15 Days Gouache Challenge : Explore the Beauty of Nature

1. Hello and Welcome Back!: Nature has been a source of inspiration for artists and creative since the world began. Besides the calming sound spots and the scent of grassed nature can help us get back to a sense of expansion. There's no better place to start your art journey than nature, because you can capture beautiful landscapes on paper. Hello everyone. Welcome to my Skillshare class and the very first quash Challenge. My name is Brian. I'm an artist and an art educator based in battery. You can find me on social media are simply aesthetic. I'm constantly sharing my love for art, apart from painting for myself and exploring different mediums. I teach students online and offline to explore the creative side and unleash the artists in them. In this class, I'm here to make you fall in love with the medium quash, and explore it by painting 15 different landscapes. My journey with corps started around two-and-a-half years ago when it had just started to gain a lot of popularity in the art world, my curiosity drove me to try this medium out for myself. I immediately fell in love with it. One thing that helped me improve my knowledge of the medium and my art was painting consistently. And in this course challenge, I'm going to help you do that as well. For the next 15 days, we are going to paint 15 beautiful landscapes together using the medium gouache. Told very few are still starting out the medium or have never tried it out for yourself. Because we are going to start from the basics and work our way up. We'll start off by learning about the right type of art supplies that we need for painting with quash. I'll be walking you through some basic wash techniques that you need to know when you're starting out with the medium. This will help you understand the capabilities of course better. We'll also practice some elements such as trees, branches, and leaves, even clouds. This will give you a basic idea of what to expect in the class projects. Once we've gathered all our basic knowledge, will go on a wonderful painting spree and paint 15 beautiful and unique landscapes over the next few days. If you are someone who's been wanting to improve on, even start out with the medium. Then join me in this challenge and let us explore the beautiful world of quash and nature together. 2. Class Overview: I'm so excited that you decided to join this challenge. We are going to have so much fun together. This 15 day gouache challenge is actually going to run for 30 days. Where starting from today, every alternate day, I will be uploading a class project. Each project takes about 30 to 40 min to complete. And since not all of us can complete one painting in one day, I decided to give you two days of caps so that you can split it half and half and complete your class projects. But for the next one goes live. Lot of you are familiar with the medium quash, but if you're new to it, let me tell you all it's wonderful properties. Gouache is an opaque medium with clearing capabilities of acrylics, where you can learn lighter colors over darker colors, and reversibility of watercolors, where you can reactivate the paint once it's dry. And you can do that by adding a little amount of water. It has a beautiful matte finish once it's dry. Gouache is a very forgiving medium. So this means that even if you make a mistake, you can easily rectify it by adding a bit of water, blending it out, and starting over. We will be exploring the wonderful world. Of course, starting from the cost techniques. Now these techniques will help you understand the median vector, will explore consistency, layering, blending and dry brush technique in detail. I've also included some practice lessons where we're going to talk about the cheese, branches, leaves, and clouds and detail. In the beginning of each class project, I will be mentioning all the colors that I'm using. We will be creating these cute swatch cards. But I'll show you the exact color mixed ratios that I'm using. Everything in the class is explained in real time so that it is easy to follow along. I'm really excited about this. Let us talk about the details of our art supplies in the next lesson. 3. Art Materials Required: Let's talk about all the art materials that you need for the class. We're going to talk in detail about the paint, brushes, paper, and all those sort of things. Starting off with the paper, for this class, I will be using Strathmore already cut watercolor papers, which is a 300 GSM and 100% cotton. It's of the size five by 7 ". Feel free to use any size that you want to paint on. But do have a small because it's easier to paint, takes less time as well. I chose these papers because I really like the size. It has very light texture. It does not have a lot of texture. And it's 100% cotton. I feel 100% cotton paper gives you better results. But it's not important to have it when you're just starting out. You can use any people like the Canson multiple papers. I feel that they give you similar results. They're nice, easily available and light on your pocket that as well. I will be using these papers to show you a bunch of different techniques and the further lessons that you'll find. So, yeah, go ahead and pick a paper that's above 250 GSM and we're good to go. Next, let's talk about paints. I'm going to use these tubes of gouache paints from the brand Winsor and Newton. I will talk about the shades in detail before each project that I upload. So you will find the colors there, but yeah, we need only our basic colors. I'm not going to mention any extraordinary colors. Next I have a tube of permanent white and titanium white. Now, I would suggest that you have a tube of titanium white because it's much more opaque and it works perfect for our clouds. But if you don't have titanium white, don't worry, you can get similar results with any byte that you have as well. So you need a large, big tube of white because we end up using white a lot when it comes to painting with gouache. Next, let's talk about our brushes. Now. I have a detailed lesson. When I'm just talking about brushes, different brush strokes and getting to know your brushes a little bit better. That these are all synthetic hair brushes. I'll just give you a basic idea on what my brushes are. I have a bunch of flat brushes of different sizes, a bunch of round brushes of size 642, whatever you want to have, and a bunch of detailing brushes. Now, I also have a spoiled brush, but I'll show you what you can do with the spoilt brush much later in this class, which is amazing by the way. So do check the lesson out when I'm talking about the brushes. And that will help you know, your brushes and the brush strokes that you can make a little bit more. Next, we're going to talk about all the other little things that we need, starting off with the mixing palette. Now, I'm going to use the ceramic mixing palette because I really liked the feel of it, right? It doesn't form any bubbles and it's easier to mix the colors on it. So you can just take any ceramic plate that you find. Next, I have two jars of water, as you can see. One is for rinsing my brush and the other one is for loading fresh clean water so that we're not making any muddy colors. It really helps to have two jars the photo, because one can be 31, can be cleaned and you're making fresh, beautiful colors when you're mixing them. Right now, you also need an eraser. You need that for making basic sketch that we're going to do. So keep that in handy as well. Next is this 1 " masking tape. This masking tape is the one that I'm going to use the tape down my paper. Next I have this clot that I'd be wiping my brushes. You can use any kitchen towel to choose anything that's available with you. Right at the bottom I have a wooden club board where I will be taping down my paper. You can use any surface to tape down your paper. And that's it. These are all the art materials that we need for this class. The very simple, very basic. Now, I do have this swatch cards that I made. I will show you why I'm using them when you're painting the class projects because I'll be just swatching the colors that I make. So I'm just actually cutting down the paintings that I didn't like and using the back of it to swatch them. So you can use any paper for that long, short, small, anything works perfectly fine. And that is it. In the next lesson we're going to discuss, you guessed it right. Our wash techniques. 4. Brushing Over Gouache Techniques: Alright, let us brush over some of our gouache techniques. The first one that we're going to talk about is consistency. The consistency of gouache paints if the ratio between the pain and the amount of water that you're adding to it, right. Let me quickly show you a few different consistencies. So this is a freshly squeezed paint directly from the tube. As you can see, it's a nice thick paste like consistency, right? It's nice and pick. My brush has no water and advocate it's completely dry. And as you can see when I mix the paint, I'm just trying to make the clump go away. It's very thick. It's almost like a paste. And when I brushed over this paint on my paper, you will see that it will create a very rough texture. Now we will use this consistency of the paint to our own benefit. And I will show you how you can do that. But for now you can just see how it creates that rough texture when I apply it, it's not very smooth and the brushes not just gliding over right. Now, I'm going to apply a little bit of water into the pit, right? So I'm just loading my brush with him this little bit of water and mixing it with my paint. As you can see, there's a nice velvety kind of consistency. It's not as thick as the previous one, but it's not pinned down as well. Now this consistency of the paint we end up using mostly when you're trying to add details in the foreground. Because over here the paint is nice and it's opaque, right? So it's going to be standing over there. The previous layers that we add. This consistency works really well when you're trying to add details in the foreground. Now the next consistency is where I add a little more water. Now this is going to make the paint lot more easy to spread around, a lot more blender book and very evenly spread out as you can see when I apply it, it's so easy to just glide my brush over the paper. This will be the consistency that we use for our background less, right? So when we're making a sky or anything of that sort in the background, we end up using this consistency of the paint. As you can see two so easy to just spread around them that little section and it's spread nice. And even right now you can also get a nice thin down consistency when you add a lot of water to your paint. So here I'm adding a generous amount of water. And when I do that, I create this constancy, which is almost like what colors, as you can see, can see the paper. The bottom right, you can see the white of the paper. Now. You can also use this consistency when you're trying to glaze over another layer, lets you end up using a pin consistently. But these are the four consistencies that you just need to have a rough idea about. For our class, we'll be using a byte combination of different consistencies to just go ahead and try it out. So like over here I was saying what the glazing when you add a lot of water, you can just glaze over a previous layer and add a hint of the layer that you're applying. So let's say have blue. I can glaze over and make an area purple by adding a thin layer of read over it. You can just go ahead. Now is your time to just play around. I'm just mixing different consistencies, different kind of water ratios in my paints and just seeing how everything looks when I just glide over my paper. And I'm just having fun here really. I'm not thinking of anything. I'm just having fun and trying to work with different consistencies. So just give this a try out. Because when you do that, you understand for yourself as well that how much water you need to add in your paint watches, what is too much water? What is too little water? So it's good practice before we just start ahead and paint our first painting. Now that we've done with our consistencies, we got a good idea of it, right? So let us talk about blending. Now. In the blending, I'm going to talk about three different blending. The first is going to be a gradient where moving from one color, darker version of one color to a lighter version of the same color. So on I will tell you as we move ahead. So the first one Let's talk about is the blending with just one color. And we're going to bring it down and have a graded wash. So for now as you can see, I'm adding a little bit of water, getting something off the third consistency, right? And I'm getting that, I'm going to use that paint to start applying it from the top. I'm going to apply that at the top and then slowly go into this left and right motion and start bringing it down. Now when I do that, I'm just trying to make a layer, even layer. And I say make like an inch of that pink with that color, I'm going to add a little bit of white in it and then apply it in the same method. Now what I'm trying to do here is make a gradient, right? So when you're making a sky which is of a single color, you end up using one single color for the sky. So if the sky is blue, if it's a bright sky, you will see lighter versions of the color at the bottom. And then as this guy goes endless upwards, it's going to be a little bit darker. And that is why having to know the gradient wash is very important. So all you have to do is lay down the darker color, a medium color, and then load your brush with white at the bottom. And just keep going in this left and right motion. Now this might take a bunch of different tries to get the perfect blend, but you have to keep blending, keep moving your colors around to see where you feel happy with the gradient in the sky. If you feel like you've added the colors, it's not blending, then just go ahead, clean-up, brush and dry it with a little bit of water, and then you can just go solve all your problems. So since gouache is rebuttable, you have endless possibilities and opportunities to just fix your mistakes. As you can see, I bought the blue dot, right? So I can just clean my brush and just use my dry brush to move it around and fix it. So this might take a couple of times, couple of tries to get that perfect blend since we're also not taping down the paper, it might take a couple of tries to get that gradient, but do give this a try, try it out for yourselves with just any color. We can use any color here. Just try it out and see how the gradient wash works for you. The idea is just going that left and right motion and keep moving upward and we get that nice gradient. Now let us move on to the next type of planning, which is the direct color blending. I've talked about this a lot in my other classes as well, which I am talking about the medium gouache, in which I also mentioned that when you're directly blending two colors together, you have to see that it will form the mix of those two colors. In the middle. Here, I'm going to mix red and blue together. And we know that when we mix red and blue together, we get similarly if you make blue and yellow will get green. Over here you'll see I applied the blue at the top and read at the bottom, I'm cleaning my brush and just moving the red upwards, right? So when I'm moving the write-up forwards and moving the blue downwards, I'm mixing these two colors directly and then creating a blend between them, which will be the purple. So the, the area where the red and blue merge together, that's where you will see the purple in the sky. Then you will have a wash that it's gradually moving towards the blue side. So as you can see, there's a bit of purple, it's too dark. I think it's not that visible, but I'm sure you love. You're able to see that little bit in the middle where the two colors are merging together. Again, go into this left and right. Motion really helps to blend things seamlessly. So that's what I'm doing, moving in the left and right motion in one direction until I'm happy with how the brand looks. Here's a closer look. I hope you can see the purple which is too dark. You can still see it in the middle. Now let me show you the next type of blending, which is blending with white. So we're doing the same sort of blending that we did before, right? But only here in that white-space, whether red and blue will merge, will use white to blend it in and get a nice color in the middle. Let us load our brush with some paint at the top. Alright, so I'm applying some paint at the top and bring it down a little bit and then clean my brush completely. Alright, and then add the red. And the step is same like the previous one. But instead of blending it all the way with the same color, which is just blend the red and blue together. I'm going to be mixing white in it and blending them together. So applied red at the bottom, as you can see, it's a nice thin consistency because I'm just trying to blend the colors together and just mix it right in. Because I'm not going to use a lot of paint for this little exercise. And as you can see, when I blend white in, it got lighter. I have a light to blue and a lighter pink blend in the middle. I'm just going to go ahead and repeat the process a couple of times, right? So apply red at the bottom again and then move it upwards and do the same thing with the blue. And then use white again to just kind of blend it into half the white. Be more dominating. If you can say it, either more dominating and more evident. So there's a seamless blend. In getting the light pink and the light blue in the middle. And then it transitions to the darker colors. So again, going the left and right motion is very important. It takes some time, but keep moving left and right and left and right until you are happy with how the blend logs. You can also go ahead, add in a bit more white if you think the white is not showing up a lot, go ahead and add a little more white. And the darker colors at the top and bottom just to make the gradient a little bit more evident, you can do that as well. Now again, it's, it's time for you to have fun and explore. So even if you don't get the perfect blend its own right, because you're just learning, they're just exploring the medium. So it's fine if we are here to have fun. That's what I'm doing, having fun. So just blend the colors together and until you are happy, you're gonna keep doing that step. Once you think that the sky looks amazing or blend looks amazing, you are going to stop right there and let it dry. On variety shows a closer look at our blends that we just created. So you have a gradient wash. The second is the dark color blending. Third one is blending of two colors with white. In our class projects I will mention type of blending that we're going to use so you'll get a better idea of it. This is a fun little exercise just to cover the basics and brush over things we probably already know. But yeah, let us move on to the next part that is layering and layering, I want to show you two different types of blocks, right? So when you're layering with gouache, it is important for you to know what the previous layers consistency has to be. Because since gouache is rebuttable, right? You can reactivate the paint and you can move the layers below. So that is why it's important to know the consistencies. So for the first block, I'm going to create a consistency that is between a third and fourth one. So it's not too thick and not to pin down as well. So it's just a consistency in the middle where it's kind of painter in my opinion, as compared to the other layers that I would add on it. So it's still very thin. And the other block that I'll create is going to be off the second consistency, the second block. So it's going to be pic, right? It's going to be off that nice, creamy consistency. Now what happens is when you're layering on a block, what will happen is the paint will get reactivated and it's easy to move the paint around. Whereas if the paint is completely dry and you're using it on a thinner than PEDOT layer, your paint will not be reactivated that easily and you can layer over without moving the previous layers. And it's easier to move that way. But I'll show you how you can use it to your benefit as well. So I'm creating a second block, which is of the picker consistency. As you can see, the second block is much more opaque as compared to the first one that I created. And that is because it has more paint. Do you have a lot of paint on your brush? And that is why it's more opaque. Alright, so I've laid both mine blocks down. I'm going to wait for this to completely dry. It has to be completely dry. And then I'll show you how you can layer over this. Alright, so I've taken my round brush and I'm going to pick a bit of the white pigment and I'm going to make a consistency that is of the second consistency, right? Because it's going to be like a nice velvety finish. It's not going to be too thick, but it's not going to be thin enough to reactivate. That means we have to make it slightly pickup as compared to kind of like the consistency that is below. So as you can see when I make a stroke with the white, right, it's still white because the background layer is nice and pain, so it's not very easy to reactivate the paint. If I go over the line a couple of times, if I'm making a line and go over it, smearing it again and again. What happens is that the base paint gets reactivated and instead of having a nice white opaque layer, you end up having kind of like the blue get reactivated. So video you'll see I'm smudging. You see that I'm smudging the paint, right? I'm moving around. And because of that, the base layer is getting reactivated and it's moving. And we don't want that, but we can use things to our benefit, right? So let's say we were creating clouds. Those smears are clouds. I can fix that. Adding another layer. Now as you can see, I'm doing another one on the thicker layer. This time you see that when I'm moving my brush, the paint that's getting reactivated is a lot more so it's a lot more intense blue. And even when I make the leaves, It's not opaque like the previous layer. So it's moving. Each time I make a brushstroke paint at the bottom is getting reactivated. So when you're working with gouache, you want to make sure that the base layer is thinner. The consistency of the base layer is tell them when you apply the next layer, it's not going to get reactivated. So there are a little bit of tips and tricks. When it comes to painting with gouache. You can see when I'm making the same line, it's a lot more blue. Rights, even if I make thin lines, thick lines, it's going to be a lot more blue. If I want to get a really nice opaque finish, even if I use a lot of paint or a thicker consistency of paint, if I move a lot of times, it'll still reactivate the paint. So the best way to do is make your layer completely dry. So the left side, my white was completely dry. So when you go over the white and add another layer of white, it's going to be opaque. So as you can see now it's nice and opaque and white, right? So for that you have to be a little bit patient when it comes to painting with gouache and layering. And most of the paintings that we do involves a bit of layering in them. And let's fix the clouds and the right side. So now what I've done is yours to blow that I reactivated as the shadows and my clouds and I'll just go over and add a little bit of white. Pick the consistency. That is the force consistency means directly from the tube. And when I apply that, that adds up the highlights. Right? So just go ahead and make a bunch of strokes and see if your paint is getting reactivated or not. We're making pen strokes and just one direct stroke. It's getting, it's nice and opaque, but if I had a lot of water to it, it will reactivate the paint and it will not be opaque. So this is just a little trick that you have to follow. The previous layers, consistency has to be thinner and the consistency of the paint that you're going to apply over it has to be thicker than the previous layer. Basically. That's what it means. Go ahead, try a bunch of strokes on your paint and see which one works for you. Now, the last technique that I want to talk about is the dry brush technique. Okay? So now in the dry brush technique, as the name suggests, it's a dry brush. So you're just going to load your brush with the thickest consistency of the paint that I showed you directly from the tube. The brush is dry. Okay. It does not have any water in it. And I'm just going to use that brush and then I kind of like smooth it over my paper. It creates this nice textured finish. Can you see how the texture is? It follows the texture of the paper. That is why a cold pressed paper works well because you get these nice texture layer well, when you're working with wash and you want to add textures to your painting, you use the benefit of having cold pressed paper. Now going to ask me, where do we use these dry brush techniques? You can use this kind of consistency and this kind of technique when you're painting clouds, we're not trying to add details to your water without really adding a lot of details to it. And you just want to add in texture, uneven texture on the ground, on the road, you end up using the dry brush method over here. I'm trying to just create a rough structure for the clouds. Okay? So as you can see, it's a nice dry brush stroke that I am using for the texture. Next, I'll show you if you add a little bit of water in it, you can kind of make the texture that you see in the water. So the reflections you can add using this consistency, this method. You can also add in the uneven ground on the water, those little rocks and those kinds of textures on the water. You can also show the kind of like the movement in the water using this texture in the really far away Ada that's below the horizon line. So you can use this texture in a lot of places and we are going to be using the dry brush method a lot in most of our paintings and to our benefit. So give this a try. Work with different consistencies. You'll notice that if the paint is nice and pick enough, we'll get a nice consistency. But if it's ten, you won't be able to achieve that. That is, these are all the different techniques that you need to know. What's the consistency that we learned. I hope you understood the consistency that we need for painting with gouache. Next, we have different types of blending. So we did the graded wash, the direct color blending, and the blending with white. So we'll use these combinations and our paintings as well, and I'll tell you exactly where we use them. Next, we learned a little bit about layering. So make sure that the base layer is thinner as compared to the layer you add over it. That is the takeaway from the layering exercise. And we're going to use them a lot when we're learning to create clouds in the upcoming lessons. Next, we learned about the dry brush technique. And I'm so excited for you guys to use them in your artworks and create beautiful textures. That is it. I hope you enjoyed brushing over our gouache techniques. In the next lesson, we are going to get to know our brushes better. 5. Get to Know Your Brushes: All right, let us get to know our brushes. I'm going to take a bunch of different brushes that are flat round, long, round liner brush detailing brushes. And I'll show you exactly what I mean. That is explore how these brushes can be used to their full benefits and we can use them to get different brush strokes. Let's start with a flat one. I'm going to take my size 18 flat brush. We generally tend to use flat brushes for all our sky blends and everything that is in the background, we end up getting a flat brushes for that. So let's start with our size 18 flood brush. Now I'm going to load my brush with a bit of paint. And as you can see, the first stroke that I make is the extreme pick off my brush. So the thickness of my brush is it's a size eight brush. And as you can see, it's really pick when I just don't my brush, let's say 180. I get to use the side of my brush and that's going to be off so some thickness, right? So you can use that as a stroke as well. You have the flat of the brush to twist it. You can use this side of the brush, right? It's going to have some thickness. Using that thickness to create a stroke. And the last one is the pen stroke that you are creating by just vertically holding your brush perpendicular to the paper and creating a nice pen stroke. You're going to get three different strokes with your brush. You can use them in different directions as well. So you can get blending in different directions. I'll show you another cool property of flood brush. You make a flat stroke. When you slowly turn your brush, you get to a thin stroke. If you stick again, you'll get a nice thick stroke again. So it's almost like the king, like a scale if it was flexible and when you twist it, it's almost like that. The stroke is exactly like that. Let's try it again with our size ten brush. So I have the flat stroke, right? When I twist my brush 180, I get the thickness stroke that is of the side of my brush. As you can see. The last one is holding my brush perpendicular to the paper and then get those nice thin strokes, right? So three strokes with your flat brush, multiple different blends that you can create, but three main strokes. Let's try that again. Flat with our brush. Bring it straight, make that thin stroke, and then twist it again. When you do that, you create a nice scale that's bent. Or I'm just going to add a little more paint so that you really see the difference. It really does look like I twisted it right. So that's the amazing property of flat brush. You can just learn how to move your brushes in different angles and create beautiful strokes and movements. That was also exploring flat brushes. And I'll show you a bunch of different examples where I've used flat brushes and they mostly end up using them for our background washes, like I said, you can get beautiful skies and beautiful blends using just your flat brush. So most of my ground and sky backgrounds are done using flat brushes. Now next we're going to explore size six round brush. And size six round brush. As you can see, one of the brushes comes to a really fine tip. The other one's more rounded, like name suggests. And both of these work in their own beautiful way, can create their own beautiful stroke. And they're both sides six. So let's explore how both of these work. Okay? So first, I have my round brush, so it's not very pointed. It does not come to a really fine tip. So as you can see, this is my pick a stroke that I'm making, right? So maximum pressure is applied. Sure, I'm applying medium pressure. And then last row that I'm applying is of very light pressure. But as you can still see, the thickness of the line remains the same because it lists not come to a really fine tip. So that is going to be my tennis stroke. But you can use this type of brush for having creating Stokes where you want the rounded edges. If you want very round clouds, we can use this brush very well. Or when you're making leaves in your trees and adding some details where you want things to be more round. You end up using this brush and strokes are amazing, absolutely love it. Now the next thing that we're going to explore is a size six round brush. It comes to a really fine tip. And what I mean by that, I'll just quickly show you. Here is the one that I'm applying really takes a lot of pressure. I have medium pressure right here. The third stroke and the force drug is going to be off the light pressure. I'm applying very light pressure and you can see the difference between the two. I can get really fine tip. I don't have to change my brushes. And that is why having a brush that comes to a really fine tip is important because you can use them to create thicker and thinner strokes together. It works really well when you're trying to paint trees and branches and things like that. Because if you don't have that, then you'll have to switch between your bigger sized brush. And then for final details, you'll have to switch to your smallest size brush. Again, one thing that this long-run brush is known for is for, It's really nice steps you can get pure for leaves and branches and lots of details put in with just one brush. This is the only long round brush that I have actually, and I can do an entire painting with this brush. I think it's really good if you don't have a brush that comes to really fine, don't worry, you can use a combination of different brushes. It will just take a little more time, but it's completely okay to have two brushes to do the work. Next, I have a size one liner brush and a size zero normal round detailing brush. Okay, so both of these brushes can be used for applying details. If you want really thin strokes somewhere, some really thin details somewhere, you can end up losing this brush. And I really like using this brush for adding final details are painting palm trees and leaves. Because it comes to a really nice tip. It's nice and rounded and there's something about this brush that I really like. But you're the main thing to keep in mind is that you're just looking for a brush that can come to a fine, right? You can use them to create finer details in your painting suggests the cheese, the branches and the leaves and things like that. So go ahead, try your brushes out. Alright, because all the brushes that you think you are going to use for this class, the kidney like the flat brushes around brushes and things like that. And just try this out once because that is just going to give you confidence on brushes. You're going to feel confident about your brushes. And you're going to just practice a little bit before we go ahead. Alright, now I'm just going to show you a combination of my round brush and how I use my detailing brush to create a tree or the details and the treat. So I've taken my round brush and I'm loading it up for the little bit of paint I created, or thick branch. And then using my size zero brush, I'm creating these finer details, which are my finer branches, right? So you can use a combination of different brushes to create different strokes. Once I've added this sub branches, I'm going to load my brush with some paint, my size six round brush that I use to create the main branch and add in the leaves. And that is how you can use a combination of two brushes to add in the details. It's completely okay to do that. If you don't have a brush that comes to a really fine, it was all times. Round brushes do have at least a good IP. Even if they don't, you can use your thinner brush for the finer details. And that is it. These are all the brushes that we are going to use in our class today. So we're going to use a bunch of flat brushes, round brushes, long round brushes, and niggling brushes. These brushes are of a similar size, so I have the size six round brush size six, round brush, size ten, flat brush, size 18, flat brush and size one, liner brush. And I'm just going to use these brushes for the class. I'm not going to use any other brushes, but even if I do use any other brushes in the upcoming class projects, in case I forget, it will be of the same brand and they're going to be of the same type. Nothing is going to change. They're all round brushes mostly. But yeah, that is it. I hope you learned something from this exercise on getting more confidence about how to move your brushes, how to make them done so to get some brushstrokes in. And now they're going to use these brushstrokes, use these movements, and learn how to paint different types of trees and branches. In the next lesson. 6. Practise: Trees, Bracnhes & Leaves: Alright, so let us practice different types of trees. Talk about the branches and leaves because these are going to be a major form of foreground elements. So we'll be adding different types of bushes, leaves and things like that in our full round, even wildflowers in some cases. And here are some of the sneak peeks of our class projects. But you get an idea, so you need to know how to make different types of trees and how the strokes are made with our brushes. So that is quickly get started. Alright, so the first type of tree that I want to talk about is the pine tree. We're going to talk about palm trees, wildfires, and the basic tree shape as well. But first we'll talk about pine trees. Now, I'm sure a lot of you are aware with the shape of the pine tree. Now, there are various different methods in which you can make them, the ways, different forms in which you can find pine trees and the nature. But we're going to go for something that is simple, right? So like a basic structure. Now, as you all know, the pine tree is really thin at the top and it like the main trunk, if you call it, it's another top and it extends to be really thick at the bottom. And then you have these individual leaves coming, but individual branches coming out from all around the tree. And then you have those leaves on the branches. I'm just scribbling the leaf. I'm not going ahead with a proper structure. But for an example, this is what the tree structure is going to be, right? And each time the branch extrudes out from the main trunk it goes because the bottom one is going to be widespread. As the top ones, they're going to be really small because it's growing that way. So the bottom one is going to be spread out and top one's going to be smaller. So here's a basic study of the pine tree. Now, what I want to focus more on is how the leaves are formed right here I'm using my size six round brush, which comes to a really fine tip. Using this brush, I'll show you how I make the leaf. So make them mean branch that is coming out from the main trunk, I make a branch and then I have these little leaves around it. Now there is no proper structure that I follow. I'm just going to make these leaves come out from the left and right side and some in the middle, in the direction of the leaf, or in the direction in which the branch is going, right. So if it's moving towards the upside, if it's the direct directing towards the upward motion, I'll have the leaves coming and moving to the upward direction to see if they're going downwards that have them going in that direction immediately you have to make the leaves following that detection. And the way I make them, it's just tap in these little dots around them. So this is just an uneven shapes that I tap around my treat. I'm at the top of the tree. I just made these left and right lines, wiggly lines that will show the budding leaves and the budding branches at the top. And each time I do that, I increase the size of the branch and the left and right motion. Another thing to keep in mind when you're making that tree is to also make leaves in the center of the trunk. Now you will not only have leaves in the left side and the right side, you will have some in the middle as well because it's going to be all around, right? So don't forget to tap in some in the middle as well. So you can practice the stroke just a couple of times to get more confident about during this type of tree in your painting. The main thing that you have to learn here is how to make the leaves right? But I promise you that it's just weakly lines in the left and right direction. There is no proper structure, yo-yo just tapping in these uneven shapes together to get a replica of the pine tree that you are adding. So that's the easiest way in which you make that. Next, we're going to talk about the palm trees. As you know, you have the main trunk. From the top of the trunk, you will have these leaves coming out in all directions, right? You'll have them in the left direction, will have them in the right dimension happen moving upwards. It's almost like opening of some sort, right? It just expands in all directions from that top of the trunk. And that is the shape of our basic palm tree. And the major thing that you need to practice here is the leaf. And I'll show you exactly how you make the strokes and how you have to follow them. So I'm going to use my size six round brush, which is coming to a really fine tip. Again, I'd like to mention that you can use a thinner brush. So here are some of the examples of the pine tree, sorry, the palm tree leaves. I've used in my painting, right? So it's just the leaves. I haven't hadn't really big structure for the tree as a whole. So if you just know how to add the leaves, you're good to go. So you start off by making the main stem, right? Main stem. And then using your brush, you're going to tap at the stem and release leaves in these little curved lines. Alright, that's all you're doing. Now the direction which the leaf goes is going to be the direction in which the stem cogs out. The stem is going upwards. You'll have the leaves also moving upwards and spreading out. If it's bent, you'd have to bend the leaves out in that direction. I hope this is making sense to you, right? Because in these leaves you're following the structure of the main stem. So see over here, I've curved it down, right? So I'll have the leaves moving down. And the other, the opposite side is not going to be as visible because it's completely bent. It's completely folded. E.g. the stroke that I'm making use just lines. So you're tapping at the stem and then releasing these lines. That's all you're doing here. Tapping and then just lifting off your brush from the paper. That in lifting the brush off, tap and lift the brush off. And you can do that in multiple different directions. So I would suggest you practice this with your brush ones so that you are confident with making these leaves in different directions. The next bit that we're going to learn is making wildflowers and their leaves. But you'll find them growing near lakes. And these are just these long stems with a bunch of different leaves or petals, I would say coming out and you have these leaves going in different directions. Now you're going to be making them. I mean, just imagine them being like a smaller version of your palm leaves, right? You have a big stamp. But instead of it going all the way from the bottom, it's just making those lines at the top. So you'll have these wild flowers right at the top. And not all the way to the bottom. So it's just a bunch of strokes towards the left and a bunch towards the flight. Now again, these are going to be in the direction that you're making the line in. So if they're left there be moving towards left. If they're right, they're moving towards the right. And I'll just give you a closer look of how they look. Just from the line. You have strokes coming from the left side and the right side. And that is, it. It's really simple to make. All you need is a brush that comes to a fine. The Pill. If you don't have a bigger brush or comes to a fine tip, just use a smaller brush for the leaves. What you need to do is make long strokes like this. One long stroke and it can bend it, press and release. Now this can be in various different directions. You make us true, bend and release. Make a stroke bend, or give it a direction and release not these are going to be the leaves that you add in these wildflowers, okay? So you have one leaf going up, down, one bending towards the right or left or in different directions. But all you have to do is tap on your brush and then release it, right? And that's how you will be adding the leaves to your bile flowers. Now the last thing that we're going to learn is a basic tree. Instead of giving it a name, I thought of keeping a basic because most of the trees follow the same type of structure. You have a main trunk and you have a bunch of different branches coming out of them, right? So that is the basic idea of what a tree looks like. You have a big trunk and then you have bigger branches and then you have some smaller branches. And if it's a tree during the spring or autumn, you'll have leaves on them. So let us learn how we can create that using our brushes. So let me just quickly draw the basic idea first and then we'll shift to painting them with our brush. So I'm loading my brush. That is my size six round brush with black paint. And then I'm just going to apply more pressure and then slowly decrease it, right? Then I'm going to start making branches coming out from different directions. Now I'm just going to make it a little bit, baby. And the lines are not straight in CME create wavy lines. And then for the leaves, I just stopped my brush and create these little structures are like little irregular shapes that are going to act as the leaves on my branches. Now you can add multiple branches, multiple sub branches, tiny, tiny branches and leaves. That totally depends on the look that you're going for. And we'll explore many different such trees in our class. Projects that are going to come forward. So you're going to totally enjoy creating different types of trees over here. I'm going to show you a quick look at the close-up. So here I have a bunch of branches coming out and I'm making that irregular shaped the tinier branches and then tapping in some dots around them that are going to act as the little leaves that are growing on my branches. So here's a closer look of what the branch is going to look like. Now, I'm going to show you another set of branches, right? So you're going to have a main branch and then some more sub branches. Remember that the branches will, if the main branches going upwards, sub-branches will move upwards or somewhat in the same direction. They will not come totally in the opposite direction. Right? Next I'm switching to my size six round brush, which was not a brush that will come to a fine tip. And over here you see the, the kind of like the design of the leaf that I make is going to be different. It's going to be more round. So wherever you want to add more rounded leaves and details of leaves are going to be more structured and you want really nice round keys. That's where you go ahead and use this brush. Now again, you don't have to do it. It's just that different brushes give different types of brushstrokes and different types of locks, which can be achieved by a normal brushes so well. So as you can see, when I tap my brush, I get a more rounded edge, right? It's more like leaves and more round balls. And you understand what I'm trying to say, right? So you have more curved edges, you don't have sharp point. The other one would give you more sharp edges. This one gives you more rounded edge. So that's the only difference between these brushes. So I'm just going to quickly create another branch and then show you the tinier branches that you add. You can add, like I said, multiple different branches on your tree. So you can just make them nice and fine and then add leaves and then fix it later on. Here are all the little brush strokes that you can use for painting different types of trees. So we learned pine trees, palm trees, wildflowers and leaves. And a basic idea of a tree which we will be exploring a lot in our class, in the upcoming class projects, you're going to enjoy completely enjoy painting different types of trees in the foreground, and that is it. In the next lesson, we are going to explore how to paint two different types of clouds to see you there. 