water, or else the colors will not move. This work of spray bottle, I haven't shown very extensively to any of you, which we will be using in future. So there are two definite techniques that I'm going to introduce next is. One is using your spray bottle, and another would be how to keep your paperwork for a longer period of time. So those two things, we are really going to explore in much more detail as we progress with this 101 watercolor techniques. Let's continue to just add a few more shades. And colors. We can see that some of the spaces have now become white. If you are struggling to keep your paper white at any point, I think this is a great way to go about it. Your spray bottle can come very handy in many of your paintings that you are doing. I will go ahead and just add a bit of my yellow into the pinks that we have. Though I can see that I don't know, my color is granulating to a great extent. And somewhere or the other, I'm really not sure that I want that kind of a granulation or not. Having said that, I'm enjoying what I am doing right now. I'm using the tip of my brush to add some of the orange into it, and then we will go ahead with compose Opera blending it. This is more brighter than the carbine that you can use from your palette. Usually, carbine or any of your darker value of pinks are available in any common palette that you are purchasing. So kind of good, but continuing some more blending is the way I would like to go about it. Though you know there are many paintings for the skies, which I have done in less than 20 minutes in less than 10 minutes. But this particularly really gave me a lot of problems. Though I will tell you how it occurred to me that I want to add a harmonious pallet. Clouds, you know, become very easy to depict, or you can say the skies and the clouds become very easy to actually tell you how to divide your color set. Into these harmonious analogous colors or even into split complimentary colors, how to go about it. It becomes really easy that way. Going ahead with some of my blue, my paper is wet to a great extent and my colors are moving. I'm so happy to see this. I may not be using my spray bottle anymore as my colors are moving in a great way. I mean, they are more than moving at this stage, or is all I can say. Okay. Continuing with some of my blue. You can use any blue that's available with you. You do not need the ultramarine only for this part. I'm using ultramarine from the brand Rembrandt. I have been using ultramarine from this particular brand that the Spinser and Newton Professional Rate, but then I wanted to try something more than that. And Rembrandt is a great alternative if you are looking for a bit cheaper one compared to Winsor and Newton because I really need this particular ultramarine in a very, very good amount, and that's one of the reasons. I cannot stick to the colors that I continue to use from Winser Newton, as this is a bit more expensive in India and hence I just wanted to try something a bit more cheaper than that. T hough I guess, it's all about investing, and I feel that somewhere or the other, it's good to invest in good colors, good brushes, and good paper. These three things are most important in watercolors. And if you have invested in all of these, you will never struggle in your watercolor journey. Going ahead with some of my blue, you can see and how I'm mixing to get a purple with the pink that is your compose opera. I love the fact that you can change the color of purple as per your requirement. You can go ahead and introduce the darker value purple, the bluish purple, or any kind of purple that you have been looking out for. You have already done that in your color theory, and the color theory is the stepping stone for anyone who wants to do watercolors. If you are someone who is new to watercolors, I think this particular thing can very well help you in any of your future journeys to. Okay. I guess this is it. I will continue with some of my blues as you can see over here and then add it in some of the areas over on the bottom part two. Adding a bit of it, though I am really not confident how much the blending will happen as my people has again started drawing up. I mean, drying up. And it is a continuous process. You cannot fight with the paper. You have to continuously introduce some colors or water or whatever it is, but you cannot fight with the paper, how it is drying off, et cetera. It will continue to dry off, and you might have to go ahead and still paint over it. In the areas, which is wet. You just see the areas which are drying off, do not touch those areas, which are still wet. You can continue to work on it. If you are facing a difficulty like I am doing over here, all I can say you can do is to let your paper dry off completely and then again, come back to your painting and introduce the colors exactly the way you want. Introducing some more of my pinks, as you can see, and then just blending it with a bit of blue. Again, that part I think is drying off one of the reasons, I am not introducing a lot of colors. This part has already dried off. So I have to blend it with some clear water, though clear water is not here at all, I always have to jar of water available for myself. You can see that. One is for washing my brushes, and one is a clear one on the right side, absolutely. This is very, very, very important step in watercolor journey. I'm introducing some amount of my royal blue in the top area, as you can observe over here, and I am trying to displace the darker values, replace it with a bit of lighter values. So the best part about royal blue is, it is a bit opaque nature. Because of its opacity, it works well when you are even working on top of any of your transparent water colors. But you cannot continuously do that in your watercolor paper because if you continuously do that, what happens is that the colors will not react anymore. Once you have added the royal blue, on top of it, you cannot add any of the other shades. I did add a clear shade of water over here and then now I am again progressing towards the bottom area. This continuously happens to me, you know, I have always felt that watercolor papers, if you can take even thicker and thicker, it might help you. We have like 620 GSM or like that. That works best for skies and all. But I have worked for skies starting from 185 GSM. So yes, it is difficult. It is stuff, but sti willy. In this p view, all I can say is that water control is a very, very important part, and you can learn only with practice. Practice is the key for water colors. I am right now introducing some amount of orange and trying to displace the colors. My paper is semi wet condition. It's not absolutely wet, so it is easier for me to displace the color and create some kind of clouds which you are seeing over here. This is the first time I'm introducing you to these kind of clouds, T though I have painted it earlier, but yes, I want to introduce it to you guys and tell you that this particular thing you can only do when your paper is in a semi dry kind of condition, you cannot do it before your paper has is in a condition, which is semi dry. So yes, don't try it. Just like that, let your paper dry off a bit before you try these kind of Things on your paper. Now again, I'm introducing some amount of my this bright pink kind of a color. You can also go ahead with in acadon Coral, if you don't have these kind of carmins, et cetera with you, that can also serve well. Introducing some pinks in the lower bottom area, and once this pink is done, we are going to go ahead and blend it with some clear water as you can observe here. All of this is pretty iterative as a process. You have done it, but the whole painting takes some good amount of time. That's one of the reasons. I always always say that give your painting the time it is needed. If you are not giving your painting the time it needs, then you might not be landing up with a final painting of your liking. Hence, just going with the flow is something that is very, very important in every painting which you. Lastly, guys, it was easier for me to give up on this painting. Believe me, I had to rewet so many times. I was not getting the exact colors, what I wanted to show you, I was not getting the exact kind of sky. And I was at one point in time, very into the painting, into the painting, but still I continued with it, and I wanted to see the final result. The result could have been different. I will not deny. Of course, all the results will not be the best and hence, this could have been way than what I had over here. But the final painting is something that is of my liking and I would love to continue to add these kind of paintings even in my future classes too. I think it not only helps anyone to learn, but it also gives you a lot of variety of clouds that you can even introduce in your future paintings. Some more blue that I have introduced. It is mostly the royal blue from the brand senior, and then we will go ahead with the bottom area. If you don't have this blue, you can go ahead with cerealum blue. Always, always watch the painting first at a two X speed, if need be, and then go ahead with your final painting that really helps you to any of your paintings that you are attempting. So all these paintings now with the exercises are not absolutely a basic level. It is somewhere in between basic two intermediate or maybe intermediate level two. So having said that, keep your mind calm. I can tell you you're going to every painting that you do. Just keeping your mind calm really comes very handy in any of your watercolor journey. I'm introducing some of my darkest value towards the bottom area now, as you can see over here. And then we are going to add some dots with the help of our paint screen, or any of the indicos, et cetera that you have as the darkest value in your particular. I mean, in your whole palette. Let us introduce some darker values now. The paper is quite semi bet kind of condition. If you introduce some dark value of paint screen on it, you will see that the colors will move a bit and you can also get a beautiful is on. I have added a darkest value, as you can see towards the bottom for showing the horizon line in a better way, and then I guess small dots, et cetera, is also needed. I will add that here and there once I feel a bit more confident, or do I really need to add that that I always love to judge before adding any colors to my painting? Showing some trees in the far away land or near the horizon line. I have always loved to do it. Now adding a few dots to make it over here. And then even on the left side, I would be adding one or two of them here and there. Okay, great. I guess this is done. We will just continue with it. Let your paper dry off and have a final look at it. I sure you will fall in love with the painting that you. Met you soon, again, in the next lesson where we are going to paint a A painting. Be sure about it that you're going to love what I would be teaching next. Oh. M. 58. Project 4/10 - Harmonious Sky: Let us understand all the colors which we are going to use for completing the painting. I would be going with the darkest value that can be either indigo or paints gray. Then next would be my beautiful ultramarine. Third would be windsor blue. You can go ahead with any of the other blues that's available in your palette. Then would be my royal blue. I would go ahead with two sheets of yellow, one is Naples, yellow, one is Indian yellow. And the last would be my opera. These are the sheets which I have used, but you can choose your own colors from whatever is available, opera can be replaced with a bit of pink or Tarmine that is available on your palette. You can go ahead with serens blue if you don't have this royal blue available on your palette. This is from the brand canalia. We have used it even earlier. First, go ahead, tape down your paper. This is an A four size paper which I have taken and I have taped it down from all the ends. Though we have seen in the last paddy fields painting that if you want to keep a paper wet for a longer period of time, it should be wetted on both the sides, but I will show you a real struggle that all of us faced if we are working on any kind of a sketchbook. Sketchbook exercises are the key, as I've always told. But having said that, they are a source of great difficulty level if you are working on a sketchbook and you are really not aware of how to handle the people or sometimes it's just not the correct fit of the sketchbook. I too had my set of difficulties when I was working with it. So let's go through it. I'm going ahead with my yellow first. I'm using my size six or a size four brush, whatever is available with you. To apply the colors. Now, this is a broader brush than that. You can also go ahead with a more brush and then apply some amount of quinacrodon coral or else the same color you can produce with the help of opera. You can mix your opera with a bit of yellow to get a shade that looks similar to the one which I'm using right now on the paper. One thing that I have learned through my watercolor painting is that you have to be always sure that your water is moving. Water movement is very important for any watercolor painting, and if your water is not moving, then it would be difficult for you to complete this kind of a painting. Another thing that I have realized over time is that any of the spray bottles is one of your best friends just like the tissue. If you're not happy or if you want more water at any of the places, it comes very, very handy. Let's go ahead and just continue applying our beautiful winsor blue. You can go ahead with any of the other blues, as I did tell you earlier, that's available on your palette. It can be even bar blue. You do not need to think much about the blues. It's just the colors that we are applying for now and covering up the space. I will go ahead with some of the color of the blue even towards the bottom area. You can see that the paper is slowly drying up and I don't like that fact altogether. This is 185 GSM, 100% cotton, arches paper, and I did struggle a lot on this paper. Though I know every paper that you start and continue to paint, it gives you a sense of how quickly you have to work through it or how difficult it is to work through it and how you can handle the pressure of working on that kind of paper. If you are looking for a cheaper quality good paper, I think B Hong is a great option to go ahead. I do have many sketchbooks of mine where I have used B hong paper, and this particular sketchbook, again, is from vibrate parcels where I have used arches 185 GSM, 100% cotton paper as these are not available directly in the market and most of the people who are doing hand binding for you can help you out with it. Um, if you are someone who is looking for a perfect sketchbook, you can always reach out to WagnParsons going ahead and adding some amount of my darkest value of indigo or else, paints gray, as I did tell you, but I will not be happy with how it turned out, believe me, because it's not giving me the exact results that I was expecting. The blues are beautiful, but quickly, the whole paper is going to dry up, and I'm not sure how to continue to keep it wet for a longer period of time. And hence, I guess there is a lot of issue when it comes to your final painting at this stage. You will have more of clouds painting coming up in many of my other classes in future. But if you are someone who is looking for an absolute digno friendly cloud scape, then there is one of my audio classes which I have given where you can paint about 15 different clouds and it is amazing. You can have clouds within eight to 10 minutes, you can have clouds which are painted with longer period of time. There I've even explained the impact of climate, or you can say the impact of keeping your paper moist for a longer period of time, how much time you can use for an entire painting, how quickly you have to move through it and a lot more. Okay, let's not get into that. Let's continue to work on the top part of our sky, though, I think it has turned out well. But now when I look back, I was really not happy with how it did turn out. And hence, I had to work through it once more. I'm picking up the colors from wherever it is necessary, and then I will go ahead with some of my beautiful royal blue. I have been using this blue just to tone down my shades wherever it is necessary. As you have seen that for past three to 4 minutes or 5 minutes, I have been working on the top part of the car, which leaves me with very, very less amount of time to go ahead and work on the bottom part. This is important note that you all should understand. I am working on a 185 GSM, 100% cotton paper. It cannot hold a lot of water nor it can hold or allow me to go through multiple washes. This can only take around two, two, three or maximum four washes of watercolors that are heavy washers. You note that my style of painting is more to do with heavy washes, and that's one of the reasons it becomes difficult for me to really work through any of the heavy flow of watercolor when I'm using a 185 GSM B. For these important days or for these times, I usually keep a spray bottle handy. If I'm not getting the kind of clouds that I'm expecting or if I'm not getting the kind of final painting that I'm expecting, I usually go ahead with my spray bottle, spray some amount of water on top of it, and then again, go over the areas where I think that applying color is necessary. There are few important techniques or I would say helps, which is very important when you are working through watercolors, one of them is your spray bottle. This second would be a very important part that is mainly your tissue. So these two keeping in mind is a or important ingredient of water colors is all I'm going to tell you. I'm applying darker values towards the bottom areas as well as picking up some of the colors from wherever it is necessary. You are seeing that the whole painting has taken me around 29 to 30 minutes and believe me, it will take that I'm really not happy with how it has turned out. If you're happy with how this has turned out, then it's absolutely fine. Leave it at this stage and let the paper dry off. There is no particular rule that you may like something or you may not like something for me. I was not liking how the cloud turned out. For me, I wanted something a bit different than how it has turned out in this painting. So I had to work through my spray bottle and I had to work through the other parts like tissues and just blending the colors again with the background that you see over here using my blending brush, that is a damp brush to continuously just go ahead and apply the colors. It's not the best idea to go ahead with it. This is just a satisfaction level. I feel of an artist, and where we go wrong is to continue working on the paper. You are seeing that now my paper is already drying off and I just dried off in most of the places, and still I'm working on that paper. If you continue to work on the paper, which has dried off completely, what happens is that you will end up with patches. And that's what you are going to watch even in the top part of the sky. If you are getting the patches, believe me, that's not the great way to go about it. We are going with soft, beautiful clouds. And if you have to keep your clouds soft and beautiful, it's important to just not allow your paper to dry off or stop working on it when your paper has dried off. I'm now adding a mix of my windsor blue and some amount of ultramarine. This is not the best way. You will see that I will get some lines. You can stop, as I did tell you earlier if you like the painting and just leave it at that stage. Observe what I'm going through as of now and how I am working through it. Do not follow any further next steps, till I tell you, this is just telling you how I ruined the painting, and then I again got back into the painting spree and how this whole painting turned out. So leave it at this stage, and we will see how my spray bottle comes very handy for helping us to actually get a moist workable paper that I'm going to work on again. You can see that almost the whole of the colors from the yellow and the pink side is gone. I have to go ahead and again apply the colors to an extent, but all I can say is that the complete paper will not become white for sure because there is a lot of staininess from the blue color that you have applied earlier. And because of that stainss, it would be difficult for you to go over any white parts that you need in this painting. Hence, whenever you are painting, keep that in mind if you are even picking up any colors with the help of your tissue or even with the help of your spray bottle, it is not going to make your paints or the whole of the painting go white, absolutely. That's the beauty of watercolors. Watercolors is less forgiving compared to any of the other mediums. But the final outcome has got various different variety of I would say, beautiful, beautiful, soft blooms, et cetera. And that's one of the reasons I'm always, always inclined towards this particular medium compared to any of the other mediums that I've used to take. Let me now go ahead and just add a bit more of the blues that I did at Audio. I'm going to use the same blues. I'm not changing anything in terms of colors. Let's keep the same set of shades. The darkest value is basically your indigo or pains gray because my Pains grey has a lot of blue in it, and that's why I do use Pains Grey as an alternative of indigo. If you don't have paints gray, you can also go ahead with handcom. The paper is really big, which gives me a lot of opportunity to play with the colors, to create the magic with the help of the brush. So bigger papers gives you more opportunity to work around any, I would say, smallest of the detail that you want to add in your painting compared to smaller papers. Smaller papers leaves us with less opportunity though there is less paper wastage altogether, but experimentation also is restricted in a smaller piece of paper. I am almost done with the top out of the sky. I'm not adding a lot of colors at this moment. If required, we will go ahead and add it later on. I will be working with my smallest brush now. This is my size 00 brush from the brand, um Silver, and this is a ruby satin brush, and I'm in love with it. I have been using this brush for quite some time, and all I can say is this is a fantastic brush that you can use for tina lines, et cetera. My paper has a lot of water, which gives me an opportunity to not only play with it, but also to pick up some of the water or the colors, as you can see from the places where I need to or else the paints are moving a lot, which I don't want at this moment for the top part of the sky. Sky that we have created now is quite different than what we did create earlier. I would say the earlier sky was also nice, but I just wanted to have a sky that looks similar to the one that I created now, which is one of the reasons I did apply my small spree bottle to remove all the excess color and then again, go over it. Right now, I am going a bit slow and adding some of the layers wherever it seems to be necessary and slowly going with the bottom part. If I don't touch the bottom part now, again, the colors will dry up, which I don't want at this moment. Going slow is always an art. It's not that you can go slow very easily. Believe me or not, watercolors requires a set of fast and slow techniques wherever it is necessary, like over here, when you have covered the entire piece of the paper, you need to go slow. Along with that, you have to keep in mind that the paper is wet enough to apply all the paints, colours, et cetera. Having said this, I guess, the more you practice, the better it is and you can really get a hang of it very, very quickly. Every day practice is the best. If you can't, at least try alternate day. There are days where I go a lot without practice, but still I try to get back to it as often as possible. Some days are like just simple skies, just simple landscape, just drawing something so that I can finish it off in the next painting session. Having said all of this, I try to keep up with everything that I continue to paint in this watercolor joint. When I talk about watercolors, it's always a journey. Do not try to fast forward the process. Believe me, watercolor takes a lot of time. Portraits take a lot of time. Everything that you learn takes a lot of time, and it's absolutely fine to give it the time it needs for anything to just come up to the pace which you want. I have given a lot of time for my paintings which has lots of buildings in it, urban sketching, et cetera. I still continue to do it, but in a more loose way, I am continuing with the style of painting, and still, I feel there is a lot more to learn. Every sketchbook where I start and I continue to paint. I feel that there is more and more that can be explored and more and more that can be done. So all of Is coming together with time and time is the essence you continue to learn, you continue to paint, and finally, you have a fantastic and beautiful outcome. I will let my paper dry off and then paint two beautiful, I would say, small mountain ranges in the foreground area so that I can have overlapping mountains over here, and this will give me the sense of a horizon. Now this sense of horizon is equally important when you are working through your watercolors and mainly when you are working through your skies, a small horizon is the key. If skies is what you are concentrating upon, then that's the key. By the way, has anyone till now been able to guess the kind of colors which we have used? It's again, more of a harmonious palette, you can say. All the colors are just close to each other on the whole of the color wheel. You can have lesser number of colors even for a harmonious palette or you can have more number of colors. The last one exercise, which we did as the eight exercise, as well as this final painting uses similar set of shades because I really did not want you guys to get confused in the process and concentrate on the shades, more on concentrate on the colors more. The more we need to work upon is the water control. As I always always say, in any painting that you do, water control is always the key. Once your foreground mountain is dry, you can go ahead with a darker value. This can be absolutely a pink gray and then add another range over here. Don't think much when you are adding this range. It's absolutely free hand kind of a drawing. If you have done a small sketch, it is always always helpful, but rest if you haven't done that, that's also okay. Finally, this is it. Let it dry off and then let's have a fine look at it. Let's know our colors, remove the tape pattern angle. There might be some seepage here and there, which is absolutely okay. Do not think much about these seepages. Just look at the bigger picture, which is all about having a beautiful outcome of the scar with harmonious color palettes. I will meet you again tomorrow with more number of techniques that we are going to learn, and it would be helping you to keep your paper wet for a longer period of time or even to erase any of the mistakes which you have done in watercolors. 