20 Dreamy Watercolor Landscapes for Beginners: Paint Along Step by Step

1. Welcome to the class.: Some journeys aren't about reaching a destination. They are about returning to yourself. There comes a point in life when we stop asking what we want. We become busy building carriers, running businesses, taking care of families, fulfilling responsibilities, living from one deadline to the next. And somewhere between all of that, the little artist in us quietly whispers. What about me? Hi. I'm Mashi Taparia, a chartered accountant by profession, a watercolor and a gouache artist, a creative business entrepreneur, an art teacher, and a mom to your 2-year-old toddler. Welcome to my creative space, creating From the Heart. If you want to know more about my art and craft creations, as well as customized handmade gifting, then you can follow me on Instagram under the handle creating from the heart, where I share all of my miniature creations, along with easy art tutorials to follow along. I don't believe that art is meant only for professionals or for people who carry the title artist. I believe art belongs to everyone who chooses to pause to anyone who can spare 15 quiet minutes. To anyone who has ever looked on a blank sheet of paper and wondered if they could create something beautiful. Because watercolor has a way of teaching us what life often forgets. It reminds us that not everything has to be perfect, that colors don't compete, they planed, that the most beautiful moments are often the ones we never planned. And perhaps that's why I have always loved painting landscapes. They aren't just mountains, skies, forests, or dreamy sunsets. They are little places we build for ourselves, a quiet escape, a peaceful corner of the heart, a home we can return to whenever the world feels too loud. This class isn't about finishing 20 paintings. It's about giving yourself 20 moments of stillness, 20 chances to breathe, 20 reminders that even in the busiest seasons of life, you deserve something that's created simply for the joy of creating. Over the next 20 days, I will guide you through 20 dreamy watercolor landscapes one day at a time. Whether you've never held a paint brush or you're rediscovering a hobby, I'll be right there with you through every lesson. So find your favorite corner, pour yourself a warm cup of coffee or tea, and let the world wait just a little longer. Because for the next few moments, this little world of colors entirely belongs only to you. And who knows? Maybe the masterpiece we create won't just be on paper. Maybe, little by little, we'll paint a softer, calmer and more colorful version of ourselves. With that, I'll see you in the first lesson. Oh 2. Material Guide: So now, before we dive into the first lesson, let me give you a quick material guide that you would be needing in. First and the foremost watercolor paper. I'm using this Archies rough crane 100% cotton, 300 GSM, what colour paper. This is of size ten centimeter by 25 centimeter. It's a little bigger than the bookmark size that usually is. And we'll be painting on these through the 20 days. You can choose whatever size of the paper you wish to. You need not stick to the size that I am choosing in. I would just recommend using in 100% cotton paper and a minimum of 270 to 300 GSM, so that you can work wet on wet and create in all of your beautiful paintings coming in. Up next is a set of watercolor palette. I'm using this from the brand white Knights. Now, again, you don't really need all of these colors. You can just begin in with a very basic 12 color palette, and we can create in our own color mixes on the go. As in for many of the projects, I'll be showing you the color mixes to create your own pistil colors or any darker lighter shade how you can from your basic palette. In case if you're using in colors from tubes or pants, you would be needing in a mixing palette. I'm using this wooden palette out here. Alright so that I get enough mixing space to mix up all of my colors. You can use any palette that you have a plastic, ceramic palette or a basic plate also works for it. So this is about the paints, colors, paper that we've spoken so far. Next up, you would be needing in a set of few brushes. I will be using this silver brush, black velvet series. These are natural hair brushes. These hold a lot of water. You can use synthetic hair brushes as well, which are suitable for watercolors. You would be needing one flat brush for giving in the flat washes, and you would be needing some round brushes and detailer brushes. I would recommend a size eight, four and two in round, a detailer brush, and a flat brush, and these should do your job well enough. Make sure you at least have one brush in your, um, collection that has a good pointed tip for you to add in all of the details swiftly and easily. Next up, you would be ing in some basic stationary like a pencil, some technical pens, which are waterproof so that we can add in some fine details using this directly into our painting. Next, you would be needing in a masking tape to tape down those edges and have those clean white tape feel moments coming in. You can use any masking tape. I'll be using in this white one. And you would be kneading in two jars of clean water, one to clean your brushes, and one to always lift up fresh water on the go so that you do not have any muddy colors forming in at any moment. Lastly, you would be kneading in a rough cloth or a tissue, whatever you wish to use to clean your brushes, remove the excess paints, and, you know, just get those dry brush textures right by dapping off the excess water and pigments on your brush as well. So that's about the materials that you need a basic watercolor palette, few brushes and a watercolor paper to begin with. Rest everything can be, you know, adjusted like a painting palette. You can choose a plate for the pens. You can avoid the pens. If you do not have waterproof pens, we can directly use the black color and brush for the fine details. So everything else is very basic. Go ahead, grab your materials, get them all ready, set up your corner so that for the next 20 days, you give yourself the 15 minutes that you deserve to bring colors to a blank canvas. And I will meet you into the next lesson now. One more thing in case if you are absolutely new to watercolors and if you want some very basic to, you know, 3. Day 1 - Green Meadows : So I have my paper taped down, and we are going to begin in with our first painting, beginning in with a layer of water. Just go ahead with a clean layer of water onto the entire paper. I am using a rough green paper, so you will see beautiful texture and greens. Even a cold pressed paper has enough green to get out the beauty of watercolors. A hot press paper on the other hand, will not have greens and will not given that texture effect that a rough green and cold press paper has in. Beginning in with the colors into the sky, I will first begin in with the violet color. So I'm just picking up the clear violet at the top. Moving to which I will shift into a shade of pink. You can use carmine, scarlet, quinacin rose, pink, whichever color is available in your palette. Next, I'm going to shift into a yellow color. I will be using the permanent yellow deep with a little hint of the naples yellow. One of my favorite yellows to use is the naples yellow. In between, I'm just going ahead with a little hint of the orange as well. Now, I will just shift into a smaller size brush, pick up some pink out here onto my palette, and we're just going to go ahead, add in simple cloud details over the orange, covering it up majorly with the pinks again, just letting little yellow orangish highlights be there. And over the yellow, I will just pick up a yellow orange hint and just give in little lighter values, giving in that beautiful sunset effect that we need in. At the top, just going to go ahead with the violet and give it a layer so that it dries out good and bold, picking up pink, blending it in Just a little values of the pink more. Over the yellow, little very small dusky pink clouds that you can add in. Alright. Now we'll wait for this to dry, then move on to the layers of the field step by step. Field, beginning in with a very light green color, you can choose to go ahead and mix in yellow to your basic green if you do not have multiple tones of greens. You can always form lighter greens with the help of yellows and whites and darker greens with the help of indigo, blue, brown. And if you directly have darker greens, you can use that as well. For the field, just pigging in with a layer of light green into the field. At the top, I've given a good diluted, you know, opaque value and towards the bottom, I'm just diluting up this color. Now, just creating a very rough, even uneven natural looking effect to the field out here at the top. Now, we'll have to wait for this to dry before we move to the next layer of the field again. Now the first layer has dried up. Now we move on to a little darker green. You can keep on using different greens to create good variations into the field as well. I'm using up an olive green color now and just going to go in with the next layer into the field, just marking out the same way as we went for the first layer and filling up the bottom space with this layer and a diluted layer instead. I am taking help off a hair dryer to speed up the drying process because at most of the places in India now, it's a good rainy weather, and that makes the drying process a little slow and, you know, so I just take help of a hair dryer. You can let it dry naturally if you wish to. So towards the top here, I've given in little, you know, uneven space and top here. All right. Now again, I'll wait for this layer to dry. Now for the next layer, we are going to further use up darker green values. You can use one base color and create darker values with the help of maybe indigos blue, black, pains gray or use in different greens, as I told you. I am just using the same green with a little mix of the pains gray now to create in one tone darker value and moving on to the third layer of the field. And same way just going to fill it up. And create up a gradient towards the base. Onto this layer top as well, I will just go ahead add in a little variations to the trees tree like effect, just adding small spiky strokes at the top, you see. All right. Now, by the time these are trying out, we can go ahead, add in some more details that we have to. So picking up a dark green value, I'm just going to go ahead, add in some tiny bush detail out here. So I'm just using the tip of my brush first and giving in some simple details, and towards the base here, I will just fill it. You can use a smaller size brush if you wish to and give in these leaf like structures first, and then go ahead, fill in the space or fill the space first and then use a smaller size brush. So now I will just shift into a smaller size brush to give in some detailed leaves. Now, towards the left side, I'm just going to be adding in some small bush details. All right? Just connecting in with very fine lines. In between just going to add a very fine pine tree to just give a little break to all of the bush that we are adding in. All right. Now let's move on to the last layer when this dries out. Until then, I will just pick up the paints gray, black, whichever color you have, and we're just going to add in some fine birds. You can use a technical pen for doing so in case if you do not want to use the black color. But in case if you're using a technical pen, just make sure that it's a waterproof one. Otherwise, it may create unevenness and smudge out when you have to overdo anything or if by any chance, you have to correct any spots. So a few birds that we've added into the sky and just the last layer to add in now. Now finally, for the last layer into the field, just going ahead with a very dark green value. And we are going to just go ahead and create in the last layer. Fill this up completely with a good bold value. And to the top of this as well, just going to use in the tip and create in simple spikes to act in as some far off trees. Wearing the lens, you see, somewhere taller, somewhere shorter. Now, for these details, you don't always need to keep on shifting to a smaller size brush. Just try using a brush that always has a pointed tip so that it can make your process easier, simpler, faster without multiple times altering between tools. And that is it. We are ready with hard phos painting into this challenge. So let's peel off the masking tape carefully and see the final painting. You see the tape has a lot of paint, so always peel it off against the paper so that the paints do not come back onto your painting again. Because of the hair dryer, the glue of this tape had loose enough, so it was easier for me to peel them off quickly. See, you see here, the mestis turned out because this layer was wet and the tape had pigment, which just spread out here. I will just clean it up quickly. So here's a final look at our painting from day one of this painting challenge, wherein we'll be painting beautiful watercolor bookmarks in just under ten to 15 minutes. I hope you guys enjoy painting this with me today. I will see you guys into the next painting soon. 4. Day 2 - The Blue Heaven: Hello, everyone. Welcome back to the next painting of this challenge. And for today's class project, we are going to go ahead with yet another easy landscape. It's going to be under 15 minutes with very minimal details to add in and create in depth into your landscapes. It's going to be easy for every one of you to follow along. If you're just picking up watercolors for the first time, this is the right, easy tutorial for you to just begin with. Alright, so just going ahead with a good layer of water throughout now for the colors, we're going to go ahead with blue color into our sky. So I'm picking up the blue from my palette here. You can go ahead with any blue, say Cerlean blue, sky blue, peacock blue, turquoise blue, ultramarine, cobalt blue, whichever blues you wish to work with. I'm walking up with a mix of the blue color, and we're just going to create in some rough, random cloud details. I have mixed in a little bit of the turquoise along with the cobalt blue. And I'm intentionally leaving in some white caps into the sky and just going ahead with building in a very easy simple sky. You can see how rough and random my strokes are. White gaps are intentional to keep the glue into the sky. I will just pick up a little water, drop in at spots to create some more blooms. Make sure for such projects, you keep a rough cloth handy. And now we're just going to go ahead, darken up some values. So just going to use the same color tones and just add in a little more layers maintaining the whites intentionally again, so as to let that cloud effect come in naturally Now, to this, I will just pick up some drop of water and drop in to create some bloom that spots to act in as some more cloud details. All right, so not much. Drop in and spread it across. That will create a white space between the sky again. I'm just going to pick up some more of the darker hints of the blues, add in some more darker values before we let this to dry out. You see every darker value that I pick up goes less on paper as compared to the previous lighter value. Only then will you be able to get in multiple tonal variations into your sky getting in those different cloud effects. And you see how natural the sky looks with those white caps that we've left in, right? If you want, you can, of course, go ahead at certain more spots, create in some more white spaces with the help of some blooms, giving in some more cloud depth. That is it. We'll wait for this to dry completely, then move further. So now my sky has dried out and we are going to go ahead and add in the silhouette, beginning in with the green. Feel free to use the greens that are available with you, sap green, olive green, hookers green, dark green, light green by whatever name it is using a medium to dark tone of the green color and just going to add in simple bush detail here. So just beginning to dab dab and creating some bush detail at the top. You can take help of a spoiled round brush for doing the same. I'm just going ahead with my round brush, which I will be using ahead. So just picking up some more green and now filling up this space at the bottom. Again, with the darker greens, just begin tabbing in for the second layer to create more effect. Now, for the further details, let's switch on to a smaller size brush. And picking up the same greens, we'll just begin adding in some detailed leaves at the top. You know, create a random bunch of leaves closer to each other. I'm just using in the tip of my brush, adding in simple leaf shapes, as you can see. This just adds in a layer of depth. It's a very simple technique to add in more detail. You see, simple leaves that we're adding in. I'm just going to add in blend at the paste again so that the leaves look well blended into the paste that we've added. Now, from in between these, if you want, you can still pull out some more detailed leaves, which is what I'm going to be towing. So using a fine tip brush, just pull out some natural looking bunch of leaves. Not too much. Just a few here and there. Just on the go blend it into the base again wherever needed. Adding a small bud structure here, trying to show a blooming flower effect. Now, next, using the green, going to be adding in a little more detail onto this side. Just simple one stroke leaves that I'm pulling out closer to each other, creating in a bunch. Now, for this, if you are an advanced level artist or an intermediate level and you want to level up your painting, what you can do is you can go ahead and work with multiple layers of greens into your painting. So beginning in with a lighter green, then adding in some shadow effect with the darker greens and moving on to a third layer. So that is how you can go ahead, build in more if you want to, you know, increase your painting time, add in more details, and level up your skills as well. But to keep it bigno friendly and simple under ten to 15 minutes, I'm just going ahead with one color, adding in a good bunch over to the left side here. Now, next, I'm going to go ahead and use in a waterproof pen. You can use any technical pen that is available with you. Just make sure that it's waterproof and just add in some line effects. I'm using a pen which is waterproof. It's very important that you make sure that your pen is waterproof. Along with this, I will go ahead with a 0.5 nib as well, adding in some more thicker lines in between. You see how the fine lines really act in as a very in depth detail. You can use 0.5, 0.8, zero point, you know, a few lines with one MM as well, creating in the darkness and the depth. All right. So just a few lines that we've added into a ski. And now, lastly, just go ahead with the black or the pains gray color. And we'll just add in two to three birds here. All right. Onto one spot that I've added. Now, one thing that I will just go ahead with, which will take me just like a minute or so or more. So I will just mix in little hint of the black into my green and creating in a darker green value, I will just add in little depth into the paste here, giving in that shadow effect at the base. Now to blend this in into the top layer, I will again just use this lighter green and go ahead and blend it all in. We could have actually done this while our base was wet. I just missed that, and right now looking at it, I just felt a little need of adding in some darker values, and that's why I just thought of going ahead, adding in this. So now what I'm doing is with the black color mixed in with a little hint of the green, I'm just adding in some darker leaves, as I told you, the ones who want to level up their skill and wanted to add in more depth. You could first go with her very light layer, then one layer darker green, and then this darkest layer. And for the ones we just pinning, you see just a small depth of the second layer at spots adds in so much more character to your painting, gives in more depth. Alright, so that is it. We are ready with our second painting into this series as well, creating in easy pigno friendly watercolor landscapes in under ten to 15 minutes. It just took us a simple ten minute now let's peel off the masking tape. Make sure you peel it off against the paper. Be careful if your green is wet like mine. So you see if the taping is not stiff enough, the colors may peel off, so I need to from the next painting, you know, run it strong enough so that this does not happen again. But nonetheless, here's our second painting from this beautiful class wherein we are creating big no friendly bookmark paintings in under ten to 15 minutes. I hope you guys enjoyed painting this with me today. I will see you guys into the next painting. Thank you so much for joining in and painting along with me. 5. Day 3 - Misty Field: Hello, everyone. Welcome back to the next painting of this bookmark painting challenge. Win are creating landscape paintings in under ten to 15 minutes, giving you a full landscape tutorial. Easy to follow along for every bigner for this painting, I'm going ahead with her layer of photo onto my entire sheet. Again, very minimal pencil sketches that I use. So no pencil sketch for this one as well, going ahead naturally, a layer of water. Into the sky, we begin with a layer of yellow. You can choose any medium tone of yellow that you wish to. I'm going ahead with this medium yellow. I'm just going to dilute it moving downwards. So you see, as I just keep moving towards the bottom space, I'm just diluting that color. Up next, I'm going to be using in the pink. So just picking up a little bit of the carmine color, very light hint is what we need just below the yellow till the horizon line space. So almost half of the space is going to be a sky, a little more than half, actually. And now as I'm moving downwards, I'm just giving in a wash kind of a layer. Now, we'll move on to a smaller size brush and just give it a little character to aski. I will just use this yellowish orange color that is already on my palette with the hint of the pink. And we'll just add in a little bit of the cloud details over the yellow orange spaces. You see we've gone ahead with a very light wash kind of layer for our sky and very light muted tones. You do not need a lot of darkness into your sky. We really want it to look like a misty sky, picking up the pink, adding in little cloud strokes, very simple ones, and then we'll wait for this to dry and our main element is going to be a misty range of pine tree, feel and some pine trees into our sky. Just going to pick up very light pink again and just using the tip of my brush, going to keep on adding in a few cloud strokes, moving towards the top space, Water control is very important when you go ahead with these layers. If you will have excess water, it will start spreading across the entire space and will not retain the shape and the space in which you add them. So you see we've just gone ahead with very minimal cloud details, not much, easy simple strokes from the edges to give little flow into a sky that is it. We'll wait for this to dry, then move further. So now my sky is dried out and we move ahead to the next layer of details. For that, you either pick up the pain spray or the black color, whichever is available in your palette and pick it up in a diluted consistency. You do not need a very dark tone. Next, we'll begin creating in a layer of the pine trees. So I will first just give a rough outline. Now, on top of these, using in this smaller size brush, I will just give in some very easy small pine trees. You see, just moving criss cross, creating in these pine trees. And as we move, I will just go ahead, add in a layer of water so that this color begins seeping into the base as well, creating in that mist. Just at the bottom space, add in this layer of water. And we'll just go ahead with a few more of these pine trees. You see how beautifully the color just seeps into the base color waterlo that we've added, creating in that misty effect? See, in between, I'm just adding in some very loose strokes again. You can also see we've used a very light diluted transparent layer of this paints gray color because we'll be adding in some bold trees at the end for which we'll be using in the bold color. Now, we're just going to pick up this color and just going to add in a little creating in the mist for the first layer. Blending it well into the pine trees wherever needed. You see somewhere just giving in some darker highlights using in the tip and the colour just bleeds and flows into the bottom space naturally. At the base, leaving in some missed space in between, just going with another layer. Now again, we'll have to wait for this layer to dry out, then move on to the next layer. Now this layer has also dried out and we move on to the next layer. For the next layer again, I will just begin with a layer of water. This time I'm moving towards the bottom space from the top left towards the bottom right, and we are going to go ahead with another layer of a similar looking range with the tones of greens this time. So I will begin in with the green first, and we'll just begin adding in simple pine trees here as well with the green. And you see as soon as it touches the water layer at the bottom, the color begins to disperse, creating in that beautiful natural misty effect. Just going to go with some random strokes in between, some detail looking pine trees. Just go ahead, fill in the entire range. You can leave gaps in between and just use in some simple strokes. Now, in the base layer, I'm just going to be picking up the green in a good bold darker value and fill the bottom space with the green. To darken up, you can take help of black, dark green, pains gray, indigo, whichever colors you wish to. After this, we'll just be left with the last layer of pine trees which will add in the depth. I'm just darkening up these values. Now, to create little misty effect into this, I will just pick up a drop of water and drop it at random spots between the green. It will just create in that natural effect into the field. If you feel the need, you can drop in more water. Make sure it's not too watery also. Otherwise, it will just disperse onto the entire space, and it's not too, you know, less also such that it does not show the dispersion at all. Just adding in some more darker hints because remember, watercolors dry or tone lighter. And with that, I will just splatter some water into the base layer here like this. Alright, now we wait for this layer to dry completely, then move to the last detail. So now the last layer here has dried out and we move on to the final layer of our huge pine tree on the bottom right side. For that, picking up the paints gray or the black color, whichever you have. And we'll be picking in with a huge pine tree on this side. Towards the base here, I will just create a rocky space. And now we just add in very simple detail to this pine tree. You can choose the kind of foliage that you want to go ahead with, not necessarily to go ahead with the kind that I go ahead with. You can just use very limited details. You can go with a very detailed one, absolutely your choice, how you wish to go ahead with I'm just adding in the foliage. As I move towards the bottom space, I will just add some bigger foliage detail. You see very raw, natural, uneven. Again, in between some very limited. You just need to strike a balance depending on the kind of the foliage that you choose to. If you want to go ahead with a detailed one, you go ahead accordingly. If you want to go with a sparse one, you choose your layout accordingly. If you want to go ahead with a completely filled up pine tree, then your flow will be according to that. So like here at the top, I've given that delicate look and towards the bottom, I'm giving in huge bold foliage detail, which are very quick and easy to fill in. Now, from this, just pull out some fine strokes. And you see the triangular shape that I've tried to get in, given some detailed looking strokes to these, and you will see how naturally it all begins to make sense altogether. Some darker depth. You see the one tree together here bringing so much more character to your painting. I will just go ahead with another small one here. You see I'm just moving Cris cross using the tip of my brush to create in the foliage detail. You don't need any, you know, stroke learning or any specific method to add these criss cross. All you need to do is make sure to maintain the triangular look into the pine tree. So you see the triangle that gets formed, just a very small fine one, and then going slow, slow slow down. Some foliage adding in here to balance it all out. Now, using in this black, I will just add some very little splatters at the base into the field here. All right. Very little random ones. And lastly, just going to pick up the black color in a bold consistency. Adding in a few birds. Oh All right. Just some details. And that is it. So let's peel off the masking tape. Make sure you begin peeling off the masking tape against the paper. This time, I had pressed my masking tape more firmly and the bleeds are quite less as compared to the previous painting, probably. But at certain spots where I've walked in with extra water layer, the bleed is still happening in. It's okay. We can fix that up with a white waterproof ink or whitewash or hell. Nonetheless, I absolutely love how the painting has turned out and how beautiful the outcome looks. Very simple easy landscape in under 15 minutes to create and frame it for yourself or gift it to someone. You can choose the size according to your liking, not necessarily to go with the same size that I'm working on. Nonetheless, I hope you guys enjoyed painting this with me today. I will see you guys into the next painting tomorrow. 