7. Practise : Sky & Clouds: All right, Welcome to the lesson where we are going to explore and paint two different types of clouds in our class projects, which I'm going to give you another sneak peak, will be painting a bunch of different clouds, some of which are in the sunset, some of which are going to be in broad daylight. It's a bright sky and routing clouds and not. So in today's lesson or this lesson, I'm going to show you how to paint these two different types of clouds that we need to know. The first cloud that we're going to learn is going to be in a bright sky or a blue sky during the daytime. So start off by applying a layer of Prussian blue at the top. Now, we're going to create the gradient blend that we learned earlier. We learned how to apply a graded wash where you have the darker color at the top and a lighter color at the bottom. And that is exactly what we need to do for our first set of clouds that we are going to learn. So start off with a dark color at the top and slowly start blending it down using white. So I'm going to speed up the process here because I'm just going to repeatedly do the same stuff that is going this left and right motion to create a gradient wash until I am happy with the way the wash locks. So the process is again very repetitive. Keep going left and right and when the White up and then moving into float down until you get a nice wash. I'm happy to wait for the sky and the blend looks right now, so I'm just going to leave it right here and wait for it to completely dry. And once the paper is completely dry, we're going to go ahead and make the clouds that I will be using my size six round brush. Using that brush, we're going to load it up with some paint that is directly from the tube without any water. So there's no water in my brush. You can take out a good amount of white on your palette because we're going to use it a lot. So we're going to start off with this movement. As you can see, I'm just rubbing my brush over on the paper going in this left and right motion, right. I'm just moving it up and down and in different directions. Just, just move it. Just a wiggle your brush on the paper. And since your brush is dry loaded with some thick paint, as you can see, paint is not, the bottom layer is not getting reactivated. So we're getting, even though it might dry up to be slightly blue, but we can layer over to add highlights in it. And we're just going to go ahead and add in these clouds in the sky in this wiggly motion and adding the texture. Now, you couldn't do that with making the texture as well, but you'd have sharp edges and that is something that I don't want to add in the clouds. I want that roughness. I want the uneven edges in my clouds. That is why I've gone ahead and use the TikTok consistency because I want that rough edges, right? That's exactly what you're going to do. Just brush over your brush and paint over your paper. And that way you'll be able to get that stroke. Now what I'm doing is loading my brush with a little bit of water. And right at the bottom or in the center, I'm just reactivating the paint and blending it in. Now what this does is it creates, reactivate the paint and creates the shadow in our clouds and the clouds. So instead of going ahead and adding gray to the Cloud and adding a lot of details. You can easily add in details by just reactivating the bottom layer and adding in the shadows. And then once it's dry, you go ahead with just your thick white paint again. And once you brush it over, the reactivated layer and the blue layer, basically that is at the bottom. It goes ahead and adds highlights to it and that we are cloud looks much more detail without really having to do a lot of details and a dry. So just go ahead, load your brush with some paint thick paint. As you can see, the consistency of my paint is really thick. And I'm just going to go ahead and add in some texture. And I've added the big chunk of clouds, right? And now I'm going to add in some smaller ones. So I'm adding in some tiny, tiny ones. And as you can see over here, my brush shape is not completely round. I've pressed it from both sides and kind of made it flat. I get these nice thin strokes. So this way you can use your round brush to add in some final details like your flat brushes well, where you just kind of move them around and make your brush flat from both sides and then add in those thinner details using that. So as you can see, I'm using that brush to make thinner strokes and add in some tiny, tiny clouds floating around. My big chunky clouds as well in the upcoming class projects, but we are going to paint these scenes. I'll be using the same method to add in the clouds, but in different forms. So the clouds are going to look different. And in this lesson, I just wanted to give you a basic idea of how it's done. So as you can see, we just use the dry brush technique for the clouds. And that is the technique that I generally end up using a lot specially for the clouds because I like the texture that it creates. The dry brush creates these beautiful textures. We've seen how you can add those texture. So I just use a thick consistency of paint brush over the paper and it just creates these beautiful textures for the clouds. Now, in the next cloud section, I want to show you how you can make kind of like a sunset cloud. For that, I'm mixing my cadmium orange wet wipes. I'm creating a lighter version or much tone down version of the orange color. Then I'm going to apply it at the bottom and at the top I'll have a blue shade, which will merge with white. And that will merge with the orange. And I'm sure you guys know by now what type of blending disease. This is the blending with white method, where you're blending the two colors together using white paint so that you don't create the muddy color. And since orange and blue together will create a muddy gray color which you can use for your benefit. By the way, those are beautiful colors that go in the same scheme when you're painting. I'll show you what, how, and why we use those. But you can watch them, but that's not the color that we want in the sky. At least use white to blend it in, blend the two colors together. Again, I'm going to speed up the process here just a little bit because we are just blending and it's just replicative process. We are repeating the paint's going up and down, trying to blend the two colors together seamlessly. Alright, now that my paper is completely dry, we're going to go ahead and add the clouds. But before that, let me show you a bunch of different clouds that we are going to paint in our class projects. So most of the clouds are gray, as you can see. They either have a blue undertone to it or a purple undertones to it and have these beautiful highlights. I'm going to show you how you can get those grades in this painting. Now, to get those grades, you are going to be mixing the basic colors that you are mixing in your painting, in your sky with. We have used orange, blue here, right? So I'm going to mix my orange color with my blue color adequate, of black and white in it. And then I'll just blend all of these together. So basically making a little portion of ratio. So you just mix, mix, mix these colors. So now you'll see that we have a nice kind of like a bluish undertone to it. In this, I will add a tiny bit of red. Now when I add a tiny bit of red to it, what happens is that the blue and the red data together, they're mixed together and form a purple color and that is going to give it that nice hint of purple in it. So it's a nice gray that we made using the colors all of our sky instead of just mixing black and white together. So now I'm going to load my brush, my size six brush and brush. And we're going to be using the same dry brush technique to make the clouds load your brush, tapping the extra paint on a paper, on a rough paper, whatever or on your cloth. And then again, going in that vaguely motion, we're going to go ahead and add the clouds. What we are doing here is that we're making smaller clouds instead of making extremely big ones. And this just gives the illusion that these clouds are still at a distance. The clouds in the previous stroke, we're much more closer, much more right above the head. That is why they are bigger. To add smaller clouds, you're making these same strokes but in lesser area. And my brushes rather flat and round. So I've just pressed on my round brush by loading the paint. And that makes my round brush slightly flat. And then I'm using that sideways to add in that strokes. As you can see, you get these nice thin lines. So the clouds at the bottom are going to be smaller, right? And the clouds at the top are going to be bigger. Right there at the top. I will make clouds that are even bigger than the mid section. And that's how you make these clouds. So the clouds at the bottom are closer to the horizon line and they are much more in the distance rather than the clubs that are at the top, they're much closer to you so they appear bigger in size. So I'm using my same color, that same gray without slightly poeple undertone. I'm using that to add in the clouds coming from the left side, from the right side. And then some of which are in the middle. So you can add these tinier clouds in the sky as well, which will be the tiny, tiny clouds floating in-between all your bigger clouds. And once we're done with that, we will move on to adding the highlights. So remember, we go from this step of adding the base color, that is our gray color with the purple undertone. Then we move on to adding highlights to it. And to add the highlights, we just add more Revit to the paint. Since we're doing a single color highlight over here, I'm not adding the orange colors like the other class projects. So I'm just going to go ahead with a single color. So I've just added more white to the mix. And then I'm just going to apply it at the bottom of the clouds and leave it right under their right. Not all the way are not covering the entire Cloud. You're just adding it at the bottom. As you can see, you will see that you have these really sharp lines, right? You have really sharp edges, but don't worry, we will be blending it in so that it looks all hold together like one single cloud, rather than just you're in a bunch of different layers. So you can use this light gray color to add in some clouds in the sky as well. So some more floating clouds can be added using the same color. As you can see, my brush again is slightly flat down. That way I'm able to add in thinner, thinner clouds. Now I'm switching my brush to this size six round brush. It's a clean brush. I've loaded it up with a little bit of water. And as you can see, I'm just reactivating the edges and blending it. Right now. You can blend it using just water or you can load your brush with a little bit of the darker color. Then when you reactivate it, you just mix it together so that they just blend, right? Amen, they looked even spread out. It doesn't have to be perfect. You're just going to reactivate the edges and just make them blend together so that it does not have those sharp edges that you can clearly see are laid above one another. So all you need is a clean brush, a little bit of water to just add in the details of just removing those sharp edges from our second layer on the clouds. If you think that the layer just got blended in and got really dark, we can load your brush with the lighter gray and apply it at the top just to add the highlights more properly. Just in case you think you've turned them down a lot and it's not very visible, you can fix it. Again, like I said, cautious, very versatile and forgiving that way. You can fix your mistakes by just reactivating your pain. I'm just adding a bunch of different clouds which are actually just texture, the dry brush texture, I'm just rubbing my brush. The paint is click my brushes dry and that way I add these clouds, which would appear to be the scattered clouds, so they're not together, they are much scattered in the sky. I'm just rob my brush across the paper and then it just automatically does the job for me of like blending it. Now the last set of clouds and I want to add in that orange section, right? So for that, I'm using, I've added more orange to the same gray mix. And I'm going to add them at the bottom where the color of the sky is more orange. You don't have to do this. I just thought of adding a few extra clouds in the sky. Now it's all about playing and seeing what works for us if we like what we see. And if you don't, you can always fix it by just rewetting it and taking it off the paper. So that's okay. I'm happy with how this looks. So now we've created two different types of skies. And I hope that gave you an idea how we work with our clouds. Now there are endless possibilities and color combinations and the way you lay them one over the other, which we will explore in this class over the next 15, 30 days. So I'm really excited for that. Now that we've covered all our practice beds, you've learned everything that we need to know. We are quickly going to dive into the painting of the one. I'm really excited to see you in the next lesson. 8. Day 1 Part 1 : Purple Sky: To start day one with this beautiful painting, I love how this guy looks here. The clouds look amazing and even the ground looks so good. I love the texture. So let's talk about the colors. You need, cadmium orange. So you can use a cadmium orange or any orange color that you have. Next we need primary red. Now I'm using primary red. You can use crimson on any other red that you have in your palette. Next, I need Prussian blue. Now, Prussian blue is important because it's a more darker, deeper blue. Next I have lamp black, and I'm going to use my white tube of paint. So I have permanent white from Winsor and Newton. All the other colors are firms that are Newton and I have titanium white from Brewster. Now titanium white is more opaque. So I like going to a titanium white for my clouds or when I'm mixing my colors to get a lighter version. But you can use any white tube of paint that you have with you. Now we will be mixing our own color palette, are making their own colors, and these are the colors that will make and use in our class project we'll be using are colors that I just showed you to make these new colors, these B cell shapes. So let's quickly start, right? So I have taped on my paper on all four sides and taking my colors out on my palette. Now the first thing that we will do is create a sketch. So I've taken my skills and I'm going to divide my paper in this two-thirds, one-third ratio. Alright? So the tooth hood part is going to be the sky and the bottom part is going to be the crown. Make sense, just draw a line. Very simple. Now that you have your horizon line figured out or created, you're going to go ahead and make this draft mountain shape. So this is going to be the mountain that is at the horizon line. And I'm quickly just making a sketch of my shore which has an uneven texture. Look now I'm just scribbling these lines. They're not straight, so you want to go full zigzag over here. Right? Now, we will this will get cupboard when they're painting or what a bit. So you don't have to make it perfect. I'm just putting it there to get an idea of where it should be. Let's mix our colors now, the first color that I've mixed is using my cadmium orange and white. A little more amount of white. I've added in my orange and I get this nice space to orange color. Cadmium orange without the white is very vibrant and in quash, when do you want to tone down the colors? We add white. Now the next color that I'm making is by mixing my orange color and red color together and I'm adding a little bit of white in it. Now when I mix these three colors together, I get a nice base to peachy pink color. This is going to be the color that will blend my blue, my orange together without getting muddy shade in between. Next, I'm mixing Prussian blue with the red shade and adding white to it. When you do that, you create this beautiful blue, which is my absolute favorite. Like I cannot even tell you how passionate I am about this color. It's so nice and it's so pleasing, which is just a mixture of my primary that and my Prussian blue galaxy. Get this beautiful cut off. Alright, let's start painting. I've taken my flat brush. You can use any brush that you have right here, starting with the orange color at the base. Then I've added the two pink, peachy pink that have made a lot that on top of my orange. Now I'm going in this left and right motion. As you can see. I'm just going in this left and right motion. I'm not going all over the place. When you're painting or blending with quash, you want to make sure that you're blending in one direction. When you do that, you're blends are more seamless, they're more smooth, and they are more like just transitioning beautifully from one color to the other. Fits all over the place. It's not really that appealing, especially when you're going for a transitional, a gradient wash. Now, once they applied the blue at the top, I've started bringing it down and I'm just using a little bit of water each time I feel that my brush is dry. Now, when you see the pink and the blue, right, you're just going to maybe add a little bit of water to your brush and blend them together. Remember how I told you that that is going to be the color that will help me blend. Transition from orange to pink to blue because pink and blue will not make that new muddy color, but orange and blue. So that is why having that hint of pink in the sky and blending it with the blue was a better idea and a choice. All right, so I'm just going in this left and right motion to blend. Remember that when you're blending with gouache, you want to make sure that we're still using the creamy consistency because your brush dries up. When you're going over knower and blending it, you have the urge to add more water to the paint or more water on the paper, but avoid doing that. Just slightly wet your brush and you can just easily and smoothly blend your creamy consistency of the paint. Because when you do that, your paint is going to dry nice and opaque without showing the whites of the paper are showing the paper underneath. So I've just got gone in this left and right motion until I was really happy with how the sky dome light while the paper dries or the sky dries, let us quickly move ahead and paint the water. Now I'm going to show you a little different way of blending the colors in the water. And that is because there's a little bit of technicality that goes in why it's being done that way, but I'll try my best to explain it to you. Start off with the base two orange color right below the horizon line in this thin strips, as you can see, I'm just moving my flat brush and it's fairly light pressure. I'm just adding making one pen stroke, not all the way with my flat brush. And right below that, I'll add a black line, not follow me now, I'm adding a black line. Right below this black line. I'm adding orange again, this time a little bit more. Then I'm just going to quickly brush it over the black ones to smoothen the black color. Now, that black color is the more diluted version, that is why it's not fully black. Now right below the orange, I have blue. And right below the blue, I will add orange again. And then the pink color in the sky, and then the blue color in the sky. Now let me explain why it is all over the place. Why is it just not orange, pink, and blue all the way? What happens is right below the horizon line, you have the deflection of the ether that is right above the horizon line, then the black line is actually the reflection of your mountain that you will make some sense. We haven't made the mountain. It does not make a lot of sense, right? And then right below that, you have the colors of the sky. Right below the black, you have the orange and the blue. Now, this is the color that is at a distance when you look at deep into the ocean or deep into the scene, right? It's add the distance and the next set of colors that it transitioned from blue to again being orange, pink and blue again. That was the area that is closer to the observer. Then when observer standing, he sees the colors being reflected again in that sequence that was in the sky. Alright? That is why the area right below the horizon line is different from what it would normally reflect because we are making a vast see over here. That is why the area right below it is different than the colors are being repeated again to the edges that are still closer to the observer. Now once you have all your colors laid out, you can go ahead and let everything once again, that is the best part about quash. If you don't like the blending, if you've just put things in there, you can go ahead, reactivate the paint, blend it again and make it nice and smooth just the way you want it to be locked. So I'm just going to go ahead in this left and right motion and blend everything together. You'll notice that the black line has faded. Just picking it out in a bit so that it looks a little bit more evident than it does right now. Because that is the reflection of my mountain. Again, when you're adding the reflection, make sure that your black line is not too dark. Alright? Otherwise, it wouldn't go with the colors of the sea that you're already making. So make sure that it's a little more diluted version. You can add a little bit of orange to it to make it a little more brown if you'd like. But I've just gone with a diluted version of the black then to pay all kind of like smudge out the edges are smooth out the edges. You can just load your brush with a little bit of water and just blended into that. It's not a sharp line and that is it. You are done with the water bit. So I'm just going to go ahead and tweak it a little bit. Go in this left and right motion to make the blend smoothly. And that is it. Now I'm happy with it, so I'm going to let my paper completely dry. Now that my paper is completely dry, I'm going to go ahead and add the clouds. Clouds. I have taken the same blue mix that we made with the red, right? And this time I've added a little more black to it. Remember, black is a very overpowering color, okay, So you don't, you don't want to add a lot of plaque. You just want to add a small touch with your brush and you're good to go. I want a darker color of the blue basically. Now, remember how I showed you the dry brush technique. We're going to apply that for painting our clouds. So we'll see me rub it against the tape a couple of times just to get rid of any excess paint that I might have over here, you want to make sure that your brush is nice and dry. Because if it's not dry, you're going to end up making these shapes that are too sharp at the edges. We don't want that. We want it to be nice and uneven and have a little bit of texture because that's how clouds look right there, not just blobs with sharp edges. They have nice texture around the more kind of like smushed out at the edges. And that is why making sure that your brush is dry really helps when it comes to painting clouds. He owed, I've used a mixture of the paint. Alright, so when you're making a thick mix that could, could pick consistency. That's when your brush is nice and dry because when you load your brush and only loading very thick consistency of the paint, then since you're not adding water, your brushes just loading thick paint and then you apply on the paper. It looks nice texture. Alright, so we're going to use that for making clouds. Over here. I've started with the bottom Clouds and I made them really small. And as we move upward, I'm adding bigger clouds and making them kind of clustered together. Over here you'll see that the clouds are clustered and the edges have texture. Alright? And the middle one is kind of like just altogether, almost like a, like a solid color. Just the edges are textured. That is the idea that you're going with our clouds when you're making the clouds at the bottom, which is near the pink color, That's where you are going to make them smaller because those are the clouds that are at a distance. The ones above that are more closer to the observer. And that is why they are bigger. So I'm just going to go ahead and add these clouds. So I'll have these clouds coming from the left and the right side, and there'll be some in the middle. So I'm just playing around. You can follow me along over here to see how I'm applying these clouds. We can see how my brush movement is in this left and not left and right. I wouldn't call it left and right. In this zigzag motion. That's what you call it. I think some just kind of like shaking my brush. I'm just shaking my brush or just rubbing it over my paper. And then that creates this nice texture. Alright? Because when you're tapping the brush, first, you are applying the paint and when you move it, you create that uneven effect for the clouds as well. So everywhere that I've added the clouds, you'll see I'm following the same brush movement. And it is very important to know your brushes and know your brush movement. And that completely changes the way in which you make clouds. The only thing that you need to keep in mind is that the bottom clouds are going to be smaller than the clouds above are going to be pickled. And don't forget to add those tiny, tiny clouds in-between the bigger shapes that you're meeting that adds to the effect in the Cloud. And that is it. I am not going to tell you that this is the only way in which will add the clouds are this is the exactly is on location. You want to add your clouds. Because I want to be free. I want you to do it however you want. As long as the clouds are making you happy, just go with it. I don't want to confine your intro just exactly how I'm showing you. Alright? I've mentioned the points, you can follow it along or you can just do your own thing. Over here, dry brush technique is the main technique that we're using. Shaking your brush to get the clouds is one way to add really nice texture and clouds in your sky. Just that the bottom ones are smaller and the ones above are going to be slightly bigger. The clusters of it are going to be slightly bigger. And that is it. Now we're going to add the highlights for the clouds. For that, I've made a mix of the same color that we were using for the clouds. I've added a bit of white and paste to orange color. So just mixing the basal orange color and that color would make sense if it's too dark at a bit of white. So basically we are trying to get a nice green mix for the highlights. Now, since it's a sunset and the sun is completely below the horizon line, but in the sky still has that nice sunset colors. That is why the clouds are not just bright, but they're still in the night sky Zone. So they have nice green highlights. For that. I'm just going to go ahead. Use the same motion that we used for adding the rough texture. That's exactly what we're going to do. I'm going to add it at the bottom of the cloud. Alright, so right at the bottom, I'm going to go ahead and add the highlights. Now you must be noticing that once the color is trying, it's trying to be a lot lighter. And that happens with quash the colors dry a little bit lighter than the color that you will actually lead down. Now the thing that we have to do here is just blend these two colors together so that they don't look so hard. What have sharp edges next to each other? For that, I'm just going to use my brush, clean brush, loaded with a little bit of water and blend it in. Now, you can do that in some places if you want. You can also add the color for the clouds. And just fun when you're using the wet brush, it will just blend in. So you can just use clean water to blend it or even the darker color and the lighter color together to just blend them. I generally like using the water method. And if I think it just looks too odd, then I go ahead and did it with the darker color. Now over here, when you're painting this, it's all about the judgment. It's all about how you want it to appear, right? If you like that roughness in your clouds or the sharp edges, you can just leave it there as well. Otherwise, just blend it, slightly wet, clean brush, you just see me smoothen out the edges since gouache is rebuttable, you can read but the pain, fix the lines and things like that. It works in our favor so you can just wet it slightly, make it more seamless, make it look like the cloud is as a whole and tiles are highlighted with that nicely seamlessly transition step darker part of the cloud. It can do that but just vetting the edges and making them. As you can see, the sharp lines are gone now. They look more sick, not exactly seamless, I would say, but yeah, they are nicely smoothened out now. And that really adds to the way the clouds look. I'm really happy with the way the sky looks right now. And I'm not going to overwork on this section and draw in it, so I'm just going to stop right here. And in the next lesson we are going to be painting our shore bit. So see you in the next lesson. 9. Day 1 Part 2 : Purple Sky: Alright, welcome to part two of day one. And now it's time to add all the details in black for our painting. I'm going to load my size six round brush. And I'm just going to mix a little bit of black paint with a bit of water. And now you're going to start off by making that irregular mountain shape. If it's gone by blending the sky, you can sketch it out again or you can just bring it. There is no perfect way to do it. Alright? So you're just going to create that uneven shape. Remember when you're making this, I've noticed a lot of time people don't move the brushes and, you know, the lines are very straight. You don't want it to be straight. You want it to be really uneven. So just go up and down in the movement while you're making and carefully at the horizon line, make that nice, clear line, and then just fill in the entire space with your black paint. Remember how I told you that? If you are going to sketch out all the shore bits, it's going to get covered when you're blending the water. So that's exactly what happened. So we'll be sketching it out again. Now making a thin line with the black where the reflection of the mountain was going to leave it as is. Or I don't touch it. I know the edges are sharp. We will fix it later on. I just want to lay it out there today. Don't forget. Now, we're going to take a pencil and sketch out the shore bits. Remember I showed it was in a zigzag motion, right? Or like an uneven shape. It wasn't straight carving out. So we're going to do the exact same thing. You're going to take your pencil and start making these little lines that are uneven. So some are longer than they are shot and then long again and then they're shot. You can see what I'm doing with the pencil over here. There is literally no way to describe this. I guess. It's just uneven. Alright. You want that uneven? Kind of like the surface where some bits are rocky and some bit has water. That's basic idea. Now we're going to start off with the painting bit of it. Load your brush with some black paint and start filling in that shape. I'm starting off with an uneven rocky shape so that it looks like it's rocky. And then I'm just making these nice thin lines over here and you have to be very controlling of your brush. I mean, I wouldn't really call it controlling. You have to be really light with your brush as well, but you should know how to move your brush. When you combine those things together, you get a nice like the exact brush stroke that you want. So here, I'm just going to go ahead and fill in that space. They will see me use a little bit of the dry brush technique as well, just where I want the edges to be rough and have a little bit of a texture. Now at the top, I'm going to go ahead and just make the surface uneven, right? Because we want to show that ground. It's a ground. So it has to be uneven, there has to be rocks because that's exactly what we're making and that is why the uneven shape needs to be there. So I'm just lightly going in this left and right motion and being very light with my brush, but controlling my brushstroke, need to know where to apply it. Again. There isn't a perfect way to do this. Though. Uneven shape. You can make it however you want. Remember it has to be longer and some places shorter in some places. Alright? Because the water is not going to exactly form a division where this is my bet. You can be the rock on the other side. Know, it's going to be uneven. Alright, I'm sorry for that very, very stupid analogy, but it's going to be uneven, alright? And you have to make it look like that. So here you'll see me just moving my brush, right, just like clouds, but here it's more straight and left and right. And just fill in that space and color it in, add a little bit of texture because that will be the part where there's just these tiny, tiny bits of rocks and then water over it. That really adds to the painting. So when you add a lot of texture, it looks really good. So over here, I've just created this basic shape first. And then I'm going to create the remote texture in it. Add a few little smaller rocks so that it adds to the painting and makes it look complete. Alright, now that I'm done with the ground bed, I'm going to go ahead and slightly smooth out the edges. Remember how I showed you, we're going to fix it. That's exactly what we're doing. I'm loading my brush with a little bit of water and a little bit of, let's say a diluted version of the black paint and then a lot of water and just a slight touch of black. Then I'm just going to blend it right in. So now the sharp edges are gone. It looks more blended with the ground water. And it looks more like a reflection, right? It makes more sense now. So I just wanted to deepen the color of the reflection and then just blend it out slightly. Now what we are going to do, I had to fix a little bit off my mountain right here because the lines are really sharp. I went ahead and just added another code. Now we're going to add little rocks, tiny, tiny bits in the, in the short part. So I'm just making these irregular shapes at the top of the ground and then adding some around the shapes that I created. Now, they are very random, okay, I am literally just thinking about where I can add them and then just adding these dots. Now they're not exactly dots. You want the base to be a lot more flatter and the top to be more curved. So that's the because it's in the water or it's like just peeking through the water. It's going to be flattened at the base but more curved at the top. That is what I'm doing, trying to make the base flat. Or you can just add these tiny, tiny rocks however you want to make sure that they're tiny, they're not too large because they are added distance. They're not going to be huge. So tiny, tiny rocks and the water wherever you'd like. I don't confine you and tell you exactly where to add them. Just go ahead and have fun in this process. Alright, now that I'm done with adding the rocks, I'm going to add a little more texture. Like I said, we're going to be making the edges more texture and add those tiny, tiny details. For that, load your brush with some black paint, thicker consistency would be good. And then you're just going to brush it below those shapes that you'll need. Add a little more texture to the painting and add anymore little rocks that you would like. But just add texture now over your, there is a little bit of a tendency to overdo the step, but be very gentle, just a few little strokes at the end. We're just adding the texture and it will look amazing. So don't overdo the texture just a little bit. And you are good to go. Alright, I'm really happy with the way everything else logs, and now it's time for us to add the final touch and make it complete. And that is by adding a crescent moon in our painting that will just light up. That's paintings. So load your brush. I'm using my size six brush because it comes to a really fine tip. You can use a size zero brush and then make a little bit of all inverted C. And then just make the middle section little bit more thicker and the ends more sharp. That makes the perfect crescent moon inverted X0. That's what we're writing. And making the center portion of the middle part a little bit thicker. And that is it. We are done with adding the moon. I think it looks so pretty. They can go ahead and layer it once again if you think it's too light. So wait for the layer to dry and then you can let it again. That is it. We are done with the painting. Once everything dries, you're going to quickly build the tape off. And oh my God, look at that. I am so happy with the way this painting turned out because it was not so difficult to paint, right? The composition was quite simple, but we learned so much in this painting from the beautiful blend in the sky, the clouds, the gray highlights to it, the uneven shore and that cute crescent moon. I hope you enjoyed painting this with me. Here's a cute little sneak peek for a D2, and I'm really excited for it. So see you there. 10. Day 2 Part 1 : Break of Dawn: Hello everyone, Welcome to the second day of the challenge. This is the painting for today, which is a beautiful sunrise and loves the clouds in the sky. Let's know the colors that I'm using. Cadmium yellow. So you need a warm yellow and orange color. Use cadmium orange. Next we need a blue. I'm going to go for Prussian blue, right? And lamp black. So we're going to be making a mix for the brown. You can use brown if you want to, but I've been making my own brown for that louis part in the foreground. Next, I need white paint so you can use a titanium white to work perfectly for the class. So just take any white. These are the colors that we are using for the Cloud. So I'll show you how to mix these colors when we are painting the sky. So let us quickly get started. Alright, so I've taped on my paper on all four sides and taking the colors out, as I mentioned, on my palette. And the first thing that we're going to do is create a rough sketch. So I'm making this slanted line and the bottom of my paper. Right now, this is going to be my crown space. Right above that. I'll have my son in towards the right side. And then I'm just making these little branches. They're not very dark, they're not very perfectly put out. It's just very random, just as a sketch that I would make just to give myself an idea, right? So I'm just going to roughly put it out there just to know what would go there. Now, it's time for us to talk about the colors that we're going to use in our sky. The first color is going to be my cadmium yellow mixed with a tiny bit of white. So it's just going to tone it down very little. And it's going to be the color right around the sun. Next is my cadmium orange mixed with a little bit of cadmium yellow and white. So it's like that nice yellow, orange color mixed with white but tone, the vibrancy down, like I mentioned earlier in gouache. You add white to tone down the columns. Next color that we need is my Prussian blue mixed with white. So I've just taken a little bit of Prussian blue, added a little bit of white to it. And then I get this color. It's still like a nice deep Prussian blue color, but slightly toned down and lighter than the Prussian blue directly from the tube. Alright, Let us start painting. So I'm just going to make sure that I clean my brush right here. I had a little bit of blue and if I, even if you have a little bit of glow, yellow is going to turn green. And that is why I made another puddle where I'm making the same yellow color that I squashed earlier. And now I'm going to start applying it in thin strokes like this. And leave a little bit of whitespace in the middle where the sun will be. So this is slightly from the center line of the paper is slightly towards the right side. And then around it, I will lay down the yellow, orange color. So you'll have the whitespace in the middle, then you'll have yellow around it, and then you'll have the yellow orange color and then slightly darker version of the orange color around that. So it's just going to be a transition, right? So as you can see, I'm going to go ahead and I'm applying that little strokes just to lay down all the colors. Now I'm going to switch to my size two round brush. And I've taken just white and added that in the whitespace that we have in the middle. Now, the white will slightly mix with the yellow and turn into this very pale and bright yellow color. And that's exactly what we need to show, the bright sun. And I'm just going in this left and right stroke to just read that out in the. So that's just not a circular shape, but it's more spread out. And then I'm just going to even out the colors that I've already laid. So I'm not going to mess a lot in this area because if I do that, I'll mess up with the sun and I don't want to do that. So I'll just leave the colors right there. And then we'll start with the blue at the top. I have the Prussian blue on my brush. I added a little bit of water to it to make it nice and flowing. But still the consistency is quite creamy, I would say are velvety. It's not too thin. Alright, and using that, I'm going to move in this left to right motion and apply it all over the top surface. And as it moves down, I will just load my brush with a little bit of white without really cleaning my brush just a little bit of white and water and then blend it down. Now, the white will mix with the blue that's on the brush already that you've already loaded from the previous stroke. Then it will slowly start toning. Offered lighter blue color, lighter Prussian blue color. That's exactly what we're seeing right here. It's blending into this light blue color. And each time you move in this left and right stroke, you're just blending the colors together so that these asleep painless. Seamless transition between the darker blue to the lighter blue and then eventually to the white that we'll transition into the orange that whitespace that I have in the middle. That is going to be the space where I use just white paint, like wet white paint. And then I'll start blending it in this left and right motion, moving it upwards and downwards. As you can see, we created a little bit of green, so I will just clean my brush completely, load my brush with the yellow, orange color and try and fix that slightly because we don't want that very evident green in the sky. Alright, so just go in this left and right motion. Now here, the step is varied appetitive. What I'm trying to do is just blend the white band with the blue and with the audience so that you can see the transition happening from the yellow to the orange to the light blue color in the middle, too, light blue and then to darker blue at the top. And now that I've laid everything down, I think, or if you think you want to change something, you want to mix the colors a little bit better, merge them a little bit better now it's time to do it. So I'm just going to go and fix in my sky. If you think your first blend was good enough, you don't have to repeat that step. This is only to fix in things that you don't like. Why the blending vector, right? So since gouache is a rebuttable, even if the yellow orange portion had dried out, you can revise it and then blend it again and that is the best part. I'm just going to go ahead and now mix everything together. Each time you feel like your brush is dry, slightly wet the brush I'll give very, very little, just a little bit of clean water and then go ahead and start blending again. I'm just having that nice transition rate and trying to put in the darker colors because I thought that the blue just got really light with the light colors that I moved upwards. So just add, add a little bit of darker blue at the top if needed for you. And I've done that. I've added a darker blue at the top and then blended it down a little bit. Over here. The process is all about moving left and right and blending it altogether. The area around the sun is quite dry, so I'm loading my round brush again with a little bit of white. I'm applying that again in that area that I did because the color, the white color dried out to be lighter than I thought and imagined and wanted it to be. So adding a little bit of white around it, it's going to make it nice and opaque and then just move it around so that the color is not just standing there, but it looks like the sun is glowing bright. So just create that rough texture around the sun by just using your dry brush technique. As you can see here, that's exactly what I've done. I've tried to blend the white slightly with the background by using fresh, clean supply of water. This way, the illusion is created that the sun is glowing and it's really bright and white as compared to the rest of the colors in the sky. Right? Now, the painting is completely dry. And once your painting is completely dry, we are going to be adding the texture clouds. Now, I didn't mess up for one bit in this part, which I will show you where you are not mixed my white color with a little bit of orange like very little, exactly the color that we used for the sun. Alright, so we're going to use the dry brush technique and add in the clouds. Now the clouds are the top in the blue area. I don't like them, but I'll show you if you ever made a mistake like that, how you can fix it. I didn't want to show you guys the whole process of making wrong clouds. So instead I'll show you how to fix it. Alright, so I'm mixing a little bit of orange and yellow into my same white mix. Okay, So using this color, I will be adding the clouds that in the yellow, orange, and red green little section. Over here. Again, we're going to use the dry brush technique like we did in the previous lesson. We've used to white or a light. Hello over here because we want to show the bright clouds. They don't have a lot of shadows in them. Currently. The sun is just rising and it's hitting all the clouds and then grasping onto the color of the sun. And they're all just bright in the sky. So that is why we have that nice white color or off-white color. You're going to be adding the rough texture. Remember your brush has to be dry in this process because only then you'll be able to add the texture, okay, and we need that texture. We want that rough look in our clouds when it's all spread out on it's not. Having those sharp edges are very evident sharp edges to make it clear. That is why the dry brush technique is very important. So what does dry brush technique? It is just your brush without any water and just a little bit of paint. As you can see when I glide over the paper, it creates that texture, right? So I have clouds coming from the left and coming from the right and they're all smaller clouds. I'm not making them really large because these are still further away from the observer. The blue clouds are going to be bigger because they are closer, are much more above the observer's head to be exact. And so we're going to go ahead and add in the texture. Load your brush, use the dry brush technique and add in the clouds. I want you guys to be free here. I want you guys to add the clouds wherever you feel like adding and you know, the color that we're adding. Now the next color that I'm making is this nice, kind of like basal orange gray color, right? Or like a tan color to be exact. What I've done is just mixed a little bit of Prussian blue with black and then with a slight bit of orange to this creates that nice tan color. And using that, I'll add in a little bit of shadows to the clouds that are closer to the sun, or write or have these darker clouds very close to the sun. So again, using my same dry brush method, I'm going to go ahead and add in these clouds. Add them anywhere in that area around the sun or the yellow, orange fit, you'd have these darker clouds around it. And then we'll add a little bit of highlights on them using the pale off-white color that we just used for the clouds above. All right, once you're done adding those clouds, we're going to add the highlights like I mentioned. So again, use your dry brush technique, load that white color that we use, and then just add it on the clouds or around the clouds, you can even almost cover the shape of the clouds that we made. But it's good to leave a little bit of hint of tan around it so that it looks like the shadows. And here we're just adding clouds wherever we feel like it. We want to add any text shows. We'll go ahead and add those textures. So this is your play area. Go ahead and add these clouds. Remember, the top part is going to be bigger clouds and the smaller, the bottom part is going to be smaller clouds to just go ahead and add a little texture wherever you want. Or you can just follow me along and see where I'm adding them. But here is your play zone. So just feel free to add the clouds where you feel like, alright, now that I'm done with all the clouds at the bottom, I'm going to show you how you can fix your paintings if you have made a mistake like I did. So load your brush with water and then just start blending it out on the paper. You might have to be a little bit rough ER loaded brush with a little more water than expected. But do that, you can lift off paint from the paper as well if you'd like. Or you can just go ahead and add in the same colors and try to blend them. Now the only thing that you have to keep in mind that you have to do is to match the colors at the bottom so that it's not that very evident that you did something suspicious for you made a mistake, right? So you want to just slightly match the colors over here. I think we match the colors, but the line was still evident. But that's alright. It will dry and not have that line. Alright, let's go ahead and start adding the clouds. Over here. I'm going to add the same texture as you can see. I have that little movement in my brush for the texture like I showed you before. And you're just going to add in texture clouds over here. There are more, it's more about the texture than it is about the cluster of clouds. You've seen this clouds in the sky that they're not together but they're like spread across and it's like a nice smooth texture in the sky. That's exactly the look that we're going for, or that's the imagination that we are going with. So adding the texture coming from the right, moving downwards, towards the left and the left ones are going to be smaller textures as compared to the textures from the right side. Alright, now I'm just going to add in a few more clouds and left or right from the left side that it's coming towards the right just a little bit and they merge with the clouds coming towards the left from the right. Alright, so they kind of merge together. So adding the texture, if you want, you can do the same thing, but from the opposite side as well. Feel free to do that. But here it was more about the texture that we added in the sky. I'm just going to go ahead and add in a little more clouds wherever I feel is necessary. Or if you're happy with how your clouds have turned out, you can stop right here, but remember, don't be too hard on yourself, okay? You don't have to make the clouds look perfect or whatever you've done up to now is going to look fantastic once you have everything laid out, I promise you that, right? So just go ahead and relax. If you like your painting, It's very easy to get into that zone where you want to overwork because you want to fix things. But even if you have even if you have a first glance painting anything, it looks good, then stop right there. Don't overdo it, right. Stuff. If you're happy, then we can move on to the next part. In the next lesson, we'll be painting the foreground together. So see you there. 