59. 41/101 - Watercolor Techniques: One of the most important techniques for keeping your paper wet for a longer period of time is applying water on the back side of the paper. All our paper are usually cotton papers because of which, if you apply water on both side of the paper, it remains wet for longer, longer period. And even if you want to paint like clouds or any of the other things like water, et cetera, which needs a lot of time for all the experimentation can be easily done on it. Hence, this is my favorite technique. 60. 42/101 - Watercolor Techniques: I have already shown you a lot of general techniques that we usually use in watercolor. Now, let's go ahead and become a bit more specific. We are going ahead with four different kind of ways in which I usually paint my mountains. And the first one is wet on wet, where I will go ahead and apply water on one part of the paper and then load my brush with some amount of pain screen. Once I have loaded my brush with some amount of pain screen, I will just draw a simple line. It can be crooked, et cetera. This is all about painting mountains. So you can apply line in any way or any parts of the place wherever you want to add the mountain area. I'm going ahead and applying a lighter value initially and then adding some of the darker value towards the bottom medium. I always love to change my values, and that's one of the ways you can make any painting more attractive. Now, this is an absolute wet on wet way in which we are creating soft mountains. I will go ahead and add a wet on dry method in the next go where we will add our mountains with a wet brush but on dry paper. But before we go ahead, let's continue to add some more colors onto these parts. I will also splatter some amount of water because splattering is always good and create textures. 61. 43/101 - Watercolor Techniques: I will go ahead and start out with just any line. Again, my line is not straight. This is basically for my background mountain. I will go ahead and just add any color of my choice. This should be usually a lighter value. Here I have taken pains grey. You can also go ahead with any other darker sheet of brown, blue, et cetera, whatever you want to go ahead and add. Love to splatter some of the water into the mountain spaces, and that's what I'm doing even over here to create the textures. Once the paper is dry, we will go ahead with Layer two. The layer two has to be darker compared to the layer one, where we have added the background mountain. Usually, you will see these kind of mountains coming up when there is a lot of mist or else, even during the sunrise sunset in the mountains, these kind of scenarios are very much seen. This is a very, very important kind of mountainscape that you should always always try it is easy, and those flattering creates the required texture that you need for any kind of mountain painting. It's easy, simple, yet very interesting for a Pigna intermediate, as well as an advanced level artist. I will go ahead to the next method now till then if you want some more water, go ahead and play with water. Watercolor is all about playing with water. Flattering the water helps to displace the pigments from that particular area. 62. 44/101 - Watercolor Techniques: This is my third way of creating mountains. I usually go ahead and work on it in a wet on dry method, but I initially add one single color like it can be a paint screen or blue or any color of your choice, and then add some amount of lighter value like orange or maybe pink or any of the other shades that are closer to each other on the color wheel. I will go ahead and use orange. They are mostly complimentary to each other. You can use complimentary colors or even the colors that are next to each other on the color wheel. That way, you are not only creating various gradients and various colors within this mountain. I also adds a lot of interesting and contrasting colors that does come up when you are working on a bigger size paper. Over here, we are working on a smaller size paper, and hence so many colors as well as the work of water may not be possible to explore on the best possible extent, but you can see that I'm splattering some water over here. I use my bigger brush only, which is my mop brush to do this. And then, again, I will come back to some of the paths with splattering, adding the colors or removing some amount of colors. Those are usually the way I create different kind of values, textures, et cetera, within a mountain peak that I'm adding in a painting. You will see how I come back now once my paper is in a semi dry condition and start adding or just picking up some of the colors in few of the places where I feel that it is important, thereby creating lots and lots of textures and lots and lots of you could say, darker and lighter values, mix of colors, et cetera. Many of these painting ways are used in more advanced kind of techniques, but any bigner can also use it in their own paintings and create fantastic outcome. Water is a major play in watercolors and hence, always always remember to use water to your advantage. Let's move on to the next one now. 63. 45/101 - Watercolor Techniques: Let's go ahead and paint our last mountainscape. This is the toughest out of all, as I feel because there's a good play of water and paints and colors of one single color itself within this painting, and hence we are going to go ahead and first apply a very random shape for our mountains. And then we will start adding some of the paints in a few of the areas, as well as pick up the paints. And from some of the areas along with it, make sure that you are also adding some of the darker values. I have added some water and made one part of this mountainscape a bit lighter in value compared to some of the other parts. Towards the bottom area, I have started introducing some darker colors, and then that darker color will move a bit right now it looks more like the upper or the middle mountainscape that we have done in two shades, but slowly steadily, you will see that I will start adding one or two lines, and those lines will start adding the rocky texture to our mountain. I have used this kind of mountainscape in many of my paintings, as well as this comes very handy for any kind of a simple landscape, if you want to attempt this kind of mountainscape actually involves a lot of lifting technique. You will just wash your brush, dry it up, and then lift out the colors from a few of the areas. Then again, repeat this process so that you start getting some of the lines for the rocky terrain which you want to show well. I did not get it as such as of now, and I might have to go ahead and repeat the process. The whole of the painting is in 1.5 x speed. Actually, all the four paintings were in 1.5 x speed, as I was just showing you the way exactly I create these textures, then the mountains, et cetera. So now you can observe there are a few lines that has come up, as well as I have picked up some of the colors from the areas wherever it is necessary. Let the peer dry after this and have a final look. 64. 46/101 - Watercolor Techniques: Four different ways in which we can paint our grasslands is something that I am always fascinated about, so let's start. How to paint simply grasses or grasslands or you can say that a basic outcome of the grounds, I go ahead with my lightest value, which is yellow, and then I mix some amount of my yellow green in it. Along with it, I will also add some olive green and the dark green that's available on my palette. You can also go ahead with only yellow and dark green. When you start mixing up from the top, you add the yellow, and from the bottom, you can go ahead and add the darkest value of green to get the colors that you see over here. Now every palette does differ to a greater extent. I'm using Indian yellow, and I'm using olive green plus forest cream from the brand sennelia. This is the easiest way in which you can paint your crown simple blending and then allowing it to rest for a few minutes. Once it rests, there will be less water on the paper, and then we are going to go ahead and splatter some amount of our water or clear water on top of it. Splattering is always a great technique when you are looking out for some textures. Let's go ahead and splatter some clear water now. Moving on to the next one now. 65. 47/101 - Watercolor Techniques: This particular technique is practically an extension of the last one. What I usually do, I will blend my colors in a similar way I did for my last one that is going ahead with yellow, then some yellow green, olive green, and forest green. You will see me using the same colors throughout. I am not going to change the course of the colors, et cetera, only I might use some amount of blue to add the darkest value. It can be even bluish pains gray or indigo. My indigo actually moves around a lot as it is from the brand QR. That's one of the reasons I will not be using indigo. I might use a bit of your pains gray to create the darkest of the values. Okay, let's move this acrylic board. You can see that the colors are moving and once the colors have moved to an extent, I will go ahead with the darkest value, applying it on a few spaces. Now, this part is a bit different than the one which we have done last here we are introducing some patches of darker values of green, which you can usually see in any kind of grasslands. Now, this particular part, I always love to work around with in my paintings, and I'm even picking up the colors from a few areas where I think it is necessary. Once I have picked out the colors, I will go ahead and just apply some splatter. We are not going to complicate this painting much as we are just trying to understand the various ways in which a ground can be painted. Great. I guess, I'm good and we need to let this paper be like this for a few minutes before we go ahead with these platters. I will tell you if you allow your paper to rest for two to 3 minutes and then go ahead with this platter, the water on top of your paper reduces to a greater extent. Because of which, once you splatter the water, the pigments will not move to a great extent. Whereas if you splatter very early, the pigments will move to a lot. Um, area. And I would say that sometimes we do not even get to understand that whether splatter has happened also or not. I will repeat the process of splattering once more and then move on to the next technique, which is very interesting. 66. 48/101 - Watercolor Techniques: Guys, all four of these techniques are at 1.5 x speed. If you are looking out for adjusting the speed and painting along with me, please go ahead and adjust the speed on your screen. I'm going ahead with my indian yellow, and then similarly, I will go ahead with my darkest value as we progress towards the bottom ariam. The interesting part about this painting is we are going to actually explore a technique called as pulling the paints. It's a simple method of moving your darker value pigments from the bottom towards the top ariam. You need to have a good tip of any brush, or you can also go ahead with liner brushes to do these exercises. Ah, let's first go and blend the colors a bit more wherever necessary. Nowadays, I've started keeping a towel that is basically a cotton towel by my side, as I have used lots of paper tissues, and it's not an environment friendly thing because of which there is a bit of a change in the towels that you see. Okay, I've started pulling the paints. This is my brush from the brand, Escoda, and I have been using this brand for a while now. You have seen this brush in many of my audio paintings, too. Wherever I just feel that there is less of these grasses that has come up from the bottom, I will go ahead and just add a bit of colors into my brush and then again start pulling the panes. I might have to switch over to another brush like this one and then go ahead with clear water, as you can see over here. Let's have a closer look at it. This process though iterative and you have to go ahead and clean your brush again with clear water or else you will not get these white grasses like I'm getting over here. The pigments are getting displaced from that particular area. But again, for this process, you need to have water control, or you have to wait for a few minutes before you go ahead with this process, or else the colors will move a lot, the pigments will move a lot, and you will not get these white lines as we are getting over here. Once we are satisfied with the white lines, we might like to add a few more of these colored or darker value lines, which I feel is equally important in this painting. All I can say is the grasslands or the grasses are very close to our eyes, and we can see the subject well. Though the work has been done in a more abstract way, and I love to always interpret anything that I see in my own way. So overall, I think I'm happy with it. Let's move on to the next one. 67. 49/101 - Watercolor Technique: Et's move on to the fourth kind of Ruslan that I usually paint in many of my paintings. And here I will be using a fan brush. Though in my other paintings, I haven't used a fan brush much, but I really want to tell you how you can use your fan brush to your advantage. So let's go ahead and add some Indian yellow. The yellow is really bright, which I have. This is from the brand en we are going to go ahead and apply some greens. You can go ahead and take any green of your choice. I have taken a really dark value green. What I did was, I took a brush which had a nice tip, and now I'm trying to draw lines. Now, these lines are basically the fields of any particular crop or grasses or any particular I would say, harvest that really you want to do, but it is in the early stages. That's one of the reasons you will see this green color which is coming up. The fields are, of course, you can also paint and brown, but the brown and green doesn't give a very good outcome. That's one of the reasons. I love to go with the yellow. Yellow is bright. And vibrant, as well as the outcome is really pleasing to the eye. I'm going ahead and blending the colors a bit. It is just too much of a yellow, and I have to blend some more of the colors as the green has turned out to be really dark. I love to do this process very often for many paintings of mine, you would have seen. Now, all these lines actually merge to one single point called as the vanishing point. You already know about the vanishing point from my audio classes. If not, then I would just give a small brief. When you are doing any kind of urban sketching or any kind of sketching, there is usually a point which like all the lines have to merge to that vanishing point. There can be one vanishing point. There can be two vanishing point. There can be multiple vanishing points for cityscapes, too. It can be on the horizon line. It can be outside the horizon line. So it all depends where you want to place it. For this one. We are somewhere outside the paper, and now I'm going ahead with my flat brush, pulling the paints to an extent, and for some of the areas, I'm even going ahead and adding some new paints. Pulling the paints was a great technique, and I love it for all my paintings. But in few of the places, I have to go ahead and introduce some more of the colors or else it will not exactly have the look and feel which we want. Okay, some more splatters, and then we are done. Let's have a final look at it because I'm really excited to understand how this has turned out. Once the paper is dry, we will go ahead and just remove the tape at an angle and have a fine look at the painting. But before that, do you see that there is no color in the sky area? I will go ahead with some royal blue and start adding the colors wherever it is necessary. Basically, all the white spaces, I will just go with a flat brush and cover it with a very light blue shade. 68. Project 5 - Autumn in Old Town - Part 1: This is going to be an E five size painting, and I am doing it on a sketchbook. You can go ahead and do it either on a sketchbook or on any size of paper of your choice. You can also go ahead with a bit bigger size. I would leave that decision up to you. I have just marked a horizon line. It is almost at the middle of the paper, and now I have taken one point from where most of the lines are originating. This is basically the vanishing point. The vanishing point is almost on top of the horizon line, and I'm drawing a few lines as you can see from there. The vanishing point is not exactly in the middle of the horizon line. It is placed a bit on the left of the horizon line. I would go ahead and just draw a straight line after this, but before I do it, I will take some time to understand where exactly I want to place that line. This is a very, very important point at this moment to understand how you should go about your sketching. Sketching is always a backbone for any painting that you are doing, and better you can sketch, the better is your outcome. Though I haven't focused much on any of the sketching parts before this because we were mostly focusing on all the techniques of watercolor. Watercolor comes up with its own set of challenges in terms of techniques and in terms of water control, et cetera. Having said that, if you have a good sketching by your side, it becomes easier for anyone to frankly go ahead and have a good outcome as a final painting. I always make sure that my line is balanced, which means that on the left, also, I have the exact space that I'm cutting out, as well as on the right, also, I'm cutting out the exact space. Hence, it looks more like a balanced building rather than it not being like a balanced building altogether. Yes, I guess I'm pretty happy with how slowly we are approaching towards getting our final sketch out. I feel that you should always make an effort to do the final sketch. It is always easier to go ahead and just trace out. I have already uploaded the painting on the resources section, so you can go ahead and just get tracing done out of it on your final painting, but that's not what I would highly recommend you for all the paintings. It's easier to do that and get a great final outcome. Having said that, as you progress in your future paintings, I would ask you to go ahead and always always sketch whatever you are trying to paint that will help you out, even in your other paintings that you plan to do ever after this. As we progress with watercolors, I will keep adding some of the other tips also for sketching that will really help you to ace through your sketching parts very, very quickly. I have made the top part of the tower a bit more smaller compared to the bottom part. And story, we would be adding a tomb like structure. It is the, of course, before winter, it is autumn season, and I wanted to reflect the colors of the autumn season in this painting. We will be using lots of yellows, browns, et cetera, so be ready to actually enjoy a very colorful painting going ahead. There's less to explain at this stage. You just need to go ahead and keep joining your lines as I'm doing right now. As well as on the left, you have to also join the line. There's a straight line that I did mark in the beginning, and that straight line is basically a guideline for our whole sketch at this moment that really helps us to actually find the fine balance in any architecture that you are going ahead and drawing. I always always go a bit slow with any kind of architectural drawing that I am doing. I am not a person who has been an architect or who has a great knowledge about how to draw buildings from the beginning. I have learned this over time, and I'm still learning it, I would say. Mostly, whenever you are approaching a painting, make sure how you can go ahead and just simplify it into simple, um, into simple buildings or into simple small lines, et cetera. Now, if you can actually simplify your sketching, it becomes very easy even to paint that. If you are always trying to make your paintings more complex, then it would become really tough for anyone. You me or any person to practically approach that painting, and it usually ends up in long hours, whereas these kind of paintings can be done very quickly within 40, 45 minutes. That's the way I approach my paintings. I really can't give a whole day to painting. I have a child, I have house. I have a lot more things to look at, like, business, et cetera. Having said that, I always try to strike a balance between my painting hours. Then I do edit a lot of videos. I even give it on Sci share regularly, as well as on YouTube. So yes, finding that correct balance is very important. Painting daily is a very, very important part. If you can paint daily, I can tell you you can have a great, great, I would say, practice sessions that you are doing and a very easy or a very quick improvement can be seen for each one of you who is following this routine. Though there are days where I too can't paint and I might have to really taken off the days