6. Day 4 - The Sea Shore: Hello, everyone. Welcome back to the next painting. And for today's painting, we're going to go ahead and paint easy, beautiful seaside sunset. I've marked out the horizon line. Up next, into the water space, we're just going to mark out a few rocks that we'll be adding in. You can choose the placement of the rocks according to you, need not be the shape or the placement as mine. You're free to explore and use your own weird shapes for these rocks. You see, I'm just adding them very, um, roughly and just keeping them loose and playful. All right. So that is about the rocks that we've added. You can add like six to seven of them. And up next, we have the sky. And then on the horizon line, we'll just add in little details later on. For the sky, I'm going to be going ahead with a simple easy sky for which I will be using a wash of the blue and the pink tones, and the sea is going to be a reflection of the same colors of the blue and the, you know, blue color and the pink color tones and into the rocks, we'll be going ahead with the brown tones. So I've just removed up the brushes. I will be going ahead with a flat brush to first go ahead, add in a layer of water into the sky. So first, just going ahead with the sky only. So make sure you give a good even layer. Now to go ahead with the details into the sky. Pick up a blue of your choice, a Syrian blue, sky blue, or cobalt blue, whichever blue you wish to go ahead with. And just begin in with a simple half area of the sky covered in with the blue. Next, I will be moving on to the tone of pink. I will just go ahead, use the pink from my palette. You can go ahead, use light tone of pink, carmine, permanent rose, scarlet, whichever pink is available in your palette. Alright? So we've just gone ahead, added in a simple wash into a sky. And while adding in the sky itself, you see we've created little strokes to the clouds. Now next, I'm just going to be picking up a little bit of the indigo color. I'll just clean up my brush. It seems it just has some green picked up. So I will just pick up some fresh indigo, and we're just going to add in a few small cloud at the top, using in the indigo color, some very tiny clouds randomly here and there. Nine case, if you do not have an indigo color, choose to go ahead, mix in a little bit of the paints gray to your blue and create in a medium to dark grayish tone of blue like this. And we're just going to give in little cloud details with this. You see, I'm just using in the tip of my brush and adding in this. I'll just pick up a little more, add in a few clouds over to the pink as well, hovering randomly. There's no fixed placement for these clouds either. You can just go ahead with your random placements that you wish to. All right, so just a few here and there that we've added. Now moving to the pink again. Just some darker values. Either side that you can choose, not necessarily to again choose the same placements for the clouds as well. Feel free to experiment and, you know, given your own placements and see that you need to have water control while working wet on wet. That is for our simple sky. I took us around four to 5 minutes and our sky is ready. Let's wait for the sky to dry completely, then move on to the details into the water body. So now our sky is completely dried and I'm going to begin with the water space. Before we begin, I will just guide you with a basic way how we are going to go ahead with. So we'll paint the base lear into the sea and wet on wet, we'll be adding in the waves quickly. And after that dries out, we'll be adding in the details into the rock colors. So on the rock spaces, if you want, you can use a masking fluid. But since our colors that we're using into the sea is light, I'll just let the colors go in because the rock is going to be of dark browns and blacks. So I will just try to keep the colors over the rock spaces very light or lift them up quickly. One more thing wet on wet only we'll be adding in the reflection to these rocks while our base of the sea is wet. So we'll just go ahead and paint in the base layer waves and the shadow to these rocks. Then this dries out and we add in the rock details. So let's go ahead, begin with a layer of water into the water space. Make sure that your sky is completely dry, otherwise, the colors may seep into each other and ruin up your horizon line. So I'm just going ahead with a good layer into the sea. Now for the reflection, first, we'll be beginning in with the pink color that we used in closer to the horizon line. And at the bottom space, we'll be going ahead with the blue color. Whichever blue you may have used into your sky, just go ahead with the same blue at the bottom space and just creating in a smooth blend. So first, you see I've gone ahead with very light tones. Now I will pick up the color and begin adding in some wave details. So while it is wet, just use in a smaller size brush or the tip of your brush and just go ahead, begin creating in some details. I'm going very slowly closer to the horizon line because any which ways, I'll be giving some details of pushes on the horizon line. So all of these will get covered up. You see, just some very fine lines to act in as the water flow into the sea that we are painting. I'm using in the tip of my brush. Now moving into the blue color. Let's begin adding in some waves. Take some blue waves over to the pink as well so that the transition looks smooth and, you know, realistic. And similarly, you can take a little of the pink tones into the blue as well. So as I'm moving towards the bottom space, you see my waves are more thicker as compared to the ones towards the top side. Now I will go further one tone darker. So I've just picked up a little more darker blue, same color, but just in a little thicker consistency to increase the opacity and the variation to the pins and going ahead with few more strokes. All right. Now, same way, I will just go ahead with the pink again. Just adding in some darker waves with the pink, wet on wet. Make sure that your sea is wet, otherwise, wait for it to dry completely, and you can go with some wet on dry waves. So that is for the waves that I've added. Now while this is wet, I told you we'll be adding in the reflection or the shadows to the stones. So for that, you can either pick up brown or black, but you need to really have water control while doing this because sea is wet. So you need to pick up the paint with very minimal or no water. And just under the spaces of the rocks, go ahead, create a shadow effect to these. I'm just picking up the color in a little darker consistency. See? Just some fine lines across the bottom edge of the rocks to create in the shadows. So towards the baseline, I begin with the line of the rock, and then as I move downwards, I just shorten up the length. If you want, you can add these reflections as a wet on dry after everything dries out, but I will just let the shadows be soft and well blended. You see how I'm tapering down the shadows. Again, you see my sea is wet and wet on wet since I've added this and I've used very limited water into this black color. The shadows have retained the space, yet have a soft edge to the edges, and they've retained the shape in which I've added them. Now, we'll wait for all of this to dry and then we'll move on to the final details into this painting. So now our first layer into the sea is also tried out. Let's begin in with the bon sienna color into the rocks first. So go ahead with a medium tone of the bon sienna. You can use bon sienna or any light brown brown red, whichever color is available in your palette. Mark the outline to your rocks that you are adding in. So the first layer is just with a simple tone of the brown. So you see to all of the rocks, I'm just giving in a simple layer. Now to these rocks, we'll go ahead, create in mode definition. So go ahead with pains gray or black, whichever you wish to use. And from the edges, just begin dropping in these darker values using in the tip of your brush, such that at the tip, the brown is still visible. You see how slowly I'm just dropping on the edge, using in the tip, such that the browns into the rocks are still visible. So to each of the rocks, we've added in the second layer with the help of a black color for now. Now we'll wait for this much to dry out and then move with the next layer into the rock. Till then, let's add in the details onto the horizon line. So you either pick up a black or a brown color of your choice. I'm going ahead with black. And onto the horizon line, we'll just go ahead with some fine details. So make sure you do not rest your hand over the wet spaces, and we'll just go ahead and build in a simple space first like this. Just going carefully, defining in the horizon line. Alright, now onto top of this, I'll just go ahead, add in a few pin trees at random sports. You see, I'm using a brush which is able to give me such fine lines by just using in the tip. So always try using a brush which can have a pointed tip, which can help you actually add in fine details on the go without being, you know, needed to alter between brushes. So this entire painting, if you may have noticed, I've just gone ahead with this one brush to give in except for the flat brush that I used for adding in the wash so that the wash layer can be done quickly. So just some simple pine trees towards the right side that I've added, and now just some in between. You see how fine and small I've kept them without trying to add in a lot of details and just simple foliage criss cross. And now in between, just giving in some random bush using in the tip. All right. Now, just one thing. You see, when your paper is movable, you can just get a perfect hold onto your hand and create in the details. So it was easy for me to just rotate according to my hand grip so that I do not lay over the rock spaces. Now, we are just left to add in the final details into the rock. So now into the rock spaces, just going to go ahead with the black color and going to drop in more darker values. Define the outline better. So my rocks are semi dry, so they will automatically have some rough patches when this black dries out. And because of the softness wherever there is, it will automatically spread and given that color gradiation. If you want, you could add in some dry brush texture instead of dropping in this black hints whichever way you choose to. Now, wherever I want little softness, just using a damp brush and blending it towards the outside edge. Lightning up wherever the color I feel is spreading in too much to create in the highlighting spot onto the rocks. Now you see our rock look so lively. Now the last thing to add in is a little more reflection or the shadow. So just using in the black color and my fine brush, I'm going to be adding in some fine lines over the shadow that we've already created. So some wet on dry shadow effect, basically. But you see these lines are very fine and less as compared to the previous shadows that we already added wet on wet. All right. And that is it. We are ready with our painting. So come, let's peel off the masking tape, see our final painting. Make sure you begin the peeling against the paper, and once your edges are completely dried out, I love how simple this class project is yet so many details that we've added, bringing the entire painting to life. So that is it. Yours our final painting for today's class project. A very simple seascape with some rock details that we've added in. I hope you guys enjoyed painting this with me today. I will see you guys into the next painting tomorrow. Thank you so much for joining in, painting along and exploring your new love that's watercolors. 7. Day 5 - The Orange Clouds: Hello, everyone. Welcome back to the next painting and Feres Class Project. I'm going to be using in a combination of the Idothrne blue along with orange. You can choose to go ahead with whichever medium to dark tone of blue available. You can choose to go ahead with a Prussian blue color, a light indigo tone, if you want, or a little bit of a bright blue or a Ceran blue mixed in with indigo, any medium to dark tone of a sky color, basically. And we'll be using in orange and a little bit of the burn Siena. In case if you do not have a born Siena, you can choose the brown, red color, red brown, any medium tone of brown that you wish to. So that's the colors that we'll be using in. So let's begin in with our entire paper as the sky. So we'll just go ahead with a wash of the water. Go ahead with a good even layer of water throughout. Make sure your edges are taped down perfectly so that water does not seep through. There you go, we've almost got a good layer. Now we are going to go ahead with the colors. So first, I will pick up the Inoterrine blue and we'll just begin in at the top. Almost approximately 40% of the paper that I will be covering up with this blue. Next up, I'm going to go ahead with the orange color. You can choose any bright orange vermeilon mixed in with yellow if you do not have this bright orange color, beginning from the base. Moving top, I will just shift to a little brighter orange as well. Now we need to begin creating in cloud details. For that, we need to go very carefully over to the blue space with the orange color. So now pick up the orange and we'll just begin very gently, keep a rough cloth or a tissue paper handy so that you can just go ahead and begin creating in random cloud. Now, when orange and blue mix together, remember, they give a very muddy tone. So you can either lift up the blues or keep the spaces empty, or you can choose to go ahead with a very light patting method. Like you lay the orange color very gently without much pressure such that the blue color is not activated again. So just beginning to create in cloud details now. Now for the next layer of clouds, you use darker orange. It's all going to be soft and soft, just some fluffy cloud effect that I'm going ahead with. So first at the top, I used my yellowish orange color for the cloud. As I move downwards to darken up the value, I will move on to the brown, burn sienna, light red, brown red, or if you want to just mix in red to your brown so that it all remains into the warm category of the colors that we are using for these cloud details. At the base, we'll be giving in a good range of the pine trees. So just giving in a simple wash like this. Now moving to a further little darker brown color to give in some darker cloud majorly towards the base side. You see, we are just beginning to create in a very simple fluffy cloud painting that we're trying to do in here. Up next, I'm just going to use in a little bit of a dark blue color. You can choose to use indigo or you can just mix in any other darker colors to create in some darker values to give in some dark cloud effect at the top, and we'll just go ahead with the blue again. And add in some darkness because you see the blue was drying out very light, and I just wanted it to dry out a little bolder than what it was. So while my paper was wet, I could do this part again of just adding in a soft layer of the blue gently again. Now we'll just pick in a little bit of a pinkish violet color. Mixing it in with a little hint of the brown and just going to add in very small or very muddy kind of a cloud effect onto this side. You see a little warm purple hint, very little with that little pink highlight that's coming in, giving in that depth out there. So just some fluffy clouds. Now I will just pick up a little bit of the yellow, drop it in between while the spaces are wet to create some lighter values at random spots. You see how in between the browns, the yellow is giving in a little fluffy effect to the cloud. So just pick up the color in a liquidy consistency and drop it. It disperses and creates in that glow. All of this I'm doing while my spaces are wet, just dropping in some more darker brown hints at spots to add on to the fluffy effect. And lastly, just some little more violet brown effect at the top space. So I've just mixed in a little hint of the brown. You can even use orange. I needed a little muddy grayish effect color. All right. So that is for our sky, pretty simple, fluffy kind of sky that we've created with the use of the two complimentary colors. Let's wait for this to try. Then add in the silo head detail. So now the first layer is completely dried and we'll go ahead with our range of the pine trees. Choose the paints gray, black, whichever color you wish to for adding in the pine trees. And we'll just begin adding in some smaller ones first. So first, I'm going ahead with one wooden log, kind of a detail, another wooden log close to it. Now just begin adding in some pine trees. Now for the foliage, you can just book criss cross, and you don't really need so detailed kind of pine tree because we are going to add in a good cluster of them together. So it will automatically given that depth and detail. So first, I'm just going ahead with the smaller ones, which are just going to be filling up the entire bottom space. And after that, I'll be adding in two of these, which will be very big and the detailed one. Up till then, just let's go ahead, add them at the bottom space here. You see, just a little foliage to some of these. At the bottom, I'm just going to be filling up the space. Now, just going to take them in sync into the trees that we are adding in. Now, in between these logs as well, just go ahead, add in some fine looking trees. You see very fine lines that I'm adding in and just little dots to act in as the foliage here and there. So we're just going to quickly like this, go ahead and add in the entire bottom detail. And then we'll just move on to our final detailed tree that we have to add in. Now, the first detailed tree that I will be adding will be here on the left side, a tall one. And now to this, let's begin adding in some detailed looking foliage and just carefully create in depth. Alright, so just going ahead. And as I'm moving towards the bottom, I will just fill this space in with some darker details like this, just tabbing it all in. Not just giving it a fine tip, some bigger foliage at sports. You see, overlapping the previous ones that we've added. And now with our final big tree that we have to add in. For that, I will just go ahead with the mean stem first. So it's going to be like huge one. All right, so you see how huge is this. And now from this, I will first give in some fine branches coming out. Again, by the time we move from top to bottom, I'm just going to make sure that it has that triangular shape coming in. So in between like this, you can give in some smaller branches, no issues, but the overall look has to come in like the triangular shape that we need in. So some branches, I'm just giving them moving towards the bottom space here. See overlapping moving into the field here? Now, from these, we'll just pull out some mini foliage. So at spots just given some dabbing like this. In between, given some smaller taps moving in from the main branch. Just some fine pullos You see how we're just adding in very random details, creating in the depth to the foliage. If you choose, you can go ahead with more details, much smaller size brush, and create in more depth. Now you're giving in some extra foliage detail towards the bottom space, just dabbing it in overlapping Moving to the top. Now I will just pull out some branches and keep them loose and raw. Now again, at the base, just going ahead with some overlapping trees in the foreground again. Okay. Just random strokes coming in from this side, making it look more realistic. So random strokes in between. Alright, so that is it. We are ready with our painting for today's class project. So let's peel off the masking tape. I absolutely love how the fluffy clouds have turned out with the complimentary colors that we've used in. I hope you guys enjoyed painting this, peel off the masking tape, see your paintings with those clear edges, and adore the beauty that you've created in just like 15 minutes. I hope you guys enjoy painting this with me. I will see you guys into the next one tomorrow. Thank you so much for joining along and exploring what colours with me. Oh. 8. Day 6 - Winter Sunset: Hello, everyone. Welcome back to the next painting of this easy landscape painting class. For today's class project, we're just going to go ahead with a very simple window landscape. This is going to be a small space, and the top will be our sky, and we'll just add a very simple tree with just the branches without any foliage detail. So for the sky, we are going to go ahead with beautiful tones of pink and purple and just a little highlights of the yellow. The snow will have a reflection of the sky that we'll be adding in. And then using in the black or the paints gray color, we'll just add in the silhouette details. All right. So let's begin in with a clean layer of water only into the sky first. I'm using rough grain paper, so you see the texture on my paper. You can use cold pressed hot press, whatever you like. Just that with watercolors, rough grain or cold press gives beautiful textures after drying, and the paper texture makes the paints dry beautifully, giving in very beautiful effect. Hence, I prefer a a rough green or a cold press. Now, firstly, I will begin in with the violet color. You can use bright clear violet, purple, whatever name in your palette, beginning in with the violet at the top. Almost half of the sky that will cover a top. Next up, I'm going to be using in the vermilion color and a little bit of a bright orange. Now, just for a little yellow highlight, I will go ahead with the naples yellow. Naples yellow is basically a beautiful pastel yellow color. Next up, I'm going to shift into the tone of pink. You can choose a hot pink if you have a neon pink or an opera pink that would give an beautiful effect. But for now, I will just go ahead with the rose color and the carmine color that I have in my palette. Now, let's go ahead, blend it all in. So the pink and the purple blend together will give you perfect tones, no shoes. Just while blending in the pink and the yellow, make sure that you do not cover up the entire space with the pink. We want that yellow orange highlight to be there. So what I will do is I will pick up a little yellow and go blending over the pink. Just making sure that the blending is seamless throughout till the top. Now next, we are going to go ahead and begin adding in wet on wet cloud details. For that, picking up the violet. And just going to begin adding in strokes from the right side. Now, you need to lay it very carefully because when the violet mixes with the orange or the yellow, it will create in that muddy kind of a tone. And I just need a little highlight of that kind of a tone towards the right side. Adding in little strokes moving in from the left. Make sure you have the water control while adding these in or go ahead with a smaller size brush. With this brush, I am just using the tip of the brush and adding in these strokes as you can see, small half sea strokes close to each other. Water control will play a major role because if you will not have water control, these strokes will all spread out and cover up the entire specs. Now picking up the pink. This is too dark, so just in a very light consistency. From the left here, making sure I just have this little glowing highlight of the yellow and the orange space. Now again, going with some more darker strokes on the right side as a second layer. You see, it is always easy to build up layers and get more depth into your painting rather than going ahead with one bold colour altogether. All right. That is for our sky. We wait for the sky to dry, then move to the snow space. So I have painted the snow area, and somehow the part of this has gone missing. Let me just explain you. We just go ahead with a layer of water and just use in the tones of pink and violet and create in the darker values step by step. I will just show it to you roughly or to the sheet how we are going to be going ahead. You go ahead with a layer of water first. Then you pick up a pink color, given, like, a very light wash, and then you begin adding in darker values with a violet color. Alright. We just begin creating in simple strokes with the Darko values. And as we keep moving further, we are just going to darken up a purple as well with the help of the pains gray and pull out some darker values from the bottom like this diagonally. So that's what exactly I've