21 Day Watercolor Challenge - A Dive into the World of Watercolors

1. Welcome to the 21 Day Challenge: Watercolor art is a beautiful and versatile medium known for its transparency and luminosity. It's loved for its ability to create delicate washes and via print colors. The way the colors blend and flow together on the paper can evoke a sense of fluidity and spontanity capturing the essence of a moment or a scene with a delicate touch. Each brush stroke carries a unique energy, making watercolor art, both captivating and expressive. Hello, everyone. I'm Marchi Tapara chartered accountant, an artist and a creative business entrepreneur. I go by the name, creating from the heart on Instagram, where you find my creative journey, my creative practices, and all details about my creative business. Welcome to the planned new 21 day watercolor challenge class where we are going to take a dive into the world of watercolors and embark on a journey of creativity, exploration, and watercolor skill development. Over the course of 21 days, you will learn step by step techniques to capture the tranquility of landscapes from majestic mountains to serene seascapes. If you are an absolute pigner, do not worry. I will be guiding you first in detail about all the materials, beginning from paper, paints, to brushes and the other stationary materials that you would be needing to begin in your class projects and also discuss the alternatives that you can use if you do not have a particular material required. Each day, you will be guided through a new aspect of landscape painting, starting with foundational techniques such as washes, blending, and color mixing. As the days progress, you will deve deeper into composition, perspective, and capturing the light and shadow to bring your landscapes to life. Through a combination of various landscapes included in this 21 day challenge, you will sharpen your observation skills and develop your own unique style with watercolors. Whether you are a pigner or an experienced artist. This class offers a supportive environment to expand your artistic horizons and unless your creativity, By the end of the 21 days, you will have a collection of stunning watercolor landscapes that reflect your journey of growth and discovery. So let's grab our paints and brushes and embark on this creative journey together. Get ready to unleash your inner artist and create breathtaking watercolor landscapes. So without a further ado, I will see you guys joining me inside this 21 day watercolor challenge class. 2. Materials You'll Need: So, let's first discuss the materials in detail. We'll first begin with the watercolor paper that we'll be using through this class. I'm using this Archie 100% cotton 300 GSM cold pressed paper. Now, this paper has a little texture grain because of the cold pressed technique. This is 100% cotton paper, so it will stay wet for a longer time. It's approximately six inch by 12 inch. I will be cutting this sheet into two equal halves, and each painting will be six inch by six inch. This is a glute pad. I can remove in single sheets from these and cut it into two halves to use it for each class project. So I'm going to be painting each of the class projects onto these six inch by six inch size. That is one sheet cut into two equal halves. So from this block itself, I will be removing each sheet and cutting it into equal halves like these, and then taping this down onto a movable surface with the help of a masking tape. I'm going to be using in a small board that I have, which will perfectly fit in this paper and tape down my paper onto this board so that I can easily rotate while painting. So you can see this is the perfect size that I've got in. You can tape it down on your table as well. But taping it on a movable surface makes it easier to add in some details and adjust your hand movements. So that is in detail about the paper that I'll be using. I recommend using 100% cotton paper so that you can work a lot wet on wet and get in all the wet on wet details, right. Now, next, moving on to the next important material that you would need. That's the watercolor pans. I'm going to be using in this macho mission watercolor set. This is actually a set of 36 color tubes, which I have squeezed down onto this palette into 36 wells. I can easily re wet this and use it because watercolors are easy to re wet. I will be also using in some of the paints separately. So basically, these are the seven L tubes first, which are squeezed down here, but there are some shades which are not here, which I have separately apart from this set. So those pains I will keep on using as and when as per need of the painting. And through every painting, I will discuss with you the shades, the alternate mix that you can create. So some of the shades, for example, are this Cobalt creen that we'll be using in for our thern lights, Naples yellow for some pastel yellow effects, some past peach color, some sand color, indigo pines gray. So I will discuss all the alternative mixes that you can create to get the shades if you do not have these exact same tubes. So do not worry. You can begin with a very basic watercolor set of 12 to 24 pins, whichever is available with you, and we can create each of the piece with those limited color palette as well. Next important tool are your brushes. You would be needing in some flat brush and some round brush. These are natural hair brush that I have right now. So these hold a lot of water and paint, making it easier to go ahead and give in the details. You would need basically a flat brush for giving in washes. This time, I'm going to be using in a mop brush a lot for adding in a lot of details into the paintings. For the round brush, if you do not have the natural hair brushes, you can go ahead with the synthetic hair as well, because natural hair brushes are a little costlier, but they do the job much as for, you know, the charge that they are for. So we'll discuss brushes as well, while painting each painting. Next, you would be needing in a white quash. I'm going to be using in this Brustro white quash, because in some of the paintings for adding in some opaque details, we will be mixing in white quash with some basic paints to get in these highlighted effects. So here you can see how with the help of white quash, you can get that opaque layer even on the dark black paints gray color as well. So that is why you would be needing either a white quash or acrylic or a white shell pen as well, can do the job for certain details. So I'm going to be using in the same Brostro 0.7 white shell pen, which will help me in adding in some highlighting details. Next, you would be needing in some basic stationaries that's pencil eraser, a scale. And you would be needing in a set of watercolor or waterproof pens, basically. These are of different nibs, as you can see, we will be using these for adding in details, but you need to make sure that these are waterproof, because if they will not be waterproof and if you overdo any detail on top of these, these ink may spread. So it's important that you use these fine tip pens, which are waterproof in nature. Next, to each of the paintings, I'm going to be giving in these round edges with the help of this round cutter. In case if you do not have this, you can keep the edges straight. That's absolutely an optional choice. Lastly, you would be needing two jars of clean water for each of the class project. One to clean your brushes, and one for using clean water for wetting your paints or wetting your paper. I'm even going to be using in a palette separately for mixing in white gas with other colors. And rest of the colors, I'll directly mix it on my palette here. And one more thing, you would either need a rough cloth or some tissues to adapt the excess pigment, excess water so that you can add in details like dry brush, wet on wet details, wet on dry details, where you need water control as well. So that's about the materials that you would be needing for this class, very basic, very limited. You can begin with whatever materials that's available with you and we'll keep discussing the alternatives as we progress through the class each day. 3. Day 1 - Glowing Lights: So let's begin with the class project for tape one. The colors that you would be needing is violet, red, pink, cerulin blue, white, black, and paints gray. Now you can either use black or paints gray as per your choice. So I have my paper taped down onto this board, and I'm going to begin in with the painting. So first, we're going to begin with a very little pencil sketch, and then we'll move on further to the layer of water. So at the bottom, I'm marking out the pathway first diagonally from the left to the center and right to the center across both sides of the pathway, we are going to have in some black color foliage detail, and the center will be the pathway, top will be the sky. We'll begin painting the sky first. So we're going to begin with a layer of water here. B we are working with what colors, we are going to work wet on wet to create in that soft, beautiful evening sky. Make sure you apply an even layer of water throughout. Now in this class project, if a little of the water moves into the bush space or the roadway space. It's perfectly okay. We'll be able to cover it up because there the details will be with the darker color. But as much as possible, try avoid adding in the colors there. So I'm going with a clean layer of water throughout. As you can see, I'm running my brush multiple times so that my paper stays wet for me to work wet on wet getting in all the details of the sky without letting the paper to dry. I'm using 100% cotton paper, and, you know, it stays wet for a little longer time. But since it's summertime, paper may dry up quickly despite being 100% cotton paper. So make sure you keep your paper moist throughout. First, beginning in with the cellin blue color at the top, almost half of the sky. I have covered it up with the cellin blue color. Now, bottom of the sky, I'm beginning in with the quinacinin rose color. You can pick up any shade of pink that's available in your palette. It can be crimson, pink, rose, or, you know, any other tone of pink that's available in your palette. I have blended the blue and the pink, and you can see little violet highlights at the blending point because of the blue and the pink blending in together. I'm going to go ahead with a little more darker strokes of the pink at the bottom space. Again, using in the brush, I am going to quickly blend in. You can see my paper is wet. And since I'm working with a little liquidy consistency of the pains, you will notice my paper will stay wet for enough longer time for me to work in with all the details wet on wet. As I told you a little of the colors, you can see it's gone into the pathway space to make my blending easy, and that's perfectly okay because we'll be able to cover that all up with the paints gray color later on. Now, wet on wet, we are going to begin adding in the cloud details into the sky. For that, I've shifted into my mop rash. It's a size two more rash. You can use a size zero or one, if you have so. Otherwise, if you're using a bigger size, make sure you're just using in the tip. Now, morash holds a lot of water as compared to a normal brash. So make sure you off all the excess water first before you begin onto the paper. Otherwise, you will have a very liquid consistency of the pans, which may create a mess onto your paper and spread out completely and cover up your spaces. So I'm beginning to add in some simple strokes using in the violet color. I'm using the bright clear violet from the brand magello mission here. You can go ahead with any tone of violet that's available in your palette, but make sure to use it in a medium consistency, not too dark. Now, very carefully, you can see over the blue and the pink. I'm creating in some cloud details using the violet color. Now, to the violet at certain points, I'm adding in a little hint of the paint's gray color to create a little grayish violet tint for adding in some highlights into the sky. Now, in the same way using the darker hint of the violet and the pain scream mix. I'm adding in little darker highlights at the top as well. But you can see I'm not covering up the entire violet highlights. Plus, I'm even making sure my blue and pins are still visible. You can see I'm holding my brush a little perpendicular, just trying to use in the tip of the brush so that I can get and find details plus the water control because we are working wet on wet. I have been dabbing my brush always onto the, you know, a towel so that the excess water and the pigment is absorbed and I have very t pigment. Now, shifting into a smaller size brush to add in some more details. I've mixed in the violet, that's a cellin blue along with the bright clear violet, and I'm going to begin adding in some bluish violet strokes into the sky. Now, again, for this, since I'm using a smaller size brush, working wet on wet, you will notice the edges will be soft, but again, you need to make sure your brush does not have excess water or pigment, or else you may get in, you know, patches of the color instead of maintaining in the cloud shape. At the moment, you can see all of the strokes into the clouds that I've added. They're retaining the shape in which I'm adding them. Plus having in the soft blend. The soft blend is because my paper is bed, and the shape is there because I have the water control on my brush while adding in the colors. So that is it for sky. Now we'll wait for this to dry and then move on to the siloed details for this painting. So now my sky is completely dried, and I'm going to begin painting in the pathway first. For that, I'm picking up the same blue on the violet mix and going to add it across the pathway line that we've marked out. And at the bottom of this pathway, I'm going to pick up the pains gray color and blend it with this bluish violet tone that we've added in. Now the reason for adding in the violet tone here into the pathway is to show the highlight effect of the sky colors falling onto the pathway, creating in that glowing space on the pathway. At the bottom, you can see I'm going ahead with the pains gray color onto the pathway. Now, always remember watercolors dry or tone lighter. So you will need to make sure that you use the right color consistency so that after drying, you get in that bold effect of the colors as you need. At the bottom, you can see I'm just darkening up the pains gray color because after drying, it will turn out too dull. At the top, you can see most of the violet has got covered up. So again, we're just going to quickly go ahead with a little more of the violet color at the top and try to lift in the paints gray color. Automatically, you will notice the highlighting space that gets created because of this violet color that we added in the background and now trying to lift up the paints gray that's coming on top of the violet. Now, very carefully, I'm pulling out little highlighting strokes at the bottom as well of the pathway to create in that little glowing spaces. So very little color lifting that I've done using in the tip of my brush. You can see when it is wet and you try to lift up, you get in that glowing space onto the pathway. I'm just going to go ahead with little more lifting at the top. You can see now the highlighted space is created perfectly at the top of the pathway, giving in those violet shades, and at the bottom, we have the pains gray look. Now let's move on to the next layer that's going to be the foliage using in the pains gray color. Okay. Using the pains gray, I'm beginning in with the tip of my brush and creating in some bush detail by just dabbing in the tip of my brush randomly, and I'm going to fill it with the pains gray color till the bottom of the pathway line. Now, make sure that your pathway is a little dried, otherwise, if you will add in the pains gray color closer to it directly, the pain scream is spin and create some darker edges. So you need to have in that control or you can wait completely for your pathway to dry and then move on to this layer of foliage. You can see as soon as I'm adding in the pain scray a little is moving into the pathway. I can have a control over it and I can correct it later on. But in case if you are an absolute picner, I would recommend you to wait for your pathway to dry completely and then move on to adding in these details of the foliage into your painting. Same way, we are going to be going ahead on the left side as well. Now, using a smaller size brush, I'm just giving in a precise line. You can see my pathway is almost right. That is the reason this color is not spreading much. It just had a very soft line. Now, you can see the pathway color is so light as compared to a bold pains gray color that we have for the foliage. So make sure for the pathway, you use the pains gray or the black also in a little diluted medium tone consistency. Now, same way pigging on the left of the pathway as well. You can see at the top, I'm just going creating in some rough foliage detail by diving in the tip of my brush. You can see I'm trying to vary in the heights throughout, so as to get in that natural effect. Now, till the bottom of the line here as well, I'm going to go ahead and fill it completely with the pains cray color, and then we'll move on to the next layer of details for the silo. I'm done adding in the foliage detail on the left and right. You can see now the pathway is having in that glowing space, that different light element because of the lighter tones of the pain screen and the highlighted violet color trying to show in the reflection of the sky falling onto the pathway as well. Now, next, we are going to go ah add in some details on the pathway as well. Now, using the white shell pen, I'm giving in the details onto the pathway. You can even use white quash and your brush to add in these fine details, but make sure you use a fine tip brush so that you can get the details right. Now, on both sides across the lines, I've given in the details. Now, on the right, the white line has gone a little more slant, so I will correct it with the black color later on. Now, on the pathway, giving in the line detail, trying to show in the movement of the pathway. Marking in two lines so as to show that the road is broader at the bottom. And as it's narrowing to its perspective view, it's very fine in the center space. All right, you can add all of these details using in the white wash if you do not have a white shell pen, but just that the white shell pen makes the task easier and more crisp and clear. Now, you're the line of white that had gone a little extra slant. I'm just adding in a fine line of black at the filg space again, so as to correct in that distance between the white and the black. So you can see how easily you can correct and redo certain things. Now I'm going to pick up the white quash, and we'll begin creating in a little highlighted space to add in a glowing light effect into the pathway of a moving car. So first, we're going to use in the white quash and create in that glowing space. So I'm adding in two dots of fights. Then using in a dam rash, I'm going to blend these two and create in that dull space. So using in the dam rash now, I'm going to go ahead and blend these two spots and create in that dull space. Automatically, you will see you have two dull white patches for now. Now, till these two patches of white dry out, let's move on to the next layer of details in the foliage for which we are going to be using in the fine tip pen. I'm going to use in these micron fine tip pen. These are different nabs 0.3, 0.20 0.005, and 0.8. So as to get in some fine details. Now, first, I'm using in the 0.3 nib to get in these very fine lines, trying to show in the street light across this foliage that we've added in. Now, make sure you can even use in the pain sky or the black color for adding in these details. But in case, if you are using in a fine tip pen, make sure it's a waterproof one. This pen that I'm using is a waterproof pen. Now, I've shifted it to the 0.8 nib pen so as to get in a very thick line for this larger, you know, pole that I'm adding in because this pole is much closer to our view. So basically, if you have a perspective view, things that are far from you, would be thin and in lighter tones. And as the objects come to you, they are much more detailed, much more bold, much more to our view. Now, I'm just going to go ahead, shift in between the pens, and keep on adding in these details. So I've added in approximately six of these three very fine lines, three, a little bold as compared to those fine lines. Now, on the left, I'm just going to add in some very simple pole details using in the same pens. Now, as I told you, if you do not have a waterproof pen, you can use in your pain ski or black color and add in these details with a very fine tape brush. You need to make sure that your brush is very fine so as to get in these details, right. Now, you can see since my paper is taped down on a movable surface. It's so easy for me to just rotate my board and simply adjust according to my hand convenience, rather than trying to, you know, adjust my hand and get it into a very uncomfortable situation. Now, here, I'm going to add in a small electric pole detail as well. So very simple details that I'm adding in. You can go ahead change in these polls placement or details as per your choice. Now, to these pools as well, I'm adding in small lines here, cutting and giving in the detail and depth to the pools that we've added in. Now, using the 0.2 nip pen, I'm going to give in some Valine details into the sky. Again, this also you can add in with the pain scray color, but make sure it's not a bold consistency of the pain Skray or black. You can see I'm adding it very light handedly so as to get in a little lighter shade consistency to these lines that I'm adding in. Also, if you're adding these with the brush, make sure it's a very fine tip brush so that these details look very fine and detail. Now, using the paints gray color and a smaller size brush, I'm just adding in some light poles to these pools that we've added in. So just some light block details, we are not going to add in the detail lights with the white or yellow tones. This time, it's just going to be simple sill hate with the black color. Now, let's quickly add in the last leg of detail that's going to be the car detail. So I'm mixing in white along with the red color. So red mixed in with white quash. I've got that puriful red tone. Now, in the center of these white color dots that we had created, I'm going to go ahead and add in this red color to create in the light effect of the moving car that we are going to be adding in. And for the silote of the car, I'm going to use in the paints gray color. Or you can use in a black pen as well. So I'm going to shift and use both of those to create the outline of the car. First, adding in the light details with the red and the pastal red color. And at the bottom as well, I'm just giving in some fine lines to show some reflection of the color falling on the pathway as well. Now, till this dries out, I'm going to mix in a little bit of the white quash along with my violet color. So as to give in a little, you know, that side pole detail in the foliage as well, trying to show in that side grill across the pathway. So mixing in a very little violet hint to the white quash. Now, reason of using white coaches because if you will use in white watercolor, it will not give you that opaque look. So it's important to use in white quash or acrylic to get in this opaque look. Now, I've just added a very horizontal line moving into the line of the pathway, but onto the foliage space, you can see, because of the white quash, even the white is visible on the dark black color that we've used for the foliage because guash is an opaque color consistency. So the white quash helps in creating in that opaque consistency and mixing it with violet, so as to create in that dull effect, trying to show the sunset effect falling in here onto the grill as well. Now, at certain edges, if you want, you can just give in a soft blend as well to them or leave it here. Now, using in the black pen 0.8, I'm quickly going to create in a very small car silo hate, a small block at top of the two red dots, and around the red dots as well, just giving in little bonnet details of the backside. So that is it. Let's remove in the masking tape and see a final painting. You can see such a pretty sunset. I'm in love with the colors of the sky and how everything has turned out. Make sure to remove the masking tape once your edges are completely dried and always pull your masking tape against the paper so that you do not tear off the edges. Now, using in a round shape cutter, I'm going to cut the edges. You can either use a round shape cutter or cut it manually or leave it as it is. You can use any size of the circle shape that you want in for the edges and create in a beautiful rounded edge on all the four sides. So here's a closer look at our painting from day one of this watercolor challenge. I hope you guys enjoyed painting this beautiful sunset with me by the roadway. I hope to see you guys upload your class projects into the project section of the class, if you paint along and do proper review if you like painting along with me. Thank you so much for joining me into the class. 4. Day 2 - Sunset: Hello, everyone. Welcome back to day two of this watercolor challenge. Today, the shades that you would be needing is yellow cer, sap green, yellow, orange, cereal and blue, white, black, and paints gray. So let's begin with a very basic pencil sketch. I'm just going to mark out the foreground space and the mountain spaces. And then we'll begin painting in the sky. We're going to have in two mountain ranges. I'm just going to mark out one of them, and the second one, we'll roughly add in once we are done adding in the first one. Now, for the sky, we're going to go ahead with a pretty combination of the orange and blue tones this time. So we'll first begin with the sky, wet on wet and then move on to the next details. Now, firstly, for the sky, I'm going to mark out a sun space and put in a small masking tape there. So I have these circle shaped masking tapes readily with me. So I'm going to just place one of those in the center closer to the mountain range to keep the setting sun space blank. There we'll be adding in the details later on. If you do not have this, you can mark a circle and keep it blank or you can later on just use in white acrylic to mark out that space, or you can even use masking fluid if you wish to. Now, I'm going to go ahead with a layer of water onto the entire sky. And this time the sky, we are going to go ahead with the blue and orange tones. But now, blue and orange are two such colors if blended together may give you muddy tones. So you have to go ahead very carefully while blending these two tones so that you do not create any muddy tones while still having in the blends happening between them, creating in the beautiful sunset effect that we're trying to achieve in for this class project. Again, here, you can see I'm running my brush multiple times so that my paper will stay wet for enough time for me to work wet on wet. Beginning in with the dine blue at the top, using in my flat brush. Now, I'm using it in a little medium to consistency. You can see it's a beautiful bold color. Now, at the bottom, I'm going to go ahead with the orange color. From the mountain range closed space. I'm just going to add in the orange color. But again, between the yellow, orange and the blue. I'm going to leave in that little white space and let the colors naturally flow into each other so that you do not create in any muddy tones or any, you know, dark, muddy patche in between for blending in. So just using in the tampra you can simply just blend in these two colors swiftly into each other. You can see there is no muddy tone formed and the blue and the orange have blended and do not have any white space left in between. Now, using in the mop brush, I'm going to begin adding in the cloud strokes. Now, when you begin adding in these, when you lay the blue over the orange, make sure you go in very light handedly so that you do not have in the muddy tones. If you will apply a lot of pressure, then the orange and the blue, again, mixed together will give you muddy effect. And if you go in very light handedly, the colors will just settle in at the top and give you that beautiful soft blend happening in between. Now, create a darker hint of the blue. I'm using in paints gray mixed in with the cedine blue color. You can use an indigo color directly if you wish to, or you can also simply mix in a little hint of paints gray or black to your cereal and blue color and create a little darker hint. Again, when you're working in with a mob brush, make sure you do not have excess water or pigment on your brush, and you keep cleaning your brush onto a rough tissue or a rough tile so that the excess pigment and the water is absorbed there, and you have very little pigment and water on your brush so that when you apply it on the paper, it does not spread out a lot. Now, in between, you can see some strokes I'm just using in the tip of the brush and adding in very fine strokes. Working with a mop brush can be tricky at times because, as I told you, it holds a lot of water and pigment, and if that much of content is applied onto your paper, it will begin creating in patches of the color instead of reing the shape that you try to add them in. I've just added a little more orange highlight and created in a darker deck at the top in between the blue as well, just adding in little orange highlight, which you can see is turning a little brownish, but giving in that beautiful effect into the sky, creating in that beautiful transition happening in. Now, just some last strokes. Using the tip of my mop brush, I'm adding some blue highlights over the orange spaces again. You can see I have the water control. That is why the strokes are retaining the shape and the space in which I'm adding them. Yet having in the soft blend because of the wet on wet consistency that we are playing with. Now, adding in a layer of water into the field space, here we are going to use in the yellowca and the green tones. First, I'll add in a little yellow occur space closer to the line, and then from the edges, begin pulling in green wet on wet to create in the blends. Now, again, in case, say, if you do not have the same specific yellow occur or the green tones, you can use a little yellow hinge to create that little lighter space. And for the tones of greens, you are free to use in any tones of greens, multiple choices of greens that you wish to to create in the depth into the painting. Now, again, using in the tip of my mop brush, I'm beginning to add in the green highlights from the edges. Here, also, again, we're working wet on wet. It's important for you to have in that water control in your brush. If you will have excess water or pigment, it will cover up the entire yellow occur space, and you will just be left with green patches of the color. So whenever you're working with mop brush, I'm repeating it again, and again, it's very important for you to have in that water control in your brash and your hands need to have in that controlling power to determine how much paint and how you want to. Also, if you're working on smaller spaces, make sure you use a smaller size mop brush. Now, I've picked up a little darker green mixed in with the paint's gray color and adding it from the edges. So in the center, you will see, I want to maintain in that glowing space of the yellow occur to reflect the effect of the sunlight or the sunset falling into the field as well, trying to show in that glow happening in the field area. Now, I'm just going to add in a taker line at this line of the mountain and the field space meeting in trying to show that little shadow of the mountains as well. So there you can see on the horizon line. I'm adding in that bold color effect already. So you can see for the greens. We've been kept pulling on the greens from the edges to the center, creating in the darker and the lighter effects, making sure that as you are moving more towards the edge side, you have the darker tones. And as you're moving more towards the center, you have the lighter tones. So you have the yellow occur visible, the lighter green, the darker green, and now using a little extra pains gray, I've added some more darker highlights only on the edges. Now, again, on the horizon line, I'm giving a beautiful effect with the pains gray to create in that shadow for the mountain that we'll be adding later on. But the shadow we are creating now wet on wet only. So you need to make sure every tone of green that you've tried to use is visible in the field space, so you accordingly add the taco strokes in limited space. Now, let's wait for all of this to try and then move on to the next layer of details. So now my sky is completely dried. I've just peeled off this masking tape, and you can see we have that glowing space left out for the sun. So first, let's begin with the first layer of the mountain. For the mountains, I'm going to use in the tones of blue only. So I'm mixing in the same cellulin blue with a paints gray color and going to add in the first layer of mountain at the pack. Now, a little of the mountain has got in little of the sky colors. So that space, I'm going to blend in well and make sure that those patches are well blended and do not stay visible. And once this mountain range tries, we'll add in another mountain range in front of this mountain range using in a little taker color. So I'm going to fill this color completely to the horizon line, and then we'll move on to the sun until this first layer of mountain rise out. So I'm done adding in the first layer of the mountain. You can see I've made sure that it's a beautiful light, medium tone of blue darker than the sky, but not too dark because we still have to add in the second layer of mountain. Now, using in the white quash, I've added in the first layer for the sun space that we're going to add in here. It's going to be a setting sun effect that we'll be adding in. On top of this, we're just going to add in little of the yellow and the orange highlights. So I'm using the permanent medium yellow tone and added it into the center space around the sun at the edges. You can see I still have the white color visible. Now, to this, I'm going to add in a little of the orange highlights as well. Now, make sure that you use a smaller size brush for adding in these details and also make sure you do not overdo this, and they have a soft blend with the white. So in between, you can see I'm just going ahead, blending in the edges of the yellow with a white color. Now, in case, say, if any of the color is overdone, you can again use wide quotion top of it and cover up the space. Now, just adding in little spots with the orange color. This is a setting sun effect that I'm trying to show in, hence, using in the tones of the yellow and orange. Now, you can see the orange has spread a lot. So what I'm going to do is, I'm just going to lift up a little of the orange using in this brush and dab my brush every time after lifting up the color. You can see automatically, you've again got a very lighter yellow space left in. Now, I'm going to use in a little more of the white quash again and create a little more white spaces into this yellow and orange space that we've added. For this, you need to make sure that your white quash is in a thick consistency so that it stands out opaque. If you will use it in a liquid or watery consistency, you will not get in the same effect. Now, my mountain range is also completely dried. So for the second mountain range, I've mixed in a little more of the paints gray to the same blue color. It's a taker blue consistency. You can directly use an indigo color, but in case, if you do not have an digo, in a similar way, you can mix in your paints gray with