11. Day 2 Part 2 : Break of Dawn: Alright, let's start with part two. Here. I have mixed my black paint with a little bit of orange so that it has that brown color, or right, and right under the sun, the foreground is going to be much more orange. I'll show you how to do that, but let us start with the foreground on the left and right side. So I've taken my size six brush, which comes to a really fine tip. So I'll be using that brush itself to make the branches. But if you don't have a brush that comes to a nice fine tip, you can use the smallest size brush. Okay? Alright, let us start with the branches. So making these very thin strokes, right? Very thin lines and just wiggly shapes, honestly just branches and then just random, random thoughts and shapes around it than not at all perfect. If I were to redo this painting, I won't be able to copy the exact same thing because this is completely out of my mind, is just what I feel in the moment and that is exactly what I'm doing. Alright, I'm just making these shapes, some of them taller, some of them smaller, some of them are thicker, some of them thinner. And that is exactly what you have to do. Just go with the flow. Alright, you're just making these lines and then tap in some dots around it. Make some branches, make some leaves play around. This is, again, your playground. You are going to play and mix and match whatever you feel like doing. So now what I'm going to do is just make these branches and right below fill in the entire shape at the bottom with just black. Hello, right? I mean, that makes with rid of orange, that brown, dark brown, deep brown mix. I'm just going to fill it right? And so this is going to continue right, until we reach that some portion. Alright, and then just going in this random motion, I'm going to fill it right in. You don't have to be careful about the direction in which you're moving your brush. It's very random, just so cologne, up-down, left-right. It's completely choice. You can do it however you want. Yeah, go ahead and create these little details of the branches and the shrubs. Alright, so we've kind of reached that era which is around the sun. So for that, I'm mixing my orange color with a bit of black. And as you can see, when I mix these two colors together, I get a nice orange color. So the more orange you add, the more lighter it's going to be, right? You get a nice kind of like a bond of a color which is between born sienna and burnt umber, in my opinion. So it's darker if you add more black and it's going to be lighter if you add more orange. Now using this color, I'm going to go ahead and create some branches. Alright, start off with those little, little shapes in the middle. So adding some branches using that color. And then we will move it into our ground so that we can spread it out evenly. So as you can see, I've spread the whole thing in that layer, which is right under the sun. All right, so we can add in the branches on top of it with the same color and then again transition into the black. So what I'm doing here is adding the darker color so that we can just blend the orange with the brown, the depot grounds so that there's a nice transition. You can see the glow. You can do that by layering the brown oval and then taking the lighter brown color and going over it and just mixing and blending it in. Now if it's not blending, load your brush with some clean water and just even out the edges. That's completely fine. But when both of your paint is wet, you should easily be able to just kind of like sway over the darker brown color and create that effect. It shouldn't be that difficult. It's both the dark brown color and the lighter brown that you're laying in bed. Alright, now I'm happy with that little glow in the sun, right under the sun. What that Asia is, it has that nice light brown color. So I'm just going to go ahead and make those branches and those little shapes of trees and shrubs and all that right under it. And then again transition to the darker color as I move away from the Asia right under the sun. This is, again, a very deputy tough process. I'm really not following a step right here. I'm just going with the flow, adding these little shapes controlling my brush movement. Of course, having a good grip over the brush, having a good knowledge of my movement. And rest of that. Other than that, it's all just imperfections. Go ahead and make some, some strokes, make some branches, all of that after that, it's just a game that you play is just a fun. Yeah. Go ahead and add these in. Once I was done with the bottom portion, I thought of adding a few branches coming from the right to the left as well as I'm creating one branch and then adding in little strokes left and right around it, creating those sub branches and adding a little bit of details for the leaves. Just because I felt like the sky needed some branches coming at the top as well and not just the ground. Because of that, I added a few branches and leaves coming out from the right side. Now you can make this coming up from the left side. You can even go ahead and add some more, make them bigger if you want to go with that. This is again, your playground so you can choose what to do. I'm here to tell you how to do them, right? So adding these branches, you can make them on the right side and the left side, even from the top. Wherever you wish to place them, go ahead and place them. Remember that the branches coming down the sub branches will also move in the same direction. They will have an angry, but they will move in the same direction, right? Just that is the only thing to keep in mind. Once you are happy with whatever you want to place these branches, that will be the end of our painting. After that, we're not going to be adding any more details because we are done. Once your painting is completely dry, I'm going to carefully peel the tape off and oh my God, look at that. This when it started out, I made a little mistake that I wanted to correct in the clouds, but I'm so happy with the way this has turned out. You can't even see where those mistakes because it all laid out together and now it just looks so amazing. I'm so happy with the nice glow in the ground and those branches. They look so cute and the texture in the clouds, oh my God, it's to die for. I hope you enjoyed watching the two. And here's a little sneak peek of our D3. I'm really excited. So see you soon. 12. Day 3 Part 1 : Fairy Light Evenings: Hello everyone, welcome to day three. I hope you're all having fun in this challenge. This is the painting for today is this beautiful fairy light evening. I love how the sky looks in this, the fairy lights and nice and flowing. So let us quickly talk about the colors that we need. I'm going to use cadmium orange here, so it's a nice orange color. Next, I have primary red. So you need a red color for that beautiful purple blue sky. Next I have Prussian blue. I have my white tilde. So as you can see, I need big, big tubes of white paint. And lastly, I have the lamp, black colors. You need a black codon. These are the shapes that we're going to be making inside. Plus I'll show you how to get each of these colors while the painting. So let us quickly get started with our class project. Alright, so I've taped on my paper on all four sides and taking the colors out on my palette as we discussed, the first step is creating our rough sketch. Alright, so for this one, what I am going to do is create just a rough idea of what is going to happen in the painting. I've taken my pencil. You're going to have one set of uneven mountains right at the bottom. Right. You can just get whatever shape you want to go where you want them bigger in one side, smaller on the other side, whatever you wish for. Next, I have a slanting ground shape. Now this is the ground on which my trees are going to lie. So I'm just going to quickly sketch out a few little stems and branches and trans. This will give me a rough idea of where the tree is going to go. Of course, all the details will come in when we are making the exact same thing. So add a feudal strokes, rough sketches in the background at the bottom. Now, for the fairy lights, I have one coming from the top. You can make these fairy lights. However you want to make them. Alright. I have three layers. I have one at the top which is closer, and 2.3 of them at the bottom. So this is a mid one which is slightly in the middle, and the last two go together, attaching themselves to a pole. And that's going to be the furthest. A fairly light. Alright, let us talk about the colors. I am mixing. A little bit of my cadmium orange with white to get this nice pistol kind of orange color. So this is the color that we'll be using for the sky. Next, I want to make a nice little peachy pink color as well. So I'm just adding a little bit of red to the same orange mixture. So I get this nice coral pink color. Next, I have to make the color for the sky. For that, I'm making mixing my Prussian blue with my primary red. Adding a little bit of white to color depends majorly on the red color. So what I'm trying to say is like if you want more fun, you're going to add more red to it. But I'm happy with that just slight hint of red in my color. So these three are the basic colors that I'm going to use for my sky. Alright, so let's start painting. So as you can see, all the consistencies that I have are off like a nice smooth consistency. So we're going to start off with the orange color at the bottom. And we're going to slowly work our way upwards. Now, I'm adding a little bit of yellow to the same orange mix and I'm adding that in as well just to get that warm yellow color in the sky. And then I'm using that pink shade or the cooler pink shade that we made. And I'm going to add that in the sky as well. So you're just trying to blend in all these colors and put them in the sky. Now over here you have two options to blend it, okay? You can go for straight blend or like, more like a gradient blend rise. You're gonna go from the dark colors at the bottom, go to the lighter color and then using white blend and blend it with the blue at the top. Or you can do what I'm doing and I'm just trying to have an uneven blend in the sky, right. So I'm just going to load up some blue, start applying it at the top and then slowly start bringing it down. Working our way down. Again. We have the milk like consistency, so it's nice and trans loosen. The base layer has to be thin, right? So it has to be slightly thinner as compared to the layers that we're going to add over to figure that out in our techniques lessons. So let that happen, let that milk consistency be the blending consistency that you have. Now right over here, as you can see. I'm going to be mixing it with a little bit of white. I'm trying to blend in the blue color at the bottom, so I'm slowly trying to bring that down. And you see that I'm not bringing it all the way towards the left side. I'm leaving that little space. And that is the space where I'll be adding a nice pink color. So you can use the same pink color that we made before, R or S washed out and showed you. Or you can make a lighter pink color and then add that two from the left side, stopping midway to the right. It looks very all over the place right now. It That's right. But blending everything together is going to fix it. So as you keep moving your colors around, adding in darker tones of the colors and just trying to blend everything together. It will all come to place and who not look so odd. So over here, the process is to just lay down the base colors first. As you can see, we've laid down all the colors that we need. And then we're going to add in another layer for slowed up paint, brushes with paint again. Then go ahead and blend everything together. Like I said, I wanted to do something different with this guy here and I have a gradient wash. And that is why I tried to mix the blue and the pink in the middle together. So over here, the blending processes where it's going to take time for this guy. So we have to keep moving our colors around. Keep adding a darker tonal value of the colors. As you can see, I'm mixing my pink color. I'm adding a little bit of orange, red, white and orange together for that nice coral pink color that in the sky blended it with the flu in the left and right motion. So since squash can be wet, right, you can re wet surface and paint over again so you always have the opportunity to keep blending and moving your colors around. I'm just going to slightly move the pink upwards to the blue. And again, as you can see, it looks like it's just standing over the blue. But once we blend everything in, once we add water to upbeat, I've just re-read that area and mix it well with the pink that I just laid on top. It will blend together and look even. Alright, so we're just going to move the paint around and blend it in when you are trying to mix the pink and the top of the blue. Just be Betty night with your brush. Now when you're very light with your garage and applying very light pressure on your brush, the paint will just slightly move and blend in, rather than just the white, let's say superimposing on the blue or the blue taking over the pink color that we had and then just letting it all a sham so we don't want that to be very light with your brush when you're blending it in. Or when you do that, you get that nice bloat out effect. Over here, the pressure that you apply on your brush. It's important to remember cool light with it. See what you want to add the colors. And again over here, this is your space. You can meet the sky however you want. That's why I mentioned. We can make a straight blend or the graded wash as well. Not a problem. You can go with it. There's nothing right or wrong with the sky. I just felt like doing something different. So I thought I should just add that we have that flowed out unevenness in the sky. Straight washes are good to go ahead and just enjoy the process of blending because we're here to understand the medium better, understand the movement of our brush, understand the pressure that we apply. So it's all about having fun in this space right here. So once you're happy with how the blend is going to lock, all your sky looks perfect if you think it looks good, but we'll stop right there and wait for it to completely dry. Before we go ahead and move on to our next step. I'm really happy with the way the sky looks right now. So I'm just gonna wait for it to dry and then start off with the next step. Alright, so now that the paper is completely dry, it's time for us to move on to the next step. We are going to sketch out a string lights again, and then paint over it. I'm going to have three sets. String lights, one is very close to the observer. Second one is somewhat in a medium frame, and the last one is really far away from the observer. And just attaching itself to actually have for string lanes are lines, if you want to call it. You've got four of those. And once you sketch that out, we'll be adding a few little details to it and then quickly moving on to the painting with gouache because it's opaque as you can see. Our sketch got covered completely, right, so we just have to sketch it out again. So once you're done with the base sketch, which is off the string lines are the cables. It's time for us to add in those vertical lines moving downwards for the lamp holders in which the bulb will stand. Bigger ones and the first-line because they are closer to the observer, the next ones are going to be slightly smaller and advocacy they are closer to one another. Distance between them average use them. Because since they are further away, the distance between them is gonna get smaller and it's going to appear much more closer to one another. And as you move to the last two, it's going to be much more closer as you meet the second one. I'm very, very close as compared to the first one that you made. So just work on the distance to slightly increase the distance. There is no perfect distance in which you're going to make them make sure that they are the same width apart, are the same distance apart, and just increase the distance with each line you make. And now that we're done with it, we are going to paint it with black. So I've loaded my brush size six round brush, bigger brush, which comes to a really fine tip because we want to add a very light details. And what we are going to do is just over line cable that we just drew so carefully, just overline the sketch that we just made. The cables that are that is the first cable is going to be pick up, like I said, because it is closer to the observer. And you are going to sketch out this lamp holder as well. So they are going to be bigger because they're closer to the observer. Now that we're moving to the next one, as you can see, you're going to slightly decrease the pressure that you're applying on your brush. And these cables are going to be lighter or smaller as compared to the cables that you sketch in the first one. And a lamp holders are going to appear smaller as well. So as you can see, the thickness that I'm making them ad has reduced. Now, in case you feel like your sketch does not follow the width video going to go for. You can always fix it right here because the paint is the permanent one. Everything else can be erased. Now the third one and the fourth one are going to be even lighter. So you can switch, your brush gets even smaller brush. If you're not very confident with the pressure on your brush, It's okay. You can change your brush and you will get smaller. A thinner line effect on it. Paint over the pole that you sketched out as well. So just go over and paint that fall. And then again, sketch out the fourth line and add in the lamp holders in them as well. Again, you're going to make them even smaller. So the lamp with other lamp holders are going to be even tiny or as compared to the previous ones. So that is the only thing that you have to keep in mind here. Now that we're done with this, we are going to go ahead and paint the mountain that we sketched in the background. For that, I'm going to mix my Prussian blue with a little bit of black and white. So I want to create a color which still is a little bit blue in shade and not completely gray. And that is why I'm mixing with the same Prussian blue color so that it has that hint of blue in it. Go ahead and just paint over the sketch that you made. Now, I completely forgot that we didn't have to paint over. I'm in pain before ball first and the mountains are going to be behind that, so it's going to get covered. But don't worry, you can just paint over the pole and then make the poll again. That is completely okay. And once you are done painting the mountains, you're going to let everything dry. So as you can see, our painting is coming together. You can see that things are happening and it's going to look good ones are fine. Loop picture is ready. Just go ahead and add the mountain. And then we are going to move on to the next step. So in the next lesson, we will be adding the light bulbs and all the details in the foreground. 13. Day 3 Part 2 : Fairy Light Evenings: Alright, let's start our foreground section. So for that first, I'm going to just make the ball or evidence. Remember last time we had to paint over it, I'm just going to paint over the mountain layer and then make it more bold and stand out. And now it's time for us to paint the lipids. For that, I'm mixing two colors, yellow and orange and adding white to this. Now what we are going to do is try and get that nice Chloe effect. So as you can see, it's a very nice light, yellowish orange color. And to get the glowing effect, what we have to do is load our brush with paint applied in the circular form. So we'll just apply it in the circle form. And as you can see, it just stands out with those sharp edges. What we are going to do is just look cleaner, brush, loaded with a little bit of water and just blend out the edges carefully. Just a little bit just around circle that we just made. We can blend it out. Now, you can keep two brushes with you. One is going to be the brush that you make, the circle width. And second brush is just going to be the brush you load with clean water and just blend or kind of like blur out the edges. Start. It's not that sharp. So as you can see, I'm making the circle and then just blending it out. Now, the bulbs that are in the first few bulk flux in the first three or four bulbs, they're going to be slightly bigger. As we move. To the other words, you're going to slightly decrease the size of the bulb or the size of the glow that the bulbous making. This just gives that illusion that the bulb or the string lights are slowly going away from the observer and lattice by the size of the bulb is red, you're saying, right? Pretty simple. The circle and blur out the edges. Now, these bugs will decrease in the string. The other string, all the words are going to be of the same light, are the same size because it is in that same lane, right? It's trait, it's not we're not giving the illusion that it's closer and it's moving away. It's in front of the observer in that same distance, all the light will appear of the same size. Over here as you can see, when the color dries out, it will dry out a bit lighter, but don't worry, we're going to apply it in two or three layers. This way you get a nice glowing effect in your fairy lights. Went to repeat the process for all of them, they're doing the same thing. You can also make the bulbs altogether and then blow it out using your clean brush. This step makes it easier. You don't have to keep switching between the brushes. So that's exactly what I'm doing here. Plus these worlds are smaller So you don't really have to worry about a drying out quickly or whatever. Even if it dries out, it's not a problem because you can read that the gouache paint and it is going to do the same thing. That is blurred out the edges, right? So you just have to make sure that you're blowing up the edges and that is going to repeat the same step in the other birds as well. Keeping in mind that in this one you're going to slightly decrease the size. So the size of the bug here is going to be really tiny. Just go ahead and make those bugs smear out the edges. And then we'll move on to the next layer. Alright, so now that we're done with the first base layer for the claw, we're going to go ahead and repeat the step this time making the size of the bud slightly smaller as compared to you did what you did earlier. Then again, we are going to load our second brush, a smaller size brush with a clean layer of water, or keep clean water. Then just blend and blur out the edges. As you can see, the glow is even standing out more over here, right? So it looks more like it's a bulbous own and it's creating that nice light around it. And that is exactly what we want. You can also add a little bit of orange in your mix just to make that glow more bright. Orange, give it that nice moody color. Add a little bit of orange to it and then blend it out. Repeating the same step. Or you can just add a little bit of orange to your color mix and do the same step. And over here, I'm not going to repeat the process for the other valves because they are still at a distance. And I don't want to repeat the same step, but rather just add in the final bulk color, which will be the light yellow sheet that we've made audience. You can add a little more bite to it. And as you can see, when I'm adding in the circles on the bulb, it looks like the light was on. It's creating that nice glow around it. And I really like the way the bulb looks. So you just have to do two layers in the string that was closest to the observer. Since the other birds are really at a distance, we didn't not need to work on it. A lot was really easy to do that. Just go ahead, Adam, the tinier dots. Remember that the dots that you create now should be smaller as compared to the glow around it. Because if you cover the whole thing, then it's not going to have that glow effect. So just make them smaller as compared to the one that you made earlier or blurred out section that you made earlier. All right. Once the people completely dries, we're going to erase the lines are the sketch that we made because we did I did go ahead and make some different shapes or different places where the light bulbs were placed. So just to get rid of all of those evidences of my mistakes, I'm going to erase my sketch. And now it's going to do all the fun part that is either in the foreground, trees and elements and all that. It is a time-consuming process, but that surely makes a painting stand out. So just load your brush with a little bit of black paint and then you are going to first make the ground. So just fill in the entire ground shape that you have to color it all in. And then we are going to go ahead and add the trees. You can wait for this layer to completely dry so that you're not smudging painter noun or have your hands go over it by mistake. So wait for it to dry. And then we're going to go ahead and add trees. Now. You can add trees in whatever shape or whatever size you want. Alright, so you remember how we learned the basic tree shape, right? In the practice session, we're just going to repeat a bunch of those trees. Now you are free to play around with the shapes. Free to play around with the sizing, right? So I'm just going to switch between some bigger ones, some smaller ones. Displays is where you have fun. This is the space that you are going to add and whatever comes to your mind. Because that what, that, what that is what makes your mind work really well. So exercise your brain, think about what you want to add, what shape you want to give it over here. But just like I said, adding the basic tree. So let's go ahead and add a bunch of these different trees now can you can vary them inside this. The left ones are going to be slightly bigger. As you move towards the right side, you want to slightly decrease the size of the trees and branches and shrubs, whatever you wanna call it that you're making, just slightly decrease all of those things. And then we will add the other details. So we'll just switch between different types of trees. The first layer that we're adding are the first section which we're adding are going to be just random tree shapes. We were playing around with different sizes. So enjoy the process of adding this end. Go ahead and play around. So now that we're done adding all the elements of the trees and the left side, I thought of adding a bunch of them on the right side as well. Now, these are going to be coming from, let's say there's a tree actually on the outside of the paper. And then you have a bunch of branches and leaves coming from outside the paper to our painting. So that is why you're not seeing the whole tree, but rather just a bunch of different branches and leaves. Since the left of the vapor is filled with those string lights. Adding them towards the right side really just adds into your painting and makes it look all put together. Make a bunch of branches and add leaves on them. Now you're free again to play around with the shape of the leaves you want to add in. Just go ahead and fill out the space that you are really seeing on that right side, in the middle, right at the bottom right corner, I'm going to add up illustration of a bunch of bombing leaves. Now we've learned how to draw this, right? And I'm doing this in the corner without the tree because I want to show that the observer is standing at a distance. He sees the crown, the mountains, the fairy lights, all of that. But these palm trees that he's seeing, other families actually that he's seeing is closer to the observer, closer to his eyes. And that is why it appears to be just the leaves and not the tree. That is what I'm trying to say. So just make a bunch of leaves. I'm making two of them to fit in that corner. Then one in which you just see a section of it. I can give them different elections in the way that you will want to flow with it. Try to just make them go in any different directions that you want. It's not compulsory to give it the same detection that I'm making. We're just adding two to three illustrations of the bomb leaves feel free to correct anything that you want to add, anything that you want in the ground section, feel free to do that as well. Play around, fill the space. Like I said, this is your playground, right? Go ahead, add in any of the illustrations off the leaves or branches that you want to add in the broad term section of our painting. Last thing that I am going to do is just fill in the spaces between these trees that you can see. I'm just going to add a bunch of different weekly shapes just to depict those swallow or trees or shrubs that are around it. Just to fill in that space, really. We're done with the bottom part of our painting when we add those little shapes just to fill in. And then at the top, I wanted to add a bunch of branches and days just to make the painting look complete because I felt like the top right corner log the little bit empty. So I'm just going to make a bunch of branches and add in the leaves. Now we've learned how to make that right. So you're just going to repeat the same step, adding some branches coming from the top and add in some random shapes around it to depict the leaves. Now, feel free to make them in whatever direction you want. It does not have to be the exact direction in which I am making. Remember if you're making them facing towards the left side, then you'll have a bunch of branches facing towards the left side. If you're making them towards the right side, then you'll have them facing towards the right side. So you just have to like play around in that zone. That is, once you are done with that section, that will be the end of our D3 painting. We'll wait for the entire section to dry and then have a real digitally therapeutic deep feelings session. Alright, that is carefully peel the tape. Now remember that you have to peel away from the paper so that you're not creating any tears because that would be just so sad. And it has happened to me many times before when I've drawn the entire painting, but I've learned to be careful. And this is our final painting. I think it looks so gorgeous. The evening sky is so pretty. The glowing strain lights or the fairy lights have turned out so beautiful and all the elements of the trees looks so nice together. Here's a little sneak peek of what's coming on day four. So see you there. 14. Day 4 Part 1 : Dusk with Pines: Hello everyone, Welcome to day four of the challenge. This is our painting for today, which is this beautiful task in these pine trees and make view. So let's talk about the colors. We have cadmium yellow, so you need to have a yellow, warm yellow color. Next, I have cadmium orange. So you need a nice orange color. We have Prussian blue, that is absolutely my favorite Pro that I keep using again and again. Next you need big tubes of white. You just need to basically titanium white. Next we have lamp black. So these are the colors that you need. And this is a small idea of the shapes that we'll be making in the class. So let us quickly get started with our painting. I've taped on my paper on all four sides and taking the colors out on my palette as discussed. And now we are going to create our base sketch. For that. I'm going to take my scale and divide my people in two-third and one-third. Basically leaving more place for the sky bet than the lake or the riverbed right? Next, once you have the line sorted and that is your horizon line, we're going to sketch out a bunch of mountains. I'm going to have one mountain coming from the left side, extending towards the right and slightly in other sides of n decreases. Then similarly, I'll have another one in the background. So you just want to add in like two or three mountains. Now we'll make this perfect when we are actually painting the mountains and add the details to it, but this is just a rough sketch. Next, we're going to have a bunch of like an uneven ground in our foreground. Then have to pine trees. So the shape of the ground can be jolly of random, right? I'm not really going for perfection here is just uneven and that is why it's taller in some places and smaller in some places. And then you have to pine trees. One is taller and one is shorter. And that is going to be our base sketch. Let us talk about the colors. I am going to make a nice base, yellow, orange color for that. I'm mixing my cadmium orange and a tiny bit of cadmium yellow, mixing it with white. So you get this nice, like a pistol, orange, yellow color. To tone down the vibrancy of the orange and yellow. You can add white to the more, wait, you add, the more toned down it's going to be. Next. I'm making a nice light yellow color as well. For that, I'm mixing my cadmium yellow with bytes. So each time you add white, you're toning down the vibrancy of the color. Now let us make our blue color for this, I want to have like a grayish blue mix. So I'm mixing my Prussian blue with a tiny bit of black in it and a tiny bit of white. So as you can see, when you mix a little bit of black in it, it kind of gets into this indigo shade. And that is the color that I want for this guy, rather than just having the Prussian blue as-is, I've made the mix width push in blue, black, and white. All right, That is it about the shades? That is start painting. I'm going to take my flat brush, makes sure that it's completely clean and does not have any blue residue in it. Otherwise it's going to become muddy. Load your brush with the yellow, orange shade that you made right at the bottom near the mountains. And then add in the yellow color right at the top and solid to smooth in this left and right motion and blend it in. You just want to have a tiny hint of the yellow, orange color, not a lot. Mostly. It's yellow. And then right above that are right on top of that, you're going to use white and blend or work upwards with the yellow sheet. So kind of like getting a lighter version of the color in the sky. Next, we're going to leave that right there and switch to our blue shade that we mixed. So just start from the top and slowly work your way at the bottom. As you can see, the color is not just crushing load, it has a hint of black in it, and that is why the color has changed into this beautiful blue shade. So you're going to just move in this left and right motion and slowly start bringing the color down. Now, it's going to be the blending with white technique that we learned, right? So we're going to use white to blend the color that is the blue with the color that is yellow so that there is a seamless blend between the two rather than having the muddy shade in between. So over here, you're going to take your time to just blend the colors together. Since you've already done three days of our squash challenge and painted three beautiful paintings. I'm sure by now you must be picking up the techniques. You must be picking on the blending technique. And over here we're using blending with white. It's going to take some time. You just have to move your way through this. So blending takes a little bit of time and patients, so be patient and just keep moving in this left and right technique or left and right movement, to blend in the yellow and the blue together without making a mess in between where they are transitioning from each other. So use white blending the colors and you'll be really happy with the way the blend comes out when you just put in a little bit of work so you can add a little bit of water in your brush every time you feel like it's getting too dry. So adding just a tiny bit of water, what this does is reactivate the paint and just helps with the blending process. I'm really happy with the way the blend looks in the sky, so we're just going to leave that right there for it to dry and we are going to paint the reflection of it. Now, we did this before we've done this in the first-class project, cigarettes start off with the orange color right below the horizon line. Since you're seeing that color, you're seeing the orange in the sky, then you're going to transition it to the yellow shade, just like what you see at the top. So now over here, since we don't want the blend to be exactly seamless like the sky. I'm going to bring in the yellow down and just leave some spaces on the left and right side and make bigger wash, leaving a little bit of space. In that little space, I'm going to make a lighter version of the Prussian blue and the black mix and just add that in. So you're going to go with a lighter shade because I want to see how it looks first before I go ahead and blend everything in there, you're going to ask me that for this guy, we made a seamless blend and right here we're just adding the yellows and the blues together without really living spaces in-between. But don't worry, we're going to blend everything in it and it's going to look nice and smooth. Over here. We're just adding in the colors first. The bottom, I'm adding the darker version that is the color of our sky. I did leave a little bit of space, a white spaces in between that I can use that space to just kind of blend the colors together. Alright, so I'm just going to load my brush with a little bit of white, and now it's time to start blending, eaten everything together. Just going to load the brush with white and a little bit of water and start moving in the left and right motion, blending them together. I'm going to clean my brush and then load it up with a little bit of blue and a little bit of flight. Then just go over the yellow that we need to have a hint of blue in it. And then again, move in this left and right motion. Now we've done this type of reflection before. You see the colors of the sky, but you also slightly going to see the colors mixed because of the different waves. So you are having somewhere, you having yellow in the places and the blue in bits and pieces. So just go ahead and add in the yellow color once you are done with the blending, and then add a little bit of the orange shade as well, just to add the colors of the sky in there. Then again, just try and blend it out with each other so that it just doesn't look like it's standing. Now I'm going to add in these tricks with the orange just to show the reflection, a bit of the reflection we're not meeting really sharp reflection because the sun has already set and we're not going to have really sparkling water, but rather just kind of hint of the sky is going to be reflected on the water. Over here. I'm going to dry my brush, loaded up with a bit of yellow and just try and blend everything together. Careful use the flats of your brush. Have control over your brush, and then just mix them together so that it's seamless and it just does not stand like as-is on the paper. That being just needs to be slightly blended with one another. And that will be eight. Once you're done with this bit, QR want to leave it right there. I know it's very easy to overwork on this section, so just go nice and slow and see the reflection. To be nice and seamless. The goal is to just have seen as plants because it's still water. The water is not moving, so we don't have a lot of details to add to the water. Alright, now that my paper is completely dry, we are going to add the details to our mountains for that, I'm going to make a mix of my black, white, and a little bit of orange that it has that nice brown, dark brown shade. So here's a quick swatch of it. It does look gray in the picture, but trust me, with a little bit of orange, you're making a brown. So I'm going to go with a nice milk like consistency for this because this one is going to be in the background. So I wanted to create actually three sets of mountains. So one is really, really far away. That is why it's going to appear lighter as compared to the ones that I'll make after this. So go ahead with the milk like consistency so that when it dries, it has a little transparent transparency to it so that when the ones that are at a buffet or in front of it, it's going to look more opaque. Alright, so once that dries, you're going to use the darker version of the same color. And that is why I asked you to go for a lighter mix of the color, which means more water so that when it dries, it has that nice transparency to it. Now for the mountains in the foreground, not foreground, but let's say middle ground. They're going to have these little uneven shapes which I'm just making by making lines with my brush. I'm just making a line so that it looks like these mountains have some trees on it. And it's really, really closer to the horizon, but still really far away. They can make the base of that mountain to be slightly forward. Which means you can make it slightly below the horizon line so that it gives the illusion that it is closer. Not really in the same line or in the same level as the first mountain that we made it slightly closer and it just gives that illusion of the distance between them. And then you're going to make another one from the left side in the same way that you made the right side one. And then again join them slightly below the horizon line to give that illusion that it has a little bit of distance between them. So once I make those lines at the top, which gives the illusion of the trees or the uneven surface on the mountain. I go ahead and just fill in that entire space. This is really easy to do. So just going to fill the entire thing in. And as you can see, this has created this nice illusion that you have two of these mountains closer to one another. And this one in the background, which is really, really far away. And then color also add in because it's or it's lighter as compared to the ones that's closer, right? You're going to wait for this to slightly dry and then we're going to add in the shadows or the reflection for the mountains at the base. And they're going to do that by just loading your brush with it. Surely thin consistency of the same shade. So it's really watery like it's very honest like t. And then I'm going to use that to add in the reflections for it. You're not really going ahead with a lot of details. You're just making a bit of line and then slightly kind of blending it with the background on both sides so that the edges are not really sharp, but rather blended out. And that is it. We are done with the first part. In the next lesson, we are going to be painting the foreground. So see you there. 15. Day 4 Part 2 : Dusk with Pines: Let us paint the foreground section now makes sure that your background and your mountains are completely dry before you go ahead and stop this step. So you're going to start off by making the sketch again, since it's coupled with odd layer of paint. So sketching it out again makes the most sense. So I have the uneven ground and two sets of pine trees, as I mentioned, I'm just trying to slightly put in where I want my branches to be, where you don't have to sketch out all the branches, just a little idea or little hint. Then I have, like I said, to pine trees once taller than the other. And then again, adding in a few branches here and there to give myself a little idea, motor sketching out a bunch of different smaller shrubs around the tree. Again, just for the basic idea, we're going to start painting. So I have loaded my brush, my size six brush, and I'm going to fill in the entire space for them down first. So what you are going to do is just fill in the ground, right? You can see it's uneven. God, just completely going to cover it with black. Then once this is done, you're going to wait for this to completely dry before we go ahead and add details to our pine trees so that we don't mess it up and lifted on our risks. So make sure that it's dry. So for the pine tree, you're going to start off by making the main trunk or the main stem first. And then like we learned before, you start off with the tinier, tinier details at the top and work our way to the bottom, slightly increasing the size of the branch. As we move downwards. You're going to have smaller, smaller branches protruding outside at the top. And then as you move down, you're going to slightly increase the branches on each side. We've learned how to make these branches, right? So I'm just following what we have learned in our practice session. So here the only difference is that a tree is bigger, so each time you go down, they're going to just slightly increase the size. Now makes sure that you're not completely increasing the size by a lot. Otherwise, by the end, by the section you reach Nirvana ground, you're going to have really, really big branches. So make sure you're on just slightly increasing the size of these branches and just adding in the leaves. Now makes sure that since you're adding left branches, right branches, make sure that you're adding a little bit of leaf, that structure that we learned or the shape, that random shape that we learn to put in middle as well. So that it gives the illusion of the tree being for 360, but not just left and right adds into the details of the tree, even if it's in the silhouette form. You can add in the details to make it look. Right. So make sure that you are making some little shapes in the middle as well. The process of adding the details to the pine trees fatty depth data of like I mentioned, you're just increasing the size of the branches and the leaves each time you move downwards, right? So as you go lower, you're going to increase the size, added the details. It's fairly that potato. We've figured out how to do this. I've showed you how to add the details in your leaves in the exercise. In case you haven't watched it, to give it a watch. And kind of just see this little section of adding the buying sheet. And then you can come back to this. And this will give you an idea and you will not have to just follow what I'm doing, but rather, you don't exercise your own brain and do it in your own style. Now I'm not saying that following me as wrong. I'm not saying that. I'm just saying that you do not have to look at the screen, but rather you will be enjoying the process of creating, which I think is more important. And once you've figured out, once you know actually what to do, you're just going to add the details to the pine trees. So I think it's really fun that way. So do watch it if you haven't. If you already know how to do this, don't worry, go ahead and enjoy the process. As you can see. I'm done with my first pine tree. And once I'm done with that, I will just add in some little details around the tree as well. Then other grounds section, I'll add in some more details and then just play around with this area. And now you are free to make them or makes us area however you want. You can add the trees that you want. You can add in the branches and leaves and shapes that you'd like completely feel free to experiment in this section. There's no right and wrong and just enjoy the process. I'm not going to talk a lot here because again, like I mentioned, the process is very reparative. So I'm just doing the thing that I've mentioned before that is filling out that space that we have put little shrubs and branches and details in-between the trees as well. And then just the two pine trees as we sketched out. So again, the process is replicative. I'm not going to talk a lot. So just enjoy the process of adding these pine trees in your foreground. Alright, now that I'm done adding the details and my pine tree, I'm going to go ahead and just add a cute little crescent moon and some details and the sky. So for that, I'm taking my size six brush because it comes to a really fine tip. If you don't have that, switch to a smaller size brush. Your brush with some white paint makes sure that the consistency is a little thicker so that it's nice and opaque. And you can add a full moon or half-moon or crescent board. Feel free to experiment in this section, don't worry, everything is correct. So I'm just adding a tiny little crescent moon right at the top. Making a C, just trying to get in the edges to be really sharp and the middle section to be thicker. And that is just go ahead and tap in a few stars and dots. You can vary the size of the dots. So this is one way to add in the stars where your stars are much more control. You have control over vey, you're going to add them. The other way in which you can add the stars is by the tapping method. So we're just going to load the brush with some paint and tap it against a brush or pencil, anything. And when you do that, it makes these plateaus and that can be your stars as well. So I'm not going with a lot of them, just a tiny bit. So once this is done, we are going to be our tape carefully pulling away from the paper. As you can see, we have cotton crisp edges and every time I build the tape, it's just happiness all over again. And of course we finished an entire painting and it looks so good, right? So that's really good. I absolutely love how this guy logs that are flexion of the mountains and the pine trees. This was a very, fairly easy kind of project, right? We didn't have to add a lot of clouds and details. So I think it was nice and easy. And I hope you learned something new and practice something new with the medium. Here's a little sneak peek of what's coming on D5. So see you soon. 16. Day 5 Part 1 : Reeds on the River Bank: Hello everyone. Welcome to day five of the challenge. This is the painting for today. I am so excited to paint this one with you all. Let me quickly tell you guys about the colors that we need. So I'm going to use cadmium yellow. We have primary trend. We have cadmium orange. Next we have crushing blow, lamp, black, and a big tube of white paint. So these are the colors that you need for the class. And here's a quick swatch of the shapes that we'll be mixing for the class project. So I'll tell you all about it when we are painting inside. Let us quickly get started with the painting. I have taped down my paper on all four sides and taking the colors out on my palette as we discussed. And the first thing that we are going to do is create a rough sketch. So I am going to divide my paper in half. The first half is going to be for the sky, and a second one is going to be for the lake bed. Next, I'm just going to make these uneven shapes that is going to depict the far off land that is away from the observer. Then you also have these lines that depict the roughness in the shallow water. I'm not making really deep water. We are going to have some shallow water. We're going to have some land that you can see on the water. And right at the bottom we will have this uneven ground and we'll have some reads growing on it. So that's the idea that we are going fault or the water-based. We are going to paint and land on the water, but that we're painting is very similar to our class project, one that we painted. But here we're going to add more colors into it. That is quickly just start painting. I'm also sketching out a tiny little sun right in the center of my paper. So you can sketch it out, you can leave it and then add them later. That's completely on you. So here's the basic sketch. Now that is mix all the colors that we need for the class project. So I'm going to mix my cadmium orange and the primary red together. Now going to make this nice peachy color that we've been making in the past projects as well. And then add a bit of white to it to tone down the vibrancy. So here's swatch of the color. As you can see, it's very nice and it's not too pink and it's not too orange, like the color. And in-between. Next, I'm going to take my cadmium orange and a little bit of white to it, just to tone down the vibrancy of the color and get this nice little orange color. You also second color that we'd be using for the sky. The third color is going to be our yellow shade, mixed with a little bit of white, again, to tone down the vibrancy. So here's a swatch of the yellow that we need for the sky. Then lastly, we have our blue here. We're going to mix our Prussian blue color with a tiny bit of black and then add white to it. So it's a very similar color mix that we made in our previous class projects as well. So with these class projects that we paint will slowly start getting a hang of the colors that we're going to use. You'll notice as some of the colors are very similar to the ones we have mixed and done before. So once you mix your Prussian blue at tiny bit of black and white, this color that I'm going to sketch out is going to be slightly grayish, right? It's going to have a tiny bit of green undertone to it, but it's still nice and blue. So this is the color that we need to use for this guy. So let us quickly start painting the sky. I'm going to start off with the peachy color that I made right in the middle. Alright, at the bottom, Let's save and then move ahead with our orange mix that we created near the sun. So you want the sun area to be nice and warm, right? And then you can have the colors around it. On top of the orange, we're going to have the yellow mix that we made. So the yellow and the white together, that makes us going to be right at the top. And the yellow mix is going to be transitioning to the blue. So as you know, we'll be using are mixing with our blending with the white method here to blend in the yellow and the blue so that they don't create any deep evidenced green shade in the sky. It can be very light. That's okay. But I don't want it to be really evident. Once you're done laying out the warm colors, we're going to lay the blue at the top and slowly start blending the blue downwards. Then leave that little space in between where we will be using just a clean brush and a bit of white paint. Using this white paint, it again going to be for blending the yellow and the blue together. Over here the method is again, very simple