where my child is at home. So yes, those exceptions are always there in everybody's household or you have your own priorities with work, et cetera. Many of us are even working, and hence, it becomes really tough to only go ahead and keep painting. By the way, I have already added some windows. You can also do the same and then just extend a bit on the left with another line as you observe over here. I would always ask you to watch my any kind of session that I'm giving over here on a bigger screen because bigger screen really helps you to go ahead and understand the whole painting much better, even any smaller lines that you tend to miss on a smaller screen can be taken care of. And you have, I mean, there is usually no way that you are going to miss anything on a bigger size screen that you are watching. Even a TV is great if you are someone who wants to watch it on a TV. Ty to draw some faraway houses. As you can observe over here, I'm going ahead and making a few lines, and then I will just draw a few street lines. That's it. And it would really tell me how I am adding the houses pretty quickly and easily in the background. So the whole focus, of course, will remain on the tower that is on the front, but there has to be a few background houses that also exist or buildings that exist. And for that particular reason only, I'm adding all of these. Let us now go ahead and make some foreground houses. Foreground houses will also have their roofs. I'm going to go ahead and make some easy roofs over here, just some parallel lines and then using a slanting line going to join them. I do alter the size and shape of these houses always. That way, all I can say is even if architects have designed something, these old towns will have different kind of houses compared to what you will get in any kind of a new society where all the houses, et cetera, may look almost similar. So when there is an old town, make sure that you add some number of houses that do not look similar in totality and then have a final look at your sketch. But make sure that you are adding a few trees because it is the autumn season. And for the autumn season, it's important to draw a few trees. We are almost done. We are very close to being done for them with our sketch. I would go ahead and just draw these lines where basically it's pavement kind of place. And hence the trees are growing there itself. Altogether, long, long trees. I'm trying to add a few lines to show the shape, then size, breadth of those pavements. We will also do the same for the back side of this line that you are observing right now, which I'm drawing, as well as on the right side, also, we are going to do the same thing. Do not think much while you are drawing this tree. The process of sketching and painting is very different. And as I have told you do also, that the sketching is not very, very simple for this one. Having said that, if you take or diget it and if you try to try it, I'm pretty sure about it, you are going to nail it because everything is real time, and real time gives you a lot more opportunity to think, wait and then go ahead with the painting. Painting is going to be a bit longer, as I did tell you earlier also, it's going to be around 40 to 50 minutes that we are going to do in total, along with the sketch. If you trace the sketch, it becomes way shorter that way. For the area that is on the back side of the left, I mean, the one that is there in the front is basically a pavement, and the other one is basically a bounded area. And in that bounded area, you will find a lot of trees. I'm just adding simple trees, sketching it and even adding a bit of shading into it, it becomes easier for me to go ahead and paint on top of it. That way, it is way easier for me, and I do it in the most easiest way possible, always. I'm someone who really loves to the life more and more easy. And that way I continue to sketch more detailed stuff. But when I'm painting, it takes me less time to understand where exactly I'm going to add the darker and lighter values. There's a foreground tree that we have also created on the left side, as you can observe. And then there are background trees. Of course, there has to be more and more trees, a few more branches, and then you can see the left side is almost done. Now we have to focus on the right side, how we go ahead, add a bit more roofs as you can observe over there. These are smaller details that we are adding right now. And then even on the pavement area, we have to add a few trees that I will, of course, take care as we progress. Okay, great. I guess I'm happy with how this is turning up altogether. We have to add a few more buildings at this stage, and adding some buildings means some more of the sketching. These are straight or slanting lines mostly. Believe me, whenever we are drawing, the street and slanting lines is a maximum that you need. For any kind of your urban sketching. And that way, if you can add some straight lines and slanting lines, any urban sketching, you are going to nail completely, even in your future. So all your paintings that you do in future is all dependent on the easy way you are going to nail your sketching part. Initially on the right side pavement, also, I was thinking I might add a tree, but now I feel that only a few branches is good to go or else the whole sketching that we have put together might not get all the attention. And I really want the whole painting to be focused even on that, though it is an autumn painting, but we have added buildings, and the buildings should get a lot of attention in our painting, for sure. I am a true believer that you have to focus on one or two things in your whole painting that you are doing other things have to be kept very simple, not so detailed. And that way, the whole focus of your painting is only on this particular item or this particular area which you have detailed. Rest of the things can go very simply, and people are just focused on these areas to have outcome that looks really nice and their whole attention is also being holded well that way. Now we are done, we have to focus on the painting altogether. So, yes, it was a detailed sketch, and it took a good amount of time for each one of you. But, believe me, it's going to reap a lot of benefits for all of you who has been following this class. All the steps, all the techniques that we have discussed till date is very, very detailed given in a way that any bigner can also understand. Though I know this might not be a painting that all of you as bignurs can do because of which there are a lot of exercises. Till now, there are about eight exercises that we have attempted, and there are about four final paintings that has some of the other things which we have applied over here being applied there. So overall, if you are planning to go ahead and even attempt a painting like this, please go without fear. Even as a big nerve, you can attempt it. Do not worry and never think you are not good enough. You are always good enough. You have the power to create. You are thinking about creativity, and creativity is everything that you can do. You are trying and trying is the most important thing. Yes, it takes a while to understand each and every smaller thing. I'm still learning each and every day. Believe me, there have been years that I have been painting, but still there are items which I do miss out, or I still sometimes try to figure out, Okay, how less complicated I can make a painting, how simplified I can work through all my paintings. In the meantime, I have added a bit of blue color. Either you can go ahead with Siraneum blue or you can mix some amount of your royal blue with your ultramarine to get a shade that looks similar to the one that I've applied right now on the paper. I'm not going ahead and applying a lot of colors. Believe me, the idea is not to add colors at this stage, the first layer so that we know we are going to add the trees over here, and we are going to make the skylight all the colors, if you want them to pop up, it's important to make the sky lighter. Or else the colors do not get a lot of time to pop up or they really can't get you an outcome that looks nice and popped. This is cadmium yellow deep, which I'm using along with it. You can also go ahead with some amount of brown. The paper is still wet, and I'm applying the yellow colour on the wet paper itself. I have not thought anything much as of now for this part of the painting. Go ahead and adding some colours for the background, as well as some colours for the sky is all there in my mind. We have seven to eight more minutes where we are going to paint a few more things. So just hold on, go slow at this stage. Do not think much. You have already spent a lot of time in sketching. All I can say is take a small break once your sketching is over and then come back to your painting. If you are sitting in one single session for your painting also, sometimes it might become difficult and you might get frustrated with the fact that it is taking so long or you might not be happy. With an outcome that you have come up with as there was less time for you to relax, it's important to do anything in watercolors. Having that mindset that you are in a relaxed position. Creativity will only flow when you are relaxed. You don't have anything in mind. You want to meditate. Believe me, watercolors is the best medium with which you can meditate in your future, in your present. I cannot tell you how beautiful this medium is, how much patience it has taught me. I was a very, very impulsive person at one point in time, and I used to really jump on to final decisions very, very quickly. And those used to really impact my life in greater ways. All I have learned over time is that never ever judge a book by its cover. Yes, do not come up to conclusions very quickly. Take your time, read through the book, understand it. Life is just like that. You don't need to just go on to any kind of conclusions very quickly. Have a look at it with a full mind and don't just go ahead and be impulsive at achieving anything and everything that you have thought of. It might take time. Everything takes time. Believe me, each and everything that we do in life has a purpose. It is happening for a reason, as well as it's going to take a lot of time. Have the patience. It's going to give you lots and lots of beautiful fruits, and along with it, they are going to be very, very tasty. So go ahead and just add a bit of brown along with the yellow that I have added over here. Brown can be any brown in your palate. Believe me, you do not need to go ahead with a particular brown. Like here, I'm using, I guess, some amount of even red ochre, but I'm open to whatever colors you have. The idea is to enjoy watercolors, to actually go ahead and have a blast with this medium and partner with this medium. This particular medium is going to reward you only when you are going to partner with it. Believe me, if you are going to beat yourself up or if you're going to beat this medium, you're going to beat the paper or you're not happy with the paper, all of this really is going to add up to a lot of frustration. Just go with the flow. Whatever paper you have, whatever brushes you have, whatever medium you are following, whatever it is, enjoy the process. Enjoy the way that it is being done. Let's go ahead and just draw a bit of an extended pavement, as you can see over here and paint it in yellow. I'm going with my flat brush to do it because it's a larger area, and I can go ahead with any of my flat brush to add the darker color or lighter color anywhere where there is a larger space that can be filled. I'm going ahead even with some amount of my brown and some blue blue and brown color, I do use a lot in most of my paintings because that really helps me to really get an outcome that looks blended together. And usually the roots are, in gray shade, but I don't practically use a greyhade. I usually create the greyihae with the help of my brown and the blues that I have in my palette. I usually do not even own any black color, which you would have seen me using in the past, or I haven't used any of the black colors till date. I usually make these colors on my own and then use it even in my future paintings. My sketchbook is 185 GSM. That's one of the reasons the colors do get absorbed a bit more quickly, but it is 100% cotton arches paper, 185 GSM, that gives me some time to least work on it, and it's perfect when you are doing any kind of orbit sketching, where I really don't need a lot of time for adding layers. There are only a few layers which I would go ahead and add on top of it. Okay, blending some amount of brown into the yellow that we have added for the pavement area. I'm filling up the other white spaces even in yellow. You can observe over here with the help of my mop brush. This is the aquaton mop brush, and I have been using it for quite some time. It is from the brand rufle. So if you are ever planning to buy any of the mob brushes, this can be one that you can think of. Okay, adding some of my brown, a bit more darker on the right side. I love to always add more colors into my building rather than going with a flat color or shade. We are almost done with the layer one. Now we have to move on to the next part where we are working all the rest of the white parts of the layer one and going in it and adding the next few layers for completing the painting. 69. Project 5 - Autumn in Old Town - Part 2: This is part two of my painting, and it's the most fun part. I would say, I will go ahead and start with some clear water splattering. Along with it, I will also pick up some colors and then add the colors onto the splattering part. Now, this flattering really adds the required randomness that we need on the road. If you use a road, there is a wear and tear that we usually observe, and that wear and tear needs to be shown. Time to start with a bit of our house painting. I will go ahead with the red ocher color that we have used for many parts in this painting. You can also go ahead with any of the other sheets that's available with you. Even mixing a bit of pink into the brown or red into the brown can give you a sheet that's closer to the one which I'm using right now. Adding small bits and parts of it very carefully at this moment. I really don't want to create any mess, believe me or not. This is what is there. In my mind. The painting is going to be complete very, very soon, and we are going to get a beautiful outcome. I know that the faith of even having the fact that you will get a beautiful outcome is something that can help you to sail through any painting, any difficult painting or any difficult sketching very easily. Believe me, when you think that you will sail through it and you will have a final outcome that is up to your liking, you will have that patience to practically complete the painting, even if you have to come back to it or take a break, whatsoever be the way you will nail it for sure. Okay, some more blue into the areas which are basically the windows, and this is important for any monumental paintings or even any old town building paintings. So just go with the floor, enjoy the smaller parts and details that we are adding right now. The majority, which was in white, we have already completed. So all we will be doing after this will be adding lots and lots of details. Details is, of course, a key. I mean, every part of a painting is a key, but details helps you to maintain the light and shadow of a painting or it also helps you to show the perspective in a better manner. And hence, it really has a lot of importance. I will go ahead with some of my aqua green from the brand Winsor and Newton. You can go ahead with any green that's available with you. There is no need to go ahead with this particular shade only. You can mix some amount of yellow into it if you are someone who thinks that this is a lighter color or blue depending on if you think that this is a very, I mean, light color, and hence I need to make it darker. If you think that this is a darker color, you need to make it lighter. Go ahead and make some yellow into it. I would leave that decision absolutely up to you how you want to focus and add the colors. I'm creating the light from the right. If you see and hence all my darker values are placed on the left. I did tell you already that if you really want to make your parts darker, add some amount of blue, and then you will see that the green has become way more darker than what you would really want. Go ahead and just add the house details that are there in the background. As you observe me doing over here, I'm going with the blue colour that I already have on the palette. You will observe me that I will use a very few number of shades or colors for who of my painting, I usually just select a few colors, and then I mix and match all those shades to create the final painting. That's how I love to approach a painting like a lot of colors create a lot more confusion in a watercolor painting when you are a pino. If you can really work through very less number of shades like monochrome or limited palette, it helps you to develop the skill in a much better manner, which is to focus on watercolors rather than focusing on only the color card. As I look back and as we progress, I know that watercolor is not a very easy medium. It takes a while for you to partner with it or get a hang of it. Hence, I do not think that you cannot work on a bigger size paper, or you cannot work on a smaller size paper, smaller size paper gives less opportunity to add the details. Bigger size paper, again, gives more opportunity to add the details, but if you spoil the paper, you might be in a position to just waste a lot of money. So just get out of all of these thought processes. Paper is important. Paper is the foremost important thing in watercolors, and that's one of the reasons I always, always keep a sketchbook by my side. Sketchbook is something that really helps me to age through any painting very well. You know? There are so many paintings which I do in smaller parts first and then go back to a bigger painting of that and finally, when I work on the bigger painting, the bigger painting is much better than the smaller painting which I have done. Having said that, if you do not practice or if you do not spoil a smaller painting or bigger painting, you will not have this set of learning. Believe me or not, the hands on experience which you get with watercolors is always yours and no one can take it away from you. My paper is almost dry on the top area, and now I'm going ahead and adding a few lines over there just for the detail part. This is with the help of my zero brush. You can go ahead with a zero brush or it's called optimal kind of brush, which has got a very nice tip to work through it. I have been using these brushes for quite some time, and I know that there are few of the brushes for which I might have to go ahead and purchase new ones, but till now, I have been able to manage and I guess I'm okay and good with Okay, adding a few more details on the top part, and then I would go ahead and just add the uppermost part where I also need to add the line. Keep your hand steady. So one important aspect of being a painter is that your hand needs to be steady for architectural, at least kind of drawings, landscape is very easy. So do practice a bit of your brush strokes before you go ahead and attempt any kind of, I mean, at least any kind of an architectural kind of drawing. I'm not saying that absolutely architecture, but bits and parts also of it, if it's there, you have to go ahead with straight lines, with slanting lines. Those have to be corrected. Of course, that has to really land correctly. As I have shadows on the left side, even for white buildings, I will add a bit of maybe a totally brown blue kind of color and then add a few windows, I mean, small dots, which will show the windows but Okay, going ahead and just filling up the last building that I can see from here and even adding the top part, which is majorly the roof part of this building. Once this part is done, we have to even focus on the major areas, that is the trees, et cetera which we have on our foreground area. I'm to add another layer for our tree, as well as some of the dots here and there. I have already added a base color. This is just to make it more organic and it would make it look more darker in few of the areas wherever we want. I'm going ahead with my gamboo yellow altogether. Because this is a very beautiful shade that I have discovered from the brand Windsor and Newton. Of course, this is Gamboo yellow deep. And then there is, again, a gamboo yellow. So either you can go ahead with Camboog yellow or maybe Gambo yellow deep. This is good. We will just mix up some of the shades of red ochre and that you can wet the place with a simple clear water and then go over it like this so that you create leaf like structures, and it looks finally something that's very, very impressive. We will also go on the left using the same technique. For the bushes, I have also gone ahead and used the same technique. I am adding a few colors of brown and just yellow. The mix over here for the pavements, et cetera, where I think the colors are still very light. Those areas might go ahead and add one more layer. See, layering is always good rather than going ahead and applying the darkest value initially. If you go ahead and apply the darkest value initially, it becomes very difficult to come back in watercolors. And, you know, many of the watercolors are staining in nature. Hence, the color don't go away so easily, though, most of these colors which are from the professional brand, I have seen that they are not so much into the staining part. They usually get off from the paper, and it's easier to take it out. But still, I mean, we should be more watchful. When it is about watercolors. Okay, great. Let's go ahead and continue with the tree part on the left side, as I did tell you earlier. So splatter of this brown or you can say the red ocher onto the root area, which would show that the leaves have also fallen on top of that. I would go ahead and do that even on the pavement on the left but.This is very, I would say abstract way of showing the leaves that they are fallen on the ground. I usually make some amount of my brown into the blue to get the darker values of brown. I usually don't keep a real darker value of brown with me, though you can also keep CPR if you are not very, very much into all these mixing of colors. But as a practice, I would ask you to start experimenting with mixing of colors. It really helps you to just think about getting more and more shades or more and more colors. You can really work with a few sheds that is available with you rather than focusing on a lot of shades and colors that you need for any kind of painting. Maybe today you are painting florals, tomorrow, you are painting water, then you are painting something else. So you will keep on adding more and more colors, which is not a necessity. You can just go ahead and check out my color theory part. It's a very, very important part, I would say. In watercolors for big nurse, as well as even for any intermediate level artist, because it comes very handy when you are experimenting with your paints, when you are experimenting with your the kind of sheets that you want to go ahead with. What kind of shades you should choose in any painting that you want to do? It's time to add some branches and just make some of the pavements part or the lines that we did add do only into darker values so that it can provide some depth. That, of course, the pavement exists and the pavement also is, like, it is a bit above the road. So this really helps to showcase that. I'm even going ahead and making some small dot like structures so that it can show the wear and tear of a particular building. Wear and tear is very important for all the kinds of roads, building, et cetera. And if you are someone who knows about at least a bit about architectural painting, I use two important techniques in it. One is mixing of colors, as