the cdliin blue to get this darker blue tone. Now, you may feel that this is already, you know, like a paints gray color. But no, if you have a closer look, you can see it's a beautiful dark, bold blue. I'm blending in that blue first into the base layer till the horizon line. That is the field line that we've marked out, and then I will add in little darker blue effects at the bottom to the second mountain range here. Now, if you see it's a beautiful indico blue and not a paints gray color directly. Now, make sure you have an even layer and you have that beautiful glow and at certain spots, you can just drop in some duck or hints to create in that little texture and flow into your mountain range as well. Okay. Now, into the field, I'm going to add in little dry brush effect using in the darker green color. So I've picked up a dam brush, just picked up the color in a thick consistency without dipping my brush into water. And from the edges, I'm just dragging my brush, and you can see I'm getting in some dry brush detail onto the field, creating in that texture and depth onto the field. In case, if you want to learn more in detail about the dry brush technique, I have discussed it in a lot of my previous classes about all these basics of water color. I will link the class as well into the discussion post, so you can check out those classes to learn the basics of watercolor, or if you want to know more about the tri brush technique or basic details. Now, I'm a little unsatisfied with the sunspace, so I'm going ahead with a layer of white quash completely on this entire space. I waited for the first layer to dry out so that now you can see, as I'm adding in this layer of white, it's beautifully visible and it has covered up all of my mess of the yellow and orange that I created. Now, on top of this, I'm just going to add in little yellow highlight and show in that sunset effect, very little, not much. I'll make sure that this time, I do not mess it up in any way. And similarly, just some orange highlights very little. You can see this time, I'm going ahead very carefully so that I do not overdo the space, and then again, you know, I have to redo the purpose again. That is it. We are ready with our class project. Now, let's remove in the masking tape and see a final painting. Make sure you remove your masking tape against the paper and only once your edges are completely dried. Or else it may tear off your edges and always make sure you do not lay your hands over wet paints or fingers onto the edges. Otherwise, you may ruin those white edges. So here's our final painting for Day two. Another beautiful simple sunset. I love how the sky has turned out, and the beautiful blends into the sky of two such complimentary tones. I hope you guys enjoyed painting this with me today. I will see you guys soon into the Day three class project. Make sure to upload your class projects if you paint along. Thank you so much for joining me. 5. Day 3 - By the Mountains: Hello, everyone. Welcome back to date three. The colors that you need for today's class project is violet, red, Naples yellow, orange, John brilliant, white, black, and paints gray. Don't worry if you do not have the Naples yellow or John brilliant, I'll tell you the alternative color mixes that you can use. So I am ready with my paper taped down, and we are going to begin in directly with a layer of potter. We do not have any pencil sketch. We'll add in the details of the mountains and the pine trees later on itself directly. So first to paint in the sky, moving ahead with a layer of photo onto the entire paper. Make sure you add in an even layer of potter and you do not have excess water onto the edges. Now, you can see, I run my brush multiple times two and four to make sure that I have an even layer of water. I'm going to squeeze out a little bit of the fresh white quash and keep it ready because we'll be needing it for blending in. Now, coming to the other tones, I'm going to squeeze out a little bit more of the violet onto my palette since the violet is almost over. Next, for the John Brillant color, you can simply mix in your orange yellow and white quash and get a beautiful skin color tint that's a pastal peach tone. So first, pinning in with the violet color at the top, I have added in a little hint of the white quash, very little not much. And at the top, pinning in with a dark layer of violet, almost one third of the sky, almost 40% space. I've covered it up with the violet, and then now I've added in a small layer of white because at the bottom, we are going to be blending it with the cha brillant color. Now, the John brilliant color is a pastel color already. So this already has an opaque consistency, because of the white pigment in it, it has a pigment white, because of which it has this pastel consistency and an opaque look. So you can create this beautiful orangish yellow skin tint and mix in your yellow orange with the white quash and get a similar looking tint. Now, you can see when I blend in this pastel with a white layer. You do not get any muddy tones. Otherwise, if you would try blending it directly with the violet without the help of white, you may get in a little muddy tone because of the violet color. Now, onto this, I'm going to go ahead and mix in the red, along with a little bit of the white and begin adding in the highlight strokes into the sky. At this point, you can see the blending between the violet and the endreln is perfect. So just mixing in a little bit of the crimson red, along with a little bit of the white quash, because I won the colors in a good opaque consistency. I'm using my size eight silver black velvet brush, which has a pointed tip. So I'm just using the tip and adding in the details. At the bottom, I've added in this beautiful pastel reddish tint. Now, the most important thing here is that you need to make sure that you just use in the tip of your brush while adding in these details. You can see I'm going with very loose strokes, you know, moving criss cross, either from left to the center or right to the center. And I have the perfect water control on my brush. That is the reason you can see these colors are not spreading, rather they're retaining the space in which I'm adding them. Yet having in that soft blend because of the wetness of the sky. Now, next, I'm just going to go ahead with one darker consistency of the same color and add in some darker highlighting strokes. For that, I've further shifted into a smaller size brush so that I can get in much fine strokes as compared to the previous layer of strokes that I've added in so far. So you can see how I'm adding in these darker strokes, making sure that you still have the lighter strokes visible. Even with the darker color. I'm making sure that I have that water control on my brush. So they are retaining the shape in which I'm adding them into the sky, still having in the soft plant because my paper is still red. Now, just using in a little violet tints to add in little highlights at the top along with this. For the darker tint of the red also, I have mixed in a little hint of the white quash as well so that you get in this opaque consistency and do not get in any muddy tones. Now, next, I'm mixing in a little of the white quash to my violet color and creating in a very light pastel lilac kind of a tone. I'm going to begin adding in some strokes at the bottom, where we'll be having in the mountain ranges coming later on. So from behind the mountain range, you'll have a little of the violet clouds as well visible. At the bottom, we are going to be having in two mountain ranges, and then a full line of pine trees that we'll be adding in. Again, here you can see because of the white that we we when the red and the violet are blending with each other. They're not giving you any muddy or unpleasant tones, rather, they're giving in a beautiful easy blend, having in both the colors visible. You can see how I'm adding in these, making sure that the John llant color is still visible in between the strokes of the sky, even the red strokes at the bottom is visible. So you need to go accordingly, making sure that your color of the sky are visible. Just adding in a little more strokes with the pink here, sorry, the red pastal red color here. If you want, you can even use in a pink tone mixed in with white quash. Now, my sky is completely dried, and we are going to begin with the first layer of the mountains. So for the first layer of Mountain, I'm mixing in violet with a lot of white quash. It's going to be a pretty pastel mountain range. And then we'll add in the second mountain range, which will be darker than the first mountain range. Now, when you begin adding in this, make sure that you go ahead, and, you know, you do not have excess water onto your brush. Also make sure that you use the color in a good consistency and make sure that you do not use the darkest consistency of the violet here directly, because we still need to add in the second layer. For the second layer, I'm going to mix in a little bit of the paints gray to the same mix. So presently, I've just added a hint of white quash to my violet for the first layer. And at the bottom, just giving in little darker effects, mixing in a little paints gray. When we begin with the second mountain range, we'll add in more pains gray to the same mix of the violet and the white ash. Reason being that we'll give you one darker tint creating in a voletish gray color. But when you begin adding that, you need to be sure that you do not take a complete paints gray color because we still have to add in the pine trees which have to be visible onto the mountains that we add in. Now, here you can see the background clouds that we added in the lilac color are lighter tone than the mountain range. Hence they are also visible, and the mountain is also visible. Now, we'll have to wait for this first mountain range to dry out completely so that we can add in the second mountain range, and then the pine trees. So I'm just going to give it a little highlighted strokes at certain places, lifting up a little color so that we add in the second mountain range later on. You can see the shape, I've gone within very uneven one. Let's wait for this to dry now. Now, for the second mountain range, let's begin mixing in the color. I'm mixing in a lot of paints gray along with the violet color, and it's going to be a grayish violet tint. It's not a violet color nor a paints gray color. When it will dry out, you will be able to see the violet hint, giving in that grayish effect. Because with the bold paints gray color, we're going to add in the line of pine trees at the bottom space. So make sure that this color is not a direct paints gray color or a very dark color. It just has to be dark than the previous layer of your mountain so that it's visible and giving in that distinctive mountain look. For this step, make sure that your background mountain range is completely dried. Only then begin adding in the second layer of mountain here. So I have added in. Now, I'm just going to add in a little darker highlights at the top at spaces where I feel that it's not visible onto the first mountain range. Now, we'll have to wait for this to dry as well completely and then move on to the next layer of pine trees into this painting. So now, both my mountain ranges are completely dried, and we are going to begin adding in the range of mountains here. For that, I'm going to be using in my fine tip brush and the pains gray color. And I will begin adding in mountains, sorry, the pine trees. Now, pine trees are going to be of different heights. I'm going to add in one big one, and the big one, make sure it's not exactly in the center. You can see at this moment, it's a little left line and center. Now, for the foliage of the pine trees, just going from left to right, criss cross, creating in the foliage. You can see I'm just moving my brush a little diagonally from left to right and right to left, creating in the foliage effect. Make sure at the top, you have a pointed tip, and moving downwards, you get a triangular shape to your pine tree to give in that look of the pine tree. So as you move downwards, the length of the foliage will keep increasing. You can see as I'm moving downwards, the leaves are increasing in length, creating in that triangular shape for the pine tree. Now, make sure that you use the pain scray in a dark consistency and also make sure you're using a fine tip brash. I'm using my size one down brash, so I'm able to get in this foliage detail. Now, across the entire bottom space, we are going to have in the similar kind of pine trees. But some of them, we're going to add it in a quick manner, using in a simple technique, which I will quickly share in once I'm done adding in this pine tree as well. I'm just going to extend this a bit to give it that pointed tip effect, and wherever I feel that the foliage is a little light giving in a little overlapping effect as well. Okay. Now, as I told you, we are going to be wearing the heights of the pine trees throughout, so make sure you do not add them in the same length throughout. You can see I'm going ahead with very different sizes. And also, I'll make sure that not all of them are over crossing the mountains because we want the mountains also to be visible from behind the pine trees. That is the reason we went ahead first and added in that one big major pine tree in the left aligned center space. M. Also, you will notice I'm not going with a lot of detailed foliage. I'm quickly just moving my brush crash scrash making sure that just the shape of the final pine tree is triangular to give it that depth look at the bottom, giving in a little black or pains gray color patch to create in that effect. Now, moving to the right side, I'm going to quickly go ahead, add in a few pine trees to the right of these pine trees, and then to the rightmost space, I'm quickly going to fill in that space with a black patch. I'm just lengthening up a little of the foliage of this big pine tree again here at the bottom majorly. Now, on the left here, you can see, sorry, on the right here, I'm just going ahead with some simple foliage at the top, dabbing in the tip of my brush, and I'm going to fill in this entire bottom space with the paints gray color. So you can see this entire space has got filled up completely. On top of this, we'll give in a little detailed look, Soly. So now on top of this, using in the tip of my brush, I'm just going to pull out these simple spikes, so they will act in as a bunch of pine trees altogether, and we'll look as if they are a little distance, hence not visible in a detailed manner. You can see how quickly we could fill up this space with just a very simple technique, filling up, creating in a black patch, and then on the top of it, pulling out these strokes, creating in that undetailed pine tree look and a little far distant look. Now, in the space in between, I'm just going to add in another pine tree between the big pine tree and this patch that we created. Make sure that your paints gray is in a bold consistency. Only then after drying, it will give you this beautiful effect because if it will be in a light or a watery consistency, it will dry out dull and will not give you that look. So at certain spots where I feel that the color is drying dull, I'm just going ahead with the overlapping. So as to having that bold effect even after it is dry Because remember, watercolors dry or ton lighter, so you need to make sure that these details are bold enough so that after drying also they have that bold effect. Now, I'm squeezing out some fresh white gas here separately. And for the last step, I'm going to quickly add in a moon at the top in the purple space of the sky. Using in the same smallest size pointed tip rash, I'm going to add in a small crescent moon shape. I'm not giving in any glowing spaces for the moon or any other detail, just a simple moon silhouette that I'll add it. Again, this will also not be a center alignment. It's this time towards the right aligned center. If you're not confident about adding this moon with the brush, you can even use a wide shell pen to add in, but white quash will give you a better opaque and bright effect. Now, let's remove in the masking tape and see a final painting for day three. I absolutely love how the sky has turned out in this one beautiful bold with such pretty sunset tones. Make sure you remove the masking tape once your edges are completely dried and do not lay your hands onto the edges. Otherwise, it may ruin the white edges that we've tried to secure. So here's a final painting for day three of this watercolor challenge. I hope you guys enjoyed painting this beautiful sunset by the Mountains with me. I love the pastel hints of this sky. Thank you so much for joining me into this class. Make sure to upload your class project and do drop a review if you like this class for whatsoever reason so that it can help me reach maximum students. Thank you once again for joining in. 6. Day 4 - Simple Cityscape Evening: Hello, everyone. Welcome back to Day four. And today, we are going to paint this beautiful night sky view. The color hose that you would be needing is BoncenaRd, ndic brown or any dark brown shade, orange, John brilliant, white, black, and paints gray. So these are the color shades that you would be needing for today's class project. Now, let's move on to the painting. We're not going to be having any pencil sketch for this Panas either. We are going to add in the silo hate later on with the paints directly. We're first going to go ahead with a layer of photo onto the entire paper. As I repeat for each class project, make sure that you have an even layer of photo throughout, and you do not have excess water collected onto the edges or else it will see pack into your painting and create in some rough patches. So it's important to make sure that you have an an even layer. Run your brush multiple times so that your paper stays wet for enough time. Now, in case, if you are staying in a place where because of the heat, the paper is drying out quickly, what you could do is wet your paper once, let it dry out a bit, and then again, go ahead with a layer of water after a certain time once your paper is again, 50% dried. And that way, you can keep your paper wet for a little extra longer time. Now, I'm first pinning in with the paints gray color at the top. Almost 30% of the space. I've covered it up with the paints gray color. Now we're going to move on to the tones of red. So I'm beginning in with the permanent red color here at the bottom space. Now till the time I reached the paints gray. You can see I've left a little gap there where I'll use in this ja brilliant color for blending in easily. Since the John blind color has a little white element to it, you will see that the blending becomes easier and much more smoother transition between the paint screen and the red. Now, I'm going to go ahead and darken up these colors because remember, watercolors dry a tone lighter. So if I leave it at this stage of color consistencies, these will dry out very light, which is not what I want because I want a bold evening night sky look. So I'm just going to go ahead and create in, you know, the entire layer again and add in little more darker tins. So I've done adding in the taco tin for the paint scray and now beginning in with the color, I'm going to begin adding in the cloud strokes at the bottom, giving in the cha brilliant color. Because at the bottom, we're as it is going to be having in the silhate coming in with the browns and blacks later on. We're going to add in a very simple city scape silo hate with some foliage detail. Now, since my paints gray color, you can see is flowing a lot at the bottom space. I'm keeping my paper tilted while adding in the red so that my red flows towards the paints gray side, and the paints gray does not cover up most of the space. This is how you can control the flow of your colors and the angle flow of your colors. So using in the red, I've added in the darker tint for the red as well. Now, I'm mixing in a little bit of the burn sienna to my red color. You can even use a reddish brown tint if you want. And using a smaller size brush, I'll begin adding in some highlights into the cloud strokes. So I've just added a little more of the brown so that it be perfectly visible. Now, my flow of the paints gray has, you know, settled down, so I've kept the paper boat down again. Otherwise, you can keep tilted according to the flow of the colors that you want in. Now, using in this brownish red tint, I'm beginning to add in the highlights into the clouds. You can see I'm using in a smaller size brush while adding in these wet on wet details. I'm making sure my brush does not have either excess pigment or water. Otherwise, this color will spread completely into the entire space, and you will not be able to, you know, u control the flow of these colors, and this may then create in an entire patch of color instead of giving you these cloud shapes. Now, in the same way, I'm going to go ahead with the pains gray color to add in some cloud details. Now, at the bottom, you can see I've added in a lot of ground details, though most of this space may get covered up with the silo hate. But still, from behind the silo hate, you'll have the cloud effects visible perfectly. Now, adding in the cloud strokes with the pains gray at the top. I'm using the pains gray in a bowl consistency. One tone darker than what I've used in for the base layer of the sky and very randomly just adding in some cloud stroke, stabbing in my brush, creating in the depth. I'm still working wet on wet. My paper is wet enough for me to still add in all of the details. And even onto the brown tones, adding in a little darker highlight with the pains gray, creating in that darker brown hint. If you want, you can directly use a dark brown here instead of adding in the pains gray. Now, using in the red color, I will just begin adding in some darker highlights into the sky. Then we'll have to wait for the sky to dry completely before we move on to the silo hate for this painting. Now, on the right side, you can see still my paints gray is flowing a lot towards the bottom side, which I do not want. So I'm again going to just tilt my board a little and quickly using in a flat brush. I'm going to lift up that color from there where extra paints gray color is flowing in, and very softly and gently just swipe off that extra water or extra liquidity consistency of the paints gray color, creating in that smooth blend still happening in between the paints gray and the red. So this is how you can quickly lift up a little of your color and get in that right flow. Otherwise, the paints gray would have flown completely to the bottom space. So that is it. Now, before I let the sky to dry, I'm quickly going to add in some more darker strokes of the paint scra at the top. Again, very important to have in the water control. Otherwise, the paints will begin to spread a lot. After this, I'll wait for the sky to dry completely now. And then we'll move on to the silo hate of the foliage and the sil hate of city scape that we're going to be adding in for this painting. So let's wait for this to dry completely now, and then we'll see once this dries out completely. So, my sky is completely dried, and you can see the cloud strokes that are beautifully visible and have in that soft blend into the base layer of the sky. Now, picking up the vend brown color in a medium tone consistency, I'm going to begin adding in a very simple silo hate for the city's k. Now, you can go ahead with any darker tone of brown if you do not have a vendi brown color or to your burn sienna or burn tumber. You can add in a little hint of the paint's gray color to get a dark brown hint. Now, the silt of the city scape can be different for you. You can go ahead with your own layout. I have first marked out a bottom line completely with this color. Now, on top of this, I'm just going to give in different shapes for the buildings. After that, we'll shift on to the foliage detail for this painting and then just add in some highlights to the city scape area that we are adding in. Now, in case, if you're going ahead with a city scape layout of your choice, certain things to keep in mind, try to vary the shapes of the buildings or the city scape that you're trying to add in so that you have in that variation. Make sure you use a small size brush while adding in these and also make sure that you maintain the proportion depending on the size of the paper that you're working with. Now, another thing to keep in mind is you need to make sure that from behind the city scape, the clouds are visible in different color tones because that is the reason why we added in so many layers at the bottom space also, despite it all being covered up with the city scape majorly. But from behind the city scape, you can see some lighter tones of the sky, some darker cloud effects creating in the depth. Also make sure you use a smaller size brush or use in the tip of your brush so that you get in these precise shape details. I'm almost through adding in. You can see I've gone ahead with different shapes randomly creating in the depth into the city scape. Now, while this city scape area is still wet, what I'm going to do is I'm going to begin adding in some darker highlights onto the edges. For that, I'm going to pick up a little of the paints gray mixed in with brown, creating in a very dark brown hint and going to add in some darker depth at the bottom, and even at the top, just going to drop in some darker tints using in the tip of my brush. You can see since the city scape area is wet, this darker tint is automatically blending in, creating in that dual tone effect into the city scape, giving in those random darker highlights coming in. Now, again, make sure you add these darker highlights accordingly because these will dry a tone lighter. So I'm satisfied with the darker hints of the brown and paints gray that I've added in. Now, using in this piled tron brush, I'm going to begin adding in the first layer of the foliage until the rest of the city scape dries out. For that, I've picked up the paints gray color without adding in any water to it, and just using this damp brush, I'm going to keep on ding creating in some foliage detail. Now, when you begin using in this dabbing technique, make sure that you try to get out a shape that you want to achieve at the end for the foliage. So somewhere you will see the foliage is coming out a lot, somewhere it's restricted to the edges only. So accordingly, you need to get it out into the shape that you wish to achieve in. So same way I'm going to add in on the left and right, and then into this, we're still going to be adding in a lot of detailed foliage effect as well. So I'm done adding in the foliage at the right side. You can see I have taken it longer towards the center at certain places, and somewhere I've kept it very small. Same way, I'm going to go on the left side as well quickly. Again, on the left as well, I'm just going to add in in a half triangular shape or a right angle triangular. Because this time year, I'm going to give in a little pine tree foliage detail on top of this as well. So on the left side, you can see I've kept the foliage very slim for now because we are going to add in the details later on in a detailed manner. Now, I'm going to go ahead, use in my smaller size brush and begin adding in the detailed foliage effect as well. Now, my brown space is still wet, so I cannot add in the details onto the brown area yet. So that is the reason I'm going ahead, adding in the details in the foliage space. So you can see closely for adding in the detail foliage. I'm just dabbing my brush, adding in some leaf details, pulling out some branches from the edges of this space that we've added in. We're going to add in a little foliage falling over to this city scape as well. But for that, you need to make sure that your brown spaces are completely dried. Otherwise, it will have in a very soft plan. Now, on the left, I'm just pulling out some pine tree foliage from the left to, you know, a space that we've added in with that spoil brush, adding in the depth. So on the left, you can see, it's kind of like a half pine tree that is visible. Half of the pine tree is not in our view. And the background layer that I added helps in, you know, creating in that background foliage effect. Now, on top of these roofs of the city scape that I've added, there also, I have to add in a little foliage. But for that, you need to be sure that your city scape is completely dried only then. Otherwise, the paints gray color will begin to seep onto the edges of the city scape, giving in a very unpleasant patchy effect. So on the left, you can see, I simply pulled out simple foliage detail and just created in that half pine tree look, and the background layer that we added helped in so much to adding in the details quickly. Now, I'm just adding in a little more detail on the right side before we move on to the details of the city scape above. Now, my city scape is also completely dried, and on top of it, I'm going to begin adding in the foliage. So firstly, on the right side, on top of the brown area that we've added, I'm adding in simple foliage detail, dabbing in the tip, creating in some depth to the foliage. Then towards the left side, on top of the roof of these, I'm going to add in a little foliage effect. I'm going to use in the same technique that is dabbing in the tip of my brush to create in the foliage. Until the bottom, I'm going to fill it with a black color. So you can see just at the top, I'm dabbing in the tip of my brush, creating in some rough boh detail. And then till the bottom of the roof line, I'm going to just fill it with the pains gray color. If you want, you can use in a black color as well if you do not have a pains gray color. Now, for adding in this foliage as well, make sure you're using the paints gray in a good bold consistency because after drying these may turn out dull. Same way in the center here, I'm adding in a little more detail onto the roof of this as well. Then after this, we'll just quickly add in some highlights into the cityscape, and we'll be ready with our class project for four as well. So, I'm done adding in the foliage detail. Now, I will quickly shift into my micron pen and add in some details. So I'm just going to pull out some poles from in between of these city scale. Again, for this, you can use in your paints gray or the black color to add in the details with a fine tip brush. But using this waterproof pen makes the task easier, more crisp and detail. Make sure that you use a waterproof pen so that if at any spot, you have to overdo or correct anything. These do not spread and create patches, because if it will not be a waterproof pen, and if then you try to correct any space of the watercolor with a wet watercolor paint, then this black may begin to spread and create black patches. So randomly, I've added in a few poles using in different nibs of the brush, 0.3, 0.5, and 0.8. You can alternatively, as I mentioned, use in your black color along with the brush and add in the details. Now, using the 0.2 nip, I'm adding in some of the lines into the sky moving from in between the foliage, as well as crossing through the poles. On top of the pools as well, I'm going to be adding in little highlighting details. Using in some simple strokes. Using the same pen, you can see, I'm just creating in the details onto these pools that we've added in trying to create in those electric pole details here. And this little one here, I'm adding in a silo hit of the street light. Now, lastly, quickly going to add in some highlight onto the city scape. For that, I'm going to use in my white shell pen. Again, for this, you can use in your white watercolors or white quash. Watercolors will not give you that opaque look, so I recommend white quash or are. So I'm just creating in some highlighting spots onto the city scape, giving in that effect. So you can see, I've not given in this line completely throughout just at certain random spots that I've added in. Now, on top of this, I'm going to quickly pick up the brown color and add in on top of the white lightly so that these spots turn a little brownish, and this will give you a better view because this white otherwise will stand out too bright. So quickly using a little brown, you can see I've blended it a little into the base layer color and created in that highlighting spots. And I've not added it throughout. You can see just a few lines randomly here and there. Now, remove in your masking tape pulling it against the paper, and we are ready with our class project for day four of this challenge as well. So here's a closer view at our painting from day four. I hope you guys enjoyed painting this. I've already cut the round edges for the painting. And thank you so much for joining me into this class and painting along with me. I will see you guys soon into the Day five class project till then. Happy painting. 