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.