Transcripts
1. Hello and Welcome Back: Hello everyone and welcome back to a new Skillshare class. I'm an artist and art educator from India. You can find me on Instagram under the handle, creating from the heart. I began, my creative journey lasted through the long town. At that time, I just began with watercolors. It's later on that I came across this beautiful medium called squash. And since then I love this medium more than what allows, because it is a forgiving medium and it's fun to play around with this region. After having a few wash classes on Skillshare and received a lot of requests for my students to put up a wash Challenge class just as my 21 days watercolor class. And that is what motivated me to create this 15 days was challenged class. So your I am presenting to you this new class of 15 days wash challenge. In the beginning, we will be doing very easy being things like warm-up exercises for our future class projects. So the first five to six class projects are going to be very simple and would majorly be done in under ten minutes. And later on as we move ahead, we will be doing projects which are having a lot of detailing and would make you know more about this medium. I hope you will join me in this challenge and explore this beautiful medium and fall in love with this medium. Just as I did initially, I will discuss all the materials required and some of the basic properties and techniques for this class. And then move ahead with our gas projects every day for the next 15 days. I hope you will join me in this 15, this challenge and explore this medium with me. I will see you soon in the next section that we discussed all the materials together.
2. Material required: So before picnic, let me walk you through all the materials that we will be requiring for this class. I will be using this mixed media sheet. I have caught this one sheet into four equal house, that is into an E6 size. The bigger sheet is a full size. This is 250 GSM mixed media sheet from the brand Irish people. You can use any size sheet and any brand sheet that you are comfortable with. But I would recommend a sheet about 200 GSM, at least. For the goulash colors. I will be using two of my sets. This is the masterclass gouache set from the brand neighbor palette. And I will be using my blue stroke wash set. So which is 24 sheet set. I will be using the mix of both these brands. And for each painting, I would specify which color I'm using from which brand and which alternate color you can use. Next, I will be needing a masking tape to tape down my people for the clean edges. Next, I will be using this canvas board. This is an A6 size canvas board that I will be using to tape down my paper. You can use any surface that you wish to tape down on blue. Next, you will be needing a mixing palette to take down all your colors. So I will be using these two pallets. One palette I use for all my black and white needs, and one pallet veteran, I mix all the other colors. Next, I will be needing some tissue paper for dabbing my brush and removing the excess water or cleaning my brushes. Next, for every painting, you would be requiring two jars of clean water to clean your brushes and for using damp brush for blending purposes. Apart from this, let's have a look at the brushes. I will be using the scanline synthetic size seven flat brush for almost all of my painting, for painting the background. Next, I will be using my Princeton heritage size three round brush. This has appointed depth, so adding final details with this becomes easier. At the same time, I will be using my silver black velvet size four brush. Again, this brush also has a pointed tip. Apart from this, I will be using my gambling synthetic doubles your size brush for adding those very fine details. And lastly, I will be using my chisel blender brush and a simple round brush for adding clouds and some details. So this SHE cell vendor brush is from the brand silver black velvet. Do not worry if you do not have that same brush. You can use any smaller size flat brush or a round brush to add the same effects. Apart from this, I will be requiring my white gel pen for adding in the details. You can use whitewash or white acrylic for the same. And I will be needing a pencil for some pencil markings in few of my being Deng's. Also Ivan be using the spray bottle to wet my paints and you know how to deactivate them at times you can use 0 brush and some water droplets. So this is all about the materials. Go grab them, and I will see you in the technique section.
3. Technique 1- Consistency of Gouache: So let's begin with some of the basic techniques of quash. The first important thing to understand the boat garage is the consistency. So your I have some metallic read from the plan or naval pilot. And I will just, I have just actually bought in this red color onto my palette. And I have not added any water to it presently. This, my brush was a little dam. Now, without adding any water, Let's try to swatch this color. You see this color already has a little creamy consistency. So I was able to spread the color in an even consistency throughout. But now if I will add too much water to this. So let's see. At present, if you see the color is quite big. And now after adding too much water, can use either defense. You're the calories, so a peak and your the color has drawn lighter and the white page is being visible underneath. So very important to understand is the consistency of gouache and how much water to add in. Also, if you will not add the correct amount of photo, your kalos may not spread evenly and it may begin to give you some dry brush technique. Look. I'm unable to spread it and it's giving me this dry brush, true? Because the consistent was not what is needed for it to glide smoothly. It's very important to first take out these colors on your palette, make them creamy, and then use it if you need a good creamy consistency of these cantos. Okay, So this was important thing about understanding the consistency of these colors.
4. Technique 2- Blending: The next thing to understand is about the blending technique. I will be discussing three blending techniques with you people. So I will be using this madder lake red and ultramarine blue color for all the three blending techniques and try to show you the difference between all three. So basically, it depends on which color you want over onto which color or how you want your background or the blending to look. So first blending technique that I will discuss with you is I'm picking up this red color and lay down this red color for now next, I will pick up the ultramarine blue color. Remember, when blue and yellow mixed together, they begin to form a population tone. For the first technique, I believe, my blue color onto my pink color and see how the effect looks like. So if you see my blue color was laid a war to my pink color. And I have this population blue color at the bottom area, and the pink color is no longer clearly visible. Okay, So this first, the first technique, you use one color onto the other. Now in this again technique, you use the other color onto the second color. So maybe like in our case, now I will be using the pink color onto the blue color. So I would first begin laying down the blue color this time. Now I will shift to my pink color. And this time from my pink color, I'll be going to the blue color. So the pig will be lead over to the blue this time. So now you see, this time I have an additional open your eye had a bluish purple. Your my blue color was visible distinctively. Your my pink color is visible distinctively. So that's how you decide which color you want to lay over rich for blending purposes the other way, and that is the third way of blending that I will be using is using white quash. So basically, in the third technique, I will be leaving a gap between both the kalos, in between both the followers. I will be using my white gouache and try to blend the colors having a gradation. So now if you see both DACA laws are visible distinctively and I have a clean gradation in between from the blue color, pink color. If you want to, you can leave the gap, even by Dojo, to have a more lighter tone using whitewash in a larger area. So these are the three kind of blending techniques that I have to discuss with you all. Now, in the next section, I will discuss some types of clouds with you. So see you in the next technique.
5. Technique 3- Clouds: So let's have a look at the different ways of adding clouds that I will be using throughout the 15 days. So the first kind is by running my brush in circular motions like this and trying to form a cloud shape. So you see, basically I'm just running my brush in ground motions like this, that is the circular motion and trying to form the cloud shape. Okay, so this is one kind of adding clouds. The second kind of adding clouds is just using the dabbing technique. You try to form a Cloud Shell. So the reason for using the dabbing technique is so that I have this uneven edge which makes it look more natural like a cloud. So this is the second way of adding clouds. The third way of adding clouds will be using the half C strokes like this. The fourth way of adding clouds could be just running your brush like this in as exact manner. The depending, you could use a mix of all the four techniques. All, you know, you will anyone technique now see if I want to use this technique. Using this technique itself, I can place the clouds quite close to each other. So let's take this as a background and I'll try placing the clouds. So you see I'm using the half C strokes and pleasing them so close to each other, that is beginning to form a shape like this. And I could even plays a Cloud using the circular motion. Now the difference between these two is your novel still see gaps in between and the background will be visible. Your, there is no gap for the background to be visible actually. So depending on what kind of painting you want and if you want your background to be visible a lot, you can use the type of Cloud techniques that you want. Also, in the same way, you can even add the clouds with your flat brush or a GSL vendor graph. So basically just moving like this. That is, I'm using the tip your own and trying to just give these cloud structures. So I'm just moving my brush very non randomly in a zigzag manner to add these clouds. In one of the paintings. I hadn't even be using a very fine liner brush that is a size double 0 brush. And I will be just using that and adding these fine clouds like this and placing them so close to each other. But it begins to look a big cluster of clouds together. So these are the different kinds of adding clouds. Okay, now let's move to the next technique and see some more detailing about Kourosh.
6. Technique 4- Layering: Now, after looking at the blending techniques and the Cloud techniques, Let's have a look at the layering technique. So I will forced pin two areas with this purple color and wait for one-off template dry. And one of them I will be using Bennett is read only. So the first block, and now let's paint a similar other block also. So I'll wait for my first one to dry and undo this second one, which is still wet. I haven't tried to show the learning technique. Okay. So the second block is still wet and the first one has dried a little. So I'm picking up the yellow color. And let's lead down on do this block that is still wet. So you see the paint is beginning to spread and is merging with the background and not giving a clean finished look because the background is still wet. So that's the important thing to understand that if you want to use the lifting technique and want that clean, sharp look, you need to wait for your background to dry completely. So let's wait for a forest block to dry completely. And then we'll repeat the same step on to that block and see the effect that is drying. Let's have a look at how we'll be painting the CVs. So for the CVs, I'll be using my pointed tip brush or my size double 0 round brush. And I will just be giving these fine details, a little half C stroke for making these see rebuilt. Or you can use any small detailer brush or a brush that has a fine day. So these two and we'll be reading the size of the rebuilds accordingly as needed. Okay, So that is about the basics of the rebuilt, which we will keep reading. Now. The block has dried. So let's please the yellow color on Buddhist dried block. So now you can see the yellow is vibrant. It's standing out well and it's not merging with the background. And it's clearly visible in an opaque consistency and, or clean look. So whenever you want to have such a detailed look, it's very important to please stop kalos and old Leo's only after the background layer is dried. Audience, you will begin to have this messy look within your background is still wet and you leave it down and it will not give you the finished look. Now, let's understand some of the basic elements also. So forth. Let's have a look at some of the boards that we'll be painting. I will be using very simple bold shapes. That is a V-shape and then a straight line underneath or a V-shape. And you know, the very basic bird shapes. I have discussed all of this even in my previous class, 21, these two watercolor. So the basic shapes of boards into the paintings.
7. Day 1 Clouds: So let's begin with our first class project. The colors that I will be using for this one is a shade of yellow and the shade of blue. This is lemon yellow and this is sitting in blue. Apart from this, I will be using black and white quash for blending and the silhouette. Let's begin painting. I will first begin with this lemon yellow color from the bottom area. For the blending of the yellow and the blue color, I will be using the third technique, that is the white quash technique. Because when blue and yellow mixed together, they form a green color. And I don't want any green color to be formed. Now at the top, I'm laying down the sediba in blue color. In-between watercolors, I have left a whitespace and I'm going to be placing fight GWAS data and using the blending technique. You see, despite using whitewash, I accidentally done my blue color into the yellow. So I'm picking up some yellow color again, and I'll begin blending from you. Now. I have again picked up some white brush, and now I have energy blended. Have that clean deviation. And To finish color for now, I'll wait for this background to dry and then I'll be adding the clouds and celebrate for this one. So my background has dried and I will just prepared a column for the Cloud. So for the Cloud I will be using my city in blue color mixed with a pinch of black. So it is basically forming a grayish blue color. And with this grayish blue color, I will be adding the clouds. Now, I'm using my round brush size 3 and using the half C strokes, I'm just clearing those strokes near to each other. I'm not using the circular motion. I'm just using the half C strokes but placing them close to each other such that it's looking like, oh, so kilo Cloud. But the effect is a lot different. I did add another big cloudier. Now on to the remaining sky, I will be placing smaller clouds using the same technique, but a little far from each other. So basically I'm just using the half C strokes and placing these clouds far from each other. And some very trying to show a little cluster again. Now let's add some clouds at the top area also. So picking up some black wash, I will first mark or bush ADR. Now let's fill this entire area with the black wash.