7. Day 5 - Field Side Sunset: Hello, everyone. Welcome back to day five. Today, we are going to be creating in this beautiful field with the sunset view. The colors that you need is scene blue, Crucian blue, yellow, orange, sap green, light green, white, black and paints gray. You can alternatively shift the color tones as per your choice. So let's begin with a very little pencil sketch. We're going to mark out the field space. Now, in the field, we are going to have in the green field details, for which we are going to create in two to three of the you know, depth into the field area. So I'm marking out two to three different levels of the field here with the pencil sketch. So these lines will act in as the distinguishing point, wherein we'll be giving in little darker depths on these lines trying to create in that depth or three D effect into the field space. And at the bottom, we'll just give in little yellow floral details later on. So we'll begin with the sky first. And for the sky, we're going to go ahead with a beautiful sunset view. It's going to be the shades of blue and yellow here as well. So first, beginning in with a layer of water onto the entire sky. Make sure you run your brush only into the sky space and not into the field space, and also that you have in an even layer of water throughout onto your sky area. Now, I've already told you that you need to be sure that your paper is evenly wet throughout, run your brush multiple times. Across the field space. You can see I ran very carefully so that I do not run into the field area because those are going to be with the green shades later on. Now for the sky, we are going to be going ahead with the tones of blue and yellow. Now, remember, blue and yellow mixed together gives you green tones. So you need to go ahead carefully in such a way that you do not get in those green tones while blending. I'm going to squeeze out a little bit of the plusian blue color first. Now, in the remaining part of the sky, I'm going to go ahead with the Naples yellow color. Now, I have a ready Naples yellow color from the brand M yellow mission itself. But in case if you do not have one, you can simply mix in your permanent yellow light or a light yellow color with some white quash or white water color to get a pastel yellow color. Now, using this beautiful pastal yellow, I'm going to begin from closer to the mountain range. Make sure you clean your brush and you do not have any blue pigments on your brush. Otherwise, you may get in green tones. Now, at the blending point of the yellow and the blue, I'm going to leave a fine white gap and let these two blend in naturally by tilting in my board so that you do not have any green tones form. So using the damp brush, I'm going to blend these two later on. But first, just running with a layer of blue. And now at the meeting point, cleaning my brush I'm going to run this damp brush here in between. You can see both the colors are now beginning to flow and blend into each other, but have not formed in any green tones here. So this is how you blend in two colors which are complementary to each other, which may create in some darker tins. Now, moving on to the next detail of the clouds, I'm going to mix in a little of the orange color I'm going to begin adding in little orange highlights into the sky. So make sure Either you use a smaller size brush, or if you're using a mop brush, you can see I'm just using the tip of my brush. Also, again, mop brush holds a lot of water and a lot of pain, so you need to have in that control while working in with a mop brush. If you're not enough confident to work with a mop brush with these fine details, you can even use a smaller size round brush because that will hold in less water, and you will have more control over the pigment layer. You can see I have the water control. That is why the pigments stay in the space in which I add them retaining the shape, yet having in the soft edge because of the wet background. Now, beginning in with a little darker consistency of the plcian blue color, I'm beginning to add in some cloud strokes at the top into the blue space. Again, it's a mix of some strokes and some cloud shapes roughly. Here, also, you will notice the water control because of which you will see the colors are not spreading. Over the yellow as well, you can see I'm adding in strokes with the blue. But I'm going in such light handedly that it's not giving me green tones because the blue and the yellow are not blending into each other, rather they're staying over each other. Hence, not creating in these green tones and retaining the shape. So you need to go in very light handedly over the yellow with the blue so that you do not form green tones, and the blue retains its color consistency. Now, using in a little of the pain screy mixed in with the prucian blue. I'm beginning to add in some darker strokes of blue. You can see how carefully I'm just using in the tip of my brush. You can directly use the pain scray as well in a light consistency to add in some darker highlights. Again, here, important thing, water control because the morash holds a lot of water a lot of pig. If you will not have in that water control, it will spread completely and give you one flat color look and will not give you these detailed cloud shapes and the clouds that you try to achieve in. Now, just giving in some little yellow highlights over the blue as well, trying to blend them well. And we are almost ready with the sky for this class. We'll have to wait for the sky to dry before we move on to the field details. I'm just going to add in a few orange highlight strokes as well. Again, you can see I picked up the color. I tapped it onto my rough tile so that all of that excess pigment and water is absorbed there, and I have very little pigment only on the top of my brush. So you will see automatically it retains the space in which I'm adding them. Over the blue with the orange, you can see a little brownish in, that's purposely that I've added in there. Now, let's wait for the sky to try out. Now, my sky is completely dried and we are going to begin in with the details into the field. For that, I'm going to begin in with the green color. I'm first pinning in with a layer of light green as a wash layer. Then we'll begin defining in the depths on the lines that we've created. So basically, we are going to show in this field in step by step field kind of a view. That is with, you know, every, the different levels of the field coming into view. So first pinning in with a light color wash kind of a layer. Basically, just so that, you know, every space is covered up with the green color. Then using in the taker greens, wet on wet, we'll create in some depth. And once this first layer dries out later on, we'll go ahead with little dry brush technique to create in more depth into the field. So we're done with the first layer. That's a very light layer. You can use in any light green shade that's available, or you can mix in yellow to your sap green to create a light green color. Now, beginning in with the Sap green, I'm going to begin adding in the depths onto the pencil lines that we've created. For that, I'm just using in the tip of my brush and onto the outline of these lines. I'm just beginning to add in the color strokes. You can see it's not too dark at this moment itself. You need to build in step by step these layers. Also, you need to make sure between each of these lines, the lighter green layer has to be visible. Only then you will get in that three D effect of the field that we try to create in. So you will see at the bottom of the first layer, we have that lighter green still visible. Now, this depth, I'm creating soft wet on wet. That is my first layer that's the lighter green layer is wet. On top of that, I'm going ahead with these darker green details. Now, picked up another darker green color and added it on top of the second layer of the green. So now you can see three layers of the green tones. Same way I'm going to go ahead across on each of the lines. Now, when you go ahead on each of these lines, you need to make sure that you do not have excess pigment or water on your brush. Otherwise, they will spread completely, and they will not retain the shape, what you want to achieve in. So to retain this shape, you need to make sure that, you know, you do not have excess pigment. And you need to work wet on wet as well, B is so that they have in that soft realistic edge. We'll give in little dry brush details later on, which will create in more depth. But right now, wet on wet, you need to have in this control. That is the reason we did not go ahead with a layer of water previously. Otherwise, that would make the paper extra wet, wherein it would be difficult for you to control in the smallest strokes. Now, shifting into a smaller size brush, I'll begin adding in details. Now, wherever you feel that, you know, the details are beginning to dry out or something, you can quickly re wet the space using in a damp brush. Now going ahead onto this second pencil line here on the right side. At this point, I know everything may look in very shabby, uneven, unfinished, but don't worry, by the end when we add in the dry brush details. Things will turn out much pretty and much better. Now, on the right, you can see that second layer has completely disappeared because of the wet on wet. We'll correct that as well later on, let it settle in a bit. And then again, we'll go ahead. You can see with the dark, I pick up a little of the lighter green as well to make the blending easier because at certain spots, the base layer seems to be drying out. All right. Now, let's go ahead with a little more detail and begin creating in the depth. Now, you can either mix in your sap cream with a little bit of the paints gray to get a darker hint or you can go ahead, mix in any kind of dark cream of your choice or pick up a direct dark green color end creen dark green. Now, with this darker green also, you can see, I'm just adding in some strokes wet on wet. That is why they are still having in the soft edge because of the wet consistency of the paper. And since I have water control on my brush, you will still stree some strokes into the field. So very randomly, you can see I'm just adding some rough strokes. My paint is not too wet, my brush does not have excess water. My pigment is you know, my hand movements are very light. You can see automatically the details being built up into the field layer by layer, what it was looking in the previous layer, and what it is looking now is much more detail. Plus, since we are working wet on wet, you will notice the You know, a flow and the softness into your strokes that's happening because of the wetness of the paper. So I've merged these two mountain ranges on the left together because I was finding it too small, otherwise. We'll still define the one mountain range on the right here. So with the help of the dark green, I've defined this mountain range again with the help. And you can see, now, we have four field ranges coming in. Now, I'm just going to add in a little lighter green details randomly at certain spaces, and now we'll wait for this entire first layer of wet on wet details that we've added so far to dry out. I'm just adding some bold light green strokes as well in between to create in that more green details into the field. Now, after this, once all of this dry out, we'll give in a lot of dry brush onto this field, creating in more depth into the field and some floral details at the bottom bottom left side. To this last mountain range at the bottom, I'm just creating in a little more depth, giving in some darker depth detail with the green tones because I was a little unsatisfied with the greens here. So I just gave a little wet layer of paint completely and give in this detail. Now, let's wait for the field to dry completely. So my layer of field is completely dried, and now we're going to begin in with the tri brush technique on top of this. For going ahead with the tri brush technique, it's important you use it a brush. I'm cleaning my brush, dig off all of the excess water and pigment. Now I have very little dark pigment on my brush, and I'm just beginning to drag my brush, and you can see getting in those tribra strokes. I have mixed in paints gray along with my green to get a very dark green hind. Same way, I'm going to begin creating in these tribra strokes to create in the depth and texture onto this field. In between, you will notice, I will give in a few random lines as well to create in the flow and movement into these field spaces as well. And each of the mountain range line, sorry, the field range line we are going to define in with the help of these dry bra strokes, giving in more depth to your field. So you can see randomly, I'm adding in some strokes here and there, creating in the depth and the texture onto the field to each of those lines that we have, the pencil lines that we marked which we've marked out with the darker ones. From those lines, I begin dragging out the dry brush and making sure that those lines get a darker line effect so that they create in that level of field effect. So you will notice my dry brush technique is moving out more diagonally and not just straight or horizontal. So again, important thing here to keep in mind, while going ahead with the try brush tax. Your brush should not have excess water. Your brush should not have excess pigment. Every time you pick up the pigment, dab it first onto the tile or a tissue so that the excess water and pigment is absorbed by the tissue, and you have very limited only pigment, which will give you this dry brush effect. Your paper needs to be completely dried. Use a brush that helps you support the try brush technique. Always test your dry brush onto a rough paper if you are a new pigner and not sure how this technique would work on your final painting. Now, onto this last mountain range here on the left, I'm adding in the last layer of the dry brush. To the bottom mountain range, you can see how long strokes of the dry brush I have taken moving to the left side where we'll be having in the floral details. So we are almost through the dry brush technique, just going to add in a little more line effect details onto this field here. You can see simple lines giving in simple cuts to the field trying to create in flow and the movement of the field. And now we'll just be left to add in the floral details quickly. I will use a little of the paints gray color directly to give in more depth to this field strokes here randomly, just to some of the spaces, not all of them. So you can, you know, keep on wearing these dry brush as well with a different highlighted strokes of some darker greens, browns and pains gray. So you can even use brown if you want to add a little more depth to your field and give in some muddy spaces in between your field as well. Now, for the flower detail, I'm going to go ahead with the Naples yellow color. Now, using in my pointed tip size one rush, I'm just dabbing in the yellow color, trying to create in some flower details. That's some wild flower details far from our view, so not in a detailed manner. Just going to dab these in different sizes here. In case, if you do not have a Naples yellow, make sure you mix in white quash to your yellow so that after drying this yellow will still give you an opaque low because if you will directly use a yellow water color, it will not stand out opaque because watercolors do not have that opacity and they dry a little transparent. So it's important to add in white quash to your yellow watercolor, if you do not have a ready Naples yellow color. Since I had a ready Naples yellow color, I'm going ahead with this because this already has white in it, which makes it opaque even after drying. So even onto the field, you can see randomly I've added in a little dot of the yellow trying to show in some flow of flower effects as well. So at the top, you can see it's very little yellow. Just a little hint of the flower details, not much. That is it. We are ready with our class project for D five as well. Let's remove in the masking tape carefully. Make sure you do not lay your hands over the yellow space as it may still be wet or let it dry completely. You can see how I've added a bunch of yellow dots just closer to each other to create in that field detail. Such a simple technique, but gives in so much more depth in detail. So here's our final painting from day five of this Pat coolor challenge. I hope you guys enjoy painting this feel with me and learned how to create these layers of feel with the Ty brush technique. Thank you so much for joining me into this class and painting along with me. I will see you guys soon into the next class project till then, make sure to upload your class projects and do drop me review if you like this class. Thank you once again for joining in. 8. Day 6 - Countryside View: Hello, everyone. Welcome back to Day six. And today, we are going to be painting this beautiful pink violet sky. The colors that you need is prucian blue or any Tarc blue violet, opera pink, sap green, olive green, white, black, and paints gray. For white, I would recommend using white ash for each of the class projects. So let's begin with a very basic pencil sketch. We'll mark out that small pathway across the field and the field space so that we have the distinguishing points of all the three elements of our painting. The bottom moving from left bottom to right, upward stagnaly, This space is going to be our field the pathway for the field. And on top of it, we are going to have in the field space for which I'm marking the horizon line straight, and the top will be our sky. Now, in case, if you do not have an opera pink color for the sky, you can use any alternate bright pink color that's available in your palette. So this is going to be our pencil sketch. We are first going to begin with the sky. So let's begin with a clean layer of water. The sky is going to be with the shade of opera pink violet and a little hint of blue on the right side. Now, first, I'm going to add in this layer of photo only into the sky space. Make sure you add in an even layer of water throughout so that you have that even space and also make sure that you do not have excess water on the edges or else it will see back into your painting. Now, I will first begin with the opera pink color on the left side of the sky from the bottom space. I'm using a map rash. You can use a round brush alternatively if you do not have a rash. With the rash. Again, you have to be careful. It holds a lot of paint and water, so you need to have that control while adding in the details. Next, I'm going to be using gain, the violet color. It's the bright clear violet from this set. You can use in any violet tone that's available in your palette. I'm adding in two to three layers of the pink so that once it dries out, you will see that it has a very bold, beautiful look. I'm adding a light layer of pink onto the entire rest of this space so that while pending in. We will have little pink highlights randomly in between the violets as well. Now, next, pinning in with the violet color. I'll begin adding in now. I'll make sure that at the bottom left closer to the horizon line. I have this beautiful dark opera pink look only. So I will be adding in violet in the rest of the spaces, making sure we have this opera pink highlight here at the bottom left. Now again, using a moppra you can see, I have the water control and the pigment control. The paints are staying at the space that I'm adding them and are not covering or moving across. Now, using the same color in a darker consistency, I'm adding in some cloud details over the opera pink color, so as to have in that blend and transition happening into the sky. At this moment, the colors of the violet tones into the sky are very light, as you can see, and once they try out, they will turn much more lighter. So you need to make sure that you use them in a bold consistency with further layers. At certain spot, you will see. I just use the tip of the brush to give in some detailed cloud shapes and then quickly sift onto the body of the brush for adding in larger strokes. So that is how you need to keep on shifting between your strokes to get in the details into the clouds. Even if you're using a round brush, the same technique will apply. Just that the mop brush holds in a lot of pigment together, so it becomes easier to work a longer time without picking up the pains again and again. Now, at the top right here, I'm adding in a little hint of the plusian blue color along with the violet. I will still add in violet there and blend it well with the violet tones. I'm going to add in little blue highlights at the bottom right side as well, closer to the violet tones here and blend them all well. Very little highlights, and with the violet, I will blend these again. So I'm first adding in the blue strokes, then I will move on to the violet color and add a layer over to these tones again so that some of them will be hidden and blended well. So, I'm done adding in the blue strokes. Now, I will quickly first add in a little let opera pink highlights in between the violet again. You can see randomly again, I'm just using in the tip of my brush, adding in some opera prink highlight. Now, I will shift turn to the violet color and add in some darker strokes with the violet. Now, in case, if you want to turn your violet one to dark or you can go ahead, add in a little hint of the paints gray to add in some darker strokes into the sky. So I'm beginning to add in the darker strokes, blending in with the blue, but making sure that the blue still be visible and having those little blue cloud effects into the sky as well. M. Now, shifting into a smaller size brush, I'm just going to add in little opera pink highlight on the pink spaces again because they were beginning to dry in a little, so just giving in that little refreshment again to them so that they stay wet so that my entire sky can dry out together. You can see I'm still working wet on wet. So when you work wet on wet for such a longer time, it may at certain spots begin to dry out because of the humidity as well. So you need to keep that balance and re wet those spaces with the help of the pins or light layer of washes water. Now, I'm just adding in some darker strokes of the violet color using in this smaller size brush. This is a size four round brush from the brand silver black velvet. It's kind of a mop brush because this also holds a lot of pigment. But I'm using this smaller size to add in some smaller details, you can see, some smaller dark strokes of the violet color that I'm adding in. So that is it for a sky. We'll wait for the sky to dry completely and then move on to the first layer of the field and the pathway across the field. So now my sky is completely tried, and we'll move on to the first layer of the field and the pathway. Both the first layers of these two elements. We are going to paint them together and let them try, and then we'll add in the distinguishing details and highlights on top of these. First, I'm going ahead with a layer of the yellow co color onto the entire field space. Then I will move on to the creens and create in the highlighting spaces. So, into the center of the field, I'm going to keep it light green, trying to show in that glowing effect on the field as well in the center space. And on the edges, I'm going to begin giving in the daker depths. So I'm using in a light green tone here. Now, you can shift in between whatever tones of greens you have available to paint in your field. They need not be the exact same shades as mine. You can use in any lighter green that's available in your palette. And in case, if you do not have a light green, you can mix in yellow to your sap green and get a light green color as well. Now I will shift on to my smaller size round brush. I'll pick up my size eight round brush and begin adding in details with the darker green wet on wet only here. We did not go ahead with a wet layer of water because there is not much detail to add in. So directly with a wet layer of paint, we'll be able to add in all of the wet details. So I've picked up a little of the olive green and the Sareen color, and randomly, I'm just planning in these two colors. In the center, you can see I'm maintaining in that glowing space of the yellow co color to show in that little sunset effect falling onto the field as well. Alright. Now, I'm just adding in darker greens from the edges. All of this, you can see is still wet on wet. That is the reason they are soft. I have the water control on my brush, and so I'm able to get in these strokes. They stay in the place yet maintaining in the glowing highlight spots. Now, for the pathway, I'm going to go ahead with this light layer of the brown grown first. So I'm using a very light consistency of the vende brown. Now, in the rest of the space, I'm going to use in a little bit of the pains gray in a light consistency. Now, when I add in this pains gray, you will see the pain scray and the green mix in together create in that soft blend. We'll, you know, add in the dry brush details later on once these two spaces dry out, distinguishing both the space. Now, this pathway space, I do not want it in a very dark consistency. So I'm going to make sure that I have in a very light color effect. So I'm just adding in a little more paints gray and brown and lifting up the shades again, creating in that lighter hint, because once this dry out, it will have that grayish effect. So now let's wait for this to dry completely. Then we'll move on. So now my field layer and the layer of the pathway, both are completely dried. You can see the grayish stone effect color that you have on the pathway. Now, first on the pathway, I'm beging in with a little dry brush texture to create in that stony texture for this walkway in between the field that we're trying to show in. It's not a road that we've added. It's kind of a cemented pathway in between the field that we're trying to depict in here. So using in the pains gray color, or you can even use a little of the brown hints to create little dry brush texture. I'm just randomly adding in little dry brush texture to create in the depth. Now, with a very fine pains gray line, you can see, I'm just trying to mark out that distinguishing point between the field and this pathway and blending it well with the help of this dry brush technique again. Now, I'm not going to cover this entire pathway with the dry brush, just a little strokes here and there. You will see all of these strokes are diagonal and not straight or, you know, vertical. Now again, just at bottom, I'm giving in little darker depths, trying to show in little more, you know, the muddy and the rocky kind of texture feel at certain spots. So not everywhere it's going to be these darker ones just at certain places. Now let's move on to the next layer of details for the field. So Using in the sap creen with a little bit of the paints gray color. I'm going to begin adding in a little of the bush area just onto the field, moving a little into the sky space. Now, make sure you do not add a lot of paints gray. Otherwise, it will turn out to be a very dark black tin. You want a little green highlight to be visible. At the top, I'm just creating in that bush effect, dabbing in the tip of the brush, and at the bottom giving in this line, we'll blend it into the field once we are done adding in this entire patch. So throughout, you can see, I've tried to vary the height. Now, on the left, we are going to have in a very fine mountain range on the horizon line, which we'll add in later on. First, using a dam brash, you can see I'm softening up the base layer of this, blending it into the field space. You can see how beautifully it has blended using a brash creating in that soft blend. Now, on the left, as I told you, using the brown, I'm going to add in a very fine mountain range till the center of the sky. So let's begin with this and quickly add in this small mountain range. You can mix in pains gray or you can directly use a pains gray color or a vende brown color. It's absolutely your choice. Now, this mountain range, you will see it's on the horizon line, and it's not on the field space. The green area was a little on the field line as you could see. I'm just going to quickly define the shape of this mountain range. You can see, it's a very fine one. I'll just redefine some dark spots as well onto this green field that we had added because certain areas seem to dry or ton lighter. So you can see the green was on the field line, two MM onto the field, and blending it giving in that soft edge with the field, and the bountain range is exactly on the horizon line, not covering the green spaces, and just till the center meeting up these green spots that we added in. Now, I'm mixing in a little bit of the white quash along with my green, creating in a little pastel hint of the green, and I'm just going to add in some grass strokes at the meeting point of the grass area and that walkway area. Now, the reason of adding in white quash is so that you get in that opaque consistency of the light color to add in these strokes here. You can see how beautifully this becomes visible even on the darker green strokes that we've added in. We're just going to add in a very small line of these grass strokes. We're not going to cover the entire field with these grass strokes. So just simple one. But white water color will not give you that effect, so make sure you use in a wide quash so that you get in this opaque low. Because watercolors are transparent, so they will not stand out opaque on darker colors. So whenever you want to use some lighter tint on a dark watercolor background, add in a little white quash that will give in an opaque consistency to your paint creating in this beautiful opaque layout once it dries out. So at this entire meeting line point, you can see I've gone ahead, given in the grass strokes. Now, we are going to choose give in little more details randomly. I'm giving in some darker strokes as well in between these lighter strokes. So for this, I'm using the dark green color, and you can see without any whites, the darker will always be visible on the lighter tones. So you can use any two tones of green to give in these bush effect little simple grass details across the pathway that we've given in, and the rest of the field is going to be simple. If you want, you can add in little dry brush texture onto the rest of the field. At the bottom, you can see I'm giving in greeny patchy effect as well along with the grass very little and fine to give in that depth across the pathway in the field. Now, using in the pains gray color and my fine tip brush. This is a size one brush. I'm going to add in a pole here towards the right side. Again, you can add this with a waterproof black pen, if you're not confident of adding in this line directly with the pains gray or a black color. Also, you can first use a pencil on a scale to mark out a straight line and then add in the color details on top of it. So the pole is touching the pathway area that we've added in. I'm just going to define it well, and then we're going to add in some via lines into the field, sorry, into the sky with the waterproof pen. Now, using the white quash, I'm going to add in a moon into the sky in between the violet cloud details that we've added in. I forgot to add in the dbratroke onto the field space, which I've added after removing the masking tape. So you can add it at this point itself, the bra stroke on the field area. Now, I'm going to use in my si 0.2 fine tip pen, and I'm going to add in some lines into the sky to create in those bio details. The reason of using such a fine tip pen is to create in these very fine lines which are not bold black, but they have a little dull effect trying to show in that these viio lines are far. So that is it. We are ready with our class project for day six as well. Let's quickly remove in the masking tape and see our final painting. So one thing I forgot to add in is a little of the dry bra stroke onto the field space. So I'll quickly add in now. I will make sure I do not ruin up my edges. So in case, if you've not removed in your masking tape, make sure you add in these dry bra strokes onto the field as well, using a little darker green and paints gray mix to create little texture onto the field as well, very little onto the left side majorly just below the mountain range. So you can see how a little texture on the field creates so much difference into the field with just a simple technique. So that is it. Now we are ready with our class project for Day six finally. So here's a closer look at our painting from Day six, a beautiful pink sky with simple field details. You can see how the Trish technique adds the difference to the field. Thank you so much for joining me into this class and painting along with me. I will see you guys soon into the Day seven class project. 9. Day 7 - Orange Sunset: Hello, everyone. Welcome back to Day seven. And today, we're going to paint this beautiful orange sunset. The colors that you need is Bonciena orange, shell pink, white, black, and paints gray. Don't worry if you do not have the shell pink color, we'll create an alternative while painting. So I have my paper taped down. There is no pencil sketch. We're directly going to dive into the sky. The mountain range if you want, you can have a light pencil sketch layout, which we are going to give in a very light orange layer as it is. So just giving in a rough sketch if you want to mark out, or you can directly even add it with the paint. Now, make sure you do not keep the peak of the mountain completely center align, keep it a little left or right aligned. So that is it. Now we'll begin with the sky first, so I'm going to go ahead with a layer of water onto the entire sky. Now, we are going to go and create a beautiful orange sunset, for which I'm going to use in little pins gray highlight to create in the depth and the sheping color to create in lighter effect. Now, the shelping color, when I will squeeze out, you will see, it's kind of a pastal orangish pink color. So in case if you do not have the shelping color, you can mix in a little hue of pink, orange and white quash to get a similar looking tone, or you can simply use in a pastel orange color by mixing in white to your orange and use that color directly. You need not specifically have the same color because this is just to create that opaque effect into the sky that I'm using in this shell pink color. So beginning in with the shelping color, you can see it's kind of a peach color tone here, so you can mix in your orange pink and white quash. I'm giving in a layer of this shelping color into the entire sky. Right now, I have not added the layer of water into the mountain range there. I will directly blend in the orange lightly when I add in because, you know, as it is, we are going to be painting in that mountain range again. Now, beginning in with the bright orange color closer to the mountain range, I will begin adding in the der tones of the orange, blending in with the shell pink color. So at the top, you can see, I've let little of that sheping be visible because on that we'll be adding in the effect of the pines gray clouds. Now, using in water, I'm just going to dilute this orange color and blend it completely till the bottom space. Make sure that, you know, this lighter orange is not in the sky part. This should be only in the mountain range because, you know, in the mountain range, I don't want to add in a lot of the darker tints of the orange, so I'm just adding in a very light layer so that later on with the browns these will blend in creating in those highlighting spots. But in the sky, make sure that this water light layer does not move in. Okay. Now, shifting into the mop brush, I'm going to pick up a little of the paints gray color and begin adding in little highlights of the paints gray at the top, blending in with the shell pink color. Same way, I'm going to begin adding in slowly, keep on darkening up the layers and create in the darker tips as well. And then we'll add in some cloud details using in the bonciena or any other tone of brown that you wish to and a little of the pains gray highlight. So I'm blending in little of the pains gray with the orange. You can see because of the shell pink, you have that little light peach effect at the top with the pains gray color as well. Now, using the Tam brush, blending in these two colors well so that you have that beautiful transition between the orange shell pink and the paints gray effect, Now, I'm shifting into my smaller sized brown brush so that I can begin adding in the cloud details because Mprash will hold in a lot of paint and water. So I want to go ahead with very minimal details, picking up the orange color. You can mix in brown at this point or later on add in some highlights with the browns separately. Now, I've just added a little hint of brown to my orange, so you can see that beautiful brown tint coming in with the orange. I'm using this size four brush. You can see it has a pointed tape. Very carefully. I'm making sure my brush does not have excess pigment or excess water. So it's retaining the spaces in which I'm adding them, giving in that shape and the soft blend with the base layer of the sky. I'm just using the tape holding my brush a little diagonal and beginning to add in these cloud strokes. I'm altering between shades of orange and brown to create in the depth into the sky. Now, at the top left of the sky, I'm going to go ahead with the paints gray strokes to create in the depth into the sky. So for that, I'm again using the same size brush. Make sure you do not have excess pigment or excess water on your brush. Only then you'll be able to get in the soft cloud strokes which retain their shape and yet have a soft blended effect into the base layer of the sky. My paper is still wet. I'm still working wet on wet. Hence the soft details, but the colors are not spreading despite being in a watery consistency because of the water control on my brush and the amount of pigment on my brush. So whenever you're working wet on wet with watercolors, it's important to make sure you do not have excess water or excess pigment on your brush. So only then you'll be able to get in the stroke details trying to retain the shape of the strokes that you want to add in. So that is it. We've added in limited strokes of the pains gray as well. Now, we'll wait for the sky to dry completely and then begin adding in the details of the mountain range and the pine tree details on front of the mountain. So my sky is completely dried and we are going to go ahead with the layer of the mountain. You can see my sky does not have those lighter orange tin that I added at the bottom. Now, using the pines gray mixed in with a little bit of the vendi brown color. I'm beginning to add in the layer of the mountain range. Make sure you do not use a very dark consistency of pines gray because the pine tree detail that we're going to add in in front of this is going to be of