and replicate if you're just trying to blend the colors with one another and try and have a very seamless blend in the sky. So this might take a little bit of time. To finally fall in love with the blend. So it does take a few little tweaks. You have to add in more colors. You have to do a little bit of work with the blending, but you can go with this as much as you want until you're really happy with it. Now I'm just going to go ahead and lay the colors again. So starting with the peachy color, then the orange bed than the yellow and the blue again. So I'll just do it all over again and try and blend all of this color together, right where the sun was. I wanted to be a little bit lighter. So I went ahead and added a tiny bit of white and blended it with the colors that were already on the palate and this left and right motion. And to get that center area to be nice and white, we can just move your brush from the left to the right and right to the left and stop midway. This way doesn't reach all the way in the center where the white is and it just, just not blend everything to be together. So over here, just be a little bit careful when you're adding in the white bit or you can leave it as is as well. That's completely okay. Over here, like I mentioned, the process is all about blending and living your paints around. So just go ahead and enjoy the process of Moving your colors around and falling in love with the blend of the sky because that is more important than achieving the perfection. So enjoy the process. Learn the process of blending and using your brush to just mix the colors that you want in the sky. I'm happy with the way this guy look. So let us quickly paint the league bit as well. For this, I'm going to just reflect the colors of the sky on the water. Here we're not adding deflection of the far-off land that is near the horizon. So don't worry about it. Just start off with the BCCI color at the base, then transition to your orange and the yellow and then to the blue video. Just go ahead and have fun. The only thing that I'm doing here is adding a tiny bit of orange starting from the horizon line in this lakeside motion. The fixed, the reflection of the sun. It doesn't have to be perfect because we'll be adding the reflection of the sun once it's completely dry. So don't worry about it. Go ahead and enjoy the process is just laying that update. Colors in this middle affect the League ADL. I'm doing the entire blending process of the background, especially the skies and the legs with my size ten flood brush. Feel free to use any size of flood brush that you will like. Flat brushes really makes the planning process easier. And even so, make sure that you're using a flat brush for this process. Other than that, we are just repeating the colors in the sky on the land over here. Make sure that you're not going all the way to the uneven ground that we sketched out because it doesn't make any sense to do the blending process until there because we're going to go ahead and cover that with our black paint and draw the reads on it. That's okay. You can leave that space empty. We'll just go ahead and add in the illustration data on. Over here. I'm just adding a little bit of the darker colors at the base because I felt like the gods slightly blended out while I was blending all the colors together. So I went ahead and added the colors from the horizon line and then from the side so that they appear darker in the side and slightly lighter in the middle because there will be having the reflection of the sun. So just go ahead and do a little bit for correction because make sure that it's just not light. That is the only thing that I'm trying to say. Just try to make it not so light because you have to add in the dark colors that are near the horizon line and it's going to reflect the exact same bit. So just go ahead and add that. But if you haven't if you haven't gotten lighter and that's completely okay. You don't have to follow the same step. You can skip it entirely. Once you're happy with the blend that you have created, you can completely let the paper dry and then we'll go ahead and move on to our foreground elements and the middle ground elements. And then paint all of that. So now that my paper is completely dry, as you can see, I can rub my hand over it without reactivating the paint. It's time for us to add in the details in our paintings, the more blocks details. The first thing that I'm going to do is add the sun for that. I'm loading my size six brush and then loading it up with a little bit of width, a little bit of white paint. The consistency of the paint can be nice and thick because we are we want it to be nice and opaque. So it can be a thick consistency. So you're just going to go ahead and add this in the circular form you can sketch out with a pencil as well if you're not confident with the circle, once you add in the color and the entire circle, you're going to slightly deactivate, clean the brush, loaded up with some clean supply of water, and just slightly reactivate the paint around the size so that if you blend it with the background. So we've done this before with the moon as well. So it's just the same process. You're going to slightly reactivate the paint from around the sides of the moon and make sure that it blends with the background. Once that is completely dry and then once it's completely dry eyes, you'll go ahead and loaded with paint again and just make it more opaque. So doing this, making the edges slightly blended out and lighter just kind of adds to the glowing effect, right? We've done this in the previous class project where we added to the glowing effect of the fairy lights. So it's kind of like that, that really adds to the glowing effect of the sun or the moon or the fairy lights. Anything that you want to add the glowing effect to kind of like smearing out the edges and making it blend with the background just adds to it. While the sun dries. We're just going to sketch out some of the non-profit that I was talking about near the horizon line. Now this is completely random. We remember how in the fourth class project I just added in these structures and just went with it with whatever felt right. This is exactly going to be like fat. There's no proper order in which I want it to be. But the land space just has to be in the first one-third of the painted area, let's say until the orange bit, until there you would want that color to be just as is. And we're going to load our brush with a brown mix, which I've made mixing my orange, black, orange and black together, that's a nice orange light color. You can add a little bit of white to this as well. I'm using a light version of it as in like a thicker version of it. And with really light pressure, I'm just going to go ahead and move my brush more like a dry brush stroke, but the paint is not completely thick and that is why the texture is not very much of a dry brush stroke. But still, I'm just going ahead with inferiorly light handed more. And I'm adding the lighter colors in the first little section near the horizon line. Next, I'm going to add a little more black into the mix and then get a darker version of the color. And then we'll add in the, let's say mountains, the horizon line with the darker bit. So with this color, you are going to add and add the corners from the left and the right side, slightly turning towards the middle. And I'm leaving that space empty for now. And that is because I want to add in like a glowing color to it. So when the sun falls in that area, in that mountain bed, let say, it's going to have some sort of glowing effect on that little section. So for that, I'm just going to load my brush with a little bit of orange and a little bit of red. So I'm just going to add that in, in that section and just slightly blend it out with the black that there already is on the bank. So just be a little bit careful in case you want to lose the colors around. You have to make sure that your brushes clean. Otherwise you'll end up loading the entire section with just black paint and the glowing effect won't be there. So each time you move your colors, make sure that we're slightly cleaning the brush while you're doing that step. Because like I said, you don't want to make it completely black. I am saying this because I've done this before. And that just kind of ruined the whole effect that I was going for. Now we're going to add the same land on the water as well. So over you're like we did with the lighter color. We're going to repeat the same step. I'm just moving in this random motion with a jolly light handed motion, right? Very light pressure on my brush. And we're making the land exactly like we did in our first-class project, where you're just moving in the brush and trying to add in some details. Now I'm also going to go ahead and slightly gets rid of any extra paint I have on my brush just to get that nice dry brush stroke. And that really adds to the texture on the painting. And as you can see, it's really coming together. You can see the lighter color in the layer. You can see the darker color that I'm just laying out now. Then right in the center where the sun's rays falls. Again, loading my brush with a little bit of cad red and orange mix and just adding that in just so that the sun has that glowing effect on the land in this little section as well. And that is it we're done with the first part of this lesson. In the next lesson, we are going to be doing all the details in the foreground. 17. Day 5 Part 2 : Reeds on the River Bank: Alright, so I'm just going to go ahead and add in a little more details of the land. So just again, a very light pressure on the brush and just add in some textures and some reflections of the land that UC to that texture access to reflection. And I'm just going to leave it right here. I'm really happy with the way this looks. And now I'm going to mix a very light shade of yellow, which is just a lot of white and a tiny bit of yellow. And that is going to act as the color that I go with for the reflection. So right under the sun, I'm just going to make these little, little lines different sizes. Some of them are going to be longer, some of them are going to be shadow. I'm just going to go ahead and add in the deflections by just making these lines. Now, they're all straight, but makes sure that you're not making each of them in the same length. Whereas what they mean is that if the previous line finishes off, let x distance and you want the next line to be at x plus one, basically. So just don't make it all fully street. This make them smaller and longer indifferent side so that it adds to the look of it all and does not just look like it's standing right there. Consistency. And you can also go ahead and add a tiny bit of texture if you're like. Now, once this section is drying, we are going to go ahead and do our ground, but until then, so the reflection bit will dry until that time. So I'm just going to mix a little bit of my black and the orange together. So it's just actually a lot more black and a tiny bit of orange because we don't want it to be just black. So that is why I'm adding the orange. Then I'm just going to go ahead and make these little lines, as you can see. That is going to be my grass and the details in my read. So I'm just going with that random motion. This is the base layer and on this I will be adding all the other details. So this one, I'm just going to go ahead and give it a little bit of texture or kind of a shape in the background on which the details. But it needs to just go ahead and add in some grass shapes around that as well so that it just doesn't look like a flat ground, but rather it has a little bit of textures and details to it. So this is going to be app-based. So I've just added grasses, grass in different directions. Some of it is facing left or facing right. And that is it. Now I'm just going to slightly increase the size of these reads. So these are going to be the dollar bras that I'm making. Just go ahead and enjoy the process of making really, really tall ones. So until now we were doing the shorter one. So now we're going to make the taller ones. Now this will also act as the kind of like the stem at which I'll be making the shape. Or basically though, wild flowers that I was talking about in the practice lesson it to rest on top of this and this is just the base stem for it. So as you can see, I'm applying pressure and slightly releasing it as I moved upward. And then just releasing it, I'm going to give you that thicker to attend. Stem look. Now, we're going to add in the wild flower shape that I was talking about in the practice lesson. So you're just going to repeat the process. Go ahead and add in these little shapes in the left and right direction. To make a nice read Look, we've practiced this. We're just adding the shape of it on the stems that we just drew. Now you don't have to make it on all of them. Some of them can just have the little buds on it as well, or just developing reads. It doesn't have to be just the complete shape of that fwrite, so it can be just a little bugs as well. Go ahead and create that on the stems that you want to add them to. Feel free to play around with the sizes of them. Feel free to make some longer, some bigger, some smaller. So this is your playground and enjoy the process of making them. Once I was done adding the shapes of the wildflowers, I went ahead and add in some leaves as well. So these leaves can be in different directions as we practiced in our lesson before. So I'm just going to add some leaves in different directions and making some bugs as well. You can go ahead and add in these little blobs in some stems that will act as the wild flowers that are just on their way to death, love. And they are not yet there. So there's a read that's really closer to the sun. So I went ahead with a nice light orange sheet for that, so that the glowing effect is created on my wildflower as well. And I just went ahead and added it in some of the other shapes that are closer to the sun as well, just to add in the color. So since the shade that is the red one is going to be a slightly darker, she doesn't really show up that much, but that's okay. Just adds to the color and just makes it look much better. So you're just going to play around in this section until you are happy with how this little ADR logs. So you are free to go ahead and fill out the spaces, add in some grass sheets as well whenever you feel like it. So enjoy this little section. Once you are done with that, you are going to wait for this layer to completely dry. And while this dries, we're going to make another mix which is just going to be a light gray mix. So I'm just mixing my black, my orange bit orange color and red color with a tiny bit of black and white. So when I mix these colors together, I get a color that is lighter than the black that was there. And we're doing this because we want to add in some lighter grass in the foreground and don't want to leave with just black, right? So I wanted to add in some lighter colors to this. When the head with this makes and as you can see, Julie shows up on the black paper over here. I'm not making a new sheets and the wildflower shapes, I'm actually just making these long grass, tall grass shapes and just adding it in the foreground, which is really, really closer to the observer in that section. And that will just add some lighter colors that you add. So go ahead and add in as many as you want. Make sure that you're not entirely covering up the black that is in the background versus rather adding the detail that we already laid out. Once you're done with that, you're going to let the painting completely dry and then carefully in the tape off. And I'm sure you'll get these beautiful crisp edges. And the painting is going to look much better once the tape comes off, as you can see, it is looking so beautiful. I love the colors in the sky, the reflection that shallow waterlogged and the ground in the background and the foreground, which was the reeds, looks so beautiful together. I really like the color combination of this class project a lot. And I really hope you enjoyed watching the five. And here's a small little sneak peek of what's coming on day six. See you soon. 18. Day 6 Part 1 : English Countryside: Hello everyone, Welcome to day six. This is our class project for today, which is this beautiful English countryside. They are going to paint the beautiful skies and the greenery in this artwork that is talking about the colors. We have, cadmium yellow, cadmium orange. So you need a yellow and orange shade for the sky. Next we have Prussian blue. As usual, we're using Prussian blue, lamp, black. Next I have sap green, and then a big tube of white paint. So these are the colors that we need for our class project. And you're all the shades that we will be mixing for the class, which I'm going to show you inside. So let us quickly get started. Alright, so I've taped on my paper on all four sides and taking the colors out on my palette. As we discussed, the first thing that we are going to do is create our base sketch. So now we're going to divide our paper into halves, right? So the top portion is going to be for the sky. Horizon line is going to divide the sky from the ground. Pushing Europe drawn a straight line for the sky, bottom for the cross and all the land in the background. I'm going to sketch out three sets of mountain. So you have one mountain that is closer to the observable, and then you have two mountains in the background. And the shape of these mountains are very random as you can see, I've not really thought through this. I've just created that uneven shape. Next I'm going to sketch out a shape which is going to be the land that is kind of like moving upwards in the foreground in the background. I'm making these lines that are going to be the nonce that you see near the horizon line with some trees and shrubs and all those sorts of foliage happening in the middle ground. So that curved line that I made is going to be the ground at which the trees will rest, which is going to be in the foreground. Next, I also have some of these trees and branches coming from the top. So over your, I'm just randomly making lines to give myself an idea of where I want to rest my trees and how I want my branches to look. Now this is not a perfect sketch, it is just a rough sketch to give yourself a small little idea of where our elements are going to be placed. Alright, now that we have our basic sketch ready, it's time for us to start with the sky bit. So for that, I'm going to mix a bunch of different colors and I want to show you these shades. So first we have bite, orange, yellow, and blue. So these are going to be the colors for the sky. So I'm going to mix a little bit of yellow with my white paint. And as you can see, it becomes really light, right? So we need a really nice light color for the sky, almost like the sunrise about to happen. And that is why that yellow is there in the sky right next, I'm mixing yellow and orange with white. So I'm getting this nice yellow orange color, which is not too deep. Here. We're using white to tone down the vibrancy of the color as we've done many times in the past. Next, for the blue, I'm mixing my blue paint, my Prussian blue paint, with a little bit of white color. And as you can see, when I mix my blue and my wife together, I get this nice blue color. Now you can use a cerulean blue as well. But I like the shape of the light tonal value of the Prussian blue. Now we're going to start painting the sky. So we're going to start off with the yellow shade as the base where I will be painting this right above the mountains. So this is going to be the color that you add in right above the mountains. Make sure that your brush is clean and only loading clean water. Because otherwise you load up some blue and become green. So be careful about that a little bit. So we're going to start moving in this left-hand right motion, adding in that pale yellow color. And then transitioned from that pale yellow color to this nice pastel yellow, orange colors, as you can see, I'm just applying it in, rubbing it across the page in this left and right motion. This time I'm just flipping my brush slightly and using the pin side of the brush to add in the color instead of spreading it flat. Right? Now using this color, you're going to be just blending them together, these two colors. You're going to move them around and blend them together. So this is just going to be a couple of strokes left and right to add it. And as you can see, this is not straight, right? There's a little bit of a gradual increase in the orange in the right side. I don't want that blend to be straight. I want a little bit of unevenness in the blend, and that is why I've added a little bit extra of the orange on the right side. Now here you can see I'm touching the orange and the blue together, right? So when you do that, you're getting a slight hint of green in the sky, as you can see, it's not too green. There's a slight hint of green and you're just going to use white to blend them together. So over here, you're just going to be moving left and right, blending in the colors, adding more colors where it's needed. And then just having fun around with the blend. And over here I feel like the sky looks a little bit flat. So what I am going to do is add in some of these strokes and using the thinner side of my brush. And that way I'm adding strokes, as you can see, instead of big flat ones, I'm adding thinner strokes. And that way there's this nice color in the sky where it's even yellow, but a part of it is deep orange and you have this deep orange streaks as well. This creates a lot of accent to the sky. It looks really beautiful when you do that, where you're just effortlessly trying to bring in different colors in the sky without having to really work hard to bring the colors out. So just go ahead, blend around, have fun in this guy. Now, in case you want to go for a pure flat Blend, Go for it. No one's going to stop you. You're here to have fun. She's just enjoy the process of blending your colors until that sky blend makes you happy. Alright, now that my sky is completely dry, it's time for us to add in some clouds. We're going to add a little clouds, which is actually just a mix of white paint and a bit of yellow, that nice pale yellow color. And I'm just vertically moving my brush across the paper. As you can see, not very detail. I'm just adding in these little details to the sky that will act as the flight. Clouds in the sky. Brush, brush, brush across the paper. And then you'll be able to get these nice strokes for the clouds. Make sure that you're using a thick consistency of the paint. Because that way you get that rough texture that you need for the clouds. So as you can see over here, when I'm adding in the clouds, it has dried and it got a little bit lighter. So what I am going to do here is add a little more white to the paint and then go over the same section again. But you don't have to do this if you're using bean that is opaque enough and pale yellow enough, and in case of dry ice to be lighter, you can repeat the process just to make it stand out a little bit more. So just going to go ahead and add these clouds in the sky. So as you can see, not very detailed, just adding in some X shows in the sky that are going to depict the clouds. Then we will move on to the next step. We're not adding any highlights and shadows here, just going ahead and adding a little bit of texture in the sky. The sky dries. I'm going to go ahead and start painting the mountains. For that. I've mixed my Prussian blue with a little bit of black and white to get this gray shade. Now I'm going to use this color to make the background mountains. The last one that you see is going to be off a nice light gray color. Then we shall transition to the darker colors coming forward, right? So go ahead, make a mix of a nice light gray shade and add it on the last mountain and wait for it to dry. Once the paint is completely dry, we are going to go ahead and add a little bit of green to our mix and a little more black just to make the grape have a slight green undertone to it and darker. So here's a swatch of the shape that I've made. It's a nice dark gray color with a hint of green in it. And that is going to be the color that you make for the middle mountain to go ahead and make these vertical strokes here and then fill in that section with this color and wait for it to dry. Alright, now that both the mountains are completely dry, we're going to go ahead and paint the one that's closer to us. I'm mixing black with a little bit of blue so that I get a really dark color for the mountains. And what I'm going to do is I'm going to start applying it and this vertical stroke and load my brush with a little bit of green midway. So what I'm, what I'm trying to do here actually is not have a very clean blue or dark color itself, but rather have green in little places. You can easily achieve that when you load your brush with the darker color and then slightly loaded up with a little bit of the green shade and then just mix it all together so that it doesn't look like you've added green from the top, but rather, it looks like it's nicely blended with the darker color in the background as well. You can also load your brush with a little bit of green and just spread it across. And then load your brush with a darker color and go over it so that it creates that unevenness in the mountain, right? And that's exactly what we want because when we look at a mountain which is covered with green trees, it's going to have darker spots, lighter spots, which means darker green and lighter green. And that is why we went ahead and created that little effect for a mountain. Here you can see there's an unevenness in the mountain that is exactly the type of color variation that I was looking for. So go ahead and play around in this section as much as you want. And when you are happy with the way the slopes are going to wait for this to dry. And then we're going to go ahead and paint all the greens and the ground bit. Alright, now the next thing that we are going to do is take our flat brush. Start with a green mix that I'm making by mixing a little bit of green, black and a tiny bit of white. Alright, so when I mix these colors, I'm going to have a dark green, but at the same time, slightly lighter version of it. And using that color, I'm going to apply it right below the horizon line. Now this is going to act as like the lighter color in the ground. Next, I'm going to take a little bit of the darker shade of the green and then apply it in this vertical motion. As you can see, I'm not making flat strokes, but rather these thin strokes using the thinner section or the vertical portion of my brush. And I'm getting these nice thin strokes. And I'm doing that because I want an unevenness in the ground. I don't want it to be flat. And when I create strokes like these, I get this nice unevenness in the ground so that you can see the lighter beds, you can see the darker bits of the ground. Rather than just having a flat surface which is just transitioning, or a graded wash which is just transitioning from a light green to dark green. So you lay down your light green first and then adding the darker green. And since the paint is wet, it's going to nicely just blend in with the background light green color. You're going to bring this mix all the way to the curve that I sketched out, which I told you it's going to be the ground that is in the foreground section until they are going to play around with this color. Add in some more darker colors if you feel like you want to add more dark green into your blend. So I'm adding these two streaks of very dark colors on which will rest my trees and bushes, like I told you. Next, unpicking the light green color and applying it in that curved section, right? And then I'm going to make a green mix, which is of a darker green mix, then start applying it in this diagonal motion. Now I'm doing this because I want to give that effect that the ground is moving towards the left, right. And that is why I'm going to blend in that diagonal motion itself so that, that effect is created. But it looks like I'm standing on the ground, moves towards endings upward. Okay, so that's the basic idea of what I'm trying to do. And I'm just adding a darker green color each time. I'm going to go ahead and add in the colors. You're transitioning from a lighter green and then moving to the dark green at the base. Now, it looks very uneven, right? But we're going to blend everything and fix everything so it does not look that uneven and does not look like it's just all over the place. So go ahead. Luteal brush with some paint again. By the time your background or the middle ground section of the ground, it's going to be dry, so it's more easy for you to blend things out and go ahead and just move in that diagonal motion so that you get a nice graded wash over here. Instead of having a lot of unevenness, you can go for a nice graded wash as well. I'm going to go ahead with a little bit of black and I'm going to apply it from the right corner, moving in the diagonal motion going upwards. When I do that, that effect is created, as you can see, it looks like the hilus moving upwards or you're moving from going down. So when I add in the darker colors, it looks like that. So you can go ahead and add that. And that will be it for our base layers. And once you are done and happy with the blend, you're going to wait for this to dry. And in the next lesson we'll be adding our details of the cheese and bronchus, etc. So see you there. 19. Day 6 Part 2 : English Countryside: Alright, Let us start painting all the details of the trees and branches and knees, et cetera, on our painting. I'm going to start off with a really deep dark green color. I'm going to start off by making these random shapes in the background. But these are going to be the trees and all the other foliage elements that are really far, far away in the middle ground, right? So that is why the shape that I'm making is very random. I'm just trying to put in some strokes that are longer and some of them that are shorter in this one straight line. Hello, I'm also slightly trying to create this line that connects them so that you know that it's on one plane land, right? So just go ahead and add those lines in. And as you can see, it's just one straight line. Not exactly straight, but you are kind of straight line and those are very small. Then I'm going to go ahead and make the same type of shape. But this time I'm going to increase the size. I'm going to increase the size. What happens? It shows that these trees that you see are still closer to the observer on the right. They are in the middle ground, but they're still slightly closer to us. And that is why the shape that we're making are going to be bigger as compared to the ones that we put in the previous line. And as you can see, I'm just going with the circular motion. I'm using my size six round brush and I'm just going in a circular motion, adding in these little foliage. Now there is no exact shape that I'm making. Whoops, I just dropped my brush, but we can fix that. So I'm just not making any exact shape, but rather just a random cluster strokes together so that they show that this is some foliage. We don't have to work a lot on the details in this section. So I've just added that in. Cleaning my brush and slightly using clean water to blend that layer with the background. Now, when you do that, it just creates a slight shadow effect. And that is why it looks like it's not just standing there, but rather it's on the ground and it's creating some sort of shadow. Next, we're going to add in a little bit of green on this just to work with the different colors and our foliage, right? So I'm making a medium green shade by just mixing green, yellow, and black together. I'm going to use this green and just add it at the top of the foliage, just to add in some greens. This doesn't have to be really bright green, but rather kind of like the green that we used for the ground itself. That can be the green that you're going with. This just adds in a lot of green or details and it just doesn't make the foliage look like it's just black, right? So when you work in different layers is just add storage to just go ahead and add in some strokes at the top, make sure that you're not covering the entire black base that you created and just adding in details on top of it. So as you can see when I added that medium green color and then added a lighter version of the green color. It shows the different colors of the green in the land. I'm just going to go ahead and use that paint to add in a little bit of texture on the ground. So we're just using the dry brush stroke method. I'm just loading my brush with them a little bit of a deep green shade. And what we'll do is we'll just go ahead and add a little bit of texture. And this way, you can bring in a lot of acts and to your ground, even without actually having to work a lot on it. So you're just creating that roughness, that texture on the paper and just looks very beautiful. Just add in the texture using the dry brush stroke. Now we're done with the middle ground part. We're not going to add any more details. I'm creating a really nice deep green color by mixing sap green and black. And now we're going to start off by making our pine trees. You remember how I showed you that we sketched out too tall trees. You have one tree that's going to be the tallest one. And you start adding the strokes for the pine trees like we learned before. You start from the tip and you move ahead in this left and right motion, adding in the branches and then adding in the leaves on each of those can play around with the shape. We can play around with the size. We can add in as many decent branches as you want. This totally on Hill. Says go ahead and add the first pine tree. Once we reach the bottom, we're not just going to let the CI just sit on the land without giving it any date is we're going to bring in a little bit of shadow under the tree. You're going to load your brush with a little bit of water and the paint that you already had on your brush. Okay. So you create this nice light, watery wash and then you spread it out on the ground. As you can see, when you spread it out on the ground, it creates that nice shadow effect. Might look like it's just sitting there and it looks very awkward. Don't worry, you're going to take some clean water and slightly blend it out in the background. When you do that because it's squash, you reactivate the paint and just blends evenly out and it looks good. Next, I'm adding just a tall branch, trunk stem, whatever you want to call it. Now I'm adding a few little branches on the top. I've switched to a size one liner brush here because I want really, really fine details on that branch. So you can switch to a smaller size brush so that you get those really nice, fine details when it comes to the branches. So you're going to go ahead and add one tall branch slightly bigger than your pine tree that you just male. Next, right next to it. You're going to have another pine trees. You're going to follow the same step. Start from the trip, go in that left and right. Don't forget to add in some details in the middle as well so that it gives it a 3D effect for your pine tree. We've done that in the previous class project. So I'm pretty sure that you have it figured out by now. If you haven't, don't worry, this can be a practice and I'll step closer towards getting pine trees that usually really adores. So don't worry, go ahead and create another pine tree using the same method. Alright, sounds that I'm reached the bottom, right in the foreground. I reach the bottom. I'm going to create another small little foliage, just a branch and add in some twigs and some little branches around it. As you can see, it looks like there is a shadow effects. I'm just loading my brush with a little bit of water and slightly planning it out to make it look nice and even and not make it look weird. So just blend it out in case you feel like you need to soften the edges. Go ahead and do that with just a clean brush and a tiny, tiny bit of water. Now, I'm just going to make the same color again, which is my deep green color by mixing black and our sap green together. And we are going to start off by making some branches coming from the top. At the bottom. Using my size round brush, I'm going to go ahead and make a few branches. Now you can make them how ever you want. I don't want to come find you in this stage. I don't want to tell you that this is exactly where you'll add it. No. Feel free to add them. Coming from the top, coming from the left side, coming from the right side, wherever you want to add branches, go ahead and add a couple of them. And then you're going to switch to a smaller size brush, which is let's say your size one or a size zero brush. And you're going to start off by making some more branches protruding out and tapping in the dots that will depict the details of the lease. Go ahead and fill all the branches with that stroke. We've learned how to make the stroke right in our practice lesson. So I'm sure you have a hang of it. If you don't go ahead and practice this as your practice-based, treat this as one of your practice feces. So the idea here is to just add in the detail on all the branches and cover the top portion with branches and leaves. And you are just going to repeat the step to fill in all of them. Whenever I'm trying to make this sort of leaves, I make sure that I am going slow byte because sometimes when you off doing one thing, repeatedly. Kind of tend to get bored and you don't really know what's happening. So I've tried my best to take it slow, take little breaks in between in case you feel like this is a really long process because I totally understand making branches and leaves and adding this detail, in fact, is a really, really time-consuming process because you're really working hard to make those tinier branches, adding in those little leaves and trying to give it a nice look of a tree with leaves. And if it was just branches, it would have been much easier. But since it has leaves on it, you're working really hard. So don't worry. If you feel like it's getting a lot, you can take a small little break and then come back to it after your little break, and then you feel refreshed and then you can start working on this. Again. Now we're very close to the end of our painting. Actually. Just have a few little details to get done. And that will be it. Just a few more steps, I promise. This one is the most time-consuming one. After this, whatever we have to add are going to be the little details and they are going to get over really fast. We're also going to make some leaves and branches coming out from the bottom left corner that these can be slightly thicker and larger because I want to show that this is very, very close to the observer. So I'm going to go ahead and make all these branches and then add in some little shapes around them to show the foliage pet in it. This is going to be the last part. When you add in the details for any sort of foliage in the silhouette form, right? So just go ahead and add some. Some are fed from the left corner. Not a lot, just a little bit. So you have longer leaves, a different type of leaves. So the way you move your brush will depict the kind of Li filmmaking. So over here again, I'm not really going into detail of my leaf, but rather I'm just making the strokes that I'm making slightly longer. That it looks like these leaves are longer as compared to the leaves that are on the top coming from the branches at the top. So you can give that a little variation as well with just your brush stroke. Once we're done with this, we're going to go ahead and add in a little bit of highlights, envision more green to the foliage that is at the bottom left corner of the color that I'm mixing, a sap green, white, and yellow. So you're going to mix these colors together and go ahead and tap it in on the leaves on. Anyway, you want this is just to show the different layers and the different greens that are there in that foliage. We just don't want it to be black. We want it to be having some sort of a green mix. We can also add a little more white to that mixture just to lighten it more. This way you can work your way up in the layers. And this way we can add in more highlights and little more details to the foliage in the left corner over here. And I've gone with the mix that was darker, so it matched the color at the background. And then I went ahead and add a little more white so that it stands out even more. And as you can see, I'm just tapping in some strokes using that color. As you can see, it's really kind of bringing that out. It's popping out and that is exactly what you want. Again, not focusing a lot on the details, but rather just adding in the layers to make it look nice. I'm also adding a few little line strokes to depict some branches in that foliate section so that it just doesn't look like it's just leave standing there. And that is it. That was the last bit of our painting. This one was a little bit longer. I'll let you more detail as compared to the previous ones we have done. But as you can see, we have a lot more colorfully happening here. We're working with the beautiful, beautiful greens. And I'm so happy with the way this has turned out. I absolutely loved the background mountains, the middle ground foliage, and the foreground details. Everything just looks so beautiful, put together, just amazing in my opinion. I hope you enjoyed watching this class project. Here's a little sneak peek of what's coming on, D7. And I'm really excited for it. So see you soon. 20. Day 7 Part 1 : Summer Sky: Hello everyone, Welcome to day seven of our challenge. This is what we are going to paint today. It's a beautiful summer sky and we have some tree elements of the palm leaves and other branches and leaves in the picture as well. So we're going to have a lot of Cloud work happening in this class project. Let's talk about the colors. We have lab black. We have Prussian blue, that is going to be the color for the sky. Rights. You can use any blue that you want. You don't have to go with Prussian blue. Next I have sap green and a big tube of white paint because you need to be having enough white to make the clouds. And I can use titanium white because that's the most opaque white and it's going to really show up in the clouds. So here's a swatch of the colors that we'll be using. Very simple, very limited colors. So let us quickly get started with our class project. The first thing that I am going to do is obviously create a basic sketch. Over here. We're not really going ahead and adding a lot of details for the sketch. We're just going to add a few little branches which will give us an idea about where the palm leaves are going to be coming out from. This is just a rough sketch, a rough idea of how I want it to look. I'm not going to go ahead and create all the details, right? So you don't need to put that and you just need to make the main stems to just give yourself a little idea where you want things to be. And that is it you are good to go. We're going to really win the whole process of adding the clouds over here. Alright, so let us start with the background color. Here. I'm using my flat brush and I'm going to mix Prussian blue and white together. As you can see, it creates this nice light blue shades. I just automatically becomes lighter. And this is going to happen with whatever glue your use rights. They're just going to kind of tone down the vibrancy of the color by mixing white into your paint. You can also go for another shade by adding a little bit of black to it. It will also make, give this guy a little gray look. But since we want it to be bright, I'm just mixing my Prussian blue and white together and he'll swatch of color, as you can see, it's this beautiful sky blue or a paste style baby blue shade. And I'm going to start applying it from the top of the paper and move in the left and right direction and start going downwards. So basically we are going to create a graded wash. So each time I come down slightly going to increase the amount of white in my paint and just go in that left and right motion to blend it all together and create that they did wash and that is it. So go ahead and use your paints to create a graded wash in the background. The process of creating the graded wash might take a little bit of time because you are going to blend each and every different grade of the color or the tonal value of the color together. So that, that forms a nice seamless blend in the sky. So don't worry if you're taking longer than usual to try and blend the colors in, it's completely okay. It does take a little bit of time to get the blend. Perfect. Just go ahead and use your flat brush to blend the colors. You can also add a little bit of blue at the top just to give that gradient wash a lot. I mean, make it a lot better. So once you're happy with the way this guy has blended, you're going to wait for it to dry. And then we'll move on to adding the clouds. Alright, so overhear my paper is completely dry. And now I'm going to load my round brush. This is a size six round brush. And I'm going to start adding the clouds. So as you can see, I'm slightly just loading my brush with a little bit of paint. Here again, dry brush technique, There's no water in my brush. The paint is quite thick so that when I go ahead and this circular motion, I can add the clouds. And you can also see because I'm going over a particular area a couple of times, it's reactivating the background Sale. And you can see a little bit of blue hint in the sky. Don't worry, it is completely okay to have a little bit of blue hint. We're going to use it to our benefit by making that, are using that actually to act as the shadows and the clouds. As you can see. I'm just going with the dry brush technique when over my section in the circular motion. Just creating rough textures around it. Other thing to keep in mind here is that the type of clouds that we're going for, are these clouds that are, let's say over your head, right? So when the clouds are over your head, you see them differently as compared to what you'd see them at a distance. So that is why I'm making the clouds spread out more and they look a little bit flat. And that is because you're looking at them from down, straight up. Now I'm going into circular motion, adding in the clouds. I'm going to add a couple of them of different sizes and different shapes. And I'm going to go ahead and apply maybe two layers over this. And why I'm doing that is because like I said, since I go in that circular motion, it's slightly reactivates the paint and the background. And that is why it gets blue. So there's very little hint of blue in my paint, especially in sections that are larger. The smallest sections don't show the white or the blue as much actually, but the biggest, biggest sections show a lot of blue because it's going a lot in that motion and you're moving in that motion. And I reactivate the paint and mix that Section appear blue. So you're going to go ahead and add another coat of paint over it, leaving a little bit of the blue spaces. So that that appears to be kind of like the shadows in the clouds. And then when you add in another code that makes that section more opaque, and that acts as the highlighted bits width within the clouds. So that way you can add a lot of variations and a lot of details to your clouds without actually having to work in sections or create very detailed accents to them. So you can just go ahead and layer your paint or white paint. And that will add in a lot of details. So as you can see here, I'm going to hand and just adding the base layer first. So I'm just adding clouds of different sizes and shapes coming out from different directions so that I know where I want to place these clouds are where the placement of each of these sections are. Once I have the section place properly or all the clouds placed in those little bits where I want them to be. I can go ahead and start working in layers to make the edges more opaque or more white as compared to the other sections. Where I want a little bit of the blue hint in it to act as the shadows. Alright, so now that I almost have the base layer set in, We're gonna go ahead and start applying more white paint in sections so that it looks more opaque. Now, when you look at this painting very closely, you'll see where the different brushstrokes are. But when you look at the whole complete picture that will do, of course, moving in forward in the class or in the lesson actually, you will see a lot of difference in the way the whole picture appears. And it's going to turn out really beautiful. So go ahead, work in sections and add more white paint, especially at the edges and adding some more strokes or you think they're necessary. And that's how you'll be adding that 3D look into your clouds. And once you have the tree elements placed in, it's going to look like a beautiful summer sky. And I can guarantee you that. So go ahead, play around in this section. Add clouds and whatever direction you feel like it. As you can see, I'm just using my round brush, just brushing over the paper in this circular motion and somewhere kind of flattening my brush as well and adding a thinner strokes wherever necessary. You can just play in this section, like I said, play around when you're happy with how the clouds have turned out while you're working in different layers. They can stop right there. I am actually really happy with the way that clouds are turning out. As you can see, adding the second layer off the white paint has really added to the depth of my clouds. Now, like I mentioned earlier, it might look a little bit odd, just the way it is in the sky right now. But don't worry, once we add in all the details of the tree elements, it's going to turn out Surely really beautiful. You can also go ahead and add in a few different textures and the sky like I'm doing here. It's just my dry brush with a little bit of paint on my brush across the paper, it creates that beautiful textured, dry brush technique texture in the sky which shows the scattered clouds with clouds that are very, very scattered and they're not very dense. And that is it for this guy bit. We're going to stop right here. And in the next lesson we will be adding in all the three elements. So see you there. 