I did tell you, and second, is the wear and tear. Even showing the randomness to show that wear and tear in a road or a building is very, very important. So go ahead and do that for anything that you can see in more detail compared to anything that's far away from you, where you really don't need to add so much detail. That's absolutely okay. Continue with the layer for our background. This is basically the area which is covering the other parts of the trees. Basically a boundary wall, which we usually see in areas that are mostly in small towns or maybe in towns, as well as even in big cities also, just to showcase that this is the particular area of a particular building or something like that. And I have seen in many societies or in many places where we have buildings or people are staying in that area. So those areas usually do have these kind of walls being built. Okay, going ahead and adding a few lines, you can go ahead with any brush that you are comfortable with. Now, I did practically choose A five size paper as I did not want this painting to be longer than what it is. Believe me, I wanted it to be way more, like, shorter, but then we ended up being longer, which is, like, really, I could not do much in it. I am now adding a few branches, mix some amount of your blue with the browns, and you will get a darker value shade that you can go ahead and simply add into your background trees which are going to go dry very soon. Someone lose branches and we are very close to being done. Now you need to just step back, relax, and observe that do you really want to add anything more or does this look good? This is something that I always say to everyone. It might look good to you rather than following me, just stick there. Don't do anything more. If you think that your painting is already complete, Um, don't touch it. I always say this to everyone who is there, who is actually taking any classes or workshops from me in watercolors. Watercolors is something that you exactly know that here is the time we need to stop. Or if you continue to work on a watercolor, it would be overworking on that watercolor piece. Hence, very important. And must note thing is to just go ahead and stop when it's necessary. If you don't stop, what will happen is the whole painting will go for it to us final. I am still working on few parts where I want to show some further loose leaves on the left side as we have it on the right side. And even on the right side, I haven't shown any branches, which is a necessity to show. I will continue with that. There is less to explain at this stage. You can just continue to see how I'm working with these smaller details and a few branches on the right that I have added. And even on the background, I am adding one or two lines, smaller lines, creating some windows, adding a bit more darker line. And that's all I guess I'm pretty much happy with how this has turned out. Maybe I would go ahead and just remove the tape. And sometimes what happens is, even after removing the tape, I want to add a few things, which I do in many paintings. I will not deny the fact that I don't. But I like to avoid overworking in all the places wherever I can. But there are paintings where I have overworked in the past. Believe me, I have left paintings where I've worked less rather than it could have been a bit more, I would say, detail. So yes, tri king that balance takes a while, and you can do it. Believe me, just have that faith in yourself. When you are doing any painting when you're approaching any painting, you can seriously do it. That's why you are here. Creativity is a gift. You are trying to use that gift, and you are going to nail it. As I did tell you earlier, even after removing the tape, yes, there are areas where I think I should have added a bit more depth where I need some more darker values. This usually stays. As an artist, you want to be perfect, but there is no perfect painting. I feel it very strongly from within. Um, there is no perfect painting that I might have done that date. It's just trying to showcase a particular photograph or any place that you observe in your own language. So art is a language that you have the kind of watercolor paintings that you are doing is your language of showcasing that. Someone else who is also an artist might have a different way of showcasing this part. I know this particular painting has been very long. That's one of the reasons I did tell you, even olio that we do not have any exercises attached to this particular area where we have been discussing about the next ten techniques 40-50. Maybe even in future, we will have lesser number of exercises, and we will be focusing more on the final paintings. We have already focused a lot on exercises. Aldo, there are about eight exercises that you guys can follow, and it's time to work on the projects now. Okay, I will see you again very soon where we will be adding the next set of various kind of watercolor techniques. This particular class is a blast. I'm telling you, I'm so happy creating it, and I hope you guys are equally happy to go through it and to learn everything about watercolors. W 70. 51/101 - Watercolor Techniques: 51st technique, and this is going to be very interesting. We are going to paint our skies four different ways. The first way is going to be really simple. I'm going ahead and adding some amount of my royal blue, then some ultramarine and plow blue. I will be doing this cloud in a wet on dry method. So I'm going ahead with some wet colors, and then I am blending it with my clean brush, as you can see in various places. Rest of the areas, I would leave Azes. Now, wherever I did wet my paper, I would again go over it in some of the areas to make my other clouds which are smaller in size and shape. As you come towards the bottom area, which is the horizon line, your clouds become smaller in size and shape. That's how the perspective of cloud or skies usually work. It's time to start with our shadows. Now, shadows will be a mix of our pains gray and some amount of orange or else you can also call them the water laden cloud area where it is darker in value compared to the other areas which are more lighter in value. I'm going ahead and adding the color which is more darker. Now, even the darker color, I go ahead with a very light shade initially, and as it progresses, I might go ahead with a darker value. That's how we continue to work with our water and watercolor. Water is the major, I would say, the player in our watercolor, whole painting. So always always be very happy to paint with water if you're getting the opportunity to do the same. Some amount of green towards the bottom area, and then we are done. We are going to go ahead on the second kind of cloud where we will be doing a wet on wet technique. Some of the areas where we did add the darkest value, it did not turn out really dark. We might have to go ahead with one more layer of darker value. The paper is still wet and can be worked upon. That's the best part about adding the clouds at this moment. 71. 52/101 - Watercolor Techniques: No We are on our second kind of cloud, and this is one of the most interesting ones that I usually like to work on. I do apply a clear layer of water, and then I would go ahead with my lightest value initially. I did prepare my light value earlier, but I saw that. Of course, that color is now gone, and we have to prepare that color again to an extent. And once the color is made, we are going to start applying the color in a few places, as you can see, towards the top area, the clouds would be bigger, and as we go towards the horizon line, the clouds will become smaller in size and shape. As you usually see in all the paintings. Now it's time to go ahead with a darker value. I will start out in a few of the areas which are near to the blue color. These are basically the shadows of the clouds or you can also say the water laden clouds or cumulus clouds, which has a lot of water in it, and it can practically rain at any point in time. Those kind of clouds are usually shown over here by this addition of the darker values to the painting. Once it is done, we will go ahead with our green towards the bottom aria. But sometimes I do even lift out my colors wherever I think it is not necessary or when we come a bit towards the bottom area, it needs to be way more or lesser compared to what I got. I would go ahead, just pick up the values and maybe go over a few of the areas as you observe me doing over here right now. I am finally quite okay with how it has turned out. Now you might have to just leave it *** and concentrate on the bottom area where we are going to add some greens. Of course, the green can be any one color of your choice. It can be olive green. It can be your light green, dark green, any green that you want to go ahead. You can also add yellow if you think that's the color you want to add. I'm adding some faraway green, which is majorly some trees. Just near the horizon line lets, move on to the next kind of cloud, which is very interesting as it is a directional cloud. 72. 53/101 - Watercolor Techniques: The third kind of cloud is, again, a wet on wet technique where I will first apply clear water, though my water just has a bit of blue in it, but it really doesn't matter, as we are doing it just for the demonstration purposes. But if you are doing it for a final painting, do take a clean brush and clean water. For applying the first wet layer, once it is done, we are going to go ahead with any blue of your choice. Really, it doesn't matter what kind of blue you want to go ahead with. Again, I did tell you this is just for purpose of demonstration over here. You can use it in various different ways in many of your paintings. So this is just an easy way in which I'm showing that you can add colors so that your clouds do get a direction. And there are many ways in which we usually paint directional clouds I will surely go ahead and try to give an example or try to make a final project, which can really help you to age through your directional cloud paintings in a better way. I am extending the darker value towards the left side as you can observe over here. And if somewhere I have even added any darker value, I go ahead and just pick it up with the help of a clean brush. You can keep paper towels or kitchen towels or any kind of towels by your side for just taking off the extra color from your brush and then wash your brush, pick up some clean water, and again, start painting. It's a very easy process. You do not need to worry much when you are working on this kind of painting. Our paper is wet, as well as the areas around the horizon line is wet, you can go here and apply the green. Green not only shows the trees that are there in the distance, but also highlights the horizon. 73. 54/101 - Watercolor Techniques: The third one has always been, again, one of my favorites. I have done this very often. This is a wet on wet way in which you can paint your sun. Again, painting the sun has got many ways, believe me. If I go into the depth of painting the sun, I think the whole class can be on it. So I'm not getting into an absolute detail into that. But let's just understand a basic way. If you are going ahead with a wet on wet method, around the sun, it would be lighter values. And when you go away from the sun, then it would be darker values. If you can just keep that in mind, I'm pretty sure about it, you are going to nail at least the basic paintings which you can think of in watercolors. I'm going ahead and applying some more colors, which is majorly my orange, pink, et cetera, whatever you want to go ahead with. You already know a lot about analogous colors or harmonious colors, whatever color you are choosing, go ahead with that. Just keep applying it. They should be next to each other on the color wheel, and I guess you will be happy to get a painting that looks something Nice, easy, and just don't complicate it much. I always say keeping your painting simple. Really makes the painting glow, and you are going to completely nail it. Okay, great. Guys, let's go ahead and just apply some darker value even towards the bottom part of this painting. And once it is done, we are going to just blend it in a few more areas. Wherever it is necessary. As you can see, the painting has gone really dark, so we might have to go ahead and just pick up some of the colors wherever it is necessary or just include some orange. As you can see over here, I have included a lot of orange. Now, the paper is really small. Now, when your paper is very, very small, what happens is that the space is very less in terms of experimenting, and therefore, you do not get the real feel or how the final painting would look alike on a bigger paper. And hence, there can be a lot of gaps between a smaller painting and a bigger painting. But doing a smaller painting always helps you to understand how exactly you want to play with your colors and where exactly you want to place your colors. This gets me to the point that every thumbnail painting is very important when you are working on a bigger painting. Let's move on to the next technique now. 74. 55/101 - Watercolor Techniques: Water has always been a very challenging subject, and today I'm here to help you out to paint water six different ways. Let's go ahead with the royal blue first and apply it on the total part, which is about a small size polroid painting or like the kind of sizes which I like for poloi paintings around 13 centimeter and 12 centimeter. That's the size which I have taken, and I started applying some darker values towards the bottom and then moving on with a lighter value as we reach the horizon line. I will go here with some amount of my ultramarne that's one of my favorite colors when I'm creating water. This is the easiest way of creating water, which means there will be simple bending that we are going to do. I will start adding the colors and swatching it from the bottom towards the top. As we reach the horizon line, you will know that the colors will become lighter in value compared to what you have added towards the bottom part. We will repeat this process two to three times till we are satisfied, and then we will leave this area to dry off. Once the paper is dry off, I will go in and around the horizon line to create a small area of land that would really help to define the horizon line in a better way. I have been doing these kind of smaller tricks and many of my other paintings, too. It's time to just go ahead, wash your brush and go with the lighter value as you are approaching the horizon line. Simple, easy and very interesting is all I have been up to when it's about Bigginers water scape. This is the easiest way and easiest approach that I have taken anytime. I'm going ahead with my burnt umber, and then I have to add some amount of my burn siena as well as a bit of the ultramarine. That's how I finish off this part. You can really see that it's very easy to go kind of a painting. You don't need to think much when you are working around with a painting like this one. The next painting that we are going to do is going to be a bit more complex than what you have attempted till now, as there are six different ways of water, so there will be more complexity that I'm going to add, as well as some more good tips and tricks that I want to share with you all. Let's continue to just work on this part. I think I would love to change my brush a bit because this brush is giving me a bit of an issue, so changing the brush would be a great idea at this moment. Somehow I feel that this brush of mine, which is from the Vinci Casaneo has lost a bit of its tip because of which I have to switch to my other brush which I use very often. And that's, again, from the brand Rafael. So I have been using that brush. It has got a really nice tip. I would use that even in my other paintings when I'm doing. Now, you know, what happens in a mob brush, more brush can really help to hold gallons of water in it, as we say. It becomes very easy for us to dip at once and continue to work through the entire piece. And that's one of the reasons you would see me using a lot of more brushes compared to other brushes. Let's move on to the next one. 75. 56/101 - Watercolor Techniques: The second one is a bit interesting in terms of the first one compared to what we have done earlier. All we are going to do is do the same trick, apply the same color first, and then go ahead with other shades to work upon the water area. I'm excited to show you this one because this is one of my favorite ways to create water. I would say the fifth one is the most favorite way that I have created water always in my paintings, and I have been following that process for quite some time, and you will be amazed with the final results that you get with each one of them. I am doing the same process of adding a darker value towards the bottom and then going to the top with a lighter value. Now, this is the bluish green kind of shade that I have added, and I will add some more green now into the water area. You can use any green of your choice. I will be using some olive green, as well as some amount of my greenish yellow if required. And then we will be adding some forest green along with some blue. I don't really think about adding my greens much to the water area because there is algae, and usually you would have seen in many paintings that greens do give us a beautiful outcome when we are doing water in coastal areas. In areas like Maldives, et cetera, you would have seen great greenish water or great bluish water. Whatever you see, just try to replicate the similar colors even in your painting. If you can do that, I'm pretty sure about it, you're going to nail it. I've already added the colors. Now I'm going with the darkest value and adding some lines. I'm just adding straight lines. This is wet on wet method. I did not allow my paper to dry off to a great extent. It's already winter season. That's one of the reasons my paper stays wet for a longer period of time. I don't need fan or even easy to work around with. I can just work around on the paper simply. That makes my life much more easier to be frank. Yeah. So these are a few positives which happens when you are in the winter season, and that's one of my favorite seasons to create as many paintings as possible. Okay, I will continue with my painting now and just add some more lines as you observe over here. We are going to have a final painting in and around this land area, that water area. I will try to give you a bit of understanding about the reflection too in the upcoming few techniques part so that you are aware of how to create the reflections to not only how to create your water, but also the reflection. Okay, let's continue with our top area, which is majorly our area of the land. I will go ahead with, again, a simple hill kind of situation. I will keep the same colors that is burnt armor, then burnt sienna, as well as some amount of ultramari. That's the usual shade which I usually used for any of my water paintings, at least for creating the land area. I love to blend my colors, and if you are someone who is looking to understand a bit more about the blending and land area, I think you should not miss out the techniques about the mountain part because that gives you a real understanding of how I mix my colors even in smaller areas like these. Let's continue to add a bit more of our darker values towards the bottom area and then moving on to the next one. Next one will be a lot more interesting again because we will be using some splattering to create the water. 76. 57/101 - Watercolor Techniques: This is the third way which I'm showing you the way you can basically paint your water. See people or artists have painted water in many ways dead, and these are only few ways in which I have learned painting water. You might have your own, but these can make your difficulty level much lesser if you are a big nurse, so going through it can seriously help you in your watercolor journey. I will go ahead and add some greens, as you can see over here. And once I have added the green, I will go towards the bottom area with some darker value of green. This is basically a green which looks more like a cobalt green or a teal kind of a shade. You can just mix some amount of your green into the blue that is already existing and come up with a shape that looks similar to this one, as well as this might need a bit of white also in it to bring a bit of oacetye it. That's okay if you don't have even the white. You can go ahead with whatever color is available with you. The intent is not to go ahead with the colors or stick to the colors. The intent is to learn something new like watercolors and learning how to paint waters very, very easily. I will go ahead and add somewhat darker values. You can see that I introduce greens in some of the places and darker values in some of the places. I do not touch my brush evenly in all the places. That's something you must keep in your mind when you are painting this particular one. I will go ahead and just allow my paper to dry up a bit more, which means that at least I have to wait for two, two, 3 minutes so that when I splatter, the pigments move from that particular place and go or shift to some other place. We have used splattering in the past in many of our paintings, and I will go ahead and now introduce some of my darker values in few of the places. See, even if you splatter and leave it, that's absolutely okay, but I like to introduce a bit of darker values just to show the movement. I have switched my brush to size we brush and then I'm going ahead with these lines. You can see how easily the colors merge into each other. They are not very, very dark or light. They are blending very well with the bottom area or with a base color that was already existing. I will add a few more lines and then I will leave this painting to dry off and you can also go with one more step that is splattering some amount of the stalker value on top of this part. Of course, it's not the best way or the ideal way, but as I say, these are basic ways in which I have painted water. Many artists may have very different way of painting water. I see that these drops have become really big, so I might have to go ahead and blend it a bit in few of the places where I feel it is necessary. Once it is done, you have to allow it to dry before you go ahead with the top part that is majorly your land area. Now while land area is important, land area is an important idea to just showcase that your landscape is differentiable. What is a landscape made out of? Landscape is basically your sky, then your land, your water? All of this falls under landscape. Your horizon line basically differentiates your sky from the water area. Now, if you define your horizon line in a better way by adding any of these small land areas, it would be easier for any of the artists or any person who sees your painting to perceive it in a better way. I will go ahead and add a bit of my darker value. That would be ultramarine. Ultramarine is one of my favorites. I have introduced ultramarine even in the past in many of my paintings, and this is another one. Blending it, blending it well, and then let's have a final look at it. 77. 