the darkest consistency. So for this, you need to make sure that it's in a light consistency. Now, on the peaks of the mountain, we are going to have in little orange highlights, trying to show in the color of the sunset falling onto this background mountain range. That is the reason I added in that base layer orange color. Now you can see, as soon as you added in the panes gray on top of the orange of the mountain, you automatically get in that glowing effect of the orange underneath, trying to show in that sunset effect falling on the mountain range. In case if you've not have enough orange layer on your mountain, even then it is okay because even now you can add in the orange highlight. So I'm going to pick up the orange color now and begin adding it on the tip again. So you will see automatically again, you begin to get in the brownish color hint because of the paints gray mixing in. And this is automatically creating in that glowing effect falling on the mountain range. We just need this at the top. But after adding it, you need to again pick up pains gray and blend it well. Otherwise, you will get a very patchy effect of the orange, which is not what you want. So to have in that blend, you need to again pick up the pains gray and blend the orange well, such that it only has that highlighting spot at the top, and the entire bottom mountain range is completely with this lighter tone of the pains gray color. So now you can see at the top, I have that glowing highlight of the orange color trying to show the sunset glow on the mountain range as well. Now, we'll wait for this to dry and then move ahead and add in the details. Till then I'll quickly add in a few bird silo heates into the sky so that even that can dry out. So using in the paints gray color and my size one down brush, I'm just going to add in some birds. You can go ahead with any simple bird silo hates of your choice. They're very simple to add in just two strokes, V shape, inverted or, you know, a stroke stroke with a v in the center. So just simple silohates of birds to add in here. So I'm almost done adding in the births. You can see I've added them majorly in the center left line side, and now we'll wait for the mountain range to dry completely, then move on to the last layer of detail into this beautiful sunset painting. So let's wait for the mountain range to dry completely. Make sure you have that growing orange highlight before it dries out. So my mountain is completely dried. You can see the orange highlight peaking in at the top of the peaks of the mountain trying to show that effect of the sunset falling in. Now, using the pains green a bold consistency, I'm just creating in an entire patch here. Again, this, you can see I'm going with a very rough shape outline, and I'm going to fill in this entire space with the paints gray color quickly. And then on top of this, we are going to go ahead with little detailed look as well. Now, for this layer of paints gray, make sure you use it in a bold consistency, or you can use the black color as well. You can see how bold color it is. And now I'm going to begin adding in details on top of this patch that we've created in. Now, using in my size one brush and the paints gray color itself, I'm going to begin pulling out some strokes into this black space that we've created in. So basically, I'm not going ahead with the detailed pine trees. It's just the simple spiky strokes detail kind to show in these pine trees are far and not in a clear, you know, detailed view to us. So, just some simple far off tree detail that we're adding in. You can see this is such a simple technique to create in depth. Now, the only thing here that you need to keep in mind, user pointed tip brush. Secondly, make sure that you try to weary the height of these spikes throughout. If you will keep them of the same length throughout, it will not give you that realistic nature view. So it's very important to keep wearing on the heights of these throughout, you will notice even I am trying to go randomly long short with these spiky strokes to create in the depth. In case if you're someone who's looking to add in a little detail view, you can add in a detailed pine trees in between these strokes to create in the depth. For this also make sure your paints gray is in a bold consistency because otherwise it will look different from the bottom layer patch that we've already created in. Also, if you want at certain spots, you can take these spiky strokes a little till the background mountain range as well. I'll first add in here and then see if I need to increase the length at any spot. You can always, you know, increase the length at certain spots later on. But if you'll go ahead with bigger strokes completely from the beginning, then you can't undo it because with watercolors, it's very difficult to correct in your mistakes or cover up the elements. As far as with ah, it's very easy to cover up redo and, you know, create in different details again by just covering it up with the base layer easily. Now, what I'll do is I'll quickly add in a little detailed pine tree somewhere in between. So randomly at certain spots, I'm going to go ahead and just pull out some bigger strokes and add in very simple foliage. You can see I'm just moving Cris cross to add in these detail. One pine tree that you can see I'm taking here till the top of the mountain range, foliage, keeping it very simple, just moving criss cross, giving in that triangular shape. At the top, the foliage will be short in length. Moving downwards, it will increase in length to form in that triangular shape. So just randomly in between, you can see, I've added in a few of these detailed pine trees. If you want, you can add in an entire detailed range of pine trees or have in a mix of both like these. I'm just going to go ahead, add in a little more detail randomly here before we remove in the masking tape and see the final painting. Okay. So that is it. I'm done adding in the detailed pine trees. I've made sure my paints gray color is bold so that after drying also, it has the bold effect. You can see the glowing effect of the mountain in the background creating in such a beautiful sunlight effect on the mountain range, which is the highlight of this painting, so make sure you achieve that glowing space of the mountain. Now, removing the masking tape very carefully against the paper, make sure your edges are dried and your paints gray color does not get lifted from your fingertips to the edges. Okay. So here's our final painting for Day seven. I'm in love with the sunset and how the Mountain is looking in this one. Thank you so much for joining me into this class, painting along with me. We are already on day seven, and I will see you guys soon into the day eight class project. Okay. 10. Day 8 - Seascape: Hello, everyone. Welcome back to day eight of the series. Today, we are going to be painting this pure full bright sky. The colors that you need is dine blue, orange, sap green, yellow ochre, brown, white quash, black, or paints gray. So we'll begin in with a very little pencil sketch. I will just mark out the space to distinguish the sky and the sea. We are going to go ahead with a very simple silo hate, which is going to be wet on wet. We'll begin with the sky first, then we'll add the wet on wet details for the foliage here, and then we'll add a reflection to that into the sea area as well. I'm just going to lighten up this line because we don't need a very bold line there. Now, I'll begin in with a layer of poter into the sky only. Make sure you add in an even layer of water. I'm adding in the layer of water into the entire space. We'll paint the entire sky and the sea wet on wet, and we'll give in the details wet on wet. Make sure you have an even layer of water throughout, run your brush multiple times so that you do not have any excess water on the edges, and you have an even layer throughout. Now, in the sky this time, we're going to go ahead with very simple cloud strokes directly, leaving in some white and bold caps into the sky. I'm beginning in with the mix of the plutian blue and the cerrin blue color a. It's going to be very of the Plutian blue, more of the cerealin blue color here. Now, using in the mop brush, I'm just beginning to add in some random strokes into the sky to build in clouds directly with the blue color. Rest of the sky will have in the white and the orange effect. Now you can see when I'm beginning to add in these cloud strokes. I'm keeping in some white caps purposely in between to create in the cloud depth. Now, since I'm working with a mop brush, you can see it holds in a lot of paint and water. So you need to have in that control. I'm just majorly using in the tip of my brush to add in the details. You can go ahead add this with a round brusher as well. But with a mop brush, it becomes easier because it holds in a lot of water, and you do not have to keep running back and forth. To keep on picking up pains. Now, I'm digging in with a little bit of the ju brillant color. You can directly use a pastel orange color or orange color directly. In between randomly in certain white spots. I'm adding in some orange highlights into the clouds, creating in that little sunset effect. But remember, blue and orange mixed together, giving in a muddy brown tone. So you need to add it in such a way that you only add it into the white gaps, leaving little space between the blues and the orange so that automatically when they have a soft blend, they will not give in that brown tones because of the muddy mix. Now I'm going ahead with the second layer. I'm beginning to add in some darker strokes. Now, the darker strokes will obviously be in less space as compared to the light strokes because they want different color variations to come into the sky, some lighter strokes, some darker strokes. So that is the reason. Now you can see, I've added very limited of the darker strokes and closer to the horizon line as well, just going ahead, simply adding in. I've not added any details wet on wet into the sea area yet. Same way just using in the tip of my brush. I'm adding in some dakotropes on the orange spaces as well. You can see how carefully I'm just using the tip of my brush so that I do not drop off excess pigment or water. Otherwise, they will spread completely into the entire space and not retain the shape in which you want to add them. So it's very important if you're working with a more brush, you have that water control and pigment control. Otherwise, it will begin to spread in the entire space and create a one patch of color instead of letting these strokes be there. Now, first, I'm going to begin in with the green color and add in the foliage detail wet on wet into the sky space closer to the horizon line. For that, I'm picking up the sap green mixed in with a little hint of the white quash and a little hint of the olive green color. Now, you may not have the exact same greens. You can go ahead with whatever greens are available in your palette. Now, when you're working wet on wet, make sure your sky is not too wet. Otherwise, the green will spread a lot. When you begin adding in the green also, you need to be sure that your green does not have excess water. Otherwise, it will spread a lot and may cover up your entire sky because of the wetness of the sky. I have kept my paper tilted as you can see so that the pains do not flow into the sky space. Rather the green retains in the space in which I'm adding them at the bottom closer to the horizon line. Yet, because of the wetness of the sky, they will have in that soft blend. So this is how you can add in, and, you know, you can keep stand or something underneath so that you keep it reclining, and, you know, it does not spread into the sky. Yet it will have in that soft edge. Just adding in some lighter green hints as well. We're going to add in little pine tree effect as well on top of this and add in the reflection to all of these as well into the sea area later on. Now I'm going to go ahead, painting the sea area. So the sea is going to be a reflection of the sky. So it's going to be in the similar lines, how we painted the sky, same way, lighter and darker strokes of blue with some orange highlights, and then we'll add in a reflection to the greens as well. Now, since we are working wet on wet and we want a soft blend between all of the details, that is the reason we are not waiting for the sky to dry out and we have directly begun with the sea area. And while the sea will still be wet, we'll quickly add in the details of the reflection for the green spaces as well. So very randomly, you can see I've added in some orange highlights in the placement where it was in the sky and some darker blue and lighter blue highlights using the same seg blue color. Now, using the greens, let's add in little reflection. Now, this is going to be the first layer of reflection. After this, we'll give in little dry brush reflection once this dries out. Now, again, when you're adding in this reflection, make sure you do not have excess water or pigment on your brush. The reflection, try to maintain in the height, wherever your greenery at the top is taller, same way, even in the reflection. That space will be longer as compared to the other spaces. This will help you retain the natural effect. Okay. Now, make sure that you do not have excess water in the reflection space. Otherwise, you can see it will begin covering up your entire sea area, and the orange and the blue highlights of the sea will get completely hidden. So it's very important to have in that water control when you're working wet on wet with such details. Now, using in a dark brown tint, I'm beginning to add in the first layer of wet on wet details at the horizon line. So first giving in a line on top of this, I'm going to go ahead with the round color, create in a very small bush effect, and just pull out a reflection for it. I'm using a dark brown. You can go ahead and use in any brown that's available in your palette or mix in a darker brown to create by mixing in a bit of the brown shade that's available with you with a little hint of paints gray or blue. Now, very randomly, wet on wet, you can still see all of this is having so much of the soft dash because of the wet on wet technique that we're working with. So in the entire horizon line, I'm giving that soft line I'm giving in little bush detail. Now just going to pull this downwards, using in this tip of the brush. This will act in as the reflection. You can see how I'm pulling just the top layer of the paint into the bottom space, trying to create in that reflection effect falling into the sea. In the same way, I'm just going ahead with one more layer. This is a little paints gray color, and same way, I'm just going to blend it with the brown and pull out a little reflection as well into the bottom space from this same line that I've added. Since my paper is still wet, I'm able to add all of these wet on wet. Now, let's wait for this to dry a little till then we'll add in little pine trees. So what I'll do is I'll quickly begin adding in some pine trees here into the top space. So my green area is still a little wet. So all of it will have a little soft blend at the bottom. I'm going with simple pine tree silo hate, as you can see, and at the bottom, on the green patch, you can see it automatically begins to have in that soft blend because of the wetness of the green still. So you need to add this while greens are still wet so that you have that soft effect. And at the top, you will just have in that beautiful pine tree detail coming in. You can see with every pine tree just the top of the green space is looking detail, and at the bottom, it gets quickly blended in with the green patch that we've added in. So I'm going to just quickly go ahead, add in a few pine trees here, and somewhere, I'm just going to pull out these simple stroke to give in some filler details, trying to show in some far off trees which are not looking in a detailed manner. This technique helps you to fill up the space quickly, as well as having a detailed look with some detailed pine trees here and there. Quickly using in the Saprin and the olfreen mix, I'm going to add in into the rest of the space at top, and then we'll quickly add in a little reflection and little more bush detail on the horizon line with the yellow ca and grounds. So you can see I'm running to and fro at places where I feel that, you know, after trying or after blending in, the strokes are not that dark. I'm running over quickly with a second layer of greens out there so that they have that little darker effects also randomly. So that is how you need to, you know, keep on refining your details, wherever you feel that, you know, once the details are beginning to dry, they're not having in that bold effect or different color variations. You can quickly overdo it, but you need to make sure that, you know, you get in those soft blends because your paper has to be wet. In case if you feel that it's beginning to dry, You can run a small layer of damp rash so that it can stay wet for a little longer time. Now, I'm almost done adding in the pine trees, just last one or two on the left, and then we'll move on further. Now, quickly, just a damp brush. You can see I'm running at the bottom end of all of the pine trees so that it has all of the soft edges. Now to add reflection to this, I'm going to be using in a dam mop brush. Okay. So I'm using this oval mop brush. I've not dipped my brush into water. I'm directly picking up some dark green pigment mixed in with a little bit of paints gray, and I'm giving in these dry brush strokes, pulling downwards because these will act in as the reflection. For this, you need to make sure your brush shouldn't have water. My brush is completely damp and dry. I've picked up the color in a very thick consistency and still dabbed it onto the rough tel, so that if any excess pigment also, it gets absorbed. Now, depending on the length of the pine trees above, you will pull out the reflections accordingly. Wherever the pine trees are taller, you will pull out taller reflections, and wherever the pine trees, shorter, your reflection will be shorter accordingly, so you can see how quickly you can get in the reflection detail in a very hazy manner, still giving in that natural realistic effect. Now, using in a smaller size brush, I'll quickly add in some browns again here at the top and along with that, I will use in a little bit of the yellow ca as well to give in little variations and just create a little sand kind of a space in front of this pine tree that we've added in. So quickly using in both the colors randomly, I will just give in this line at the horizon line first. So you can see I'm randomly altering between dark brown, light brown and the yellow cer color. You can use any shades of brown, and you can also create in your shades with the help of the paints gray color and, you know, darken up the consistency as needed. I will just add in a little more of the yellow occur on the right side here because this patch seems to have a lot of dark effect. Very simple muddy space that I've tried to create in front of the pine tree using a simple technique. Okay. Okay. So that is it. We are ready with our class project for day eight. Let's remove in the masking tape and see our final painting. You can see the reflection is looking so beautiful and such a soft detail reflection and easy technique to create in. Make sure you pull off the masking tape against the paper. So here's a closer look at our painting from day eight of this challenge. You can see the reflection, the different tones, the simple bra stroke. Thank you so much for joining me into this class. If you like this class, make sure to drop a review. And thank you so much once again for joining me. I will see you guys soon into the day nine class project. 11. Day 9 - By the Road: Hello, everyone. Welcome back to day nine. And today, we're going to paint this beautiful sunset view. The colors that you need is cellin blue, orange, shell pink, pink, Naples yellow, light yellow or yellow light, white, black, and paints gray. If you do not have the shell pink color, Naples yellow color, don't worry. We'll create in the mixes, and you can use those. So let's begin. We are directly going to begin with a layer of potter. No pencil sketch for the roadway or pine trees, we are going to directly add those details with the paints later on. So first, beginning in with a layer of potter, make sure you have an even layer of fodter throughout, run your brush multiple times so that your paper stays bet for enough time. Also, as discussed previously in case, if in your regions, because of the summer, your paper is some that dries out quickly. Then what you could do is wet your paper, wait for it to dry 50%, and then re run with a layer of water again and then begin painting. In this way, the cotton in your paper will absorb your first layer of water, and when you add in the second layer, it will stay wet for a little extra longer time as to one layer. So it depends on the paper and your area, what you prefer to use in. Now, I'm going to squeeze out this naples yellow color. Now, Naples yellow is nothing but a pastel yellow color. So if you do not have one, you can simply mix in white along with your yellow to get a pastel yellow hint. Now, beginning in with this pastel yellow at the bottom space, we are not leaving any space for the pathway right now, which will directly be with the pains gray and highlights later on. Now, next, I've squeezed out a little bit of the shell pink color. Now, shell pink is nothing but a peach color. So you can mix in your pink orange and white to get a similar looking tone. Now, beginning in with a little bit of the blue first. I'll just add in very light blue highlight. So I'm going to use it in a very liquidy consistency. When working with a brush, make sure you dab off the excess water and pigment from your brush. Very little highlight of blue that I'm adding at the top into the sky. Now beginning in with the shell pink color. I will begin adding in strokes. Now, this time, I'm going to go a little diagonally. You can see we've not given in any base layer. We are directly building in the base and the clouds together using in these simple strokes. Now, when I'm working with a mob brush also, you can see whenever I want just limited strokes, I'm making sure I'm just using in the tip of my brush so that I do not have an excess paint and water lying down onto my paper. So at the top, both from left and right diagonally, you can see as pulled out some slping strokes. At the bottom here as well, just giving in some highlights with the shell pink color, and then we'll move on to the next pink color layer to add in more depth into the clouds of this painting. Now, for the pink, I'm using in the quin rose color. You can use any tone of pink that's available in your palette. First, use it in a medium tone consistency so that later on, you can add in some darker strokes with a little darker hin. You can see I'm using in a very medium consistency at the top, adding it diagonally, and then somewhere going in straight strokes. Again, here also, since I'm using a, you can see I'm just using in the tip to add in these strokes so that I do not add in a lot of these. Otherwise, they will spread completely. Now, I'll pick up a little of the yellow light color and add in some darker yellow strokes on the Naples yellow. So Naples yellow is a pastel yellow on top of it. You can see these yellow high light strokes that I'm adding in. I'm working with a size two more brush. Still, you can see I'm able to achieve in these fine strokes because wherever I need fine details, I'm just working with the tip of my brush, holding my brush in such a way that I have the control over the flow of the pains and the pigment. You can see how quickly and how I keep the brush from the paper a bit so that it, you know, Does not lay over the excess pigment or water on the paper. It's very important to have that control if you're working with a mop brush. And in case if you're not confident of working with a mop brush, use a smaller size round brush for adding in these strokes. Still even then, try to have in that control over the water on your brush. Now, I will shift into my smalles size brush. That is the size for brush and add in some darker pink details. So I'm going to use the same quin rose color. But in a little darker consistency than the previous layer, I'm still working wet on wet. My sky is still wet. On the wet sky, I'm still adding in the strokes. And now here randomly, I'm just creating in some cloud strokes with the pink, and to blend it with the base layer, you can use in a little of the yellow or the shell pink color to blend in and having that soft blend with the base. So you can see how using in the light pink, I blended it with the dark pink. So the peach color, basically, that's the shell pink color. You can create in your shell pink color, as I told you, by mixing in pink orange and white quash. White ash gives it an opaque consistency creating in that boldness and the pastel effect. Now, randomly at other places as well, just giving in some darker strokes with the pink. You will notice all my strokes are not of the same angle. Some of them are diagonally moving, and some of them are in cloud shapes. Some of them are just random, small half sea kind of strokes closer to each other. You can see a drop of water here. So I'm quickly blending it in. Otherwise, it will create a very rough shape. Since my paper is still wet, I could easily just cover it up with the help of the pains and simple strokes. Now, using in a little bit of the orange color. I'm just going to add in little highlights with the orange randomly. And then we are almost through the sky. We'll have to wait for the sky to dry out, then move on to the next layer of details that's going to be a simple pathway along with the pine trees. So let's wait for the sky to dry now. So now my sky is completely dried in, and let's begin adding in the details for the pathway. For that, I'm going to begin with the pains gray color. So using a smaller size flat brush. This is a half inch flat brush. I'm going to mark out a very straight line for the pathway. Now, you can use a round brush or any other size flat brush, whichever you are comfortable with. But just go ahead with a straight space for this pathway. It's approximately a three quarter inch runway that I'm adding in here. My paper size is six inch by six inch. So accordingly, depending on your paper size, you can alter this space as well. Now, into this, I'm going to go ahead and add in little highlights of the yellow color and a little of the pink highlights to reflect the sunlight falling onto the pathway as well. So just adding in a little of the shell pink in between and blending it with the pains gray on the edges. And now I'll add in a little of the yellow as well and blend in. And then again from the edges, I will pull out a little bit of the pains gray color. So adding in a little yellow now first, and then we'll move on to the pains gray again. Now, these highlights are majorly going to be in the center of this pathway or the runway. And from the edges, you can see I'm again picking up the pain scy color and adding in and blending in, creating in that glowing space onto the pathway. Now, I have gone ahead with the wet on dry for the first layer. Now, my paper is wet completely. So on the wet layout only, I'm working with these colors to create in that highlight effect. Now, using a smaller size brush and using in the paints gray color. I'm adding in the highlighting strokes at the top. You can see the colors are spreading, giving in that soft blend and creating in the soft effect. Now I'm going to keep on pulling out the paints gray color strokes from the edges and blend them, creating in those highlighting spots in the center space. Whenever you're working with such details, make sure you do not have excess water or pigment on your brush. Otherwise, they will spread completely because your paper is wet. Okay. Now, I'm just adding in a little more yellow highlight in the center, and I'll just again add in a little more pain scre onto the edges and we are ready with the pathway. Now on top of the pathway, we are going to add in the pine tree and the other sell head detail. Just quickly adding in the pain screy again from the edges and blending it with the yellow. Now, I've shifted into my size one round brush, which has a pointed tip, and I'm beginning to add in these pine tree details here. Now, again, I'm going to go ahead with variety, you know, in the heights of the pine tree. And you can go ahead with some simple strokes like these to add in some filling details in between. We're even going to be adding in two to three street pools as well here. So first quickly, adding in the pine trees, and then we'll go ahead, add in the details. Now, if your pathway is still wet and if you work in with the pines gray color, it's completely okay, but if you want, you can wait for it to dry completely, and then go ahead with these pine trees depending on the wetness of your pathway, because accordingly, these colors may blend in there. Now, for the pine trees, you can see I'm going ahead with different heights. I'm not going to take them too tall into the sky. I'm going to keep them short, but even in the short length, I'm going to keep on wearing the heights throughout. Now, for the pine trees, I'm using the pines gray color in a very thick consistency so that I have in that bold effect even after they dry out. The pine trees, you just need to keep in mind that at the end, the triangular shape comes in, giving in that look of pine tree. You can go ahead with some scarce pine trees, some detailed foliage or whichever way you wish to. But just make sure that you, you know, have the triangular shape coming in at the end. Now, in between, you can see, I'm going ahead with these simple strokes, just giving in some filling details, trying to show in some far off tree effect with these simple strokes. This helps in filling up the space completely and yet gives in the blended natural look, creating in that realistic effect. In between, again, moving on to the pine trees, adding in. You can see I'm using such a small size brush, getting in these fine details. Now, if you want what you can do is you can first give in the stroke detail onto the entire length. And then in between add in the pine trees, the method that we've followed in a few previous class project as well. So it's absolutely your choice, how you wish to go ahead with the placements, the layout can be different for you for the pine trees and the simple strokes that we're adding in between. Even for these strokes, make sure that your paints gray color is in a bold consistency. At the top, you need to make sure you get in that pointed tip so that it looks like the far off tree effect. And the pine trees, whichever you add, make sure again, that it's in a triangular shape. Also, very important to keep in mind that you're using a smaller size brush so that you can get in fine details, wh well settled along with the size of the painting that you're going ahead with. So I'm done adding in the pine trees onto the entire pathway line. Now, I'm just going to give in details here and there. You can see since my paper is taped down on a movable surface, it's so easy for me to just rotate my board accordingly and easily just get in the details and the, you know, hand movements adjusted accordingly. Now, in between, you can see I'm just adding in some simple branches or some stick details, very simple foliage effect on those. Now, in between this entire pine tree range as well, we're going to go ahead with two to three street light effect as well. Now, let's add in the poll. I'm adding in using in the pen. You can add these using a further fine tip brush and the paints gray color itself. But since I want these polls to be very fine, I'm using a size 0.3 pen so that I can get in these fine details. If you are also using a pen, make sure you use a pen which is waterproof. Otherwise, if you will drop in any drop of water here or try to correct anything. This will spread and create in a black patch instead of staying waterproof. Now to these poles, I'm going to quickly add in just the street light and details. Okay. Now, to add in the light effect, I'm going to squeeze out a little bit of the fresh white quash. You can go ahead, use in a wide chllpen or you can use in white watercolor or white eclic. But watercolors, you will have to use in a very thick consistency to get that opaque look. I would recommend using in a wide quash because it acts like watercolor, but gives you that opaque look even on the darker colors in the background. So I've picked up my smaller sized round brush, which has a pointed tip, and using in the white quash, I'm going to begin adding in the lights to these. So somewhere I've added in single light, somewhere I've added in two hands for the lights. Now, again, The layout for these lights can be different for each one of you. You can go ahead with your own silo hit for the city light effect here. I've gone ahead with different kinds. You can see one facing left, one facing right, one has both the hands, and one, the lighting is in the center. So I've gone ahead with all four different kinds here. Now, using the same light ah, I'm going to be adding in little details onto the pathway as well. For that, also, again, you can use in white help and if you want. Before that, just adding in a setting sun effect here in between the pine trees. You can see again this also, I haven't kept it center align. Just a simple white circle to act in as that setting sun effect. Now, using a scale and the white shell pen, I'm going to go ahead and add in the details on the pathway. Now, with a scale, the white shell pen may not work well, so I'll just give a highlighting first, and then I will get off rid of the scale and add in these details. So first, just below the pine trees, leaving one to two MM, giving in this fine line to distinguish the pine tree line and the pathway line. Now, into the center, you're giving in the road markings, simply using in the white shell pen itself. You can use in white quash and a fine tip brush for adding in these details as well, not necessarily to use a white pen. So that is it. We are ready with our class project for day nine. I love how beautiful the sky looks with the simple silo had detail. Let's remove in the masking tape and see a final painting. Make sure you pull off the masking tape against the paper so that you do not tear off the edges. Also, you can see the yellow highlight on the pathway trying to reflect the sunset effect colors falling onto the pathway as well. So here's our final painting for D nine. I hope you guys enjoyed painting this with me. You can have a closer look at the beautiful blends of clouds into the sky, the highlight on the pathway, the simple moon and the city effect. Thank you so much for joining me into this class and make sure to uppload your class projects if you paint along. I will see you guys soon into the Day ten class project. 