21. Day 7 Part 2 : Summer Sky: Alright, Let us start adding in all the tree elements in our painting. For that, I'm using my size six round brush because it comes to a really fine tip. And I'm mixing sap green and the black color together because I don't want to use black directly in my painting. I feel like it's just too dark and it's solid for the color preferences that I want. And it just does not go with, you know, the whole vibe of the painting in very simple terms. So I mix the colors that I need, browns or even greens to create a dark version of the same color. And that way, it looks much better and just kinda feels like it belongs there. You're going to start off by loading your brush with some paint and creating these palm leaves. Now, if you're not very confident about the process, you can sketch the main stems out once again and then go over it. I am just going to win the entire process and add in some leaves forever I feel like it and different detections and just play around in this section. But if you are not confident, don't worry, you can sketch it out, Go over it. Like I said, we are here to enjoy the process. So you're going to add in palm leaves and enjoy the process of adding these leaves. Honestly, adding palm leaves can be really therapeutic because you're missing those repetitive lines, right? This is repeating the process again and again and again and again. And it is sort of very therapeutic in its own way. It does take a little bit of time to get complete or look up the palm leaves are just added them all in place. But it's really, really fun if you enjoy the process of adding this end. We have learned in our practice lesson how to add these leaves. And you're just going to follow the same step that we did earlier. That is create the main stem and go ahead and add the leaves on either side of it. So you're adding individually leaves, more control stroke going in the direction of the leaf, are going in the direction of the main stem. Actually, if it's going left, you give that left curvature. Or if it's going right, kind of give it that right covariates are just trying to match the direction in which the leaves are going. So just enjoy the process and add in a bunch of palm leaves. Don't be obliged to follow the same thing as I'm doing. Feel free to play around with the direction in which you want to add them and add as many as you want. So just imagine, think of standing under a bunch of different commentaries and then looking right up at the sky and sort of imagine what you would see, right? Imagine like a palm tree on your left at the top, some bomb, She's towards the right. And just see how you kind of like imagine how you would see those leaves falling in the picture frame that we're painting. And then you have the beautiful sky at the top. So just think about it in a very nice way. Imagine what DO painting and enjoy the process and add these palm leaves. Britney little bit off mediation in the painting. I wanted to add a bunch of other types of trees in there as well. I'm going to load my brush with that same color. And I'm making branches and tapping in leaves around it just in the right corner, moving towards the, towards afford or like, sort of like a leftward direction. You can add a bunch of these leaves and branches as well. This really adds a lot of variations and different types of trees that you're adding into. It just looks like a natural picture. And like I said, gives a lot of variation to the painting. So go ahead and add branches coming from the right side, moving in a lot of directions. You can give them the straight left elections likely going upwards. Not a problem at all. You're just going to go ahead and add in some branches and leaves coming from the right corner. You don't have to add them from the right corner. Don't worry, you can add them wherever you feel. You have space. In case you don't have space, it can completely skip this process as well. Don't worry. Just do what fits in your painting or fits in the thing that you were imagining. If you don't have these trees, you can completely not make them in your painting. I just thought it would add in a little more variation in my painting. So I went ahead and add them. Alright, now that I'm done with the base off the painting, I'm going to go ahead and add in a little bit of light and shadow play in my right corner branches. So I'm mixing of lighter green color as compared to what I did and paste some mixing black and green together where there's more of a green. Now, I'm going to go ahead and tap it in there, just on some of the lease so that it has that mid-tone. And then we'll add more white to it and slightly adding the highlights to them as well. So just going to go ahead and tap this in your painting. Now this just adds a lot of volume to those sections, especially that section exactly. I didn't want to add them on the palm leaves. I just went ahead and added them only on this right branch section. Once I'm done with that, I'll go ahead and wait for this to dry, and then we'll go ahead and add in the lighter colors to it. Alright, so now I've used a mix of the same green and black color, but this time there's a little bit of white to it so that the color becomes lighter. And I'm going to go ahead and just dab in some leaves and just make some strokes of the branches over the same section. Make sure that you're not adding a lot of this because I just want this to be a little bit of highlight in that section. So don't overdo this section. Just adding a few little strokes of the branches and a few little dabs depicting the leaves in that little easier. You're just going to be adding them a little bit or I don't overdo this like I mentioned earlier. Once you're done with that, make sure that you're adding a few little branches as well, right? So you just don't want peace, but rather a few little branches. And even if you overdo section, don't worry, we can go ahead with the darker green bit and then just sort of cover that up. And once you're done with that, you're going to wait for it to completely dry. Then carefully peel the tape off. And oh my God, it has turned out so beautiful. Once the tape comes off, really that section where you paint over the DB comes off. Then it shows the white border. And then you're painting just right in that nice white border and it just looks so beautiful. It is literally my imagination of standing under this section and looking right up at the sky. And the summer sky looks so beautiful. And even our palm trees have turned out so pretty so. Yeah, I am so happy with the way this has turned out. Here's a little sneak peek of what's coming on the eat. So see you soon. 22. Day 8 Part 1 : Midnight Roses: Hello everyone, Welcome to day eight. So we've crossed more than half of the challenge, and here's what we're painting today. It's a beautiful night sky with some floral elements in the foreground. So let's talk about the colors. We need. Cadmium yellow. Next I have primary each read. Next, I have sap green. So we're going to be using these colors for all our floral elements. Then we have Prussian blue and lamp black, which is going to be the color for the background or the sky. And lastly, a big tube of white paint, obviously. And here is a smallest swatch card of all the colors that we'll be mixing that I'll show you inside the class. So let us quickly get started. So I've taped on my paper on all four sides using my masking tape and taking the colors out on my palette as we previously discussed. For this class project is not really a very difficult sketch. It's very simple. We just have some floral elements in our foreground. And the remaining bit is just a gradient sky, like a dark blue sky. And then we have some power lines that are going to cross in our painting. And that is it really necessary to create an evidence sketch because it's going to get covered eventually and you just have a base idea of it. Let us quickly just start painting the background for that. I'm going to mix my Prussian blue color and mix it with a little bit of red. Now when we mix our Prussian blue color with our primaries red, right, we get this nice deep purple color. So just really, really makes the blue slightly go towards the reddish side. And it's not really verbal, but it's just a very, very dense blue color, right? So I'm going to use the shade for this guy, which I think looks so pretty. The night sky. Eventually when you create a graded wash, it's going to just look so nice using this color. I am going to start from the top, moving my way downwards in this left and right motion. Now, in case you have not gotten the shade, you can use your Prussian blue as is as well. There's no problem in using Prussian blue as is. So you don't need to mix any red in it. Now using a thin consistency of the paint because it's the background color. I am going to just go into this left and right motion to create, wash off the shade and adding a little bit of white to the paint because I want a gradient wash like we have learned before. The graded wash comes with using different tonal values of the color. So here I have a lighter shade of the same blue that we worked with earlier. So you're just going to use that color, going that left and right motion. And sort of blend the darker color, but deeper blue with our lighter blue, which is not too light, It's just a medium tone. So we're just adding white to slightly tone down the vibrancy of the color. And using the shade, we are going to create a graded wash. So go ahead, keep moving in this left and right portion and less until you get a nice graded wash, a seamless blend between the colors. And once you're done with that, you're going to let it dry before we move on to the next step. Alright, now that my paper is completely dry, as you can see, it's nice and opaque. We're going to go ahead and add in some stars. I'm going to load my round brush with a nice thin consistency of the white paint. Make sure that it's not too thin but not too thick. Otherwise it's not going to drop in the stars. Now going to load your brush with paint, dab against another brush, make sure that you're not loading your brush with a lot of pain. Otherwise it starts at you, splatter will be larger. So if you have little amount of paint on your brush, you're gonna get tinier stars. So just go ahead and tap, tap, tap against another brush and you will end up with plenty of stars in the sky. Now once the stars are completely dry, we're going to add our moon using my size six round brush. You can use the smallest size brush here. You're going to add a nice crescent moon. Like at the top somewhere. You can completely change the direction or the size of it as well. But I am making a tiny moon, tiny crescent moon. Once I'm done with that, I'm going to clean my brush and load it with clean water. And I'm just going to slightly blurred out the edges slowly trying to move it around. This is going to create a glow around my mode. And that is why I'm reactivating the paint and just moving it around in the circular motion, trying to just create a glow around this. Now, this time the crescent moon that you made is going to blow it out. You're not going to be able to see this, but don't worry, we will be adding the crescent moon over this or over this layer when it's completely dry so that it's nice and opaque and it stands out. I'm going to just clean your brush tool with clean water and just move the white paint around very carefully until you get a nice glow around the crescent moon that you just created. Each time the fields are white is getting really overpowering. You can just clean your brush, loaded with clean water and just slightly liftoff the extra white that you have or just slightly blended out, that it just does not look white, but rather gifts that glowing effects. We want very, very light white shade around our crescent moon. And we're going to wait for this layer to dry. Now as you can see, this section has dried. So I'm going to load my brush with white paint and go ahead and create a crescent moon again. This time when you do it, you can really see the glow over that section. And once I add in the crescent moon, as you can see, it looks like that glow around the moon and the shine around the mourners there. And that is the effect we were going for. I'm so happy with the way it has turned out. In case you want to change something, you can always reactivate your paint and just fix your mistakes. And this is it for the moon bit. Now, I'm just going to mix a little bit of black and blue color itself. Doesn't have to be pure black shade. Mix it in with the blue. It's a very, very dark color, right? And that is going to form the base of our floral elements. Use your smallest size brush because it gives, you are going to be making a bunch of branches and leaves over here. In my left corner, I'm just making a slope. And that slope is going to depict the roof of one of the houses. And around that, we're going to have our branches and leaves. It's like a rose bush that I'm going for. So I'm just going to start off with smaller branches and I'm going to tap in the leaves. Now we'll be working in a lot of layers in this section. So it doesn't really matter if you are perfecting this area. You're just creating the pace at which most of your layers are going to lie on. So go ahead, play around with, in this section, you can change the shapes and sizes of the ********, can even flip it around. Make a mirror image of the spin thing that's completely up to you, not a problem at all. So you're going to be adding some branches and leaves. So in this little section that I'm making in from the left side of my paper. I'm going to make full branches and leaves. And as I move towards the right side, I'm just going to add in the branches and leaves at the top and whatever area is remaining, I'm going to completely fill it in with this dark shade so that it's just nice and opaque. And this is the section at which most of my layers and add my flowers rely upon. I want that dense look. And because of that, I'm just making these branches and leaves and just covering the entire right corner section with the black paint. And once you're done with that, you will let this dry. And then we're gonna go ahead and add in our further layers and the basis for our rows, et cetera. Just go ahead and add in your branches and leaves. Feel free to play around. In this section. I'm really happy with the way the base for my Bush has done out. And once you're happy with this little section, you're going to wait for it to dry completely. Before we go ahead and add our further Laos. Alright, so now that my base is dry, we're going to make some white basis for our roses. Now I could go ahead and add our pink roses on the black surface itself, but it wouldn't come out as bright as I actually wanted TO. So I'm adding that white face. And on this when I go ahead and add the roses, it's going to look really bright and nice little, retain that light pink shade. Load your brush with some wipe in white because it's the most white, opaque, white and a thicker consistency. Now, there are chances that when you're applying this blob you will reactivate the black paint in the base. But that's okay. You can just go ahead and apply another layer of it. And it'll be nice and white. Some starting with tiny blobs in the section that I have where I made the branches in the left section. And even at the, at the top, I'm making smaller blocks because this will show that these tools is really high up, so it's tall bush. And when you add in these smaller doses, gives that illusion that it's at a very tall, the longer distance. And at the base I'm adding a bigger base for the roses. As you can see, the blogs are bigger as compared to the ones added at the top. And then even in the corner, they'll, they'll be bigger ones. So we're just going to play around with the sizes at the top. As you can see, I'm making smaller blocks that in a way is going to give that illusion. And the base are at the bottom near the corner, you're going to slightly increase the size. Now, if you look very carefully over here, you'll see that I'm reactivating the black paint. And this will happen because gouache can be revealed, but nobody wants this layer dries. You can just go ahead and add another layer of the white paint. This way, it'll be nice and opaque and stay wide rather than have those black streaks in. Now in the bigger blocks that I'm creating, I am trying to sort of give it that rose shape, right? So I have blogs in motion and at the bottom I have few battles that I wanted to make on. So I'm just going to go ahead and give that shape. But don't worry, you can always play around with the shape of the roses or any sort of flowers. It's okay, you can go ahead and make it in any way that you want. This is as a place where you can play around with. So just go ahead and create even circular blocks. That's completely fine. As long as you are happy with the way it looks, you are good to go. So you're just going to add in a few little basis. And once you're happy with it, we are going to let this layer completely dry. And in the next lesson, we will be adding the details to our roses and also adding in all our petals. So see you there. 23. Day 8 Part 2 : Midnight Roses: Alright, so let us start painting details in for that first thing that I am going to do is slightly make my white base more opaque, as I told you in the previous lesson, since our reactivate, reactivated a little bit of the black bean, I just want to go ahead and add another layer of the white so that it's nice and big. And as you can see, when I'm adding the second day, you can't really see the black that was reactivated. So in this way you can fix any mistakes where you feel you have reactivated the previous layer. So yeah, I'm just gonna go ahead and add another layer of white over the base that I created in the previous lesson. Why this section dries. Let us go ahead and make the leaves. So the base layer was black and over it, I'm going to add a layer of dark green shade for which I'm just mixing my green and black together. And as you can see, it creates this nice deep green shade. You can also add a very light amount of white to it, but I would suggest you skip it for this step because you want that deep green shade. I'm just going to use the shade. Go ahead with a more rounded brush, which does not come to a really fine tip. And that is because over here you want to add that nice leaf structure, which comes very well with a brush that does not come to a fine tip. Using this brush, I'm going to go ahead and start making a bunch of different details for the leaves. Now, don't forget to add your stems for your roses are flowers. Let's just call them flowers. Don't forget to add those stems in as well. And go ahead and play it out and just make some stems and some leaves in that section. All sort of covering, let's say, 80 per cent of the area. You don't want to leave a lot of black in there as well. So let's say we're just covering about 80 to 85 per cent of that section with our green paint. Once I'm done with that, we are going to let this layer completely dry before we go ahead and add the next layer. So again, remember to make the stems as well so that it gives our flowers something to rest on. So that is very important. Other than that, you are free to play around with the sizes and directions of your leaves. Alright, while the green dries, we're going to go ahead and add the is to add flag for which I've mixed my primary red shade with a bit of white. So I've got this nice light pink shade and that is going to be the base of the rows. And the rows. I am going to just go ahead and add details of a darker red color. And that will give the illusion of the petals. Now we don't really have to work with full details. We're just going to add two colors in to sort of give it a bit of depth. So I'm using two brushes here. One is my size six brush that comes to a really fine tip and the other one is a size six or eight brush as well, which I'm going to use for the base. So as you can see, I'm using the light pink shade as the base. And while the paint is still wet, I'm just going to go ahead and just make these lines. The very simple way to draw the rows are just going to make these lines are sort of like these curved lines actually that will depict the depth in your roses. So we're not, like I said, we're not going to work a lot in the details of our rows. We just need to get in two different colors in and since white is already the base, it will show up when you add the lighter pink color. So you basically have three color details going on that is your light pink, white, and our primary red as is. You're going to repeat the process for all your roses. So starting from the smaller one to the bigger ones that you have, you're going to repeat the step on all of them. Now. You wish to change the colors. You can go ahead with that as well. You can meet the roses. The yellow, orange color. You can play around with white roses as well. Where you just sort of add in details using a light gray color or even a light yellow color. Where you can just use that as the videos or photos is to show different petals. So feel free to play around. In this section, you can even add different flowers that you wish to add. So you are free here. Go around and add in the shapes and details to your roses one-by-one. Now this is going to be a bit of a time-consuming process. But that is why I made sure that we are using two brushes because that makes it really easy to add the details rather than making the base there. And then going ahead and adding the Beatles is really quick. If you are going to use to paint brushes simultaneously. So go ahead and enjoy this process of adding the details to your flowers. Alright, now that we are done with our flowers, but I'm going to go ahead and start with our layers for the leaves. For that, I'm going to mix my sap green color with a little bit of water to work with the consistency. Sort of pin the pin down the consistency of the paint. And I'm going to add a little bit of a dark green color that we made, just a tiny bit of it. Not a lot. Don't add blacks. You can use the shade that we used earlier when in a little bit of that amount. And this way, we are going to start using this color and add in some details for the leaves. Now over here, I am only covering, let's say, 60% of the area. So make sure that you're not covering the entire section that you did earlier. So you want to show a little bit of the black. You want to show a little bit of a deeper green color that we used. So that is why we're going to reduce our strokes that we made. And we've done this before, right? You are just going to reduce the strokes. This way. All your layers will show up one-by-one when you start adding them. So again, you're going to follow the same process for making leaves here. Don't worry about the stems. Weekend, I'm bad in the last layer. So just go ahead and make a little, make a bunch of different strokes for the leafs. Work with different sizes, with different shapes, play around in this area, and you'll be using that to add the lease for this third layer for our foliage section. Alright, so I forgot to swatch the previous color that we use. So here's the middle green color that we used for this layer. Now once that is dry, we're going to go ahead and create the shade. That is by mixing a little bit of white and a little bit of yellow to the same mix. Okay? So when you do that, you get a nice sac, greenish color mixed with the yellow shade. So it has that nice yellow undertone to it. And using that shade, I'm going to start tapping in more leaves this time, again using the strokes that you make. I'm only covering 30% of the area that I covered before. As you can see, I am making it even smaller, even less controlled strokes so that you're able to see all the different layers that we have worked on previously. Just go ahead and add even lesser amount of green in this section. Don't forget to add in stems using this light green color because this is the last green color that we're working with. So make sure that you're adding that in. And then we'll move on to the other details that is adding in a bit of a shadow to the stem using the black paint. So I'm going to put my brush with a dark black color and then start making these little basis for the roses to lie upon and then make a straight line downwards. Now this will just act as a little bit of a shadow play. Not very detailed. I'm just making a line. Very thin stroke, right? Very thin. Use a very small size brush. If you don't have a brush that comes to a fine tip, you're going to use that and just make this little left and right stroke under the rows and make a straight line below. So that's a stroke that you're going for. And you can just add them on roses that are bigger mostly. And just tiny strokes under the smaller roses that you have in. This will just give that illusion of the rows lying on some base rather than just floating in the air. And I'm just going to load my brush with a little bit of the green shape, light cream color that we just used. Go ahead and make the same stroke, the left and right stroke under the kind of like making an x or a v actually under the rows and meeting a line down so that the black doesn't look too overpowering. And that is it for our roses bit. Now we're just going to use the black color to carefully make the power lines. And you can either wait for your row section of the folded section to completely dry, or it can just start right away carefully making controls lines moving from the left, going upwards. You're going to go ahead and add a bunch of these at the top. Right. Now, it doesn't matter what direction you're going in. It's completely okay to make just two or three or six of these. That is completely your choice. Now over here, since I did not have a very steady hand and I sort of got very anxious while making these straight lines. I just ended up not making them straight and that was really bothering me, especially on the right side. So what I'm going to do is load my brush with the black paint itself. Just make a thick line instead of thin lines. Now that is okay. These are the ways in which we improvise and fix our mistakes. Fixed thing that we don't like, rather than just starting over. And it would be a very tedious task to start over and you worked really hard in this section. So why not just fix your mistakes? So now that I have filled in black, I really liked the way it. Once you're done with it and everything dries carefully being the tape off. And I am really happy with the way this painting has turned out. I actually loved the color for the sky. If you ask me, that deep blue color is so gorgeous. And the stars, the glowing moon. And of course, our bush of roses in the foreground. And especially to fix my lines which kinda look funny, but I like how it's looking. In this complete frame. I'm so happy with it. And I hope you enjoyed painting this one and his little sneak peek of what's coming on day nine. So see you soon. 24. Day 9 Part 1 : Dawn River: Hello everyone. Welcome to day nine. I can't believe it's D9 already. Here's what we're going to paint today is this beautiful dawn sky. And it's a late to concede the nice reflection of the sun and beautiful, beautiful trees and branches and the foreground. And let us talk about the colors quickly. So you need cadmium yellow. You're going to use cadmium orange at this point, the colors are very replicative. You must have noticed we have primary red. Next we have sap green. We have Prussian blue, lamp, black, and a big, big tube of white paint. That's okay if you don't have a big tube of white pain, but it's just white paint with you and your other columns that will be mixing in the club. So let us quickly, quickly get started. So I've taped off my people on all four sides and taking the colors out on my palette as we discussed. And the first thing that we are going to do is create our base sketch. So it's very important to have our elements and are basic idea of the painting in place before we start. So use your scale and create a line that is going to be a horizon line separating your sky from the water bed or lake bed, right? And then right above the horizon line, I'm going to sketch out this irregular surface that's going to act as the mountain in the background looks really, really far away. Right below it. I'm just going to sketch out sort of like a line. You remember if you've done this before in a previous class project, just going to show the reflection of the mountain, but at a distance not right below the below the horizon line. Next to the foreground, we're going to have a bunch of different branches and leaves. Now I'm not going to create the exact sketch because it's not a button. It's gonna get cupboard and you're going to paint. It doesn't make sense to sketch it out perfectly, but it's just a rough sketch and a rough idea to place our branches. Now, let's talk about the colors for the sky, right? So I'm going to mix my primary red color and I'm going to add a little bit of my cadmium orange. Now, these two colors will be mixed together. It's going to create that nice red, orange color. I like a coral color. If you asked me, then to that, I'll be adding white. And when I add white, you'll be able to see the major difference in the color. Here's a quick swatch off the shade. So it's a nice coral pink color that we're going to use in our sky. Next we're going to have orange, so we need a pastel orange color. For that. I'm going to mix my cadmium orange with white. So here's a quick swatch of the color. I want the sky to be really nice and warm. It should look like the new, the beginning of a new day. And that is why I'm using these nice warm colors. Next we have pastel yellow color. For that. I've mixed my cadmium yellow and cadmium orange, just in a little bit of quantity, very, very little cadmium orange, cadmium yellow and of course white. The next sheet that we have is our Prussian blue color. So I'm just going to mix my Prussian blue with white in a generous amount so that the color really gets toned down. And do that, I'm going to add a little bit of red just to give that nice purple on the tone. Or like a red undertone, just add a small amount of red. If don't want to add that, it's completely okay. We can just mix up Prussian blue color with your white and you're good to go. So let us quickly, quickly start painting. At the base, I'm starting off with the light blue color. So it's just added a little more white to that mix. And I'm just going to apply it right above that. I'm going to add my current bank or the red color, let's call it red color. The best tell red color. And I'm going to blend it with the blue. And when I do that, as you can see, it quickly turns into this really dark purple, lavender color. But go with it, blend it in. Next on that you're going to lay off a little bit of your orange. And I'm just adding a little bit of white to the mix because it got too dark. Next, right above that, I'm going to go ahead and add the yellow. So in case you want to blend the colors, you can use the previous curves and blended at the base. So I use my pink color to blend it with the dark color, the blue color at the base, and the orange. You can use colors in a mix and then fly and blend them together. Now, I've laid out the yellow above the orange, plenty of it out. And I'm going to add a darker color from the corners, right? So I'm going to add the red from the left and right and just stop midway. Don't go all the way to the middle because you want that is yellow in the sky, which is going to be the glue from the sun. Now I'm going to start off with the Prussian blue, the light blue color from the top. Bring it down in this left and right motion, but make sure that you're leaving a little bit of space in between so that you can blend your yellow or the warm color with a cool color without creating any muddy colors. Now, since this is a sunrise, we want the sky to be very, very light in color. We don't want any dramatic colors in the sky because it's a sunrise. You want that seem to be soft and glowing just like the New Day. So go ahead, use white to blend your yellow color with the blue color. As you can see, it does not create Corinne. There's a nice transition between the yellow and the blue, and I think it looks absolutely gorgeous. Now, once we have all the colors in place, now we have had our blue at the base and we've had a pink, orange, yellow. Right now it's time for us to add in some more details. So you're going to go ahead and repeat the process to start off with the blue at the base, blended in with the orange color. Then slowly add the pink color to just going to repeat the process all over again so that you get a nice blend in the sky and everything looks all nice and put together. In case you're happy with your previous blend itself, then you can just leave it as this and wait for it to dry before you go ahead and paint the base. Now, I've just added a little more yellow in the middle and try to blend it out. Because the yellow was slightly yellow actually slightly blended with the orange and the non globe. And I want that low in the sky when it comes to the sun. So that's why I added a little bit yellow in the center and just blend it out. So I'm really happy with the blend in the sky. And I'm going to leave it right there. I'm gonna go ahead and start painting our lake bit. Now for the leg, I'm not really complicating things. I'm going to start off with the yellow right below the horizon line. To the yellow, there'll be a transition to the orange color. Yellow, then you have the orange color. And then right below the orange color, I'm going to lay down the red. So all the three colors that we use in our sky, we are going to lay them right below one another. And then we are going to add the blue color that we added right above the horizon line, blended with the colors that we already laid out so that it just doesn't look really awkward standing there, right and right below your flu. We're going to start over again. You're going to have red, orange, and yellow. And then we'll have the blue at the base and then it's blending with yellow. So it's just going to repeat the color in our sky all over. So you have a yellow, orange, red, then it has the blue color, and then you have the red, orange again, right below the horizon line. I know that sounds very complicated. Complicated. So go with it, right? So just keep in mind that you are adding the yellow and the orange color right below the horizon line. Then the red color. Repeating the process of adding the blue and all the colors that you used in the sky, which is one little bit of section below the horizon line to have the brighter colors and then reflect the colors that is there in the sky in very simple terms. Alright, now here, the entire process of lending. So you have to constantly wet your brush, load up your brush with a little bit of photo because that really makes the blending process easy. And you're going to go in this left and right motion and just blend all the colors together. Again. Remember that we're using the same colors that we used in the sky. After meeting that little section. You have the bright colors, which was the yellow and the orange shade. And then again, the transition is exactly like the transition was in our sky. So just go ahead and create this background blend. Once you're done with that, you're going to wait for this to dry before we go ahead and add in more details. Alright, now that my paper is completely dry, it's time for us to add the details. For that. I'm mixing my orange color with a little bit of black. So I'm going to have this nice dark brown, deep brown shade. I'm going to use this and apply it as that irregular shape or the mountain shape I was talking about. You, I'm going to use my size six round brush to do that. We can use the smallest size brushes well, or whatever brush you are comfortable with, which is going to come to a really fine tip, some carefully going in that line. So make sure that at least the baseline is treat right. And above that, you can play around with the shape of the mountain, right? So doesn't have to be exactly in the way that I'm making it. But the only thing that you have to keep in mind is that base line, the horizon line, try to make it straight and that is it. So here you can see I'm just making the straight line first. And then on top of it, I'm adding that irregular shape that is going to be the mountains and that really, really far we learned or distance from the actual observer, which is very close to the trees and branches that we will be adding in a bit. Once you're done creating the mountain shape, you're going to go ahead and make sure that it's all filled in properly and make sure that the line is straight. It's very important. Like I said, the line has to be straight because otherwise it does not give the nice horizon lines effect. I wouldn't say effect, but like when you have a straight horizon line, it separates your sky and land in a really good way to make sure that your line is straight. Next to add the reflection of the mountain in a forward or a distance that is slightly closer to the observer. I'm going to go ahead and use a slight dry brush technique where I'm loading my brush with some paints and making that same line as we did earlier. Slightly bringing in some texture below this. Now when I bring in extra below it, it kind of adds to the reflection of the mountain, which is at a distance. Just adds into the reflection or the move adds into the movement of the water. Actually, you're going to go ahead and just add a little bit of texture. And I can skip this step as well if you don't want it, that's completely a personal preference. So once I'm done with this, I'm going to add the sum. Alright? So I'm going to mix my white sheet with a very, very little amount of yellow. Now this is just to add that hello, hint, the white. Alright, so make sure it's not too yellow. Just a very, very ripped or a tiny, tiny amount of yellow is going to be added to the white. I'm just going to go ahead and carefully make a tiny circle in the middle. Now, where do you want to place? This is going to be the location where you added the yellow. So that is why I said I want the bag glow in the sky or that yellow bit in the sky because I was going to make the sun. Because you can see I've added a really, really tiny sun and wind to clean my brush and blend out the edges. It's very similar to the moon thing that we did in our previous class project. But here I'm just going to carefully go around the sun and make sure that I'm not overdoing it. And I'm just slightly blurring out the edges so that it's not very sharp. Right? Under the sun. They're going to have the reflection of the sun on the water and fill out. I'm going to use the same white and yellow mixture. As you can see, I'm making these lines. These are going to be tiny, tiny stroke, straight strokes that you're making. Just make sure that you're not adding all of them in the same size or the same distance. Slightly wanted to play around with it. So make sure that you are making some of them thicker, some of them thinner. Some of the more spread out long ago, some of them shorter. So play around with that EDA so that it just does not look very representative. I'm just going to add a little bit of reflection of the sun on my water pit, on my water body. So I'm just going to add tiny, tiny bit of the reflection as you can see right under the sun. That is it for our background portion. Now, you're going to wait for this to dry. And in the next lesson we'll be adding all the details to our foreground. 25. Day 9 Part 2 : Dawn River: Alright, now, once everything has dried, it's time for us to go ahead and paint the branches and leaves. So I'm going to go ahead and make the set of branches that I want from the left and right and the bottom section doesn't have to be exactly perfect. But this is the time where you go ahead and make the branches where you want them to be. When you do have some coming out from the left side moving upwards, then I'm going to have a bunch of them at the bottom. And similar to the left side, I'll have them coming from the right side moving slightly upwards. So go ahead and add a bunch of different branches, different sizes, different shapes. Go ahead and feel free to play around in this section that you don't have to make it exactly like mine. I am just going ahead with the idea of covering them from three sides. That is, from the left, right, and bottom. For the color, I'm going to mix my sap green with blood because I don't want to use black as is, but instead have a darker version of the green. And that is why I am mixing my sap green and black together to get a deep dark green shade. Using this color, I will be making all the branches and leaves. I'll be using my size six round brush for the branches and leaves as well. So go ahead and play around with your brushes. Feel free to explore different sizes and different shapes. In this time where you're going to go ahead and add in the branches. So just carefully go ahead and redraw the shape of the branches that you've just sketched out. So go ahead, make sure that you're going ahead and adding the shape of the branches first. So once you have the branches in place, you can go ahead and add all the little details for the leaves. Now, there is no proper way to do it or there's no perfect way to do it. Rather, you are going to just explore and have fun. I switch to my size one liner brush because it gives me more rounded strokes rather than having sharp ones. And I want to have those rounded strokes for the lease. That'll be switching between the two brushes. But like I said, go ahead and feel free to explore your brushes in this section. So I'm just going to use this brush, go ahead and create all these branches and leaves. The process is very repetitive because I'm going to do this for all the branches that I've sketched out. So it's going to take some time, but be patient because once you have the branches and the leaves and foliage placed in, it's going to look so good, I promise you that. So just be a little patient and go ahead and add in these details. Like I mentioned on yeah, I would request you guys to play around with the shape of the leaves as well. When you play around with that, what happens is that it adds a lot of variations. Shows that you're having different plants in the foreground. And not just your siem, strokes going all over again. Play around, make a line, and then have leaves coming left and right instead of having the random stroke. And this way, it, like I said, it just adds to having different types of plants in the foreground. And that is exactly what I've done. I've, I'm going to have the branches and the leaves in the left and right at the top in one way and the ones at the bottom in a different way so that it kind of adds a lot of variety into the picture. As I mentioned, audio at this process is very time consuming, so I'm just going to keep quiet and let you enjoy the process of creating these branches. I'm pretty sure by now you guys, what I've already figured out, how to add in these different strokes for the branches and leaves. So the idea of the 15 days, of course, challenged with justice to get you comfortable with painting landscapes and using the medium gouache. So I'm very confident that by now you should have learned a lot about the medium and also a lot about the different elements that we tend to use in our landscaping things, right. So I hope this has helped me, you guys, and I'm just gonna keep quiet now and let you enjoy the process of adding these branches and leaves in the foreground. Alright, sounds like I'm done adding the foliage in the foreground. I'm just going to mix a green shade which has gone as dark as the one that I laid down. This is a slightly lighter color. And I'm going to use this and kind of add a layer over the plants that are in the bottle. So not the left and right branches, but rather the ones that are at the bottom. This is just to add a little variation in the color so that it just doesn't look flat. And like I have a dark color. So I just wanted to add a little bit of variations. You can also add a little extra to this that you add in a little more highlights. But I didn't want to do that for this landscape. So I'm just going to leave it right here once I'm done with the second layer of green, which is green that is lighter than the base layer. Once it dries, it kind of adds to a variation in the color. So you'll have a very dark green and a green that is lighter. Now again, for your, you're not going to cover the entire area like we've done before. We'll just be covering, let's say 70% of the area. Just to add in a little variation. And that is a chicken leave it as is. And once you are done with the entire thing, you are going to let it dry before we beat off the dates. Alright, now that my painting is completely dry, I'm going to peel the tape off. And as I promised, it looks so nice. It looks so beautiful with our plants in the foreground. And the silhouette of this dance looks so nice. The colors of the sky is actually just saw so pretty. And I absolutely loved painting this one. This painting, painting any sort of landscape which has folios involve just teaches me a lot about patients because adding them a lot of time and it's something that requires a lot of patients as well. So this is what I learned when I'm painting from these landscapes. And I hope you learned that to and enjoyed painting this artwork for the nine. And here's a little sneak peek of what's coming on day ten. So see you soon. 26. Day 10 Part 1 : The Evening Road: Hello everyone, Welcome to date. Then I'm really excited for this painting because we have some beautiful, beautiful clouds in the sky here. And it says the evening road for everything toxins. So prettier. Let us talk about the colors. So you're going to use cadmium yellow. So a nice warm yellow color, cadmium orange, which is again, another nice warm color. Next we have primary address. We have sap green. So we're going to use sap green. So the grounds. Next we have Prussian blue or favorite blue when it comes to painting Sky, we're going to use a big, big tube of white paint. Again, it doesn't matter if you have a big tube of white paint or not. And lastly is our lamp black color. So here are all the colors that we need, and here's a swatch of the colors that we're going to be mixing. So let's quickly, quickly get started. I've ticked on my paper on all four sides and taking the colors out on my palette. And we're going to create a rough sketch. I'm drawing a line from the bottom of my left side moving towards the right. As you can see, it's like a road which is broader at the left side and gets narrower when it moves towards the right. So it acts to that, doesn't look flat. It's going to give it that 3D look. Next, instead of drawing a straight horizon line, I'm going to have a slant line just slightly parallel to the side of the road that I made. Next on top of the slant horizon line, I'm going to draw the sun, just a rough sketch for the sun. So here you can see we have the road, you're going to have the horizon line, which is going to be the ground in the far, far distance, right? Yeah. The road you have the line next in front, right above the road. Let's say we'll have a little bit of foliage action going on. So we'll have some trees, some bushes and elements like that. So I'm just placing that in right at the top. You will have some branches and leaves off some tree coming into the view. Again, does not matter that you create a proper sketch. A rough sketch is completely okay. And now that I have a basic idea of what's where that is, quickly get started with painting the sky. For that, I'm going to use my flat brush. By now. You have figured out you're going to use flat brush for this guy. I'm pretty sure you know that. Let us talk about the first color. I'm going to mix orange and red to create that nice coral pink color that we've created in the past as well. This is the swatch of that nice peach coral pink color, right? So that's going to be one beautiful, nice, warm shade in the sky. Next you're going to clean your brush and load up some cadmium orange and mix it with white again, just to tone down the vibrancy. And here's our pistil orange color, right? So this is going to be the orange color of your sky. The above is going to meet the slightly pinkish color in the sky. Next we have yellow mixed with white. So a nice light yellow color, yellow color, the areas around the sun. So that's going to be the color of the urine around the sun for that nice clear, perfect. For the sky. I'm going to mix my Prussian blue with white color. And as you can see, it really tones down and creates this nice baby blue sky blue shade. And I'm going to add a little bit of red to it. Now, if you don't have primary red, we can totally skip this step so that it doesn't get really purple. But I'm starting a tiny bit of red so that the color goes slightly warmer. And this is the shade that I'm shade of blue that I'm going to use for the sky. Let us quickly start painting. Alright? So I'm going to start off with the yellow shade around the Sun carefully just going in this circular motion to just add it there. And around that, I'm going to add my orange color and then just blend it with the yellow. Now, it's not important to make the globe very evident. It's okay, but you just want to add in the color around the sun. Next, I'm going to add in that pink color, coral color that we mixed at the top and then load our brush with orange and move upwards. You have orange or yellow, orange and pink from the left side and then again orange at the top because we're going to transition from the orange to this light yellow color and then to the blue. So that's the mix of colors that I'm going with right now. I'm going to create that nice pastel yellow color and just add it around the sun once again just to make it more bright and evident in that area. And then I'm also adding a little bit quiet because I felt it was too dark as compared to the sky that was laid out around it. So over here, you're actually going to be playing around a lot with the colors. Because it's going to take some time for the blending process to happen. And that's the best part about painting with quash because. It's not like you have to work quickly. You can take your sweet time adding the colors. If you don't like it, you can add another layer. You can reactivate the paint and just move them around until you're actually happy with the sky. Look, right. I'm just playing around with the sky over here, enjoying adding different strokes. So I made thinner strokes so that I get some pink in that orange area. And so well, and now I'm going to use white to slightly tone down the color near the orange bit so that when the transition happens from the orange to the blue or the warmer color to the cooler color, we don't get green. You totally want to avoid that green mix. I'm starting off with the Prussian blue mix that was with white at the top. And I'm going in this left and right motion slightly