done here. And over to the horizon line here, you see, I've just used in a little mix of the pains gray with the violet and created in little shadows to the details that we'll be adding on the horizon line. So on the horizon line, we'll be having in bush and, you know, a little pine tree detail. For that, I've just added these little shadows. So it's a basic wash of the pink and the purple color that I'll be doing here. Somehow this part is lost while recording or what has happened, I'm unable to trace the video. Hence, just explain to you, it's a simple wash that I've given of the pink purple color, and some darker values building in with the purple and the paints gray later on. Now, once this dries out, we'll go ahead, add in the final details of the silhouette into our painting. So now everything is dried out. We begin in with the details onto the horizon line first. So I will just go ahead, create in a space first and fill this up completely with the black or the pins gray color, whichever you wish to. If you're using a different size of paper, which is not a bookmark size or not in the shape of a bookma, you can choose these silhouettes according to the size of your paper till how long of the length till the horizon line you want to take it. So first, I'm going ahead carefully, filling in and defining my horizon line. All right. Now, just using in the tip of my brush onto the top of this, I will just begin pulling out small strokes which will begin acting as the pine trees. You don't need to give in any kind of foliage detail or anything, just simple strokes very close to each other, varying the heights of these, which will make it look like the fire off pinree effect. In between to some, if you want, just give in some criss cross foliage detail, giving in a more realistic effect. So we're almost through this right space. So you see the reflection of this a little shadow of this is what I added into the snow space already. And onto this side, I will just take it a very small tiny bush space. Okay. And we'll just fill this in. At the top, just using the tip of the brush, giving in that uneven shape. Now the last thing to add in is going to be the tree that we are going to add in. So first, begin in with the main stem of the tree. At the bottom here, you can see I'm just spreading the roots of the tree into the snow space, trying to make it realistic. And across this, we're just going to create in some small dry brush texture or some rocky details to show some of the roots of the tree being covered up with the snow. All right. For the dry brush texture, make sure that you have very limited paint and water and just drag it across the paper. Now, we'll just keep pulling out some branches first. Make sure you're using a fine tip brush so that you can get these details. So first, just pulling out some main branches. Now, of course, all of these placements can be different for each one of you. It's not necessarily to be same as mine or as anyone else. Choose your own variation if you wish to. Feel free to experiment with the layout of your tree. Just pulling out the dry branch. Now pulling out some thinner branches from this. Just pulling out fine branches coming out. So first begin in with some thicker ones. Then as you keep moving further, make them thin and very delicate. You can shift into a zero point like a size zero, zero, zero, triple zero or detailer brush for this. Se overlapping onto each other. Now I will shift into a very fine tip brush. So I'm using this liner brush. And now I'm just going to go ahead add in some very fine strokes. I see very fine, delicate strokes coming out from these thicker strokes that we've added in? All right, giving in very fine details. You can choose when you wish to stop and how much detail you wish to add in. Again, not at all necessary to go ahead with the same kind of tree or the same kind of details. You can choose your own variation, as I told you. Randomly overlaying some thinner branches. All right. Now, the last thing to add into this painting is going to be a white moon. So for adding in the moon, you can either use a white elpin, white quash, or white acrylic, and I'm just going to add a small moon here. Uh So I'm going ahead with white quash, and we'll just use a smaller size drush, add in a fine. You can choose the placement again as per your choice. See? And that is it. We're ready. Let's peel off the masking tape, see our final painting. Make sure you begin peeling once your edges are completely dried and always peel it off against the paper. So here's our final painting a easy, beautiful winter landscape in just 15 minutes. I hope you guys enjoyed painting this with me today. I will see you guys into our easy landscape tomorrow and keep uploading in your projects if you're painting along with us. And in case if you like this class, make sure to draw a review so that it can reach maximum students and they can all benefit and begin their watercolor journey. 9. Day 7 - The Cottage House : Hello, everyone. Welcome back to the next painting of this 20 day painting challenge. For today's class project, we are going to be painting a beautiful valley kind of view wherein not exactly a valley, but like a field with mountains and a small cottage core house and simple details that we'll be giving in. So first, I've just marked out a simple outline that the top is going to be the sky, then the mountain. Now at the base here, just marking out a rough field area that we'll be adding in. And then at the top of this field, we'll be adding in the cottage space. So now I'll quickly go ahead and sketch out the cottage as well. So I've just gone ahead with a very simple cottage, the main cottage, that is the tall one, and around it, I'm just adding in the simple, you know, three D effect to the doors, then a background, like a backyard space or, you know, back space for this cottage that I'm adding in. You can go ahead with any pencil layout that you want or any reference silhouette that you want to go ahead with. We are going to paint like a misty mountain, simple green field, beautiful sunset sky, and then showing the glow inside this cottage house. So first, we are going to begin with the sky now. I'm going to go ahead with a layer of water onto the entire sky. Make sure you go ahead with a good even layer of water. I will not let the water seep through into the mountain space. Around the mountain outline, I'll go ahead carefully and just mark out the outline to the mountain well. Now, for the colors into the sky, I'm going to go ahead with yellowish orange pastel color and a muddy kind of violet color. So I'm just going to go ahead and mix my own colors for this. So first for the pastel around the sunset space closer to the mountain, I'm going to pick up orange, naples yellow and white, and I'm going to mix these colors. In case if you do not have a lighter orange, you have a very dark orange, you can choose the yellow accordingly. Since I had a yellowish orange color, I've picked that up directly to that I'm adding in the white watercolor. You can choose to use white quash as well. And closer to the mountain, I'm going to go ahead with this color into the half of the sky. Now, further top color that is like a muddy violet color. You can even use a shadow violet color, maroon violet color red violet color. You just need that little hint of brownish effect into the violet, basically. For that, I'm going to mix in the violet. And along with that, I will just go ahead and mix in a little bit of the brown tones. So I've picked up a very little of the raw amber color. And to this, I'm going to add in the violet now. And you see I've got that maroonish violet color effect that I needed in. At the top, I've laid down this color. This is like a shadow violet color, as I told you, so you can use the shadow violet colour in a lighter consistency. Now I will just go ahead and darken up the orange a little. Be careful closer to the violet because when the orange and the violet form that muddy color, it will not give you a pleasant view. But the muddy color that we are mixing in for the violet will not give that muddy effect on the paper. So that is why you have to be careful of orange and the violet blending together. But remember, watercolors or tone lighter. So always go ahead with a darker tone. Now using in a clean brush, I'm just running at the blending point of the violet and orange so as to make the blend smooth and easy. Now, using the same color, I'm going to go ahead add in little cloud effect over the orange. I will just dab very gently. I will not apply pressure on my brush. I just want to create little cloud effect with this violet color closer to the mountain line, and I'm gently blending it with the orange spaces. I'm going ahead very carefully just using the tip of my brush, making sure there is no excess water, no excess pigment. And, of course, I'm not adding in a lot of pressure. Otherwise, it will activate the orange color, and orange and violet mixing together will give you muddy clouds there. So that is it for the sky. Now we wait for this to dry completely, then move on to the next layer. Now, my sky is completely dried and we move to the mountain range. We'll not add the water layer into the cottage space. So be careful there. Into the rest of the mountain space, I'm just going ahead with a light layer of the water. Now, into this mountain area, we're going to create like a foggy, bluish mountain, giving in that beautiful sunset vibe effect falling onto the mountain, as well. So we are going to go ahead first with a light layer of the blue color, and then we'll go on darkening the color, creating in like a mist and then we'll use water droplets to create that misty effect in depth onto our mountain. So first here, I'm beginning in with the endorne blue. But in case if you do not have it, you can just simply choose to use a Prussian blue colour and go ahead with a Prussian blue at the top here. Now, you can see I've just added the water layer into the half of the mountain for now, because into the rest of the half, I'll go ahead with a watery layer, blend, create that foggy mist eff. As I told you, you can choose any medium to dark tone of blue for this. Avoid using indigo at the moment itself because we'll be using indigo and a little bit of the ultramarine blue to create that misty foggy effect out here. So I am using endotherne blue. You can go ahead and use a Prussian blue as well. Now, first, I've defined the top outline well, and now I'm going to take in water and just dilute and make these colors bleed towards the bottom space easily. And you will see how beautifully these colors just flow, creating in a simple layer of the mist already. Now, next I'm picking up a little bit of the turquoise blue as well before I move on to the ultramarine. I'll just try using in the turquoise blue and create in a mist. You can use aquamarine blue, turquoise blue, cerulean blue, whichever available in your palette colors may vary a little, but it will give you the same effect again. First, I'm marking the outline to the cottage because we want the cottages to stay white for now. Filling in the rest of the entire space with this color for now, and then we'll go ahead with the water droplets to create in that foggy misty effect. Now, first, I'll go ahead with some indigo color and just go ahead and blend it with the ndirne blue indigo, and the turquoise color that I have used in. And you will see automatically the different color patches, the lightness of the water in the center, the darkness, then the lightness towards the bottom space, creating in that misty effect. Now, next, I'll go ahead with some water droplets. And you see I'm just using the tip of my brush to drop in some water gently, to create in simple blooms onto the paper, giving in that beautiful bloomy effect coming. You see how the blooms just spread out given that foggy effect. That's all that you have to do. You can even go ahead, splatter little water like this to get in smaller blooms. For that, make sure that you do not drop it onto the sky. Otherwise, you'll get in patches onto the sky, as well. And now we let this layer as well to dry, and then we'll move on to the next part of the painting. Now, foggy mountains have also dried completely, and you can see the blooms have created such a light foggy effect into the center space. Now we'll go ahead with the first layer into the field. Basically, in the field, we are just going to be working wet on wet. So first, I'm using in this green colour from my palette. You can use a sap green, olive green, hookers green, whichever green that you have in your palette, if you want to use an emerald green or a viridiant green either. I'm filling this entire layer of the field with this green colour, and then I will just use some darker greens to create a little flow into the field as well, giving in just some darker strokes, wet on wet itself. So Now for the darker values, I'm going ahead with the pain's gray color, and I'm just going to go ahead, use it in a thicker consistency without water and very less pigment. And while my green field is wet, I'm just going ahead with a smaller size brush, adding in some simple strokes to create in that depth, somewhere adding in shadows, somewhere creating in the darker values, giving in that foliage detail into the field as well, very random strokes and flow into the field that I'm choosing so you can choose your own flow if you're using any specific reference for the field again. I always try to choose different references for one single painting as well as in for this reference, I may have found the field a little more complicated or too detailed to cover up in the time limit that I want the painting to be done. So I have choose the field from a different reference wherein the field is very simple, easy, and just simple flow that we can create with colors wet on wet and still get in a detailed view to the field. Now, from the field itself, I'm just pulling out little foliage detail at the top while the field is wet. I'm using a mix of the green color that I used in the base along with a little bit of the paint scray that's already on my palette. Same way onto the left side as well, using the tip of my brush, creating in simple bush details. Now let's move on to the cottage one by one. So first onto the roof, I'm just adding in a outline of the paints gray color and then using in water, I will just dilute this outline to the center, create a light grayish roof effect. So for both the roofs, I've given the outline, and now just using water on my brush, I'm diluting that color to the center and creating in that light grayish effect for the roof. Now, from the edge, just dropping in this little paints gray color again, so it automatically bleeds to the center, creating in the dark shadow effect onto the roof at certain spots. Now, we need to wait for all of these roofs to dry out, and then we go ahead with the next detail into the cottage. Well so now all the roof has dried out, the little roof on the left of the entry as well. Now into the cottage space, I'm first going ahead with a layer of yellow, and then I will move to orange and a little bit of the brownish color to create in that glowing light effect coming out from the cottage. So using the orange on the edges and blending it with the yellow in the center, Now, using in the born Siena, I'm just going ahead with some darker highlights only on the edges. You can use a burn sienna or any other lighter brown or medium brown color and just create in little darker shadows. So even in the center, I'm just adding a very light overlayer on half of the yellow space to give in that effect. Onto the smaller cottage as well, I will just go ahead with some brown highlights under the roof to create some shadow effect. H Now, after this, we again have to wait for this layer to dry out completely and then add in the door and the window details to the cottage. And then we'll be ready with our painting for today's class project. Now, once this is completely dried, I'll just pick up the paint's gray color and quickly add in the door and the window outlines that we had marked out. You can choose to use a blue colour or a brown color as well for the doors and the windows. It's absolutely a personal choice that you can vary here. Now up next, I'm going to go ahead, use in a waterproof pen and just mark some outlines to the cottage, giving in that little rustic pen effect. If you want, you can use a very fine fine line of brush and the paint's gray color in a little diluted consistency and given these details. But in case if you're using a pen, make sure you use a pen which has a waterproofing. Otherwise, it may bleed through at any spot if you have to redo any of the color spaces. I'm just giving simple outlines, creating in, you know, pole effect in front of the cottage out there. You see, just simple lines add in so much more depth and a three D effect to the cottage, as well. With that, we are ready with our painting for today's class project as well. Let's go ahead, peel off the masking tape and see our final painting. Make sure to peel the masking tape against the paper so that you do not tear off the edges. And here's a final look at a beautiful misty cottage view. I absolutely love everything about this painting, the pastel sky, the foggy mountain, and the simple field that we've created with, you know, a flow into the field as well with simple wet on wet textures. I hope you guys enjoyed painting this as well. I will see you guys soon into the next painting. Thank you so much for joining in and painting along. 10. Day 8 - The Mountains Reflection: Hello, everyone. Welcome back to the next painting of this 20 day challenge. And today, we are going to go ahead with a beautiful seascape. I'm marking out the horizon line at the center of the paper, and in between the sea and the sky, we are going to leave like a very fine space, which is going to stay of a very light, almost like a white creamish color, and it's going to act in like as the beach space. And at the top, you're going to have a mountain range. So I will quickly just go ahead and mark out the mountain as well. So we first begin with the sky, then the mountain, then move on to the beach. And in the water space, we'll add the reflection to the mountains as well. So let's go ahead, add in the layer of water into the entire sky first. For the colors into the sky, first, I'm picking up the naples yellow, and then closer to the mountain, I'm going to be using in the lemon yellow color. You can choose to use any lighter yellow that's available in your palette. And then on top of the naples yellow, I'm going to be going ahead with the orangish yellow color. So I have a color called as yellow orange, which is like a mix of the yellow and the orange pigments that come in. So I'm going to use this yellow orange color. You can simply mix in orange and yellow. You don't really need every shade separately. Now, next at the top, I'm going to use in this raw umber color. So this is kind of like a orangish brown color, as you can see. Now, on top of this, we are going to go ahead with the cloud details for which I'm going to pick up a shade of pink. You can choose any pink that's available in your palette, and I'm going to go ahead with some cloud details at the top space using in this pink color. You can even use born Siena if you do not want to use such a magenta pink kind of a color. Now, over the yellow clouds, I'm going to go ahead with some orange clouds. So I'm using the yellow orange color over the yellow spaces that we added close to the mountain space. Now, same, I'm just going to go ahead with another layer of clouds, darkening the color one step at a time. So some warm orange clouds towards the center space, you can see the water control. It's very important to have the water control. Otherwise, the colors will bleed and not retain the shape in which you add them. Oh now I'm going to use the ditherne blue and going to be adding in some clouds using in this color. Now, remember when blue and orange mixed together can form a very muddy tone. So you need to press your brush very gently. You do not apply any pressure. You can see the softness in my brush stroke that I'm adding in. I'm just using in the tip and quickly lifting it up. So that just the color gets laid onto the paper, and there is no blending of the orange and the blue together to form in any muddy tones. If you will apply a lot of pressure, we are playing with watercolors. The orange and the blue will begin mixing together, and we begin forming in brown tones and muddy brown onto your paper. Now, same way, going to add in some more darker clouds with the blue color again. Now, to blend in the blue into the orange, I'm going to use in a little bit of the pink colour to add in a few more pink clouds closer to the blue ones that we've added right now. So we are almost through the sky. Now, by the time the sky dries out, we'll quickly go ahead and paint in the water space. We'll paint the mountain once the sky dries out completely. So let's go ahead into the water space. So in the water, we'll first go ahead with a layer of water again. Now into the water space, we are going to go ahead with the same colors that we went into the sky. The colors that were closer to the mountain will be first closer to the horizon line here to show in the reflection of the sky colors falling in. So I first added in almost half of the space with the naples yellow color. Now, next, I will move on to a medium tone of a yellowish orange color and then going to add in the yellowish orange color into the center space here. I will pick up more of a bold orange color now and blend it towards the bottom space. You can choose to use in an orange color or the Roomba color to reflect the color of the sky again here. Now, just as we went with the pink strokes into the sky for the clouds, we are going to go ahead with a little of the same pink color that you use in the sky for some wave details into the water as well. Whatever color you used into the sky for adding in those pink clouds, the same color you can use in here for adding in the wave details. Now, into the sky, we had added in the clouds with the Idothrane blue, same blue I'll be using here to add in some wave details. Again, the trick remains the same. That is, you do not apply a lot of pressure, keep your strokes very smooth and gentle and lift your brush quickly. Also, another thing that you need to keep in mind is about making sure that you do not have excess water or pigment onto your brush because we are playing wet on wet. So in case if you will have a lot of pigment and water, the colors will begin to spread out completely instead of retaining the space in which you add them. Just going ahead with some more blue waves at the top again here. Now, closer to the horizon line, we are going to go ahead with a blue color and add in the reflection while the water space is wet. So our mountains are going to be of the blue color, and we're going to add in a reflection to these. You can go ahead using an Iorine blue, Prussian blue or indigo. So whatever length you've kept for your mountain, the same length you will go ahead and keep in for your reflection as well. And exactly where your mountain is going taller, just below it reverse, the reflection is going to be elongated depending on where your mountain elongates. Now, while adding in this reflection to the mountains as well, you have to make sure that you do not have excess water, otherwise the blue color will spread out completely. Now using in a smaller size brush, I'm giving in some loose strokes towards the elongated ends of the mountain. Again, water control plays a very important role, and we are still working wet on wet into the water space. Now I'm shifting into one darker tone using the indigo color, and I will create more darker shadows towards the horizon line. So I've added in the layer of indigo and just dragging it towards the bottom space. And everything is, again, still wet on wet. My sea is still wet. That is what the paper makes a difference. When you are walking with a good quality paper, it helps your water layer to stay wet for a longer time. In the mountain, also, we are going to be working in with two to three colour gradiations to the mountain. And hence to the reflection, as well, I'm trying to vary a little of the color variations of the blues, so as to get a real looking reflection. Now, again, I'm still adding in some fine strokes using the tip of the brush to show some reflection in between some water movement as well. Now, going with some darker waves moving towards the bottom side as well. So I'm almost through the water space completely. Now we just have to go ahead with the three layers of mountains step by step after this dries out completely. So now my water and my sky both are completely dried and we'll move on to the next layer. First, I'll go ahead and add in this small detail here. I'm using a very light diluted consistency of the yellow ocher color here to give in that creamish effect. You can simply choose any pastel color or a cream color or just a very light yellow brown mix with a lot of water in a diluted consistency and add in here. Now, we'll again wait for this to dry and then move on to the mountain step by step. Now, into the mountain, for the first layer, I'm going ahead with a very light layer of the Prussian blue color, or you can even choose the dirine blue. I've mixed in a little of both the colors from my palette, and I'm just going ahead closer to the mountain outline first and giving in that perfect outline. Now, here, I'm not going ahead with a layer of water first because as it is, we want all of these layers to dry quickly so that we can go ahead with the next layer to the mountain. So now I've added in the outline and just going to fill in this entire white space now. Next I'm using in a little bit of the indirne blue into this Prussian blue and going to add in some darker values into the mountain space into the first layer only for now. So this is the first layer of the mountain that we're adding in. After this, we are going to be creating in two more layers, making sure that the outline is bold and vibrant. Now, my first layer of mountain is dried and we move on to the next layer now. For the next layer to the same color that's on my palette, I'm just adding in a little bit of the indigo color, and I'm going to be creating in the second layer towards the left side. So I've given in a rough outline to the second mountain layer in front of the huge fountain that we've added in, and now I'm going to fill it with a medium tone of the indigo. Make sure you do not use the indigo in a bold black color like consistency because the last mountain range that we'll be adding towards the right side is going to be of the darkest consistency that we'll be adding in. Hence, you can see on the right side, the shadow that we've added has a very dark shadow effect of the indigo and paints gray color. Towards the top here, I'm just dropping in some darker values so that the edges are covered up completely, and there is no background layers visible of the colors that are there from the previous layers of the mountain or