12. Day 10 - Northern Lights: Hello, everyone. Welcome back to day ten. And today, we are going to paint a beautiful northern light. The colors that you need is cobalt green, yellow, orange, violet, indigo, black, and paints gray. Now, in case, if you do not have the Coval green color, I'll tell you a mix that you can use to create in a similar tone. First, let's begin with a little pencil sketch. I'm just going to begin marking out the mountain and the snow spaces for the northern light view that we're going to be painting. So the bottom is going to be the snow space. And on the left and right of it, we are going to have in mountain ranges. And towards the center of these mountains, we are going to have in a little water flowing space, and the entire top space is going to be athern lights that we'll be painting in. So just adding in the mountain details, roughly, giving in some rough pencil sketch, we'll define in the details further with, you know, dry brush techniques later on when we move ahead further into the painting. So I'm done with the pencil sketch. We have two mountains on the right, one on the left, bottom is going to be the snow space, and the center is going to be a flowing water area. Onto the mountains, I'm just giving in some pencil marks to, you know, depict some darker patches to create in that effect onto the mountains with the dry brush technique moving further. So this is about our basic pencil sketch. Now we're going to first begin with the sky. For the Northern sky, I'm going to be using in the cobalt green color. Now, there are two shades, cobalt green and composed blue, which are almost similar, that the composed blue is a little turf in which you can add in white and get in a similar looking cobalt blue. But in case, if you do not have either of the two shades, you can mix in a little bit of your green, blue and white and get a similar looking tint. You can mix in either emerald green or ririan green, along with a little hint of blue and add in a little bit of white. In case, if you do not have those two colors as well, you can still mix in a little bit of your turquoise blue with white quash and get a similar looking cobalt green color. Next, for the indigo, I'll be using the indigo from the white knight set. I won't be using the indigo from the mageomsion set because that's more towards the paints gray side. So I want a pautiful blue indigo look. And the violet I already have in here squeezed out. That's the bright clear violet from this set itself. Now, we're going to begin with a layer of water into the sky first. Now, this time when you begin painting in, you need to make sure you do not add the northern sky colors into the mountains because the mountains are going to be a snowcaped mountain loop with just the dry brush technique. So it's very important that around the mountain range, you can see, I'm going very carefully with the water as well so that I do not run into the mountain space. Same way, even while adding in the colors into the sky, you have to be a little careful. Okay. Now, I have added in the layer of water moving on to the cobalt green color first. I'll first add in the first layer. We'll be working in with a lot of layers here to get the blendings right. But with every layer, the control that you need to have is the water control into your brash, whether you're using a moprah round brash, you need to have in a water control. Otherwise, the colors will not retain the strokes that you need to effect the northern lights. You can see I'm going ahead with squirly strokes. Despite using in the mop rash, I'm trying to have in that water control. You can see the paints are remaining at the space in which I'm adding them, the shape in which I'm adding them. Yet having in the soft plan because of the wet paper. So this is something that you need to keep in mind and have control over. Only then you'll be able to achieve in the effect of athern lights. Now, next, I'm going to move on to a little bit of the violet color and add in some violet highlight. You're in this big space towards the right side, and then we'll move on to the indico color. Now, this is just the first layer. In the first layer, after I'm done adding in all the colors, you'll see that, you know, the colors don't look well blended with each other. They just haven't, you know, very loose kind of a stroke effect. So you need to go ahead with layering to get in the blends right and the colors flowing, moving into each other softly. Now, I'm adding in the indigo color. Closer to the mountain range. You can see I'm going ahead very carefully, making sure that I do not run into the mountain spaces. I have hidden up the violet color, just giving in that highlight effect in between the indigo color. Now, this is a very light layer of pains that we are still working with because we have to work layers on layers to get in the blend right. So make sure you go ahead with lighter consistencies or medium tone consistency first, trying to create in just the first base layer and then move ahead with second layers, which will help you in blending as well. Now, I'm done with the first layer. So while this is wet again, beginning with the Coval tren color. I will add the cream color again at the same spaces where I had added previously. But this time when I add in, you will automatically see it reacts with the indigo color across its edges and automatically creates in that soft blend and flow. Now, if at certain spaces, it does not create in that smooth flow naturally. You can use a brash to create the flow. Adding in some darker highlights with the violet as well. And now I'll move on to the indigo color again and begin adding in the darker strokes with indigo, creating in the blends between the indigo, cobalt blue, and the violet. Now, you can see as soon as the indigo turns dark, the night sky view begins to look much more realistic. So you can see at certain spots, you need to go ahead with dam brushes to get in the blends. So I've just cleaned my brush and running onto the meeting point of the covaltcreen and the indigo tones so that they automatically flow and blend into each other. You can see I'm just running the tip of my brush on the edges of the meeting point so that they have in that soft blend effect. It's very important that you make sure that, you know, you work wet on wet with all of these details. Only then you'll be able to achieve in that effect. At certain parts, you will see that, you know, the pain the indigo is flowing a lot into the green. So at those paces, also, you need to go ahead with the color lifting a bit so that you can get in the details there right as well. Now, I'm just going to add in a little more of the indigo color darker highlights at certain spots before we let the sky to dry completely. So just squeezed out a little more of the fresh indigo and using it in a very bold consistency. You can see it's a very dark consistency that I'm using in your darker bolder strokes. Now, one last thing before I let the sky to dry is, I'm going to pick up a little bit of the white uh and mix it with a little bit of the violet color using in a smaller size brush and just add in some small highlights of this pastel color into the sky. So I'm just mixing in the white along with the violet color here. And using a smaller size brush, you're just going to add in fine strokes creating in some lighter highlights into the sky. So very little strokes, you can see. And again, this is still wet on wet. My sky is wet. You will see the soft blend. And because of the a wide quash that you add in. It becomes easier to blend in. Plus it will not give you any muddy looks onto the tones. Now, here onto the darker violet as well, I'm going to add in little highlights and blend those and create in that glowing spot of the violet here. So I'll just add in a few strokes first, and then quickly using in the brush itself, I'll blend them together. Now, using this damp brush, you can see I'm blending it along with the indigo color and the violet color in the base so that these strokes have a soft blended effect and do not stand out as white strokes separately. So that is it for a sky. Now we'll have to wait for the sky to dry. Until then, we'll add in the layer of snow here at the bottom. So I'm first adding in a layer of water here for the snow space. We'll paint the mountains directly later on. Once the sky dries out, otherwise, the colors will begin to flow into each other. For the snow area, I'm using a very lighter tone consistency of the indigo color adding in from the edges. In the center, if you want, you can add in a little of the Cobalcreen highlight as well, trying to show the effect of the athernsky colors falling onto the snow area here. But you can see both the colors that I've used are in a very liquidy and watery consistency, a very light wash just to give in a little patch of color effect and not too much of the color here. So I quickly lifted up that excess color, and I'm just blending in using the tip of my brush and using in more of water. It's a very diluted consistency, adding in some darker strokes with the indigo color to reflect a little of the shadow effect. Very little you can see details that I'm going ahead with. So that is for the snow space. Now we'll wait for the snow and the sky to dry. Till then what I'll do is leaving a very fine line between the mountains and the sky. I'm going to just add in a very light layer of the pains gray color. It's almost like a water layer that I'm adding in with just a highlight of the pains gray. So this will be the base layer for the mountain. The depth of the mountain will be defined with the help of the dry brush strokes only. You can see it's like an almost white color, and in between the sky and the mountain, I've left those fine white lines so that the colors don't bleed into each other. Those spaces will get covered up with the dry brush technique later on. So now let's wait for all of these to dry, and then we'll move ahead with the next layer of details into this painting. Make sure your sky colors are bold so that after drying also, they stay bold. So now, everything is completely dried, and I'm first going to add in the water space in between the mountain. There, I'm just adding in a layer of water first. And I'm going to use the same colors that's the Cobaltri and the indigo color here. So first adding in the Cobaltrine in the center, and across the entire rest of the water body, I'm going to go ahead with the indigo color. This is again, trying to show in the reflection of the sky colors onto the water here as well. On the edges, it's going to be darker indico. Define the edges well, so that, you know, you have those perfect outlines for the mountain ranges as well. So across the mountain, you can see the edges have to be very rough because of the mountain shape that has to retain there. So on all of the edges, you can see I've defined it according to the mountain range edge and given in the depth and filling it in with the indigo color on the edges and in the center, blending it well with the balcreen color that we've added in. But the edges, you can see have a very sharp color effect trying to show in the shadow of the mountains as well as, you know, the shape of the fountains being defined well. I'm just unning with a little more depth of the indigo on the edges. You can see I'm just using the tip of my brush and a bold consistency of the indigo here. Now, let's begin adding in the details on the mountain. For that, I'm going to use in the pains gray color and the dry brush technique. My brush is completely damp and dry. I have just picked up a little of the pains gray color without adding in much of water. Now, you will see for the flow onto the mountains, my brush strokes will be a little diagonal, moving from the top right to the bottom left side, and they are moving diagonally in an approximately 45 degree angle view. Now, again, at certain spaces, we'll be adding in some darker highlights with the dry brush as well. But for now, you can see I'm just giving a very basic diagonal dry brush to this entire mountain range that we've added. That's only the top mountain on the right side. Now, using a bold consistency of the pains gray, I've defined the edge of the mountain distinguishing it from the sky completely and giving in the dry brush coming out so that you know the mountains also have that defined edge. Now, the second mountain range on the left here, I'm going to give in a bold pains gray line, and I'm going to use a dam brush and blend it into the bottom mountain range completely and create in a darker effect for this bottom mountain range. So basically, the first layer of water that we had added, you can see, it's almost tried and equal to a white color, it is. So for this second mountain range on the right here, I'm just creating in one more depth layer by adding in a layer of paints gray. So from the edges, I have blended that paints gray into this entire mountain range. Certain spots have in white space that's completely okay. That's the beauty of the snowcapped mountain. Till then, moving on to the mountain on the left here, giving in this edge first. And this time here, we are going to add in some small patchy effect as well with the black color. Now, one thing that I have forgotten is to sprinkle up the stars first into the northern sky. So if you want at this stage before you go ahead with any further details, you can add the stars first into the sky, or if you want to add in later on, you can cover up the bottom spaces. I will be adding later on as I've already forgotten, so I'll quickly complete the mountains first and then move ahead. So on the left side here, you can see I've given in a lot of patches with the paints gray color creating in the depth, and now in the remaining spaces, I'm going to give in a little of the dry brush detail as well. So now in the remaining spaces, you can see I'm going ahead with the dry brush stroke, giving in lighter strokes. Now, the whole important technique for dry brush is your paper has to be dry. Your brush shouldn't have excess water or pigment. You need to make sure after lifting the pigment, you dab your brush onto the tissue or the rough cloths that you're using so that all of the excess pigment and water is absorbed in there, and you have very little pigment, and then you just need to, you know, kind of pull in your brush strokes to create in these dry brush strokes. Also, the texture of the paper does help in getting in these strokes as well. For the next mountain range on the right side here as well. I've just gone ahead given in the dry brush strokes. Now, we'll just define in some more details here using in some patches of the black color and giving in some strokes. So randomly, you will see some black spots that I'm trying to create in trying to show in the spaces of the mountains visible because basically, this is actually a black or brown mountain, which is covered up with snow. So we are going ahead with the reverse type. That is, we've considered the entire mountain to be snow and on top of that, we are adding in that little mountain rock details that are visible. So just adding in some darker patches with the black color randomly onto the rest of the mountains as well. After this, we are only left to create a little glowing light effect and then add in a little reflection to that as well. Now, at this bottom mountain range and the snow point, I'm creating in a little bush kind of a detail as well. If you want, you can add in a little of the pine tree details if you do not want to go ahead with the bush details, or you can simply just dab in the tip of your brush and create in some bush detail like this that I've gone ahead with. Now, at the bottom, no space as well, just giving in little dry brush with the pains grave very, not much, trying to show in little effect here as well. You can see how beautiful this painting is looking even without the stars for now, but we'll be adding in the stars as well. So you're using the white quash in a medium consistency, I'll begins plattering in the stars. Now, when you begin splattering the stars, you can either cover up your water space, or if you're confident, you can add in directly like this. Make sure you hold your brush a little far from the paper. Your paints son't be too liquidy. Otherwise, you will get big blobs of the white color instead of getting in these mini star details. Now I'm going they pick up the same color in a little more liquidy consistency. So as to splattering some bigger stars as well. So you will see the difference depending on the consistency of the paints that you pick up. If you're not confident, you can first try it out on a rough sheet and understand how your paints come out. I'm now going to pick up a little in a liquidity consistency, and you will see the bigger star patches. You can see the stars are bigger as compared to the previous one and bold. So depending on the consistency of the paint, your stars will also vary. Plus, I had the control, so you can see the stars have not moved into the water area or the mountain ranges. But if you're not confident, you can always cover it up. Now using in the yellow color. That's the Napal yellow. I'm just going to add in some dots trying to show in some camping lights across the mountain of this northern lights and adding in a reflection to this as well into the snow space. So just add it in a small yellow highlight and blending it into the snow area, trying to show in that effect of the lights here that we're adding in the camping lights falling onto the snow here as well. Now, to the camping lights, I'm just going to add in two orange dots as well, trying to show in a little variation. So that is it. We are ready with a beautiful Northern sky for day ten. Let's remove in the masking tape. Make sure you pull it against the paper and also make sure your edges are completely dried. So here's a closer look at our painting from day ten. You can see how beautiful the sky blends look. They have such a soft blend yet each color being visible and the glowing camping spaces and the reflection as well, plus the details on the snow caped mountains. It's very important to have in those blends in the sky right to reflect that northern light effect. Thank you so much for joining me into this class and painting along with me. 13. Day 11 - Beachscape: Hello, everyone. Welcome back to day 11. And today, we are going to be painting this beautiful beach view. The colors that you need is cerliin blue, ultramarine blue, yellow c, Burciena, vende brown, white, black, and paints gray. So let's begin with a very basic pencil sketch by just distinguishing the sky, the sea, and the bottom space where we are going to be showing in kind of a deck area around the beach space. M. So this bottom most space is going to be the text space of the beach, wherein, I'm giving in some wooden log details, trying to show in the wooden logs around here. And while painting, also, we are going to give in little wooden texture here. These two spaces are small as compared to the sky space. You can see the sky is the major chunk then the beach and the log space. So first, we'll begin in with the sky. It's going to be a pretty simple sunny day kind of sky lo that we're going to go ahead with. For that, let's begin in with a clean layer of water first onto the entire sky space. Make sure you have an even layer of water and do not have excess water on the edges or else it will see back into your painting, and it will be difficult for you to control in the flow of the pines ten. Now picking in with the shades of blue, I'm going to be using in the cellin blue and the ultramarine blue. I'm going to leave in random white spaces, so I'm not going to go ahead with a complete layer of pins. Rather, I'm just going to begin dropping in pins randomly leaving in white caps. So you will see I'm using the pins in a little liquidy consistency this time, and using the mop brush, just the tip, I'm beginning to drop in the pins because of the water on the paper, you will see that the pains begin to disperse. As well as since I'm using the pains in a little liquidy consistency, you will see they will automatically flow on the paper. Now, from the left side, I'm just pulling out some strokes. Now picking up the ultramarine blue. I'm going to begin adding in some strokes as well. So we are going to have in a lot of white spaces as well into the sky to show in the cloud details. And in the rest of the spaces, just creating in cloud details. Moving further, we'll use a little pines gray to create some darker cloud effects as well. Again, at the bottom here, you can see, I'm just going ahead, using in the tip of my brush, adding in some cloud details with the same two tones, creating in random strokes, leaving in white caps. So your placement of the strokes may vary, so your layout of the sky may also differ depending upon the strokes and the kind of method that you use in here. Now, as I always say, never work with the darkest consistency together so that you have scope for building in layers. So now I'm going ahead with little darker tones and building in little darker spots into the sky. If you will work with a darker consistency altogether at once, then it will be difficult for you to create in more depths moving ahead further. So it's important that you go ahead and just add in details in such a way that you can work on layers and create the depth into your sky. Also remember what colors dry or tone lighter. So you work with such a consistency such that after drying, you have that beautiful view. Now, picking up the paints gray color, just using in the tip, you can see, I'm dropping in the paints gray highlights, blending in with the blue majorly at the bottom space closer to the horizon line. At the top, in the sky, you can still see the gaps of the white color spaces trying to show in that beautiful sky effect. I'm still working wet on wet. My paper is still wet because of which you can see all the colors are having in that soft blend, but still they're retaining the space in which I'm adding them because of the wet on wet consistency and water control that I'm playing along with. So it's very important that you have the water control while adding this in. We've already discussed this importance of water control in the technique section in the beginning of this class. Now, till the sky dries out, I'll paint in the base layer for the log area here, so I'm just going ahead with the yellow ocher color in the base. And onto this, I'm going to add in little brown details. You can use any brown. I'm using here a little of the reddish brown tint or you can use a burncena color. Later on, using in a darker brown or vendi brown and the burciena, we'll add in texture here, giving in the wooden texture detail. We'll paint the sea once once the sky is dried. So right now just adding in the paste layer. Now, using in the burnt sienna, across the pencil lines that I've marked, I'm just giving in dark depths wet on wet so that you will have in that soft darker effect, trying to show in the depth and shadow of these logs and the different points. Now, you can see at this point they are looking as if very bold lines. So quickly using in the damp brush, I'm going to blend these and soften them up such that they are blended, but still having those dark effects onto the lines that we've actually added in. So now you can see we have so many different variations of crowns onto this entire log space. Now, using the tip, I'm just going to add in very fine lines again onto those lines that we've tried to show in. These are different logs that are connected to each other to create in this deck space. So just adding in the darker depths here, again, quickly, if you want, you can use the tip of your brush and a dam brush and give them a soft blend into the base layer. My base of the deck is still wet. That is the reason you can see it automatically all has a soft blend. Quickly, you can see how I'll blend this and show them as the darker spots on the lines only. Now we'll wait for all of these to dry completely and then move on to the next layer of details that will be the beach and the log details. So now my sky and the first layer of the logs have tried. You can see on the lines pencil lines that we had in the deck space. I have that beautiful effect of the darker lines trying to show in that distinguishing point and basically trying to depict in the different wooden logs that have been joined together to create in that deck space. Now we are going to go ahead, paint in the first layer of the beach. So for the beach, I'm going to simply use in the same cereal and blue color. You can even use a turquoise blue if you wish to. I'm going ahead with the wet on dry detail here because there's not much detail to add in into the beach space as well. So I'm simply just going ahead with a simple layer of the blue color first, and wet on wet itself, I will give in little wave details, and then wet on dry as well. We'll give in little details. In case, if you are in a space wherein, you know, you feel that the wet dry layer will dry out quickly. What you can do is you can first add in a layer of water and then go ahead with these wet panes. Now, across the deck space, go in very carefully so that you do not run into the brown space. In case, if you are using the wet on dry method, you will have a layer of water first in the sea area, and then go ahead with the blue color so that you can work wet on wet to create in the beach wave details as well. Now, on the horizon line, you can see I'm giving in a little darker depth of the blue defining it well. So I'm done with a base layer. Now, while this layer is still wet, I'm going to shift into my smaller size brush. I'm using a detailer zero size brush and using it in the same color. But in a darker consistency, I'm going to add in some wet on wet wave details. Now, in case if you want to darken up the color further, you can either use a blue and indico color or just mix in a hint of pans to your cerlian blue to get in dark. Now I'm going with very simple wave details, but here I'm working wet on wet. That is my base layer is still wet. And on that, I'm going ahead with these wet pains to create in the wave details. When you're working wet on wet adding in the wave details, make sure you do not have excess water on your brush. Otherwise, they will spread a lot and you will not get the wave details, rather they will spread and just create in a patch of color instead of giving you these wavy line details. So whenever working wet on wet with details, it's important to have in that water control so that the strokes have a soft esh because of the wetness of the paper and paint. But they even retain the shape in which you're trying to add them so as to show in the detailed look that you want to achieve in here. Okay. Now, using a little darker hint, I'm just going to create a little crashing wave effect, moving from bottom left to the top right. You can see how gently I'm going ahead. And still, you can see it has a soft edge because of the wet on wet consistency. But my waves have retained the space in which I'm adding them because I'm not adding these pans in an extra liquidity or watery consistency. Just adding in some darker waves at the bottom, and then we'll move on to the layer of details on the deck space, creating in the wooden texture. Now, lastly, I'll just add in some darker waves randomly at certain spots. Again, water control is very important. My paper is still wet, so you can see the soft effect of the waves, but still the shape of the wave lines have been achieved. Now, let's go ahead, add in the texture details onto the deck space. For that, I'm first going to go ahead with dry brush texture. So I've shifted into my smaller size round brush. Now, using in a medium darker tone of brown, I'm just picking to add in some texture. You can see it's the dry brush stroll So if you notice I'm moving this dry brush technique in the movement of the logs. So diagonally on the left and diagonally on the right, and in the center, they were a little straight. Now, whenever you go ahead with the dry brush technique, keep in mind that your brush does not have excess pigment or water. Or else you will begin getting in patches of the color. Your brush has to be dry. You need to have very little pigment on your brush so that when you try to dab your brush like this, you get in these dry brush strokes creating the texture onto the paper. Plus, if your paper is a little rough grain, it helps in getting the texture more easily because of the grains of the paper that make the movement of the brush a little difficult, creating in those textures more detail. Now, we are going to go ahead and create in a little wooden log detail. So I'm going to shift in to my smaller size round brash. This is a size one round brash and using in the brown color. I'm going to begin darkening those lines that we created to separate out the wooden logs. And then in between each of these, we are going to create in some wooden designs by just creating in some spirals and rough lines here and there. Now, these lines also that I'm adding, if you want, you can just quickly use a t brash and blend them a little into the base layer, creating in little soft darker effect to these as well. Now, in between each of the logs, I'm going to go ahead with a little darker brown hint and begin creating in the wooden spiral texture. You can go ahead and leave it here as well if you wish to and do not want to add in more texture. But I'm quickly going to go ahead and create in some simple spiral strokes randomly. You can see I'm breaking them in between. This is adding in so much more realistic effect to the wooden log details, creating in that real wooden effect. You can go ahead with random strokes and need not be in circle formats. At certain places, you can just go ahead with simple straight strokes, but make sure your strokes are not straight. They are a little curvy and twisted randomly here and there. In every log, you will see the placement of the spirals would be different because of the, you know, natural effect of the wood that can be used. So you will notice that I go ahead with random placement of the spirals and random strokes. So this will keep on varying for each person to person how you want to place these strokes here. So I'm quickly going to go ahead add in these kind of strokes into the remaining wooden lock details as well. You will see on the left side, these strokes were also diagonal, so as to create in that effect in the center space, I kept the strokes also a little center oriented. And now towards the right, these strokes are going to be little diagonal tilted towards the left side. Again, to show in the effect of the wooden lock placements. You can use in multiple colors of browns to add in these textures as well. It's all onto you, how you want to create the natural effect of the wooden details here. Now, using a medium tone consistency of the vend town color, I'm going to add in little darker depths randomly on these wooden lock spaces. And then we'll just quickly add in a small mountain range on the horizon line, and we'll be ready with our class project for day 11 as well. You can see I'm very randomly just adding in some darker lines to show in some shadow effect in between these lock that have been kept to create in this entire space. Now, lastly, using in pains gray color or the vende down color. You can just add in a very fine mountain change on the horizon line. If you want, you can leave it here as well, but I'll just add in a very small mountain range. I'm using the pains gray mixed in with a little bit of the vende crown and using in a smaller size brush, I'm just going to fill in this entire space till the horizon line. I'm not taking this entire space till the left end, as you can see. I've kept that left space a little empty. If you want, you can take a very fine line till there if you wish to. Just be careful that you do not lose your horizon line and going in with a straight line defining the mountain range and the horizon line well, such that you have the perfect distinction in the beach and the sky as well. So towards the left ear, I'll just give a very fine ending. You can see just a very fine line, not even taking it completely till the left end. So let's remove in the masking tape and see a final painting. I hope you guys have enjoyed painting these wooden details this time. It was something new creating in texture and details giving in that realistic effect. So make sure you remove your masking tape once your edges are completely dry. So here's a closer look at a painting from day 11, a very simple evening beach view with the perfect wooden deck details. You can see the details of the clouds as well, those white caps, the different color tones of the sky. Thank you so much for joining me into this class and painting along with me. I will see you y soon into the day 12 class project. Till then, make sure to aplo your class project and drop a review if you like this class. 