8. Day 2 Street Light: Hello everyone and welcome to day 2 of this series. So today we will be painting an evening kind of sky. So the fellows that I will be using for this one is this shade of pink. You can use a crimson color or any pinkish tone available in your palette. And I will be using the ultramarine blue. You can use any blue that you like. And apart from that, I will be using black and white goulash. Now, when the pink and the blue colors will blend in between, it will form a purplish tone. And I'm okay with that published on being formed in my painting. So I will not be using any white quash for blending this time. So let's begin dumping fellow at the water media. Almost half of my page, I have covered it with the pink color. Now the rest half, I will cover it with the ultramarine blue color and then put them in between. So you see, I kept running my brush completely from the top to the bottom to get that clean blend. Now, I will just repeat the same from the bottom, just picking up some pink color because I feel I need a little looping. So there I have to clean blend. I run my brush from the bottom to the top again. And in the center area, I have contact published on. Now, I'll wait for this background to dry and then begin adding the details to this. Now to add the clouds or a little of it, I will be mixing the same sheets that I used for the background and form a purplish tone. If you want, you can use a direct violet color or maybe a purple color. So you see, I formed a purple color by mixing both the callosum almost equal proportion. Beginning the ordering. Some clouds, very limited and very less. So just in cloud shape format, I'm lowering down these clouds. And very randomly I'm laying down these clouds. Nothing in specific. But just notice I'm not leaving them all in the same direction. So your if I had the bigger ones at the top, I'm placing the smaller ones, you're, I'm adding this cloud in the center and somewhere just some smaller clouds. You see dragging from the edge to the center. I'm in tilde, a little area that I want to add the clouds. And that is it about adding the clouds. Now at the bottom area all this time, I will be adding the silhouette forced with this seem dark purple shade that I have. So I'll pick up my flat brush again. I'll pick up this color. And I will just keep moving my brush in a little zigzag manner and try adding the bush like this. Notice I'm reading the height of this bush data. I'm trying to add some where I'm taking it to the dock and somewhere I'm making it small. I've just added the bush. Now to this, I will be adding to street lights. So I'll just pick up my black wash and using my size three pointed brush. I first add to street light poles. Your if your brush does not have a pointed tip or if you're not confident adding it with a brush directly, you can first do a pencil marking using a scale and a ruler, sorry, a scale and a pencil. And then mark all of these Edo with a black marker, or use your fine liner brush. Now, your eye will be placing the streetlights. Now using my right. I will add the lights, your Justin. So kilo Mano. Now I will again use my brush and give a very fine outline to these lights. Now at the top, give some detail to this poll. So I'll just place a triangle and add the water media. I'll just add some blocks. Now with the black color. I will just be adding some Bush on one side. So basically, I'm just using the dabbing technique here again. So as I told you for the initial first few days, I will be keeping the class projects easy so that you begin to get a hang of the blending and wash and understanding its consistency. So that is the reason I have kept the class projects very simple and visits in the beginning. Okay, so we are done with this second class project. Now let's remove the masking tape and see our final painting. So you notice our class project from D2. I hope you guys understood the blending of two colors, which form another color when it is blended together. So that was one of the Takings from this class. I hope you enjoyed painting this with me. I will see you guys tomorrow with the next class project. Thank you so much for joining me.
9. Day 3 Green Galaxy: Hello and welcome back to this series. Today we will be painting a green galaxy. So let's have a look at the colors. I will be using a shade of yellow, light green, dark green, and white quash and black wash. So I didn't the beginning or widow of b right color at the base and then move to yellow, then a light green, dark green. And I have the top layer, the black color. If you do not have a light green color, you can mix in a little bit of yellow to your dark green and form this yellowish green color. Now, I'll begin with a white quash forced. So at the bottom, I will lay down, fight cosh, and then I will pick up the yellow wash and try to blend in with the white quash and get a tonal variation to the yellow color also. I know you may feel that instead of painting that area with white quash, we could have just left it white and let it be there. But no painting that white quash is important to get the yellow light look that I'm getting. So forgetting that look, it's important that white quash v's there also that it blends with the yellow and gets that light to shine. Canto. Now I'm picking up the late Jean Calas and I am layering it near to the yellow wash. And after this, we'll go to the dark green shade. But before that, I'm trying to blend each layer as I'm painting this time. Now finally with the dark green color, Let's leave it at that top area. And also if you notice, my brush movement are a little circular this time and not straight lines. So that is the reason I'm able to get that. So kilo blend throughout. Now at the top, I will lay down the black color and I will blend in well with the green. And throughout I will try to get, get a clean blend by using a damp brush. So you could either lift up your people so that the blending becomes easier or in whichever way you walk on suitable width. And now I will run my brush completely from the top to the bottom to get a very clean blend. Always remember if between blending, you wish to pick up any shade. So see, right now, I am trying to blend the dark green and the black color. So I picked up the dark green shade onto my brush. Similarly, say if I was at my yellow color, I could pick up some more yellow color and blend. So you see, now I'm picking up the yellow color to get the blend near to my yellow color so that I have that clean blend and act places. If you do not want to pick up color, you can even use a damp brush to get a clean blend. So now you see all my blends are looking Cleo by picking up the color and I have that so kilo motion throughout. And I also have that yellow blue light at the water medium. Now my background has dried. I will first begin splattering the status. So for that, I am picking up my white quash and I will splatter it with the help of my fingers by tapping onto my brush. Okay. You can use another brush to tap this brush, or you can use the fingers as I'm using. But be very careful. This will surely spoiled the area around. But the masses voted. So this way you can even use the other brush to tap and get these platters of stars. But remember to get these plateaus in very small consistencies. Otherwise, if you will ask too much color onto your brush, the stars or may even look very big and the colors midges drop onto the people, which will make your galaxy looks a bit out of proportion. So it's very important to have these tasks in small consistencies. So I still need to add some more stats so I pick up more color. And I'll again do the same process till I get the required amount of stars onto my galaxy. Now, I believe in lay down some stars. Did API would that give off my brush? You know, some big O stars all and some shooting stars, enzyme shining stars is also what you can add to the galaxy. So now even I will play some shooting stars into my galaxy. So I just place the tip of my brush and lifted off taking that you're not pulling of that star kind of structure. And also some shining stars. That's a small plus sign or do you know, give that shining star look. Now lastly, I will shift to my blank garage and begin adding the pine trees or onto the entire bottom area. But my pine trees are going to be in slant motion of different heights, heights, different shapes, and all, you know, weeding throughout. So just very basic pine trees, not detailed one, but they will all be in a slant motion a bit as underwater media, I will make it look a little circular after all the pine trees are added. I know adding buying T's may look or DDS task and you know, you may get bored. But honestly the spine jeez, makes your painting look go, you know, much better than any other symbol trees. Also, you know, you can take breaks in between and come back and you know, pinned again because quash being forgiven medium, it will be completely okay if you leave it somewhere in-between and pick up your brush again after some time and try to complete a painting. That way, you will feel relaxed also and you will be back with a fresh mind. So you see at the bottom media now I'm just adding these pine trees and straight. Now, as I will again, move towards my right side, I will begin this London, these g's again. So that again, it forms like a U-shape in the middle, at the end when all the pine trees are I did. Here. I'm polymorphs done adding the fine teeth, just a few more to go. And as I said, if you feel you can take a break in-between and rejoin painting these trees from anywhere that you left. And after painting these trees, I will just be adding a moon to my sky. And we'll be done with our painting for today. And I'm sure you would love this green galaxy when we see its final outcome together. So then we are done the final painting with just, let's add the moon. So I will just add a small moon with my white gel pen. You can add it with whitewash. If you do not have a white gel pen. Or you could even use white watercolor or white the credit color intake consistency to add this moon. Now let's remove the masking tape and see our final painting. So if you are, is the final painting. I hope you guys enjoyed painting this green galaxy with me. I will see you soon with the next project.
10. Day 4 Intense Clouds: Hello and welcome back. Let's begin with our today's painting. We will be painting and in dense cloud look today. So the major focus will be clouds for the day. And the colors that I will be using today is a pastel shade of pink and a basal shade of blue and black and white quash for details. Okay, So for the sky area, I will be having a blend of the pink and the basal blue color. I will be using the blue color. You can use any lighter blue because we will be mixing invite. Now let's begin painting the sky area first. So beginning with the pastry, shade of pink. So just laying down the base still pink color. I have used the rules color from the bruise true brand. You can use any pink or red tone that is available. Now, I will pick up the pace still blue color that I have made by mixing my city Lynn blue and white and add the top area of the sky. I will begin laying down this city lean face still blue. And I will blend it well with the pink color. So you see as the pink and the blue is blending together, that is a little population that is already formed there. Now, the background of my sky dries. I'll pin the CAD. So at the CDR, I will firstly down a little of the white color because I want the pink in much lighter tone there. And now just adding a little of the pink and basically the sky, the C is the reflection of the sky. So the same colors of the sky I'm using, but just in a lighter tone. And now at the bottom, we'll just please the blue color and blended. So you see basically my c is just a reflection of my sky. Now, before moving to the clouds, I'll just add the CVs and do the CAD. So for adding the CVs, I will be using the saddle in blue color, but without mixing any white to it that is in a little darker consistency. And I will just be giving very normal CVs because the focus of this painting is the clouds. So just using my chisel blender brush, I will just be giving some of evs moving criss cross to each other. So just using the tip of my brush, I'm laying down these VFS, very few, not too much. So in this painting, I have not focused onto the leaves o smaller, newer to the horizon line and then increasing it. Just basic weaves is what I have kept for this one. And now using the same setting in blue color, Let's begin painting the clouds. So using my chisel blender brush, I will just lay down these clouds. You can use your round brush and move it in a circular motion and lead down in this share. So while most onto my entire sky, I will be laying down these civilian blue clouds first, and then I will be adding a darker tone layer of clouds. So medially at places I'm just using the tip of my brush and loading down smaller clouds closer to each other such that they are looking at cluster of clouds together. You can add all of these clouds using a smaller size, flat brush, order round brush. So don't worry if you do not have the same brush, but try using the tip of a flat brush or of a smaller size flat brush to add, you know, such clouds. Now at the top area also, I'm just laying down some of these sitting in blue clouds very gently. Remember always that vial adding layers and go wash your hands should be very gentle and do not apply too much pressure onto the brush. So you see at the top, I have really done these clouds are little far from each other and not do closer or O of big cluster together. Similarly in this style, only using the tip, I will be leading some clouds near to the horizon line also. So you see just using the tip, I'm layering these clouds onto the sky. And that is it for our first year of clouds. Now onto this, I will be adding the second layer of clouds. So for that, I am mixing in a little tender of black to my civilian blue. So that will give me a greenish blue shade. And I will be learning the second layer of clouds with this grayish blue shade. So you see now with this grayish blue shade, I'm just beginning to lay my second layer of clouds, but make sure that your first layer is completely dried. Also remember, right, you're adding the second layer, do not cover the entire force clear or else it would make no sense adding the fourth layer. And also remember to place your hand very gently and the brush should be used very gently. Do not apply too much pressure. Otherwise again, the base layer will get activated. And as you can see, I am still able to see the BCR also, then you will not be able to see the beast. And wherever you feel that you need a little blending, just dab it with your fingers as I'm doing. So just a little darker clouds or urine there that I'm adding. And then we'll be almost done with these and dense cloud. And you know, just the main focus of our painting for today. Okay, So this is it. And now lasting, the CDO looks a little too clean. So we will just add in a little detail with the black wash into a sea area now. So I'm using my Princeton heritage size three round brush and using blank gosh. I will first add in a mountain range at my horizon line of very fine mountain range with the blank cosh. And after that, I will paint a little short area at the bottom and add some drops to the painting. So I'm done building this mountain range. It was this tiny and small mountain range that I needed just to add elements to our painting. Now at the bottom, let's paint our shoulder area kinda look. So that is it for my shoulder area also. Now the last thing, let's add some tiny rocks and do the sea area with the black wash. Your brush does not have a pointed tip, uses smallest size brush so that you get these fine details. So I guess we are adding of you in different sizes urine there. And then we will be done with this painting. If you want, you can even add reflection. Do these rocks with all the grayish blue color or black color as you prefer. Okay, so just adding a little tiny, tiny rocks also so that the composition looks more natural. So I'm done building the routes, and now I will use the grayish blue color that we used in the clouds and just add little reflection to the bigger rocks that we've been dead. So I'm just using the tip of my brush. If your brush does not have a coin to use a detailer brush for the same. And that is it. I'm done painting the reflection also. So now let's remove the masking tape and see our final painting, how it looks with those clean edges. Okay, so let's remove the masking tape and see the final painting together. So your is our final painting. Doesn't these intense cloud looks so beautiful. I hope you guys enjoyed painting this with me. Thank you so much for joining me.