the sky. Now, by the time this mountain range dries out, let's quickly go ahead, add in some wet on dry waves as well. So I'm just going to quickly go ahead, use my fine tip brush, and using the indigo color, I'm just adding in some very fine wet on dry waves to enhance the look of our reflection and the waves. These are wet on dry waves that we are adding in. Now, at certain spots to show in a little more of the reflection effect, I've given in a lot of waves closer to each other. And at other spots just using very fine lines close to each other to create in these simple reflections. Now, by mistakey here, you could see how the colour just spread it out because of the excess water. Now, quickly using the dam brush technique, I'm just trying to blend it with the base layer reflection that we already had. And you see just using in the dam brush, I'm running it towards the top side of the reflection that we added in and trying to blend it all well in so that it does not mess up with the reflection layer that we already had. Now I'm just pulling out some drybush technique onto the reflection at the top here, and I will just add in a few more of this drybush wave details over the reflection to show some botter movement happening in between the reflections. Now finally, let's go ahead with the last layer, that is the mountain layer. For that, I'm going to be using in the indigo in almost like a dark black consistency. You can use Pains gray if you are not using in an indigo color. And then for the previous two mountains, you could choose any medium to dark tones of blue. Again, marking the outline, filling in the space completely. Now, towards the tip of this mountain range, I'm going to be going ahead, adding in some simple spikes to show in as a far off pine tree effect. First, I'm defining the line well of the horizon line, that fine shore line that we have in. Now, using a fine tip brush, I'm just pulling out these fine strokes at the top to show in kind of like a pine tree range in the far off. You can see how simply it is easy to just rotate your entire board when you have your paper taped down on a movable surface, making your hand movements easy and making you adjust according to the hand movements that you need your paper to be placed. So that is it. We are ready with our painting for today's class project. Let's peel off the masking tape and see our final painting. Make sure to peel off the masking tape against the paper so that you do not tear off the edges. I absolutely love how the reflection in this painting has turned out even after the mess, and the blue vibrant mountain ranges look so beautiful with the contrasting yellow color sunset effect into the water and the sea. I hope you guys enjoyed painting this and learned to paint in reflections of mountains in simple ways, wet on wet as well as wet on dry. I will see you guys into the next painting. Thank you so much for joining in and painting along with me. Oh 11. Day 9 - The Winter Cottage: Hello, everyone. Welcome back to the next painting of this 20 day painting challenge. And for today's painting, we are going to be going ahead with a beautiful red cottage cabin in a winter view. So I've just marked the horizon line at a little below the center line. Now I'm going ahead, marking out the cottage space. You can choose any reference for the cottage. I'm going ahead with a simple front view layout of the cottage. So just the front entry that will be seen Now, from behind the cottages, I'm just going to go ahead, add in a few mountains. So just going ahead, marking those out as well, which will look in like the snow caped mountain that we'll be adding in. And lastly, into the snow space here, we are going to show some footprint effect into the snow. So that will directly add in once we have our snow area wet, we'll try to work wet on wet and give that effect of the footprints moving towards the cottage space. So let's begin with the sky first. I'll go ahead with a clean layer of water into the sky first. Make sure you have an even layer of water into the entire sky. Closer to the mountain. I'll go ahead carefully and mark the mountain outlines and not let the water go in there. For the sky, we are going to go ahead with the colours of yellow, orange and blue. So firstly into the sky, I will go ahead with the naples yellow. You can use any pastel yellow or light yellow in your palette. Then I will move on to a yellowish orange color. And lastly, I would move to a little bit of the orange hint for the clouds. And at the top for the blue, I will be using, you know, light layer of the dorian blue or the Prussian blue. Whichever medium to dark tone of blue you have, you can use that. And then for the darker clouds, I'll be going ahead with the indigo on top of the blue. So first, beginning in with the naples yellow closer to the mountain range. The Now, next, I've picked up the yellow orange color and adding it towards the right side. Now across the mountain line, you see I'm going ahead carefully so that I do not seep into the mountain spaces. Now with the orange, adding in little highlights, when you go ahead wet on wet, adding in these details, you need to make sure that you do not have excess water or pigment. If your brush will hold a lot of water, the orange color that you drop will completely cover up the space and not retain the shape of the cloud that you add them in. Now before adding in the blue, I've added a small layer of the white so that when the blue and the white blend blue and the yellow blend together, it does not give you any greenish tone in between. So first going ahead with a medium layer of the blue here. Now, next I'm going to pick up the indigo color and begin from the top over the blue. As I move downwards, I'm just going to use a damp brush and get the color diluted and get a variegated wash just picking up a little of the lighter blue that I used again. Now, very gently, just going to use in white and lay in the center at the meeting point so that both of the colors bleed into each other naturally and have that natural blend coming in. Along with that, I'm gently rotating my paper in different directions so that the blend between the yellow and the blue is soft, smooth without any muddy or green tones. Now, into the bottom space here, just going to go ahead, add in a little more of the darker clouds. So I'm just mixing in a little bit of the pink to the orange and giving in these little highlights towards the bottom space. We're almost through the sky, and then we'll move on to the next now. So by the time the sky dries out, we cannot paint the mountains or the cottage. So we'll go ahead and paint in the snow area by then. For this snow area as well, I'm just going ahead first with a layer of water. Now, the snow area is going to be very light. So just going ahead with the same blue to depict the color of the sky falling onto the snow. So if you've picked up Prussian blue, medium blue, diran blue, you can choose whichever light blue that you used into the sky. It's just like a waterli layer you will see. It's more of water, very less of pigment that I've added in here and just going ahead and laying this light layer. Now I'll further lighten it up, but always remember after it dries out, it will still be one tone lighter. So accordingly, have that light layer. Now, while the snow layer is wet, I'll just quickly go ahead, add in little highlights and depth and flow into the snow as well, using the same blue in a little darker consistency. First closer to the cottage, I will just add in little darker effect to show the shadow of the cottage as well onto the snow. Closer to the mountains, adding in the darker values to depict a little shadow effect of the mountains. Same way, going ahead at the bottom to create in little darker spots into the snow space majorly diagonally that I'm moving in here. Again, I'm still working wet on wet into the snow space, so make sure that you do not go ahead with excess water, neither to dark pigment. Right now, I'm just adding in these basic darker shadow values so that it has a soft blend and it looks perfectly blending into the snow space and not as a different patch that we have to add in. Just blending the top shadows again for the mountain. Now, you remember the footprints or the track trails that I was talking about. So I'll just go ahead with this indigo color using a smaller size brush and dabbing off all of the excess paint, I will just go ahead add in some simple swirls to show some tire track movements onto the snow so you can choose to show footprints or you can choose to show the tire movements or imprints onto the snow. So for the tire movements, I'm just adding in some fine lines close to each other. My paper is still wet. This is just the first layer that I'm adding in. And after this dries out, I'll go ahead and add in the depth layer. So to lighten up this layer, I just used in the flat brush and quickly just gave it a smooth blend. So now you can see the layer has turned very light and completely kind of, like, inscribed into the snow space. Now my snow is also completely dried, and you can see the lighter values that we added in for earlier of the track movements. For that, first, I'm going ahead with the blue again, wet on dry. So I'm using this fine liner brush and I'm adding in these fine swirls to reflect the track movements that we were talking about. So basically, this is the tire of the truck or the car that you can consider, which moved onto the snow and giving in that imprint into the snow moving towards the cottage space. So simple swirls close to each other. First, we added in a shadow Leo wet on wet. And now we are adding in these worlds. I'm using a very fine line of brush and very fine swirls close to each other to depict this movement. Just quickly adding in a few more darker ones. So I'm adding one darker one towards the rightmost end and one I will add towards the center space. It will just give in a little more definition and a three D effect to this entire thing together. Now, in case if you feel that this color is turning out too dark compared to the other spaces, you can gently just go ahead and dab in a little and lighten it up quickly while the area is still wet. Now, next, let's move on to the mountains first. First, I'm going ahead into this leftmost mountain here. For that, I'm going ahead with the indigo color. If you do not have indigo, you can simply mix in pains gray along with your blue and get a darker blue color like this. Go ahead with this blue into this entire space at the top here and defining the edge correctly. Same way towards the right as well, filling in the first layer with this. Then when I use in the white gouache to depict the snow movement onto these mountains, that is when we'll divide the mountains again as well. We'll again wait for the mountains to dry, then move to the cottage. Now my mountains and, you know, the track movements, everything is completely dry. So for the cottage, I'm picking up the bold red colour. Go ahead with a layer of the red color onto the entire cottage space. Very carefully, I'm just filling in this entire space with the red colour completely first. And while it will be wet, I will just go ahead with some shadow details into the cottage as well. We'll wait for the red space to dry out approximately a little bit, not completely dry. Till then I will just go ahead with a little dry brush texture of the indigo color onto the mountain spaces. So just going ahead, picking up the indigo, giving in dry brush, moving diagonally from the top left towards the bottom right, and distinguishing the mountain ranges as well with this. Now, in case if you have already used a very dark tone into the background, then you can go ahead and use in a black color to make these differences. But I have used indigo in a mid tone. So you can see I can still go ahead with the dry brush texture on top of it. On the right side here, I'm giving in little of the far off pine trees effect using in the dark layer of the indigo. Now, my cottage is approximately 40% dry, 60% still wet. So I've picked up a dark brown color, and I will just drop this color from the top edge here, and you will see it is getting a soft blend into the red because my red space is still a little wet, and it is yet maintaining the roof look that I want at the top. So that is why I had told you your cottage space should not dry out completely. Now, just using a damp brush, I'm gently blending it in. Now I will just use a little pinscria outline as well at the top to define more of the shadow effect to the roof. Very fine line using just the tip of my brush. Now, by the time the cottage is drying out, moving on to my mountains again. Now using in the darker color, I'm going to give in some dry brush texture. So what will happen is my background layer of the mountains will act as if that is the lighter snow spaces on the mountain, and this darker value will define the rocky spaces of the mountain. If you've already gone ahead with a very dark layer onto the mountain, you can use white gouache to give in this dry brush texture. So your white gouache spaces will depict in as the snow spaces and the darker background that you already have will act in as the rock spaces visible in between the snow. Either way, whichever is comfortable to you, depending on the colors that you've used into the mountain space, Now, I'm going to go ahead with the white wash and add in my final snow highlight. So you will see I will have three color variations into my mountain, the lighter background wash that I gave in the white quash, and the darker effect of the darker dry brush technique that I gave in previously. So all of these will create the realistic effect coming onto the mountains as well. Same way, I'm just quickly going to go ahead and add in the details to the other mountains as well. Simple dry brush with the white quash. Now, along with a little of the dry brush, you can go ahead and add in a few bold lines with a wide to depict more of the snow being collected in between the darker drybush as well that you've given. So now you can see the three different mountain ranges that we have one towards the right, depicting the pine trees, two towards the left, one showing in as a background mountain and one as the huge foreground mountain just closer to the cottage space. Now, last, I will just use in the indigo in a darker consistencies and again, just give in a little definition and separate the two mountains on the left, trying to show in more of the three D effect. After this, we are only left to add in little wooden cottage details onto the red cottage that we've added in. And then we'll be ready with this painting for today's class project. Now my cottage is completely dried, and I'm just going ahead with one darker tone red. Now, in case if you do not have that, you can simply mix in your red and brown. That's the same thing that I'm doing. Along with my red that I used for the cottage, I'm mixing in a little bit of brown to get one tone darker red colour than the one that I used into the cottage. And I'm just going ahead, adding in fine lines into the cottage to depict in the wooden panel details out there. You can simply even use a burn Siena or any medium to dark tone of brown to do the same. So if you have a closer look now, you can see how I'm just going ahead with fine lines close to each other to depict some details onto the cottage. Mm. Go ahead very carefully slowly adding in these fine lines. I'm using this fine liner brush. You can see it is able to hold in enough paint to add in two to three of these lines close to each other and giving in that beautiful detailed look to the cottage. Though I've just added in the front space of the cottage, still you can see just simple details define and add so much depth into the painting. Now, to a few lines, I'm just going to give in a little more depth close to each other, trying to show that rustic wooden effect onto this, as well. So just using one ton darker brown, adding in some fine lines randomly at spots into the cottage. And with that, we are ready with our painting for today's class project. Let's go ahead, peel off the masking tape and see your final painting. I absolutely love how the sky has blended, the blue gently dropping into the yellow and the orange and the cottage space, the simple track impressions that we've added, and the beautiful snowy background mountains. Everything about this painting is so welcoming, so cold. I hope you guys enjoy painting this with me today. And if you're liking this class, make sure to drop a review and upload in your class projects so that it can help others to join in the class as well. I will see you guys into the next painting of this series. Thank you so much once again for joining me into this class painting along with me. 12. Day 10 - The Pastel Sky : Hello, everyone. Welcome back to the next painting of the 20 day painting challenge. And for today's class project, we are going to be going ahead with a beautiful pastel landscape. So I have a new part of the palette here. You can see because we are going to be forming in our own pastel colors. So we'll begin in with the basic colors from our palette. And with the help of white quash, we are going to go ahead and mix in and create our own pastel colors. So in case if you're someone who's just using the basic 12 colors, you just need white watercolors or white quash is what I recommend. And we can create in and form in our own pastel colors and go ahead with this beautiful painting. So for beginning in with the pastel colors, I'll first begin picking up some basic colors onto my palette, which will include violet, pink, yellow, orange and blue. You can go ahead and pick up any shade of these color tones that's available in your palette. You absolutely do not need the exact same shades. You just need the basic colours to form in the pastel colors from these basic colors that we use in. Now, to turn these into pastel colors, we are going to take help of the white quash. I will just begin dropping in white quash in a medium consistency into all of these basic colors. Now, pastel colors are usually opaque inconsistency. Hence, when we use in white quash, the watercolors get an opacity because of the white quash, which is an opaque medium. That is why I recommend using white quash and not white watercolor because watercolor will not give you that opacity to the pastel paints, what white quash can do. White acrylics, of course, is not recommended because it will turn the watercolor into an acrylic paste medium, which will make the blending and drying different. So that is the reason I recommend using white quash while bending in your pastel colors. But in case if you do not have it, just go ahead using your watercolor as well. Now, I'll begin with a clear water onto my paper to first begin wetting up the sky. So I have my five basic pastel colors ready on the palette. Now as I begin painting them onto the paper, I will go ahead and pick them up. So I've gone ahead with a even layer of water onto my entire sheet. Make sure you are using clean water and not the messy water that you've used for mixing in the colors. So first, beginning in with the yellow color. I'm mixing in the white into the yellow, beginning in at the bottom with the yellow color, pastel effect. I'll just begin first with the base layer of the colors, and then you'll begin adding in the cloud depth. On either sides of the yellow color, added in a little of the orange highlights and a little of the pink highlights towards the bottom side. Now mixing in the violet color, and I'll begin in with the violet color at the top space. This is just the first layer of the sky that I'm building. Into this, we are going to go ahead with a lot of cloud details with the pastel colors just in one ton darker consistency. So a major sky is going to have this beautiful violet effect into the half space, and then I'm adding in the pastel pink again. As I told you, you can use any base colors to create in these pastel colors, not necessary to have in the exact same tone as mine. So we have our first smooth layer ready. Now to these colors, I will just add in a little more of our base colors again to tone them one tone darker so that we can begin adding in the depth. So into the violet, I added in a little more of the violet and going ahead with the second layer to build in more. Remember, watercolors will dry out a tone lighter. So you go ahead with the layer that you want it to stay vibrant even after drying. Now moving to a smaller size brush, picking up the pink in one tone, darker consistency, and I'm just going to begin using in the tip of my round brush. I'm using a brush which has a pointed tip so that I can begin adding in the cloud details. The only important things that you need to keep in mind is the water control. If you will have excess water on your brush, these darker clouds will begin spreading into the entire space and not retain the shape and the place in which you add them. So in order to make sure that these clouds retain the shape, yet have the softness blend with the base clear, you need to make sure that when you're working wet on wet, your brush shouldn't have excess water, neither excess pigment. Lay these strokes very gently onto the paper in such a way that they retain the space, yet have the softness blended into the base. Now going ahead with the orange clouds over the dark orange spaces that we had added. Now, next for the blue colour clouds, I'm going to mix in a little bit of the indigo and white into my basic blue. So I first mixed in the white to this, I'm adding a little hint of the indigo color and using in a medium pastel color indigo, kind of like a grayish blue color in a pastel consistency, I will begin adding in the clouds over the violet space. Again, the key here is going to be the water control and the consistency of the paint. Make sure that your paints are not in too much of a watery consistency. Neither does your brush have excess water. You see, wherever I'm dropping in this color, it's retaining the space, yet having that softness because of the wetness of the paper. We are playing wet on wet into the entire sky. So using 100% cotton paper makes the task easier and also makes it convenient for you to go ahead and add in all of the wet on wet details that you need into your sky. So onto the entire top space of the violet color of a sky, into the right side, I've gone ahead with huge blue grayish sky. Now I'm going to go ahead, add a little more definition into the sky before we move on to the silo heed for the sky. Now, picking up a little bit of the naples yellow directly, which is already a pastel yellow. So in case if you do not have a naples yellow, you can just use your pastel yellow again, pick it up in a thick consistency and just drop a little between the blue and the pink clouds so that you have that little sunlight effect popping out from between. But after every little paint you drop, make sure to check your brush such that your brush does not have any excess pigment left onto it. Otherwise, when you add pigments onto the blue colour, it may be possible that the blue colour gets lifted onto your brush. Going ahead with one tone darker blue mix to add in some more darker effects of blue into our sky. So just at the blue spaces where we added in the clouds earlier, going to go ahead, add in a few darker clouds. Again, I'm still working wet on wet. It's been almost 5 minutes. My paper is still wet and I'm able to go ahead with the wet on wet details. In case if your paper has dried out, you can choose to go ahead with the rewetting technique and then go ahead and blend this all in. Now, at the top, just adding in little pink highlights between the blue, very little and just blending it all in. We're only left in with a little more details into the sky. After adding in the pink clouds here, we'll just go ahead, add in a few purple clouds at the bottom, yellow, orange spaces to have a flow and blend between the consistency of the sky. Now, with the violet color in a pastel consistency, very gently going ahead here over the yellow orange spaces, adding in little cloud effect. Now, when you do this, be careful that the orange and the yellow mixed together orange and the purple mix together may give you muddy tons. So lay your brush very gently without much pressure just softly lad and after every stroke, keep cleaning your brush before picking up fresh colour. Again, you see how I just go ahead with very minimal paint and water onto my brush. So I retain the strokes as well as I still have the softness into the sky. And now we'll wait for our sky to dry, then move on to the silohit Mm so now my sky is completely dried. I love how the clouds have turned out into each of the color tones that we've added in. Let's go ahead with the silhouette into this painting now. So for this silhouette, I'm picking up a greenish black color. You can directly choose Paine's gray color to use in directly a black color or a dark green colour. At the base, I'm just going ahead with simple foliage detail, and I'm just going to go ahead, add in some detail foliage and then just go ahead and fill in the spaces. So on the right side, beginning in with, like, a half pine tree look. Using in some darker green values, adding in some detailed over the edge side so that we have that detailed look coming in. So just going ahead, dabbing in the brush, creating in leaf strokes together, a bunch of leaves together, some simple branches here and there. Now, next towards the center space, I'm going to go ahead with very little foliage. Towards the left side, I'm going to be adding in a small roof detail. So here I'm just creating, like, some bushes together close to each other. So for the roof, I'm mixing in blue and violet color and getting in a bluish violet color. And I will just go ahead and create the roof because we'll have to wait for the roof to dry before moving further. So a simple roof outline, I'm using in water and the paint in a diluted consistency, creating in this bluish violet roof effect here. And we'll wait for this to dry, then add in more details on top of it. So into this entire painting, our main toque is into the sky, the clouds, the variations that we've added into the sky. And the silhouet at the base, you can see is very minimal, very simple. So towards the roof, I've added in a small backroof effect, and I will just add in a little back roof towards the leftmost edge here as well. So as I was telling you, our silhet will do the minimal talking, and our clouds in the sky is what is going to be doing the major talking into the painting, the slooete, the bushes, everything is just to put the painting together and make it look complete. Now going ahead with the greenish black color that we have on our palette, I'm just going to go ahead and add in some more siloed details. So if you want, you can go ahead using a technical pen, which is waterproof for doing these strokes to create in the poles into the sky. And in case if you're confident to add them with a liner brush or a retailer brush, you can go ahead and do so. I'm using my size four round brush, which has a pointed tip, so I can get these fine strokes close to each other as I need them. You can use a retailer brush, liner brush or a technical waterproof pen, but make sure you're using a waterproof pen. Otherwise, if you have to overdo anything on top of these strokes, and if you add in watercolor paints, the ink may spread out. So it's important to use a waterproof pen if you're using one. Now, to these street pools, just going ahead, adding in some loose street details. A simple street light silhouette to the top one that I'm adding in here. And after this using in a technical pen, I will just give in some wireline details as well so that we can get in those fine strokes into the sky. So now I'm going to use a technical pen size 0.3 and 0.5. You can use 0.1 for some more fine strokes as well. And very randomly, I'm just going to go ahead, connect these poles to each other and make them move into the sky creating in the wireline effect of the street view, connecting them to the roofs as well, but make sure that the roofs are dried. Otherwise, you know, the pen may make it difficult to work around. So from this tallest pole that we've added, I'm taking in some wire lines into the top area of the sky. You can see my lines are not straight. I'm trying to make them look as natural as possible. A few more lines here and there, and we're almost through this painting just a few more details to add in. And you can see how simple silhouets come together and create in an entire detailed painting come to life, wherein our major work was creating in that beauty of the pastel sky, and rest of the details are simple, easy for anyone to just go ahead and flow in. Now using the 0.5 nab, I'm going to add in some thicker lines at certain spots. So whichever lines I want to make it thicker and bold, I will just go ahead with this pen over it. You can choose to add in a few more lines wherever you feel the need to. This is absolutely, you know, something that you can choose as per your wish where you want to play switch folines. A few small birds into the sky. I'm using that technical pen itself without shifting into the black paint again. And now, lastly, my roofs are completely dried out here, and just in front of it, I'm going to give in little foliage detail, small bush coming in, using the paints gray color, and just a little more, and we'll be ready with our painting. So in front of it, I'm going ahead and creating in another roof detail with the same color mix in a darker consistency. So we have that like two roof effect coming in. You can see you can choose to just add in the bush details there if you do not want to go ahead with the second roof like this. Basically, you let the first roof dry and just add in another roof view in front of it. And that is it. We are ready with our painting. Let's go ahead, peel off the masking tape and see our final painting. I'm absolutely in love with the details of this painting. I love the sky. I love the cloud details, and everything in this painting feels just so perfect. So here's the final look at a painting from today's class project. I hope you guys enjoyed painting this with me. And if you're liking this class, make sure to drop a review so that it can help me reach Maximum students. And if you're painting along, do upload your class projects so that others can also join along and see what they can paint along. I hope you enjoyed creating your own pastel palette and painting this with me. I will see you guys into the next painting. 