bringing it down. Each time. I'm making sure my brush is wet so that the blending processes easier. Again, make sure that it's slightly lighter and thin because that way you'll not be reactivating that fair when you're going to add in the clouds. I've also added a little bit yellow above the orange. And using a lot of for white, I'm going to transition the colors with one another. So you're going to have the yellow and the blue bulge. And together with white paint, that is great, you're going to use the blending with white technique. And as you can see, I'm just constantly moving in the left and right motion to bring in that blend between the yellow and blue. As you can see, there's a nice transition That's a very light blue has nicely blended with the yellow without having greens and the sky. And that is what happens when you use the blending with whys technique and you also turn down the colors. We've got some really nice space. They're looking colors in the sky, and I absolutely love this. Now what I'm going to do now is actually fixed blending a little bit. So I'm just going to go ahead and load my brush with a little bit of water and a little bit of white paint that I just can lighten that pink area in my sky because I think it's too bright. Then slowly just move the colors around. I'll also add a little bit of white if necessary, or yellow around the sun so that the glow is still there and it's not gone. Over here. I'm just moving and mixing and blending everything together so that there aren't any harsh edges, are, there aren't sections where you can really see the blend or the brushstrokes. I'm just trying to blend everything together. And you can do that by just slightly wetting your brush. And the water is just going to do its magic. And once you're happy with how the blend looks, they're going to wait for it to dry and then we'll move on to the next step. Alright, now that my paper is dry, I've actually mixed Prussian blue, red, and orange together to get this nice gray color of the steel into adding white to it as well. So it's a nice purplish, grayish, bluish color to be exact. I'm going to use this this consistency, which is a nice thick consistency and we're going to add clouds in our sky. Remember, we're going to use the dry brush technique, collect, going to use the dry brush technique to add in the Cloud. So we're just going to load your brush with the paint, move it around and create different sections. Now, one question that I might get asked is why did we end up creating this shade? Why didn't we end up creating a normal gray color which was just a mix of our black or white. And I'll tell you why you do that. You want to mix the colors or make the clouds in the sky with the colors that are actually using in the background. And when you end up doing that, you're clouds look like they're Parker Sky and not just random floating objects, right? So since I've mixed my orange, yellow, and blue here to get the shade along with white. It looks like it's a part of the sky. It is using the same colors that we used for the background. So whenever you're making any clouds for that matter, try to see if we can use the colors that you've used in the background for the clouds. Most of the times it's really works out when you mix your blue, yellow, and red together to get a nice warm color, right? So warm color as in like a warm gray color. So most of the times that works out. So all you have to do is just try it out and swatch it on a paper and see if you like it over you or I'm just using, like I said, the dry brush technique to add in some clouds. Now the areas that are at the top, I'm going to make bigger clouds and the areas that are sort of around the sun. I'm going to add tiny strokes because I want to show that this is at a distance. And the ones in that slight blend between the yellow and blue shade are closer to the observer. And that is why the clouds appear bigger and fluffier. And the ones near the sun as slightly smaller because they are at a distance. Now this is going to be my base layer. Of course, we'll be adding some more colors on top of this. And it's going to make our clouds really nice and glowing. So I'm going to mix that color, pink shade and the distal orange color and add a little bit of white mixed to slightly tone down the vibrancy of the color. So he was a swatch of the shade. As you can see, it's a very light base tell yellow, orange color, if I were to call it. So almost like a skin tone shade. That's what the skin tone colors were, the ones that we used to get earlier. So it's almost like a peach color. Let's call it that, I guess. So using this color will be adding the lighter parts in my clouds. I'm just going to go ahead and use this sheet to add it at the bottom of my clouds, especially for the class that I made at the top. And slightly make sure that you're not using a lot of paint, but rather a thick consistency of the paint and just get rid of any excess paint that you might have using a darker version of the same color by just adding a little more of that pink, orange color. I'm going to add it around the sun. So we're just going to play around with the variations of the colors that we have. I'm also going to use just orange color as is, alright, and use this orange color to create a darker color so that I'm not really using gray clouds, but I have some sort of orange red color or dark, warm clouds in the sky as well. Now, these guys will be mostly around the area where we have the sun, right? So you're going to have the Walmart clouds near the sun at the top. We're not going to add it a lot is just the clouds that I want to add around my son to show the warm, warm clouds in the sky. All clouds that are taking in the colors of the warm colors of the sun actually. Now, I'm going to add the shade on my clouds as well and a little bit. And then using a clean brush, slightly blend it with a background color. When I blend it right in good, just using water and just sort of getting rid of the harsh edges. You can see that now it looks like the cloud is slightly clothing because we just added a little bit of highlight to our clouds. So it's just going to go ahead with your brush with a little bit of water and blend it right? And you can also add some lighter clouds in the sky. I'm using the same light peach color and mixing it and adding it on the wall. Mcleod's so orange red one. And then slightly blending that in as well so that I get rid of any harsh edges. I'm also going to add some tiny clouds in the sky, along with some big ones that we added earlier so that this little bit of variations of different sizes and different shapes in my sky. I like the light color of my clouds got a little bit too faded. So I'm just adding that in again. And then I use my clean brush, just lightly blend the harsh edges. So go ahead and add some tiny, tiny clouds in the sky. Let's just add in some variations and a little bit of contrast in the colors of your clouds. Once I was done playing around with this section, I felt like the bigger clouds needed a little more details to it. So I went ahead with my peach orange color and then added that in the sky as well just to create a bunch of different Clouds and more shapes actually around the ones that I have already laid out. Again using the dry brush technique. Now, you are free to not do the step or you're free to actually play around if you feel like it. Here is just a little example of what I do when I'm painting. I just go around and play around with different colors and see what looks good. I felt like three Gray was just sitting there and the red was just sitting there as well. Like the light red color. If we add in a little more clouds, things would look better. So this is just an example of how I play around. So you're always free to look, look at your painting and see if you're actually satisfied with what you are doing. Most of the times, you're not gonna be satisfied because you're always going to think that OK, what I can do better, There's a very fine line between being satisfied and overdoing things. Here I was not satisfied as just added a few more strokes and quickly realized that if I don't stop right now, I might draw in this. So I'm just, I just stopped right away because I know at the top section we'll be adding the trees and branches, so most of it is going to get covered. So there's no point adding more clouds at the top right. Okay, so now I'm just going to go ahead and add the sun. Make it nice and white, right? So you just want to define the sun that you have. I'm using white paint at the base and then adding a little bit of yellow on top of, again, using my brush, which is the loaded with just water. And suddenly going to make the edges blurred out so that they're not really sharp. And there's a nice glow that's created around it. And we're going to wait for this section to dry so that we can layer over our son once again, once it's dry, it's not that that yellow bit is dry. You can see it looks very dark yellow and it does not go with the background. So I'm just going to load my brush with a little bit of white paint. So very, very controlled amount of water. You'll add on this. And then quickly just go over in that section and make a circle where you sketched out or wherever the sun was. So carefully make that sunshade clean your brush and slightly pleura out the edges with very little, very controlled and just very little, Alright. Just to make the edges wet and blurred out rather than it being really, really harsh around the sun. And that is it. Once you're done with this, you are going to stop right there and wait for this section to completely dry. Before we move on to the next step. In the next lesson, we'll be adding the details to the foreground and the middle ground. So see you there. 27. Day 10 Part 2 : The Evening Road: Alright, let's start painting the middle ground bit first. So for that, I'm going to mix my sap green color with a little bit of black. So I'm going to get a dark green mix and that is exactly the shape that I'm looking for. A nice dark green mix, not completely black and not just green in its natural form. You want a dark green mix? I'm going to start applying this color, moving from the left side to the right side. And then I'm also going to make sure that I'm having this watercolor shapes. That is not a flat surface, but rather it shows the unevenness of the trees and that little section that is where I'm going with that uneven movement in my brush. And the consistency of my paint is not very thick, so I have a nice, Let's say, milky consistency for the paint. And I'm going to start applying it from the left, moving towards the right. Now when you come to the ADR right below the sun, I'm going to mix my orange with a little bit of red so I get a nice dark color. And I will be using this color to apply it in the area right below the sun. And this will give it that nice glowing effect. And as soon as we cover a little bit of this section will again apply the dark green mix. And as you can see, it turns brown and that is the color that we need to show the nice glowing effect of the sun on this little section of our ground. So as you can see, you will have to work a little bit on the blending just to make sure that it's all blended together and not just standing there. And then I'm going to load my brush with some green color and applied in the area right at the bottom, coming all the way to the road that we created until they are going to apply the green mix. So as you can see, it's a nice brownish green color. And that is the color that we need. It's like a nice evening road. The colors are not going to be as bright. And that is why we are adding a tone down version of the color. So we have a lot of dark greens and browns in the mix. Right at the top, implying a little bit of black just to give the radiation. And I'd like to just separate the ground from the middle grounds. You have the foreground bit and the middle ground bit. So I'm just using a darker color so that you can see the separation between them. And then right in the bottom corner, I'm making a slant line so that the roadblocks more defined. So as you can see, you have a nice mix off the ground. And now we're going to create the color for the role. It's going to be a nice light gray color for which I'm mixing black and white together to get this gray shade. I'm going to apply it in the area that is remaining, that is the white fit. And as you can see, I'm just gonna go ahead and spread it around so that you're not using just the plain color. Sometimes you can even load it with a little bit of black so that it gives the unevenness of the ground and gifts and adds texture off the ground actually. So I'm just going to go ahead and apply it evenly spread across. And as you can see, it gives that illusion of the road getting narrower on the right side. I'm also going to add a little bit of the darker tones of gray in the crown so that there is a variation in the color and then adds a little bit of a texture on the road. So as you can see, I'm moving in this strokes which are gonna be thicker in the left. And as they move upwards, I'm lifting my brush so that the stroke is slightly thinner. And so that there is that illusion that I was talking about. Now, once this section is done, we're going to wait for it to dry completely before we go ahead and add further details. So once you're happy with how the colors in the ground look, you've gotten all the little textures going on. They're going to wait for it to completely dry. Alright, now that this section is fully dry, we are going to go ahead and add some foliage elements and some plant elements in the foreground. I'm going to start off by making this line. That is going to be the land at which my plants are going to lie on, right? So I'm just slightly going to apply it and then blend it out with the ground using a clean brush loaded with a little bit of photos so that the strokes are just not very harsh, but rather they act like the little bit of shadows created by our plants. Then using this nonce, nice dark color which is very close to black, but it does have a little bit of green in it. We're going to go ahead and make some plans shapes. Now I'm gonna talk to you guys about the shape that you have to work on them. And the only thing that you have to keep in mind is that the leftmost plants that you make should be slightly bigger as compared to the plants that you will make as you transition to the right side. Now, why we do that is very simple. We're doing that because this side of the road, the left side of the road is much closer to the observer. It gives that illusion. As we move towards the right side, as you can see, the road is getting narrower, right? Which means it's a lot more away from the observer. That is why the plants in that section are going to appear smaller as compared to the plants that are on the left side. So as you transition towards the right side, I am going to slowly start not adding a lot of teachers. As you can see, the leftmost has a lot of branches and things like that. But the right ones and this tiny little blobs that I'm making in, just to give that illusion. Once I'm done with that, I'm just going to let this dry. I'm doing this because I will be adding another layer of a lighter green color at the top, which will really add into the details of our plans. So just go ahead and add a few little branches and feudal structures of the bushes and trees on the left side. Make sure that you're transitioning to a smaller bet as you move towards the right side. Now I'm just going to mix green with a little bit of white and black and then use that color, which is going to act as the highlighted bit for the plant section that is there in the foreground. So for that I'm just loading my brush. I'm going to go over the stroke that I've already made. And I'm just going to add in a few little details to it. Now, you don't have to go over the entire plant shape that you've made. We've done this before. You're just going to cover a little bit of fat just so that it adds little variations in your plans. And they just don't look like they have one single color, but rather they have bits that are lighter because the sunlight is going to fall on them and some of them are darker as the shadows. So just a few little strokes to add in the details in your plant. So go ahead and add that to around in this section. Assuming you want the light to fall, I would say the light is going to fall on the right side because the sun is on the right side. So it's just going to add a few little details from the right side. We're not going to make it really bright because this is still further away from where the sun is. But adding another layer, which is the one that we're adding of a lighter green color really adds fill our shape of the plants that we have. And that is why we are doing this different layer. So go ahead and add that until you are happy with how it looks. Alright, I'm also going to load my brush with the darker green color and add some plants on the right side. Now, the right side luxury empty and I didn't want it to be just as is. So I decided to add a few little leaves and branches coming from the right side, which is the right side of the road. So similarly how you have the foliage on the left side, you're going to have that on the right side as well. And that is why I went ahead and added back. So you don't have to add another layer of green over this, but feel free if you feel like doing that, it's completely okay to add in another layer of a lighter green as you did in the previous section. And using my dry brush stroke method, I'm just going to apply this dark black color on the road so that it adds to the texture of the road, right? So as you can see, the dry brush has really created a beautiful texture and I really like how the road looks right now. So once we're done with this section, it's time for us to add the branches and leaves at the top. But I absolutely love how everything looks right now. I love the sky, I love the road. It just looks amazing altogether. So going, go ahead and sketch out a few branches coming from the top. Now, feel free to experiment in this section. You've done this before. You're just going to have some branches coming out from the top. So make them however you want. You don't have to follow the exact same shape as I am doing. But if you wish to, then feel free to do it using that nice dark mix of color. That is my dark black mixed with a little bit of green shade. I am going to use that color and apply it all over the branches and leaves that I will make from now. You can also mix a little bit of orange in that. Just to give it that nice brown look. But it's not going to be very evident because still black is going to be the overpowering color and it's going to make the mixture really dark. So adding a little bit of orange adds to the brown shade, but not as much because we want the color to be really dark. I'm going to go ahead and start making these branches. Now, feel free to experiment with the type of branches and leaves that you want. You can make longer branches and you can make the leaves a lot longer as compared to the ones that we have done before. Or you can just go ahead and make these branches and leaves very similar to the ones that you've done before. Here I felt making those same branches and leaves was getting a little bit repetitious. So what I did was I went ahead and made longer branches and the leaves a lot longer. So the way I stamp my brush is going to depict the type of leaf it's going to have. So when you stamp your brush and slightly drag and lift, you're going to have longer leaves. So just go ahead and play around in this section, the process is very repetitive because you're going to do it all over in the top section of our painting. So the main reason that I didn't add a lot of clouds in the blue part of the sky was because of this, because we're going to add a lot of these branches and three elements at the top. Most of that section gets blocked out. It didn't really make sense to work really hard with making the clouds and then having them covered up with these elements. So once these are going to get pleased, you're painting is going to turn out so beautiful. So just trust the process of adding these repetitive strokes of your brushes and creating these elements and enjoy the process. And yeah, I am going to just keep quiet for now because I know this process is very repetitive and having the right piece of mind or status very important because it's very easy to get angry in this little section, especially for me because it's very debilitating and it takes a lot of time to fill up that little section. So I'm just going to keep quiet From now on. You can just enjoy the music in the background and getting zone and fill out this little section with your tree elements. I am really happy with the way it's done in, out. It does not look totally blocked away as well, right? Just delivered to see major part of the sky through these elements of the branches and leaves. But at the same time, it fills out the top section. You look like you're standing under a tree staring at this beautiful evening. Road. And funds have time to just look around and see what ever you feel there's an empty space. You can add in some branches and leaves just to make it look a little bit more fuller. And once you're happy with it, let it dry and it's time to build the tape. So carefully pull away from the paper. Make sure that you are going slow because you do not want to tear your painting. And it has happened so many times in the past with me where I've built tape and a bit of the paint that comes off and it's just really heartbreaking so big a little bit careful in this section. And oh my God, let's just take a moment to admire how beautiful this has turned out. To get that sky, the road or goddesses, this view is to die for it. To actually stand here and look at that sunset is something that I've you already need to do in life. And that is it for this date. And I hope you enjoyed painting this evening road with me, heels, a little sneak peek into what's going to come on day 11. Trust me, it's going to be so much fun. So see you soon. 28. Day 11 Part 1 : Glowing Street Lamp: Hello, hello, Welcome to day 11 and look at the class project that we're going to paint today. Looks absolutely gorgeous, doesn't it? I'm so excited to walk you through the process of painting this beautiful glowing lamppost. So let us quickly start off by knowing the colors. You're going to use. Cadmium yellow. Next, you're going to have cadmium orange. There's a lot of warmth going on in this class project, so you need those warm colors. Next, you have burnt umber. Next, Prussian blue, our favorite tool for this guys. You need lamp black, then you need a tube of white paint. So you are going with my permanent white wash paint from Winsor and Newton. And here's a quick swatch of all the colors that we're going to make. So let us quickly get started with the painting bit. Alright, so the first thing that we're going to do here is create the background and not create the sketch. For that. Here's a quick swatch of my Prussian blue color. We're going to transition from the Prussian blue color as is, and it's not true form. And then we're going to actually transition it in two forms. That is the darker version and a lighter version. The declination is nothing but your Prussian blue mixed with a little bit of black. And when you do that, it makes it nice, deep dark color. And I'm going to go ahead and move in that left and right motion slowly transitioning to your normal Prussian blue color, and then transition to a lighter version, which you will get by adding white. So you know how you can turn down the colors when you're painting with gouache using just bite, right? So as you can see, I started off with a darker color at the top, which is pushing low, mixed with black. I'm slowly transitioning to my normal blue, which is just Prussian blue as this makes sure that you're cleaning your brush in the process so that you're not just mixing all the colors together. And to transition all the way to the bottom. I'm going to mix my Prussian blue with a little bit of white and keep going in that to and fro motion with my brush, with my flat brush. And you're gonna get this beautiful transition. Not this might take some time because you're going to keep blending this, trying to get that nice gradient wash. So this is going to take some time while you keep moving in that left and right motion. And make sure that you have a good consistency for the background. And by good consistency, I mean, it should be like consistency. It should be almost like water. Not very thin, but very low so that it's easy to blend. Since the background, we don't want to work with a very thick consistency because it does not make sense. And you want the layer to be light so that when you lead off with this new add the second layer of this, it's not going to reactivate the paint at the bottom. So that is why the background layer is always preferred to be lighter consistency. Now I'm happy with how the blend logs, but I'm just going to go ahead and add some darker colors at the top because I felt like it turned out to be a little bit lighter. So I'm just going to add a darker color at the top and keep moving in the left and right portion to get that nice gradient and the blend in the sky. So keep doing this step until you are happy with how the gradient has dawned. And once, once you're happy with how it looks, you're just going to wait for it to dry and then move on with the next step. Alright, now that the background is completely dry, I'm going to load my size six round brush with some Prussian blue. I'm going to add a little bit of black to it just to make a nice dark gray color. I'm doing this because I want to make the clouds using the shade. I'm also adding a little bit of white could just make it more opaque. And here you can see the sheet that I'm going with. It's a nice gray color that I'm making. And that is going to be the color that is going to be for the clouds. And I don't want to be just black. The grade that you get mixing black and white. I didn't want that gray. I want it the color of the sky that is the blue color to be a part of it. And that is why I'm mixed Prussian blue in my pain because you can see it's a nice bluish gray color. Now for the clouds, I'm going to just go with that dry brush stroke that we've learned before. Now we're going to go in that circular motion and just move my brush around to create these rough textures for the clouds at the bottom. Now you don't have to do it all the way till the top and add a lot of clouds because I want it to be ready. Minimum, minimal actually at the background. And I didn't want a lot of clouds, so I just went ahead with. A cluster of clouds at the bottom. And at the top, I'm just going to leave it free as is because I want the main focus to be off the street lamp, right? Yeah, so just go ahead and add some clouds at the bottom. Now feel free to go ahead and add clouds as you want to add them, play around with the shape. Because if you do that on your own, we're also going to exercise your brain and be a good practice for you. I'm going to have bigger clouds at the base and then also have some tiny floating ones at the top. Don't worry about the perfection in the shape because most of the bottom part of the cloud is going to get covered with the elements that we add that as off the trees and branches. Most of it is going to get covered. But I still wanted to have the clouds in the sky, right? I wanted them to be there. So once the picture is completely done, it does not look just like this guy spleen empty. I wanted some dark clouds. So just add some clouds at the base basically. Now you can totally skip step also if you want. But I like those clouds and I really think it looked really good once everything is in place. So as you can see, I have a cluster of bigger clouds at the base. And then I have the smaller clouds at the top for charges, having the time of their life floating around with a bigger clouds. And once you're done with that, you're just going to stop right there and wait for it to completely dry. And then we'll move on to the next step. And that is of adding our trees and branches in the section at the bottom. Alright, so now that my paper is wet and the clouds have dried, I'm going to go ahead and load my brush with some black paint. Black assets. It's a nice evening sky. So I just want to use black color. And I'm going to go ahead and make some trees, not trees exactly, but some bushes right at the base. So that's going to be the one that is at the bottom. We want to just cover the base or the bottom of the painting with some irregular branches and leaves. So just go ahead and play that section and add some irregular shapes. So you can do this all the way. From the left and right side. We'll have some elements coming ahead as well. I'll show you all that right now. I just want to cover the base. Remember how I told you you don't have to worry about the shape of the clouds because majority of it, it's gonna get cupboard, especially the base, so you don't have to work on your perfect base shape for the Cloud. So now that we have these elements laid out, the clouds look even better in the background, right? So once we'll start placing everything, it's going to look very good together. So go ahead and add these uneven shapes. Make sure that you're not making all of them in the same size, but rather go ahead and playing with the different sizes. You're going to make some of them taller, some of them shadow. So when you do that, it adds some nice variation in the base or whatever structure that you're painting. So let's go ahead and play with that again. Don't forget to make them in different sizes. And once you're done with that, wait for this layer to completely dry. Alright, now that this is completely dry, we are going to go ahead and create the sketch for our lamp post. And that is why we didn't do it earlier because everything would get covered up with our beam. So it makes more sense to draw it right now. So I'm going to do, go ahead by making two parallel lines right next to one another at a very small distance, let's say around 4mm distance. And then make the first one is slightly shorter than the other one. Not by a lot. Just slide, right? Just so that when you join them, it gives that angular shape, right? The next thing that we're going to do is make a slightly tilted line. Now, you don't have to make a line that is completely tilted, just slightly tilted at an angle. So that this gifted illusion that the leftmost lamppost is slightly closer and the light lamppost or the bulb actually, it's slightly away. Alright, so it gives that illusion of a little bit of that angle at which it's rotated. And you're going to similarly make the top one slightly shorter than the long one. So that when you join them and gifts that, like I said, angular movement. And then at the top of it you're going to raise two circles. Now I'm pretty sure that you're not able to see the exact sketch that I'm going width. But in case you're confused, you can go back to the starting of the video to just see what it looks like. When you paused the video there, you can click a picture of it on your phone as well, just so that you can look at it and sketch the post out. As you can see. You can see the shine from my pencil what it looks like. You can pause here and have a look at it. Then once you're done with that, it's time for us to start painting it. Now. Since the lamppost is on, while this on, it's going to create that nice glowing effect, right? You're going to have a transition between the warmer colors. So the first one color that we're going to use is going to be this nice yellow mix. And I'm going to add a little bit of white to it slightly, not by a lot, very less. I'm going to start from the top. Now, this is a section that is going to be the test because it's closest to those light bulbs. I'm bringing it down slightly. Next using the same brush, I'm going to mix a little bit of orange in it and apply it right at the bottom. Now don't worry about perfection here, because for now our main focus is to just get the colors in, right? So you have the base laid out first. Next, I'm going to use the same brush, not washing it, mixing it with a little bit of brown color in case of brushes to dry out a little bit of water. And then you're going to apply that right below the orange slightly bend of it. Not by a lot. Just a little blending as needed so that you can see the transition. Now, I haven't really worked on the transition yet. So it still uneven, but it just laying the colors first. And at the bottom you have the dark brown color, which is just your burnt umber mixed with black. So as you can see, I'm going for the transition from the warmest color, that is the yellow. And it slowly transitions to the orange and then to the brown, and then to the dark brown color. Once you've laid everything out, you're going to clean your brush and load these paints again, just to go over that section once again so that you are applying it this time slightly making sure that you're blending it together. And how are you going to blend it by just going over that left or right, as you can see, I'm just going over this section. So if I made yellow, I'm going over the yellow with the orange. I have add orange. I'm going over the orange with a little bit of brown. And once you're done with that, you clean your brush, dry it, and slightly go in this upward motion and downward motion, trying to get a nice blend in that section. So just try to make sure that they are going into singular stroke. Because when you go in that single stroke, you don't end up just blending the colors out, but rather just creating that transition. Going in that single stroke is very important in case you feel like you messed up and a particular color just overpowered a lot. You can always go back and layered. Again, just adding the darker colors are the lighter colors, whatever you messed up, so that you get that nice transition. I felt like the darker brown color got overpowered by the normal brown color. I went ahead and added the dark brown shade as well. So I'm just going to work on this section until I'm happy with how the transition looks. So this might take a little bit of time to finally get that transition like I'm talking bought from the yellow to the orange to the brown and the darker brown. But be patient with it, walk in that section and have a little more control over your brush. And once you do that, you are definitely going to get that nice created wash in this middle section using our four colors. Alright, so I'm happy with how it looks now. So I'm just going to wait for this to dry and then we'll go ahead and add our diagonal rods right in our lamppost. So we're going to start off with the brown shade here. Alright, so I'm just going to mix my brown color. And then I'm going to just outline or filling that in dissection that we sketched. So go ahead and make that Section stop midway in the watercolor lamppost. Vertical rod not lamppost, vertical cross-section of a lamppost, let's call it that. Stopped midway. And then in the same section here continuing on the other side, right? So that's going to be from the end of the rod. So if you look very carefully here, I have the left one coming stopping midway because that's attached to the lamp post, the vertical rod. And then you have the other section from somewhat behind. You're not able to see it go through exactly. So that is how that illusion gets created. So I've just gone ahead and added the brown color first. And once I'm done with the brown, I'm going to add orange on top of it. So just a thin layer of orange at the top. And while I'm doing that is because I want to show a major part of the shadows in that rod because the bulb is at the top of the bottom section of it is not going to receive a lot of light. But the top at which the bulb progress, it's going to receive a lot of light. And that is why it has to be slightly brighter and the base has to be darker. On the other side, I'm going to go ahead with the same orange color. And again, in that one stroke of thin line, you can use a smaller size brush here just to make sure that you are getting those nice thin lines. As you can see, you can straight away distinguish where the darker bit is and whether light of it is. You can also take a little bit of black paint slightly just to outline that section so that it makes the definition between these two sections a little more prominent. And then using a clean brush and also slightly blend them to one another. And when you do that, it creates that seamless blend. It does not look like you have two sections laying one over the other, right below the left side rod, the horizontal one, I created a little under it so that that casts a shadow. You can use a dark brown shade or even that block that we used for that. Now that we're done with all of this, it's time for us to work on the buds. So I'm just going with the first layer for the boat. This is going to take a lot of time to get the perfect bulb glow. So we're going to go ahead with a pistol, orange color. And we're just going to outline that section, the circle that we sketched out using this color. Go ahead and load your brush again. You can use a smaller size pressure if it's comfortable. If you pay really close attention, you will notice that the left one is slightly higher. Night there's a distance between them as compared to the right one which is almost touching the base of the horizontal rod. Then using a clean brush with just water, I'm going to slightly get rid of the harsh edges around it. This is going to be the first layer that we make. Now to get that nice glowing effect, it is going to take us a few layers until we're really happy with how this looks. This might not look that great right now, but I promise you, you have to be a little bit patient with the lamppost to get that nice glowing effect. I'm just going to leave this section right here. And in the next lesson, we're going to be painting all the other details. So see you there. 29. Day 11 Part 2 : Glowing Street Lamp: Alright, now that we have created a small glow around our bulbs, It's time for us to make the mean globe, but we'll start off by mixing white and a little bit of yellow. This is going to be our first base layer. I'm applying it in the circular motion and then wetting my brush and just using water, slightly, blend the edges out. Now for this section, for that nice glow effect, you'll have to work in a bunch of different layers until you get that nice glow finish. So this is going to take a little bit of time, so be a little patient with this step. So the only thing that you have to keep in mind is to get the edges nice and blurred out because we want to create that glow. Now, once that layer completely dries, as you can see, the white has almost faded. So it's time for us to load our brush with the white and yellow again and apply it in a section, in the circular section. Make sure that you are inside the base that you already created earlier. You don't want to go beyond that. So making this inside that shape some carefully just filling in that section with the mix. That is like I mentioned, my white paint mixed with a little bit of yellow color. So I'm going to apply it in the middle. As you can see, you can see that glow around it. But here we still have really sharp edges of the bulb, right? And that is why I said it will take some time to get it perfected. So that glow around the bulb is really out there invisible. Now I'm going to clean my brush and load my brush with just clean water, right? So here you can use another brush so that it's easier. And I'm going to nicely just make sure that I'm blurring the edges out to the edges. I'm going to add a little bit of the orange color because I felt that the white, yellow, yellow, white mix that we created was really overpowering. And I wanted that nice, warm orange light around the globe. So I added that in a very pinched wrote. And then again, I'm blending it out with the background using my clean brush. As you can see, as I do that carefully, it sort of creates that glow around the bulb. This is, let's say, our third layer that we have worked on, the bulb and maybe a few more to go until we get that nice crisp glow in our light bulb. So as you can see, the glow is getting there, right. You see that glow around it, which is nice and light, but there's a vibrant part of the lamppost as well, which is the main bulb where the light is emitting from. That is why it takes a bit of time. It's very similar to the moon glow that we created. But in the moon one, it was a lot more easier because you're not working with different colors but just white paint. And here we have to work with our warm yellow and the orange bit. Now once that dries, we're going to load our brush with the same yellow, white mix and then layer it again. Making this just ensures that we get a nice thick opaque glow. And again, inside the ring that was blurred out, right? So inside the inner circle, Let's call that. I'm applying that in the inner circle. And once I apply it in that circle, I'll carefully just line it with the orange paint again so that I get that nice warm glow around that section. So make sure that you're cleaning your brush each time and loading very controlled amount of paint quite thick, not too thin. So a nice milk consistency. And then applying it in the ring light in the ring motion. And then going to slowly blurred out the section with your clean brush. While that dries. I'm just going to go ahead and create a little more highlights in my lamp post. Right? So I just felt like a little more yellow would look nice in that section. And I'm actually really happy with the way the bulb looks right now. I love the glowing effect that we have on the bus. And we are just going to sort of play around here and add in some warmer colors wherever necessary. I thought maybe a little bit of orange color on the vertical posts will look really good. So I went ahead and did that as well. So this is your section where you sort of fix things that you don't like or work on it a little bit more. So once that bulb section is dry, we're just going to go ahead and create the base at which our bulb lies, right? So you need to give it that section to rest on. For that, I'm just using the brown paint and I'm making this trapezium shape and then bringing it down to the horizontal post. And the right one is just going to be a trapezium because you're not going to be able to see the vertical section that attaches with the horizontal lamppost because that's how the angles work. So you might see a tiny bit of it, but not a lot. That's exactly what I've done. I'm not showing a lot of that section. While I make the base. Now, we laid out the first color, that was the brown color. And this will add a little bit of highlights. And we're going to do that by waiting for this layer to dry and then go ahead and add similar highlights like we did for the lamppost itself. So I'm going to take a lighter brown color and applied right? Like at this section at which the bulb lights. So that's where the highlights are going to be. So as you can see when I apply this section, it really brings out the details in that base. So once you're done with that, I'm just going to add a little bit of oranges well, to bring in a lot of warm in that section. So just carefully see when I'm placing it towards the right side. And this depends on where you want the light to come from. If you think that the sort of your brush strokes are really harsh and you're just going to go ahead and clear it out with your clean brush like we've done for the lamp. All right. So just going to sort of mix and match with the lights and shadows here. And it shouldn't be that difficult because we're not adding a lot of details. We're just going to add a little bit of details. So the highlights are not going to play a very important role in that sexual like it did for the poll itself. But rather you can just, just add it on the right side for the left bulb and on the left and the middle section for light bulb. Once you're done with those little details, you're going to stop right there and wait for this to dry. And then now, once everything has dried, we will add the trees and branches from the left and right direction. Now, feel free to explore this little section. Right? There is no foundations here. Go ahead and add them in whatever shape and size that you want. I am just going to have branches coming from the left side and the right side. And I'm going to make sure that I don't cover the bulk because I want that to be the main focus. Once you're done with adding the base layer with the black thing for the branches and leaves. Then we'll go ahead and add the lighter leaves on because you have the lamppost which is emitting this beautiful, beautiful light. And it's going to create a nice light around on all the objects that are in that vicinity. So the branches and these leaves are going to repeat. I have some light falling on them and that is why it will have some lighter leaves in the picture. So first base color that we are going to create is using our black paint as is. So just go ahead and add your branches and leaves from the left and right direction. Alright, once this layer is Dr, you're going to go ahead and make a mix of this nice dark brown color. Basically we're trying to work in layers, so we're going to have black as the first layer. The second layer is going to be of this brown shade, which I've just mixed using the burnt umber and a little bit of white. I'm just going to go ahead and sort of gaba, 75% of the area that's around the light bulb. So you don't have to go at the sections that are all the way towards the left and right side or in the area that is at the bottom. We're just going to go ahead and create these little strokes of the leaves around the area that's around the bulb, right? So as you can see, I'm just tapping it in. Again, the strokes on has to be perfect. It doesn't have to cover the black or go over the black imperfection. Know, it can be over the black, covering it, but not the entire bit. And you are just going to lay it in that little section that's around the bulb. Now, just go ahead and add it in. While we're doing that is because you're going to work in layers and the brown color is going to be our second layer. And as we move up, they're going to add lighter colors. And add the lighter colors it will surround and focus more in the area that's in the bulk vicinity or receiving the light from the bulb. So that is why the brown is going to be more spread out. And the second layer is going to be slightly more concentrated in little sections. So go ahead and add this brown color. In sort of thoughts, left-hand, rightmost section of the edges of these branches and leaves actually. Alright, what is the second layer is dry. We're going to go ahead and make a mix of orange and a little bit of white. I'm going to go ahead and add this color are round. The area that's more closer to the bug. So as you can see, the strokes are not as many as the brown color, and they are only concentrated in that middle section of the painting, Let's call it bad, right? And a few strokes at the bottom, but not that many, majorly concentrated in that little middle section and more at the edges of the leaves, right? So just go ahead and create the strokes. This is your third layer that you're painting, almost only covering the 50 per cent of that era. That is around our light bulb. All right, Once your third layer is dry, it's time for us to add the lightest color, which is of a mix of burnt umber, yellow, and white. To have this nice light color, as you can see, it's lighter than the orange shade and the lightest color. And you're going to go ahead and create the strokes again. This time concentrating more in the outer edges of these branches and leaves. And again in the area that is closer to the lamp post. So more concentrated in that middle section, right? Just go ahead and add some strokes in the same way that you did earlier. So this is going to be your final layer that you're going to add. Once you're done with this, this is going to be the end. And I'm going to wait for it to dry before you do any Pit tape peeling my bad tape peeling business, right. It's going to wait for everything to dry before you go ahead and do that. So as you can see, it's really coming out now, right? You can see the glow is casting the highlights on our leaves. And you're going to have, you're going to see the darkest leaves and the brown ones. The orange ones are the lightest ones that are very, very close to the lamp post. And once you add all these leaves in, it really brings out the glow of the lamppost as well. So before it just looked like it was growing but it was not coming out. But now you can see that the lamppost disgusting. It's beautiful light on our branches and leaves. Alright. Once the paper is dry, like I said, you're going to feel the tip carefully, a view from the paper and get these beautiful crispy edges and just look at that painting and the edges. Let's appreciate that for a moment as well. 30. Day 12 Part 1 : Coconut Palm: Hello everyone, welcome to the 12th of ours. Challenge shows the artwork for today. I absolutely loved the glow and the sunset and the colors of the clouds. And I'm really happy with the way the palm tree has turned out, and I'm really excited to walk you through the process of painting this. So let us quickly discuss the colors. We're going to use. Our cadmium yellow, cadmium orange. And we're going to use these warm colors for the Cloud. So we also want to use primary Redman can use your cadmium red here as well. Not a problem. So these are all the warm colors that you need. Next, we have Prussian blue. Obviously. Prussian blue is like my favorite go-to blue shade that I use. Next we have black and obviously our white theme. I have both my brands here. I have the Winsor and Newton one and the Brewster one. But you can use any white shade. Here are the colors that we'll be mixing in this lesson. So that is quickly get started with the process. Alright, so I've done my paper on all four sides and taking the colors out on my palette, as we discussed earlier. And then the first thing that we are going to do is create the sketch right at the base. I have the ground bit, not the ground, but rather surface of the earth, let's call it. From the side, I'm going to have a palm tree, a section of the palm tree rather. So you have two lines going and slightly meeting at one point but don't join them, stop midway. And then we have the leaves coming out from either side. So just going all over the place. I don't want to sketch it out perfectly because it