11. Day 5 Misty Red Sky: So let's begin with our today's painting. We will be painting a misty kind of Seaside look. So for this guy, I will be using red color at the top and then using white gouache. I will be trying to 3D the tonal value of the red color to give it an ISTJ look. And then I will be using a white quash and black wash and mixing in to a green color. And I will be using this green shade in different tonal values again, or for painting my mountain ranges. Okay, So that is about what are basic composition will be. Now, let's just have a small pencil sketch that is the horizon line. And it, she's going to be about almost 30 percent from below my people. So this is my horizon line. Now, the top area is my sky area that I will be having red color in different tonal values. So let's begin painting the sky first, I will begin picking up this red shade. You can pick up any jade color or pinkish tone, or maybe a crimson colored autoscaling color. And I'm just placing this red color first. And then I will pick up only whitewash to reread a tonal values of this red color. Now, I'm picking up right gosh, and onto the remaining area of my sky, I will just be using whitewash and trying to vary the red color by blending in. So you see I'm only picking up white goulash and no more red color. I'm just trying to get that upper red color only on do this white color using the blending technique by just moving my brush back and forth. And now to have a clean blend throughout, I will run my brush from left to right completely from the top to the bottom of my horizon line. Okay, so I have got that clean blend and do my sky with different tonal variations of the red color and a good look of the Y2. Now, I think the CDF first. So this time my c is also going to be of a grayish tone. So I'm mixing in my black quash and my white quash and trying to get a gray color. And with that gray color, I will lay down onto my entire area first. So you see, this is the gray color that I have mixed, just mixing my black and white quash and we'll apply it onto the entire CAD. So just the plain gray color on today, entire area like this. This, I'll begin painting the mountain range or at my horizon line. So for that also, I will be using different shades of green. So to this same green mixture that I used in my CTO, I will be adding in a lot of white to get a very light tone of gray forced because that will be my Ford's Theater of mountain and then I will be adding folder darker value of green mountains to that. So I have picked up my lighter gray. And now I'll please one big mountain range at my horizon line of this light gray color first. Okay, So this is the force change of mountain. Now before adding another allele, all we need to read for the first layer to dry. So didn't then we will add some details into a CDO with the black wash. So again, I will first be adding a small short area. And this time I'm just trying to vary the shape of the shore so that is the reason in between I have tried to add in, you know, the different look to the shore area. So let's fill this completely with the black wash. Now I'm shifting to my smaller size Jiang brush, that is the size three brush which has a pointed tip. And I will just try adding some very small grass popping out from this short ADR, very teeny tiny ones. So you can use a detailer brush if your brush does not have appointed. And also I will, you know, vd them across the shoulder area and not added everywhere compulsorily. So that is it for that small should eat here at the bottom. Now my force cleared of mountain, that is the light green mountain, has dried completely the LEO we been dead. So now let's add the second layer of mountain there. So to really the total value of the gray color, I am adding in a little bit of black goo that light agree to get one don't darker shade than that one. So always remember to vary the tune and values of any color. You can add in black if you want to darken that Kahlo, and if you want to lighten the color, you can add in more of white quash. So just a half range bound in this time. And after this layer also dries, I will be adding on UDL, dark allele orange onto this mountain again. So now my second range of mountain has also almost straight. So I'm adding in a little bit of black to this darker gray again to get another darker level to one of the gray color. And I will place an even smaller mountain j, such that I get these three VD ID mountain ranges in domain or horizon line helium. It properly. I'm done with all my mountain ranges. Now the last thing left is to add a tree. This tree is going to be with just a lot of branches and leaves or any detailed or thing. So using my black wash almost into the center area, but a little towards that, I I will first mark the stem of the tree and then just begin adding branches to the street. Again, remember to add our branches. I know some TIBCO. So if your brush does not have a pointed tip, then forced add the Tico branches, then shift to a detailer brush and add the final branches. Because that will add the beauty to European did and give it the natural look that it should have. Some forced majorly adding the ticker branches by my brush also has a pointed tip. So at places I will add those thinner branches all to all together. And I'll just continue adding some branches. Since my brush has a pointed tip, I'm able to do both don't work together. That is adding the final branches and some thicker branches together. And keep adding these branches until new fields are displayed. Of course, your placement of the branches can be different from mine. It's all about knee joint, so it can be nitrogen as you want when you want to place it need not be same as mine. Now, just the last few more branches here, and I'm done adding the branches to my tree. Now, one last thing left is I will just add in some rocks and do my CAD using the same black brush, just tiny ones. And this time or Buddha see I'm not adding any sea waves. I'm just keeping it as simple, clean, greasy with these rocks. So, you know, and this will help us loan one element at a time. So my main focus in this one was getting these two new values by just using black and white. So even in the red color, we did that and even for the green color, we got the different tonal values. And just a few more of them. That's it. So let's remove the masking tape and see your final painting now. Your final painting. I hope you guys enjoyed this.
12. Day 6 Blue Therapy: Hello everyone and welcome back to this 15 days Watch Series. Today we will be painting or blue landscape. So I will be using this Prussian blue color. Then I will be using whitewash to VD the tonal value. And lastly, I will be using black wash to add the final pine trees to the painting. So let's begin with the Prussian blue color. I will firstly down some amount of pollution, blue at the top ADR. Now after deletion blue color, I will just be picking up light and try to VD the tonal value of this Prussian blue. So that much is it for the Prussian blue color. Now let's pick up right quash. And I will begin learning the white goulash near to the ocean blue color and try to get the tonal variation of the pollution blue color. And I will blend it all tell the top area. So you see, I did not want the exact right color, but I needed tonal variation of the pollution blue color. That is the reason I placed a white color there. So to get a clean blend to my sky, I will move my brush from the top to the bottom using a damp brush. If you feel you can even use colors instead of damn brush depending on how your consistency looks. So that is it. I got a good tonal variation of diffusion, blue color. If you want to make it for the lidar, you can still add in a little more white quash and make it more lighter. But this is the exact color variations that I needed. Now, I'll read for this to dry and then I will be leading a mountain range. So my background is dry it. And now using my round brush and the Prussian blue color, I will be adding a layer of mountain. You're so basically this mountain range will be having that spiky edge look. So I'll first place the mountain range, then give those spiky edge. Now, also do this mountain after adding the pollution blue the same way, how in the sky I tried to get the tonal variation. Even do the mountain. I will be giving the same tonal variation. So basically this will be looking like a misty blue landscape, kind of full view. Okay, so first, let's please this mountain range, then add some pollution blue, and then using vite will vary the tonal variation. If your brush does not have a pointed tip, you can add these details using or detailer brush. Now, some pollution glue that I have laid just a little more at the edges. Now, I will use whitewash and repeat the same step, just what I did in my sky area that is pleasing the whitewashed near to the blue and blending it with the top area. But be careful that you do not owe you don't lose those spiky edge loop blending it, you not do rigorously. So be very careful at that area. Let that little line the dark blue color only so that you do not lose this variation. So, so that I do not lose that variation. I picked up some pollution blue and try to blend it again so that the blend also looks clean. And I have a good transition to this mountain also. So this is what I mean, where at certain places you feel the need to pick up the color again for blending and where you need to pick up the damp brush for blending. So your I felt that because I can not run it the dot dot, I picked up the Prussian blue again and again for blending and got this tonal variation. This, Let's add a little bit of more white so that I have a good gradient. So almost after picking the colors multiple times, I'm able to get a good gradient and still maintain that spiky edge look. So tell me a little mountain range dries. I will just place a moon into the sky area because I will have to wait for my moon also to drive because then I will be adding some warm colors to my moon, so forth leading down a vitamin of any small one with my white goulash. Okay, So this small of a white moon. Now, after this will dry, I will add a layer of orange color and give a warm moon look to this. Till then, let's begin painting the bottom area now. So the entire white area that is visible, I will force fill it with black wash and then at the top of it, I will be adding pine trees. So there I'm almost done filling this entire area with black. Now let's begin placing the pine trees. Very simple one, not the detailed ones. So first this thin line and then just adding some branches. Remember, your pine tree at the end should have or triangular law. That is the basic look of a pine tree in the triangular shape. Also remember to vary the height and the sizes of pine tree throughout this black range that we have been dead. Also, another day. If you do not wish to add these pine trees, then you can add the same spiky look that I have added to the blue range of mountains. You can add the same spiky look to this black range also in-between, I will be using that spiky range, also a liter. And some where I will be adding the pine trees. But if you want to make it simpler, you can add the spiky look throughout. Now let's add one big pine tree, your butt a little scars look, I will be adding to this one. So basically lots of branches but far from each other such that almost every branch is visibility early. Now, just adding some foliage somewhere. I do not like painting those extra detail binaries because it's a lot of time-consuming and oh, you know, it becomes tedious. I like these simple pine trees instead. But if you are someone who likes to paint or detailed pine G, then you can go ahead and add detailed bind G instead of this simple buying jeans. Now, I will add that little spiky range and then again shift to pine trees. Also remember to vary the height of this spiky range and not being dead. You know, same high did throughout. Now let's add the binary again. So if you do this, I'm just moving my brush left to right and trying to form a triangular shape. So that is automatically beginning to look like a pine tree. If you feel that adding these pine trees is becoming too tedious for you, take a break. You can surely continue after some time because quash is a forgiving me them and you can take a break anywhere you want and continue from variable you left without worrying about, you know, how it will turn out to be or to finish it when the background is VET or anything like watercolors. So it's always great to paint with gouache because you can take breaks in between. And now one last GUI. Then I will shift to buy moon and make it a warm moon. So there I'm done adding all the buying cheese and the foreground look. Now, I've just added in a little bit of orange to my yellow color. And I will place it on the edges of this moon that we painted white. And then I will just blend using white color suggests leering at the, at the edges. And now I will pick up some fresh white color again and fleas it again in the center and give a clean blend to the entire moon. Today you see I have got clean or orange look also. That is a little warmed to my moon. And I have that right color also retain. Now just adding a little more orange at the edge. Okay, so that is it. We are done with our painting. Let's remove the masking tape and see our final painting. So there we are ready with the final painting. I hope you enjoyed this.