58/101 - Watercolor Techniques: Now I will go ahead with my fourth way of painting water. Again, the first process remains the same, we will cohere with a very light shade of royal blue and add it on the entire paper because for my skies, I'm keeping in blue as of now. I haven't told you much about if you are keeping your skies blue, the color of the sky gets reflected into the water. Right now not thinking about the reflection, et cetera in the water area. That part will come later. Right now we're just trying to understand how we can paint water. Though reflection is a very important part of painting waters, but yes, let's puck it for now. It's more difficult, I would say. Again, the process is same, what you have done for your first way of painting water, we will go ahead with ultramarine, some amount of our paints gray, and then we will just start with the darkest value from the bottom and take it to the top. Before that, I did apply some ultramarine on the whole surface. So yes, nothing different that we are doing as of now. A difference that I would be doing over here would be once my paper is dry. Right now, my paper is dry. I am mixing some amount of my ultramarine and my paints gray, creating the ripples. Now, this is just applying some of your pressure in few of the areas to create some broader lines and then, again, just making it bit more thinner as you go away from. The process remains same, and I would be doing the same process till the top. But as I go towards the top, the line will become thinner and smaller or maybe much more lower compared to what we are adding towards the bottom area. This is creating ripples on a wet on dry surface. Yes, I know that movements can be created in various ways. As I tell you, even earlier, this is one of the easiest ways that you can create ripples if you are working or if you are someone who loves to work wet on dry kind of a method. I have worked this out many times in my painting, and it has turned out great for all my paintings. Okay, continue with the process till you reach the top, and once you reach the top, make it thinner and thinner once it becomes thinner, a few lines, and that's it because whatever is far away from our eyes will be way more lighter or we don't see it in so much depth compared to whatever is closer to our eyes. And that's how the perspective also works. If you are working with perspective, this thing you need to always always keep in mind. Once you are happy and satisfied with your ripples, let it dry off, and then we are going to go ahead with the Horizon line area where I'm going to just drop in, again, a small land area. You can drop in land area. You can drop in some amount of greens along with the land area, but I did not want to complicate the matter as of now. Let it be simple. Let's just keep it as mix some amount of burn sienna and ultramarine. Once that part is done, we are done with this. The whole video again is at 1.5 xpeed. In fact, all the videos have been at 1.5 x speed. If you want to adjust your speed at any point in time, please go ahead and feel free to adjust your speed, to learn it. And I am going ahead with the most, most interesting one, which is my next one. Believe me, that's my favorite. I have been working through it for many years now, and I have figured that is one of the best ways to paint water. So let's go to more exciting stuff. 78. 59/101 - Watercolor Technique: We are onto our fifth, which is a bit advanced in terms of how to paint water. This is an advanced technique compared to the second one which you paint. We are going to almost work on the same lines. We are starting out again with some of our royal blue. Once we have added the royal blue, we will go ahead with ultramarine and add it from the bottom. And take it a bit towards the top. I'm using my flat brush right now as I want to just work through it a bit quickly. You can also go ahead with your round brush. I would leave that decision up to you. Mixing some amount of my endontrine blue. You can use any blue that's available on your palette. Something that I have learned over my time is that yes, blues do matter, but they don't matter in a way that they make or break in a painting. Hence, go ahead with whatever is available, and then you can see the results yourself. Okay, great. I will just continue to mix some more of my greens into the water area. And once it is done, I will just add a bit of touch off this royal blue again towards the top. And in the bottom, it would be some more amount of my dark value of blue, which would be my ultramarine, or you can go ahead with endontne whatever is available with you. Let you switch our brush now from what brush I had. I will move on to my round brush. This is size six. It's called a optimal brush. You have seen me using this brush very often. I will just join some lines here and there. This is just adding a bit of blue line here and there, as you can see over here, using the tip of this brush to our advantage. Now mixing some amount of my ultramarine and some amount of my paint screen. Along with a bit of Bforescreen, you can see a mix is ready. We are going ahead and just adding some lines, not much of straight lines, but yes, lines, all I can say they are almost in a way that we have done on the left hand side. The top was more of straight lines, which we did add, but here we are not thinking much about the straight lines. We are going ahead, dropping in lines, connecting it in a few places. As we go towards the top, we are going to make it way more thinner because they are not closer to my eyes anymore. The one problematic point sometimes happens in the brushes that I really can't control the thin part very easily. Yeah, I mean, it's all about practice. If you practice, you can control it. It's just that I'm using it after a while, and hence I was just facing a bit of a difficulty. But that's absolutely fine. It had worked well for me. Now it's time to go ahead with our flat brush. Just pick up the colors in few of the areas. As you see over here, you will see that there is a shine which you get and some of the areas will become lighter in value. This is just under the darker value that you have created. You need to add this line. My God, this is really and truly changing your way of painting water. Believe me, I have done this in the past in one of my paintings, and it did reward me in such a great way. I know I should have, like, introduced it in the first go itself, but then there is a set of developments that we need to do. It just doesn't happen all of a sudden, and I really don't want to introduce things all of a sudden to you, which might look very difficult at the first go altogether. So now again, trying to just lift out some of the colors from the tops. The top area is anyways dark. When you have a darker color on the top area, you seriously can't pick up the colors to a great extent. And that's absolutely okay if you can't because you are not supposed to also get much of a shine or this white color when you are picking it up. Once this part is done, we are going to again retouch it with a bit of darker value in a few of the areas where I think it is necessary because I feel that some of the areas have become really light after the addition of this white or picking up of the color of the white with the help of my flat brush. So I would go ahead and just add some of the value darker value here and there, and then again, I'm done. The paper is still wet. That's one of the reasons I can work upon it. If your paper is dry, you cannot work upon it. I'm using 100% cotton arches, 300 GSM paper, and it's winter because of which I'm getting a lot of time to work on this paper. You know that the whole time that I took for this painting was around 9 minutes and my paper remained wet for around eight to 9 minutes, which hardly happens if you don't apply water on the backside of the paper. Climatic conditions do affect your paper to a great extent. That's one of the reasons I always say use 100% cotton paper, use 300 GSM paper, use a higher GSM paper. If you are in an area where it is very dry or where it is very, very hot. So yes, climatic condition has a great role to play in the decision that you make towards, like, selecting your paper and Okay, great. I guess this is it. I will go ahead and just make the mountain a bit more better. As you can see over here, I will add some amount of my French ultramarine, as well as burnt sienna. Those are the two shades that I have been using along with burnt umber, which is the base color that I have added in all the paintings. After this, we are going to let this paper dry off and move on to the sixth part, again, is a bit advanced version of what you have already done. In your third one. We are going to go ahead and just add a few more techniques into it and see how the painting works are. Sometimes you may like this kind of a painting, sometimes you may like even that. 79. 60/101 - Watercolor Techniques: Let's go ahead and add a small mountain space in and around your horizon line, as you can see over here, and then we will go ahead with our blue shade. This is the royal blue color, again, from the brand senalia. I have been using this color very often in many of my paintings, whether it be sky, whether it be water, land, et cetera. So this has been a very nice colour, which has come very handy in many of my paintings now. Going ahead and just adding the sheet till the bottom part. Once I have added the sheet till the bottom, we will go ahead and apply lots and lots of techniques. So be aware that if you like this particular way of painting, then you must know that we are first going ahead with some of our ultramarine and then moving up till the top. As you have done in the first go, I will go ahead and introduce some more ultramarine and again add it in the bottom area. We are also going to add some amount of green. You can see how I will just add some olive and some yellow green towards the bottom area and in some of the spaces in a very uneven way. I'm not going to add it evenly everywhere, like all the other paintings which we did earlier or all the other examples and techniques that we did earlier. Then it's time to add some more of our ultramarine, but this time, it has to be way more darker. I go in a very uneven way, not uneven way, particularly going ahead and adding a few lines here and there. Once this part is done, we have to prepare a very dark mix of the colors and then add the darkest of the values. It has to have some amount of paints gray or else I don't think the colors will become as dark as what we need. You can also make some amount of forestry if you really want to that decision, I would leave it up to you. I would just add some more lines as you can see over here, going with my size four brush uneven way. Again, there is no straight lines that I'm following or no particular lines that's there in my mind. Continue to add this as you see over here, continue to add some more lines. We will also go ahead with lots and lots of splattering, picking up of colors, all the techniques that we have learned till now, we're going to use it here. But one thing that you need to realize is if you use all the techniques in one particular painting, I don't I have never personally liked it a lot. Now, it's a personal opinion, but I want you guys to also see it, understand it for yourself, and then only decide that you want to go ahead with it. You don't want to go ahead with it. Let's pick up some of the colors with the help of a clean, flat brush, or you can also take a round brush. That decision is also yours, you want to pick up the sheats and colors. I'm still introducing some lines here and there. My paper is wet, and that's one of the reasons I can really play with my colors to a greater extent compared to the ones that I could earlier. Once this part is done, we will move on to splattering. Now, splattering is a great way to introduce any kind of textures for woods, for mountains, for even land area, et cetera, even for water, it can be used. That's something which I want to tell you. Sometimes smaller splatters are, of course, better than larger splatters. So keep in mind that you can always do smaller or larger splatter depending on how you want to just go ahead with it. Again, this part looks pretty good, and now I need to add the mountain, of course, the area or the hill area. Again, I will go ahead with burnt umber, introduce some amount of burnt sienna, and then some amount of my ultramarine, as you always see me introducing it. I feel I have said everything that you had to know. Now it's time to only just follow how I do it and then repeat it if you like it along with me. Believe me, this is also a great way to paint water, but of course we all have our personal choices. Mine is the fifth one, or you can say the fifth way in which we did paint water. I am picking up some of the colors with the help of my lounge brush. I will also use my flat brush to pick up the colors. Now I'm keeping a towel very handy because paper towels do not last very long and it's not even very environment friendly. That's one of the reasons I have switched on to using towels. Last part is where I'm introducing some lines once my paper is almost dry. So your paper is almost dry. You are introducing some lines now. These will act as ripples and create the kind of movement which we really need in this painting. Once these ripples are created, you exactly know that your water has good amount of waves in it, and it's moving. This is an optional thing that you can do. Either you can stop dio once you have added the platters and all or move on and add this. 80. Project 6 - Easy Landscape: Project six is going to be loose and soft. This is something that I must tell you as you progress with watercolor, there are two ways of going around it. One is to actually have a great control over your paintings and make it with a wet on wet and wet on by both method, or else you can go ahead with the way that I'm doing right now. In this way, you will have lesser control, but the final outcome is way more softer and beautiful. That's what I always like to tell you even about the paintings that you do. You can always select your approach. It's up to you how you want to go ahead with it. But as an instructor, I would love to tell you the various kinds of ways in which you can approach a painting or you can go ahead with your paintings. Let's start with a very simple sketch. You can see over here, there are two to three lines which I have drawn, and there will be a simple pathway. Now, the whole painting is not going to take you more than 14 minutes. It's just that I went a bit crazy with my skies. That's the reason it took me some more time. Till, like, till a particular point, I will let you know how much to paint on the sky. And after that, let's not paint anything over there and wait for about 40 seconds till I tell you you can again start painting. I have applied some water on the top part of the sky, and now I will start with my naples yellow. You can see that naples yellow I have been using in various paintings of mine, and this is a very pretty color that doesn't react with the blue to give any kind of the muddy colors of grey. I will go ahead and pick up some of my darker values of naples yellow and start applying in few of the areas, as you can see over here. I can also pick up the colors with the help of my flat brush in various areas where I think that it is necessary, so those activities can always continue with this process of applying the colors. Believe me, when I'm painting the sky, I really don't know how the sky is going to turn out. I myself have a lot in terms of understanding that I need to do while painting the skies and this particular painting is something where I always experiment with my sky. So till now, it's perfectly fine. You can mix some of your naples yellow with some senila orange. That's what is the color which I have taken and started applying on the top part of the sky. As we go towards an absolute top part, you will see that the color will become either royal blue or you can take erleium blue if you do not have the royal blue. These two colors are really soft and nice, which can be applied alternatively for the sky area. Please stop here and wait for about 40 to 50 seconds till you see how I have painted my skies earlier, and then I will change the whole course and again, go ahead with the same colors to be applied in various places and see how it has turned out. So this cloud, of course, did not make much sense to me, and it really did not actually like it because it was covering the whole of the skies. The colors were not blending together and something that really did not match up to my expectations. And that's one of the reasons I did take off all the colors at this moment and again started applying my royal blue. This is something that I have done even in the past, and I do it if I'm never satisfied with any particular colum. I took off the entire color, added some more royal blue, as you can see over here, again, and then I will go ahead with my darker value shades of colors. Usually, I mix my orange, that is similar orange into the donthrine blue to get the darkest value of colors as you can absorb me over here when I apply it on the paper. Due to this repetitive process, my paper was drying up and I had to really go over it once more with my colours of even naples yellow to make it more darker or you can say at least to apply some water and make the paper wet. It was very, very important at this stage. You can see that the paper is also buckling up a bit. It really doesn't matter at the end of the day. What we are trying to understand is how to make a easy and beautiful outcome of this watercolor exercise that you are doing right now. This project might be one of the final projects, but believe me, it is kept really simple so that anyone can come and try to attempt. If you haven't done any of the exercises and projects solo, I would request you guys to do that before going ahead with this particular project. It will take you a bit more understanding because this is more of wet on wet. And as you advance in watercolors, the wet on wet method comes more handy to you. So knowing it would be a bit better compared to not knowing it at all in terms of watercolor, how to apply your colors, et cetera, and how to make it look like this would be a bit of difficulty if there's no prior knowledge. I have already given so many exercises and projects earlier. I think if you even start doing that, it would be very easy for you to continue with this painting. Okay. I guess I'm happy with how this has turned out. Now I'm going ahead with my darker value of colors. I have also added bit of neutral tint into the shade that I already discussed with you, which is in Danthneblue, celia orange, and neutral tint for my darker value clouds. I have shifted my brush to the one that is aqua tone, SS three by zero brush, and it is the smallest mob brush which I have with me. It can really help you to have a lot of colors in the brush as well. It does allow you to continue working on painting for quite longer period of time without needing to dip your brush anywhere until and unless you want to change the color or the shade like I went ahead and added some blue into the color. As we progress, you can see that I did drop a big droplet of water on my paper, but those things are okay. Some days you do a few mistakes, and that really doesn't matter. Let me continue with some of my more color mixing and adding off some of the orange in few of the spaces wherever I feel it's necessary. I keep blending my colors. Right now, my paper is not as wet as it was lier, and I can make a few strokes that look like clouds. You have to always wait for that perfect time where you can go ahead and make your clouds. This is something that I have realized if your paper is too wet, the clouds will not take the form and shape that you want. If your paper is too dry, again, you cannot work upon it because your clouds will not be soft enough. Mix is again, the same three colors neutral tint, then your snalia orange and some amount of endonthrine blue. But the color mixes, the pigment ratio has increased more. I'm trying to blend my colors a bit as I go towards the top. I do not want to keep the same level of pigment to water ratio in all the places. This is something that I have learned if you vary your color and values, the outcome that you get is something super cool, and I have done it previously also in many of my paintings, and I'm doing this again. By the way, this particular sketchbook is 185 GSM, 100% cotton, and it is made out of arches paper. So it really looks well for any painting where it takes a lot of time or you need multiple washes, so it can really support it. And I'm so happy to actually show you this particular painting. This book, of course, is from Vibrant castles. That's one of my own runs which I use for my sketchbooks. Okay, let's continue with our painting again. Now, all my paintings that you see over here is something that I love to do. I take some good amount of time to get to that particular painting. It just doesn't come like that. Yes, there are mistakes that I do also commit, and I mostly try to show you even my own mistakes because I don't like to just show you the best of what I have done till date that everyone knows. Yes, we as I would say watercolor artists have done our share or our bit, for sure. Without that, we haven't been at this stage yet, and I do get the fact that it's important to also understand the whole process of watercolors and how you can control your water. Water control is something that I would say is very, very, very important. For any artist, it takes a bit of time, and that's absolutely fine. Take your time to get it done. Let's add some thinner clouds, as you can see over here. I'm adding these thin clouds from the bottom area and taking it on the right, as well as on the left. All I can say is there has to be some picking up of the colors from the middle part as it has turned lot more naples yellow, which I don't like at this stage, and I might want to go ahead and just pick up the colors from that area. Blending is always great if you blend well. Your final painting is going to turn out very good. So that's something that is given, right? You don't need to worry on that fact for sure. Okay, guys, I guess a bit more, and then I would be done with my clouds. I need to work on my mountains as well as the bottom area after this. This is something that I always always say that bottom area is very important in paintings like these, where the main focus, of course, remains the top area, but the bottom area has a lot to do in terms of the soft approach that you are going to take for your watercolor painting. Soft and I would say more loose paintings are difficult to do compared to a wet on dry method, which I have seen very often been easily picked up by everyone. Time to add my darker value for this part of the mountain. This is more of orange that you can see right now. I would be mixing some amount of donthrine blue into it and create a bluish orange kind of shade. So that's one of my favorite got shades, I can always say. I just fall in love with that shade every time I work with it. Continue adding more and more colors. So I did actually go ahead and record it during the evening because of which you can see a bit of shadows as the light is coming from the right. I have already mixed my colors and even mixed a bit of neutral tint into it so that the colors may look a bit more darker than what it is usually. This kind of blending you have already seen we have done in our mountain part. If you have done this blending, it's important to now have a look at how this wholly looks in total and then go ahead with the right side of the mountain or the hill part. Let's have a look at my palette now because this is something that I have a bit from the beginning. But let's see how we continue to work around with it. I have taken some amount of my sap green. You can also go ahead with any other green that you have with yourself and mix a bit of brown into it. To get the exact shade, something like this. I'm going ahead with my green, as you can see over here. I did allow my hill on the left side to dry off before going ahead with this one. Now, if it doesn't dry off, what happens is the colors will move into each other, and it will not give you the exact, I mean, the way you want it. It would not come exactly the same way. Rest, everything is fine. I mean, still, you will be in a position to have a good outcome over here. You can see I am continuously blending some of my blues, and these blues can be in Dontrine blue, Prussian blue, or ultramarine, whatever is available on your palette, mix it with olive green or sap green again, whatever is available on your palette, and then create colours of your heels in two to three different shades. I really like changing my