13. Day 11 - Misty Pines: Hello, everyone. Welcome back to the next painting of the 20 days of dreamy painting class. For today's class project, I'm going to go ahead directly with a layer of water. We're going to be painting a beautiful, misty kind of a forest view, but this time, the colors that I will be choosing are going to be very dreamy and, you know, whimsical kind of color tones. So I've gone ahead with a layer of water onto the entire sheet. We'll first begin painting in the background, and then we'll go ahead with the details. It's a very simple, easy project to go ahead with. Choose a tone of blue that you like the most. I'm going ahead with a little bit of the ultramarine blue kind of a tone for now. And to that, I'm just adding a little indigo at the top. So I want a gradient color of the blue, beginning with the tarkatnes towards the top side. And as I move towards the bottom space, I'm just going to add in a little bluish purple. So I'm picking up purple, adding it to the blue on my palette, and beginning from the bottom with this bluish purple tone. And towards the center space, I will just keep it very light and, like, you know, just a washed layer that we need. And just towards the bottom and top, I will go ahead with these darker shades of the violet, as well as the blue at the top. And towards the center, as I told you, I will let the light be there and let the lighter spots be there, adding in a little more indigo at the top, because, you know, watercolor is dryer, tone lighter. So always make sure that you leave the color in such a tone that after drying, it has the effect that you need in. And in the center, I maintain the light spaces. Now, while this layer is wet, we are going to add in some background pine trees effect. So I'm just going to go ahead with a violet color, and I'll mix it with the same tone of blue that is on my palette and using it in a very light consistency, I will just go ahead add in some background misty pine trees. Now one thing to remember is that when you are adding in these background trees, you need to have water control because we are working wet on wet. Our sky is wet on top of which we are adding in these blurry tree effect into the background. So if you will have excess water or pigment onto your brush, the paints will just spread onto that space and not retain the area in which you're adding them. You can see after every time that I pick up the color, I first tab it onto the rough cloth in my hand so that all of the excess pigment and water is grabbed and absorbed by the cloth, all the tissue that you're using in. So then you just have little pigment onto your brush, which will help you given these soft blurry background pine trees. I've added in two of these, as you can see, I will just go ahead with a little more rough details wet on wet. Here this will act in as the blurry background to our misty forest look that we're trying to add in. Now, towards the bottom, while this is wet, I'm just going ahead with a little bit of the paints gray effect over the violet color because towards the base, we'll be kneading in a very dark value. So with every layer, I will just keep on adding little values. Now, let's wait for this to dry completely, then move further. So now my first layer is completely dried and you can see how the background pine trees have just dried out so blurry, still having that shape to be retained in even after drying out. Otherwise, it would have just appeared in as a violet color. That is the reason water control made a very important role. Now I've mixed in the same violet and the indigo color again. And I'm going ahead with the next layer of details of pine trees. For the next layer, you can see I'm going ahead with a very mediumish tone. I'm not using this color in a very dark consistency. And now towards the bottom, as I go ahead, I will just go ahead and blend this well into the background. So like this, we are adding in the second layer of our background misty pine effect into the trees. That is the reason I'm using just one tone darker purple color than what I've used into the background layer and just going ahead and very gently blending the bottom into the background using in a damp brush, such that it has a blending effect into the background. So with this color, you can see I'm adding in a few pine trees, a few towards the left, I added one towards the right, and just in the center, adding in some very small bans with very rough quick foliage effect that you can see. Now you're just adding in simple strokes close to each other to act in a much more distant pinetree effect, and we'll wait for this layer to dry now, then move further. Now, this layer has also dried out and we'll go ahead with the next layer. For that, I've mixed in the same color again, the indigo and the purple, but just one tone darker than the previous layers that we've used, and now I'll go ahead with the next set of pine trees. So you see we're just creating pine tree in different color variations to create in that misty effect in the background with some blurry trees in the background and in the foreground, going ahead with the main trees. Now, as you can see, this color is not completely dark. It's a very medium to dark tone of the indigo and the blue mix, sorry, the indigo and the purple mix. And same way, just as we went in with the previous layers, blurring it in the bottom base layer. That's what I'm going to do here. So completely till the base. I've gone ahead given in this layer, and now I'll just go ahead with some more pine trees quickly using in this color. And then wherever needed, I will just create in soft edges into the rest of the space. So now, in between these two pine trees, I want to create that soft blending effect into the background. So I'm just picking up water onto my brush, dabbing it here, and quickly using in the cloth or a tissue, I will dab in here. So you will see it will have that soft blending effect into the background without having in the sharp edges. Same way on the right side as well. I've just added in the layer of water. But first, I'll just go ahead with a few more trees towards the right side before blending the rest of the space into the background to give that soft blending blurry effect. Now, I'm just going ahead with the pine trees in different high angles, as you can see, varying the heights, making sure that the background trees are still visible. You do not have to hide completely the background trees. Otherwise, it would make no point of adding them in the background first. Now into this layer at the bottom, I'm just going to go ahead with some darker indigo and blending it in while this is wet so that we have that darker layer coming in at the base in the end. Now, I'll let this layer as well to dry completely, then we'll move on to the next layer. So I'm just adding in some more of the indigo hints at the base with a little bit of the paints gray as well. At any spot if you wish to create in some soft blurry effect, you can even drop in a few droplets of water to create in that softness. Now, here I feel that the water droplet washed away the pine tree foliage a little more. So I will quickly just add in a little more of the foliage again. And now I let this dry again, and then we move on to the last layer. And now for the last layer, I've picked up the mix of the indigo and the paint's gray color and using this in a dark consistency, I've shifted into a pointed tip brush. This is basically a Chinese calligraphy brush, but then it has a very fine pointed tip, helping you to add in fine details while holding in a lot of the pigment. So I'm just going ahead, adding in the main branches first, which is going to be completely from the top till the bottom. So in a similar way, I'm just going to add two to three of these, so I've added two. Now, one, I'm adding closer to the second one. And now towards the left side here, I'm going to go ahead with some smaller ones. Now, to give in a little blend, I'm just going ahead with a few splatters of these color as well to give in that background simple, you know, foliage effect into the background. Now for the base, I'm just going to go ahead with a darker color and blend it all in creating in, like, a deep block space of the foliage at the base. So you can either use an indigo in a dark consistency or the pain screen, or if you do not have both, you can just go ahead with the black color. Now at the top, just dabbing in, giving in some simple buche effect. And if you want, you can create a soft blend into the background again, giving in that softness. Now, to those main stems or the branch, you know, tree barks that you've added, just go ahead and add in some simple details. Before that, between these two, I'm just adding in one gold pine tree using in the black color in a dark consistency. I'm using pains gray. You can use pains gray, indigo, black, whichever you wish to use in. Towards the top branches, I'm just going to be adding in simple branch effect. That is the reason towards the bottom side, I'm adding in a few smaller pine tree effect. Now, again, I'm adding these pine trees in such a way that the background, different color tones of the purple colour pine trees is still visible. Another one here on the left side that I've added. You can see it's a little diagonal and just half of it visible with the tip completely visible. Now I've added a few more branches in between here and to them, you can see I'm just adding in very small dried branch effect. Same way to the main three branches that we've added towards the right side. I'm now going to be adding in smaller branches coming out from these. So you see very randomly, I'm just going ahead with some natural looking branch effect into these. You can go ahead with any layout for these. They need not be exactly the same as I'm laying them. You can go ahead with your own layout without worrying about where and how it is going. Just go ahead. A few will be overlapping the main bars as well on spots. Make sure you do not add in a lot, also. Otherwise, it will look like a cluster. We want that dried effect into the tree coming in, like the trees completely worn out, just a few dead dry branches remaining onto these. That is the whole reason of adding them completely from top till the bottom. And we're almost through this painting just these last few branches. So we are ready with our painting. Let's wait for the bottom space to dry and then peel off our masking tape. So let's peel off the masking tape and see our final painting. You can see I'm peeling it off once the gray color was dried. Still there is some wet paint onto the edge of my masking tape. I'm peeling it off against the paper so that I do not tear off the edges and be careful if any dry paint is collected at the meeting points of the masking tape. So here's a final look at our misty painting from this 20 day painting challenge, a very simple one using in simple pine tree, silhouettes in different color tones, and then some huge trees in the foreground. I hope you guys enjoy painting this with me today. We're already on day 11 halfway through the challenge. And if you are liking this class, make sure to drop a review. And if you're painting along, do a pload in your projects, and we would love to share with each other. 14. Day 12 - Northern Lights: Hello, everyone. Welcome back to the next painting of this 20 day painting challenge. And for today's project, we are going to go ahead with Northern light painting. For that, I'm beginning in directly with a layer of photo onto the entire paper. We'll paint the entire Northern sky first, and then at the base, we'll just give in simple snowy mountain and pine tree details. So first, let's go ahead with a good layer of photo. So I've just added in a lot of photo. Now using in my bigger size mop brush, I'm just going to go ahead and fill the entire page out with this clear layer of photo. Make sure you have a good even layer of water so that the colors can flow and create in that blend. Beginning in with a pastel yellow, I'm using naples yellow. You can simply go ahead mix in white. For the green, I'm going ahead with a may green colour. Now, this may green colour is like a pastel green already, as you can see. If you do not have a similar one, you can just mix in yellow to your green and get a pastel green shade like this. For the first layer, I'm just going ahead laying down the colours randomly, and then I will just let water do its magic and blending. Now I'm mixing in orange along with white watercolor and using in a little of this pastel orange highlight closer to the greens. Now I'm making sure that I don't blend both the colors. I will let them bleed naturally into each other so that we do not have muddy color mixings. I'm just laying down the colors on the paper randomly. Next for the cobalt green color, I'm going to mix in my turquoise along with a little bit of white or green. So you can form in your own cobalt green color like this. You can either mix in the turquoise color with a pastel green or white and get a similar looking cobalt color. I do have a bal green ready with different paint brands, but since I'm using one palette, I really like experimenting and mixing my own color tones. Again, you will just see I'm laying down the colors first, and then lastly, we'll just go ahead, lay down the indigo color. Now, after I'm done laying down the indigo, I will go ahead with the same colors that we used along with tilting my paper in directions, holding it little at a diagonal angle so that the colors bleed and naturally flow into each other. So towards the pase, I'm going to just give it a very light wash at the end because we want the bottom space to be light for the silhtRgon now, whatever colors I've used, I'm just going to go ahead, lay the same colours on the same spots again. So you will see that the blending will happen much more smoother now. So I'm just picking up the cobaltrene mix that I created, laying it again at the spots that I add in. And along with that, now I'm beginning to add in a little more swirls moving towards the bottom space. Next with the orange, just laying it at the spot wherever I need it in, using in a clean brush and a little bit of white and mixing it out here and toning it a little pastel. Next, the green color, again, I'm not blending the colors for blending. I'm just using the technique of rotating my sheets in different directions. I'm laying down the colors again so that the blends are better. And after drying, these colors have a beautiful vibrant effect because remember, watercolors are tone lighter. So on my yellow, you can see a little bit of the indigo has light down. So I'm again adding in very watery consistency of the pastel yellow. Now, again, the drill is that you have to keep rotating your paper in different directions so that the blends happens smooth, natural, and the colors naturally bleed into each other towards the top, again, adding in a little more of the indigo as well. And I will just let little whiter gaps be there of the lighter indigoiate. Now again, just begin tilting your paper in all directions. So that is the reason when you have a paper taped down on a movable surface, it makes it so much easier to get these smooth blending. Now I'm holding it upside down as well as you can see. So the paints from the bottom space, the yellow, orange, green move towards the indigo naturally and have in that smooth blend. We're almost through the sky space. You can see we've got such a beautiful glow. Now I'm just going to use in a little highlight of the pink color and drop in towards the bottom area very little, not much of it. And then we'll wait for this Northern sky to dry. It hardly took us a few minutes, but the entire drill here was the magic play of colors and waters. Now, let's wait for this to dry. So now this is completely dried and we're going to go ahead with the silhouette For the silhouette, I'm using in the indigo color, and I'm just going to create a mountain using the dry brush texture. So automatically, the lighter colors that we have towards the bottom space will act in as the snowy part. So you just need to use in a dry brush texture and create in any mountain shape that you wish to show like a snow caped mountain. Along with the tribush you can see I'm adding in little patches as well of the color so as to show some rocky parts of the mountain as well visible. Now, the bottom space, I'm going to completely cover it up using the indigo or the pains gray color, whichever you wish to. And then we'll add in little pine trees as well. Now, in the bottom, also, you can see I'm leaving little snow areas into this entire space as well, trying to show a little snow collected in the bottom field space that we are painting here. Alright, so that is the reason I'm intentionally leaving little driver strokes in the center space to show some snow effect there as well. S So I'm done adding that as well. Now here, you can see a little mishap. A color drop has happened. So I will try to first lighten it up using a drop of water and dabbing it off. So I'm just using in water here and trying to lighten it up and dab it using the cloth or the paper towel, whatever you are using. So such incidences can happen. You can lighten it up or try to cover it up. So next thing what I will do is I will take a pine tree on that spot so that that drop of paints gray color that has gone out there gets covered. So now going ahead with the pine trees using in the paint's gray color. So we have that snowy mountain range, the bottom field space, and now the pine trees that we'll be adding in. For the foliage, I'm going ahead with very simple one. You can see just criss cross, making sure that by the end of it, it has a beautiful triangular shape coming in. No. Just going ahead, adding in of different heights, making sure that we still have the background mountain range that we've added visible as well. Now, as I told you, I have to cover up this space. So just going ahead and adding in a huge pine tree here so as to cover those dots of the patspray that fell on by mistake. And to this pine tree, I will add in very limited foliage, not too much of it, just simple and quick. After we are done, adding in the pine trees, we'll just add in some star effects at the top space of the Northern lights using in the white wash, and we'll be ready with this painting. This painting just took us around ten to 12 minutes and giving us such a beautiful play of colours, it's just a very simple technique that you need to follow. Let the colors do their own magic. Just that the right consistency of colours matter, the wetness of the paper makes the entire play of Northern lights beautiful. Now going ahead with the whiteqh to add in the splatters. Now, in case if you want, just cover up your side spaces so that you do not have splatsters all over your table and everywhere around. I'm just going to go ahead and add in the splatters towards the top dark area of the sky. Now, if you feel a lot of splatters are coming in altogether, you just need to maintain the distance, right. To close, the splatters will be big, a little distant and controlled splatters, you will get in these fine, minute starlight detail. Now, wherever I've got those bigger ones, I'll quickly dab and tone them lighter. I'll just go ahead with a little more drop, and then I will just add in a few stars using the tip of my brush as well to balance out the, you know, size of the minute stars that we've added using in the splatters. And that is it. We are ready with our Northern Light painting just under 12 minutes, along with all the mishaps that happened around. Let's peel off the masking tape and see our final painting. Make sure you begin to peel off the masking tape once your bottom spaces are completely dried out because if the space will be wet, the colors may get lifted up and ruin up your white edges. So here's a final look at a painting from today's class project. We are already on day 12, and I hope you guys are enjoying painting these mini bookmark style paintings with me through this challenge. I'm loving each of your class projects. And in case you are liking this class, make sure to drop a review so that it can help me reach maximum students and do share in your crass projects so that we can encourage each other to try out these easy 15 to 20 minutes daily painting. Thank you so much, once again. I will see you guys into the next one. 15. Day 13 - The Boat view: Hello, everyone. Welcome back to the next painting of this 20 day painting challenge. And for today's class project, we are going to be going ahead with a beautiful boat scape that we'll be painting. And for that, I'm just going to begin marking out the boats that we'll be having at the bottom space here. So you can choose any layout for the boat that you need or any placement that you want to follow along. It's absolutely okay to have your own choice. So I'm just beginning out with a rough pencil sketch. Now, again, you are free to choose what shape of the boat you want to go ahead with, not at all necessary to follow along the shape that I'm going ahead with. It's going to be a pretty simple painting that we'll be doing. I've marked out the outline to the boat, and I will just mark an inner line as well. So that will help us build in the shadows as well as the depth into this boat. Alright, now, if you want, you can go ahead and remove all of the extra pencil marks. I will just let this be there as it is. This extra line, it's actually going to get covered up with the paint, so I'm not removing it at the moment. Alright. We're going to be going ahead with a good turquoise green, but moving on towards a very dark blue and greenish kind of a tone for our um water body. We'll begin with a layer of water leaving the boat space empty. If you want, you can go ahead using a masking tape to cover up that space or masking fluid or just go very carefully only around that space and rest of the space as it is, we just have to go ahead with a layer of water. First, across the boat, I'm going ahead very carefully. I'm first laying down the good layer of water onto the rest of the page and slowly with every layer, I will keep on moving closer to the boat so that I do not have excess water there around. Now around the boat very carefully, I'm laying very minimal water because they're needed, I will directly add in the color layer. Now across the boat space, we have to add in the shadows. So while adding the colors, we'll make sure that around the boat, we add in very dark colors that will act in as the natural shadow to the boat into our water space. So I'm done adding in the layer of water. Now we first begin with the turquoise green color. So for the turquoise green, I'm first begging in with the turquoise blue. To this, I'm going to begin adding in some lighter tone of a green. So you can either use emerald green, viridian green or you can choose to go ahead add in any lighter tone of green. And towards the top space first here, I'm just going ahead with some lighter values. I'm just going to go ahead lighten it further with the help of the green color. Now with every layer, we are going to go ahead and build it further. So now, I'll just pick up more of the Turquoise blue. Now in case if you do not have a turquoise blue, you can simply mix in cianblue emerald green, and create a similar looking color. You can even use viridian green. You could even use cobalt green if you haven't and take help of blue to form a darker color. Now, I've just added in a very base layer for now. Now, this space here, I'm going to keep it light, and the rest of the space, I'm going to keep on adding one layer darker tone. We're just going to be picking up the same color mix of the green and the blue. That's what we are going to keep in as our