13. Day 7 Windmills: Hello everyone and welcome to today's class. Today we will be painting or symbol sky with the orange and blue color. Then adding some simple clouds and some men meet silhouettes. Okay, so let's have a look at the colors. First. I will be using this shade of orange, and I will be using a shade of blue color. In-between both these colors, I will be using white gouache for blending. Remember, orange and blue when mixed together, will begin to form on muddy color. So that is the reason it's important to use whitewash in-between for blending. I will also be using a little bit of yellow if required. Okay? Also the simple floats I will be adding with the puppet tool. You can use any violet color or purple color that is in your palette. Or you could make some red and blue color to get a violet tone. Very simple clouds I will be adding. And at the end with black gouache, I will be adding the wind, we'll celebrate and some bushes at the bottom area. So I have kept this class projectile to very simple so that we understand the blending. This time I'm using basically the third type of blending that we had seen in the technique section, that is using white color. So I already told you the reason of using whitewash because if we use either technique one or technique to, that is one color on the other, it will begin to give us a muddy color because of the colors that we're using. So that much is it for my audience. Now I will pick up my blue color. So I'm using cobalt blue this time. And at the top area, I will apply this blue color in between the blue and orange. Remember to leave white gap because we will be using white gouache to blend both docker logs and get a smooth transition. Just a little more of the blue color and then we shift to whitewash. So almost a one-inch gap is what I have left in between the orange and the blue color. Now, I will pick up white quash and forced lay down right guage in between the gap that I have left. Now, I will begin blending the colors one-by-one. So you see automatically when the orange and the white is blending, I'm getting that light dish orange shade. And now when the blue and the white will blend, I will get that light dish blue shade. So basically I will have a transition from the dark blue to light blue to a lighter orange yellow shade and then the orange shade. Similarly, if you see from the bottom, it will be from dark orange to light orange, light blue and dark blue. So in-between we got the transition of the colors also. And plus v do not have that muddy color font because we have used in whitewash. At any point of time. If between blending, you feel that you need to pick up a little color because the colors are not looking opaque, then feel free to pick up the color. And if you feel that the color is enough, you can simply use a damp brush for blending purpose. So I use both the techniques on and off depending on what is required at the situation. Okay. So that is it for my background. Can you see the smooth transition from one color to the UDL using the whitewash. Now, I will pick up my smallest sized round brush size three. And I will begin adding the clouds with the purple color. So you can use any smaller sized round brush that is available with you. And for the Pope in Cologne, if you do not have a direct lineal palette, you can mix in any blue color with the red tone. So I will be placing very simple clouds. So basically just, you know, small structure of the cloud easily that I'm adding just by dragging the colors. Also, this time I will be adding the clouds, leaving a lot of gap in between them not too close to each other. So each of the cloud will be visible separately. Remember one thing to VD, the shapes and the size of the clouds. So you see some where I am trying to be very small clouds, some bed I'm trying to give in, or some bigger clouds. So variation is important despite being a simple painting. Now, at the top area, I will place only very few clouds, not much of the clouds. When wheel is going to cover the top area majorly. That is it for my Cloud area. Now, I will begin adding the bushes with the black wash. So first I'll add the bush change, just dabbing the tip of my brush. I will give those bushes, but first I'll just mark this ADR, fill it with black, and then at the top, I will use my brush dabbing and giving those bush structure. Now I'm simply dabbing to give the bush structure at certain places, not everywhere. Very gently. I'm dabbing it. Now. Let's add the windmill. So for the wind mean, I will first add a straight line. But this time the line will not actually be looking a straight line. It will be a little triangular in shape, but of every 10 triangle actually. So if you want, you can foresee then dial wind wheel structure, then do a pencil marking and then fill it with black color. Or you could follow along step-by-step as I'm been doing. So this one triangle your first. So the tip is very fine. And as I am moving toward the bush ADR, the triangle is increasing in its breadth. Okay? Now, even the blades will be a little triangular in shape. They will be three blades to these when mean. So I'll lay down the first blade. I'll first Monk this triangle structure, fill it with black. Now, almost trying to position them equally because you don't just approximately trying to understand where the three bleeds will be pleased equally you can please the three blades. So each of my blade is actually in the triangular shape only. Okay, so there we are done adding the windmills. Hello, HIT also. Now one last thing. What I'll do is just at the bottom, it's looking a little too MD, I will add in some small teeny mini trees or New York or the bushy area. And I'll just dab to give the bush of the tree doctrine detail. Just a small tree to add to the bending. And another small one. Okay. So that is it. Let's remove the masking tape and see our final painting. I still feel the ADR or the sky looks a little md, So I'll just add in another one or two wind mean. So let's quickly add in another window. When I'm so sorry, I remove the masking tape and now I feel it's a little MD with those clean edges. So it's easy. I do not want to paint anything on the edges so I can easily add another windmill your, so it will be smaller than the previous one that we've been dead. But the shape is going to be seeing a triangular stand and the three triangular bleeds and allowed another one, you're at the backside. Even that is going to be a smaller one. But just be careful or I'm just going to show that one off the bleed is just half visible. So make sure you do not do in that clean edge that we have. Or maybe you could pin the bleeds only smaller like this. Now what I'll do is as still add in our little power lines or parvo pools to these when wheels in between. So one Powerball your and the other Bao Boolean between these two when B and another one here. Now I will just add some very fine powerline connections to these. It's completely okay if you want to skip adding these power lines. I just wanted to make it a little more detailed all show the vent field kind of look. So that's the reason I thought of adding all of these at the end. Again, the wire connections you can please as you want or need not be exactly like mine. And just some screw details. I'll add another line. So basically at the connection point, I'm just giving that gloss or hook that is pleased. Okay. And some screws structures. So that is it. Now this painting looks perfect. Now this looks more detail. So this is our final painting. Thank you so much for joining me.
14. Day 8 Warm Sunset: Hello everyone and welcome back to today's class. Today we will be painting a warm sunset view with some board and wood logs. Silhouette will get. This is somewhat similar to one of the big things from my 21 days watercolor class. So we will be painting forced in circular motion and then he be using our brush in circular motion only. So the colors that I will be using is white, goulash, yellow, and an orange shade will get. So Alphonse begin with the white goulash in the center, in a circular or an oval shape. Now, let's pick up the yellow gouache and I will apply yellow next to this right course that I have applied. Later on, I'll be blending all these colors well, so don't worry about how it is looking right now. So just leaving the forward edges, I'm filling it with yellow. And then at the edges I will place the orange color. Now let's pick up the orange shade and place it on all the four corners. Don't worry, the center area will not be that white. It will dawn into a very light yellow sheet when we begin to blend. Now first, I'll try to make the blend a little in the circular motion only. So I'll just try moving my brush in that circular manner. So you see things are blending now. So just keep moving your brush in so kilo manner. Now you see I have the light yellow though, normal yellow and then an orange blend. Okay. So, um, did you feel satisfied you can keep blending. Now, I just one more time, run my brush in the circular manner so that I do not have much of those sharp edges. And then lastly, I will be running my brush in a little curvy manner from the top to bottom to get a good variant. Or without these sharp edges that are still visible because of moving my brush and circular motion. I am majorly using a damp brush for blending. But the fact that any value field to the need to add some color for blending, you can pick up the color instead of using a damp brush. So you see slowly I'm getting much cleaner blend and the sharp edges are reducing with every of blend that I'm increasing. Now from the top till the bottom, I will just drag my brush in this little curvy manner and from left to right completely. Similarly, once again, I'm just running it from the bottom till the dot. Now you see I still have that little so killer yellow look in the center and those orange in the curvy motion. And still the blend is now perfect with proper left to right without any sharp edges. Okay, Now onto this, I will be forced loading clouds with the orange color, some yellow color without adding any right. And then we will be building the silhouette with the black color. So for the clouds, I'm using my Princeton heritage size three round brush and picking up the orange color. I will just use the dab, dab, dab technique and plays these clouds first. Now, I like a little of those soft edge Clouds. So I majorly, oh, you know, dab off them into the background. But if you are someone who likes to shop edge clouds, you can skip the step of dabbing with your finger. But I like little soft edge to the Cloud, so that's the reason I adapt them in between. I have shifted to my HSL blender brush so that I can just use the tip of that brush to add the clouds. Now notice one thing. I'm leaving the gaps in between these orange clouds such that a little yellow area from the background still stays visible. So this is automatically adding depth to the bending. Also, if you do not have or to sell vendor brush, you can use a very small size one or a size two flat brush and use the tip of that flat brush to add these clouds. Or else you can use a round brush and using the half C stroke, you can add the clouds. So you see just using the tip, I'm placing these clouds close to each other such that it looks like a cluster of clouds. Throughout, I'm just using the tip of the brush, leaving some gaps in between and using those little curvy strokes to add these clouds. Now I'll just pick up little yellow and some where I believe in place this yellow Cloud. So I did not clean my brush purposely so that I have that little yellowish orange shade when I pick up the yellow color with my orange color onto the brush already. So you know it, because my background already has a yellow color and now this yellowish orange color is adding another depth to the bean day. So just needing some clouds, New York to the orange color. And just some clouds, you are at the bottom media now. Notice I'm still just using the tip of the brush and nothing else. Okay, so that does it for the clouds now will be in the black silhouette. So I shift to my blank gosh. And I will use my size four round brush from silver black velvet and please the black silhouette at the bottom area. So in my 21 days watercolor painting class, we had done a similar color combination, sunset with a seascape in the background. Just your that we are not adding a seascape. But the silhouette that is the wooden logs and the body is almost similar. Just the placement is a little different. So as far as I remember, it was the D Dean of that 21 the series. So if you wish to being something similar in watercolor, you can try out the DAD from my 21 days to watercolor practice class. Now, I will falsely down almost, around four to five of the voter ID laws depending on how many fit in. I guess I will be able to fit didn't only around for logs because the paper is A6 and I want the little gaps between the logs. So if you add the ending tunnel logs, you can add maybe five to six depending. And also if your paper sizes bigger accordingly, you know, the logs may vary in your being day. So that is it. I have added the full lot now on do top of the two of these either be adding words. So first, an oval shape, that is the body of the bird. Now just two legs on to the log and feathers from behind. And a little small so called to act as the face and then a little triangle to act as the week. So that is how I have added a board. If you want, you can first do a pencil sketch of this and then added and fill it with the black wash. Now similarly, facing on the other side, I didn't mark the word. So I'm done adding the boards also. Now, let's just connect all these wooden logs with some virus. So basically o, v will try to depict that these are those metal wires that are connected to these logs. So I will falsely down one layer, then I will try to add that twisted via look through these. Now you can either first place those cross hooks data, data on these metal bios or forced give that to instead look and then add these crisscross hooks that are there. So now I'm just loading and basically just adding or spinal via do it again. So just another line to that straight line. But analytical women not trying to depict two wires intervene in divined with each other. Let's do the same on to this last told why and also now, if you want, you can even add a lot of words into your sky area. But I will keep the sky simple so that it's easy for everyone to follow along. So that is it for today, the simple warm sunset with this yellow hit. And now let's remove the masking tape of the painting and CRP ending with those clean edges, how it looks. So dead PID with this von cloudy sunset. Look. I hope you guys enjoyed painting this. Thank you so much for joining me.