will get covered up. But as you can see, you get an idea that you have surface of the Earth at the base or the ground at the base. And then you have the tree protruding from the left side. Lettuce mix the colors. Next, I'm going to load my brush with cadmium yellow and white, the hue associated with mixing. I'm pretty sure by now, you would have gotten the hang of all the colors that I tend to use in my class project. Most of the times they're very similar, right? We all have walked around with a lot of different combinations, but the color slightly remains the same. Alright, so here's the orange shade mixed with our cadmium orange and the white shade. Next we have the blue jay that we're mixing. So it's a mix of Prussian blue and white and a little bit of black. So like I said, by now you have you might have had the color mixes figured out. I'm pretty sure and confident in you guys for that. So if not, please, oh, it's a mix of white and blue and black. These are the three shapes we're going to use for the sky. Alright, so I'm going to start off with my yellow shade, my size down of size four. If I'm not confused, size four, round brush, I'm starting with that in the middle. And I'm going to go ahead and add a little bit of white to it because I want that section to be a lot brighter because that's the section where the sun will be. Then I'm just spreading it out just using my round brush here. And then I'm going in that semicircular motion and adding a little bit of the orange color above the yellow. So I'm doing this by now. I'm sure you would have figured out why that is to create the glow around the sun, right? So for that law, you have to make sure white, yellow, and orange together so that, you know, that look comes off the glowing sun. And then around that section now we can switch to our flat brush and then just add it there. Now, this is the basic mix. So you're gonna go slow. And the colors planet around, it doesn't have to be perfect. And when we're done laying all the colors together, we can again reactivate the paint and slightly make them blend wherever necessary. As you can see, I've laid out the orange. You can see the glow. White. Yellow glow is there. And then I'm just going to add it in a little bit more and spread it around. So that is slightly blends with the orange that is already there. And has that yellow tone in the sky at the bottom and right where I want my son to be. I'm just going to add a little bit of white again and blend it out just like I did with the yellow shade. And this time instead of going in a circular motion and sort of went with watercolor blend. And the vertical blend is very uneven. It's not straight. So I'm just going with those little strokes lightly trying to get it in the sky. And I'm actually happy with the way that section looks. I like that glow that's there in the sun. I'm just going to load my brush with some white paint and apply it right above the orange. Because we're going to use the blending with white method and we are going to blend these two colors together. I added white and then added a little bit of blue, just to put it there. Next, I'm going to start with a darker blue shade from the top and slowly bring it down. So start with the darker blue at the top and go in that left and right motion or to and fro motion, and keep bringing that color down. Each time you bring it slightly down. Just add a little bit of water to the mix so that the blending process is easier. Add a little bit of white. So now that I've added the halfway added blue color, I'm going to add a little bit of white into that mix. And when I add white, it's going to nicely blend into the lighter blue color that I laid out. So just go ahead and keep going and then left and right portion until you get a nice seamless blend in the sky. So once you have laid out the colors, you can start again from the beginning, right? And what I mean by that is in case you're not happy with the way the orange looks in the sky, or you want to change something or blend something, now would be the perfect chance for you to go on fix those things. So I'm just going to add a little bit of water on my brush to slowly reactivate the paint that's already on the paper and then just blend it out. I felt like the orange was not nicely blended with the blue or that white section rather. So I just reactivated the paint using my wet brush and slowly just random that to and fro motion and then just blend it, it around. But you can lay those colors out again as well. And keep going in the left-right motion until you are happy with the way the blend blocks. So I'm just gonna go ahead and fix those things. And they can watch me fix those things wherever I've sort of like there was a need to rectify or blend those colors out. But eventually you're going to end up with a nice glow around the sun bit, which is going to be on the left side of the paper. And around that you will have a little bit of yellow, which will transition to the light blue color. And then as we move upwards, you will have a darker blue shade. So those are the colors that we're going to be working with. Once you're happy with the way the blend looks, you're going to wait for the paper to dry. And then we will move on to the next step. Alright, now that the paper is completely dry, it's time for us to start adding the clouds. For that first one I'm going to do is create the sun. For that, I'm mixing my white color with yellow color. I'm going to go ahead and lay this in that section where I want the sun to be. Now, this is going to be the clouds near the brightest part, that is our sun section. And that is why I want to have this nice yellow strokes in the sky. They're also act as the sun. And once I lead the sun section out nicely, even act as the glowing part of the sky. Next, I'm going to make some little bit of orange color as S, So it's just my orange shade. And I'm going to use the dry brush method to add in some little strokes around the yellow bit that I just added to depict the vomer clouds that are closer to the Sun. Now the strokes are small because I want to show that these clouds are not very close to the observer's view. They're very far at a distance. And that is why you have the clouds very small and they are warmer because they're closer to the sun. So go ahead and add these little tiny strokes with your dry brush. Stroke around the sun. Once you're done with that, I'm just going to reactivate my yellow bit, alright? And then add the yellow bit right under the orange that was already there. This way you sort of add highlights to those little clouds that you have. And it just does not look very orange as is. Once you're done with that, you're going to load your brush with a little bit of the white color and applied as the SOC, as a circle in the sun bit and slightly have few little strokes coming around this. It creates those are brightest clouds around the sun section. And that is why it's not a perfect circle, but rather just slightly spread out in the background. Next, I'm going to mix my Prussian blue color with a little bit of orange and a little bit of yellow. And mix these three colors together along with poor white to create this dark gray mix. Now, we could have used black and white, right? You would have said by couldn't be used black and white, but we don't want to use black and white because it just looks great as it does not go with the colors of the sky. That is why you end up mixing these neutral colors that are made using the same colors of your sky that you have laid out in the background. We've discussed this in the previous class projects. So if you followed me alone, you know what I'm talking about? But yeah, so I've just mixed yellow, orange, and blue and a little bit of white together to get this color. Now, this is going to be used for the clouds that are in the dark, a bit of the sky, not closer to the Sun since it's a sunset sky, the colors are going to vary according to that. These are my darker clouds in the sky. For that, you're using that gray shade. And the strokes, as you can see, they are slightly bigger, but still they're not really big because again, this is, I won't show that these clouds are somewhere there in the middle section of sky. They're not very close to the observer, but they still slightly closer as compared to the ones closer to the sun. Alright? So you're just going to create these strokes somewhere above the sun. Right? Now, play around in the shape and size of the clouds. I don't want to bound you guys, but don't forget to add those little floating clouds around your main cloud section. Now, this is going to be built up in many, many layers. So don't be very judgmental at this section. Don't judge your Clouds too soon because we are going to have a lot of layers walking around it. Now to my blue about it, a little bit of white to make it slightly lighter. I'm going to use the same dry brushstroke method and add some more clouds that are slightly closer to the sun, right? In that little section, the orange section. Let's go to the audit section. In that section, the clouds are going to be slightly lighter and that is why I'm using the color. I'm just going to go ahead and add that in the orange bit, just a few strokes. And once you're done with that, you're going to use the darker gray color that we mixed and add in some more floating clouds at the top. Also, in this section, I'm just going to play around with the clouds. So I'm adding this little section. I'm slightly going to move it upwards as well, just to go ahead and add different variations in my cloud. As you can see, I'm still using a thick consistency of the paint and a really dry brush to add the textures in my clouds. So like I said, feel free to experiment with the shape of the clouds and the size that you want it to be, because that is how you are going to develop your skill. I know painting clouds can be slightly tricky and challenging, but you can also follow me along. I am actually just having so much fun making these little tiny strokes to form the clouds and my sky. So just follow me along and then I'll guide you through the next step for now. It is just adding these random strokes. So form these darker clouds in the sky. Alright, so I'm happy with how the clouds, the base of the cloud watch logs. I'm adding a little bit of white to my gray section like we used at the bottom, near the orange area. And using that colors, I'm just going to add it, add the bottom part of the clouds. And I'm doing that because I want to show the lighter in my clouds are like the highlighted bits in my clouds. And that is why I'm just adding in some strokes. Majorly at the lower part of the clouds and somewhere in the middle so that it shows the unevenness in the clouds and shows that the cloud is not flat, so you will have to add it somewhere in the middle. And so well, once you blend everything out, it looks like a nice fluffy cloud. Once I'm done with adding this layer. As you can see, you can clearly differentiate those two layers from one another. We can clearly say that you have a darker gray bit, you have a lighter gray bit, but we have to slightly blend that out. And to plan that out, all you have to do is clean your brush, get rid of any paint, then slightly add a little bit of water, very, very tiny amount of water, and blend those edges into one another. And when you do that, those two edges, the sharp edges will blur out. And they will look like they are a part of the sky and not just two separate layers of clouds. Alright, so now that I'm done with this section, I'm going to mix a little bit of orange and white together because we are going to show the lighter or like let's say the reflection or the colors, Let's say columns. Let's call that colors. Colors of the sunset or the sky in the area that's around the sun on the clouds. So the bright, vibrant part of my clouds, clouds are going to have the darker color that is the gray color. But at the same time it will also be absorbing the light from the sun, that is the orange because it's a sunset. Right below in the lower part of my clouds. I'm adding this nice orange color, right? This deep orange color. I'm just going to go ahead and add it at the base. Also adding in some tiny, tiny floating clouds just to make it look nice altogether so that it looks like they are happy and not angry with between these two colors, right? Because they have very different colors like the gray and the orange trying to blend into one another. I'm just going to add the orange in the lower butt part of my clouds. And this area is going to be slightly above our sun, right? So only that section of the cloud is going to receive the scholar. That is why the lower bit, the shade also adding tiny floating clouds and all those other clouds were in that vicinity will have this sort of vibrant color on them. So again, pick consistency. Thin strokes, lighter strokes, controlled strokes are going to be applied in our sky and in our clouds. And once when we're done with this, you can see you can purely differentiate that layer on top of my gray clouds. But now it's time for us to slightly blend it in. Because when we blend it in, it all looks like it's part of one cloud, right? Once you are done adding those little floating clouds around that area, you're going to clean your brush and then slightly blend the colors out. Alright, so now I've cleaned my brush completely, gotten rid of any pain, any residual of paint on my brush and just loaded it with a little bit of water. And as you can see, I'm slightly smudging the edges out and blending it with the grape without applying a lot of pressure. There's very light pressure. I'm slightly just trying to brush the orange to the grave without applying a lot of pressure in case you feel like the oranges completely gone. You can load your brush with the orange paint and slightly added there so that the orange remains and just doesn't become some muddy color. In case you're having issues with the same brush, you can always change your brush and use a thinner brush to work in that section. So I've switched to my size six round brush here. And I've loaded it with a little bit of orange juice, just adding the orange wherever I felt, it slightly got dissolved in the blending process. And you have to be a little bit careful here because you don't want the muddy color to be very evident. So go slow in that section. Then you blend this neutral gray color with our orange. It's going to become slightly brown. And that is where you have to be slightly careful because you want the orange to be overpowering. And when you do that, it creates that glow in the clouds without getting our attention into the slightly brown color that's there. I've also loaded my brush with a little bit of yellow to add more highlights to those orange clouds that are floating in the area around the sun because I felt that could use a little bit of highlights. You can also add a little bit of the yellow in that orange gray clouds as well. And then again slightly blended out that they look all happy to be one single layer rather than being multiple, different, different layers, right? Once you're done with that, you are going to stop and wait till clouds to completely dry. Before we move on to the next step. Here's a little sneak peek of what's coming in the next lesson. So see you there. 31. Day 12 Part 2 : Coconut Palm: Alright, now that we're done with the most difficult bit, which is the sky, Let's paint the crown bit. For that. I'm making a mix of black and the orange color together to get this dark brown shade. And using that color, I will be applying it in the ground portion. Alright, so I'm going to apply it from the left and right section, leaving that section right under the sun, slightly empty because we will be using our orange color to show that glow in that area. As you can see, I've nicely avoided that little section and filled out the entire other spaces with the brown color. And right under the sun, I'm just using my orange color and then applying it right in and slightly blending it with the black color itself. You can just slightly blend it out. So I just doesn't look that odd. So go ahead and load your brush with a little bit of orange, mix it in and slightly bring it in words. And then make sure that there is a nice blend between the black or the dark brown color with the orange color that you just added in. Again, I've added some vertical strokes to show that unevenness of the Earth's surface, right? So you've got some mountains or houses or whatever in the background near the horizon. So you can just add in those irregular strokes and leave it as is to show that unevenness on the crown. And in case you want to slightly blend things out, can go ahead and do that until you are happy with how that little section looks right under the sun. Then what you're gonna do is clean your brush. Alright, so once you are happy with the blend, you are going to clean your brush and load your brush with a little bit of white paint. I'm just quickly swatching them the colors that I used for the ground bit just because I forgot to swatch it earlier. But yeah, clean your brush and load it with a little bit of white just to make that sun section pop out a little bit more. And then I'm slightly blurring out the edges so that it looks as if it's a part of this guy. So slowly just go in this vertical stroke like we did previously with the sky and lend it out slightly. Alright, so we're done with majority of our work and the bottom section, and now it's time to paint our file tree. No, sorry, I'm not fine tree. I just always end up confusing the two. I don't know why. Anyway, so we're going to paint the palm tree. For that. I'm mixing my orange and black color to get a dark brown shade. In case you're not confident you can sketch it out. Again. You have a thicker or trunk slowly narrowing down as you move upwards. It'll be thinner at the top and wider at the base. And that's how you will bring out the illusion of the height of our pine tree, not find g from tree. And then you are going to have those individual branches for the leaves, for our palm leaves. So you'll have those individual branches coming out. So you can sketch this out ones in case you are not confident, you can watch how the structure looks right here. Pause it and swatch, I mean, not swatch. Pause it and sketch it out and making way too many mistakes. But yeah, posit, sketch it out and then follow along. Here. I'm using my size six round brush. Once you have the base ready, we are going to add the leaves, like we learned in our elements section. We've learned how to paint these palm tree. So you're going to follow that. If you, if you pay really close attention to the leaves, you can see I bend them in the direction that my leaves, leaves are bending into the main stem that we have. If it bends downwards, then my leaves slightly have the same sort of curve or that the main stem has. So make sure that you're following that. Be controlling this section. You can add these leaves or wherever you want as well. You can change the shape or the direction if you want. Feel free, feel free to explore in this section. So now this is where it's gonna be a little bit time-consuming because first we have to get the base and then put in our highlights that will really make our palm tree pop out even more. So it's going to have the glow or there's light coming from the sun that's going to go under. Horizon. So yeah, take your time with this process, be slow and steady. And once we're done with this layer, I'm going to come back and tell you what we are going to do until then. Enjoy the process of painting the palm leaves. Alright, so we're done. Awesome. What with the palm trees section? I'm also going to have a little section of some other branches and leaves coming in that area because I wanted to add some more plant elements right here. I'm just going to make some branches and add in some leaves on it at the bottom. And also have this one section of palm leaf, one like one stem and a few little leaves of some other palm tree that is in the background. So this is how you add in Slack smaller elements of some other objects that are not fully in the picture, like these branches and leaves and the other strokes that I'm going to add in this way, you have a focus on one object, e.g. here we have it on our palm tree. Like other than that you have these smaller elements around it. So you make the painting look fuller and have different elements and all that jazz going in. So for this section, I'm just going to go ahead and add in some other branches and knees. So once you're done with that, we are going to start working on the highlights of our bunk tree. So yeah, go ahead and add a bunch of different branches and leaves around your palm trees. All right, Now that we've done with the base layer, I am mixing the shade. This is a gray sheet or just black and white with bad Prussian blue that's already on my palette, which is going to use that gray and add a little bit of highlights on the right side of the tree. And then using our brush, we're going to slowly blow the sharp edges out. So I'm going to show you how I do that. Alright, so again, using that gray shade, which is the grid that we used in our sky as well. I'm going to go over the layer of each of these individual branches, right? So you can see that middle section, the branches that we made in the beginning before we added the lease. I'm just going to go ahead and layer that section with this query. Gallo. Now, this is one of the tricky bits of our painting. Where to add the highlights for the section. Where to add the orange highlights and the gray highlights. So we're going to work in layers. This one is the gray bit, alright? If you ever feel like you've gone overboard in this section, don't worry, you can always fix it. You can go ahead and add in the brown color again just to fix your mistakes. Alright, so now I'm going to create this brown shade, okay, so I've just makes my orange with the black color, and this time it's slightly lighter. I'm using this nice light orange brown color. I'm going to go ahead and make the leaves of the branches that are at the bottom. Alright? And what I mean by that is all the leaves that come in this section that are at the bottom will receive the light from the sun. Alright? So as you can see this little section at the top, let's say I'm just going to go over the gray line with this orange brown color. The leaves that are lower, you can see how I'm highlighting those leaves with this color because they are lower, right? You're able to see the orange or the light falling directly from the sun on the leaves and casting beautiful, beautiful highlight. Alright? Again, if you feel like you're going overboard in any section, you can always layer it with dark color and fix your mistakes. So over here, I'm just sort of visualizing where the light is going to be and how I would want the orange bit to stand out. Alright, I'm just experimenting here. Or you can follow me along. Or you can just watch me do this little experiment and then paint. Because it's pretty easy to sort of follow around when someone's doing something and it's very easy to follow what they're doing. But I want you guys to understand why I'm doing. You saw I added the orange, but I quickly realized that that is not where the light would fall. Right. So I was very quickly lifting my paint with the darker color and I fill it right in because I was not the right place for of the orange section to be. So this is how you end up fixing things going over layer is trying to understand the composition of lights and shadows. It takes a lot of understanding. So over here you can see, I'm experimenting, right? You can see wherever I felt like the gray was just standing out too much or the orange was standing out too much. I quickly just went ahead and fix those mistakes. My idea here was to add this orange bit at the bottom of these leaves, especially the ones in the right side of the palm leaves or the palm tree basically, because that is the section that's going to receive most of the light from the sun. And that is why they are going to appear lighter in color. So all my orange strokes are the lighter medium brown color is in that section and wherever it's not needed, I just went ahead and added some more strokes to fill it in. You can also go ahead and let it again and add some extra leaves around that section to fit fix anything that was messed up. So you can see I had messed up that left corner. I went ahead and laid it again just to make things appear better in that area and not as fixed that section. So once that section is completely dry, now we're going to add the more orange pet. So this is just orange. Again, the lower bit off the leaves are going to receive that line. So I am carefully layering only the lower bits of the leaves of my palm tree and add in that color in the, in the leaf. Carefully just highlighting the main stem slightly and then adding in the strokes for these individual leaves in the bottom part of my CEJ. Now, as you can see, this is standing out now it makes sense right earlier. Since I was experimenting, I'm thinking along the way while I was painting where the lights are going to be. So it looks really weird in the beginning, I was really scared if I messed up, but I'm so glad that the light and shadow bit is. Making sense now. And you can always go ahead and layer like I said, in case you don't like the way something looks, you can always layer over it and fix it. Alright. Now I'm just layering over the main stem slightly because I felt like the oranges too overpowering. I just went ahead and did it again. Now as you can see, if you can pay attention, you can see the highlighted sections are the lights of the sun falling directly on the lease and that area being glowing orange in shades. So yeah, go ahead and follow me along in this section. I'm just sort of letting wherever black is needed, adding in some extra strokes for the palm leaves and just sort of playing around really. So come join me in this little experiment section where we paint our palm tree. Alright, so I'm really happy with the way this actually looks. I don't want the orange to be too overpowering. Now I'm just going to add some gray in my CI for that again, I'm using the grid that we used earlier and then layering it over on my main trunk and the leaf just to define where each of these individual leaves live, right? So the left section of the palm tree was not really defined. But now once I add these individual strokes and in that main stem, you can really see where each of the leaves are coming out from. Slightly blend the gray in the trunk and you are good to go with your painting. I am so happy with the way this has turned out. Our little experiment with the pine tree worked and carefully peel the tape off away from the paper. Remember that? And do that only once your painting is completely dry, but not feel the tape while the painting is still wet. So here's a look at your finished. I absolutely love how this one has turned out. I love the tree, I loved that experiment personally. It was so challenging, but so much fun to paint. The clouds look lovely, the sky looks lovely, and I'm really happy with this painting. Here's a little sneak peek of what's coming on data team. And I'm so excited. So see you soon. 32. Day 13 Part 1 : End of Winter: Hello. Hello everyone, Welcome to day 13. He was a class project for today. It's this beautiful end of winter sky. So let's talk about the gallows. The first shade that I'm using is primary blue and you can use it all in blue, aren't even your Prussian blue and you can make it lighter. That's not a problem. Next I have and **** brown can use set-builder any brown shade that you have, you need lamp black and of course your titanium white color because it's opaque and the clouds are going to turn out amazing when you use titanium white. Here are the shapes that we'll be making for this class. Very simple, very limited. So let us quickly get started with our painting. Alright, so I've taped my paper on all four sides and taken the colors out on my palette, as discussed earlier. The first thing that we are going to do is create our basic sketch for this painting in the foreground, I'm going to have a tree. It's just a tree. It does not have any leaves on it it out, make sure that the trunk at the bottom is larger and as you move upwards over a slightly decrease the size of your branches. And this way, it creates the illusion that you are standing under the tree and you're looking up directly at it when you make the base bigger or let's say more vital and it narrows down as you move up. It adds to that look. That is a very simple sketch that we need. You don't have to even do it. Perfect leaves just to add the placement of these objects. Next, I'm going to mix my primary blue with a little bit of white just to tone down the vibrancy of the color and make it lighter for the sky. I want the color or the blue color at the base to be darker. As we transition up, I want to decrease the color, which means I want it to be lighter at the top. So the base is going to be darker. And as we move up, we have a lighter shade of blue. They can do that in the same way that we've been doing the blends in our sky, right? We start with the darker color at the top or the darker color at the top and then move slightly lower and add a little bit of the lighter shade in our mix, right? So he can do exactly that. You can start off with a darker color at the base here and move upward and have the colors at the top each time, adding a little bit of white to your mix. So as you can see, each time that I'm moving upwards, I'm adding a little more white. The consistency of the paint can be slightly thin or middle-class consistency so that you have a nice opaque pain, but at the same time it's nice, movable and blend group. If you pay close attention here you can see the top section of the people is lighter as compared to the bottom section. And that is exactly what you want here. I'm just making the blend to be slightly diagonal, but you can make the blend to be straight as well. That's not a problem. I just wanted to go with the diagnostic blend. So I went with the diagonal blending motion. But you can have its trade. Actually want the sun rays coming from the top falling on my clouds. And for that, I felt the diagnostic blend would make a lot of sense. So I went in the bag. No motion. Once you create the background day, you're going to wait for your paper to completely dry before you go ahead and do anything else. Now that the paper is completely dry, I'm going to use my size six round brush and start using the dry brush technique to add in the Cloud. So I'll start off with little, little sections. And again, using consistency of paint and just brushing my brush over the paper to create that texture of our clouds. And as you can see, there's no proper motion or this glow particular right method to do it. I just like to move around in that circular motion and then slightly go to and fro in that motion so that it creates that texture. I always end up working in different blobs, different little sections. And then eventually it ends up all connecting and forming a big cloud of its own. So I don't, I try not to overthink this step. Because the more you end up overthinking where to place the clouds and where you have to make it look perfect and all that you end up not enjoying the process of creating these clouds or even end up not enjoying the beautiful dry brushstroke method. So just be at ease. You can follow me along here. You can see how I work in little, little sections without worrying about the shadows of my clouds. And when you're working with gouache is actually so much easier to add shadows, especially when you're having brighter skies in your paintings. It's very. Easy to add shadows because you don't really have to work hard like acrylics because there you have to sort of build up that layer. But with gouache, this is going to be my first layer. And when I want to add shadows, I'll slightly wet my brush and add, reactivate the paint at the base so that it creates those shadows. It's a lot more easier. I'll show you the process, but yeah, go ahead and don't worry about the shadows. But for now, you can see I started with that little section, like keep adding little more strokes around so that it eventually forms into this one big cloud. So the look that I'm going for a slightly in a way that you are standing under the tree and you're looking up. So they're not looking straight above your head up. But you're looking like diagonally at a 45-degree angle. You're looking up in that in that way. So that is why I wanted the clouds to be more enlarged because they're going to be more closer to you. And hence we have those big clouds. Now as you can see, those little sections that I added a slowly coming together and forming one singular piece of cloud. And that has a lot of little clouds around bad sections. You're going to add a lot of those little floating through the clouds as well. But eventually just trying to make one whole Cloud together so that you can add all your details in that section. And it looks so pretty once everything is just all put together. So go ahead and add these steps. Don't forget to add those little fluffy clouds as well. You can also get rid of extra paint from your brushes, brush across the paper so that you get the rough texture. Now, this will depict the clouds that I'm not very volume illness, but they're just forming and around your main cloud. And that is why it has that light extra rather than being nice and opaque like the other clouds. So the more paint to add, the more followed or opaque your clouds are going to be. If you slowly just get rid of the paint where you are, just slightly dipping your paint and the brush and getting rid of the excess paint and you're just using the paint system stuck to your results. Those clouds are going to be less voluminous. They're going to be more about the texture in the clouds are the ones that are still forming in the sky. So I really liked that. Alright, so now that I'm done with adding the clouds, like I said, I'll show you the cool way in which I add the shadows over here. And that is by just cleaning our brush, loading it up with a little bit of water. And going in this circular motion, I want the shadow to be mostly in the center of the sections that I created. Just a little amount of water. You are going to reactivate the paint. Alright? Already reactivating the white that is going to move. But at the same time, you are reactivating the blue that is underneath. And that blends with the white color to form that light blue shade. So wherever you move your brush, that wet brush, wherever you move that brush, you end up creating those shadows. As you can see, I didn't have to create another light blue color to work with the shadows. It was just my layer beneath and the layer of white that was on the top of it. So that is it. If you ever feel like you have a lot of white and it's another blow is not showing up. All you have to do is clean up brush, move the white around, and then wipe your brush, and then go over it again. This way you get rid of that excess paint in case you have that and the blue is not revealing. So you can walk in that section as well. As you can see. I'm mostly worked in the middle of the little sections that I created and added those shadow layers in for it. So now that I have my shadow layers, I'm really happy with the way it looks. We are going to wait for this to dry. And then slowly just add another layer of white over there so that it just doesn't look so odd and looks more blended. This time, I'm just loading a little bit of a white on my brush and then blending it in so that the white and the blue merge together and form an even lighter blue around the blue that is already as the shadow. So you're going to have little sections which have darker blues, but at the same time, those little sections that have slightly lighter blue. So that once we add the final layer, the opaque white layer over this again, or the highlights, if you'd like to call it that way. When we add in the highlights, there is a lot of variations and the blue colors that's going on. Now a lot of times you might ask, why do we have the gray shadows in our clouds? Now? If I were to add the gray shadows, it would not go well with the painting because it's just going to be white and then using black for the caret. But when you use the color of the sky that you see as the shadows, it really makes the cloud look like it's a part of that sky and not just random object, right? Alright, moving on. I'm going to load my brush with a little bit of the white, again, dry brushstroke method. I'm slightly brushing it over as you can see, it's not as opaque as the previous layer. Still very light. I'm just adding in a little bit of texture in that shadow section that we just painted. So when you do that, you're not like overlapping the whole thing with white again, but you're just adding the texture to form the highlights in your painting. And this is going to be actually a good time for you to add in any other floating clouds, fixing the textures of the main clouds that you have. So this is a section where you just go around and explore the things that you can do. So as you can see, I added the highlights in the clouds, but also went ahead and added a little bit of texture around those clouds itself so that the edges don't look rounded but rather more spread out into the sky. Just have those roughness in the edges. That was the look that I was going for. And once I'm happy with how everything looks, you're going to wait for it to dry. And then you're going to have a really light wash off a white paint. Very light. A good amount of photos should be there in your brush. Nice thin consistency of white. Then you are going to load a fat brush and slowly just make these diagonal lines in very light motion. Do not press really hard on your brush because as you know, wash is very easily reactivated with water. So I'm just lightly making that texture as you can see with my brush, flat brush. And the consistency of the white paint is also very light. And I'm also getting rid of any extra beat. And very light handedly, I'm adding the sun rays. Now if you're not confident about it, you can totally skip this step. In the next lesson, we'll be adding all the details to a foreground. So see you there. 33. Day 13 Part 2 : End of Winter: Alright, so once this layer is completely dry for the foreground, we're going to sketch our tree again. I'm pretty sure because of all the layers that we added, our sketches going to get covered up. So it's time for us to add another little sketch of all the elements, such as the branches and the tree trunks, have them all set in place. So again, I'm going to sketch out two main trunks. So I'm going to have one on the left side and one slightly on the right side. But you're going to have two main trunks and then some little branches coming from these trunks. Now feel free to explore the type of tree want to add. Since I said it's a winter sky and I'm going to have leaves over this. But just the main tree. And on the right and left, sorry, the top and bottom corners of the painting, I just want to add a few little bushes. Alright, the color that I'm going to use is going to be this very deep dark brown, which is a mix of the Van **** brown that I was talking about with a little bit of black. So it creates that really deep dawn of black or brown color. Alright, so now I'm using my size six round brush. And this brush really comes to a nice fine tip. And that is why I chose this brush. But in case you don't have a fine tip brush, you can use a size four, size two brush here as well. So as you can see, the trunks and the b's are bigger and as I move upwards is going to get thinner. It's gonna get narrowed down, right? And as I move even more up into my tree, it's going to get thinner and thinner. Now over here, like I said before, I want you guys to explore. You don't have to paint the tree in this exact shape that I'm painting it in. So feel free to add the branches where you want to add the branches or in some other sub branches, tiny branches. So just enjoyed this little section. Alright? So you can switch between two brushes here. One can be a size two brush, and for the final branches, you can use a size zero brush to get those nice, fine branches. Now, usually what I tend to do is create the basic structure of my tree are the main shape of the tree. And then move ahead and add all the tinier branches and all those little things that I want going on in my trees. Once I'm done with the basic structure, this section might take a little bit of time because you're going to have all your attention to the details. And you're going to have a lot of different pressures show that you're applying on your crushes. It is going to take some time to finally add in all the details to your tree, but be patient with it and enjoy the process. I'm going to keep quiet now so that you can just get into your zone and paint the tree. First focus is going to be about just painting the basic structure of our tree, adding those tiny branches and bigger branches. And right after that we'll add in our branches on a little bit of leaves on the up and down corners on the right side. So that it said, I'm just going to keep quiet now so that you can enjoy this process. Alright, now that I'm done with my basic structure for the tree, like I said, we're going to add some branches and some strokes just done the left and right side, top and bottom corner. Now the left-hand side, I keep saying left and right, but it's the right corner, up and down corners of the right hand side. You can also add them to the left corners if you want. Again, feel free to explore this section. I just went ahead and added that to the right side. Again, it's very similar to the things that we've done before. You have this branches and then you have a bunch of different strokes that are going to depict. The leaf for this just adds, adds a lot of variation into your painting. And that's why I went ahead with just a few little like the bush or the tree outside the frame. Just kind of picking into our painting. I really like the look of it. So just go ahead and add that. Wait for this to completely dry. And then we'll be adding a little bit of texture on our tree trunk and the median of a painting. So, enjoy the process of adding these little bushes in your painting. Alright, now that I'm done with this section, I'm going to wait for this little section to dry and then move to our trees that we just painted earlier. Now over here you must have noticed, I use a different brush because this brush gives them more rounded brush stroke rather than the other one which gave more sharp strokes. I wanted the more rounded finished. That is why I went with a different brush, going to make a slight lighter color which is just your black mixed with the color of the trunk that you had with a little bit of white, so you get that nice gray color. I'm going to use this color to add texture on the tree. You're going to have a really dry, thick consistency and you're gonna slightly just brush over the left side of the painting. And this way you end up creating a little bit of extra on your tree. Suggest using a nice dry brush stroke with a very light handedly you're going to brush it over. And the more light you add, the extra is going to pop out even more. So if you press on it, then it's not going to create that texture. So make sure that you're not applying a lot of pressure on your brush. And as you can see, it has added a nice, nice, nice, beautiful texture to the trunks. I didn't go ahead and do it on all of the branches, just the main trunk. Once you're done with it, you are going to carefully build the tape off. As you can see, there's this nice sun rays falling on our clouds. And we've got this beautiful tree and all those elements in the foreground, and it looks so gorgeous. Here's the final piece without the tape. Every time the tape peels off, the painting really just pops out even more. And that's like one of my favorite bits. As you can see, the clouds looks so beautiful in this painting and I'm pretty sure you would have gotten it up till now. We've done protein paintings till date, which is a very big deal. So give yourself a pat on the back for that. Here's our second last painting, which is going to be the default in things. So see you soon. 34. Day 14 Part 1 : Island Sunset: Hello, Hello everyone. Welcome to day 14. Here's the class project for today is this beautiful island sunset. You can see the clouds, the beautiful reflection of the sun on the water, or palm leaves and the foreground. Let us talk about the colors. You need. Cadmium yellow. You're going to have cadmium orange with you. Next you'll need Prussian blue. So these are very basic colors that we've used many times before. Next we have lamp, black and a tube of white. These are all the colors that you need and yours, a little swatch of shapes that we'll be mixing. So let us quickly get started with our class project for today. Alright, so I've taped down my paper on all four sides and taken the colors out on my palette as we discussed. The first thing that we are going to do is create our basic sketch. So I missed picking our pressure in blue, so I just pulled that out as well on the ballot. But yeah, let us quickly get started with a sketch. The first thing that I'm going to do is create the horizon line. So take a scale and just divide your paper into two halves. So draw one line and that is going to be your horizon line. Right above the horizon line, I'm going to have two mountains, or let's say one. I like, What about 11 mountain on the left side? Next, I'm going to sketch out two waves, two diagonal, uneven lines like this. And I'm doing that because one section is going to be the mean wave and one is going to be the vet sand with the waves going back into the ocean. And in the foreground at the top, you're going to have some fun leaf. So I've just added those strokes in, but this is what our basic sketch is looking like. You have a horizon line, one mountain on the left, and R waves. Let's start painting the sky first. For that, I'm going to mix my orange, cadmium orange with a little bit of white. So, you know, you've made the shade before he was a swatch of the color. It's just a pretty tone down version of our bright, bright orange. Next, I have my Prussian blue mixed with white, a tiny bit of black. So we have also used the shape before. So here's a swatch of that color. So these are the two colors that we need for the sky. And we'll also use a little bit of yellow in the sky as well. But let us make this mix the yellow as well. So now I have my yellow mixed with a little bit of white. So just another tone down version of the shade. These three fellows, Let us start painting the sky. It's the first thing that I'm going to do is have the yellow shade in the middle of the paper. So that is the section where my son is going to be. I just want that Ada to be nice and yellow right around that color. I want the orange shade to be. And then I'm just adding a little bit of white on my brush just to blend these colors with one another. I'm just roughly adding the colors for now without really focusing more on what the outcome is going to be. But I'm just laying out the rough colors. And once I'm done with the rough colors, I'll go ahead and add in more details. So for now, I'm roughly laying the color style I made to gray or blue shade and Adobe to create, but I'm just mixing it again the corner. And make sure that you're using the blending with white method to blend your orange and blue together so that you don't get that clean. Now that I have a rough idea of the colors, I can go ahead and add another layer over it, right? So we've done this many times in this class, right? So we've done that a couple of times. I'm pretty sure by now, you have a good idea of how to place the colors, how to blend your colors, how to layer color. So I have that much confidence in you guys now. So for now, I am going to go ahead and layer colors again so that this time I'm creating more of a good blend in the sky at the blend that I want my sky to look. So it's going to be yellow and orange near the horizon line or near that section. Because that is where I want the sunset colors, that nice yellow colors, yellow, orange colors. And they're not going to have a little go ahead and add a little bit of blue from the left and right side, leaving that orange sections still there and back. This way you add a little bit of gray tones in your sky as well. So as you can see when I add in the blue from the left and right side created that nice bluish, grayish color. But don't worry, we're going to let again and fix everything and make everything seamless so they could die with the blending process. Makes sure that you adding a little bit of yellow near the center of the painting where the sun is going to be. And this process is again, very interpretative. You're just going to keep blending or left and right and adding in the colors until you have a little warm color in the middle. And then you have the blue from the left and right side. And then at the top, I felt like the warmth of my painting really just went away. So I'm just going to add a little more orange in the lower part of the sky so that I bring in the wall back into the painting. So whenever you feel like either of the color starts overpowering the other, you can always stop, take a step back and add in your color that was being overpowered overshadows you just going to go ahead and add that, you bring back that color. As you can see when I added the orange, we're back to that nice, warm in the lower part of the sky. Do that in case you sort of ended up making the lighter tone of orange in place. And once you're done with this, I'm really happy with actually how this guy looks right now. So I'm just going to leave it here to try. And by the time that isn't It's trying face, we can walk in our water or the ocean as well. For that, I'm going to be using the colors of the sky itself. So you're pretty sure, you know that you're going to use the same colors that is there in the sky. For that, I'm going to go ahead with the same blue color, right? So I have this blue, this blue color. I'm going to add it at the horizon line, right below the horizon line, and then carefully have it in the left and right side. I want the orange section to be only in the middle of the water body that I'm painting. Why I want that is because that's where the deflection of a sun is going to be, or the brighter part of the sun is going to be on the left and right section of this water body is going to be gray and it's going to have the colors of the sky. That is why I thought, I mean, that is why I'm going to go ahead with that fellow. Over here. It looks very uneven. I've just laid out the color first. Now I'm going to go ahead with a lighter tone of the blue shade that we use for the sky. And just blend everything out. Now, when you're blending it out, you might end up taking the orange color. But don't worry, you can always add the orange over it again. You'll see me do. So as you can see, the sort of tone down the color of the orange shade. But we are going to go ahead and add the orange again. And when we do that, we can bring back the color, this shade or this color has applying all of this all the way until the end of the second wave section that I sketched out. So all until they are going to add the same color. As you can see, I have the nice orange bit as well. For this, we're going to be working in layers. So this is going to take a lot of times, especially for the water body to add in all the layers. So don't worry, this is your first layer. It's going to look a little bit out of place. You, but don't worry, we're going to fix everything. Everything is going to look amazing once we add in multiple layers to our section. And I'm pretty happy with how the water blend for the baseline look so that if B, we're going to wait for it to dry, and then I'm just going to go ahead and add a little darker gray shade. The blue shade that we use in the sky in the left and right sides of that little section so that you have a darker bits into the water body. So as you can see, adding in that little dark blue color really makes those middle section of the water body really stand out. So now there is a final time that I'm done with this. We're going to wait for this to dry. Now what I'm gonna do is sort of just blend out the section right above the horizon line. Because I totally forgot that we had just one set of mountains. So I ended up leaving a lot of whitespaces. So I'm just going to fill that white space right in so that there's no whitespaces into a water body. But now I'm done with it. So I'm going to wait for this to dry. Now that our water is completely dry, that is, go ahead and paint the sun and added all the details to our sky. The first thing that I'm going to do is just take my round brush and add a tiny sun in the middle of the paper. As you can see, you can also take your pencil and also cool using a pencil and then fill that right in. Or you can just use your small-sized brush and add in the circuit using your smaller brush. Now, what I am going to do is add a bunch of clouds in my sky. And to do that, I'm just going to load my brush with the darker blue color that we mixed, mostly the grayish color that we mixed. And then I'm going to add it in the lower part of my sky. I'm just going to have clouds in the lower section, not all the way up until the blue part of the sky. I just want it to be there in the lower part. And over here, as you can see, we're using the dry brush method so that we have nice textures in our clouds. I'm going to load my round brush and add in the clouds in my sky. I'm going to have a bunch of like a cluster of clouds on the right side and then a little bit on the left side as well. But feel free to add the clouds. How you feel, wherever you feel, to add them. This is how I've added the clouds in my sky, but I want you guys to feel free and experiment if you would like, in this section. Alright, so now that I'm done with the clouds, I have not added a lot to just a little bit of texture. I'm going to make the mountain for that. I am mixing my black paint with a little bit of orange and I'm going to use that color to add in the mountains in the distance on the left side. So just load your brush with that shade instead of make that uneven stroke on the left side and just fill the color right in to make a mountain, make sure that you're not making a nice lake on even sloppy one, that uneven stroke. In that section. I also decided to add a little smaller version on the right side as well. So just like how you have the slope on the left side, I wanted to have a very sort of flattened version of the same thing. It can be though land at a distance. It can be some sort of a city that you're seeing, but it's not very detail. So you can just have these uneven strokes and just add it right there. Once you're done with this, you're going to wait for this to completely dry. Now, I'm just going to mix my black with a little bit of orange color. And we're going to paint the side. Since it's a sunset, we're not going to have really bright sand colors. We just need to show the highlighted bits in the sun that can be done by just showing the lighter brown color. And for the rest of it, which is still further away from where you can see the light falls on it. You can just use the normal dark black sheet for that. Just mix it with a little bit of orange. But this can be the darker brown shade that you're adding in. As you can see, I'm just filling in that space using that color. The only thing that I've made sure is that the one closer to the wave that we did is a little bit lighter. Next, I'm just going to add these little strokes, but just my round brush. And I'm just adding in this strokes the scan showed the unevenness on the sun, the footprints. But if we're not getting into the details of it, so we're just adding in these strokes to pick the unevenness. So you can just add a bunch of different strokes. You have to do this while the paper is still wet so that you don't have those sharp edges and you don't really have to work a lot, all kind of Lepanto sharp edges and just make sure that you're doing that while the paint is still wet. Then you are just going to wait for this to dry once you're done with this. And we are done with all the base layers for our waves and are sad beds, et cetera. And we'll be done with this section. So once you're happy with how the sad lux, wait for this to completely dry. Next, we are going to start working on the waves. For that, I have mixed my blue with a little bit of black. As you can see, you get a nice bluish gray shade. I'm going to start applying this in these really thin strokes who write under the mountains that have added really tiny, tiny thin strokes right under the shape above the horizon line. So we'll get into a lot of details about how you add this in the next lesson, where we will be adding the details to the water. So see you there. 