values a lot as well as the sheds. That really gives a lot of better outcome, and it's more like a mature painting which comes out at this stage, then. And finally, somewhat darker values towards the bottom part. As you can observe over here, there is a dark blue mixture that I have made on my palette, and I'm just adding it towards the bottom with the help of a size three or a size four brush, whatever is avaiable with you. Once this is done, let's just splatter some water, clear water or you can also splatter some colors exactly the way I'm doing over here. Splattering is always good. You get good textures and you get to understand the look and feel and even simple things can beautifully change painting altogether. That is something which I have learned over time that even very, very simple things can change your painting to a greater extent and make it look very pretty and beautiful if you can add some simple stuff and I think it makes it more exceptional. Okay, guys, I guess this is it. You want to just experiment a bit more with splattering, et cetera. Please go ahead, continue to experiment a bit more, even if it be adding a bit of orlein or any of the yellow shades that you want. So I usually have Indian yellow and Oleine. Lately, I have discovered that aolin is a good color if you are planning something to add to your painting for textures, et cetera, or even for your I would say, even for your grasslands and all, so that can be a great one to work around with. So this particular color is very good to go ahead. Okay, I guess this is it. I have made this painting really slow as I wanted you guys to see that I also paint slow. It's not that I am app at doing everything. It takes me a lot of time to understand and to go through it. So yes, overall, it is difficult and it is time taking. But all I can say is that it becomes all very fruitful and it becomes all very satisfying to yourself when you are done with this painting, and you exactly know that you have made a beautiful creation out of it. Progress is important as I always say. I see myself progressing every day, and that's what is important for me. I don't want to just go ahead and not make progress daily. Daily progress is very important, even if it be a very small painting, just try to go ahead with it. Okay, adding some colors towards the bottom part. You can go ahead with Leo water, but of course, brush has some yellow in it, so it's fine. I have also added that bit of yellow. You can go ahead with Ole and added in some of the parts or even Indian yellow, Indian yellow is more brighter. So going ahead with Indian yellow at this moment would be a good choice. And as you progress, you can always add more of Alene going forward. Mixing up some sap green, as well as some amount of my yellow green towards the bottom area, I will slowly introduce the darkest value of green. For this, you can also add some amount of ultramarine into your mixture and then see what really works out. Now, the paper is audi wet. Now, if your paper is wet, the colors will move. That's a great way to go ahead and paint. As I always say that somewhere or the other, you will get a better outcome if your paper is wet as watercolor is going to do your work, water is going to help you do exactly or get the exact final outcome what you need. I'm going ahead and again adding some more of the darkest value towards the top. I have used my fan brush to make some of my glasses. I will be adding more and more darker values as we progress. So do not worry at this moment. Continue to paint. You will see that something seriously beautiful and amazing has turned out. Towards the edges, try to make it a bit more darker. I'm going slow at this moment. Maybe I have to go ahead with some more of the darker values as well as some splatters of OR or some darker value splatters. Those all things are also going to. Adding some Brzena for the way or for the muddy road, as you can see, and then I am now going ahead with some blue to add the darkest value which you have observed over here. I love to add my ultramarine dnrine blue or you can also go ahead with Prussian blue for the darker values of the blue. This is something that I have realized that green works great with blue. If you want to have darkest value shades, I think blue works great, as well as the values change to a good extent that helps to create pretty differentiated and expressive outcome. Okay, on the right side, there is a small white patch. We are going to make it green. Don't worry. There is a lot that's coming up. Let's continue to do the fan brush process. You already know it. From my earlier techniques, I'm going to show you a lot of techniques that you can apply for painting trees. Something that I've learned over time is that tree painting is very different and many of us may not be in a position to do it very well initially, but with a few practice sessions, I think you should be in a position to do it, whether it be far away trees or whether it be closer bushes, or something that is very different. I would say, yeah, in a totality, you will have a good knowledge of landscapes and skyscapes, even the grasslands, water, et cetera, whatever you want to paint, you will have a good understanding of it. I'm just dropping in a few dots here and there, touching my brush and picking it up at this moment. Time for some starters, and this is my best I would say, process thing that I love to do anytime I work with watercolors. Okay, great. I guess this is good. Let's add some more drops of blue pen. Continue to paint with me. At this moment. I have less to explain and more to do with the starters, darker values, as you see over here and get some good textures for our ground area. I'm mixing some blue into my roadway area, as you can see over here, and then I'm going to try to paint with some of my yellow again. Blend it, blend it, blend it, as you observe over here. Sometimes my platter do also reach the sky and it's important to pick it up with a damp tissue or else you can also go ahead with any tissue, and then whatever be the dots, we will convert them into perch. So do not worry. We have solution for every problem that we face. Yes, you know, watercolors are not forgiving. I know to a great extent, but they are forgiving if you are using 100% cotton paper. Or you want to paint something else like a bird, et cetera, that can also be done. There's a simple landscape. Believe me, there is more that we are going to paint and you're going to enjoy it to a greater extent. As we progress with this class, next ten techniques are going to be very important. If you are someone who is in love with watercolors and want to paint landscapes, skyscapes, et cetera. So do follow 60-70 techniques that is 61 till 70 techniques. It's going to be interesting, as well as a bit challenging, too. So yes, With a challenge, do not worry. I'm here to help you out at every moment. Right now, I have picked up some ordine on my brush, and I guess that's how it's being that's the spelling. But if not then too, it's a yellow color, basically, which has a bit of opacity in it. It's from the brand senalia and I've been using it for years. If you two want to ever purchase this color, I think it's a great idea. Initially, I did not use, but from the time I've started painting loose landscapes, this particular color has come to a rescue in a great way. Okay, good, guys. I guess I'm happy with how it is turning out. I will continue with the painting till I am fully satisfied with it and then have a final look at it. There are six, 7 minutes more to go. We will continue with our birds too, because I can see one or two drops here and there, which I really want to not have on this painting or not really not going to add it on this painting, for sure. I'm almost done except the birds, so I guess I will just add a bit more of this yellow splattering. And once the yellow splattering is done, we will start out with our birds. Birds, of course, can be small, big, I mean, whatever size and shape you want them to be. That's absolutely okay to go ahead with it. I have some small dots in my sky, which did appear, and I'm just trying to go ahead and extend that dot to make it look like birds. I guess that's it. And I'm very happy with how it has turned out. Let's have a final look at it. And then our painting is ready. We are done. I will meet you again tomorrow with more techniques. 81. Project 7 - Floral Landscape: Here's a list of colors that you need for completing Project seven. Finally, we are onto our seventh project, and here I am going to divide the paper into three equal halves. The first half is basically going to be the sky and a small mountain in the background, and the lower half is going to be basically the area where I will be making the floral fields. You will be doing it in a very, very loose style. It would be more spontaneous and less control is the idea. We have done projects where we had really great control over our colors, and we were doing more wet on dry methods. But as we progress with watercolor, I do understand that there is a need to go ahead and make paintings which are more spontaneous and you have less control over it, that makes your painting really interesting. This might take you a bit more time to understand compared to, I would say, the other paintings where it is more of wet on dry method. That's the only difference which I have seen in these kind of paintings, rest, all the rules are same, all the kinds of paintings would be same, and everything that we apply in terms of colors, et cetera, will be same. So there is not much of a difference. We will be using the techniques that we have already learned like splattering, then going ahead with the blending pot, making soft background martins. You have already done that previously. We have done it in our various techniques till date. So all of it is what we have learned is going to be applied in this painting. Going ahead and making a small house for the background area. I do like to keep something in the background because that really makes my painting very interesting. My sky is very boring, even my background hill is boring. Only the floral us in the front might be a bit more interesting. And hence, I want to keep some more interest in the painting, and that's one of the reasons I just chose a small house that's existing on the left side. I usually don't place any of my subject like these in the middle. I usually like to keep it the left or on the right. Not exactly in the middle, for sure. We will go ahead and add a bit of a wall for the background area, and then some of my bushes on the middle part, as well as some of the bushes on the right side, also, I'm going to add it. This is not something that was existing. It's pretty imaginary, and the whole painting is kind of imagination. So don't blame me for the fact that this doesn't exist or anything like that. It's purely out of how I think this painting really looks interesting. And there are of course, there is something that I have seen in a particular photograph. And I'm not trying to mimic that photograph, so it had lavender fields, et cetera, and it has it had normal green fields and all. So I did change a lot of that photograph that was there, of course, in my mind, mostly. I do see a lot of photographs, but I don't exactly draw it similar way what's existing. Hence, you will always get to know that, yes, this is from that particular painter. It also is an ownership that you have not copied anything. Though I will not say that copying from a photograph is bad, all I'm saying is as you progress with watercolors, you get to know what you should actually choose for a photograph and what you should just delete or what you should add. So photographs at one point in time just becomes an inspiration part for you, and you just develop on that inspiration to make it yours. Going ahead and applying some water on the back side of the paper, as well as on the front side of the paper. Backside of the paper really helps my painting to stay wet for a longer period of time, as well as it gives me a lot more time to paint. So that's a great way to go about in any painting of your choice. I'm using erleium blue at this moment, and I'm adding colors towards the top part. Now since my paper is on a wet on wet basis, I would be doing it. So the colors that you observe right now will become way more lighter as we progress with watercolors. So once this paper dries up, it would become lighter. I might have to go ahead with some more of my darker values like purple, et cetera, that I would be adding for the sky dium. Paper is A four size, which you are going to paint, and all I can guarantee you is within 40 to 45 minutes, you would be done with this painting, as I know that I have done it in around 30 minutes, but it takes a bit more time as you would be stopping, seeing it, and then again doing I can tell you as a practice, go ahead, watch this video at a two way speed just to understand how I am progressing with watercolors and then come back and start painting along with me. I would be more than happy to solve any of your doubts. If you have any doubts, drop in your comments in the discussion section. I would go ahead and just write whatever is your doubt. I will try to solve it. I'm using my purple shade. This is, I think, from the brand Winsor and Newton. Of course, there are various purple shades that we have. My royal blue is completely over. That's one of the reasons you are seeing erleium blue now for the sky area. But I guess, that's not a bad option altogether. It's lighter in tonal values. Though I feel that royal blue has a bit more opacity, and I think that color really glows in a watercolor painting. But as an option, you can always go ahead with irelium blue if you do not have royal blue available with yourself. Something that I've learned over time is that for anything that you're trying to paint, you can always have a light wash. Like, for this part of my hair, I would like to go ahead with a darker value, whether it be green or whether it be blue. So if I have to go ahead with a darker value, I can always just add a very light shade of ultramarine, which is one of my favorite shades, as you guys know. And though then go ahead with the green over it, because the green anyways will, of course, show up as this color is not very dark. Now I'm slowly adding more colors of blue and green, blending it slowly and steadily. You will see that the whole painting is coming together so well. They blend it so well. I mean, everything is so soft and it just the colors bleed into each other. They move into each other in a way as if the blending is just happening on its own. So, yes, it's going to be very, very, very interesting process is all I can say. I am super excited. I hope you guys are equally excited to really go ahead and paint along with me. You will see some of the areas from the bottom of this hill, I will keep clearing out. Now why I clear out that area? Because I want to keep that area in lighter tonal values. Though, like many people like to go ahead from the top to the bottom, or they go ahead with the lightest value and then move on to the darker value. I just have a simple rule. Whatever you are comfortable with, like, I'm more comfortable with going ahead with the hill, then going ahead with my grounds, that is the whole of the area. So I would just go with that. If I need to clear out some area with my brush, I would do that. Flat brush is great to do that, and I would like to move from top to bottom. Though this whole house is in a different shade and I would like to approach it later on, we can keep that. We can park that for later on. And rest of the areas, I would like to just do it initially rather than waiting forever to do it. You can see how two different colors have blended into each other so well, giving different tonal values, giving different values of green and blue. And the whole I would say this whole hill part looks so, so amazing at this moment. I am super happy with how it has turned out, though there might be some more additions in terms of the colors, et cetera, that I would go on adding as we progress. Do not worry much, but this is this is what I was trying to actually show you when we were working with the softer tonal values as I was saying that they will blend into each other, but they will give you various shades, colors, et cetera. The whole of the painting is still wet. Your sky is also wet, and hence splattering is not an option at this stage from mind. I would say, you have to wait for any kind of splatters, et cetera, and I would like to avoid it for this small hill area. Though I know that it gives great textures and it makes the painting very interesting, but let's just avoid it at this moment. I've added more water on the bottom side, and I would go ahead with some of my red. This is the permanent red which I have. Though this red red just moves a lot, and that's something which I did not like. Though I'm not aware at this moment, whether this red was from my brand art philosophy or it was from the brand Senalion. Hence I'm not sure that whether I would be using this particular red in future or not, all I can say is I'm happy with how the final outcome came in. I was in a position to practically control the colors. I have seen QR as a color. It does spread a lot. If you are someone who works with a lot of wet on wet technique, I would ask you to go ahead with shades from the brand Michel they have a unique property of not spreading a lot that gives you a lot more opportunity to play with colors. By the way, right now, I have mixed some amount of red with my yellow green, and I have added the color towards the top area. The colors will become lighter. Always keep that in mind, as well as you can always a clear water to make it also lighter. Do not worry when you are adding the colors. Go ahead and add the colors. If you're working on even bigger paper than AFO size, it's even better. As I always say, the bigger is better, you get a hang of it. You get to understand how to work with it. Though this is a 300 GSM, 100% cotton arches paper. Still, at times, I was struggling with the water control part of the paper. You can see how I would continue splattering more of my colors and few or more of my even water in some of the areas making the paper wet. You can see that slowly, steadily the paper is not wet much towards the bottom. We have to really work very quickly in these kind of paintings as the paper dries up faster and faster. And during the daytime, of course, my temperatures have not dropped so much because of which even my paper is drying up along with it. The season is really dry at this moment. Mm, like, where I'm staying is has become colder, but it has become really dry also. And hence, it's difficult to keep the paper wet for longer. I'm going ahead with the same shade of the green. You can go ahead even with the sub green if you have that green and then add it towards the bottom area. These colors that I'm adding right now may not stay the same, believe me, I will blend it so well that you will really not understand much. Splattering is great. I would go ahead and splatter some more in few of the areas. This is basically my quinacrodon coral that I have taken for the splattering part. As I see that my paper is not wet much, I would go ahead with some clear water and just platter it on the whole of this area. This plattering really helps me to keep my paper wet. It brings in the required amount of texture that I need, as well as I would be placing a small tape towards the top area part. You will see when I place it so that the colors don't move towards the top. The colors start moving towards the bottom. That's the idea. Gravity will do its job, and hence it becomes easier for any painter to work through watercolors. Paper seems to be pretty wet, so we will go here and just add some more of our darker values. I have chosen or thino brush, which has got a nice tip. This is size six from the brand Escoda, and I am loading my brush with some more of my forestry. You can also mix some blue into your green to make it a darker value. Keep adding the colors in various places as you observe over here towards the top, bottom area, as well as some more of the dots here and there. I am struggling again a bit with the water control part, but we all do that. So don't think much when you are also struggling with it. Just go ahead and paint. If you are feeling that the water is really low, we did this exercise of splattering. You can again go ahead and use the splattering exercise, but I think that is really going to help you in your painting, for sure. You can also keep a spray bottle, and spray bottle really helps during the hot summer kind of seasons. I keep it very often for painting with watercolors. You can also keep if you are someone who is actually feeling that the paper is going dry as we progress with our colors or as we continue to paint because none of the paper can keep your paper wet for, say, another 40 minutes. It's really tough. Even if you apply water on the backside of the paper, it is tough to keep a paper wet for 14 minutes or 45 minutes the time you are painting. Hence you can do these small hacks to help yourself out. I have mixed some amount of purple into my pink, and now I'm going ahead with my compose opera. This is somewhere or other closer to carmine, et cetera, kind of pinks. You can mix a bit of purple into it to make it more visible. I would leave that decision up to you. This is you can keep it red. You can keep it a bit purplish. That's absolutely up to you. Cleaning up some of the areas on the top, because I just feel that it's too much green compared to what I need. And I might just blend the colors a bit more as you see over here. After the blending, I just feel that the whole painting is coming together very well. We need some more dots here and there and some more smaller dots because as something goes far away from you, supposedly even feels whatever is going far away from your eyes, they will not be like having lots and lots of grasses that are visible to your eyes. It would be plain lance, kind of, whether it be green, whether it be any other shade, it would be more of plain lands. And hence, we have to also do it that way. Good. Once my blending is done, I think I would love to splatter a bit of water, as you can see it on the top right corner. We can do this exercise as many times as we want, but all that would happen is that the whole painting will take more and more time. So if you are happy with how the grounds are right now, just avoid it. Go ahead and blend your top part because the colors and even the water is moving a bit up, which we really don't want, so I am blending my sheets over there because of this reason. I've loaded my brush with some of the darker values and even then just cleaning it up to blend some of the areas, as well as I'm blending the top part. This is more of an iterative process, and we will be back once we have to paint our main part of the building. Till then you can just see how I progress by cleaning some of the areas and blending some of the parts. Most of the things we are done with, as you can see, there is only around ten to 12 minutes which are left, and this is more about the detailing part along with the building area. I think the top area of the hill has started looking good now. The blending is also smooth enough. It's only some more of the darker dots that I'm adding right now towards the bottom part, which you observe over here. And then I'm adding the lines from the bottom, again, which moves to the top area. Of course, it should not be absolutely so loud and dark that you just see it separately compared to what you have till now added into your painting. That's something you should always always keep in mind. The paper is going dry. I'm getting hardges. I might have to go ahead with some of the yellow just to blend the edges a bit and then have a look at it. There's a small green path just below our hell area. I would go ahead and apply it with the help of my size three or size four round brush. This