15. Day 9 Roses: Hello and welcome back to these series. So today we will be painting a sky or width, some rows field popping out. So we will be having a plain blue sky in tonal variation using white gouache. And then at the bottom area, we will be painting a lot of leaves with some roses and then a moon into the sky. So for this guy, I will be using this ultramarine blue shade this time. So I will firstly down this shade at the top ADR and then use whitewash to vd. It's tonal value till the bottom. Okey. So simply just duplicating this ultramarine blue color. Remember, it's very important to have the perfect consistency of the color so that it spreads easily and you get a good creamy consistency and texture throughout. So almost half of my painting, I'm applying this ultramarine blue color. And at the bottom half, I will just be using white quash and try to use this stop ultramarine blue color only to vary the tonal value of the color. Okay, Now let's clean up brush and pick up some white quash to VD, the tonal values. So you see I laid down the white gouache, just New York to the blue color. And in-between pick up some blue color so that you have, because I do not want a white cloud or a white sky. So that is the reason in between, I'm just loading blue color again, picking up right brush and blending it into the sky. Now, I will just get a clean blend between the to transition colors that I have. Okay, So now if you can see in between I have that sharp line, so I don't want that. So from the top, I will just begin moving my brush from left to right and right to left. And just using this damp brush, I'll get a clean blend and a smooth transition between both the shades. Remember, you can always pick up either a little bit of water for blending or the colors as the case may be. And it's very important to move your brush from one corner to the other corner to get a clean, smooth blend and no rough or sharp edges in between. Okay, So that is it for my sky. Now while wait for this to dry and then begin painting the small field area. Now my background is dry, so I forced to pick up black gosh and paint the black area your where I am going to be having my leaves and the flowers popping into the sky. So I'm just marking the edge first and then fill this and dieting with black wash. Now filling this entire thing with black gosh. Again, after filling this, we will wait for this layer to dry. Then begin with that dark green color to add the fourth layer of leaves. So let's wait for this to dry now. So my layer is dried. Now, I have picked up the dark green color onto my round brush and very gently keep dabbing my brush to give the leaf structure. So you see, I'm just dabbing my brush very gently and getting this Leaves stroke. I'm not painting the leaves in detail because just at the top I may add some detail leaves, but at the bottom media just dabbing and adding these leaves. After adding this entire dark green layer, I will wait for this layer to dry completely, and then I will be adding another layer with the light green color. Now you see at the dot beyond the black area also, I'm just dabbing and placing some green leaves popping out from that area. Okay, Now let's read for this dark green layer to dry. Now my Leo has giant, so let's begin with the light green color in the same way. So now I will be placing this slide Qin clouds on to this area. So basically, my black color will be visible in between somewhere the dark green clouds will be visible and some where the light green clouds will be visible. Okay? If you do not have this light green color, you can mix in a little bit of yellow to your dark green. To get this lighter green color. Okay, and now if you see, I'm just dabbing the tip of my brush to get those leaves structure. And at the top area, I'm just giving in some leaves. So basically now at the top, I'm just trying to add in some more detail leaves sooner if you see, I'm just giving more leaf look than just a simple dabbing thing at the top. After adding these with medially with the light green, I will even be adding some detail, dark green leaf. Look at the top area majorly. Now I'll just pick up my dark green color and add some dark green detail leaves at the top ADL. After this, we will have to wait for all of this green area to dry before adding our roses. I'll just add a few more dark green because I think the light green is too much. Okay. Now let's wait for this to dry. Do that is drying. Let's add the moon and to the sky area. So I'm using my white gel pen to add the moon. You can do same bit of whitewash, auto white acrylic color. Just a half-moon. And I'll play some stars also into the sky. If you are using white gouache, you can use a pointed tip brush to add the stars. I'm just using the tip of my brush and dabbing it to get these to look a lot of stars into my sky. Okay, so I'm done. Now my base layer has dried, so I'm picking up white goulash. And roughly in also called shape, I will be placing this white quash forced. So if you notice, my silicon is actually having those rough edges and not those clean edges. And some where I'm just trying to make it oval shape and not exactly also culture the rough edges. Then we will wait for this layer to dry and then pick up the pinkish rose shade to add the details to this. So basically this is the BSW. I am painting for the roses that we will be painting. So you can place the roses variable you want. Okay, now, let's wait for this layer to dry. So my layer has dried. Now, I am picking up this face still pink color and width my round brush. I will just use the half C strokes and place them one after the other. Do this white area. Okay, So not overlapping each other, but big thing from the center area of the adore and just trying to give him the rules shape. So basically laying down this pink color in a spiral manner onto this white area is what I'm trying to do. I'm not adding detail roses. So basically on this white color, keep moving your brush in a spiral manner and add the rows. Look. If you do not have a Rhodes Scholar, you can use any crimson color or pink shade and mix it with a little bit of white. So I'm extend my crimson color with a little bit of fight to get this rule shade. Now somewhere I will just lay down small petals of this rows. So basically trying to show that bruises are going to pop out still. Okay. So just dabbing my brush to given these loose petal look and do the remaining field area isn't a total beginning to look pretty already. And it was so easy to even been the symbol roses. And that is it. Okay, So we are done with our painting. Now, let's remove the masking tape to see the final look with those clean edges. So your final painting, I hope you guys enjoyed painting this look with me and I will see you guys in the next class project. Thank you so much for joining me.
16. Day 10 Evening Sky: So let's begin with our today's project. We will be painting an evening sky look. Let's have a look at the colors for the sky. I will be using the violet shade and fusion blue color and a little bit of black if needed. That will be the base year of my sky. For painting the leaves, I will be using shades of green. I will be using a brown color for painting the stamp of the trees and for adding the clouds. I will be using the rules callow, and you can use any pink color or reddish tone for that purpose. Now, I will begin applying the sky colors first. So I'll just use my spray bottle and spray these pins to wet them. Now, I'll first begin with the violet color onto the bottom area of my sky. So undo the entire board, the media. I'll apply this purple color. Now, I'll begin picking up the crucial in blue color and beginning from the dot, I will apply the blue callow didn't the purple color and then blend both the kalos with the help of a damp brush or the color as needed. So immediate of my sky, I will add the end get coupled with the leaves. So I'm not worried that much about oh, you know, the strokes that will be visible, but still am trying to get a clean blend onto the sky area. Also. Remember to run your brush completely from left to right to get these clean blends or else in-between, again, you will begin to get the brushstrokes. So I guess I've almost got a clean and smooth finish on domain diode background for this guy. Now, I will wait for this to dry and then begin adding the tree with the brown color and then the leaves with the shades of green. So before adding the T, Let's add the clouds onto the sky area first. So I'm picking up my rose color and at the bottom area that is majorly on to the popularity of my sky. I will place the tiny clouds again, just using the tip of my brush. And smaller clouds and some bigger clouds also. So my Cloud strokes are majorly in the half C stroke structures and medially moving upwards. And this time I'm placing these smaller clouds but near to each other. So at the end they may begin to look like, you know, or a cluster of clouds together. Remember to very gently lay these clouds if you will place your brush too harshly than the base, Leo may get activated and you will not get the opaque look of the lighter color for the clouds. So it's very important to please these clouds very gently with a gentle hand without applying too much pressure on the brush. So you see, I was placing smaller clouds, but together they are beginning to look like a cluster of clouds together. And we are done adding the clouds. Now we will begin adding the tree trunk. So I'm picking up the brown color. I am using the bone sienna color. You can use any brown that is available in your palette, or darker brown order, loud, lighter brown, it will not make much of a difference. Now from the left edge, I will begin adding a tree. So half of the G is visible and do a scenery area, and half of the tree is not visible to our eyesight for this bin. Now, I will first add a lot of branches with the brown color. So just randomly keep on adding branches as you feel comfortable. But make sure that you're adding these branches very finely and not to take. So if you feel that your brush will only give you takeover branches, I would recommend first add a few takeover branches with your brush. Then shift to a detailer brush and add the tenor branches with a fine detail brush. That you have the natural log of the painting and it does not look just too much of the same takeover branches. My brush has a pointed tip, so it's letting me add the details or with just one brush. And when I wonder taken branches, I press my brush a little to get those thicker strokes. I'm using the Princeton Heritage Series or size three round brush. So this has a pointed tip as well. Remember to medially at these branches only on to the blue area of the sky and not get them to watch and do the poll Palladio. Because there we will be having more of leaves, the moon and some street lights. So also from the right, I'm just trying to show some branches popping out from a tree that is not visible to our site currently. And just a few more branches. And I think we will be done with the branches then. And we will move to the leaves after that. Again, adding these branches may look tedious, but the more the media is how it is for these needle paintings. So there we are done adding the branches. Now let's begin adding the leaves to these branches. Placing the leaves, I will please, one of the pole lights that is all within the tree or actually behind the tree. Because I will be showing that the light is hidden because of the leaves falling onto that street light. So it's very important to, for spin this one street late here onto the left area of our painting. Suggests the street light. And I will add the shape of the light and then use whitewash. Now shifting to my right gosh, I'll pick up white goulash and apply it on to the light area of this bowl and try to drag out the rays of light from the pool. Remember to use a clean brush when picking up the white quash or else it will not give you the fresh look. And it may muddy or whichever Carlo is left on your brush. Now using my size double 0 brush, I have picked up some whitewash. And from that light, I'm just trying to pull out these white light loads such that it is basically acting those rays of light coming out from that street poll. Okay, so we're done placing these poll because there will be leaves overlapping this bolt. So that is the reason it was important to pin this force. Now, I will begin placing the moon also because there will be a few leaves even overlapping the moon. So just using my white quash, I'll place a very small moon or at the ADL where my purple and the blue sky is needed. So that is it for the moon. Later on, I will be adding maybe another layer of white quash onto this if it does not look too bright right now. Let's begin with the green color. I will pick up the darker green color first. I'm just using the tip of my round brush. I'm just dabbing it very gently to add these, these structures. I'm not making or you know, or detail leaf or the exact leaf shape. I'm just using my round brush and placing these leaf structures, just dabbing very gently. Careful. Anywhere if the area is wet, same, maybe the moon or the light, then wait for it to dry before placing the leaves onto those areas or rails. It will not have to A-B-C Look and we will lose the look that we want. And now medially onto all the branches, I will firstly down these darker green leaves, dabbing my brush. Then we will add some light green leaves to shoulder. Highlight that because of the moonlight and the street late, those leaves are looking light off because of the light and the shadow effect. So very patiently keep adding these leaves. The more you try to add them into look prettier, but make sure that the branches are visible urine there. So if you notice, my branches are visible as a very little and make it look more natural altogether. Now on to the light also, I'll try laying down some leaves, but my white area is still a little wet, so I'm placing these leaves very carefully. I will even drop a few leaves on to the moon area and onto these right branches that we have added. So there you see just using the dabbing technique, we have been able to add these natural leaves and so much of them. Now I will pick up my blank guage and forced add some black leaves on to the top area. I will use the same technique, that is the dabbing technique of my round brush to add some darker leaves. Basically, these leaves begin to act as a shadow of the lighter leaves that are there. That is the reason medially on the top area, I will be having more of these black clouds and very little on to the bottom area. So you see as I'm moving downwards, I am making them very good and very far from each other and not adding much of it. If you do not want to use a black color, you can use an even darker tone of green color, almost equal to black to add these leaves. Now using the same black gosh, I will first add in a lot of bushes onto my foreground area, that is the bottom area of the painting. Then we will shift to the light green color. So just again, using the dabbing technique, I will add a lot of bushes on to the bottom and onto the left and the right corners. I'll try to add more of them. And in the center area, I will decrease the height and just add a little of it. So nothing fancy. Just easy dabbing technique to create this bush like structures and make it gave all an edge to look. So as I always do, I paint the little area black and on the top area. Then I just tried to give some dabbing technique and give those bush looks. Now onto the right side also, I will paint or bush structure. Not too detailed, just, you know, at the edges I'll try to show those leaves popping out and the rest area filled with black completely. Remember to always VD the shapes and heights throughout do not make it one single line or a single street or seeping liner and eating kind of a structure while adding these natural elements. Now, picking up the lighter green color, I'll begin adding the lighter green clouds again using the same dabbing technique. And majorly, the lighter green clouds will be at the bottom media of this tree because it's the sun, moonlight and the streetlights that making these clouds, or sorry, these leaves look a little brighter. And the top area, I will just add a very few of them. Not too much. Major leads. A lighter clouds will be at the bottom area only. Okay, so there we are done adding these green leaves also. Now I guess my moon is still not looking that bright, so I will add in another layer of white quash onto my moon so that it stands out and shines bright. So there we are done. Now, let's remove the masking tape and see our final painting. So one thing I forgot adding the two street light at the bottom media. So just using my black wash aisle please. These two poles, that is all you not do more streetlights, van on the left, one on the right. And then I will fill the light area with white gouache or white gel pen and just add a few or no virus into the sky. So it will look more detailed painting. I forgot to add all of these before moving my masking tape. So be very careful such that you don't run Windows edges, those clean edges that we have. And just a few lines even overlapping the moon. So a few lines overlapping the moon and taking it at the top. So it looks more natural. If you don't wish to add these details, you can skip it. But this looks mix up painting look more detailed. Now using my white gel pen, I will just add in these light into these two of the street pools that we added right now. You can use whitewash for the same. And then we are ready with our final painting now, I hope you guys enjoyed painting this with me. Thank you so much for joining me.