14. Day 12 - Red Cabin: Hello, everyone. Welcome back to date 12, and the colors that you need for today's class project is Indigo, red, Burnt Sienna, Wendi Brown, Sap green, olive green, white, black, and paints gray. So these are all the colors that you would be needing. You can surely use alternative colors. So let's begin with a very basic pencil sketch. We're going to mark out that field space, and going to add in that beautiful red bin house on top of the field space. We are going to paint a very misty kind of a sky with a simple indigo tonal variation. Now, almost in the center space, you can see I'm going ahead with the siloate of the red cabin that we'll be adding in. Now, this silohate can vary for you if you wish to go ahead with any other siloate of the red cabin, or even the placement, you can even add multitiple red cabins if you wish to. So that's absolutely a choice, how you want to vary or play along with the silo. I'm going ahead with very basic minimal outline details for now. And then once we begin painting, we'll begin adding in the depth using in the different tonal variations of browns and red to show in the depth and the shadow effect. Ohh So I've added in all the doors and window details as well because those we'll be leaving in white. Now, first, we'll begin in with the sky, then the field and then the cabin house. So for the sky, as I told you, we are going to go ahead with a very simple indico color sky. So I'm going ahead with a layer of water onto the entire sky, but I'm not going to add in the water into the cabin space, so make sure that you move across very carefully closer to the cabin area so that you do not let the water in the. Now, make sure that, you know, You have an even layer of water throughout. We're going to go ahead with a very simple indigo tonal variation. At the top, we'll have a little darker pitch, and moving downwards, we'll just create a misty kind of a sky, trying to show in a winter evening feel. So just picked up the indigo color, and I'm just going to begin with the flat brush itself. You can see at the top, you'll see me adding in the colors. And moving downwards, I'm just going to drag my brush to get in that tonal variation. This will automatically create a darker highlight at the top, and moving downwards, giving you very light tonal variation of the indigo color. Every time you pick up the color, make sure to run your brush again from the top and moving down, you just keep dragging the co with the help of the water so that you have that very beautiful gradiation happening in from the top to the bottom. It's going to be a very light sky, not much details, just a simple tonal variation study that we've already done in the technique section. So just following in that simple method creating in the sky here, Now, you can see I am running multiple times with the color because remember, watercolors dry or tone lighter. So I want the tone to be a medium tone. So that is the reason. While the color is still wet, I'm running in with enough stroke so that to make sure that after drying, I have that light beautiful effect. You can see how the colors are flowing here from the top to the bottom. I'm just dragging my paper in all directions so that you can see how the flow of the indigo color is happening in right now. So that's it for a sky. We'll wait for the sky to dry and then move on to the field space. So now my sky is completely dried. And for the field, I'm going to begin with the greens. So I'm first going to pick up the sap green color, just add in a little in between here. And I'm directly going ahead with the wet on dry here because it's a simple field detail. Using in little white in between to create the lighter depth. So I've just added in white quash along with this green, and first adding in this layer completely onto the entire field space. You can see the line is not straight. It's a very curvy and unfinished line, so as to show in that realistic field effect. Now, using in the sap green in a little darker consistency, I will begin pulling out the darker depth from the edges and begin creating in the depth into the field. Now, when you're working like this, make sure you do not have excess water in your brush. Otherwise, it will be very difficult for you to get in the details, right, because the colors will begin to spread a lot. So whenever you're working wet on wet, it's very important to have the water control on your brush. Otherwise, the colors spread and create a patch of color instead of giving you the shapes. Right now, if you see all my field strokes are staying in the shape in which my brush is adding them. Automatically creating in the depth and those, you know, details off the field. Now, as we keep moving forward, we are going to keep adding in darker strokes from the edges. So I'm just randomly switching in between greens, and for creating in little darker greens, I'm going to add in little browns and paints gray to my green to create darker greens. You can even use vendre green or any darker green if readily available in your palett In case if you do not have ready dark green color, you can simply add in browns, pines, gray, blues to your green to create little darker green details. Now, with every stroke, you will see, I'm beginning to add in the darker depth from the edges. But every darker color is less as compared to the previous color that we've added. So in that way, you will automatically see a field has multiple tones of greens coming in, the center being very light, and from the edges, darkening up stroke by stroke. Now, under the cabin, I'm giving in darker green depth to create in the shadow effect there. So I'm adding this while the field space is still wet, and once we add in the cabin, if we need any adjustments, we'll go ahead later on. Now, again, I'm adding a little more darker greens from the edges. I have taken a small, you know, a few seconds break in between, so that the previously layer greens settle in and then adding in this, but my paper was still wet while the time I added all of these green layers. So now you can see a sky is pretty simple giving in that misty effect. And for the field, we've added in very simple details. Now, moving ahead to the cabin, I have picked up the bold payroll red color and going to add in the base roof of the cabin with this color. The entire cabin is mostly going to be red with highlights with the help of browns and whites later on. Now, while this red is still wet, I'm going to pick up the light red color or the percena color, or you can use in any little light brownish tint and add it onto the edges to create in the depth. So with every layer that we begin into this cabin, we are going to use browns to create depth shadows into the cabin house. So only on the edges, you can see I've added minimal brown details wet on wet. All of it has the soft edge, but you can see automatically it has created a little dimension to the roof of the cabin. It's very important that you make sure when you add in this brown, you do not have excess water on your brush. Otherwise, the browns will spread and cover up the reds completely. Now, same way, I'm going to go ahead, paint in the front of the cabin as well with the red color. And to these also onto the edges, I'm going to add in the depth with the brown color. I'm leaving the windows white only, so make sure that you let the windows be white. Now, on to the edges of this as well, I'm adding in the brown tins. You can see my brown does not have excess water, so it's retaining the space in which I'm adding them, still having in the soft edge with the edges, creating in the depth and the blended effect. Now, I've picked up a little darker brown as well this time and adding in a little more darker brown onto the edges and a little strokes into the front space. Now again, all of this is wet on wet. So I'm just running my damp brush again as well closer and blending all of these well because I want to make sure that, you know, all of it has the soft blended edge. Now we'll wait for this much part to dry first, and then we'll begin adding in the details on top of these. Until then, I'm quickly going to go ahead, paint in this front of the red cabin as well here. Now again, here also to the doors and windows, let them be white. Now, very carefully into the rest of the space, along with the green edges as well, I'm adding in the red color. Again, this is a very small space, so you can see we can directly go ahead, wet on dry, and still your paint will be wet enough for a little while until you can add in all of the highlight details with the brown color. You can see how the browns are looking onto the roof and the front entry space that we've created with the help of the browns, how they have the soft edge. But yet giving in that dimension to the red cabin. Same way, I'm going to go ahead with the brown here as well onto the edges. This is wet on wet. My red color is still wet onto which, I'm going ahead with these wet brown paints across the doors and window lines as well, creating in that depth and shadow effect. Again, you will see my brown does not have excess water, so it's not spreading. It's retaining the space in which I'm adding them. But since the red is wet, it's automatically having a soft blended look with the red color. If at any space you feel it's not blending in easily, you can simply pick up a little of the red again and run it with the brown and blend them. Now, I've again picked up a little darker brown and just adding in little more highlights here as well again. So just a little darker hint at random spaces. You can see I'm not giving these darker details onto all of the outlines of the doors and windows, just onto one or two sides that I'm adding them. Now, we'll wait for the cabin to dry, till then we'll add in little floral details into the field. For that, I'm going to pick up the green color to add in little grass details. You can add in white quash to your greens if you do not have a lighter green readily available. Even if you have a light green, I would recommend you adding in a little bit of the white quash to your green so that you get in that opaque effect onto this darker green grass layer that we've created in. So I'm just going ahead with simple grass strokes on the bottom left side, as you can see. First, I'm going ahead with one tone of green onto this. I'm going to go ahead with lighter and darker tones as well moving further. Now, I've added a little more of the white quash to my green, so you can see the green has turned lighter. Now, since Mia's white quash makes your color opaque, even the lighter green will be visible on the darker green field layer that we have already added in. We're going to add in dies as well into the field. For that, I'm going to use in the white to add in. F So using in the white gash and my smaller size brush. You can see I'm going ahead with very simple silohate of the daisy. I'm just using in the tip of my brush, creating in small floral layouts. The center space which I'm leaving blank, there we'll be using in little yellow coral brown tones to create in the bud details. Now we are going to go ahead with little more grass details in between the daisies as well moving further. For now, just quickly adding in these floral silohates. If you want, you can add in these florals in different color variations of pink, orange, violet, yellow as you wish to. I'm keeping it simple, just going ahead with simple white florals here. Now, in the remaining spaces, I'm going ahead with very simple details, just having in some white spots in between to show in some daisies and far off places, trying to create in that depth as well. Using in the yellow occur, I'm going to add in the center of each of these that's creating in the bud to these florals. Again, you can use in little browns if you wish to or use in a little lighter hint of the yellow tones as well. I've added little brown to the yellow c color and adding in the buds. Now, you can see each floral looks different because of the dimension in which I've tried to add them, some of them blooming towards the top, some of them blooming downwards, sidewards. So, you know, placement or the what do we call the perspective of the florals are different. That is the reason the bud regions and the petals of the flowers vary for each of Now, using the green in a very light consistency, I'm adding in some grass strokes in between the floral, trying to blend all of these florals together. I've used the green with a lot of white cores, so automatically this layer will stay opaque, and you can see it's visible perfectly onto the darker green base layer of the field that we already have. Now we are only left to add in little details into the bin before we remove in the masking tape for this painting and have a final painting together. Now, using in the white ash, I'm going to begin creating in little depth into the cavin that we've added in. So beginning in from the front space, somewhere, adding in very fine highlights with the white color along the brown edges, but not overlapping the browns completely. It's a little above the brown, as you can see. This is creating in the depth and the dimension effect that we need in. Now, to the windows and the doors, we are going to use in black or the paints gray color to create in the tap. Now, using in the white shell pen. I'm just adding in little high light strokes randomly. You can see they are not completely from top to bottom. They've been randomly added, but are a little tightnl. You can add the same with the help of the white ash and a very fine tip brush as well. If you want to. And if you want, you can simply add these highlights with the help of the white shell pen as well. Now, make sure you do not add a lot of these at certain places if you feel that it's looking too much. You can simply use in the red color again and add in a small layer on top of it to blend it all well again. Now I'll use in the paints gray color and add in the details into the doors and the windows first. So very simple triangle details that I'm adding into the doors and windows to create in the panes of the windows and the doors. Now, you can again add these as well with the help of a black waterproof pen if you do not have a smaller size brush or are not confident and adding in such small details with the brush directly. So for this, you can even use the black pen, but make sure you use a waterproof one, so that if by any chance, you have to run colors over top of it, it does not spread and spoil or ruin up your painting. Now, using in my fine tip pen, I'm going to add in some details with the black color as well into the front deck space. So very simple highlights that I'm adding in small strokes to create in some wooden effects. Same way onto the roof as well, just giving in very fine highlights. I'm using 0.1 nib pen, so you can imagine how fine this is, along with the white, just adding in some highlights with this black color to create little texture onto the cabin. Now, lastly, I'm just going to pick up a little of the red color, and at certain spots, I feel that the white highlight looks a little extra bold, so I'm just going to turn it a little dull by running in a very light layer of the white tone on top of the red tone on top of the white, actually. So very quickly, you will see a little of the white turning too light and creating subtle effect here. So that is it, Let's remove in the masking tape and see our final painting. You can see on the right top edge a little water seeped in creating in that patch, which I'm a little unsatisfied with, but if I alter it, it will ruin up my entire sky. So here's our final painting for day 12 of this 21 day watercolor challenge. I hope you guys enjoyed painting this simple field with the red cabin with me today. I will see you guys soon into the day 13 class project. Thank you so for joining me into this class and painting along. 15. Day 13 - Between the Greens: Hello, everyone. Welcome back to day 13. And today, we are going to paint this beautiful road view. The colors that you need is pink, violet, violet pink or a pink violet tone, light green, Sap green, olive green, white, black, and paints gray. So let's begin with a very basic pencil sketch. We are going to mark out the pathway and the fields across this pathway. So this time, this pathway is going to be a curvy mountain view road or entire greenery view, like a Hill station view road. So you can see I'm going ahead with simple curves here. In the center, the road is having in a diminishing view. That is, it's getting completely hidden in between the greens that we'll be adding in across. And as we move towards the bottom side, you will see the pathway broadening itself. Now across both the sides, we are going to have a beautiful greenery view moving in in between kind of a hill station view, and the top is going to be the sky. We're going to begin in with the sky first. It's going to be a beautiful pink violet sky that we're going to paint in. So first, we'll begin in with a layer of water as we'll be working wet on wet into the sky. Make sure you have an even layer of water throughout so that you can work we t enough for a longer time, as well as you do, you know, your paper does not dry out at specific spaces quickly. So it's important to make sure that your paper has an even layer of water throughout. Especially, there is no water accumulated on the edges. Otherwise, it will see pack into your painting and create in rough edges like the last time it did for me. Now, I'm first picking up the Qin rose color and a little of the rose pink color. You can go ahead, using any tone of pink that you wish to carmine or a pink tone, or any shade of pink, rose color. And next, I'm just going to go ahead with violet and add in details to this. But first, I'll quickly add in a little more pink highlight. So you can see the base layer of the pink I'm creating in a very light layer. The cloud details that we'll be adding will be with darker tones of pinks. If you want, you can even use a little of the magenta color to add in the darker strokes. Now, I have this tone called as pink violet from this set, which is a mix of the pink and the violet color, which is kind of a dark pink moving towards a violet kind of a tone. So you can use a magenta color in a little medium consistency to get a similar looking tone. Now, using in the tip of this mop brush, and this darker tint, I'm beginning to create in the cloud details wet on wet. My first layer of the pink is still wet onto which I'm going ahead with these wet details you can see. Now, make sure you go ahead in such a way that the lighter pink strokes are still visible. Working wet on wet, you have to be sure that you do not have excess water or pigment on your brush. This mop brush holds a lot of pigment and water. So if you're working with a mop brush, make sure that you make sure that, you know, You do not lay down excess water or pigment onto your paper as well. So here, I'm going ahead with these details. Now, after this, we'll add in highlights with the violet color as well into the sky. So now I've picked up the violet color in a medium consistency and beginning to add in clouds. You will see they're overlapping onto the lighter and the meg end pink tones that we've added in. I'm mixing it with a little hint of pink first for the first clear, so that olf it looks splendid, and you have a beautiful color transition moving in from the lighter to the darker tones. Are even going to add in little darker violet highlights as well. You can see for adding in these cloud details, I'm majorly just using in the tip of my brush to add in the details so that we do not lay down excess pigment. My paper is still wet, hence I'm able to get in the soft blend to my clouds. But since I'm working wet on wet, I'm having in the water control on my brush, which is helping me make sure that the paints stay in the space in which I add them and do not move across to the rest of the spaces. Now, we are next going to paint in the pathway. We will not wait for the sky to dry here. We'll directly go ahead with a layer of water into the pathway. The pathway is going to have little pink and violet highlights to show the reflection of the sky colors along with little of the pains gray highlight that we'll be creating. It's going to be a very light tone variation of the pines that we'll be using here for the pathway. So first, I'm using in the CPA color, in a very light consistency, you can use any light brownish tone for a light layer of the pathway. You can even use paints gray if you wish to directly. A very light layer, you can see it's almost equal to a white layer that I've gone a headway. Now, picking up the pinks that we've used in the sky, adding in highlights to create in that reflection of the sky falling onto the pathway. We'll be working layers on this to create in the depth. So you can see, I'm going ahead with very light consistency of the paints, as well as these paints are in a little watery consistency, making sure that these are spread across easily. Now, I've picked up the brown and onto the edges, I'm going to add in the brown. Again, the brown will also be in a light consistency because I'll just try to blend them in. All right, we are still working wet on wet. You can see a lot of water making sure that the pigments are in a light consistency. Closer to the sky point, make sure you do not drop too much of the paints altogether there because it will move into the sky because the sky is still wet, so leave a very fine gap in between the pathway and the sky, which will get covered up later on with the greens. Now, with the paints gray, I'm beginning to create in the darker depth at the bottom spaces. So again, paints gray, also, you can see I'm using in a medium tone consistency. I'm dropping the paints gray on the edges to create in that depth of shadow across the pathway. Now, I'm still going to go ahead, blend in, add in little more pins. So now I'll quickly clean up my brush and blend these colors. Make sure you do not add in darker tints anywhere. Go ahead with very lighter tones and light handedly. At the top space, I'm going to keep the pathway very light. And at the bottom, I'm only going to add in the darker hints. So from the top again, I've lifted up wherever I feel that the tones are turning darker. Though, remember, watercolors will dry or tone lighter. So at least leave that much tone that after drying, it has in that beautiful effect there. Now, I'll shift into a smaller size brush to add in some more fine strokes into the pathway. So using in the paints gray itself, I'm just going to add in some darker depths at the bottom spaces. And I'm going to add in little more pink highlights at the top as well. So as I told you, at the bottom, we are going to have in these little darker highlights of the paints gray color. But in the center towards the sky space, we are masally going to have in that pink and brown highlights. Even at the bottom left, you can see the brown highlight is beautifully visible still. So now my pathway is also completely tried. You can see the beautiful light effect that we've got on the pathway of the pinks and browns. Now moving to the greenery spaces across the pathway to create in that beautiful, you know, mountain view kind of a detail. I'm going ahead with the light green color first. This is the light green color. I'm using it in a bold consistency. It has a little opaque consistency, and it isn't transparent. I'm going to go ahead very carefully across the pathway line so that you having that perfect distinction. On top of these, we are going to go ahead with a lot of greens. So basically, these two patches of the greens, you can go ahead with greens of your choice, and just keep on dropping in greens. I'm randomly going to be using in sap green, olive green, light green, hookers green and vended green. Now, the shades of green in your palette may vary, so you are free to use whichever choice of green you wish to. In case, if you want to create lighter and darker tonal variations of greens, I'll give you the different combinations that you can use. So firstly, to create in lighter greens, you can mix in white or yellow to your green to create lighter variations. To create darker greens, you can use brown, blue, and paints gray. You can mix either of these to your greens to get different variations of the greens. Now, that will be through a little trial and error by mixing that you will understand what shade of green you already have How it becomes into which tone of green when you mix it with brown or blue or black. Or if say you want a lighter tone, how does that creen turn if you want to create a lighter green with the help of white and yellow? You can alternatively mix both and create in the tip. Now using in the vended green color at the top, I'm creating in these simple pine tree details. These are the filler pine tree kind of fl that I'm adding in, not the detailed ones. I'm still going to blend in the darker greens as well at the bottom. You can see the beating point of the pathway and the sky is covered up with the greens now. O So I've added in the details at the top. Now at the bottom, it is still wet. I'm going to go ahead with this taker green create in the depth. Very randomly, you will see I just drop it in, and since the green layers are still wet, you will automatically see the colors blending flowing along smoothly, creating in the depth. Now, I'm just picking up a little pain c as well to create more darker depth. Since I have a lot of taker greens, but if you need variations, you can even then use brown and black to create more depth. O M Now, in the center space, randomly, I'm just going to go ahead with a little lifting technique to create little patches of greens. So randomly, you can see in random strokes, I've picked up a little green to create in that little lighter space. Now, across the pathway, going ahead carefully and giving in the shape to the pathway, giving in those curvy details with the darker green. So go ahead very carefully because here, if you run and try to, you know, fill it up quickly, it may create a mess and you may lose the lines to the pathway. Mm. Now again, using in the first lighter green color in a bold consistency. I'm just dropping it in between the darker greens to create little highlighting patches. My paper is still wet, so you can see all of these greens automatically has soft blend, but gives in that patchy field look, creating in that realistic effect of the field. That is why I recommend you that you use in greens in different tonal variations in such a way that you make sure that all of the greens are visible, that will give it that realistic look. At certain spaces, you can see how the darker spots on the edges creates in so depth and realistic effect of the shadows as well. Now, the same way as we went on the right side, we're going to go ahead on the left side, beginning in with a layer of the lighter green, moving onto the darker greens. And at the top, I'm going to give in the same kind of simple pine tree silo height detail with a darker green color, moving a little into the sky. When you add in those silo height of the pine trees as well, make sure that you use in these strokes in different height variations. You will see on the right side, I've added it moving in smaller in the center, and moving towards the edge, I've kept on increasing in the height, creating in that effect. So you need to make sure that, you know, you have in those realistic effect by varying in the heights because no tree is going to be of the same shape height ever. Now, beginning in with the darker green here, meeting both the points of the left and the right side in the center of the pathway space. I'm first adding in a little darker green patch onto the lighter green, and then on top of this, I'm going to begin pulling out those strokes now. Make sure you use in a smaller size brush, which has a pointed tape. Only then you will get in these details right. Now, again, you will see I'm wearing in the heights of t, s, taller, shorter, so as to give in that realistic effect. Uh, my brush has a pointed tip, so I'm able to get in these details with even a size four brush. But in case if your brush does not have a pointed tip, make sure to shift into a pointed detailer brush so that you get in these details, right. Now into the rest of the field, I'm going to go ahead same way as we went on the right side and quickly add in the details of the greens. I'm going to keep on using very alternate shades of greens. I don't even exactly remember which green from the palette I've been picking up, so I would recommend you to go ahead with your own shades of green creating in the depth here, making sure that you have all the different greens visible, some lighter, some darker depth, somewhere creating in very dark turning edges to show in those shadow and reflection effects as well. On my right side, you can see the patch has almost tried, but there are so many tones of greens that is visible, which is creating in that realistic effect to that green patchy space that we're trying to create across this pathway, giving in that perfect, you know, it view that we're trying to a in here. I just felt like adding in little green here, blending in that top line because it was looking a little distinctly dry. Just quickly added in the green using in the dam rash, blended it down so that it does not have that sharp edge. I'm just going to redefine these little spiky strokes here as well onto the left side. Now, you can see how simply you can overlay also and correct in creating in that patchy detail. First on the right side, the pine trees were looking too dark and a separate line was there. So I just ran with a little of the green blended it into the pase layer so that we do not have that one patchy line distinctively. Now, using in the panes cray, adding in little darker depths as well onto the left side. But you can see at the bottom space, I'm trying to maintain in that lighter glowing effect of the field on the left as well. Now across the edges of the pathway, adding in very fine line to show in the shadow effects, and make sure that you'll blend this as well. I'm adding this onto the inside side of the field so that the field is already wet, and using in a dam rush, I'll quickly be able to blend this with the greens and having that soft effect of shadow. So now quickly using in the greens on the edge of this. You can see I'm blending it in with the field space on the inside part. So automatically on the edge, you will just have that darker line of the paints gray color, but it will have in that blended effect into the field. We are almost through this class project, just left to add in some white details onto the pathway and the moving effect with the yellow color of the roadway. Now, before I get done with the greens, I'm just going to go ahead, add in some lighter green spots randomly. So you can either mix in white quash along with your greens and add in or yellow, or if you directly have an opaque lighter green color. You can even directly add that. You can even go ahead with a lifting technique as we went ahead on the right side, or here, my paper is still wet, so I'm just dropping in little pains randomly. So that is it. Both the field spaces. Simple one, just using in greens we've created in so much of the texture and depth. Now we'll go ahead and quickly squeeze out some fresh white quash to add in the details onto the pathway. You can even use a white gel pen if you wish to, but I'm going ahead with the white quash. I'm going to use it in a bold consistency. I'm using a size double zero, fine tip brush so that I get in these details across the pathway very fine and detailed. Now again, you can see since my paper is taped down on a movable surface, it's so easy for me to just tilt my board according to my hand convenience, and it gives me a grip to my hand as well to add in these lines swiftly into the pathway space, creating in the depth effect. Same way, going to add in this line onto the right side as well, creating in the detail. Now, this time into the center line of the pathway, that is the moving line of the pathway. I'm going to use in the yellow color to depict in the depth there. If you want, you can use in the white color, but yellow will give it a beautiful effect. For that, I'm going to mix in yellow to my white cos so that I have a beau bold opaque layer. So mixing in yellow with the white creating in this beautiful light yellow color. I'm going to add in two lines into the center space. So wing from the bottom here, make sure that you're using a very fine tip brush. In case if you're not confident about adding the curves directly with the paints, you can have a fine pencil outline and then go ahead with the paint. I'm mixing in a little more white to my yellow so that it stands out more brightly onto the pathway in the center space there. Now moving into the greenery space, the line is going to be a diminishing one. So accordingly, we are going to add in the second line there. I just turn the yellow a little more bright and going ahead with the same light yellow color on top of the first line that we've added so that I have it in a further lighter tonal variation. Now going to go ahead with the second line. So at the bottom, the second line will be completely visible. But as it moves towards the center of the pathway and towards the end of the pathway, the line will blend into the first line, giving in that diminishing perspective effect that we're trying to. So that is it. We are ready with our class project for Day 13. Let's remove in the masking tape and see our final painting. Make sure you remove the masking tape against the paper so that you do not tear off the edges. And especially you also make sure that your edges are completely dried before you begin peeling of the masking tape. Otherwise, the paints may get lifted onto your fingertips as well, ruining up your edges. So here's a closer look at our painting from day 13, those lines meeting in the center, the yellow path, the white lines, the simple field you're just using in greens, creating in textures. I hope you guys enjoy painting this with me today. I will see you guys soon into the day 14 class project till then, thank you so much for joining me. 16. Day 14 - Candy Sunset: Hello, everyone. Welcome back to Dave 14. And today, we are going to paint this amazing sunset. The colors that you need is pink, violet, indico, Naples yellow, orange, white quash, black, and paints gray. You can use any shades of these stones, whichever is available in your palette or create alternative mixes with the help of basic colors. So let's begin with a very light pencil sketch that's going to be just marking out the horizon line. Now, the sky and the sea are going to be a reflection of each other. So the colors of the sky will be exactly into the reflection of the sea as well. We are going to be painting a beautiful pastil violetish tone of a sunset view this time. So first, we'll paint the sky and then move on to the sea area. So for this sky, we are going to go wet on wet, so beginning in with a layer of wet water. And then we'll move on to adding in the details into the sea. I'll just correct this horizon line a bit because it seemed a little moving diagonal. So I'll just straighten this up at the right edge. Now, beginning in with a layer of water into the sky first. Make sure you have an even layer of water. You can see I run my brush multiple times to make sure that the water is spread all across evenly, and there is no water collected on the edges mainly. Now, into the sky, I'm using my half inch flat brush, pinning in with the Naples yellow color. Now in case, if you do not have a Naples yellow color, you can simply mix in your permanent yellow light with a little bit of white color and get a pastal yellow tone like this. Next, I'm just going to pick up a little of this shell pink color, which is nothing but a skin tone. In case if you do not have this, you can just use in a little hint of white gash there. Basically, I'm using that color to create a transition from the yellow to the pink, giving in little lighter hints in between. For the pink, I have used in the Quin rose color. You can use carmine, Qin rose, or magenta or any other pink that's available in your palette. Now, after that, moving on to the violet color, you can see for the first layer of the pains, I'm going with a very light to medium tone consistency of the pains. Now at the top, moving ahead with the indico. After this, I'm going to run on with the same shades into a second layer and create the darker depth, giving in that beautiful, dark Sunset night view setting in. So make sure you work in layers so that you can get the blends between the colors right, also get in the proportions right. Always remember watercolors will dry or tone lighter than what you see on the paper at the moment. So always make sure you have an idea how your watercolors dry. Some watercolors may dry too dark and some dry light. So depending on the brand or the quality of the paints that you're using, it will differ. So make sure you first swatch it onto a rough sheet if you need to, and then go ahead onto your final class project so that you know how your colors will react after drying, and then you can add them into the consistency accordingly, so that after drying, you can get in the desired result. Now going ahead with one more layer of the darker hints so that I have that bold effect coming in. So basically, you will see I'm running in with the same color tones that we've been using just in different layers to create in the depth. I've just squeezed out a little more of fresh dico to add in at the top creating in the darker depth. With every layer of pain that you add in, it's important to blend it again so that you do not have any sharp or uneven edges coming in in between the colors. While blending, you can either use water or you can use in the lighter tone to create the blend. So say in case if you want to blend the yellow and the pink again, you can pick up a little yellow on your brush, and with the help of yellow, you can blend it along with the pink. Now, I'm going to go ahead, just adding a little more pink highlight, and then we'll begin adding in some orange highlights onto the horizon line over the yellow color. Now, I've switched into my size four round brush. This has a pointed tip, and beginning in with the orange color. I'm beginning to add in the highlights on the horizon line. So first on the horizon line, I'm giving a very fine line of the orange as you can see. And then I'll begin adding in little cloud effect with this orange color onto the yellow. But it has to be in such a way that you need to make sure that your yellow is not completely hidden. You have to have in that yellow highlight along with the orange highlights that we're trying to add in. So it's so easy for me to just tilt my board to adjust my hand movement and get in the flow of the colors right and easy. Now, just using in the tip of the brush, I'm adding in these highlights as you can see. I'm having in the water control, that is, my brush does not have an excess water or pigment. My paper is still wet, so all of these strokes are having in the soft edge. But they're retaining the space in which I'm adding them because of the water control that I have while adding them. Now, at certain spots, if you want, you can use a little of the yellow to blend in the orange and given that soft effect. Next, I'm going to use a little of the darker pink tint to create in some highlights. So I'm using this pink violet color. You can simply use in pink in a darker consistency. That is the reason why blending the pink and the yellow, I used a little of that lighter peach tone, which you can use white to create that little lighter pink effect. So with the pink as well, you can see I'm adding in simple strokes into the sky to create in the cloud effect. It's very important that you make sure that you have the water control while adding these. Otherwise, they will spread and cover up the entire space. Now we