color for this water palette. So just picking up the mix of the color in a darker consistency and beginning to build in the darkness. From this sauce, adding in the light effect. As we move on to the darker values, I'll take help of the indigo or pains gray to create more darker depth. Moving on to the indigo towards the bottom space here, mixing it with the turquoise. We are working wet on wet. So that is the reason I told you, make sure that your paper is perfectly wet so that it stays wet for a longer time for you to work wet on wet. One more layer of the indigo at the base. Just giving in some water movements. Now next, I'm going to move on to a smaller size brush so that I can have more control over my strokes and the details that I have to add in. I'm first going to be picking up the black color. You can choose pain scrape, black, or a very dark thick layer of the indigo either. Now across the board space, as I told you, I'm going to add in the shadow and keep in. So going with the black color first closer to this space, Now, see, I'm using the tip of my brush and defining the shape and the edge well. All right. Now we need to blend this shadow that we've created with the help of the indigo color in the rest of the space. Picking up indigo, going ahead in the rest of the spaces again. You see how I'm just moving my brush and circular motions to give in that water effect. Now, towards the top again, just going to build in some darker wave effects into the lighter spaces, just some water wave movements and blending it all in into the darker spots. See? When you go ahead with the wet on wet layer to build in the flow into the water, make sure to have water control so that you can see these wave effects coming in and they retain the space in which you add them rather than just going ahead and creating a simple blend into the water space. Now, I'm going to be picking up the green color. You can turn it into a pastel green if you want to, or you can simply choose any lighter color that is in your palette, and we'll just try adding in some bold lighter strokes using a very fine tip brush. So I'm going ahead with this calligraphy brush that I have, and I'm picking up this may green color, which is like a pastel green in my palette. I'm just going to add in little lighter spots like this into the bottom space. Very fine strokes at the moment. So you see these may seem as if they are invisible, but they will just add in that lighter effect into the water space when it dries out. So very fine strokes is all you need. You can just simply mix in white with green and create a similar lighter looking tone, or you could pick up the turquoise blue color itself, use in white along with it like this and use this lighter color to add in some fine strokes. And in case if you want much better effect, you can even go ahead use in white gouache with the turquoise color to create in more of this their So now very fine strokes that I'm adding in. So there is, again, no fixed pattern of using this water ripple effect that you want to show in at Sports. You see? Very little strokes that are actually adding into the depth. And once these will dry out, they will give in that lighter value effect at spots creating in that water ripple wet on wet itself. Now I will just go ahead with one more layer of the black color closer to the outline of the boat so as to make sure that the shadow has a standout effect. All of this is still wet on wet. Now, at any spot you feel it just needs a little blending with the edges, go ahead, soften it all up. Another method that you can use is just some lifting technique. So just go ahead with a dam brush, lift up little color at spots to create some wave effect. But for that, you need to just check whether your pigments are staining pigments or non staining pigments. Usually indigo turquoise are staining pigments, so it will not give you that good lifting effect. So it's better to use in lighter colors like these to add in some wave movements. After every stroke, try to clean up your brush and pick up fresh color because you lift up the color from the paper. And hence when you go after a few strokes, you will see that there is the darker color from the paper onto your brush. I feel that it is a little extra, so just going to pick up the darker colors again, blending it at spot, giving in a balanced look. And now I'm just going to be picking up the dark color. And towards the top here, I will just give in some very fine strokes. So we're almost through the water space. Just a little more of these bold strokes. All right. Just softening it all up. Make sure and remember watercolors or tone lighter. So you given that darker effect so that after everything dries out, you still have the value staying in. Now on to these lighter parts using in very light value of this color to add in some water strokes. Very little just using in the tip of my calligraphy brush. So swirls into the water. You see, wet on wet, we are just trying to create in texture, and that is it. We'll now wait for everything to dry out and then move further. So now my entire base layer of the water is completely dried, and we'll go ahead with the first layer into our boat now. For that, I'm using in the bold red color. You can go ahead and choose any red tone that's available in your palette. I'm using this permanent red color as it is. And using in a fine brush, I will begin defining the outline to this boat first. And as a first layer to the boat, I will fill it completely with the red color. And once this will dry out, I will begin in giving in the darker depth with the brown tones. First, a fully going ahead, marking out the shade. Even if a little of the black color has seeped in anywhere, you can use a very thick layer consistency of this color and hide it up completely. You can see a fully going across the edges first. Now, filling the entire space with a red color for the base layer. Just giving in a fine outline again, making sure that we have the perfect boat shape coming in. All right. Now, we'll wait for this layer as well to try. Then move further. My first layer is dried out and we begin with the next layer. For the next layer, we're going to go ahead with a brownish color first. You can choose any medium to dark tone brown, born sienna, light red color, brownish red color, whatever name in your palette, you can accordingly choose one. I'm going ahead with the born sienna color here. And now use a pointed tip brush, make sure you do not have excess pigment or water. Go ahead with a medium consistency. And you remember the inner outline that we had marked. We are now going to go ahead and shape our boat on the inside, giving in the three D effect. All right, so I've marked the outline now onto the entire inside space. I'm going to pick the same brown color in a very light, watery consistency and cover it up. Okay. Just going ahead with the next layer on top of this. Now, only onto this left side of the boat, I want to show the darker part, and I want to keep the right side light with the shadows falling in off the left side. So just onto the right side, I'm going to pick up the pain's gray color and begin dropping it from the edge, a very light layer, just using the pointed tip of the brush. Then clean my brush and slowly just go ahead and blend this on the inside only till approximately a very small line towards the left side, you see. So just on the inside, this much is the line that I'm giving to given the darker value. Now, this also, I will just go with a damp brush and blend it with the rest of the space so that it has a very well blended smooth effect. I'll just go ahead with one more layer of the pains gray You see, I'm using the paints gray in a very light consistency only towards the left edge, creating in that darker effect, showing in the shadow falling in off the boat and blending it well using a dam brush with the rest of the center space of the boat. All right. Now we'll wait for this layer as well to try and then add in the final texture details onto the boat. So now, by the time this is going to dry out, what I will quickly do is I will just pick up the white quash. I have a little here on my palette already. So you can use white watercolors as well if you wish to. I'm just going to give in some waves detail. But for this, we are going to be using a quick method. So use the white kah or the white watercolor in a medium consistency, keep a cloth or a rough tissue handy, and we're just going to put in some waves randomly. And as we put them, we are going to go ahead and dab them. So you will see that they will turn like a muted dull color, but they will give that depth effect. So just go ahead, add in and dab. So somewhere you can just give in very small strokes close to each other like this, and somewhere we are just going to go ahead with some bigger strokes like this and keep dabbing them. So you will see this gives in a little more effect and depth into your water space, then a little bit of Oswald effect as well. You just have to be quick with one thing that is dabbing in quickly and turning it all dull. See? Just the water ripples effect that we are giving in. Again, dab. So go ahead on small spaces and before the paint dries out, just dab in. Now here, the dabbing feels too hard that I've done in, so just going with another layer and creating in a little more of that texture. So if you see closely, you will be able to see that details of the white colors that we are adding in, which is actually adding into the depth. Now I will quickly just add in a few more towards the bottom side as well. All right. So that is it. We've added in little textures which will be visible to the naked eye. Now, this is also completely dried by then. Now we'll pick up one tone darker brown, whichever brown you wish to pick up. And using that, we'll just give in little textures. So, that is it. Let's peel off the masking tape and see a final painting. I hope you guys enjoyed painting this beautiful water based painting with me and loved adding in the three D textures. So I guess since I used a very watery layer into the water with multiple washes, so you can see a little of the paints that has squeezed out of the masking tape. But that's absolutely okay. I'm still happy with how my final outcome looks. A dark sea with a beautiful red boat giving in the depth, the shadow to the boat. We could have kt the color of the boat a little more brighter, I feel. But nonetheless, I'm still happy with how this painting looks. You can see the three textures of the waves that we added with a white color. I hope you guys enjoyed painting this with me today. I will see you guys soon into the next painting. Thank you so much for joining in and painting along with me. 16. Day 14 - Street View: Hello, everyone. Welcome back to the next painting. And for today's class project, we are going to go ahead with the pastel colors that we had prepared for one of our previous projects. So to the same colors, I'm just going to go ahead, add in and activate these colors and create our pastel colors again. So if you're joining in directly into this painting, let me just give you a quick thumbs up. All you need to do is mix in white, along with your basic colors to wear in pastel tones. I prefer using in white quash because white quash gives in a better opacity and pastel paints are usually opaque and not translucent. That is why I prefer using in white gouache with the watercolors to create them pastel. But in case if you want, you can simply use in the white watercolor as well to turn these into pastel colors. So I've picked up yellow, orange, pink so far. I'm going to go ahead with a little bit of the violet and the blues, as well. We are going to be going ahead with a simple evening sky and then go ahead with a city view slooet. Now, going ahead with the whiteqh and just going to mix it with all the basic colors that I have on my palette, I will just begin dropping the white onto the edges to each color first and then go ahead and mix them all. Make sure you use in water which does not have any muddy pigment. Otherwise, it will go ahead with the white and may turn your pastel a little muddy. So I have all the colors on my palette ready. Now let's go ahead and begin wetting the paper. For that, I'm going ahead with a different jar of water which has clean water and going ahead with a clean layer onto my entire paper for the background sky that we'll be painting first. So make sure you have an even layer of water throughout. No excess water collected on the edges. Otherwise, it will begin seeping back into the painting. Now I'm shifting into a smaller size brush, and we'll begin adding in the pastel colors one by one. I'm first pinning in with the blue colors. So I have mixed in aquamarine mist with the white wash and going ahead with the blue at the top, so So you see almost 60% of my paper I have added in the blue color for now, and towards the bottom, I'm going to go ahead with the yellow. And then on top of this, we'll be using in the other colours that we've created and add in the cloud details. So using the pastel yellow here at the bottom now. Towards the base, I'll just go ahead with a little bit of a pastel pink. Now, with the same pastel pink, I will begin adding in the cloud details on top of the blue. When you are working wet on wet, you need to make sure you do not apply a lot of pressure. Your brush shouldn't have excess pigment or excess water and go ahead very gently. You can see my pink clouds are retaining the space in which I'm adding them yet having the soft blend into the wet background. So the most important thing that will play the role here is the water control that you do while adding in these cloud details. Now picking up the pastel orange, I will go ahead with a few clouds here and there. Now, when orange and blue mix together, they give you muddy pigments, but since we're using them in pastel consistency and very soft and gentle, you will not get in the muddy tones. You can see I'm not adding any pressure to my brush. I'm just using the tip to drop the pigment onto the paper for the cloud effect instead of adding in a lot of pressure. I'm playing very gentle handedly and just going ahead, using the tip, dropping in the pins in the shape of the clouds that I need them, making sure I do not have excess water, neither excess pigment onto my brush. Towards the yellow space as well, I'm going ahead with a little play of the orange and the pink clouds. Now for the next layer, I will just pick up the base color again and darken up these colors, one tone darker. I will just pick up a little pink, add it to the pastel pink. I have one tone darker pink and just add in some darker highlights of clouds into the sky. So just a little more of the pink highlights here and there, and that is it. We are ready with our sky. We'll wait for the sky to dry out completely, then move with the Silet details. So now my sky is completely dried and I will go ahead with the green colour for the silhouette. So first, I'm picking up this green colour from my palette, which is like a medium dark tone of green. And I'm using this spoiled round brush, and I will begin adding in the dry brush texture. Now, the bristles of this brush have turned hard and spoiled. So I'm just dabbing off the excess pigment and water from this brush and picking up only pigment at the tip and using it perpendicular. I'm just beginning to dab in to create in the foliage detail. Now you can see I'm varying the length of these across and even the shapes. I'm not adding them in the same way and making sure it's dry brush texture, so you do not have excess water, neither excess pigment, and you get in that leafy and bush effect just using this simple technique. This covers up most of your spaces, and then we just go ahead with some detailed look onto this. Towards the right side here, I will take this foliage more towards the top and create a beautiful elongated view towards the right side. You see such a simple technique, and this feels like an entire bunch of leaves and bushes coming in together in the sky view. Now just imagine to this dry brush thing only when we go ahead with the details, it will make it look so much more in depth. Now, the same technique that we did with the green to the green, I'm mixing in a little bit of the black and making it a dark color. And I will go ahead with some foliage with this darker color as well. So again, I'm cleaning the brush, removing all of the excess pigment, water, and making it all dry. And now just using the tip, holding perpendicular, lifting little paint and going with the dry brrust I'm going in such a way that these black spots act in as the shadow, and the green remains as the main focus. So the black will be quite less as compared to the greens that we've already added, and it will majorly be towards the bottom and the edge side. Now, I will shift into a smaller sized round brush, and using the same dark green colour, I will just go ahead and begin adding in some detailed leaf. You can, of course, use any tone of green that you have in. In between, you can see I'm just bringing out some fine branches first since I have a lot of black on my palette. So first, using that, pulling out the branches. You see, I'm just using in the tip, creating in simple leaves towards the end side of the bushes so that they have a detailed look. It's a very simple dabbing technique using the tip of the brush, creating in simple leaf shapes. Now, after we are done with this, I'm going to shift into my technical pen, which will be a waterproof pen that I will use in and begin adding in some violins. Now, if you want, you can go ahead and add in some small bush towards the bottom spaces as well. You can see I'm just going very randomly adding in these. Now, if you want for the um, V elines as well, you can use a liner brush and the black color. I will quickly pick up my waterproof technical pen. So these pens are waterproof, and I am using in nib 0.3 and 0.5. First, I will begin with 0.3, add in some fine lines, make sure your paints are dry wherever you are using the pen on top of it. Otherwise, the pen may stop working well. And very randomly majorly towards the bottom space, I'm adding in these violines. Now, using in this 0.5 nib, I will add in a few bold and thick wire lines into the sky. As I told you, you can use a liner brush or a detailer brush and use the black color to add all of these. But in case if you're using a pen, make sure it's a waterproof pen. Now, next is adding in the poles. For the poles, I'm going to go ahead and mix in indigo along with this pastel blue. So you get a grayish color. You can mix in black, blue and white and get a gray color mix. Make sure it's opaque so that it stands out over the green and the black details that you've added. And we'll just begin adding in some light poles or the street poles in between the bush and the wire lines that we've added. Now, these placements can vary for each one of you. So I've gone ahead with six to seven poles, as you can see of different heights, and now we'll go ahead with the details onto this. So once all of these are completely dried, we can begin adding in the detail. For that, first, I'm picking up the white quash. In between the bushes, just adding in these drops of white quash to create in the background effect to the light peaking out from between the bush. So these white spots, I will quickly use a damp brush and just tone them blurry and dull. So these will act as the background glowing light effect from the lights that we'll be adding on top of these while they dry out. So now, by the time these are drying out, I'll just go ahead with a pen and add more details to the poles that we've added. So after your poles dry out, you can either use a fine line or brush and black color, or you can use this fine line or pen and just add this depth of the black color line to the poles on one side. So I'm trying to show that the light is coming in from the right side, hence the darker side is on the left area. Now, same way. Since I'm using the pen, using the pen itself, I will just add in some more details to the pole. Now, these details can vary and you can select in your own reference. I'm very randomly going ahead and just adding in simple pool details that you may see in your everyday life onto your streets around. Now, to some of these, I will add in some fine connections as well, a small pole adding in the street light as well. In the silhouette form, no light effect coming in from there. And once your white spots dry out, we'll add in the light in between the bushes peeking out, and we'll be ready with this painting. Now, using the white quash, I will just drop small white drops in between these blurry spaces that we've created, and you can see how it's creating in that glowing light effect coming in from in between the bush spaces. Now, all of these can vary. Randomly, I'm adding in some smaller dots without the glowing effect as well to get everything together. Same way onto the right side here as well. So with the glowing lights and some just random small dots of different sizes. You can even use yellow and orange color to add in these light details if you want to level up your painting with more details. And now using in the black color and the fine brush, I will just go ahead add in a few bird details into the sky before we begin to peel off the masking tape. So very random silhouets as you can see, a few onto the re lines and a few into the sky in the flight motion. So that is it. Let's begin peeling off the masking tape. Make sure your bosch area is completely dried. You can see how with quick techniques we could get in that realistic bosch effect and then just some details on top of it and the light effect as well with some blurry glowing light effects and the simple street pole with the gray color and adding definition with the black then. So here's our final painting from today's class project. I hope you guys enjoyed painting this with me. I will see you guys soon into the next painting till then, make sure to upload your class projects, whatever you're painting along with us so that all of us can see and motivate each other. I absolutely love how the lights are glowing here. Thank you so much for joining in. 17. Day 15 - Thunder Clouds: Hello, everyone. Welcome back to the next painting of this 20 day painting challenge. And for today's class project, we are going to be going ahead with a green field and, you know, rainy sort of sky that we'll be painting. So first, I'm marking out the outline for the field, very simple one just marking some dimensions wherein we'll be having in the darker tones and the flow into the field and a small fence towards the bottom side. The sky's going to be like a cloudy rainy weather sky coming in and a simple lush green field that we'll be painting. Oh so let's begin with a layer of water onto the entire sky first. We'll go ahead with a clean layer of water onto the sky part first, and then slowly, we'll begin with the sky. Make sure you have a clean, even layer of water into the entire sky without any extra water accumulated onto the edges. Otherwise, it may see back into the painting. Now, beginning in with the pains gray color in a very light diluted consistency, mixing it with a little tint of the terrarine blue. You can use a Prussian blue as well. Just very small hint of blue to make it like a grayish blue colour, making it the perfect, cloudy atmosphere for the rain turning into the sky. So using a very light tone of this color, let's just begin adding in a very light layer, leaving in white caps. So that automatically, it will have those lighter tones coming in with the water blending in. Just make sure that for the first layer, you're going ahead with a very light consistency of this color mix because we are going to be building in depth using the same color wet on wet. So now I've just picked up pains gray in one tone darker consistency and beginning to drop in creating in some darker clouds, making sure that we still have the white caps and the lighter clouds from the first layer visible. After this, we'll even go ahead with one more darker layer of clouds. You can see the water control on my brush. I'm just using in the tip of my brush, very limited pigment, almost no water so that, you know, these clouds retain the shape, yet have the softness blending into the background water layer and blending in with the other base colors as well, creating in that beautiful, soft, cloudy sky that we are looking for. Now, just with some darker color going ahead with some very minimal darker clouds, I won't add in much of the darker clouds. This is the last layer into the sky. Then we'll wait for this to dry out completely before moving on to the field to add in the details. Make sure each color tones of the clouds that you've added is visible. Of course, the placements can vary. Let's wait for this to dry now. Now moving on to the field, I'm going to go ahead and begin adding in first into the top space. For that, I'm going ahead with a lighter green color. You can choose whichever green you wish to, whichever medium to light tone green that's available in your palette. You can create a muted light green colour, mixing in your yellow and green. You can use a light green color. You can use the may green color. You can use sap creen mixed in with white or a little bit of yellow. You can use emerald green in a lighter consistency or viridiant green, hookers green, olive green. Whatever name it comes to, you can just go ahead with a light layer for the wash into the entire field as the first layer. Now, once you're done with the wash layer into the field, we are going to go ahead and add in a few darker depths into the field while this layer is wet. So now I am picking up one tone darker different shade of green. So I'm picking up the olive green color, and I will begin adding in some darker values into the field while this is wet. So you can see I'm just adding simple darker strokes of the green, creating in some flow into the field. You remember the curvy line we had marked into the field. Once this layer dries out, we'll be adding in the depth and separating both the layers as well. For now, into the entire field, just dropping in darker values, creating in the darker depth. And I'm just going ahead with very simple more of the darker values towards the bottom side. Now, in case if you do not have darker green values, you can take help of indigo color to mix in darker greens or brown tones to mix in muddy darker greens or simple pains gray for a darker variation. Into the bottom of the field, you can see how I'm creating darker flow of the patches. Now, across the line that we had created, while this is wet, I will just add in the shadow line. Now when you add in these details, again, water control will play a major role. Excess water will make the color spread out. Controlled water and pigment will make it stay into the place that you're adding in while giving you softness into the edges. Same way into the top layer closer to the horizon line as well. I will just go ahead and add in a darker layer to act in as the shadow with whatever elements that will be going on top of the horizon line. Now, let's wait for