is Casaneo, and it is from the brand Vinci. I've already added some darker value dots here and there, and once these dots are done, we will go to the bottom area and just blend our colors, as you see over this particular place. And once the blending is done, it's time to just go ahead and paint our trees. Everything is still wet, the paper is amazing. And I would say that I'm super happy with how this is this whole painting is turning up at this moment. Though we don't know, believe me, at one point in time, I just thought that this painting is not going to go anywhere. And I might have to just leave it as is. But over time, I have decided one thing with my experience that never ever leave a painting. Just see where it goes, see how it turns out. If it turns out, well, it's great. If it doesn't turn out well, you at least have a learning from that painting, and that learning is the most important part. I'm going ahead with my naples yellow and adding the naples yellow on top of my building area that you see over here. Once I've added the naples yellow, I will go ahead with burn sienna and some amount of ultramarine to create the Daco values. You can also go ahead with CPR if you are not very well versed with the mixing of colors. Like I don't prefer CPR always. Yeah, in some cases, I do apply it, but mostly, I like to just mix my colors of blue and encena to get the darker values. We will keep adding Burnsiena in various parts of this particular building. The building that is on the front part, I will not add much because that part is the lightest area which I want to keep. But for the walls, yes, I will go ahead and just add my burned Ciena. Along with it, you will also see that I would be blending my ultramarne as well as some amount of CPM. CPR, of course, as I tell you earlier, it's optional. You can also mix your colors and then do it. You can go ahead with our various techniques spot where I have explained you about mixing your colors, how you can create different colors, as well as what are complimentary colors, analogous colors, et cetera. So there is a lot of learning that you can do there, and it will become very easy for you to even choose your colors that way if you have gone through that particular part or those particular techniques in this class. Let's go ahead and add some of our darker values into the tree area. The tree is still wet, and that's one of the reasons you can say it as trees, bushes, et cetera, whatever you want to say it. I'm okay with it because this is at a distance, and they're not as large as the trees are usually. So just dropping in few drops here and there, you can see that I use my brush very lightly when I'm adding these drops. I don't want to overdo it. In some of the areas, I will add a bit of darker values and let it be lighter in the other parts. Something that I learned over time is that if your values are changing on its own and they do not just, like, move as if they are darker or dry or you can say, it becomes very dry in some of the places and you are not having any soft edges. The soft edges really helps to blend the colors and they move into each other so easily as if it is a natural blending compared to if you have, um hard edges when your paper has dried up and then you are going ahead with the next layer. Those things I really love to avoid in any watercolor painting nowadays. With time, I am learning to make it more and more softer, and I would say, this learning process continues for every artist. All I can help you with is learning the new ways or learning a particular way of working with watercolors. You may like it, you may not like it. If you like it, you will continue to work with that process. If you don't like it, you might just go ahead and work with another kind of way of working with watercolors. It's all creativity. Every creative is different and every way of working with colos is also different. So don't think much when you're working with was just enjoy the flow. I would say watercolors is all about flow, and the better you enjoy the flow, the better is your outcome. I just feel that this painting is glowing. I don't know why, but yes, this painting seems to be glowing in some of the other ways, maybe because of the way we have selected our colors or what. I'm really not sure of, but all I can say is I'm very happy with how it has turned out. I'm super excited to just finish it off and have a look at the final painting. But all of this has been possible only because we did apply one layer of water at the backside of this paper. You know that keeping the paper wet for a longer period of time, at least a 300 GSM is very, very tough. If you are looking to paint on for 40, 45 or 50 minutes or an hour, 620 GSM or 640 GSM is all I would ask you to go ahead with, though, that kind of paper is pretty expensive in the market, and it might be very difficult for anyone to procure it. But if you can just invest on the paper, paper is something that is going to reap you so many benefits that I can't tell you. Okay, some more bushes for the background. This is what my darkest value. I'm adding right now towards the bottom area of the hill, and then we will just blend the bottom area into the lightest value of our grounds. I hope you like this project. Do upload your projects in the project gallery. I'm waiting to see it all. This particular project has my heart, so go ahead. Try do let me know any challenges that you are facing in it. I'm just blending any extra water that you see over here, and then let's have a final look at it. 82. Project 8 - City Lights: Project At is going to be very interesting. We are going to start out with this sketch. Now this sketch is already uploaded in the resource section. Please go ahead and check out this sketch, download it from there. You can use a A four size paper like this and start out with your painting. I did apply some water on the back side of the paper and even on the front side of the paper. Please two just apologize my voice. It is a bit coarse because of the col and cuff. I am going to do a weight on weight for the sky and the water area. You will see that we are going to start out with the lightest of the value, and this is naples yellow. This is one of the most favorite paintings from the entire series. Believe me or not, this series took me some good amount of time to put it together and come out to you with paintings and taking it to more of an advanced level from the big Nurs that we started out with so I would leave the decision up to you to paint this along with me or just watch it. But I would always, always encourage you to just paint along with me because the whole sketch is anyways given. You don't need to do much, go ahead, trace it, and then you are good to start out with your painting. I'm going ahead and starting out with the orange shade. Now, this orange shade I have prepared. I had canaliaOange, and I mixed it with some amount of naples yellow that was already existing. And with that, you see the pale kind of an orange shade that has come up. I'm going to use it for the bottom part as I'm going just below my horizon line two. Go ahead with my coral color, this Asquin acrodon coral from the brand, which I usually use a lot of times, Thurs Daniel Smith, Daniel Smith, SNlier, then Wincora Newton, as well as Rembrandt. These are the four basic brands that I have used still date and even Migo Machine gold to add on. Along with it. I also have paints from PWC. So yes, I would say there are lots and lots of brands. As I did purchase it long back, and I'm still continuing with many sheets of theirs. It's not that you need a lot of paints, except the ultramarine that I've been using in a lot of quantity. So yeah, that's one of the paints that's there, and I've been using it for quite good amount for a date, like, from the time when I started out with my paintings. Going with some more orange and then quin acrodon coal for the bottom area. Once I'm done with the bottom area, we will go ahead and start out with some of our pink. Now, this is basically a compose opera that is somewhat closer to the carmine or any of the other things that you have on your palette. We will go ahead and apply it towards the bottom area. Now it's time to go a bit bold, and this is the red color that I have on my palette. I see that my paper is actually drying up a lot, so I might have to go ahead either just spray some water or just apply one more layer of paints on top of it. I don't know which I would prefer as of now, but, yes, I can't let my paper dry off for sure. That's something which is always there on my mind. I don't like paper drying off. If required, go ahead and spray some water, which makes the whole painting go even more easier. I am applying some more of my darker tonal values of the compose opera on top of the sky area. I will again load my brush with some more of my naples yellow and start blending it with the pink that I have already applied in the top part of the sky. Along with it. Now, since this is a wet on wet painting that we are doing, you will see that the colors will appear one or two shades lighter compared to what you see over here. So applying some more of the darker values is good, but be very sure till what length you want to go to make it darker. That is something which always goes on in my mind, how much I want to make it darker or how much I want to keep it lighter because you really don't know where it is exactly going to go wrong. Take a spray bottle like this and spray some water on top of your paper, you can see that I did spray quite a good amount of water. This is a great example of keeping your paper wet for longer, and if you do not want to touch your areas with any of your brushes, this is a great way to go about it. I have done it even in the past, and this was a very, very important example that I wanted to show you if you want to keep your paper wet for a longer period of time. There's not much at this stage, which I need to explain. It's just simple blending with some of the colors that I feel it's important for you to just observe and go around with me painting it. It's the basic background washes that I'm doing, so I am very, very conservative when I am doing these kind of washes and I would take my time to apply the lighter values and the darker values. That is basically a nature of mine in watercolors. It's difficult to come back to lighter tonal values. It's always great if you start out with lighter values and then go out with the darker values. Mixing of colours is a very important concept. You can see that I'm making a red violet over here, which is basically mixing some amount of purple into the pinks that's already existing. And then you get a shade that looks more like a red violet. It's not exactly purple, it's not exactly pink, but it's somewhere in between pink and the violet shade which you can usually absorb in a palette. Now this red volt color is readily avaiable in the brand Mijello Mission gold. Every time you do not really need to actually go ahead and purchase a color, you can also just prepare it for yourself and use it in your painting as you see over here, me doing it also in a similar way. I'm using a flat stroke over here with the use of a thinner brush. This is just to apply some of the lighter values into the painting. I will go ahead with some of the red violet again and just start applying it as you see in this space. This is a space which is more of whites, and I want to go ahead and make it bit more darker. I'm conservativist my approach, as I always say it, I don't go ahead in the first go with this painting. I will take my time and then only apply the colors. Let's go ahead and just apply some more of our darker values with a thinner brush as you see over here. I continue to paint over these areas for a longer period of time as I've applied water for both sides of the paper, and that gives me a lot more time to go ahead and paint. Let us go ahead and even try to apply some more of the darker values for the water area. As you see over here, there are some lines like structure, which I am applying in the bottom part, and this is with the darker values. It is basically a purplish color which is also known as red violet. Some more red and naples yellow, and I feel that I'm quite done with the sky as well as the areas where I wanted the darker values of the color. You will see the sky color as well as the bottom area color. Both are almost similar. Now, why is that? Because water doesn't have any color of its own? It basically reflects the color of the sky. Hence, whenever you are applying the colors of the sky, you should keep in mind that you apply the similar colors into the water area except the times when there are some algae, et cetera in the water and the water sometimes appears more green. In shade, and that can always be justified because of the kind of photo that you see in a particular scenario or in an area that you usually observe you usually observe either from any kind of places that you have seen photographed or may have some of the sources who have given some photos to you. So these do happen in nature, and that's what I also love to always, always work around with I've applied the colors, and then I did allow the colors to settle down to completely dry off. You can see these are two shades lighter than what you might have seen earlier. I'm going ahead with my Bonsiena color, and then I would go ahead with some of my ultramarine, as well as grids, all the shades that I've used in the sky, some more of the purples, et cetera, to make the darker values. This is basically my ultramarine, as you can see over here, and I'm applying it to the bottom area. I might have to go ahead and switch my brush in few of the areas wherever it is necessary. I will not go ahead and apply a same flat color throughout the painting. You will usually see that even in a sunset. Most of the people would usually use some of the black color and just paint the subject in black, but that's not the idea. I always love to go ahead with similar shades of the sky colors even into the building area and then blending it with some of my ultramarine and Bron sienna to make it look much, much more interesting. Interest is something that I always, always look forward to if you can make a painting interesting. I'm pretty sure about it that many of the people are going to like what you have, actually painted. All the bigger areas, you can, of course, cover it with a bigger brush. But if you have smaller areas that needs to be covered, you have to switch your brush to size four or size one, size two, whatever is available with. Let's continue to paint some more of the areas. There's nothing much that I need to explain. I'm using the similar colors which I did use even for the sky, blending it with the browns and blending it with some ultramarine to create the darker value of brown towards the bottom area. We are going to paint even some lines. That's going to be very, very exciting. There is a lot of excitement which is left. We are not even halfway through, and believe me, there is so much that we are going to create within this painting. It's one of my favorites, and there's a reason. We are going to work with the reflections, how the reflection come up on a water is surface where it is moving. So you will not see that the entire area of the whole building comes up on the water whereas you will see majorly the lights that are coming up on the water radia or showing up on the water ia. Towards the bottom area, I'm working with the ultramarine, as you can see. And even on the right side, I'm ending it with the ultramarine, it is giving me some darker brown kind of shade, and some of the area, of course, stays in the blue. We are going to also go ahead and add some of the background building area on the back side of this. But first, let this paper or this part dry off. We don't want to touch all the areas, and then it would become very tough for us to go back if anything goes wrong from here. I'm to paint the water. You can go wet on dry exactly the way I started out initially, and then I was not happy with how the lines were showing up and I wanted to wet on wet. Now, it's a choice that you can make for yourself. I have shown you how to make a wet on dry ripple into the water, as well as a wet on wet ripple. Both of these are explained well in the technique section. So if you are someone who wants to look back into the technique section, Please go ahead and have a look at your techniques. You will find all of these being covered in the techniques, even how to mix up the colors, et cetera have also been covered over there. Now I have applied one more layer of water onto the bottom part going ahead with my in a brush to make ripple light structures. This could have been done earlier, but my paper was really wet at that time. And all the ripples that I was trying to paint was getting blended into the bottom parts. Sometimes your paper is so wet that you cannot do much, and you might have to go ahead with another layer to create those ripples. Wherever the colors are getting smudged to greater extent, go ahead and use your flat brush to just take out the extra colors from those areas and just pick up the darkest of the value because blending is the key, but that doesn't mean that you blend the colors so much that there is no further ripples that you can see. Another thing that you can always keep in mind is whenever your subject is pretty far away, what happens is that you will not see the exact reflection that is usually not seen if it is not an absolute calm water. If it's an absolute calm water, you can see it. Otherwise, it's very difficult to absorb it. So that is another thing I must tell you because that is as per the rule of perspective, and it's important for each one of you to know it. I am applying some more of my bluish purple color that I take it from the palette and towards the bottom area of this building part, just blending it with the other sheets that are already there. We're almost into the last few parts which we need to paint. I am first just completing the building top area. I see that I did leave it for you. And it's important to go ahead and complete all the areas where we did not paint. Even for the background area we have to paint over there. We cannot leave the spaces in white. That's something I mean, at least in the background color, it's not white anymore, but yeah, not even in the background color. Blend it. If you have made any mistakes like I did over here. Sometimes blending is great. Blending helps you to actually get rid of any mistakes that you have done, and I do it very often into my paintings. As you see over here, I have gradually applied darker values in the bottom, as well as on the left and the right side to keep it more boring. Was into the central area, I have mixed up more colors. As you also this is to increase the level of interest into the painting, and I'm going ahead and just adding some other darker values and few of the areas wherever it is needed. Finally, some windows with the tip of my brush so that we can have small, small dots over there, and then we are going to go ahead with some more of our thinnest lines. Just take off all the extra water into the, I mean, a paper or any kind of towel that you have with yourself, and then only go ahead with the darkest value in the places wherever it is needed. I need to work on the background right inside corner for my background part of the colors. So that is also coming together. My paper is almost drying up, so it's time to now go ahead and work on the other parts of the painting. For the lights that we want to introduce into the area wherever it is necessary, I will go ahead and apply some of my nipples yellow. When my paper is wet and then just use a blending brush to blend those areas a bit more. You will see how I use it. You can see that I'm using the same brush. It's not a blending brush. It's the same brush just to make it more blurry. So I would be doing this process repeatedly in all the areas where we have applied the naples yellow color. Naples yellow color is a bit opaque in nature because of which even when you apply on the darker spaces, it will show up. I'm applying some white on top of the naples yellow that we have already applied. The paper is still wet and it is easier for me to show the lights this way. Another quality of naples yellow is that this doesn't actually mix with any of the blue to give you the greens or the dirty mixes that you expect with the yellows that you might get. So it is easier for anyone to work with naples yellow if you are not someone who is so good with the colors or choosing the colors, and you will always get the green with the yellow, blue, so all kinds of those kind of mistakes can also be avoided as a big now if you have started using naples yellow in your painting. I find the lights to be at equal distance. So I would also apply some more lights in closer it distance just to make it look more random because every time you cannot have lights at equal distance from each other, some of the places will even be little up due to the street lights or some of the windows. I mean, it can be anything, right? So you need to keep that in mind when you are working even with the lights, you should apply it in a way that they don't look absolutely even. Background part will be in the same colours like the one that you have seen over here. It's the purple and the red that you can apply red VletO else the pink, whatever is those color of the sky, you can use those similar colors to even make this background part. Some random lines again at this moment here and there. I will not think much when I'm applying these lines. I will use the tip of my brush. This is the Escoda size six brush, and this has got a very nice tip optimal. Now many of the other brush companies like the Vinc et cetera also has these kind of brushes. They are great to work around with. I have been using this for years. Now, many of you who have been there on my journey of Skillshare for last five years know that I have been using it at least in the past four years. Let's apply some more of the whites to brighten up the lights in few of the areas as they will not be of equal intensity for all. Hence just also changing the intensity does matter. At this moment, I need to go ahead and just even show that these lights do have effect on the water and there's a reflection of the lights on the water. I would be using my thinnest brush, as well as my fingers to do the same. You will see how we do it. Some of them are done in white, some of them in Naples yellow that we are also applying over here at this place. I will continue with the reflection of the lights and just follow me. Some of the areas, of course, are in the naples yellow, as I did tell you earlier. Some of them will be smaller in size and shape, and some of them will be larger just to show that there is an uneven reflection which is falling on the water area. Sometimes I also do paint with my fingers, and you can see I'm using it to apply some of the reflections on the water area also. It's time to paint some birds. It's the evening time, and the birds are all going back to their own nest. So it's great to just add some birds in the sky. Add a few of them. Don't try to just add a lot. That's something always always keep in mind. It will take away the beauty that you have already created. Have a final look at it, and I think you will be happy with it. Okay, let's again, move on to the next painting. Now, there are two more projects to go before we end this whole of the class. 