are ready with our sky, so we'll wait for the sky to and then move to the sea area. So now my sky is completely dried. I'm going to begin in with the sea. So for the sea, also, we are going to go with the same color layer, beginning in with the yellow, closer to the horizon line. So for the reflection, basically, it will work, the color that's closer to the horizon line will be the same color that's closer to the horizon line in the sea as well. So I'll begin in with yellow, then move to the pink, violet, and then the indigo color. In the sea, I'm going to use in a little of the pines gray as well at the bottom space to create more darker reflection of the sky happening in the sea. So first, creating in the base layer, then we'll create in the similar looking cloud shadow effect as well into the sea. Now, lastly at the bottom, I'm using an indigo in a bold consistency. If needed, I'll add a little of the hint of paints gray as well at the bottom. But for now, you can see I've used the indigo in a very bold consistency, and now at the meeting point, I'll quickly run this damp brush so that there is a smooth transition happening between the tones. Make sure that after every stroke you clean your brush, otherwise, you will see that the indigo color lifted on your brush will get laid over the yellow and create a patchy effect. So it's important that when you have taker tins, you clean your brush when you're again blending the top lighter spaces. Now, into the sea as well, just adding in little darker effects of the pink. Again, you can see, whenever I'm blending regularly at regular intervals, I'm dabbing my brush onto the tile and cleaning it with clean water so as to make sure that when I pick up fresh paint or blend the other lighter tones, I do not lay colors over each other, creating in muddy and, you know, patchy effect. So I'm done with the paste layer as well. Now, what we're going to do is create in similar looking reflection of the sky into the sea using the orange and the magenta tones. So now I've shifted into again, my smaller size brush, and using the orange color closer to the horizon line. I'm just going to create in similar looking strokes. Basically, the reflection of the sky clouds falling into the sea exactly. So where in the sky, you've given little orange highlights, just given little orange strokes similar way in the sea. But again, making sure you still have the yellow parts visible, creating in a highlighted effect. Same way, going to go ahead with pink color to create in the strokes. Again, my sea is still wet and onto the wet sea, I'm giving in these stroke details, creating in the depth. So you will see wherever in the sky, we had the magenta highlights. Similar spots in the sea, I'm trying to add in similar, you know, strokes. Some of them may look different, but that's okay. That's how the reflection and shadows will look. And we're trying to just replicate a similar looking sky reflection into the sea. Now, I'm just going to give in a little darker effect on the horizon line. So I'm just turning my board so that I do not lay my hands onto the wet sea space. On the horizon line, using the pink color. I'm giving a very fine line. And this line, I will quickly blend it into the bottom of the sea, trying to just give in that highlighted effect, giving in that distinguishing point of the sea and the sky. So quickly using the damp brush, you can see I'm blending this color into the sea, so that it does not look like a fine line added there, rather, it looks like that horizon line bold and beautiful. Mm So you can see completely the pink color has been blended. There is no fine line visible. It has that very fine, distinctive line giving in that horizon view, but softly blended into the sea area, giving in that perfect effect. Now, I'm just going to add a little more pink strokes before we completely and then move on to the last leg of details of this painting. So now let's move on to the next layer of details. My sky see both are completely dry. Now, using in the pines gray color. I'm just going to begin adding in some details on the horizon line. So I'm just going to create in some small patches with the pines gray color, giving in some bushy patches on the horizon line. It's not going to be throughout the horizon line. I'm going to give in little empty spots in between, so we're going to create in four to five bushy patches on the horizon line. They're going to be very, very tiny, giving in those delicate look and feel to the painting. So the simple technique that I'm falling here is at the top. I'm just tabbing in the tip of my brush, creating in that bushy detail, and at the bottom till the horizon line. I'm just filling it completely with the darker tint of the paints gray color. You can either use black, brown or if you want, you can even use in a little highlight of the violet tints here as well. It's absolutely your choice. I'm going ahead with a paints gray color in a very bold consistency as you can see. Now, in between the bushes as well, you can see I'm leaving gaps at the horizon line and giving in these patchy details of the bush. Not every time it's necessary that you need to fill in the entire horizon line. I'll just add in this last one here, a little on the left edge, and then I'll just give a very small detail on the right end as well. But in between each of these bushes, you can see some gaps left in between, giving in that little more detail and depth to the horizon line. Now, similar way, we are going to be adding in a few rock and patchy details into the sea as well. And to those, we'll even be creating in shadow spaces. So sing in the same pains gray color, the smaller size brush. Now I'll begin adding in the details into the sea. So just very small, tiny rock, patchy details that we are going to create in first. And then I'll show you how we'll add in a small shadow to those into the sea spaces. Now, these rock details, I'm going ahead very randomly. Somewhere you will see very fine lines. Somewhere you will see some bigger rock details, somewhere, just some, you know, simple, small dots that you can add in to show in very small tiny rocks floating into the water. So just very random details that I'm adding in here. Now, quickly using in a dam brush, I'm just going to run at the bottom of these lines to create a very light shadow effect of these falling into the water. So just using a dam rush at the bottom line of these rocks, you need to just blend it into the sea and move downwards, moving downwards, you will decrease the length of these. You will see how this beautiful light tint is acting as the shadow to these rock and patchy details that you're trying to add. Creating in the depth into the sea, giving it a more realistic effect. So to each of the lines at the bottom space, I'm just turning a dam brush, blending it into the sea, creating in that soft reflection shadow kind of a detail. Now, at the bottom here, I'm going to add in one big patch, and to that, as well, I'm going to add in a little reflection. So to this, what I'll do is, I'll add in a few more lines at the bottom space and take it a little longer. Now, same way, using in the dam brash, blending it at the bottom space, creating in that shadow effect, giving in that soft blended effect. Now at certain spots, if you wish, you can add in a few more of these details, make sure you do not overdo it also. So you can see first I added a few at the top, then added at the bottom. Then I felt like adding in a little more year on the right side. So went ahead and added in more. So it's very important for you to understand that, you know, you need to go ahead adding in the details a step by step a little because you can always add in, but then subtracting would be a difficult task. So it's better to add in step by step and little by little. Now, on the left side, I'm just going to add in very light dry brush detail using in this paints gray color. Little and very light you can see. And at the top, I'm going to add in little dry brush wave details using in the magenta color. So I'll pick up the pink violet or the magenta color in a bold consistency without much water or pigment in a very thick consistency so that I can get it in a dry brush effect. Make sure if you feel that there is excess pigment or water, you can dive it onto the tissue or the rough cloth that you're using. Then begin dragging your brush to get in this dry brush effect. Again, we've also discussed the dry brush technique in the technique section, so if you are an absolute bigno, you can visit the technique section, understand the dry brush technique, and then go ahead, add in these highlighting strokes into the sea area. Now, lastly, using in the white ash, I'm going to add in a moon into the sky and create the perfect end to this beautiful painting. So make sure you use in the white ash in a thick consistency. You can even use white acrylic or your white pen. White watercolors will not give you this bold effect, so it's important to use an opaque color consistency so that you have that opaque effect to the moon. Now, the silhouette of the moon also can vary for each one of you, as per your choice. I went ahead with a very quarter looking moon. So let's remove in the masking tape and see our final painting. Make sure your edges are completely dried before you begin removing in the masking tape and always pull off the masking tape against the paper so that you do not tear off the edges or lift up the paints. So here's a final painting from Day 14, which is one of my absolute favorite from this 21 days series. I hope you guys enjoy painting this beautiful sunset with such beautiful tones of colors. I hope you guys enjoy painting this with me. And if you like this class, make sure to drop a review so that it can help me reach maximum students. Also, make sure if you've painted along with us to upload your class project so that we can share it with each other. Thank you so for joining me. 17. Day 15 - Galaxy: Hello, everyone. Welcome back to Day 15 of the 21 day watercolor challenge. The colors that you need for today is pink, Brucian, blue, indico, Naples yellow, orange, brown, white, black, and paints gray. We are going to be painting this beautiful galaxy for today. So let's begin with the class Projet. I have my paper taped down. There is no pencil sketch. We are directly going to begin in with a layer of water, and then begin adding in the colors into the galaxy first, and then create in that pathway for the pine trees with the muddy view later on. So first, going ahead with a layer of water onto the entire sheet. Make sure you have an even layer of water throughout, and there is no excess water collected on the edges. Also make sure you run your brush multiple times so that your paper stays bet for enough time for you to work wet on wet because we're creating in the view into the galaxy, we're going to be working in a lot wet on wet. D. So I'm first pining in with a medium tone of yellowish orange color. You can even begin in with a orange and yellow mixed tone. I'm just picking in randomly and dropping in the colors, and we'll try blending in the colors together while tilting the paper. So we are going to go ahead with a lot of wet consistency of the panes here. Now, next, I'm going to pick up the pink tone. If you do not have the similar pink color, you can go ahead with scarlet or a p permanent rose, whichever pink is available in your palette, and just dropping it closer to the orange like this. Uh, you can see my paints are also in a little watery consistency as compared to the other class projects that we've been painting so far. I'm keeping my paper a little stilted so that the paints are flowing towards the top side. Now, pining in with the fution u color closer to the pink toes, you will see the blue and pink mixing in together, giving you the violet toes. Completely onto the sides, I dropped in the fusion blue color now. After this, we'll shift on to the indio color, dropping it onto the edges, creating in the tack of edges. You can see the pink and the pink and the blue creating in the violet color blend and giving in that violet tone. Now I'm going to keep tilting and on the edges, you can see the excess water that streaming. I'm going to lift it up with the help of the brush and it. You can even use a tissue on the edges to lift up the excess paints that getting collected onto the edges. Now on the edges, I'm bending in with the indigo color. You can see I'm only topping it onto the edges and it will automatically begin to flow in and blend in with the phan blue and the pink tones. You need to blend in the colors in such a way that they all have a natural plan. You need to use the colors in a little battery consistency to get in the plans right and the right flow happening in between the colors. Now, I'm dropping in a little of the cobalt cream hue color here to create in that little and lighter tones in between tandomly, it's completely optional to use it. You can even use any lighter blue or a greenish blue tone here. Now I'm randomly dropping in the pales, but right now if you see the blends between the pink and the blue is not completely looking natural. We are going to go ahead with another layer of the pales to create in the blends. Now, the way you tilt your paper is how the colors will flow. If your paper will be tilted downside, the colors will flow towards the bottom space. Now, picking up the pink, adding it on the pink spot again. So you will automatically see how the blends are happening between the pink and the blue as soon as you layer down the second layer of the pink tones. Now, you need to keep tilting your board in different directions so as to make the colors flow in naturally. Now, picking up a little of the orange again, closer to the pink, and then again, a little of the Naples yellow that I adding at the bottom space. You can see how the blends are happening in smoothly. It usually requires two to three layers of colors to create in the blends and the flow happening between the colors smoothly. So I've just tilted my board in direction so as to get in the blends dry. Now, I'm going to squeeze out a little bit of the white quash onto my palette separately because we're going to create little highlighting spots as well into the galaxy. For that, we're going to use in the white ash and drop it into our galaxy in random spots, using it in a little medium tone consistency. My galaxy is still wet, so wet on wet. I'm just dropping in little watery consistency of the white pines using in the tip of the crash. Now, at this point, if you see the blends may not look smooth, but we have to create in the smooth blend and flow happening in between this as well. Every time you pick up white paint, make sure your brushes clean, or else you may get in muddy tones. Make sure that your brushes also clean, and as well as you are using in clean water to drop in the white paints. You can see previously when I dropped it from one spot to other, it had a little muddy consistency. Now I picked up some fresh paint and dropped in. Now again, I'm going to pick up little blue and the pink tones randomly and add them here and there, mixing in with the white, creating in the plants, and those glowing spots into the calyxe. Again, you need to keep tilting your boat in directions to make the paints flow. That is the reason you need to use the paints in a little watery consistency to create in the plans and the flow happening in and creating in those random blends happening in between the colors to create the calyx cinder. On the edges as well, and dropping in another layer of the indico color again. Remember, watercolors dry or tone lighter. Always make sure that you're adding the colors in such a way that once they dry out, you get the perfect consistency that you're looking for. At the bottom, I've just added in a layer of water and blended all of the. Now at the bottom, we're going to go ah with a muddy view with some pine trees across this galaxy. Now, using in a little of the white ash in the thick consistency, I'm going to splatter in a bit of these into the galaxy to create in some glowing spots. So while my paint is still wet, I'm dropping in some drops. Now these, I'll let them be there as it is, and they will automatically create in some glowing spots. If at spots, you feel that the paint is too much, you can simply blend them and create in these white spots like. Now, let's wait for this to dry and then we'll move ahead adding the muddy pathway and the pine tree details into the galaxy. Now my galaxy is completely dry, and we're going to go ahead and move ahead with the further layer of details. First, I'm going to splatter in some stars onto the galaxy using in the white wash before we move on to the pathway and the pine trees. Now, make sure you use the white wash in a thick consistency to get in these good thick splatter of stars and also make sure that you splatter these from a little distance so that you get in these fine details of the stars and not too thick stars. Now, using in a medium tone of brown, I'm using the burnt amber color here. I'm going to create in the pathway first. I'm just going to go ahead with this brown color at the bottom and move diagonally. Across this entire pathway line, we're going to have in the pine trees coming in. You can see I've just created a pathway, view here across which side, we'll be adding in the pine trees using in the black color. Now onto the edges of this as well, I'm going to begin adding in some darker tones. For that, I'm going to use in some dark brown and some paints gray color. You can use in darker brown, whichever is available in your palette, and just add in the taker tones onto the edges, creating in very rough patches like these, so that you have that glowing highlight of the light brown in the center, trying to show the light of the galaxy, falling in there, creating in those lighter spots, and on the edges, giving in the taker edges to show in the shadows of the pine trees that we'll be adding in. I'm using a little yellow, dropping it in the center to show the light of the galaxy falling on the mud as well. So this is how you can create in those glowing spots as well. Now again, here, you can add in little darker strokes again, so as to get in the blends and the flow happening in dry. You can even use in little medium toes of browns or orange like this to create in the highlight. Onto the yellow am agen little orange highlight. You can see how beautifully the center space of this pathway is looking lit because of the galaxy light falling in here and the rest hanging in the dark tones. Now quickly onto both the edges, let's begin hanging in the pine trees. For that, I'm going to be using in the paints gray color. First, I'll just add in little more darker paints gray highlight across this line so as to create in the pathway for the pine trees. Now, using in the smaller size brush and the pine say color, I'll quickly begin adding in the pine trees. Now, these pine trees vary for each one of us, you can add in some very scaring pine trees, some completely filling pine trees, detailed pine trees, or simple pine trees like these. You can see I'm just quickly moving in my brush. The bottom round layer is still. Automatically these pine tree layers will blend in well with the bottom line creating in that smooth blend and not having in a sharp line in between. Now, make sure that the height of the pine trees vary throughout, and also make sure you add in different kind of pine trees like this, you can see is a little scarce one as compared to the previous that I added in. Some pine trees can just look in like dried pine trees with some dried branches hanging out. O. Now, in between, you will see, I'm just going to use in some filler elements like these to quickly fill in some spots, so as to give in that detailed look as well. Now you can see these simple strokes creating those far looking pine tree effect, helping in to fill in the spots completely, as well as giving in that detail different ow. For these pinky strokes as well, make sure that you have them in different heights, or else they may look in like just a simple patch of pain instead of giving in that natural effect. Now as I move towards the center, the height of the pine trees will be small because of the perspective view. Now, again, when I'll move in towards the right edge, I'm going to increase in the length of the pine trees. Now what I'm doing is first and quickly adding in these strokes throughout and then in between randomly onto these strokes. I will add in little detailed pine tree effect. The reason to add these stokes first quickly is so that they all blend in well with the base layer and do not have in the rough edge. So again, I just added in a little layer at the bottom so that we have in that perfect blended effect. You will see the grown and the pine trees line do not have any sharp line in between, giving it the natural effect of the pine trees coming out from these yepase. Now in between these, I'm going to begin adding in the detailed pine trees, so you will see automatically how quickly you can fill in the spaces with simple strokes and then just adding some detail pine trees in between wherever you wish to. Also, you will notice that there are no sharp lines that have been created and the brown space is blended well. My brown space was wet by the time I added in the first layer of the pine tree strokes and made sure that all of the pine tree strokes and the brown space has the soft blend. Now, towards the center here, I'm adding one huge pine tree. Now on other spots randomly, wherever I feel the need, I'm adding in more small detail pine trees in between the strokes that we've added in. You can see how easy it is to add in detailed pine trees in between these pie strokes, giving in that detailed view as well. We almost this class project. We're just going to add in a little more details into the stars before we peel of the masking tape. First, I'll just give in a little dribra stroke here with the paints gray color on the muddy space. For adding in these trier strokes, make sure that your muddy space is completely dried in. Also make sure that your brush is dry and you just have thick paint consistency. I'm just driving my brush diagonally from the bottom towards the center space, creating in these dri strokes to in the texture of the mud. Now, lastly, picking up the white ash, I'm going to add in some detailed star lo I'm just going to create in some thick stars. For that first, I'm creating in some thicker white spots to which I'm going to blend in and create in that soft background effect. After that to this, we are going to create in that glowing star lo. I've added in these spots. Now I'll quickly blend this into the base layer using in the dam and create in the glowing spaces. Once these spots dry out to the center of these, I'm going to add in white patches to create in those glowing star effect. Make sure that these patches look dull white and do not look bold white, so that in the center of these, you can add in the bold white star effect. Now, picking up the bite ash, the thick consistency, I'm going to just adding rocks to the center of these to create in that glowing star effect. It's an easy technique, but creates a beautiful effect into your galaxies and night skies. So that is, we are ready with our class project, let's remove in the masking tape, make sure your edges are and always pull off the masking tape against your paper so that you do not tear off the edges. Here's the painting for Day 15. I hope you guys enjoyed painting this beautiful galaxy with me today. Thank you so much for joining me into this class and painting along with me. I will see you soon into the Day 16 class project. Til then, make sure to upload your class projects and enjoy the class with me. Thank you for joining in. 18. Day 16 - Cotton Candy Sunset: Hello, if you. Welcome back to Day 16 of the 21 day watercolor challenge. For today's class project, the colors that you need is pink, ceiling blue, violet, Naples yellow, brown, Saprin, or creen, light green, white, black, or paints gray. You're going to paint this beautiful cotton candy sky with a field of view. Let's begin with a very rough pencil sketch. I'm going to mark out the mountain range and that little field area. We'll first begin in with the sky and then move on to the field and the mountain later on. So you can see I've added just a rough mountain space. We'll begin in with the sky directly. So let's go ahead with a layer of water onto the entire sky. Make sure that you add an even layer of potter throughout. There is no water collected on the edges. Or else it may run back into your painting and may dry it out. Also, make sure that you run your brush evenly multiple times so that your paper stays bet for enough time for you to work wet on wet to get in the details and the blends into the sky. Some papers may dry out quickly, if not 100% cotton. So the trick that you can use is you can vet your paper, wait for it to dry out to up to 50%, and then revet it again. That way, your paper will stay wet for a little longer time, letting you work with more details wet on wet, or you can even use the rewetting technique if you feel that your paper tries out quickly. So I'm done adding in the layer of water. Now, I'm going to begin with the pines first. So first, I'm going to begin with the violet color. I'm going to mix in a little bit of the pink to my violet to get a pinkish violet tone, and just going to move in diagonally from the right top edge and add in some strokes. We are going to go in very slowly creating in the beautiful sky this time. Now, picking up a little of the permanent rose color, adding in diagonally from the left edge as well. You can see I'm just pulling in the strokes from the left edge towards the center space. When you add in the yellow, closer to the violet, you have to be a little careful, or closer to the blue, also, you have to be ale careful. Now, I've picked up the cereal blue color, adding it closer to the violet tones, that will create some mix of the blue and the violet, giving in bluish violet tones, and a little highlights over the pinks as well, so that it will create in little violet highlights there as well. Now, again, picking up a little of the violet, adding in at the top, pulling it towards the center space. Now next, I'm going to pick up the Naples yellow color. In case if you do not have the Naples yellow, you can simply mix in a little white to your permanent yellow light and get a beautiful pastel yellow toll. So closer to the violet, you can see I added it with a very light hand so that we do not get in any muddy tones. And towards the bottom side, I've added in the yellow color. Now, you can see the colors right now are so light that after dying, they'll almost transparent. So I'm going to go ahead with another layer creating in highlighting spots. So first running in with the purple color or the violet toll. Now, you will see I do not add the darker tones on the entire spaces. I just add them on little spaces so that we have some lighter and darker highlights as well. Over the yellow, I've added the violet with a very light hand. Now, in the same way, I'm going to go ahead with some darker highlights of the pink as well, creating in the taker tapes. So you will see automatically how I'm adding them in such a way that we also have the lighter pink highlights from the previous layer, and then we have the darker pink highlights. Now, when you begin adding in the taker tins, you need to create in little highlighting strokes between the colors creating in the plans. Same way, I'm going to go ahead with a little bit of the blue as well to create in the darker spots. Again, you need to make sure in such a way you add them that you have the writer highlights as well as some darker highlights creating in the tip. Now, over the pink also, I'll just add in little blue highlights. Automatically, it will give you little violet blends as well because of the blue and the pink blending in. So you will see some blue spots and some violet spots automatically coming in because of the blends of the colors of the pink and blue. Now, I will just pick up a little more of the Naples yellow and give a little bold effect of the yellow color here. You can see I'm running very light handedly with the paints layer on layer so that the colors do not, you know, completely blend away. And they stain the spots that I'm adding them. Also, they have a soft blend because my paper is still red, and also making sure that the colors do not create in muddy tones because of the blending of the colors. Very light handedly, I'm adding the yellow over the violet, so you will see there is no muddy tone formed. In fact, the yellow is visible, creating in those highlighting spots at the top of the sky as well. Now I'm going to go ahead, add in a little more highlight with the paint scray color, or you can use an indigo color as well to create some highlighting spots. I'm going to use the paint screy in a very light consistency and create in some cloud effect into the sky. Now, I'm using paint screy. You can use indigo as well if you do not want to use a paint scray color. If you're using a black color, make sure you use it in a very, very diluted consistency so that you get it in an effect of a gray tint. You can see how lightly I'm moving my hands diagonally. I'm using a smaller size brush so that I get these details right. My brush does not have excess water. If it will have excess water, it will spread out completely. So you need to make sure you have the water control while working with the paints gray color. You need to make sure your paper is still wet. You just need to begin adding in very small, tiny cloud shaped illustrations like these. So as to create the depth into the sky. And still working wet on wet, my paper is wet. That is the reason you can see the softness of the clouds coming in easily. Now, with the paint scre as well, I'll quickly add in some darker highlighting spots over the clouds that I've added in, and we're almost through the sky. After this, we'll move on to the mountains and the fields once the sky is completely dry. So you just need to make sure that your sky has to be completely dry before you move onto the mountains, or else the colors from the sky into the, you know, mountain ranges and may create plans and an uneven edge. I'm just going to go ahead with more details before we let the sky to dry out completely. You can see I'm going with such a light hand adding in these cloud details with the paints gray color so that I will not overdo them, plus making sure that I have the perfect water control. Wherever you feel the need, you can use the base layer color to create in the blends again. That is it for my sky. Now I'm going to let the sky dry out completely, and then we'll move on to the rest of the details into this painting. Make sure that your sky dries out completely. So my sky is dried and I've marked out the field space signally moving from bottom left towards the top right. Now, at the top in the mountain, first I'm going ahead with the pink color that we used in the sky because I want to create little of the sky color effect falling onto the mountain, creating in the shadow effect. For that, I've gone ahead with little pink highlights into the mountain range first, and then we'll move on to the browns into the mountain. So, you know, in this way, you can use the sky colors, first adding in the mountain to create the shadow of the sky colors falling into the mountain. Same way, adding in a little of the violet effect as well. O Now moving on to the browns, I'm going to add it into the rest of the space and blend it in with the pink tones and the violet tones as well. I'm using a mix of the browns on my palette. It's a little bit of CPA, mixed in with burnt umber. You can go ahead, use in any medium to dark tone of brown, but make sure you do not use it in a very dark consistency. You need to maintain the consistency, such that the brown tone is visible. I'm using it in a very medium tone consistency, so you can see the brown color visible. Now towards the top, I'm going to begin dropping in little of the brown spot, such that it blends in with the pink easily. And it will, you know, automatically just let little of the highlights of the pink and the violet stay there. And rest of the mountain will have the brown effect. So on the top, very carefully, just using the tape, you can see I'm dropping in the brown tones over the pink, creating in that highlighting spots being there. I'm just going to drop in a little more of the violet in the center, and again, going to drop in a little more darker brown highlights at the bottom spots as well, creating in the darker depth at the bottom space. So make sure again, all of this, I'm going a while my paint is still wet, only then you will get the plens, right. If your mountain space begins to dry, you'll have to bet it again so that you can get in this soft plan. I'm even going to use a little of the Naples yellow towards the right side of the mountain to show the highlight of the yellow sunset effect falling onto the mountain as well. So for that, I'm going to drop in a little bit of the Naples yellow color while this is still red and create in that highlighting spot. From here, I'm first lifting up little of the color so that I can get in the Naples yellow color here. But make sure this lifting technique may make your paper dry. So you need to add in a little layer of water if you feel that your paper is drying out too much. Now, lifting up the Naples yellow color, I'm going to add in here and create in that highlighting spot off the sunset falling onto the mountain range as well. V carefully, you just need to drop in little of the Naples yellow and blend it well with the pink and the brown tones using in a damp rush. Now using a damp rush, you can see I'm blending it in creating in that highlighting spot. Now, at the top, if you feel that the line has turned too yellow, you can use a little brown at the top again to define that line. You can see how beautiful this spot has turned out, trying to show in the light of the sunset, falling onto the mountain range as well. Now, let's wait for the mountain as well to dry and then we'll move on to the field space. So now my mountain is dried, you can see the yellow highlight, the pink, the violet tones, all of the sky colors reflecting into the mountain. Now for the field, I'm first going ahead with a layer of the light green color. You can use a yellow green color, light green color, whichever light green tone that's available in your palette. And now using in the darker green, I'll begin adding it on the edges, creating in the t. For that, I'm using again the tip of my round. Even though I'm using a bigger size round rush, this is a size eight round rush. But since this brush has a pointed tip, it helps me adding in the details easily using in the pointed tip of the brush. From the edges, you can see I'm dropping in the mix of the olive green and the sap green to create in the darker highlights on the edges. Now, in the same way, I'm going to go ahead with some more darker green highlights and drop in on the edges only. So basically, in the field, also, you need to make sure you get in various tones of the greens by working wet on wet. So my green layer is still wet. In case if you feel that your paints dry out quickly, you can first go ahead with a layer of water and then begin in with your paints. That way your paper will stay wet for a longer time. But since these are very small patches, I'm directly going ahead with a layer of paints because my paints are staying wet, since I'm using the paints in a watery consistency to make sure that they stay wet. Oh. You can see in the center of the field, I've maintained in the light green space and on the edges I've given in the taker depth. If you feel, you can add in little more lighter green spots by picking up the lighter green color and dropping in here. I'm just going to drop in little of the yellow tones here so that we get in little lighter highlights. You