17. Day 11 City Scape: Hello everyone. And let's begin with today's project. Today we will be painting a cityscape kind of view with a Street View basically with lot of power lines, vials and everything. So for the background, I will be using this pistol shade mix of turquoise blue. So basically I have not used the turquoise blue color to create the shape because many of you may not have it. So I have mixed insulin blue or little off my light green and white quash to get this color. So you can also try mixing these three colors or any shade of blue, green, and white to get this face still greenish, turquoise, blue. So fast at the background, I will be painting with this color that I have formed. And then I will be using a darker shade of this color to add the clouds. So let's paint the entire background with this color. First. One was done with my background layer. I'm just trying to get a clean blend using a damp brush overall. But even if I do not have this, it's perfectly okay because this layer will not be visible as either reloading clouds onto this. For the clouds, I will be using the turquoise blue color you can use in the mix of blue and green without adding bike. And I will be using white gouache brush. Now, before that, to make some area or little lighter, I will just pick up some white quash. And from the left top end, I will just try to given little white quash in between so that the area becomes little lighter. To be honest, at this point, I'm not worrying much about the blending because I just wanted to make this area a little lighter. So basically I'm just pulling out these white strokes and vans. I need the clouds onto the background. This end dieting will not be visible as it is looking right now. So don't worry until we have a final result. Okay, So that is it for the white part that I want to add just a little light area. Now I will begin adding the clouds. So for the clouds, I will be using my round brush and I will be using the dabbing technique with my fingers a lot in this because I do not want the clouds to stand out very sharp and clear. I want to modulate a lot with the background. So first, I will begin with the turquoise blue color. As I said earlier, you can use in the mix of green and blue color. I've been forced lay down the Cloud with the help of my brush and also kilo motion in a cloud structure. Then using the tip of my small finger, I believe diverged in such a way that it looks mod2 with the background and has a bleed and blend with the background. So now you see I will begin dabbing it very gently. Just at the edges. I will try to blend it with the background and in-between, remember to clean your finger so that there is no excess paint onto your fingers. So you see it's beginning to march with the background and it's not having those sharp edges any longer. That's the reason I use this dabbing technique with my finger to paint the soft cloud look that I want. Now on to the remaining sky also, I will lay down the clouds and same V I build up using my finger to give them the soft edges and not the sharp edges. After loading all the green clouds, this turquoise green clouds, I will even be adding a few yellow clouds for the highlight and then some highlights. Now in this endogenous supplying this little paint again so that my fingertips are not visible. Now in that stdio also, I've laid on very small float, but I will make them also soft and not make them look too harsh, sharp enough. So you see for these four low clouds, I'm just using the tip of my brush and dabbing it very gently. And then I will dab it with my finger to give them all some soft edges. I guess for now, this matches it for the green clouds. I'll add the clouds with a yellow color and then see if any more green clouds are needed. So now with the yellow gosh, I lay down some clouds. Remember to be very gentle on hand, do not apply too much pressure. Or else the yellow and the base layer will get activated. And again you will get a greenish tone and not these bright yellow clouds. Now, even between these blue clouds, I will just lay down little yellow clouds as highlighted there. So if you notice medially at the water medium of those blue clouds, I am placing these yellow highlights. Okay. I will also that these very gently dabbing this yellow color be very gentle even on your fingers because again, or you know, dabbing, do hash, it will get most with the background and give you a greenish tone instead of this bright yellow Cloud. So very important to be gender like places when we know the colors will watch and give us a different color altogether. Now similarly, I will pick up right cosh, and I will give some highlights to these yellow clouds using white quash. And even this white quash lines that I'm forming, I will make them soft with my fingertip. So the major highlight of this painting and reason of keeping this is to understand how we can paint soft clouds just using our fingertips. No special tool, nothing required. So even on doodle green clouds, I'll just lay down some color first. Then I will have all of these together with my finger. So this will again give me some soft white clouds onto the green clouds. So you see white highlights near to the yellow clouds. And then we'll be almost done with the cloud ETF. Now, at certain places randomly, I believe in lay down some white clouds so that all you know, I have radiation to the clouds and my sky also has the variation in color tunes. So that is it. Now I will just mark the pencil marking for the rooftops of the building that will be shown in this painting. So just a slant line there and your foster straight line and this slant line. Now I will add a little small section to both of these. So another slant line and even another slant line onto the left side. These smaller area that I have been dead there I will be trying to show that a flexion of the sky so that EDR will be binded with black color mixed with the turquoise blue color. Okay. And I will be blending that to such a way. It will kind of look the reflection of the sky onto the rooftop and the media will be black wash. Okay, so let's begin. I first pick up my blank, the beam, the bottom areas black. Fill it with black, then we will be in gold, the top ADS. Now. So at the top, I will first given a black border completely and just add a little bit of black around the edges only. I didn't do it on the left side also. Get, now I've got my turquoise blue color without adding any invite. And I'll try to blend the turquoise blue with the black color. So just speaking directly to a turquoise blue and I will force late in the area that I've left it blank. And then I'll try to blend it with the black color. So you see, I'm just trying to easily blend that with the black of the edges. And in that entire area, I'm giving a proper finishing line such that that area looks as if the reflection of the sky falling onto the rooftops. Just moving my brush forth and back again so that I have a clean blend and all the colors look equal throughout. All such that I have those straight lines which I need it now seems side, same way on the left side also, I will blend the turquoise blue with the black color that I have laid and get this deflection kind of look. I'm almost done with the rooftops. Now after this, I will shift to my black wash and my fine liner brush, and I will begin adding those vials into the sky area. So my fine liner brush. Very fine. Okay, so use a detailer brush or you could pin these or via lines with dots, technical pen, auto fine liner pen. Now I will be adding a lot of these bios so you can add them in any direction, any placement as you want. And you know, as you want to make it look nitrogen. So it's just basically the street looked at I'm trying to get so basically what we see in our daily lives, the wires or hanging all through the roads. That's what I'm trying to add in your now first what I'll do is I'll add that one power line poll that we will be adding into the sky area. And then I will place the remaining of IOs again. So just a straight line. Again, if you're not confident about adding these line directly with your brush, you can either do a pencil marking or added with a mako. Okay, So one power pole and I will just given some details to this, some boxes or some straight lines and then some screws structures. Now, I'll please one more power pole in-between both the houses, all the rooftop that we have been depth. Okay. Undo that power pole also. I didn't just add some details. All of the lights that we have. After finishing this PowerPoint, we will again shift to the fine liner brush and add more of the lines. Okay, So I'm just picking up my fine liner brush now. And I'll again begin adding those lines. Now this time I'm connecting some of the wires from the top to my power line. So that is the reason why I forced in-between painted my power lines so that I can place these connections or, you know, connected to the power line. And it makes easier. Now from this power line, I'll even give some connection to the houses and do the lower power line that we have been dead. Honestly, if after a minute to ask me which line was connected with even I will not be able to answer that. So make it nitrogen. You can have different placements than mine. Of course it will be defend because it's very difficult to please the exact same lines like me, because even I will not be able to pin them exactly, even if I watch it and paint again. So feel free and add the power lines as you want. Even between both the houses, I'm adding some of these power lines. And then lastly on to some of the violence. I'll just be giving some soup screw structures. And that will be, you know, the end of this painting. So just a few remove ios and then some connections now. So just small screw structures basically, or small rectangles with the black color is what you can pin just on some of the virus. And I feel these many other enough, or just a few more. Okay, So I feel this is enough. Now let's remove the masking tape and see a finding soft sky cloudy look Pete. So there we are ready with our final painting. I hope you guys enjoyed painting this soft cloud. Look with me. Thank you so much for joining me.
18. Day 12 Monochrome: Hello everyone and welcome to day 12 of the squash challenge. We are almost nearing the end of this challenge just for more paintings, including today's. So today we will be painting a monochrome or seascape kind of a look. And I will be using only black and white gouache for today's painting. So the fallows are just the black and the white gosh, which I will be mixing into form or gray color. And that's the only two colors that we will be using. So let's begin painting. We will first begin with the black quash on the top area. Then I will pick up some white goulash and try to blend in and get a grayish tone. And throughout onto my entire background, I'll try to get this variation, but I'll make sure of one thing that might top and the bottom area of darker tones and the sender is off lighter bone. Currently I'm not marking a distinction of the sea line or the horizon line for this one. Later on, after painting the entire background, I'll give a distinction. So I will just try to maintain a lighter tone in the same area and the top and bottom a little darker tone. I'm just using white goulash and trying to blend in with the black and get a grayish tone. If you want, you can alternatively force create this gray tone in your palette and use it. But the reason why I placed the black Guassian then I'm using the white quash over it onto my paper directly, is so that I get these tonal variations and differentiates in between, which makes it look more of a natural sky rather than just one plain gray color. Because if you would have mixin the black and the white course just in your palate and then apply it. Then you would have gotten only one tone of gray, which I don't want right now if you've seen my sky, I am having different tones of gray automatically phone. Because somewhere that is more of a finite sum where there is more of black. Okay? So keep picking up the kalos separately one by one and try blending in the color and get these tonal variation. But remember one thing to keep the center area a little more like Don't bend the top and the bottom ones. So just keep blending. I am using my damp brush to get a clean blend in between. And once I am done laying all the colors, I will run my brush from the top to the bottom completely in one go with a damp brush so that I have a clean blend throughout. Now you see you automatically in the center. I have a little more of white, making it a light gray tone. And bottom and top, I have the darker gray tones with varied height. Now, let's add a moon and do my sky area first. So I'm just using white goulash and I'll place a very big moon. But this is the first layer of the moon. After this, I will be adding the bright clear. So what I will be doing right now is I will firstly down or so-called width divide gosh, almost of the size of a one rupee coin. And then I will try to blend in with the background gray color. So I didn't use a damp brush again. Now. And I will try to run my brush over this circle so that it gets blended with my background color. And also I will use a little damp brush around the edges and make it have a look of those soft edges and not the shop. So cool. So right now I'm just trying to blend in with debris. Now. I'll just pick up a damn brush that is with very little water. And I'll run this around the edges so that you see it's beginning to blend with the background and beginning to have a little of those soft edges. Okay, so this is going to be my background layer for the moon. Over this, I will be adding a bright moon once this layer completely dry ice. So it's very important to wait for this layer to dry before adding the bright layer of the moon again. So till then, I'll begin painting the sea area first. So first I'll Marco horizon line almost equal or spaces what I'm keeping the sky and the sea. And I'll mark the horizon line with the black wash first. And then I will begin painting the CVs. Now I'll shift to my point, that fine brush. If your brush does not have a pointed tip, I would recommend you shift to a size double 0 or size triple 0 brush. Now from both the edges, I'll begin adding these horizontal lines. The center area of the sea. I will keep it blank because there I will.