83. Project 9 Winter Evening by the Castle: No. Hello, guys. Welcome back to the ninth project. Let's have a look at all our colors, and then we are going to add a lot of water on the back side of the paper, as well as on the front side of the paper. The drawing has been uploaded in the resources section. You can go ahead and use an EFO size paper for this painting or a bit smaller size depending upon what is available with you. I have taken arches 300 GSM, and now I'm going ahead with a mix of my royal blue and some amount of ultramarine to add the lightest value towards the bottom part of the painting. I always love to introduce some of the colors as we progress rather than adding it in the initial part, because if I add the colors in the initial part, sometimes I'm really not sure of that whether I want to give and add it or not. This is pure ultramarine. You can see that the colors on the paper is granulating and it's breaking up now. Many of you are aware about granulation and many of you, if you're not aware about granulation, I do have a class where we are working with granulation of various colors, et cetera. So please go ahead and check out my class, meditate with watercolors. In 14 days, you can really learn a lot. And it's a complete wet on wet kind of class, which really is a great way to learn watercolors. Okay, I have used my thick brush now. Now, this brush helps me to really fade away the colors at any place wherever I think it is necessary. You can see that I'm trying to add more of my darker values and see wherever it is needed. If not needed, then I am bledning it. This is a repetitive and iterative process. I wait and then I always go ahead with another color. Now, waiting is a very important process in watercolors. If you are someone who has patience, then it might be difficult for you to continue with what colors. Watercolors demands a lot of patients, acceptance, happy accidents, and lots of other things which we cannot control. Whatever we are not controlling at all, it will work as it wants. And hence, accepting a lot of things in the process is very important. Going ahead with my t blue, as you can see over here and then adding it towards the top part of the sky, I'm using a flat brush because I really want the colors to move at this moment and cover a larger space. Now, larger space is very important for me because the paper is drying up and I really don't want my paper to dry up. You might have seen that I have applied water on both sides of the paper, but the top part has dried up. We need to go ahead and blend it very quickly. Using a broader brush at this moment is very tougher. And for adding some opera colour, I will go ahead with my opera colo and start blending it from the area where I have stopped adding my other sheet, which is Tioblue and then blend it, you can see that the blending, of course, is a bit of a task because some of the area of this castle we are not covering, and that's what makes the whole painting a bit challenging at this moment. I will go ahead and even add a few more of the techniques very soon. So just hang in there and there are more things coming up as there are more classes also coming up, which is going to help you believe me in your watercolor journey to a greater extent. Most of the classes now, which I am thinking will be more in a wet on wet concept that can help you to control your water on paper to a greater extent. Going with some more of the opera and then adding it towards the bottom part of the sky area, as you can see over here, blending is the key as I always say, so I continue to blend my colors. By mistake, I have added some To blue as you can see over here, and now I realize that, Okay, the Telo blue doesn't look good in this part, and I have to remove it. So go ahead and use sub ultramarine or brown just to add the darker value and make it look more organic. I have been using burn Sienna in various places wherever I think it is necessary for our bushes in the background or even the trees. That's absolutely okay. Go ahead and use it as per your need. Guys, I feel that it's time to let the paper dry off before you start with the castle, but there are some people like me who don't like to wait at all and who would love to start out with the castle as soon as they see that the sky is done. Now, it has both sides, I can say, that one part of it is if you start with the castle, the colors will move even into the sky area and you don't have much choice to control it, but that also looks great because it gives a glue kind of a situation which makes your watercolor looks amazing. So overall, yes, there are flip sides, as well as upsides, downsides, whatever you can say in watercolors. If you're someone who enjoy the spontaneity of watercolors, I think you should go ahead and always paint your castle along with the sky. So that's how I look at it. But if you're someone who loves to wait and then only go ahead with your castle, you are also doing great. You can do that way. So, yes, it's all up to you how you want to manage or paint with your watercolors. So more businum for the bushes, as you can see over here, and then we will go ahead with some of our blue. Again, just to blend it with some ultramarne this time, I'm not going ahead with my to blue anymore. I usually create my darker value of brown so you can say the grays that you see on my palette on my own, mixing the colors like ultramarine bunsena and some other shades, too, whatever I find on my palette. This is an exercise that I have been doing for quite some time, and believe me, I'm very happy to do this every time, as it gives me a lot of insights into the color mixing, and it has helped me really to develop my skills as an artist. If you're someone who is new to watercolors and wants to try these out, I think this is a great way to start out with your water journey. I really know that the colors will be very light once the paper dries off, and I really want some of my ultramarine to seep into the top part of the sky. Though it has become really light at this moment, and it will become more lighter because I have used lots of water. The backside of the paper also has water, and hence it's not going to be dark. Believe me, if you are working with watercolors, these are the kind of experiments that you should look forward to. Sometimes it does work, sometimes it doesn't work. There have been paintings which have failed for me. So Go with that mindset that we are only experimenting over here every day we are not going to create master, I would say a masterpiece altogether. Hence just going with the flow, enjoying watercolors, enjoying the nature of watercolors, enjoying the flow of water and all is something that you should always, always look forward to. I love the blend of colors. At this moment. For my sky, you can see various shades of colors moving in and blending in. This is something that really, really gives me that kick to continue painting with watercolors. Believe me, these are the things that I always always look forward to in my watercolor journey. Oh. Okay, guys, it's time for the castle now. I will go ahead with my lemon yellow. Now, I have never tried the Otolio. I usually go ahead with my indian yellow, but this time, I wanted to try my lemon yellow. You can see I'm starting out from my smallest part on the right and then moving on to the left part. Left part is a bit bigger and, I would say broader. So experimenting becomes easier as I'm moving from the right to the left. That's how I go about it. I take a bit of time to understand what colours I want to mix, even in my, um, middle part. If you are someone who is starting out with watercolors, keep a rough paper handy with yourself where you can mix your colors and see how they are working with each other. If you don't have, of course, lemon yellow, you can also go ahead with alone. It's a great shade to work out. So yes, I would leave that decision up to you. You want to work with urolin or lemon yellow, that's up to you. In the bottom part of this castle, we will go ahead with either burn sienna or you can also take a red sienna. And there are other various shades which you get even in any kind of watercolors. You can experiment with those colours on a rough paper and see if it works with this, go ahead and use it. But burn Siena is something that organically mixes with the yellows if you are working on a castle kind of painting, and I can suggest you that colour for your painting. Going ahead with some more of our burnt sienna and then completing the backside of the casso part, as you can see on the itching left. A I think I changed my mind and it became yellow now. Yes, sir. But on the left side, of course, I have to add some more of my brown color. This is light and shade or you can say that I would love the contrasting effect even on the smallest of the parts because of which you can see these kind of things happening at this moment. I still have a lot of space to play in terms of watercolors, and I will continue to add some of my darker values towards the bottom part of the cassa. Now the top part will be a bit lighter and in yellow because you can see that there are lots of lights that are there in the castle and because of that light, you will get this kind of brightness, whereas not all the parts of the castle does have so much of light. And hence, you will not get the similar kind of brightness or the lightest values of yellow or the lighter colors in all the parts. Now, that's how I see it always, and I'm blending the brown with some of my Indian yellow, as you can see over here. I will continue to add some of the browns, even on the right, as I observe here that there are a lot of bon sienna, which is important to add on the right side, too. So yes, going ahead and adding that burn sienna over here. I'm introducing some ultramarine again now, as you can see just below the top part of the castle or you can say there's snow just below that. I've started introducing in the darkest of the parts of this castle. L Now is the time to blend your colors, mix your colors. The first, I think, 19 to 20 minutes was the initial part where we are trying to just add the colors in the correct way to our Kasser and the next part is all about adding some of the colors, blending it, waiting, and then again, adding the colors just to see what works well at this moment. You have to go slow from here on there is nothing called as being fast, go slow, embrace, whatever you get in terms of the final outcome, and believe me, I love the fine lath them of this painting. There is so much that I've learned through this painting, and one of the most important parts is patience. I had to paint this twice. The first one was on a square paper, and the second one is over here, which you are watching on bit smaller size than AFO. Of course, the board is AFO size. And hence, I can tell you that you can go ahead with either an AFO size or a bit smaller paper for yourself. Watercolors was never my favorite. And, believe me, in school, I used to hate this medium altogether. The brushes, color, and paper never used to talk to each other or they never used to move as I wanted. But over the years, I have learned that there is a lot that has changed in watercolors in terms of paper. That's the most, most important. Don't go ahead with those cartridge sheets or non cotton paper like 25%. Cotton or 50% cotton go with 100% cotton paper. That's the most important part in watercolors going with 100% cotton paper. And then just take the brushes that's available with you. Colors Artist grade is very good. One of the most important go to brands for me right now has been Winsor and Newton Professional Grad. Then it has been Michell Omission gold, PWC, as well as some parts or some few colors of Rembrandt, also, I've started adding in my palette nowadays. Introducing some brown towards the top part, and then now also adding some browns towards the part of the castle, which is just filled up with snow. I continue to blend my colors to a greater extent. Of course, you can see my palette, but you can see how I am blending my colors. I usually use ultramarine and Bnciena to get a grey kind of sheet that I'm using as you observe over here. You can see that my colors are moving as my colors are moving and hence they are also spreading because of which I might have to go ahead and use a flat brush so that there can be some control over it. But this is a part and process of my learning. I have again introduced some more darker colors. They will also move. Will create a glow in the sky. This kind of effect, I never thought that we can get, but as we progress, I understand that lots of things are possible in watercolors. Either you take it as it comes and accept these accidents and enjoy what you have created or just sit and think how it could have been controlled. So go with the first way, enjoy whatever is being thrown at you or given to you by watercolors and continue to work with it. Believe me, it helps you to really, really add a lot more feathers to your hat very easily if you can accept the flow of watercolors and just go with it. Let's start adding some windows, as you can see from here, that I want to add a few of the windows even on the right side. So yes, that's the main tower or that's the main entrance of the castle, as you can say. I want to detail it a bit. The paper is still wet because I did apply a lot of water on the back side of the paper. I did allow my paper to stay wet for a longer period of time. Adding somewhat dper values as we go towards the bottom area and then extending it on the right. As well as we will be doing a similar kind of process even on the left side. Though I am not going to detail it to a greater extent, that's what I just feel that I will leave it more dreamy and more free flowing. Not adding lots of details with lots of heartaches. That's what I don't like in a watercolor painting. I love to keep it more simple, enjoyable, as well as just making it look as if it is just freely flowing. Your creativity is flowing. And yes, it really makes my heart completely full and enjoyable. The whole painting really, really I love creating and I hope you are also enjoying right now along with me. For this painting at various places, I have used some amount of my white gauche, or you can go ahead with any white, opaque color like titanium white, et cetera, that can help you to add a bit of lines here and there. I'm going ahead with an absolute dry brush and just trying to make some of my dry branches, and that is basically the tree or you can say, some branches of a particular tree, which is showing up from the I have used this kind of a technique, even in my audio few paintings, but they were, of course, not the ones which you will see over here on Skillshare. It was majorly the ones which we did audio, just like that on Instagram and all. Right now, I'm sharing all the secrets with you guys for painting these branches over here. Once I'm happy and satisfied with the dry brush technique, then only I will go ahead with my final branch section or you can say final branches painting part. But then let's go ahead because it is still wet, so I will just go ahead with my top part of the castle, as you can see over here, and I'm adding some of my darkest value in a few of the places where I think it is necessary. I have switched on my brush to size three right now. You can see if I'm not comfortable with my size three brush. I go ahead with my Escoda optimal brush. It has got a nice tip on the top side of the brush, and it becomes really easy for me to go ahead and add the darker and the lighter values pretty easily with this brush. Using my flat brush, satin like this is satin ruby brush or ruby satin brush from the brand silver velvet. And I'm using it again just to pick up the colors from wherever it is necessary. As I know that these flat brushes are great when you're working with watercolors, and it helps us to really pick up the colors, well, adding some more lines. As you can see, it's going very simple and easy way. Again, the paper is still wet and my lines are also becoming a bit blurred, which I really love in terms of the effect. It gives you that my gale kind of an effect that I always look forward to. Adding some more final details, and at this moment, I don't have much to explain. If you are looking for the sketch of this particular cast, please go ahead and have a look at the resources section. You will get the sketch from there and use it on AFO size paper or a bit smaller. I would leave that decision up to you, but you have to use it on more of a rectangular paper rather than using on a square paper where you might not Actually get a similar kind of I would say the castle, et cetera, and the size may differ to a greater extent, and the paper may become longer towards the bottom area and even longer on the top area. So for all these reasons, I always say, please stick to the dimensions that I usually provide. Every painting is not similar, and many of the paintings have been done on different sizes of paper. I absolutely get it. And for each of these, I do explain it in detail how you can actually go ahead and change your sizes to get the desired effect of the painting. Adding some tramarne blue and blending it, as you can see over here and even taking the darker values towards the bottom area. This is, again, a very, very important process. I always apply lighter values when we are starting out, and as we progress with watercolors, I tend to actually change my values to a greater extent so that we don't actually overpower the colors at any point in time, nor we are just lost and can't come back with any sort of colors. It's always good to go with lighter values and the darker values blended. Wherever it is necessary and then use any kind of soft blending brush as you see over here, I have also used some kind of a mob brush to do this painting. After the blues, I will also add some of my darkest value colors, that is my dark brown towards the bottom left area so that I can extend it as we go towards the top and blend it over here. I love the blending process, and I have been working through this process for many, many years now. Believe me, I started out when when I started out altogether, I did not know all of these tricks, but, yes, over the years, now I feel that these are the go to tricks for any watercolor artist. These are simple, simple tricks, but they had so much power and so much strength. And the difference that it creates in any watercolor painting is seriously amazing. My vapor is dry now and the colors don't move a lot. I will go ahead with my dark brown color, and I'm adding the windows. As you can see over here, I'm extending it a bit more towards the bottom area. As well, I will go ahead and just add some more parts of these windows on the Um, I mean, even you can touch the bottom area near the door part. That's absolutely okay. Some of the parts, of course, I leave it as is not touching it much, not trying to add lots and lots of I would say, this is something that I don't like to be added in my fainting. And that is your hardages as it is wet on dry method, and wet on dry method. So basically, my brush is wet and the paper is dry. The water will not allow it to move much hence we have less chances of making it more dreamy and nice and the way I like it. So yeah, I would say I will not touch all the areas as you see over here. Finally, it's time for my branches. I would go ahead with a nice thin brush and the brush where I'm more comfortable with. You will see that I'm just extending the lines in few of the areas. I will just make a longer line, and then I will extend it on the left, as well as on the right. Some of the branches will be smaller, some of the branches will be larger depending on the randomness that I want to create. As I always say that nature is random, and we don't have much role to play in this. Just go ahead and add more and more branches, as you see. I'm taking it slow and around ten to 15 minutes I would be actually dedicating to this part of the whole painting. Hence you have less to expect at this moment. Just follow my brush strokes and continue to paint. You can only do this process once your paper is at least dry enough to add these drier branches. I'm ordering the thickness of my branches size. Some of the branches I will make more thicker, some of the branches I will make more thinner. So that's how I love to go about it, not making it equal, changing it at regular intervals or changing it wherever I think it is necessary. That's at this moment, I have really less to explain. To be frank, there is only some of these brush strokes that you need to follow, make these lines, and that's all. Going ahead and just adding some of the lines is all we need for this watercolor painting. I hope you like the soothing music that I have added at various intervals and just adding a few more dots here and there. The dry trees that usually occur in the areas where you have a lot of snow, either there would be dry trees, try branches, or try smaller plants. That's usually how it is. And once it is, again, the spring and summer, they will all be blossoming and you will have nice green leaves, trees, et cetera. I really don't want to add a lot of darker values onto my castle, and that's what I keep in my mind. I want to add or keep this glow for sure. That's one of the reasons I had to paint this particular painting two times as I did not get the desired effect initially. Now is last four to 5 minutes, or you can say, this is the time where you must think before you add anything to your painting. I'm going ahead and adding some snow on the branches of these trees. That's what I would be doing, as well as just splattering it in few of the areas where I think it is necessary. I don't know whether it is even coming up or not. One or two of them here and there, that's it. This is, by the way, the evening time, you can also splatter it for showing the stars, but stars is not the idea. Having a bit of a snowball or having one or two of them here and there makes a lot of sense in any kind of watercolor snowy painting. Again, I would say that it's time to think not adding a lot of snow everywhere on the tree. That's something which I have seen many of us as bignurs doing that we add lots and lots of snow everywhere wherever I feel that it is even not necessary. I have done it in the past. You may also do. So yes, um, going a bit minimal on the snow is important. It's not everywhere that you would be seeing though you can add lots and lots of it, but then again, it has to be also on the top of the castle and there should be lots and lots of snow that you see, which we are not observing at every point in time in this painting, and hence it is important to not add lots and lots of it, as I always say, just go with the fact that it has to be equal in all the spaces wherever you are adding, not adding it like uniformly adding, I would say, because uniformity is something that's important in watercolor painting. If it's snowing somewhere, it has to snow even on the castle. The snow should appear even on the other parts of the painting. And that's where the whole important area lies. I will go ahead and touch a few parts of these areas which you find on the snow or you can say that this is basically the areas which I want to also show has some amount of snow as there is a bit of snowfall which keeps happening in these areas, and I'm adding the white opaque watercolor for the same low reason. Now you can have any kind of opaque white watercolor, but don't try to use acrylic. That's something which I say is not similar to the medium which we use. You can use gouache because gouache again, uses water as the medium, and for watercolor, also we have this similar medium that is water. So anything that is, I would say, exchangeable, is better to use rather than using something that is absolutely different. By the way, I'm trying to create some glowing lights as you see over here. These are small dots that appear, and I am just blending it a bit, as you observe and then making a small dot again. Now, these glowing lights we usually see during those cold days, and I really wrap myself in a blanket, have my cup of coffee. As initial days I was studying and working from Um, I would say, pretty much the northern side of India where there is lots and lots of cold. That cozy space or corner is very important for all the watercolor paintings which I create during the time I was staying in Gurka. But right now, yes, it's very different. I stay in Bangalore, which is not cold at all. If we, of course, do a comparative analysis,