35. Day 14 Part 2 : Island Sunset: Alright, so let us start painting the second layer that we were doing. So for that, we're going to use this nice dark bluish gray shade, like I mentioned. They're going to start off with this shape being right from the left and right side of the paper or the water body. That is because the center bit, which is right under the sun is going to be of a lighter color. That is going to be our orange color. Over here. As you can see, I'm just making these nice thin strokes. These are nice long thin strokes coming directly from the left and the right side of the paper. And then using the same shade, I am going to outline the sketch that we did for the second wave, like I told you earlier. So this is going to be the mean crashing wave. Over here. I'm going to slightly make a diagonal motion stroke, as you can see. Now I just want to show this as this to be the crashing waves. So this is going to be slightly diagnosed or hasn't angled from the paper. And you have to make it towards the water body, right? But don't make it straight upwards because that doesn't really add up to the crashing waves, so make it at an angle. So as you can see, I've done that. Then again, using my same dark bluish gray color. I'm going to go ahead and add a little more detail and make another smaller wave. This can be the waves that are still forming and that's going to crash. But there's gonna be a shadow bit to that. Now, this layer that we are making is actually a dark, dark layer. This is going to be the shadows of our water body. So go ahead and follow me along. And mostly I'm adding this in the left end dr direction and just making maybe one long wave that we just did and another one using the same color. And other than that, I'm just adding these thin strokes to just add in a little bit of details into R1. Alright, next, I'm just adding a little bit of orange to the same bluish gray color. This is going to be another near that I'm adding again, I'm adding this in the left and right side as well. This color is lighter but it will dry out to be darker. So don't worry about it. I'm just using that color to add a little more detail, especially in the middle of the water body, right? In the middle section. I'm adding this color and then adding in a little bit of highlights on the Crashing Waves as well. So use this tan color and then just apply a little more detail. So the same thin long strokes. Alright, the next sheet that I've mixed as my orange with a little bit of white. And then I'm going to add in the shade in that same long strokes, long controlled uneven strokes. And right under the sun section. As you can see, it's the same color as the layer that we applied earlier. And that is why once it dries, it's not going to stand out even more because to make it stand out a lot, we need to add a lot of white to the mix. But it acts as a good layout. It adds as a good detail once it's dry. So you have to be patient with that section. Next to add the highlighted color, I am going to mix my Prussian blue with a little bit of white, more white this time, as you can see, it is really standing out a little bit more Socratic, little bit of black in it as well so that it gets flat. Same bluish gray color. This is going to be the shade that I use for adding in the highlights in my water. As you can see, I'm still making those controlled long strokes coming in from the left and right side. Make sure that you're not covering all darker gray color that you laid out previously because we want to be able to see all those layers that we've been working on. This is going to be more of the highlighted colors into our water. You're going to add that from the left and right side are going to add that on the Crashing Waves as well. Now, even if it looks very out of place right now, don't worry because we can always, we will be in the future steps, in the upcoming steps will be just slightly blending all of this with water. That those tropes, I'm not that harsh as they appear right now. But do go ahead and add this brush stroke on their crashing waves and all over the left-hand side section, or feel wonderful, I am mixing another darker gray version similar to the ones that we used earlier, so that I can add in at the bottom of the crashing waves that will add shadows. As you can see, I'm doing that exact step. I'm adding it over the highlighted bits that I added as well. Just so that the highlight is not that overpowering and you're able to see the shadows in that section as well. Since this is a very different from the water body, but like beat scapes that we have done previously, even in my previous classes, because this is a sunsets of the colors that you're using are a lot different as compared to the colors that we have learned anytime in the past. Next, I'm just going to use the same darker grayish color version, bluish gray color wash. They're going to use that and then apply it again from the left and right side. So like I said, this whole section is just kind of like an experiment. You are adding a bunch of different layers, are trying to play around with a bunch of different layers to see how everything looks over your I'm not adding a lot of strokes and I'm just making sure that my brush is really dry so that I can add in a bunch of texture into my water vet, right. As you can see, I'm just brushing it over. But that's sort of adds to the texture into my water rather than those individual brush strokes that we've been adding it all audios. This time, we're just adding in a little more texture into the section. I've just added a little more black into the same beat. And then I'm going to go ahead and make a bunch of individual brush lines just to add in a little more sort of texture and color. And now I'm just adding a little bit of highlight in the center bit of my painting by using a mix of white and orange. This time a little more white. So that is a truly stands out. So as you can see, the orange is really popping up, popping out in the section right now as you can see, again, I'm just going to brush it over to add eight the textures first. So once I have in the textures, I can go ahead and work with the highlights. So right now I just want to walk with a picture. So they added that nice, beautiful orange texture. And then again going back with the gray color and add again some more textures onto my water body section. Alright, now that, that section is completely dry, I can go back to sort of adding a couple of more highlights and that is going to be it. I'm just going to go ahead and make those individual brushstrokes stand out a little bit more. And then add that in the middle section of my water body as well where the orange is just a little bit, not a lot. And again, we're not adding a lot of strokes, but just going over the texture that we added so that it doesn't, it doesn't look like it's just the texture and have those individual brushstrokes as well. Alright, next I'm mixing white and yellow together. And that is going to be the color that I use for the highlight strike under the sun. As you can see, you're going to start off with little strokes right under the sun. And as you come all the way down or all the way closer to the observer, rigorous, sort of increase the reflection that you're adding. It's very similar to the ones that we've done before. You're just going to increase the size of the reflection and also make sure that you are not having that gradual increase, but rather there's an unevenness in your painting. Makes sure that the highlight has that unevenness. This section is going to be right under the sun. Those are the only two things that you need to keep in mind for your painting. But right now I'm just going to add a little bit of shadow for our waves, right, right on through waves are going to have a bit of shadow. I'm gonna do that by just using a darker gray color to brush over that section. And you can do that by just using a very thin consistency of the paint. Now, I'm using the brown color again in this very thin consistency as we can see, and I'm just covering the entire whitespace that I had. Once I have this nice consistency, thin consistency going over, I can just blend out the harsh edges into my son as well. Then use use water to just brush up. And clean the edges in the lighter part of that section as well. Because there's this little bit bad that you see between the wave, wave them sad is going to be the wet sand, which is going to reflect the colors in the sky. Now, again, using that inconsistency of that brown, brownish, grayish color, I'm going to add that as the shadow under my waves. So as you can see, I'm just outlining the waves. Then I'll be using water to just clean out the edges. Right. Now. You can go ahead and fix it. Some things added a little more highlights in sections where you'll feel it's necessary. Because again, experiment and we're just here to have fun in this section. Now, painting the water body of this painting was more like I said, an experiment. I am just trying to work in different layers and sort of get all the colors that I would like for the water to have. I want it to have those dark bits and the light bits as well. And that is why there's a lot of to and fro motion of adding shadows and the light colors and dark colors. I'm just going to go ahead and add a bunch of life TO bluish, grayish strokes in my paintings right now, because I felt the dark coat color is really overpowering, especially after the gallows completely dry. Now that I'm happy with this section, I'm going to stop. I'm going to go ahead and add a little bit of highlight in my water and even make my son pop out a little bit more because I felt once I tried it really sort of got darker and then tried under the sun. Remember how I said that little band is going to reflect the colors of the sky. They're going to have the reflection of the sun there as well. I'm just going to make a small circle and then use my wet brush to blend out the edges that you will not have sharp edges in that section, you'll have more blood out because there's just water on an uneven surface. That is your son. And that is why the color won't really be, the reflection won't really be proper, but you'll just see the bright sun standing right there. So I'm just going to go ahead and darken the sand section a little bit more answers. Blending out using my wet brush. And then I'll do the same thing for the sun as well. Use my wet brush to blend out the edges and then kind of make these horizontal strokes to just spread the color around in that band so that it's not like a circle, but it's sort of spread out and the color spread out on the sand. And then even add a little bit of highlights on the water again because there's too much highlight. So I'm just gonna go ahead and add a little bit more of the reflection of the sun on the water. I'm happy with how the water BitLocker. I just need to fix the bad between the wave and the sand. That little section. I just want to fix it a little bit more. I'm gonna do that by making the kind of like the shadow of my waves and then more sharper and then blend it out. Then have a little more gray color into that section. And it can do that again, like I said, by using your clean brush with just little bit of water and blending out the edges and then using that same paint to mix a gray color around in that area. And as you can see, the sun slightly got dull down. But don't worry, if you're just going to use your white paint again and add it in that section again. And then clean your brush. And just use your clean brush, right? You're just going to use your clean brush to blend out the edges and then make some horizontal strokes around it so that you kind of blend it in in the sand. You'll have it a little bit spread out rather than having a perfect circle in that area. You can also sort of tone down the vibrancy of the color by adding a little bit of orange in that section and then spreading that color out. And as you can see, I have spread the sun section of the bit out. So it's not a perfect circle. But still it's nice and vibrant in that area where the reflection of the sun should be. Once you're done with that, you're going to wait for this to completely dry. And in the next lesson we'll be adding all the details and folk now for a palm leaf. So see you there. 36. Day 14 Part 3 : Island Sunset: Alright, now that we're done with our background and the water body, we are going to make our orange with a little bit of black and then use that color to add all the details for our leaves. I always get confused between fine leaves and Family Services. There's this long pause because I wanted to make sure that I was saying the right thing. So we're going to use to make our families. So for that, you can see he was a swatch of color. It's the slides black color, close to black color, I would say it's not your black. Orange mixed with black or dark brown color. And now in this section, feel free to add your palm leaves wherever you want, in whatever direction you want, right? I don't want to stop your guys, but tell you that just do this. Please feel free to experiment intersection and enjoy the process of adding your companies. So over here, I'll have 11 or two, just the whole of the palm leaves is what I'm trying to say. The whole of the bomb knees. And then the other section is just going to be a little sections of fat that you see. And adding little sections of these families religious into the law, rather than just having all the palm leaves. If you add the whole of the palm leaves and all of those. So make sure that you're adding sections of just the leaves as well. And this way it looks more natural. It looks much more better. Rather than having just all the bomb needs to be full palm leaf strokes. Go ahead and enjoy the process of adding your family still waiting. Alright, I'm really happy with the way this S dot out. Actually. Only the last thing that I'm gonna do, a slightly blend out the colors water body just a little bit. And I'm doing that by just using a clean brush with a little bit of water. Just a little bit of water. There is no paint on my brush, It's just water. I'm just sort of like blending those colors out a little bit so that all the strokes are not released sharp and they're slightly blended with one another. So very light movement as you can see, I'm not applying a lot of pressure. And then I am just going to blend out the colors for the middle section as well, because I felt like there was not a lot of details in the highlights of the sun. That section. Just blend it out. The white, yellow, white color that we used earlier, slightly blended it out with the background so that that acts more as one of the layers. Then once I'm done with this, as you can see, I'm not adding a lot of pressures, just slightly tweaking things. I am going to go ahead and mix white and yellow again, and then go ahead and add the highlights right under the sun. Once again. That is it. I'm done tweaking the beam thing here. I'm really happy with the way this has turned out. Actually. The highlights that I'm going to add, going to be the last thing that I do for this painting. Once you're done with this, you're going to wait for this to completely dry. And then once the section, this layer is completely dry, you are going to carefully peel the tape off. I'm trust me, once you pull the tape off, the painting is going to stand out even more. I am in love with this big thing. It was a little bit challenging. I'm sure it was challenging for you as well because there was a lot of layers involved in the water, in the river or lake or river ocean, sea, because there's lots of details involved in that. But I'm sure you must have enjoyed the process of painting surface. Here's our final artwork. As you can see, the papers come out and it looks much, much Beautiful. I love the reflection of the sun on the wet sand section that we were able to create. It looks beautiful. I am so happy with the way this has stalled out. And I really, really hope you guys enjoyed beating the 14th class project with me. And here's a sneak peek of our last and final class project. I'm so excited, so see you there. 37. Day 15 Part 1 : Fresh Air: Hello everyone, Welcome to the last and final day that is Dave, 15 of our challenge here is what we're painting today. That's the look beautiful. Well, that has quickly get started and discuss all the colors that we need to paint this beautiful artwork. First, you're going to have cadmium yellow on your palette. Again, as you must have figured by now, the colors are very interpretative. We have primary red. Next we have sap, green, so we need a lot of different greens that are painting the style. We have Prussian blue, we have lumped together in the darker greens into my painting. And lastly, we have white beans, so you need white quash with you to add in all the toned-down versions of the color. Here's a quick swatch of all the sheets that will be mixing. So let us quickly get started with painting. I've taped on my people on all four sides and taken all the colors out on my palette. As I mentioned earlier, the first thing that we are going to do is create a sketch. I'm pretty sure you have everything figured out by now. All the steps that we go through while painting with gouache. So let's create our sketch. I'm creating this uneven shape, as you can see, just follow me along, right. One die, slight slant line actually. And then I'm going to have three mountains, right? One after the other. And then on the left side, you're going to have a tree which is full of the different lashes, green color. We'll add all of that. You don't have to sketch it out perfectly. The main thing that you need to sketch out other three mountains, going to have one small, one slightly bigger and one on the left side. Right? Now feel free to just work with the shape. You can play around with the shape, no problem at all. I'm just going with three sets of mountains, hills, one after the other, just to add it to my painting. And I'm just going to fix just the sizes here and there wherever I feel it's necessary and go over and raise all the unnecessary lines in my sketch. This is what's happening in the middle ground. In the foreground, we're going to have a bunch of stems and flowers and all of that action going on. So you don't have to sketch all of it perfectly. Again, this is just going to be a rough sketch just to put in the elements in place roughly at once. We're done with that, we are quickly going to start painting the sky. So for this guy, I'm going to create the theme. Our usual colors that we generally tend to make. So I'm mixing red, the primary red, and the yellow color together just to get a nice peachy, yellowish orange color, right? So you can see here the swatch of that shade over here. I've not used orange directly because I want a little bit of that red undertone in my orange color that I mixed. And you get that beautiful orange shade when you mix your red and yellows together. And it's absolutely gorgeous when you mix it that way. And hence, I did not use orange just as this stuff mixed my primary red with a little bit of white. As you can see, it turns pink. It's a beautiful pink color that we need for our sky. So for now you can see we've got two colors. Next, we have a mix of our Prussian blue and primary red color to get a nice bluish purple color. Now, it's not too popular as you can see. It's not too purple. The amount of blue that I'm mixed in paint is more as compared to the red. The red just adds to that nice red undertone to the color. He was a swatch of that sheet, as you can see, it's just a very nice, warm blue color. And when you add in white, it really tones the vibrancy down and it looks so good as a nice tone down version of a blue color. Next, we're going to mix a little bit of white and yellow together to get a nice tone down version of the yellow sheet. So these are going to be the four shades that we use for this guy. So let us start paint. Now, I've taken my flat brush. I'm going to start off with the yellow shade right in the center of my painting. And then have this orange color that we mixed around it. And then around that orange we're going to have color. And the pink color is going to transition to the blue. Now, all this time, we have been blending the sky in a street format. We've been blending it left and right. It's all street over here. But we're going to do is slightly blend the colors in a diagonal way. What I mean by that is you're going to give a little bit of angle when you are blending the colors. As you can see, I'm not blending It's trait. I'm blending it at an angle. And when I do that, all the blends that I created, my sky and the sky's color is going to be all in this little diagonal method. So I've added in the yellow and the orange. Then the pink is more diagnosed. As you can see, there's a nice movement in the ink blend that I'm making. And the pig transitions to the blue that is also going to be spread out in a diagonal way. When you're going to have a sky. The colors like a skylight diagonal motion. The clouds, the placements of the clouds are also going to be slightly diagonal or at that angle so that it all goes with the overall picture and does not look odd, right? So just be careful about that. When we add the clouds, you have to give it a slight angle as well. Now we're going to just enjoy the process of blending all these colors together. And now, by now, you know all the four shades that we are using foot first step, we place the colors out on the paper. As you can see, I've placed the yellow, I've placed the orange, I've placed the pink. And then I'm blending the pink and the blue together with a little bit of white. So I don't have any other unnecessary colors in the sky, but I just have that nice seamless blend between the pink and the blue color. Once I'm happy with the placement of all the colors in the sky, I'm going to load the paint again and all those little sections that we just created. Then use a little bit of paint and the water to blend all these colors together. So once you have all the colors placed in, as you can see, you can always layer over it and add another set of paints over that same section and then sort of done everything out so that it looks nice and even and blend it out together with one another. So go ahead and enjoy the process of blending the sky. I want you guys to really work this time with your own all stuff that you actually gathered in all these 15 days, 14 days, if you've been painting, what do you guys to just use? Everything that you've learned? I'm pretty sure, like the steps that we're doing are very similar to the ones that we have done earlier. So it's nothing really different that's happening. Like, I'm sure you must have figured out by now, the blending process. How do you use the amount of water that you're going to use and all that stuff. So go ahead and enjoy the process of learning your sky. The only thing that you have to keep in mind is that the blend mode happening is in the slight diagonal motion. And other than that, I'm pretty sure you've got this. Alright, once the sky is completely dry, they're going to go ahead and mix the shade that we need for the clouds. The first color that I'm going to mix it, a little bit of yellow, a little bit of red into my blue mix, and a tiny bit of black into white. Now, if it gets too dark, you can always add white, light red. And as you can see, you get this nice and warm gray color. No, you don't have to use just black and white for the fig tree. When you mix a little bit of yellow, when you mix a little bit of blue and red, you create that nice neutral sort of create that goes with the color of your sky as well. And it's not just the black and white gray. Make sure that you're using a little bit off the colors that you're using in the sky as well so that you get that nice gray color that's warm and goes well with the colors that are in the background. All right, like I mentioned, you're going to have the clouds in the diagonal motion as well. I am using the blending dry brush technique. Actually want to use a dry brush technique and sort of add the clouds. In the pink section, mostly in the pink section. And this section that is transitioning from the pink to the blue in that area, I'm going to add the clouds using the dry brush method. As you can see, a lot of texture is being created. When I'm adding the clouds. It makes the process of adding the clouds a lot simpler. And you get these beautiful textures. The only thing that you have to keep in mind that your paint consistency needs to be thick and also your brush needs to be dry. And if it's not dry, you're not gonna get that beautiful dry brush strokes on the paper. I'm just adding a block of clouds in this section since it's a nice sons sort of thing that's going on. I want that area to be nice. And three, in that little section. And you're just going to go ahead and add gray clouds in that little area that I am adding it. And right now, right in the section where it's transitioning from the pink to the blue. This is the ITO. You have clouds that are going to be a lot more real, right? So this is the base color that I've added. That is a nice darker gray color. And I'm done adding the clouds for this now. Now to this, I am going to add a little bit of highlights. We're gonna do that by just mixing a little bit of white to the same paint mix that we used, a gray color that we used. And right under the sections of the clouds, I'm just going to go ahead and add in these highlights in the lower parts of the clouds. I can add this in because I want to show that this section receives a little bit of light from the sun. And that is why it's going to have a little bit of the lighter gray color in it. And then you can just use a clean brush to kind of get rid of the harsh edges around the second layer that we just added. So clean brush, just a little bit of water will just blend out these harsh edges. Both these layers will look together as one single layer. So go ahead and add the highlights in the lower part of your clouds. You don't have to go all the way to the entirety, the entirety of the clouds. Just in that little section that you think would receive the light from the sun. You're going to go ahead and add the highlights in that section. Alright, now I'm done with the highlights in that bit. I want to add a little more clouds on the left side. And the top corner of my painting. For that, I'm mixing white with the pink color that we use. Now I want to use a nice white color, but I don't want to use white as is. And I want the clouds there to have a particular sheet or a particular undertone. For that, I just thought mixing it with a pink color, I would really go well with the theme that we are in right now. I've just makes the pink and the white together. It's more white and a little bit of pink. As you can see, I'm just going to use the same dry brushstroke to sort of add a few little clouds on the left corner as well. Again, remember it has to be slightly in the same diagonal motion as the sky, so that it looks like a part of one sky and not all over the place. So make sure that you are giving it a little bit of an angle when you are adding the pinker clouds in the sky. Alright, so I'm really happy with how this has turned out. You're going to wait for this to dry. And in the next lesson we'll be adding all the details and our middle ground and foreground. So see you there. 38. Day 15 Part 2 : Fresh Air: Alright, let's start painting the mountains. For that, I've mixed a little bit of blue and the black color, a little bit of white together to get this nice, deep bluish gray color. And that's going to be the first color that I use for the far-off mountains. As you can see, I'm just creating this uneven shape, makes sure that you are bringing in a little bit of unevenness when you are painting the mountains. And then I'm just loading my brush directly with a little bit of green, just to add in a little bit of the roughness of the green color as well. This can be very random. It does not have to be properly blended or spread out. I'm just adding a little bit of the greenish color at the base of the mountains. This section is majorly going to get covered later on with the tree. So it doesn't really matter if it gets that perfect color blend or not. We just need to just add in the colors and then just hope fourth section to dry out as a lighter version of the Greek column so that it is nicely differentiated from the other mountain that we paint. Alright, so we're just going to let this be here. I'm just adding a little more unevenness at the top of a mountain and then wait for this to completely dry. Now that this is completely dries, you can see it has turned out as a nice darker gray color. I'm gonna go ahead and add a second Mountain, which is going to be a mix of the same blue and a bit more black this times, this time it's a little bit more darker. It's not black entirely. It has a lot of blue in it, but it's a lot more darker version of the same color. Now over here I'm going to go ahead and create that uneven shape. Again. This is my second Mountain which is still at a distance from the observer. And I'm carefully going around the top of the mountain, giving in that nice unevenness in the structure. And then when I come ahead to fill in this little area all the way to the bottom, I'm going to load my brush with a little lighter consistency of the color. And that is because I want this section to be wet for a little bit more time so that I can go ahead and add in a little bit of clean it up. So make sure that you have a thinner consistency when you're working with it so that it stays wet for a bit more time. And that increases the walkability of your sections. You can go ahead and add in another color while the paint is still wet so that you don't have those harsh edges. I've just loaded my brush with a little bit of grade, as you can see, I'm just applying it to dry it in section that is under the sun. Alright, so as you can see, I have carefully added the green, blend it with the black color. And then I'm going to go ahead and bring in some more textures and unevenness on the top of a mountain. Just to have that structure that I'm even that's on the surface. You can add in the green screen once it dries will not show up a lot, but it will still be visible. In this section, you will see a little bit of green in your mountain. So it's very important to work with it, even if it's not extremely green. So once you're done with this, you're going to wait for this layer to completely dry before we move on to the next. Alright, note that both mountains are completely dry. I'm going to take my round brush, my long round brush, and then I'm going to have a tree in the left side of my painting. So going to have some branches coming in directly without the base. And then you're gonna make some more branches on the tree trunk and all of that and add a little bit off thieves on it. There's gonna be completely full. It's going to be completely full of leaves and it's going to be nice and lush green to the first layer that we add is actually the deepest, deepest layer. That is your black color mixed with a little bit of green. Alright, so that is going to be the deepest layer. And then we'll work in layers to add in the lighter colors to it. So go ahead and add a bunch of structures of leaves and branches on the left side. Alright, now that I'm done with this section, I actually want to go ahead and add a little bit of texture with my spoilt brush. So I'm using a brush that is really spread out the businesses to spread out and it does not have proper shape. Using that type of brush or even using a hog hair brush really helps because you can add in that rough texture. This helps a lot when you want to add very fine details to the leaves or your foliage. And you don't want to work with your normal brush to add them that texture. So this one works really well. If you don't have a hog hair brush or any brush that is really stiff, right? So if you don't have that, don't worry, you can completely skip the step as well and just go ahead with your normal brush as well. But in case you have a brush that is spoiled and you can use the bristles of the brush to get in this texture. Then please go ahead and add in a little bit of that in the outer part of your tree. They are doing this as the base layer. So each time we go ahead and add another layer to sort of add in more texture and use different colors to lead over this. So, yeah, just go ahead and as you can see, I've done that on the outer part of the tree just to add in those tiny, tiny details to my. Alright, once the session is completely dry, we're going to go ahead with our second layer, and that is just my green color mixed with a little bit of white, just a tiny bit of white. But it's going to be mostly just the deep green color. And then I'm going to add a little bit of black to it as well. And using this mix, I'm going to go ahead and add in the picture this time covering, let's say, 80 per cent of the area that we just painted with the black. So coupled that with this green color. Alright, once you have covered almost 80 per cent of your foliage section with the textures of this brush, you're going to wait for it to completely dry. Once it's completely dry. Here's the swatch off the shade that we used earlier. Section is completely dry. We're going to go ahead and add a little bit of white into the same mix. As you can see, we get a lighter color here. This time we're going to cover only, let's say 50 per cent of the area that we covered earlier. As you can see, I'm focusing more in little sections. And I'm assuming the light to come from the right side and fall on the left side. So mostly the outer section of the leaves, outer section of little sections that are working with the outermost or the right side section of that area is going to receive the light. And that is why I'm working in those little rounded sections. You can see me add the highlights or this layer only in that area. And once this section dries, you're going to wait for it too. Once you're done with this section, going to wait for it to dry and then add a little more white to your paint. Elegant work in those little sections this time only covering 30% of those different areas. Focusing more on the section AD, AD or highlights in that section. So go ahead and add in the highlights in your tree. You can do the same process with your normal brush as well. If you don't have a spoiled brush. Alright, so once we're done with this, I'm just going to load my round brush with a little bit of the darkest color that we use and add in a few details of the branches just to define this, this little trees section. Define this section and add in some details and give it a more structured look. Right now are just looks like there's a lot of leaves and foliage involved, but we just want to add in a little more details of branches and a few little chunks, a few little tiny branches. So just go ahead and add in a little bit more details in your area. And then once you're done with that section, for this to dry, and then we'll move on to the next step. I'm really happy with the way this looks right now. So I'm just gonna make sure I don't overdo with the details in the branches and all that. And I'm just going to go ahead with the medium green that we use and just add in a few more strokes. Because if I had got to highlight it and then in case I covered any of the highlights by a lot, I'm just basically fixing this up a little bit. Once you're done with that, you're going to use that medium green color that we mixed earlier and use that to cover the third mountain that is in. It's not a mountain really, it's just the uphill row ground. So I'm going to use that color and sort of fill in that section with a nice deep green color, which is actually a mix of green, black, and white. And then I'm just loading a little bit of black color to add in few little details in that section. That's just not flat. So I'll just use the black color to add in a little more texture and color through it. And once it's completely dry, we are going to move to the last and final part of the ground. We're going to start off with a light green mix, which is a mix of our sap green, a little bit of yellow and white. So that is going to be the color that I use at the top both section of the code. And then I'll slowly transition to a slightly darker green color. So just going to add a little more green to the same mix that we used earlier in lateral section. And add a little more black and then go ahead and add in that green again. Now, I want to show that transition between the two greens. Because the deeper green color is going to be the color where we add in all the details for our flowers and stems and things like that. And that is why there is a drastic difference in the color of the green that we're using. So as you can see, we have a lighter green and then we have a slightly darker green. And then add the base. I'm just going to use this nice deep green color, which is the mix, some green and black. That is going to be the color as the bottom row section and over you and I'm actually making these lines, as you can see, which is going to act as the stems and the deeper parts of the stems. So go ahead and you don't have these strokes. I'm just using my flat brush to roughly add that and it doesn't have to be perfect. So go ahead and add in this detail with your darkest green color. Alright, so I am done adding the details of the grass and the stem section with the deep green color. So I'm just going to wait for this to dry. And in the next lesson we'll be adding all the details, I think in the flowers and stems and all that. So see you there. 39. Day 15 Part 3 : Fresh Air: Alright, now that everything is completely dry, that is, our B cell is completely dry. Let us make a mix of a lighter green color, which is going to be our sap green, mixed with a little bit of white and a tiny bit of yellow. Then what you're going to do is just make those vertical strokes depicting the shape of the stems and the base element for a florist rely on, you're going to be making these vertical lines of different sizes. Make sure that they are flowing around in different sides as well. And they are uneven. So this is going to be the second layer that you're going to apply. That you can go from sort of making the stroke from the bottom and releasing it upward or starting from the top of where you want the stroke to be and then releasing it downward. So it can work in both of these methods. As you can see that I'm doing, I'm making some strokes that are going to be from bottom to top and release them upwards. And the other, I'm bringing them from top to bottom, the ones that I make from top to bottom and actually going to be the stems at which my flowers will lie orange. They have a more rounded edge to rest upon. The other ones are just these three strokes that are Madigan. So it doesn't really matter what the shape of it is going to be, so doesn't matter. So yeah, go ahead and add this and once you're done with this section, you're going to wait for this to dry. Once this is completely dry, I'm going to make another mix which is going to be off the sap green color and a lot more yellow into the mix and a little bit of white. This time you have a dream that is slightly warmer in color. And if, let's say in the previous one, we covered almost the entirety of the area. In this one we are going to make a bunch of fewer strokes. We're still going to, let's say cow 50% of the area, but this time making fewer strokes. And especially we're going to add a little bit of more details and variations into the stems and the leaves. Over here, my strokes are going to be from top and releasing them to the bottom. Again, as you can see, they're all different sizes. And this one's in the foreground, like the ones at the bottom, are going to have a little more strokes that will depict the leaves in my structure, the base structure. There isn't really any particular way in which I'm doing that. I'm just making these irregular lines coming from the main stem. That is going to be what the leaves looks like. So you're gonna do that at the base section and then just add in these strokes just to add a lot of variations in different layers into your foreground. Go ahead and add that. You could also make these little, almost like a soccer club, but these can be the flowers that I get two tones. You can add those details in as well. Alright, so I'm really happy with the way the system and out at once I'm done with this section, you're going to wait for it to completely dry. And in the next part, we'll add in the flowers. So now that the layer is completely dry, I'm going to load my brush with some white paint. And as you can see, I am going to have different variations in the flowers. I'm ready to stopping in a random shape. I'm not really following up a shape here. I'm just tapping it in because you don't want to move on to work a lot with the details. You're going to rest your flowers on stems that you mean. The lightest stems that you've made, you're going to rest your flowers on them. So go ahead and add these little variations. You can also play around with the shape of it so you can make some of them bigger and smaller sum of all round. Some of them in this wheel is regular shapes. So go ahead and play around. In this section, we'll just add a bunch of flowers into your foreground. Once they've done adding the flowers, I'm just going to go ahead and add a really nice light green color to add a little more highlights. In this section, we're going to just make a few strokes with a scalar. It doesn't have to be a lot, just a few little strokes. I'm going to add them in the section in-between where you don't have green, but you want to add the highlights. It doesn't, it's not really following a particular light and shadow method. I'm just adding in the stroke's too so that these desert stems look a lot more brighter as compared to the other one. So just go ahead and add in a few. You can also make a few little leaves and add in a few, but if you want, so just go ahead and add in a bit more highlights. And then I'm just going to load my brush with the black color and sort of make a few more of these lines as well. Just to add in a little more details with the black color. And I'm actually happy with the way this looks. I'm just going to stop right here. And once everything is completely dry, we are going to kill the TPP carefully away from the paper. So as you can see, we've got nice clear crisp edges. And once the tapers off, the paintings really stands out even more. And here's what our final painting looks like. I am so happy with the way this has turned out. I love the blended sky, the clouds, the lashes, green colors, and the flowers and elements in the foreground. It all really goes so well together. The colors look so good. I'm so happy altogether. And I hope you enjoyed watching and painting this day. 15th class project with me. Let us sort of collect all the 15 paintings that we have painted. Let us see what they look like altogether in the next lesson. 40. Final Thoughts: The TO guys have reached the end of our 15 days, of course challenge. I hope you enjoyed painting 15 beautiful landscapes with me over the course of 30 days. I also learned a lot about the medium. I tried to cover as many different types of skies and elements as I could in these 15 days. And we've covered a lot. If you asked me if you've got some beautiful sunrise skies, evening skies, night skies. We've covered all different types of skies and different elements as well. I hope you totally enjoyed painting landscapes with fee. And I'm pretty sure you've got everything covered now. And I'm very confident in your guys that you can pick up your paints and sort of pick your own landscape image and give it a goal. I'm sure that I have that much faith and confidence in your guys. After the 15 days of the challenge. I would love to see your creations, so assemble them all together and share them with me on Instagram. At this simply aesthetic, you can also upload it under the project section of the class. Don't forget to leave a little review down for me as well. And if we're interested, you can watch my other classes on Skillshare to, Here's a little less humble of what my 15 big things look together. And I'm so happy with the way this has turned out. I'm really excited to see yours. Anyway. See you soon in the next class. Bye.