the field as well to dry completely. Now, let's go ahead and create in that separation point into the field. Remember the curvy line that we added. I'm going ahead just with another layer of the green onto that spot, and towards the bottom, I will completely fill it up completely with this lighter green again, and I will go ahead with the darker values as well. If you want, of course, you can paint both the parts separately without adding in the first layer, but just adding in the first layer gives it a beautiful undertone and makes it easier for the second layer, which is little details to add in. Again, going ahead with a darker value, creating in the shadow to the flow into the field. Now, picking up a darker green color, just adding in while this is wet, creating in some darker patches into the field. Again, these placements can vary and you can choose your own layout to the field. You can just go ahead with one single layer into the field. You can go ahead with a smaller field space. You can add in more elements into the field. I'm going ahead with darker values majorly towards the edges and completely towards the bottom side. Now further darkening this up using in the pain's gray color. Now, into the top field, I will just go ahead with a little darker green and give in little dry brush to create like grass texture. Very simple detail to add in. Just go ahead with the dry brush technique, creating in some grass like texture. Now, first, using in a technical pen, I will go ahead and create a very light muted fence onto the horizon line. Make sure that your bottom of the field is wet, so do not let your hand lay over there. I'm just going ahead with a very simple light tone, fine fence detail. With the pen, of course, you can use the color and a fine liner brush as well. But I want it very light and into the background space. That is the reason I'm going ahead with the pen. It will create a very light, muted and far off effect into this fence. Now, next, using in the green color, I will go ahead add in some trees onto the horizon line. I'm using my calligraphy brush, which has a fine pointed tip and yet can hold enough water. Now, again, these silhouettes of the tree can vary for each one of you. You can choose pine trees, you can choose normal trees. You can just choose some bush effect onto the horizon line, or you can go ahead with detailed leaves onto the horizon line absolutely your choice to choose and from. Now, in between the trees, I'm intentionally leaving in gaps as well so that the fence that we added is also visible. And somewhere I'm just adding in simple bush details, and I'm going to go with a mix of everything, so like some simple tree and a few pine trees to the right that we already added and a little bush effect, making sure that all the elements come together well, as well as the fence that we added on the horizon line is visible as well. And using in the pointed tip, you can see how I'm pulling out some detailed leaves towards the outer side. So I'm almost done with this detail onto the horizon line. You can see a simple detail that we've created. It hardly took us a minute or two to add in these fine details. Now, we'll wait for everything to dry before moving further. Now, into the field, let's go ahead, add in the fence that we had marked out with the pencil. I'm going ahead with a very rough line. I really do not want it to be, like, very dark or visible kind of a thing. And I don't really wanted to have a straight line to give it that realistic wooden effect. And you can see along the way, I'm going ahead and dabbing it, turning it into a lighter grayish wood color. So this is a simple technique that you can use as well, just quickly dabbing in after adding in the paint, but not dabbing too hard either. So I'm going ahead and marking out the three lines into the fence first, and then I will quickly go ahead and give it a gentle dab. Now, if you feel that at any point, the tones are looking very light, you can just go ahead with another layer and go ahead with the same dabbing technique. Now going ahead with more of the fence detail. Marking out the wooden logs into this fence now. Now, to these as well, you can see I'm going very randomly. So close to each other, a little tilted, a little crooked, and none of them are simple straight lines, giving in that weird wooden accent to all of these. Now, under these logs that we've added, I will just go ahead and give in very little dry brush texture, trying to show kind of these wooden logs, you know, into the grass spaces or trying to show it, you know, build into the field space and underneath the grass. Now, using in the white gosh, I'm going ahead and creating some very small animal like outlines here. You can go ahead with sheep, cows or any other field animal that you wish to go ahead with. I'm just going ahead with simple white animal silhouettes, and then using in the plaque, I will just give in a little outlines. H Now, again, the shapes, the placement can vary. I'm trying to show in, like, a flock of sheeps here together. And I'm just adding in a simple very simple siloeds that you can see, a small white patch and a small face silloed, some legs peaking out. And then using the black, I will just give these a little definition. As I told you, the placements of these can vary to each one of you wherever you wish to place them, or if you don't even want to add them and go ahead with some florals into your field. Now, using the same white quash, I will quickly add in a few dry brush texture onto these wooden logs as well. So here you will see how these wooden logs will quickly begin to get in that little, you know, vintage kind of an accent, as well. Very little you don't need to add in into all of the wooden logs onto a few very simple dry brush. Water control is very important. Now I will also sprinkle some white floral effect into the bottom of the field. Very little, very simple. If you want, you can add in yellow floals, pink florals, red florals, or you can just add in some simple light green strokes of grasses for which you can take help of white squash, mix in green, and add in some grass strokes. Now, of course, when you go ahead with these white squash, you can see it goes ahead onto the splatters everywhere around. So be a little careful about it. And once your white patches of the animal outlines dry out, then we'll go ahead with the details on that. Till then just using the tip of the brush, I'm adding in a few outline of the florals in between the splatters that we've added in. Now, my white patches are completely dried. On top of it, I'm going ahead with the black pen and just giving in some little outlines to define these animals. You can even use a black colour and a fine line of pen, but I'm going ahead with the pen so that it makes it easier and quicker as well. And after you're done adding this, we'll be ready with our painting for today's class project. Another simple painting in just under 20 minutes, but helping you build in the wet on wet painting into the sky, helping you with the dry brush texture, understanding the tonal values when you add in the clouds into the sky as well. Let's peel off the masking tape, see the final painting, make sure your edges are dried before you begin peeling off the masking tape. Otherwise, it may tear off the edges, and even the paints may seep through. So here's a final look with the clean edges of today's painting. I hope you guys enjoyed painting this with me. I love how the sky has turned out, giving in that perfect rainy weather view and a simple field with some field animals, along with the florals and the fence. I will see you guys into the next painting tomorrow. Thank you so much for joining me into this class and painting along with me. 18. Day 16 - The Beach: Hello, everyone. Welcome back to the next painting of this 20 day painting challenge. And for today's class project, we are going to be going ahead with a beautiful beach painting. I'm making up the sand, water, and the sky space, and into the water space, we'll have two white foam lines coming in. First, we'll begin in with a simple sky, which is going to be yellow and blue tones. And then from the sand space on the left edge, we'll just have in two palm trees moving through the water or space completely view into the sky out there. So that is how we are going to go ahead. I'm just marking out rough outlines for now. You can skip adding in the tree lines now if you wish to. You can directly go ahead with the panes. First, we'll begin in with the sky. So let's go ahead with a clean layer of water onto the entire sky. The colors for the sky is going to be choice of blue along with yellow. It's going to be like a sunset sky. I'm picking up a little bit of the aquamarine blue. And with that, I'm just going to go ahead with a little of the ultramarine blue, or you can just pick up a Cerlean blue color or a sky blue color, or you can mix in cobalt blue and a little bit of the turquoise color if you wish to. So the top of the sky is going to be like a dark blue color. And from the horizon line, we are going to go ahead with the yellow and the orange tones. So first, I will add in a little bit of the orange color closer to the horizon line. Now, remember, blue and yellow mixed together will give you green tones. So do not add the yellow color onto the blue, rather, let it blend naturally on its own with the help of water by tilting the paper in directions. So you see, I begin quickly. As soon as I add in the yellow color, I just keep my paper tilted so that the colors can flow in naturally into the blue, and the blending between the blue and the yellow will be seamless, creating a smooth transition instead of forming in any green tones. You can see between the blue and the yellow, I'm leaving that fine white line gap which will automatically blending when you keep on tilting your paper up and down so that the blue flows towards the bottom and the yellow orange flows towards the top, and both of them met in naturally. Just adding in a few more tones into the blue. I'm using a little bit of the ditherne blue at the top as well to give in little darker values. You can use Prussian blue or just mix in a little bit of indigo to your cerulean blue to get in little darker tones at the top, as well. And now you can see the flow of the blue color from top to bottom and how the yellow flows towards the top. Now, I will quickly just dab off all of the excess paint that's collected on the edges so that it does not see back into the painting while the sky dries out. Now, by the time the sky is drying out, I'll quickly go ahead and paint in the sand space because we cannot paint the water space right now because, you know, the colors from the sky and the sea will keep moving into each other. So for the sand, I'm first going ahead with the raw umber colour. Now, if you do not have a Roomba, you can just mix in your yellow ocho with a little bit hint of a darker brown color, or you can use bone sienna in a lighter consistency or mix in bone sienna with a little hint of yellow and orange to get, like, a warm sand colour that we need. Now, into the sand, using the dark brown color, I'm adding in the shadow line to the waves while the sand area is wet. So I'm using the darker brown color and just going ahead with this color and adding in towards the bottom side, I'm using the CPR color which is like a dark brown color. And I'm just adding in the darker values, and you can see how it is blending in. And once you add in the white waves on top of it later on, it will act in as the shadow. To the trees as well, I'm just creating a very little shadow effect because I know my trees are going to be moving from the left end. So just adding very little shadow while this is wet so that it looks more realistic when you create these shadows and details bet on bit. For the wave line, I will just go ahead with one more layer of the shadow line with one more tone darker brown. And while we're working wet on wet into the sand space, you will see all of this automatically gets the soft smooth, blending effect. Now, into the sand space, I'm randomly giving in some darker values using the darker sepia color and just lifting up from certain spots to create some glowing effects and just going ahead and adding in some darker or, you know, flow into the sand as well. Now, once the sky and sand has dried out completely, let's begin adding in the details into the water space now. Oh For the water, I'm going ahead with the turquoise color first. You can use the aquamarine mis turquoise color, or you can form in your own turquoise color. I have multiple times shared in the mix that you can use a mix of the viridian or the emerald green along with your serlean blue can give you a beautiful turquoise tone. You will have to just play with the proportions and ratios of the green and blue that you go ahead with, depending on the choice of colours that you're using in. Now I'm going ahead with this turquoise color, wet on dry because not much details to add in your wet on wet. Be careful while going ahead the horizon line and the sand line so that the colors don't flow in there. While this is wet, we'll just go ahead with little wet on wet waves detail as well. Now, first, picking up the indigo color, I'm defining the horizon line well. So dropping in this fine line of indigo towards the horizon line to give in that darker value. Now, I'm just going to go ahead and use the brush without picking up any more color and just create a smooth blend. You can see at the moment the top line seems so different. So I will just pick up little turquoise color and just have a run through of the color again so that the horizon line looks well blended. Towards the bottom space, you can see I have the lighter blue and towards the horizon line, I have the darker blue effect coming in. Oh Now, using the smaller size brush and the indigo color, I will quickly just go ahead and create in some wet on wet wave details. Your wave placements can vary, and you can go ahead with wet on dry waves. That is you can wait for this space to dry completely, then add in the waves. Or if you also like wet on wet details, you need to make sure that when you are adding in the waves, you do not add in excess water, neither excess pigment because when you're working wet on wet, water control plays a major role. Otherwise, the paints will begin to just spread completely and create a patch of the color instead of giving in the distinctive view to the waves that we are adding in. You remember in the water space, we had added in two lines at the bottom for the white space. So there you can see, I've created one huge wave for the shadow effect of the whites that we'll be adding in later on. Now, everything is completely dried and we'll go ahead first with the palm trees that we'll be adding in. So for the main branch or main stem of the tree, I'm going ahead with a dark indigo pains grail kind of a color and going ahead with a very simple bark and the stem effect. And just you see at the bottom, I have thickened it up a bit, and as I'm moving towards the top, I'm further making it very thin and small. So I'm using a little mix of the brown along with the indigo, and you can see towards one side, I've created it a little darker. And towards the inside side, I've kept it towards a little light brown shade. Same way, I'm going to go ahead and add in the second bark as well. Again, this one also towards the bottom, you can see it's thick, trying to show it rooted into the sand space. And as we move towards the top, I'm turning it thin. It's not a straight line. You can see the curves and the movements happening therein as well. Now at the bottom here, I'm just going ahead, blending these, trying to show that these are rooted into the sand space. So just creating in that soft blend with the help of water, creating in that rooted effect underneath. Now, first, I'm using in a medium tone of green, and I'm going ahead with details of the foliage or the palm leaves that you can say. I'm going ahead with a medium medium tone of green, and then once this settles in a bit, I will give in little highlights with the darker color. Now, again, the silhouette that you want to choose for the palm tree can vary and your leaf details can also vary. One thing that makes adding in these details handy is taping down your paper on a movable surface. So you can see I just wanted to tilt my paper, and I could simply just do it and adjust it according to my hand ease. So that is why I always recommend taking down your paper on such a surface that you can easily move and get the comfort and ease of adding in the details with your hand comfort movement. So I'm almost done adding in the details onto the first tree. Now we'll go ahead with the light details onto the second palm tree as well quickly. Now I'm going to pick up some darker green color and just going to begin creating in some highlights, moving in from the center space, trying to add in some darker values. Now, these darker values will act in as the shadow underneath. So for the darker green, you can mix in green along with Pains gray and use that. Now let's go ahead and add in the white foam details. For that, I'm going ahead using in the white quash. You remember the two lines that we had given in for the foam. I'm using the white quash without much of water, so it's going to give me the dry brush kind of texture that we need in here. And you remember the shadow lines that we the brown into the sand and with the indigo into the water space. Now, in between these tree barks, as well, I will gently take in these foam effect, making sure that I do not add the whitewash into the bark of the trees. Same way, going ahead with the second layer of the foam as well. So just using in the white wash, you can see we created in a simple foam effect for now. I will go ahead with one more layer at the base layer because I feel that is drying out a little dull. So I've just picked up more white quash without water so that I get more dry brush, and once it dries out, it is beautiful and opaque. Now, using in the white, I'm just giving in little dry brush foam into the water body as well, so into the rest of the sea space, just adding in little foams randomly here and there because of the wave movement that's happening in. Now, I've mixed in a little bit of the white quash along with the green, and using this, I'm just going to go ahead and create in a few highlighted lighter green strokes into the palm leaves that we've added in. So I'm just using in the green and creating in a center line to give more definition to the leaf. So as soon as we add in the center line, we can see the leaves moving in from both side of these branches. So just using in white quash mixed in with the same green that we used in for the leaves. Same way onto the second tree as well, creating in some highlights the branches and a few leaf strokes randomly here and there. So that is it. We are ready with our painting for today's class project. Let's peel off the masking tape. Be careful that there is no excess paint onto the masking tape and peel it off against the paper, making sure that the colors from the masking tape do not ruin up your clean white edges. And here's a final look. I absolutely love everything in this painting, the beautiful, simple sunset, the simple sea sand details and the palm trees that we added. I hope you guys enjoyed painting this with me. I will see you guys into the next painting tomorrow. Thank you so much once again for joining me and painting along with me. 19. Day 17 - The Winter Cottage: Hello, everyone. Welcome back to the next painting of this 20 day painting challenge. And for today's class project, we are going to go ahead with another beautiful, yet an easy landscape. So just pigging in with a simple pencil sketch, it's going to be kind of like a winter landscape that we'll be painting. So I'm creating in a cottage house on the horizon line. Now you can go ahead with your own layout of the cottage. It's not necessary to have in the same layout as mine. Your silhouette can be different and as per your choice. I'm just going ahead and making sure that it's not exactly in the center. You can see it's more towards the left side. You can choose left or right as per your size of the paper or your um silhde that you're choosing in. Now I will just erase off the extra lines and just turn the pencil sketch also a bit lighter because remember, as soon as you add in a layer of water, the charcoal marks, that is the lead marks become permanent, and then you won't be able to get rid of them. And in case if you will be working with little translucent colors around that area, then those charcoal marks will be visible out there. Now, adding in little details into the window and creating in the small grids and keeping in there. It's going to be a simple class project. It will take us around 18 to 20 minutes to get everything together. Again, I will just make sure that I have very limited lines. So I'm just going to make this space also again and turn it into a very lighter outline. And another small window towards the backside here, and that is it. We are done with our pencil sketch. The top is going to be the sky. The bottom we'll create in some snow outline and the cottage that we already have on the horizon line. So let's go ahead with the pastel colors. So for one of the class projects, we had prepared these pastel colors. So I'm just going to go ahead and use the same palette in case if you have not joined me into that specific painting from this class itself, I will just give you a quick thumbs up about the pastel colors. All you need to do is mix in white, along with your basic colors to get in the pastel colors. So I'm going ahead with a clean layer of water onto the entire sky closer to the outline of the cottage that we've added. I'm just going ahead carefully so that we do not run the water in there. So first, I'm beginning in with a little bit of the pink. I'm picking up a little pink from my palette, and to this, I will add in the white watercolors. In case if you want your pastils to be more opaque, you can take help of white wash that will give you beautiful opaque pastel colors. Usually, pastel colours are a little opaque as compared to the translucent a property of the watercolors, but in case if you want to use pastel colors in a translucent way, take help of white watercolor to create in your pastel colors. And if you want to turn them into, like, opaque paint so that the whiteness of the paper is hidden, add in whiteqh that will give you an opaque consistency. I'm going ahead first with the pastel pink and then the pastel blue. Now I'm picking up a little bit of the indigo mixed in with white. And adding in some darker strokes at the top. I'm intentionally leaving in some white spaces as you can see, so as to create in that pastel effect of the sunset that we are trying to paint in. Up next, I'm going to use the naples yellow color, which is already a pastel yellow. You can simply mix in yellow and white. I'm just giving you a quick guide about the colours as well on the go so that in case if this is your first painting where you're joining me in, you do not feel left out or do not feel how to mix in the colours and how to get them out there. So very simple technique that is mixing your basic colors from the palette with the white to create in the pastel ones. Now, to the same yellow, I've mixed in a little bit of the yellowish orange color, and I'm making sure I do not have excess water. And my strokes, also, as you can see, are a little diagonal. And with every layer, I'm making sure the water control is even less, you know, lesser water on my brush so that the paints retain the space in which I'm adding them. Now I'm using a pink violet color and going to add in some darker strokes into the sky. Can see I'm holding my brush very loosely using in the tip of the brush and very gently adding in the strokes step by step, making sure I do not add in a lot of pressure. Neither does my brush have excess pigment nor excess of water. Now, with a little bit of the ultramarine mixed in with white, adding in some strokes into the sky with this blue color mix. Now using in the purple color, I'm just going to add in some strokes between the pink and the blue clouds, giving in some purple highlights into the sky. Now, taking in the pink colour strokes a little towards the yellow as well. You can see all my strokes are diagonal from the top left towards the bottom right. Of course, they can be from the different side as well for you. And all of my strokes have spaces in between such that the colors are visible. Different color consistencies is visible. Now going ahead with a little bit of the pink, adding in some loose strokes. The entire play of this sky and this cloud is having in these loose, you know, strokes effect coming in. And because of the water control, you will see each of the strokes is having in a soft edge yet maintaining the space in which I'm adding them. Now next, I'm picking up a little bit of the indigo color, and I'll begin adding in some shadows closer to the cottage that we've added in. So using this indigo in a little liquidity consistency and just creating in some blurry pine trees into the background, I'm using the indigo in a medium tone and just adding some loose pinetree shapes. The sky's still wet, so this will automatically have in that soft edge. To this, I'm adding in a little bit of the greens as well, and towards the left side, just adding in little green shadows. So I'm done adding in the background blurry effect for the foliage. Now, we'll wait for everything to dry and then move ahead further. Now, everything is completely dried. I'm going ahead with a layer of water into the bottom space now. For that, first, just go ahead with a layer of water. Make sure that your sky is completely dried. Otherwise, the water will see back into the sky. Next, I'm going ahead with the blue color, the ultramarine blue in a lighter consistency and creating in the snow effect out here. I've just picked up a lot of water and diluted this color a lot, trying to show in that snowy effect into this entire field space collecting, the darker hues more towards the cottage space. Now using in the indigo color, I will just begin adding in little darker values into the snow. Now, very randomly, I'm trying to create in this snow space. It's just a very random thought that I'm just going ahead with drops of water, adding in the indigo and the ultramarine and now letting the water bloom do the snow effect, trying to show in that snow collected view, adding in a little pink towards the right side to show a little effect of the sunset colors coming in here. So just a little bit of the pink and the yellow hue coming in here. Now, quickly, I will just use my rough cloth and dab a little on the left side and create in little textures into the snow. This is absolutely optional, but this even lightens down the values and create beautiful darker shadows and lighter values, as well as textures into the snow space. Now, by the time the bottom snow dries out, I will go ahead and use the same white and blue mix and add the roof of the cottage because the roof of the