19. Day 13 Sunset: Hello everyone and welcome back to data or dean of the 15 days cause challenge. Today we will be painting a beautiful sunset by the river front. So beginning with the pencil sketch, almost at 30% of my people from the below, I'll mount this horizon line and leaving almost a one centimeter gap. I'll mark Ogilvy mountain range. And about that I will just give a half sun look. Okay. So half of a circle onto my right side majorly. So that small area is going to be my mind and the bottom will be racy and talked to be my sky with the moon. Now let's have a look at the colors that we will be using for this one. The colors that I will be using is the lemon yellow color. Then I will be using the red color, which is an orangeish jet. And lastly, I will be using burnt umber, black and white quash. So these are the five colors. Okay? So in my CAD, I will just be using a mix of the red and the bond amber color. Then I will be adding see waves with the black gosh. Okay, Now let's begin painting the sky area first. So for this guy, I will begin with the yellow color. So I'll just create a good consistency of my yellow color and leaving the Sun area white only, I will begin placing the yellow color onto almost the rest of my sky. So you see, I just mark that our plane off the sun. Remember to not add too much water or else your Gallo will begin to lose, lose its opaque look. And it will begin to act as watercolors, which we don't want. So on the entire area, I'm applying this yellow gouache first. Then I will use the red color, which is almost reddish orange shade. And I will try to give in variation order tonal or you know, to color variation do my sky. So now picking up the red color from the top, I'll begin applying this onto the yellow and try to blend it into the yellow, just moving downwards, but I will not place it on my entire sky. I will let the bottom area near to the sun yellow only. Now in-between, I'm just picking up Carlos, so accordingly how I want the blend. So at the top I needed a little more of the yellow, so I placed in some yellow again. Now just blending from the top to bottom, bottom to top to get a clean blend. So you see such a clean gradient blend I have, and in-between, I have the yellow color with the orange weaves a. So well. Now let's begin painting the CAD. So for the sea near to the horizon line, I'll place this reddish tone and add the garden. I'll begin placing the bond amber color. And I'll try to blend both of these well. Now just in the middle area of the sea, I will just place a little of the yellow to act as a little highlighted, but just a little, not too much. Okay, if you want, you can skip this step also, but I just wanted to add a little yellow Dutch. Now till my Sea area dries, I will add some round strokes and do my sky also. So now again, at the top area, I will begin placing this bond amber color. Okay. I will not be adding to one of the Brown highlights into my sky. So I'm just adding a very small line at the top and I'll try to vary it and blend it into my red color easily. Okay. So again, I'll just take my damn brush and blended well with the orange and ghetto smooth blend Diller yellow. So that is it for the orange part of study, the brown part that I wanted to add in my sky. Now, I'll add the sun area first. So first I'll add in a layer of white gouache onto my son. Now, I use a damp brush and I'll try to soften the edges of the sun and try to blend it with the yellow color. So I'm just using a damp, moist brush and I'm trying to blend the yellow at the edge with the white Bordeaux and try to get a soft edge to the sun such that it does not look all stand out Booleans differently. And even onto the white quash, I will given some yellow highlights that there's onto my son area, I will just run a very, you know, or think of yellow which is picked up by blending the edges. I'll just run that on to the sky. E, oh sorry, the moon area so that it has a little yellow highlight in it. Okay. And I am just trying to get a clean blend and a clean look to my son right now. So I'm done adding the sun look. Now I'll begin adding the waves into my Sea area. So I'm using my size double 0 brush and using the blank gosh, I'll begin adding the CVs. And very fine CVs is what am I adding? Very tiny ones and very small ones. And I'm just trying to read them. That is, I'm not just making them in one single format. I'm trying to be their lens somewhere a little because I'm very little shorter. Okay? And just remember one thing. Almost near to my horizon line, I will place the CVs for one centimeter into my C. Then in the middle I will leave a little gap there. I will not be adding the CVs and then I will be adding the sea waves at the entire bottom area. That is because in the middle of the sea, I will be placing or three and the reflection of the sunlight. So that's the reason I won't be painting the leaves there and I will keep it blank. That's the reason currently I'm just using this small area to place the CVs. So you see very tiny waves that I'm adding close to each other. And, you know, I'm trying to make it a little COVID codon places that, that means not a simple straight line. At places I'm adding a little slant line little or you know, having that bump line. And I'm trying to in the next line, trying to get the line between the first two lines and try and do 3D. Now can you see the small gap that I have left in between? Remember to leave that gap and not add the black lines right now false. We will add in the yellow and the red waves there to reflect the sky or reflection and the moon deflection. And in the rest of the bottom area, I'll just been these waves. And as I'm reaching the bottom, I'm increasing the length of these waves. And somewhere or little tick goes on very little tunnel. But just remember to read and not make it simple, straight lines, otherwise it will not look that natural. I'm almost done adding the veins. I know at times this can be tedious, but we are painting very small. But still if you feel it's too tedious, you can take a break in between grab a cup of coffee and join back after some time. Okay? Now, after this, I will paint in the waves with the yellow color in the gap that we have left there. I'll pin similar waves but with yellow gosh. Now with the same brush, I have picked up some yellow wash and I'll add in just at the place where the moon is, just at that area into my C, I will add some yellow leaves first. And you don't put the sides of these yellow leaves. I will add in waves with the red color in Arctic consistency, which will be a little darker than the base layer. Now I will add in the Jade VBS to the sides of this yellow leaves that by being dead. And I'm using the same size, 0 brush. You see the how tiny the waves are. But that will act as a reflection of the sunlight and the moon, sorry, under sky, above obese, It's very important to add this variation in between. Now again, shifting to my blank gosh, I'll fill in this entire space between my sky and the seascape. I will fill in completely with the black wash. And then at the top of this, I will just given some bush look by dabbing my brush in those bush structures. Now let's begin dabbing at the dog. And given some bush structure, I would not be giving it the onto the end diode. So in-between Ivan, leave it a little blank and also I will try to vary the height. Okay, that's very important to vary the height so that it does not look just 0 flat line or a flat golf. We need to give it an actual look as much as possible. And near to the sun area, I'm adding very little and not too much. Now, I'll begin adding the tree. So for that into the sea area in that center line where we had left it blank. There. I will first place or little drop kind of structural. And I'll show a tree standing out from day. Majorly, this tree will be a kind of a tree with just some branches. But the difference will be that this time the branches on the right side of this tree, we will be adding with brown color to show the reflection of the sunlight onto the tree. Okay, So I'll first begin with the black quash only and around to this rock also, I'll just add in some paint him in Iraq and oh, you know, wooden log details so that it looks more natural and looks more detail. So you see Justinian many logs that I added even onto the right side, just little drug structures. If you want, you can increase certain few rocks into the sea area urine there. Now I'll begin adding the branches to this tree. Remember to meet these branches very fine. So if your brush does not have a pointed tip, I would recommend skip two or detailer brush. I am using my size four silver black velvet brush, which has a pointed tip. And hence I'm able to add these tiny details. Now at the top, these branches are very smaller in length. And as I'm going downwards, It's increasing basically or triangle shape, kind of a pine tree that it will begin to form a scar. Spying G is what I'm trying to paint here. Okay, now, after adding this much of black on to the right side, I will stop adding the black leaves on to the sorry, the black branches on to the right side and there I will be adding the branches with the brown color, that is the bone Tambo color. Okay. So but on the left side, I will be adding all of them with the black wash only. So if you want, you can first add in all the black branches, then overdo it with the brown color. Or else you can first add the brown branches and add the remaining with the black color as you prefer. I will first identify all the black branches and then shift to my brown color and add the brown branches. For the brown branches, I'll leave the gap on to the right side and I will just add these branches now onto my left side. As I'm nearing the bottom of the tree and making it most cars. Okay. And almost done. Now, I will shift to my bone Tambo color and then begin adding the remaining branches on the right side with the bone damn book. Allo basically it's the sunlight reflection that is, uh, you know, making these on branches on the right side look as the sunlight light being reflected or that shine on do these leaves. Right now it's wet so you will feel that it's not making any difference. But trust me, when this dries, it will make a lot of difference and give a different look to your painting after it dries. Even onto the left side at bottom, I will just add one onto branches with the bone Don Buchla. Not much because my son is on the right side, so the reflection is majorly on to those right branches and not much onto the left ones. That's the reason again, I have painted the right side with the burnt amber color. So we are done with the tree. Now I'll just add one single bird into my sky. But before that, I will just add a pointed to my tree. Okay, Now I'll just add one board and do my sky. If you want, you can keep adding a lot of boards and make it look more pretty. But I'll just be adding one board. So then I'm done. Now let's remove the masking tape and see how our final painting looks with those clean edges. Okay, so let's remove the masking tape. I forgot one thing that is to add some highlights with the white color into my CTO to make more reflection of the sun basically. So just where my son is a positive exactly there where I painted the yellow and the red VBS, just a little white highlights is what I added. And we are ready with a beautiful sunset. I hope you guys enjoyed painting this with me. Thank you so much for joining me.
20. Day 14 Pink Aesthetics: Hello everyone. And let's begin with our today's painting. So we will be painting of pinkish kind of a beach area. I will be using this pink column mixed with a lot of white. Then the reddish tone mixed with white and a violet column M6 28 divide. Then after all of that, I will be using the yellow shade to add some clouds or into my sky. I will be using black color to add the silhouettes and white quash for adding in the dry brush strokes and some details. So we will be having a beach area kind of a scene and evening beach scape majorly. Okay, So I will be mixing white with each of these colors. So I'll just show you one callow how I, how I am mixing. So adding a lot of fight to my colors. So this way I will prepare all my colors first. So all my colors ready for the pencil sketch. I will just mark over rising line at almost 30 percent and just a beach area. So the left area is going to be my beach area under idea will depict the sand area. Now, let's begin painting the sky. I will first apply the space still pink neon to my horizon line. Now I will shift to the basal purple color and applied from the top of my sky and blended well with the pink. I know that basal pink and purple colors may look a little similar, but just me. All both the tonal values makes a difference to the painting. Now also I will pin the base area for the C. So on the left side, the beach area that we marked, I will paint it with the pink tone. And from the right side, I will just pull out the purple color. So basically, this purple color is acting as my signed area and the pink area will be my C area. And I'm just trying to show a little bit of the sand ADR overlapping onto my beach area. And then I'll be adding the dry brush strokes. Just adding a little more of a pink because they feel it's too much population right now. So again, just layering it with the pink color on the left area. Now using my chisel blender brush, I will begin adding the clouds. You can use any smaller sized flat brush or you can even use your round brush may be. So first using the purple color without adding any white color or much of water to it. I'll just try to layer down some purple clouds. So this GSM blender brush is nothing but all flat brush but with very small prisons. So I'm just using the tip of this brush and just trying to drag or some clouds into my sky area. Now, for these clouds, I'm using a mix of these three colors. That is a violet color without any weight. Violet color with white and some pink color without white and pink color with white. So basically all I'm just adding darker and lighter clouds next to each other and trying to give radiation. If you do not have this chisel blender brush, you can use or either a round brush or over the smaller size flat brush. Now, at the bottom area of the pink clouds, I'm adding in clouds with the orange color. And I'm leaving gaps because there I will be adding the yellow clouds to depict the sunlight into the sky area. I'm just using these colors or to overlay over each other and try to merge the clouds or everywhere. Now, I will pick up the yellow color and place it between these orange and pink gaps that I left. So basically, this will begin to act as the sunlight between these clouds and at the bottom media also just adding these fine yellow clouds. Again, do not worry if you do not have this same brush. You can add all of this with the help of a smaller sized round brush. Even at the top area near to the purple clouds, I'll just lay down some yellow clouds. So very randomly, just A little of the yellow clouds and picking up this purple color. Now, I will add up clouds at the top area, but this dark purple color. And to blend it well, I will even use the light dark purple color that is the pace still open. So it's always important to keep using the mix of colors and just dabbing a little with my finger. And at the top right corner, just very small, tiny mini clouds. And we'll be done with the clouds part then. So we are done with the sky area that is painting all these clouds. Very simple strokes I have used and lay down the colors, vary randomly and tried to merge all of them. Now, I'll begin with the black area for status, the black silhouette area on my horizon line. So I will just mark or ROC area onto my right side first and fill this completely with black. Now similarly, even onto the left side, I will be adding rock-like structures by your IVB, adding it along with the Bush look already and in the center, but I'll try to show it very small drug structures. Then onto my right side I will be adding a lot of pine trees. Even on my left side, I'll be adding a few of them. Let's begin adding the palm trees. Actually, I mistakenly told you pine trees, but this time we are adding the boundaries. So just pulling out the leaves from these branches. Very easy ones, not too detailed ones. If you want to learn to paint any of these elements, or I have covered all of these in my 21, these two watercolor class. So you can visit the technique section of this class for learning any row element painting in detail. Now on do this ROC area, I will just keep adding lot of these palm trees. I will just show some branches popping out from the sides of the building that does not visible to us. And in-between, I will just give some bush structure on this rock. So all of it looks finished and more natural and more pleasant to our eyes. So this one tree leaves popping out from the right edge. So basically that tree is not visible to us site actually. Now in the center area, Let's add this one big palm tree. Remember, or to add these boundaries on live and your background sky is completely dry. It, if you're clouds are still not dry it then wait for it to dry completely and then add this. Otherwise, again, the black will begin to spread along with the clouds and you will not get the opaque look. Also, vile painting these trees. I'm using the brush very gently and non pressing it too much or dabbing it too hard or lens it will again begin to deactivate the base area. Now in-between these palm trees, I'll just give some grass strokes so that it looks as if you know, the entire field area from where all these trees are popping out. Let's paint a smaller one. You know. After adding all of these pine trees, we'll just be left with the dry brush strokes into us. And adding some CVs and some OK on to the purple area. Almost done adding these bounties, just a few more urine there. So if you do not wish to add too much of the pine bounties, you can add all the grass structure onto these rock and AD are very few or limited of these g's. Now lastly, I'll shift to my whitewash to give the dry brush onto the CAD. I first mark that we've looked at, I had marked with the pencil, which is not visible right now. I'm using my silver black velvet size four round brush. So I'll just mark that VIV look again first. And now I'm moving it towards the left. I'll try to give those dry brush strokes. Remember to not have excess paint onto your brush. So dab off if you feel you have excess paint. So you see, I'm very gently just trying to pull out my brush and this dry brush stroke. And every time that I'm picking up paint, I'm dabbing it on the tissue so that I get those dry brush strokes. So majorly near to this fiv I gave taco or strokes because there is like, you know, the form that gets collected because of the waves crashing. And on the remaining area, I have given these strokes very light. Now again with the white quash, I'll just mark this bead line again clearly as it's not that clear because of the previous dry brush strokes. So that is it. Now, one last thing before adding the sand, I will add a reflection. Do this via the white wave that we've been dead. So I'll use a darker purple tone. And underneath this white, I'll just give a fine line of this dark purple color. So basically, this will act as a shadow of the sunlight and onto the V area. It will try to show the shadow effect and just give a little more detail to your painting. Okay, now, using my bone sienna or burnt umber color, I will give some dry brush onto the sand area also. But before that, just using my double 0 size brush, I will add some CVs with the purple color. Very old and very limited, not too many because major area of my C has the dry brush look. If you wish, you can skip this step. It's not compounds 3 to add these leaves though. Okay, So I'm done adding these visual tool. Now, let's pick up the brown color and add the dry brush onto the sand area. That is the purple area that I am trying to depict as the sand. Again, remember for dry brush to not add too much water to your paint. That debate before or dabbing it to all trying to get that dry brush onto this area. Okay. Remove all the excess water and paint and very gently. Just tried to give this dry brush stroke. So very often I will be giving not too much. Okay, So that is it, just this little of the dry brush for the sand? Now, let's remove the masking tape. And that's our final painting. I hope you guys enjoyed painting this fit me. Thank you so much for joining me.