cottage is also covered up with snow. So using in this lighter mix, make sure it's a very light value, but not too light also because watercolors will already dry out or tone lighter. So this as well I'm just dabbing in little to create in little textures, dropping in little darker values just towards the edges to create in the shadow effect. Now, using the yellow, I will add in the windows of the cottage that we have added inside here, just the four inside blocks that I've created, I will paint them with the yellow color. And into the rest of it, I had given in a white wash. So just a simple white watercolor wash you can give in or you can skip and let the whiteness of the paper do the magic. That's absolutely your choice, how you want to go ahead way. Now, for the rest of the cottage, we'll have to wait for the inside and the roof of the cottage to dry, even the bottom space. Till then using in a mix of the green, white, and the paints gray, I will create in some detailed foliage for the background foliage that we had created. So the background lighter green, blurry spaces that you see will act in as the background details then. So you can see just going ahead with random strokes of grasses, bushes and creating in random details. You can go ahead with mini pine trees, which I'm going ahead here on the left side. Even on the right, if you want, you can just go ahead with random pine trees out there. Now, my cottage is completely dried and we'll begin filling in the main body of the cottage. For that, I'm using in this beautiful bold red color. Make sure that the bushes around are also completely dried, as well as the roof, the windows, the bottom snow space. Everything is dried out before you begin adding in this color into the cottage. So very carefully on the edges I've added in this color, and now I'm using in a little bit of water and creating in some lighter values in the center space. And then using in the brown color, I will again, drop it onto the edges, so you will automatically see the shadow effect. So while this red is wet, pick up a little bit of the burnt sienna or a darker brown color. And just on the edge like this, drop in little darker brown values. You will see because of the wetness, it will get in that soft blend and the edges will show in that shadow effect coming in. You see how gently the brown is blending into the red color because of the wet cottage space of the red. And if you want, if the space is drying out quickly, you can again use in a little red and blending. Basically, the brown is supposed to have in a soft blend with the red. So automatically, the browns will create the Daco value creating in the shadows effect because of the outline of the roof that we have in. Now, by the time the first area of the cottage dries out, we'll go ahead, add in some dried branches or boche effect into the rest of the spaces. So I'm using in the brown color and just going ahead, adding in simple branches of the trees. Basically, all of the foliage has drained out. And at the base, I'm trying to show in, like, the root effect, which is underneath the snow like it is all hidden into the snow, so giving in that beautiful root effect into the snow style. At the base, I'm using in a little bit of the pain spray along with the brown to create a more three D realistic effect. Now, just pulling out some dry branches out from these using the pains gray color. I'm using a mix of brown and pains grey alternatively, as you can see, so I created the main branch with the brown color, and now going ahead with the pains gray to create in these dried branches onto the tree. Now, I'm even adding in a little bit of the foliage, just a very little of it, as you can see, pulling out from the branches that we've added in. So towards the center, I will keep it a little dried out and with very less foliage. And just towards the ends, you see I'm giving in little foliage as if even they are about to fall out. Giving in a little dry brush with the paint screen to the snow space to create in that texture, very little for the drybush. Very important thing to remember is the water control as well as no excess pigment onto your brush, and make sure you dab off all of the excess pigment and paint onto a rough cloth or a tissue, whatever you are using in. Now, quickly, I will go ahead and paint this last leg of the painting, which is the back of this cottage. Again, we'll follow the same technique that we use for the front. I will go ahead first with the red colour on the outlines, using in water. I will just dilute and create in lighter values in the center. And then using in the browns, I will just create in the shadow effect closer to the roof. Now you can see when the front has dried out because of the roof, the shadow is automatically looking that darker brown line that we added at the top side. So make sure you do not add brown on all the edges. It is only where you want to show the shadow effect. So the roof is on the left side, and hence we added in the shadow just on the left side there so that it creates in the shadow of the roof. And here, the roof is at the top. So I've created in the brown darkness at the top to show the shadow of the roof and just onto the meeting point of the front and back to create in that three D effect into the cottage, as well. Adding in a few more bushes randomly here and there before we peel off the masking tape and have a look at our final painting. Now, using in the pencil, I'm just creating in little outlines to the window grids that we had added so that it gets in a little more defined shape. And with the pencil itself, just adding a little texture onto the cottage as well, you can use brown color or use a pencil like this to create in these little textures. So that is it. Let's peel off the masking tape and see a final painting. Make sure before you begin peeling off the masking tape, all your edges are completely dry. You can see the snow space is looking so beautiful with that little highlights of the pink and yellow with the texture that we created with the water droplets and dabbing technique on the left, a simple detailed winter landscape that we've created. I hope you guys enjoyed painting this with me today. I will see you guys into the next painting tomorrow. Thank you so much for joining me into this class, painting along with me. Make sure to share your projects if you're painting along, and it would inspire someone else to join in. 20. Day 18 - The Grey Clouds: Hello, everyone. Welcome back to the next painting of the 20 day painting challenge. And for today's class project, we'll first begin with a very simple pencil sketch. So I've just marked down a very rough horizon line. You can see it's not a straight, crisp line that I've gone ahead with. Now picking up water, going ahead with a layer of water into the entire sky. It's going to be like a misty kind of a sky, not exactly misty, but like the, you know, grayish blue clouds hovering on the top, and closer to the horizon line, we'll have beautiful sunset colors coming in. So at the top first, beginning in with a light layer of the paints gray, you can choose to go ahead with a little mix of black into your blue as well if you wish to. And again, you will see I go ahead very gently and lose into the sky, leaving in some white caps intentionally and letting the water that is a wetness of the paper and the paints do its own magic by blending, creating in different shapes into the clouds. For the yellow, going ahead with a little bit of the naples yellow, and now with a little bit of the yellow ocho on the edges. No. Now, on the left side here, I'm trying to maintain a little glowing spot to the sun. So I'm just going ahead lifting in the paints from here and keeping it white in a semicircular shape, as you can see. If you want, you can keep that shape covered up with a masking fluid or a masking tape. But I want the softness to its edges as well. Hence, I'm going ahead with the lifting technique. You will have to lift in multiple times, keep a rough cloth or a tissue handy so that you can dab the excess water that you keep on lifting. Now going ahead with a little bit of the yellow ochre color again and just going ahead, adding in a few more darker strokes into the sky. Now, again, just going ahead with a little more lifting around this area, making sure that the glowing sun effect is maintained there, giving in those white spaces. Now, when you go ahead with the lifting technique, it gives in that beautiful glowy effect, yet the softness. Now, picking up a little bit of the raw amber color as well and giving in some darker strokes into the sky. Now, at the top, going ahead with a little of the darker paints gray color, trying to show in those rainy clouds forming in at the top, just going ahead wet on wet and dropping in the darker pins randomly creating in some very natural cloud looking effect. Again, go ahead with a medium tone. Don't go with two darker tone as well, and keep your strokes loose so that the water can do its magic. They spread, they blend. They create in that softness, giving in all of the effects that we need in. Now, from the right side, I'm taking in a little bit of the gray strokes onto the yellow brown strokes that we've added in. Just adding in some more darker cloud effects using in the paint's gray color. Remember, watercolors dry out a tone lighter. So depending on what kind of cloud effect you're looking in for leave your watercolors at such a point to dry that after drying, they will turn out one tone lighter. Onto this right side here, I'm creating in one very dark cloud, as if it's just about to burst and the showers are going to begin in, and I will quickly just go ahead after this and, you know, just run up with the lifting on the sunspot as well, once again, so that I still have that glowing effect maintained. Just use a damp brush and go ahead and just clean brush, lift it up and dab in. You need to, of course, be sure that your pigment was a non staining one. Otherwise, it may create difficulty in lifting. Just adding in a few more brown strokes, blending in, making sure the effect is maintained. Let's wait for it to dry now. So my sky is completely dry, and now we'll go ahead with the field. So we are going to go ahead first with a layer of water into the entire field. So closer to the Horizon nine, you are going to having, like the yellow brown tones into the field, and then towards the base, we'll turn it into green and darker greens. It's going to be a very simple field that we'll be going ahead with, not much details or much technicalities to go ahead with. First, going ahead with a layer of the yellow color, you can choose any lighter shade of yellow that's available in your palette. Now, using the brown at the Horizon line, giving in that horizon line detail and going to blending in with the yellow or a little, giving in some dried field effect as well. So at the top, you can see I gave in that little effect of the browns coming in from there. Now using in a little bit of the raw amber in a diluted consistency and adding in a little bit, you can see where there is the sun below that, I'm maintaining in the light space to show in the glow of the sun coming into the field as well. Going with a darker brown on the horizon line. But I will make sure that again, under the sun space to show the reflection of the sunlight into the field as well, I will just go ahead and make it lighter. So quickly using in a dam brochure, you can see I'm just lightening this space up and I will just blend it all well in. Now I will go ahead with a little of the medium light green colors I'm using in the sabreen color here, just adding in. I'm doing all of this wet on wet, so you will see all of the colors automatically blending into each other. Now picking up some medium tone of green, adding in some highlights with this color before we move on to the darkest green. Now, just going to drop in a little green highlights in between the browns randomly to show a little mixed match happening into the field so that it's not exactly completely dry just on the top or just green just on the bottom. And towards the right side, I'm adding in these values towards the left side. We are still maintaining in the glowing effect of the sun or falling onto the field space as well. All of these, I'm still doing wet on wet. So you will see into the field all of the wet on wet soft blending happening between the colors. Now, going ahead with the darker green, mixing in saprine with a little bit of the pains gray. You can use pains gray brown indigo to mix in the green and add in these darker values. You will see how the beautiful color into the field creates in that realistic effect into the field, and the soft blending between the what colours makes it look natural. And you don't have to worry much about if the stroke is going somewhere extra or less because that's the beauty of nature. It can be different on each one's paper, and still it will give in that realistic effect. At the base to give in some more depth, going ahead with a dark layer of the green tone with more of the pains grey, very less of green into it and blending it all in. Now, I'm just going to go ahead, create a little more depth into this field by just adding in a little more of the greens here and there, trying to blending in. All of this is still wet on wet, and that is the reason I'm getting in the soft blending. So in case if your paper is beginning to dry in, let it dry completely. You can go ahead with the rewetting technique or you can use a light spray of water in between to keep your paper moist and then keep on adding in these details. Now, picking up a little bit of the Romber color, I'm just going to go ahead and drop in in between the greens randomly. So I'm using the color in a good consistency, loading my brush with an enough pigment and just dropping it as we use the water dropping technique. Same way using the technique, dropping in these blooms. So you will see how they disperse into the greens, creating that beautiful effect in between the greens, giving in some dried mud effect. Now, everything is completely dried, and I'm going to go ahead with a little bit of a very dark brown color. I'm using the CPR color, and I'm just going to go ahead add in little details on the horizon line. I'm using a size two brush so that I can get the details fine. So I've just marked out a very light outline to the mountain, making sure that the glowing sun is not completely hidden. You can see the whiteness of the paper, which it does not have a sharp edge on the semicircle outline. Yet it has that glowing effect with the softness into the sky. Now, you're also closer to the sun space. I'm going ahead and lifting up a little of this dark color that we've added. You can even use dabbing technique like this. So automatically trying to show that little of the sun rays effect falling onto this field as well. I'm taking help of a little bit of the yellow to blending in to show the sunlight effect falling into the mountain as well to given that glow in the mountain space. I will just go ahead with a little more layer of the yellow and the dark colors out here and just create in that glowing space once again. So going to take help of little yellow and run the same way as we did previously. Now, into the field, adding in very little textures and trying to just show little shadow to the mountains that we've added in. Blending it towards the base area, trying to show the reflection or the shadows of the mountain range coming in there. We're almost through this class project. This painting took us roughly around 13 to 14 minutes to create. Air has such a beautiful effect. Just lastly, I will add in a few bods into the sky. Now, again, your placements for the birds can vary, your silhouettes can vary. You can choose to go ahead with very tiny birds or one detailed huge bird flying in or a flock of birds like these. So let's go ahead, peel off the masking tape and see the final painting with those clean edges. Make sure before you begin peeling of the masking tape, your feel is completely dried, otherwise, the colors may seep onto the clean outlines. So here's a final look at our painting from today's class project. I hope you guys enjoyed painting this with me. We're just two paintings away from closing this 20 day painting challenge, and I'm grateful for each one of you who's joined this class and painted along. If you'd like this class, make sure to drop a review, and if you're painting along, do upload in your class projects so that it can help me reach maximum students. Thank you so much once again, and I will see you guys into the next painting tomorrow. 21. Day 19 - Misty Mountains: Hello, everyone. Welcome to the second last painting of this challenge. And for today's Casper check, we are going to go ahead with a beautiful misty mountain range. We'll directly begin in with a clean layer of water. So once your paper is taped down, we'll begin in with an entire layer even layer of water onto the entire paper. Make sure it's not extra wet, neither extra dry. It's going to be more of a monochromatic painting that we'll be doing with different shades of blue, or we'll be adjusting the tones of blue with the help of indigo and Pains gray. First beginning in with a light indigo color, I'm just going to use it in a very diluted consistency. You can see it's like a very watery light consistency of the indigo that I'm going ahead with first. And as I move towards the bottom, I'm just going to blend it with the water. We just need like almost no color at the base because we're going to be painting in the misty mountains there. For the sky, also, we're just going in with a very simple layout, not much of drama, just a flat color wash that we'll be going ahead with, beginning in with the darker tone, little towards the top, moving downwards, we're just diluting it the color. I'm picking up a little of the pastel blue that's on my palette already and adding into the indigo out there. You can take help off a bit of the Altamrene or Prussian blue or whichever other blue you want to instead of indigo for the sky. I have picked up a bit of the ultramarine again and blending it with the indigo, giving in that little differentiation to the sky color with the help of this mix. Now, we'll have to wait for the sky to dry completely. I will just go ahead with a little more ultramarine before I let this dry because I want to make the top of the sky a little darker and moving downwards, I'm giving it a gradient wash, making sure that the dark blues are towards the top and moving downwards, we have very lighter blues. And only 30% of the top is the sky and rest the entire space, I have left it white. Now, once this dries out, let's begin with the first layer of the mountain on top of it. So once this is completely dried out like this, go ahead with the indigo color in a lighter consistency. Lighter consistency is you can achieve with the help of water, add in more water, less pigment. And I'm just going to go ahead and begin with the first misty mountain space. So wherever you wish to begin in your mountain spaces after your gradient sky, go ahead with a rough outline into the mountain. Now, using in water, I'm just going ahead and diluting it all well and just going to give in a gradient fountain effect as well. So you can see just the outline of the mountain. We'll have those darker tones of the blue, and moving downwards, I'm just adding in water and blending it into the bottom space. Towards the right here, I'm dabbing and blending and merging it into the sky quickly. Now I will just go ahead with a little more of the paint and drop it towards the top, so you will automatically see with the layer of water it's moving downwards and blending in all and at the top, I'm giving in a very rough outline to the mountain, as well. Now using water, I will quickly just go ahead and, you know, add in a layer of water completely till the end of the space and blending in. So you can go ahead and use in a bigger flat brush if you want to go ahead and quickly add in this entire layer of water out there. Now, my first mountain range is dry, and now I'll begin in with the second layer. So now I'm picking up the same indigo with a little mix of the ultramarine, but in a one tone darker consistency than the first layer that I used in. Now, this mountain range, also, I'm going to add in over the first mountain range. So just go ahead and first have a look how I'm adding this in, and then you can continue. So I'm going ahead, adding in our darker mountain range, which is covering half of the first lighter mountain range. So the lighter range will still be visible from the side that is the left and the right. But in the center, it's having another mountain coming in front of it. So the same technique, give an outline with a darker color and then using water just dilute and create in that gradient wash. Again, if you want, just drop in some darker colour drops at the top, and you will see how beautifully it bleeds with the water and creates in this beautiful gradient at the peak of it. Now just going ahead and blending it all in again, just as we did for the previous mountain range with the help of water. And this is how we are going to work and keep on creating in a few ranges of the misty mountains. Every time, make sure that you take the water layer till a little end of the page. Otherwise, those dry patches of the water drying may stay in between your mountain ranges. So that's very important to keep in mind. So, you see, I've taken the water till almost the space where my misty mountains will be. Now, once this dries out, we'll begin with the next layer again. So now let's go ahead with the third mountain layer, one tone darker than the previous colors that we used, and now I'm going to go ahead and add in a mountain towards the left side. Now, the placements of these mountains or the shape of the mountains can vary to each one of you as per your choice. To this mountain, I'm giving in a little break in the center as you can see. So I'm going ahead, creating in the outline first. Now again, using water we'll create in the gradient. Once the gradient is created, again, picking up little color, dropping at the top, and at the center here, just using in water and making these two points meet. And at the top, I'm quickly dabbing it towards the top space so that we do not have the darker patch of the water after it dries out. Now, again, dropping in water dark pigment at the top. So you will see it automatically bleeds with water and creates a gradient to the mountain. Now, I just defined a little of the shape of this mountain because I was finding it very, you know, like, just a simple steep. So just gave in a little more of the peaks to this and just going ahead with the water layer again. And then we'll again wait for this layer as well to dry. Now, the center space, I do not want this patch to be there, so I'm quickly dabbing it while it is wet and blending it towards the top mountain with my fingertips itself. Now, this mountain range is also tried, and we go ahead with the next layer of the mountain. A The process for each layer of the mountain is going to be same. Go ahead with a line of the color, the outline or how you want your mountain range to look in, and then using in water, go ahead, dilute in and drop. Now I'm going ahead with a little darker color. So you see, I gave in a broader outline because I want to increase the consistency or you can call in the transparency of the color to show in more of the darker mountain range towards, you know, horizon line or towards our viewpoint. Oh, Now, using a fine tip brush at the top, again, I will begin dropping in the darker values of the indigo while this is wet and you will see how beautifully it bleeds with the help of water. At certain spots in between, you can see I'm intentionally leaving in gaps, trying to make sure that we get beautiful variations to these as well. Just some simple bleeds and, again, adding in a little more water towards the pase, and we'll wait for this to dry as well now. Now I'm going ahead with the last mountain range that I'll be adding. So just a very small smoky mountain effect or like the misty mountain effect here on the left side. And I'm just making sure that wherever I'm just giving in that soft blend, I quickly use my fingertip to blending in so that that layout dries out quickly without leaving in the rough patches. Now, with the help of a bigger flat brush, I will quickly just go ahead with a dry brush and blend this water lao towards the top and make it dry so that, you know, this mountain looks misty and foggy instead of getting in that sharp line of the water drying in. So this is how you can quickly dry it out to not get in those harsh patches of water. Now we'll wait for this to dry. Now, for the next layer, I'm picking up the indigo in a dark consistency, and I'm going to go ahead and add in a outline. I'm going to fill it with the dark color completely till the bottom space. Once we are done, adding in this layer of indigo towards the bottom, while this is wet, I'll use the tip of my brush and begin adding in some very fine far off pine tree details. So just using the tip of this mop brush, I'm going to pull out very small spiky pine trees effect in different heights to show in those far off pinetree effects. You can see these are not detailed. They are quick to add in just that you need to use a pointed tip brush, making sure that you vary the heights of these spikes that you add in. These act in as the very teeny, tiny details that we add in yet giving in so much more depth and realistic effect to your landscapes. I'm just going ahead with a little more indigo towards the bottom and blending in so that the pine trees and the color at the base looks well balanced with each other. I'm just going ahead, adding in a few more strokes here and there into the pine tree, somewhere elongating and somewhere just blending it well into the base. Now, using in a smaller size brush, I'm using my size two Run brush, which has a pointed tip, and using in the indigo in a dark consistency, I'm going to add in some birds into the sky. The silhouettes of the bots can again vary. The placements can vary. I'm going ahead with different bots this time, adding in a little more detailed effect to them. You see, across the pine trees area, where we had left in a big foggy mountain. I've given in an entire range of birds flying in there, and that is it. We are ready with our painting for today's class project. Let's go ahead, peel off the masking tape and see our final painting. Make sure that you begin peeling off the masking tape only once your bottom layer is completely dry. Otherwise, the indigo from the last layer may seep onto the white edges that you're trying to maintain in and always peel off the masking tape against the paper so that you do not tear off the clean edges. So here's a final look at our painting from today's class project. I hope you guys enjoyed painting this with me. I will see you guys into the last painting tomorrow. Thank you so much for joining in, painting along with me. Make sure to drop a review if you like this class, and thank you once again for joining in.