21. Day 15 Hot Pink Seascape: So let's begin with today's project. I will just begin by marking a horizon length at almost 50 percent of our paper. And then we will have a look at the colors that we will be using. I will be using this neon pink shade from the brand blues, true? And I will be using the color from the brand blue stroke and you can use any purple color or a violet color. Then I will be using Prussian blue, yellow, white, and black color. So these are all the colors that I will be using. We will be painting a seascape for, and I will begin with the neon pink color in my sky area first. So at my horizon line, I'm just applying this neon pink color. You can use any pink if you do not have a same pink color, but use a bright pink color or else mix a little bit of white to make it a little brighter. Now for the top sky, I will pick up the pollution blue color and I will place it at the top area and vended with the pink. After blending. For the clouds, I will be using the more shade or the bubble sheet that is onto my palette already. So I'm forced blending this with a damp brush. So already in-between, if you see I already have a little violet don't because of the pink and blue mixing together. So anytime when you feel that the blending is not happening spooled, you can pick up either of the color or a damn brush to make the blending smoothly. Now I'll begin painting the sea area also. So the area is basically going to be a kind of reflection of the sky area. So in the center I will apply this neon pink and at the edges I will use the violet color and then blend watercolors in the middle area. So now just picking up the move color and I will first place it on the edges, then use a damp brush and blend the pink and the purple together. So you see, basically I'm just laying down the scholars simply. Then I will pick up that pink color again and begin blending all of it together. And very carefully at the horizon line, I'm just laying down the smooth color also. Now we will begin blending this. So see I'm picking up the pink color again. And I will just lift the board so that it becomes easier for me. And now moving left to right completely, I will try to blend in. Do not worry if little of the purple comes into your pink area. It's perfectly okay because as it is, we are trying to pin the reflection of the sky. So the more natural the gallows will look blended to each other, the more or better your painting will look. But you see I'm picking up the pink color again and again and trying to blend in and not using the bubble color because I want more of pink into my Sea area. And that is it for my Sea area also. Now, either shift to my smaller size brush and begin adding the clouds in the sky first. So for that, I will pick up the purple color That's onto my palette. And just using the tip of my brush, I will just be laying down very small clouds, but a lot. So this time the sky will be filled with clouds, but with very smaller structures and not one bigger cloud altogether. So you are, I'm using my size double 0 Gamblin synthetic brush to place these clouds. You can use any brush that has a very fine pointed tip, any detailer brush that is available with you. And I'm placing these mini clouds just close to each other. The half C strokes that we had seen earlier, just using that simple stroke and placing it in the point where the blue and the pink is merging because that is, that is where the pink color on, sorry, the purple color gets formed. Actually. I know adding these mini clouds may again look TDS, but it will look pretty at the end, and I'm quite sure about that. So that much is it for the clouds now, I will pick up the same neon pink color and mix in a little tinge of the violet color to make it a little darker, pinkish tone than my sky. And I will begin placing the same week clouds as I placed with the purple color onto the pink area. Now. Again, remember that I'm using very small strokes and not too big strokes. I'm using a pointed tip brush and I'm not adding much of water to my paint. I'm using it in a very opaque consistency. Also my base layer is completely dry it. And so I'm getting this opaque look and you know, that finished look of the clouds on the top. So on do this pink area, I will lead on the clouds with this violet, pinkish tone. It is basically a rose color tone that I have found. You can even directly use a darker pink color if you want for placing these clouds here. Some unknown Stan, adding the clouds just a little more near to the horizon line. So then I'm done adding all the clouds. Now we will begin adding the fourth layer of the CV's also. So using the purple color, I will begin adding very tiny or CVs onto my CAD. So again, I'm using my double 0 psi is pointed brush and I'm adding very fine strokes. Or you know, some of the strokes may not even be visible to you right now, but you don't. When the entire load gets added, it will all be visible. So you see very fine strokes and very small inland that I'm trying to add near to the horizon line. As I move towards the bottom, I visited increase the size of these strokes because those V's become neural to us and the waves that are new to the horizon line are very far from us. So that is the reason they are very small. So onto their entire area near to the horizon line, I'm trying to add these, follow this. Later on, I will be pulling out Bhopal views from both the edges of my C into the center area. So that is the reason medially to the edges, I am just placing less Aviv's right now. And I guess now you would be able to see how closely and how small these leaves are looking. And now as I move downwards, I'll try to vary the tonal colors. So I'm using the pink color now. That is, I had mixed in the pulpal and my hot pink color. And using that pink color, although I will lay down some waves now, I am also mixing in a little bit of white to this so that it stands a little brighter. So now if you are noticing, as I'm moving downwards, my leaves are also increasing in length and are not as short as the ones near to the horizon line. So that is the beauty. We need to understand why painting the cityscapes. Now, as I'm moving more towards the end, I'm increasing the waves or the length of the waves slowly. And if you know this, all my leaves are not in one straight line. They are analytical or mismatched. Lines. That is, some waves up, some waves down and some starting from the center of the dog fees. We will also play some waves on both the edges. Again, just as adding those fine clouds, adding these tiny sea waves, we look at DDS task. But as I always say, oh gosh, is a forgiving medium and you can take breaks. So if you feel this is too much, you can take a break in-between, grab a coffee and then you can again continue with the tiny details of this bending. Now add the water media. I will even place some of the pelvis so that, you know, I have those darker highlights also at the bottom media. Isn't a Doyle beginning to take its shape and looking producer. Now, also, if you notice these beans, I'm placing very randomly nothing in specific, but majorly at places I'm trying to give you a Docker lens to the light waves that have been dead. So basically the darker color ads as a shadow, that is the reason I'm painting them at the bottom of the light waves. And now the last thing left is pulling out these waves from both the edges. So using my purple color, I'm just trying to drag in some VFS using the same point that the brush. Now into the sky area, I will add some clouds with the white color, the same, the same size clouds as we were adding audio. That is the same thing that we are going to use, but just a little, not too many. Basically this will act as a highlight. And after this, we will even be adding some yellow cloud such that it reflects sunlight into the sky area. Now, I will pick up the yellow color and begin adding the clouds for dialogue. Shallow, very few, not too many, and majorly only onto the pink area of my sky. I know this painting has a lot of details, but trust me, this is one of my favorite paintings from this entire series. And the final outcome of this painting is quite beautiful. And now we are only left to paint the black silhouette part of this painting. So let's begin painting the solo hit back now. But make sure that your painting is completely dried before beginning with the black silhouette. And all your layers are dried, otherwise they'll begin to match. So first at our horizon line, I'll place a very tiny mountain range. And this entire area will be filled with black. Now, at the bottom medium, I will first mark or little muddy kind of area or maybe the shore area of the sea you may consider it as. And from this I will give out some trees and one major bind G naught do detailed one of medially filled with mode of branches and less of the bushes. So using the same black gosh, I will begin adding the tree now. So the big thing that is the top of the G trunk will be very thin. And as I'm reaching downwards, I'll try to make it a little tickle. And now very randomly I will first add branches to this G and of binary. So it will automatically at the end try to have a look of a triangle shape and just add branches very randomly in different angles, different directions, or some branches popping out from the main branch, some branches or you're not adding to the smaller branches. All this will give variation. And medially all the branches are again in our little curvy manner this time. So you see to some branches, I'm even adding the smaller branches so that it looks more natural. And then I just have to add in more smaller branches popping out from these mean branches. Now, I'll just talk about some more branches and some where I will just add all those smaller leaves onto these branches so that the pine tree looks a little follow and not to discuss. So basically just pulling out small leaves from these branches is what I'm doing. If you want, you can leave your biology in ascus. Look, if you want, you can add in more of these branches. If you want, you can make it more detailed one, it's completely your choice how you want to pin this tree by this, make sure if you're considering it as a pine tree, the final shape should look like a little triangular in shape. Now on to the remaining shore area, I will be adding a few smaller pine trees and not the detailed one. Just quick ones. Just pulling out some grass strokes at the bottom medial so that those places I do not have to please find Gs. And the Find g looks popping out from that draw structure. And now your, I'll just play some basic pine trees, very quick ones, not detailed ones. So you see basically I'm just moving my brush in a slant manner from one corner to the UDL and not adding any details and such an easy way to add these are quick pine trees and do the painting. And add this right corner. I will just please some bush like detail and not a pine tree. So basically painting a small area black. And then just with the tip of my brush giving little bush look at the top area. And I would even pop out some leaves from this area so that it looks more natural. Also, we are almost towards the end of this painting. So just a few leaves to N3 urine there. So there we are done with tapping to know more details to add. Now let's remove the masking tape. Oh, but before that, let's just add in some white highlights even onto the CDO. Because the reflection of the sunlight that we have shown into the sky, just using the tip of my brush in the center area where basically my clouds are white, that area, I'm just placing some light waves. You can use a white gel pen to add in these fifths. And that is enough. Now let's remove the masking tape and see our final painting, how it looks with the widows clean edges. So yeah, we are ready with our final painting. I hope you guys enjoyed painting this with me. Thank you so much for joining me.
22. Thank You and See You Soon: Thank you so much to each and everyone of you who joined me in this 15 days, of course, Challenge class. I hope you guys enjoyed painting all of the 15 paintings and learned about this medium and got to explore this medium. I am thankful to each and every one of you who joined me and state to all the 15 days. And I hope keeping the class projects easier for the first few days helped you to get a hang of this medium and then go into depth and paint more complex, beautiful landscapes. My Instagram handle is creating from the heart. I would love to see your creations there. And if you posted on Instagram, do tag me. And I would love to reshare it their time close to manage once again, to everyone who has joined me and painted for these 15 days and explored this medium. I hope you love this medium just as I love this medium. And I hope that now you can paint more with this medium and try your own their friends. And if you need any help, anytime, you can either put into discussion section of this class or you can even DM me on Instagram for any help. I will see you guys very soon with my next class on Skillshare. Until then, happy painting to all of you and thank you so much for all the support throughout.
Umashree Taparia, Artist, Art Instructor, Entrepreneur