can use a yellow ocher color or the Naples yellow or any light tone of yellow that you wish to. Now on the edges, using in the paints gray color, dropping in a little more highlights. Now, this, you can see I'm dropping randomly to try to show in some muddy texture effect into the field as well. Now here, I'm going to use in the pain spray color and drop in a little of the bush effect on the meeting point of the mountain and the field space. So at the top, just using in the tip of the brush and creating in the bushy effect. Until the bottom of the green field line, I'm going to fill it in with the pain spray color. Now, in between, I'm going to give a little gaps. That is, I'm not going to take this bush effect onto the entire line. I'm going to leave little spots in between. Somewhere I'm going to take these smaller, somewhere shorter, somewhere small patches, somewhere bigger patches so that we have in a blend and a kind of all effects coming in together. So you can see I'm just dropping in here and blending these in. O Now on the left edge here, I'm taking them a little taller because the left mountain range is taller. And I'm just going to give in little dabbing effect. You can see, I'm just using the tip of the brush, d in creating bush and leaf effect. Until the bottom, you just need to simply fill it in with the paints. It's such an easy technique but creates in such realistic details of the grass effect. We've created in three patches, just leaving in little gaps in between, trying to show in that little break point giving in that little different view this time. I'm just giving in little darker depth wherever I keel the colors I trying out light. We are almost through the class project for day six. I love how the sky has turned out for this one, especially the details of the painsc clouds that we added creating in the highlight into the sunset sky. I'm just giving little more details here at the top so that they look a little more detailed bush effect. And then, lastly, I'm just going to drop in a little more of the lighter green into the field here so as to create that little lighter effect and bend it in. My field is still wet, so I could add in this quickly. You can add this and then add, use a dam brush to blend it with the edges of the green if your green field has dried out. Or if you're satisfied with your field, you can leave it there. Now, let's peel off the masking tape and see a final painting with those beautiful clean edges. Make sure your painting is completely tried before you pull off the masking tape and always pull off the masking tape against the paper. So here's our final painting for Day 16. I love the cotton candy sunset sky that we've painted for this fan. I hope you guys enjoyed painting this with me and learned to create in a beautiful sky using in the tigonal strokes, the highlights on the mountains and the field. I will see you guys soon into the next class project till then, if you like this class, make sure to drop a review so that it can help me reach maximum students. Thank you so much once again for joining me. 19. Day 17 - Fiery Sunset: 17 of the 21 color challenge. The colors that you need to paint this beautiful fierce C s is sad, shell pink, orange, shades of brown, yellow, orcer, white, black, and paints gray. Do not worry if you do not have any specific shade, we lose the alternative colors while painting along. Let's begin with a very basic pencil sketch before we move on to the painting. I'm going to begin marking out the rock space on the right side. Towards almost a little below the center line. We are going to have in the horizon line for the sea, and towards the left, it is going to be the entire sea area. On top of this rock, we are going to have in a very tiny lighthouse. Now to this rock, also, I'm giving two to three partitions to try and show a little variation of some taker spots onto the rock. The top is going to be the sky, and we're first going to begin painting in the sky. It's going to be a fiercy evening red sunset sky. Let's begin with a layer of water onto this entire space. Make sure you run your brush multiple times and have an even layer of father throughout and also make sure that you do not have any excess water collected on the edges, or else it may seep into your painting and give you very edges. First, I'll begin with a permanent sad color closer to the horizon line towards the top, I'm going to have in the orange and the brown shades with a little help of the shell pink color. Now, in case, if you do not have a shell pink color, You can simply use in in skin tone color, or you can mix in a pink orange and a little bit of white to get a similar looking peach tone. Now, picking in with the bold orange color closer to the red, and I'll pen these two in. We're going to add in the cloud details into the sky using in the brown and darker tones moving ahead. Now I'll pick up the shell ping color, which is like a pastel peach color or a skin tone color. So you can form your own skin tone color or you can simply use any pastel tone of orange and add in here. Because on top of it, we're going to be going ahead with the brown tones to create in the tap. Now at the top, using in the paints gray color over the shel pink color and blending in till the orange shade. You will automatically see that a shelf pink color is almost hidden. But when it blends with the paints gray color, it gives a beautiful gray tone to the sky. And as soon as the paints gray blends in with the orange, it creates an automatic ut toone of browner. Now I'm using in a little bit of the bone sienna color, adding in here over the orange to create the darker depths and create a fierceness into this beautiful bone sky. So if you do not have any specific shade of brown, you can simply go ahead, using any tones of browns. That's the reason for the color palette. I've mentioned shades of brown, whichever available with you. Now I'm creating in more darker depths because, you know, watercolors dry or tone lighter. So I've darkened up the paints gray color at the top and picked up a little more brown towards the orange as well. Now going to add a little more hold effect with the red as well out here. Whenever you feel that if the plans are not coming and smooth or the blending between the color tones is look sharp, you can run your brush picking up the pasteleer lighter tone so as to create the blends smooth. So you can see over the orange and the painsra blending line. I'm uning my brush multiple times so as to create that smooth transition happening from the paints gray to brown to the orange color. At times, you may need to run your brush multiple times to get those smooth transition blend happing in between the color tones. Now, shifting into my smaller size four round brush, I'm going to begin adding the cloud details here. For that, I'm going to use in brown, mixed in with a little bit of the orange color. So I'm just mixing in brown here. Now, using the tip of the brush, I'm beginning to add in the cloud strokes as you can see, just using in the tip of the brush, adding in the cloud details, creating soft, smooth cloud plans. Now, make sure when you go ahead with this wet on wet layer, you have to be careful that you do not have excess water on your brush. Now do you have excess pigment? If you will have excess water, the brown tones will begin to spread and just create a flat layer of the color. They will not retain the shape in which you add them. If you want to make sure that the shape of the cloud is retained, you need to have the wetness of the paper right, as well as the water consistency of the brown color right. If the paper will also be excess wet, the paints will just spread and create a flat patch of the color. And either if you have excess pigment on your brush, it will again give you, you know, flat patches of the color instead of maintaining in these soft strokes. So right now you can see my paper is wet. I'm going wet on wet. I've come with one more darker tone of the brown. Just using in the tip, I'm adding in random flout strokes creating in the tip. You will notice that all of these strokes are remaining in the shape that I'm adding them, but having in the soft edge because of the wetness of the paper. So in this way, you can get in your plants right and also get in the details wet on wet right. Now I picked up one more further darker tone of brown. Now, in case if you do not have multiple crowns, you can use paints gray to create darker browns. So I am using in the taker brown tone here to add in some darker depth of the clouds into the sky. Now, using in the paints gray as well, I'm going to add in little darker depth of the clouds at the top space. Remember, I'm still working wet on wet. Paper, sky is completely wet because of p you can see the softness in the cloud strokes that I'm getting in. Almost through the sky, just a little bit more of the depth into the clouds. Towards the left side here, that one drop of water created a small patch, so I'm just trying to cover it up again with the wet strokes of the pains, giving in little more lighter strokes of the browner. You can see in the sky. We have all the colors visible giving in the distinctive view to each of the colors that we've tried to create. Now, just giving in a little more definite horizon line, which you can even correct while adding the details into the sea, so do not worry about adding in the details right away. I'll just pick up a little brown and define it right away while my sky is still there. So you can see since my paper is taped down on a movable surface, it's so easy for me to just tilt my board and simply get in the details straight. So that is it. Now, let's wait for the sky to die out completely, and then we'll move ahead into the rest of the details. First closer to the horizon line, I'm going ahead with a red color because as you can see towards the horizon line in the sky, we have the red color. So exactly reflection of the sky. So first closer to the horizon line, it will be red color. Then we'll move on to the orange brown and paints gray moving downwards into the s towards the end of the paper. Frequently, we'll just create in the plein just like the sky as we t. As I told you if a little colors move into the rock space, it's perfectly okay because this rock area is going to be of the darker tins. Now, you I directly using a ble brown color. It's the crown that I'm using in a medium tone consistency creating in the t. Can see at spaces. I just use the tip of my flat brush as well to create in some moving lines into the water, creating in textures as well. These are small tips and tricks that you can use to create depth and textures into your painting. Now, closer to the horizon line, you can see that we have the brown color clouds coming in. Same way into the sea as well, closer to the horizon line, I'll add a little brown depth to show the reflection of these clouds as well into the sea area. These are small details that create more depth into your painting. It's going to be a very rough reflection. You need not have the exact same shape coming in, but you just need to be careful about a few things like wherever the cloud is of bigger size, the reflection will also be bigger, where the clouds are of smaller size, the reflection will be of smaller size accordingly. We're done with the C as well. We can see very simple details, not much depth of the waves that I'm adding here. Now, let's wait for this to try and then we'll move on to the last layer of details for the rock as well. Now sky and C are almost done. Let's begin with a rock. F, I'm going ahead with a layer of the yellow color. The entire rock, I've given in this base layer. Now on this, we are going to go ahead with Takatms of crowns creating in the texture onto the rock. We'll even given texture with some dryer strokes later on once this dries out. First now wet on wet, that's the yellower color is still wet. On this, I'm going to go in with different tones of brown. I'm mix of burned umber and burn sia, as well as a little bit of the brown color to create in the tips out. You can see I'm adding in the brown tones in such a way that we have little of the yellow of atones as well visible. Now you can see a pencil mark that I marked in the center of the rock to create in darker depths to show in two different crops. There also I've given the line of the taker. We'll given more with the taker bows color moving a further. Using the mix of the rend crown and pain spray and beginning to adding daker tes towards the edges of the rock. You can see I'm just using the tip of the brash dropping in these taker panes. My rock area is red, so you will see the soft edge and blending happening in between the colors. In case if you feel that the colors are not moving in freely, you can just use the lighter tones again to blend in. Now again, here, you can see I'm trying to create in that second rock septation be in giving in the tackle line in between here as well. Now, using in the burn sienna color again, I'm adding in more darker spots so that we have the daker depth onto the rocks and to show that easing effect effect falling onto the rocks as well. I'm using the brown red color here to add in the darker spots of brown. You can simply mix in a little bit of red to your brown color to get this whole beautiful brown again. Now you can see very randomly I'm dropping in these brown tones, creating in different tones of browns onto the rock space. The more details and definite details of separation of the rocks will be the t strokes that we add in once this is. Now randomly at spots, I'm just lifting up little colors to create lighter spots. Using in the brush, going ahead with the lifting technique, you can see some lighter spots that created on the rock. That is the reason we had added in the base layer of the yellow cer color so that when we go ahead with the lifting technique, we automatically get lighter tones and textures coming in. The two techniques using to create the texture onto this rock is one, the lifting technique, and second will be the tri brush techniques that we'll be using. You can see randomly I've lifted up and created in some squall strokes out here to create the depth onto the rocks. Now towards the edges, I'm again dropping in little darker panes. Again, I'm using a size a brush, but you can see just using in the tip of the brush, I can get in the fine details right. Now using some darker brown and creating more textures you can see, just dropping in some line strokes to create t. Again, this is bet on wet. Using the tris, we'll be creating in more textures fooling the head further. Now again, I'll just go ahead with a little more lifting technique at the top to create some lighter depths in between these strokes as well. The lifting technique will only work while your space is still wet. If your space dries out and then you try the lifting technique, it will not work out. It's important that you make sure that your paper is bet when you go ahead with the lifting technique. Also, you need to see whether your pigments are staining sigments, or they are non staining sigments. Only then you'll be able to achieve in the depth of the lifting technique here. Now, let's wait for this layer of rock to dry out completely, then we'll move ahead with the next slide of details. Now, on the horizon line using in the pain spray color. I'm going to create little details, just giving in very small mountain details on the horizon line. I don't cover the entire horizon line. And you can see it's very fine details that I'm giving in just to give a definite line to my horizon line. Moving closer to the rock space, you can see, I'm turning this mountain line very fine and thing. Now on the rock, we are going to add in a very small lighthouse detail as well. But my rock space is still a bet as you can see, so I'll wait for that to completely try till then, I'll just add in the other details into this paint. Now, using the red color, I'm just going to add in some bet on dry wave details. Just using the red color in a medium consistency. I'm adding some strokes to active as the wave into the sea. Very simple strokes, you can see some taller, some shorter in length, and just going crisp cross, giving in the depth to the waves. You can use different tones as well for the waves, not only use in the red color to create in the death. You can even use little brown tones. Now, towards the bottom side, I'm going to use the brown color to adding the details of the waves. Same way, just as we added with a red color. You can see very random lines that I'm adding and a little dry brush stroke as well in between by just dragging my brush to create in some texture into the waves as well. Now, using the white bash, I'm going to add little crashing wave effect closer to the rock and the sea meating point. Just using the white bash, I'm giving little dry rush texture, creating some waves, trying to show in as soon as the waves crash onto the shore, creating that foamy effects of the waves. Make sure you use the white bash in a thick consistency. I'm adding them in a dry rush pattern as you can see, just dragging in the white color, creating in that there. Now, again, you will see these white paints also are in random strokes, random lines, not of the same throughout. They are of different lengths, as well as in a very bold consistency. Only then after driving, they're given that bold affair. For the draggers technique, you need to make sure that your brush does not have excess pigment and neither does it have water. You need to pick up the thick consistency, dab off the excess pin, and then begin ding in your ch to create in the sures of the foaming effect of the ch. Now, I'm going to add in a small lighthouse here. First, using the white ash, I'm going to add in the entire lighthouse. And then on top of this, I'll give in little details with the paints grey color. Once the white ash dries out. You can see the whitehouse is so tiny and Q to one. We are still to add in little dash details onto the rock as well. By the time this layer of lighthouse will dry out, we'll go ahead with the dry Bash details onto the rock and the moon detail into the sky as well. Now, Using in my size four round garage, I'm going to go ahead with a bold brown color or you can use the paint free color and begin creating infection of the triage. Now you will see my dry brush texture is moving towards the top side to create the texture of the rock. Make sure you go diagonally from top to bottom or bottom to top and create in the tes accordingly. You can see as soon as we've added in this very little ture of the tri brush as well, it creates in so depth into the rock space automatically, creating in the lively view of the rock. So very randomly, first sally, I've added in the texture on to the rock. Now using in some darker strokes, we've given more definite details to the rock. Now to the rock, I'm even going to create a little texture with a white psh. It's going to be very fine and light. It's not going to be du as a waste that we've created. Very little texture. If you feel that the textures, you can again use ale bit of the brown toes to turn the texture into toes. Just using in little browns and turning these dacker strokes lighter again, just giving an overlay so that we have very light white strokes here. Now, let's go ahead, add in the next detail that is using in the white quash. I'm just going to add in a little more details into the rock. You can see again, these details are very light as compared to the waves that we've added. I'm using the pain stay color. Let's add in the details onto the lighthouse. My white quash layer is completely tried, so I'm going ahead with these paes gray color using in my size double zero brush. Make sure that your layer of white ah is completely dried before you go ahead with the details of pines gray onto the lighthouse. Now, if you want, you can use any other reference for the right house of your choice. I'm going ahead with a very simple one with very fine details. I'm down with the lighthouse as well. Now, let's go ahead, add in a very small tiny moon rising out closer to the horizon line. For that, I'm going to use in the white cos, using my smaller sized bars, just using in the tape creating a very small tiny moon into the center out here. First, I've added in this patch of white. Now I'm going to create a blurry space for the moon. I'm just going to create a very arrow dull white patch by just planning this into the base player using in water. You can see the dull patch that we've created. Now once this is tried towards the center of this, going to add in the moon detail, just to the center of this white patch, and around there, you will see the dull white space, which will still be there. That will create a beau growing effect of the moon rising in here. That is it. We are ready with our class project for day 17. Let's remove in the masking tape. Make sure you full the masking tape against the paper and once your edges are completely dried, only then begin removing in the masking tape, or else the painting may get ruined and your white edges will not save white. So here's the final painting for Day 17. I'm in love with this beautiful red Piercy sunset seascape that we've painted. I hope you guys enjoy painting, this beautiful seascape with me today with a very simple lighthouse silhouette. I will see that soon into the day 18 class project till then. Make sure to drop your class projects and upload your reviews. 20. Day 18 - By the Field: Come 18 of the 31 bot color challenge. The colors that you need for today's plate this violet, orange, Qindose, burn sienna, Saprin, shades of green that you can use white, black, and paint gray. If you do not have Qindose color, you can use any alternative pink tone that's available in your palette. Let's begin with just a very basic pencil sketch to mark the horizon line to separate the sky and the field space. It's going to be a simple field painting, which will just take you like 20 minutes to create this beautiful outcome. So you can see a macro field space quite at the bottom space. On top of it, it's going to be the sky on the horizon line. We'll given a little bush details later on. First, let's begin with a little of clean water onto the entire space of the sky. Make sure you have an even layer of water is spread throughout so that while you're working wet on wet, your paper does not dry unevenly. Also, run your brush multiple times so that it stays wet for enough time. In case if you're not using 100% cotton paper and your paper dries out quickly while working wet on wet, then you can, you know, bet your paper, wait for it to dry around 50%, and then re wet it again so as to get the, you know, maximum time to work wet on wet with your not even 100% cotton paper. So I'm done with my layer of water. I do not have any Excel water collected on the edges. Now let's begin. I'm going to squeeze out a little bit of the shelfing color as well. Now if you do not have a shelfi it's perfectly okay. You don't actually need it. You can use any medium tone of peach color or a skin tone color in between to create that little transition happening from the violet to the orange smoothly. Because violet and pink sorry, violet and orange mixed together gives you a muddy tone. So to get that transition happening smoothly, we're using in this pastil skin tone so that it does not create any muddy tone in between. At the top, I've added in the violet color. Presently, you can see it's in a very light consistency. Now at the bottom, closer to the horizon line going with the Qindose color first, you can use any tone of pink carmine scarlet, whichever is available in your palette if you do not have the exact same Qindose color. Now I'm going to go ahead with the violet color again and create in the darker dep. From the top, beginning with the darker, going downward, saluting it further. Now, at the space where we have added the shell pink color, there we'll be adding in the orange color. Because of the base a pastel pink color, the orange color when blended with the violet, will not give you muddy tones. So the blending and the transition smoother. But still be a little careful when the violet and the orange colors will mix in together. By chance, they will not create any unpleasant muddy textures in between creating in that uneven and unfinished look into the sky. So first, I've caught the plans of the pink violet and the shelf color type. Now we'll go ahead with the details of the orange color once these plans for scoop. Now, since I'm still working wet on wet and I've run with so much multiple layers of wet paint, my paper is still wet for me to work wet on wet. Now I'm picking up the orange color. You can use min in color orange color. Any bold orange color that's available in your palette, and I'm going to shift into a smaller size brush to begin adding in the details with the orange color. I've shifted into my size four round brush. And with this, I'm going to begin adding in orange, but in such a way that it looks in like the cloud details that I'm adding in with the orange. Now, orange and pink mixed together will not give you muddy tones, rather it will give you a reddish pink tone forming in because of the plans. While violet and orange mixed together may give you a little muddy toes, but since we've used the shell pink color, it will not give you that unpleasant effect. Now, I'm adding in a little bit of the burnt sienna as well to the orange itself to give in little darker depth cloud details along with the orange color. So this is how you can use burnt sienna or browns along with orange to create in more depth of colors into the clouds while creating in such pretty evening sunset skies. I'll size a little bit of the fresh white ash here as well. So as to add in more details into the style. You can see right now, the style is very simple and little. Now to this white ash, I'm going to add in a little bit of the violet to create a little pastal violet color. To add in some cloud details with this lilac looking kind of a violet tone. Now again, because of the white and this pastel violet color, when it will blend in with the orange, it will not create rry tones, because we've turned it into a pastel tone which prevents from creating in those mury tones when two such complementing colors mix together. Now again, you're also to create some darker and lighter depths and using paint screen mixed with a little bit of the same violet color to create the darker cloud effect. Now I'm still working bet on that. When you're working bet on layers on layers, you have to be careful about one pin. That is, your brush should not have excess water or excess pigment. Because if your brush will have excess water while adding these cloud details, the paints will spread out completely, and they may not tretin the space in which you add them. Rather than may give you patch of color. Right now, if you see, all of my cloud details are in the shape that I added them, giving in those curvy and the fluffy. But in case if I had access water your pig meant, you would notice the colors would spread because of the wetness of the paper and would give a very flat layer of color. Stead of giving in this depth of the color. So just adding in details like this, creating in cloud details. You can see I'm going very slowly because into this sky, it's going to be more of the clouds that's going to cover the entire sky. The base layer color that we added was like just, you know, colored background that we gave in so that any spaces that are left without clouds have some colors into the sky. Now, I'm just altering between the brown orange and the violet color to keep on creating in the depth into the sky. I'm working wet on wet. In case if your paper is not supporting the wet on wet technique or is drying out too quickly. You can even try the re wetting technique so as to get in the details, right. Now, over the violet cloud, you will see I'm altering 2-3 shades of the violet with the help of the paint spray color, white quash, and the violet color. And for the orange plus, I'm altering between orange and burnt sienna and orange and burn sienna mixed together. So that's how you can get a balance in between the colors that you're using in for the cloud so that you can get the realistic effect of the different shades of nature. Now onto the pink space as well, I'll just add in little more of the violet clouds. At the top on the left side, I'll add in little more darker violet clouds, and then we'll be through with the sky for this class project. Then we'll wait for the sky to dry and move on to the field space and the details in the horizon line. Very lightly onto the pink, I'm adding in little of the vile strokes. I blends a little into the pink color. As to given that soft blended effect out here into the sky. Going in a little diagonally and random strokes, give me in some darker depths at the top space here. Before we move on and wait for the sky to dry and then begin with the field area. Once we turn with the sky, wait for it to dry completely, and then we'll begin in with the shades of green into the field space now. My size completely dried and we'll begin in with the layer into the field area. For that, I'm going to use in shades of greens. Now, in case if you do not have the same shades of green, you can go with any tone of green that you wish to. For the first layer, I'm going ahead with a very diluted consistency of the yellow green color. You can see it's a very light green color that I've gone. Basically what I do is, I first begin in with a lighter green tone for any feel that I want to pain. And then from the edges, I try to bring in different tones of greens in such a way that we have all the greens visible. So now I'll begin adding in the darker greens from the edges in such a way that on the edges, it gives in those darker green depths. And in the center, we still have the lighter feel effect, giving in different variations of green colors into the feel creating in the natural effect. Now, beginning in with the sapren mixed in with a little bit of the olive green color. You can see from the edges, and chars giving rough patches. Again, water control is very important when you go ahead wet on in such a way that you want each color to be visible. If you will have excess water or pigment, because of the wetness of the paper, the paints will just spread onto the entire space and will give you one flat color blended look instead of giving in these different pronal variations. Can see how I'm using in the tip of the brush to given little fine lines in between in such a way that the lighter green is still visible in the center. Now again, from the edges, I'll go with one more darker tone of the green. But that can be in such a way that the lighter pen is also visible. The second layer of green is also visible. And now the third layer of this green will create it more death. For this darker layer of creen, I've mixed in a little bit of brown and paint splay to my green color to get this darkish green toe. Now, you can see how I've added it in such a way that the lighter green, the second layer of green, and this daker green, all three are creating in so many different variations of green into the field. How going with more darker green spots, creating and patching into the field. You can see how randomly I'm dropping in different tones of greens here and there. Such that we have variations of feel, but all of the fans have soft smooth blends with each other in such a way that it gives in the realistic effect of the nature showing in the different tones of grass that it has. Now using in the paint spray color on the horizon line. I'm going to begin adding in little bush detail. I'm just using the tip of this brush and creating in random spots by just dabbing my brush, creating in the texture of the bush. You can see even despite using in such a bigger size brush, it has such a fine pointed tip that it helps me in adding in these details fine. Now, this is the first layer of push. I know my layer of field is not completely dry, but that's okay because even if a little of this paint spray color goes into the field, we do not have to worry because on the horizon line once this paint scray layer dries up, we are going to be adding in one more layer of the you know, push detail with the tones of screens as well. So that is the reason right now itself, I'm adding in the paint sra layer for that it dries out quickly. So I've just added in the entire color patch. Now I'm going to go ahead and, you know, add in the top detail by just adding in the tip of my brush quickly. I shifted to a fine kid brush as well so that I can add in more fine details on top of this. You can see now with the fine kid brush, also, I'm adding such fine details just using the tip of the brush. So I quickly add in with the pay color and then we'll wait for all of this to and then move further. You can see for the pain scra detail, I've varied the height throughout, I've go a bit taller, shorter bush, not keeping them of the same height throughout. Still in between somewhere at spots, I'll create a much more bigger length. Now on top of this pain sy color line only, we're still going to have in one more line of the green tones. Make sure that your pain scale line is not too small. Otherwise, the entire pains patch will get covered up with the green adding the green greens. Now, let's wait for all of this to dry. Then we move ahead further. I'm going to squeeze out a little bit of the fresh white quash to mix in with greens. Now, green, if we add in directly without the help of white ash on the painsra color, it will dry out and will not be visible. But as soon as you add in a little bit of the white ash to your greens, it creates a past effect, which will be visible even on the pains color. And it will give a beautiful opaque effect of the bush that we want to add in. So I'm mixing in random green along with white quash. Now, for this, also, I'm going to keep on variating the greens by just adjusting the proportions of different green tones into the white quash, sing in the same pointed tip brush on top of the paints gray line, and picking in with the green patches here. You can see how beautifully the green is visible even on the paintray color because of the white quash that we added in, giving in that opaque effect. For this green layer, also, you can see, I'm just altering the differentiates of green, lighter green mix in with white ah, darker greens, mix in with white quash, creating in that opaque consistency. Now, this entire green patch has to be smaller in height as compared to the paint layer so that in the background, you have the paint layer and in the forefront, you have the green layer of the bush. So now you can see why I added in the paint spray layer bigger. And even though a little of the paint spray may have sprinted the field space, it's all getting covered up with this hold effect of the opaque greens that we are using here. In case if you do not have white quash, you can use white acrylic a little because white watercolors will not give you this opaque effect that white quash may give you. I'm almost through the pen tones as well. Adding in the last layer of details. You can see towards the right side, I turned in so light and tone. Now I'm taking this a little bit into the find space to create that fill more effect in to the go. I'm not keeping it entire straight aligned just on the horizon lines. Rather giving it a little cut on the right side, taking it into the pain space a little. I will blend it into this field space. You can see just using in the tacos, how I blended it into the field area as well. In the rest of the space, just using in the same color, and defining the straight line given in the horizon line detail. Now, next, I'm going to add in a moon using in the white purse. T I have some fresh white base fazed out here onto my palette. And using the same smaller size brush, I'll add a small crescent shaped moon. You can go ahead with any shape of moon that you wish to. You can even create a glowing moon effect if you wish to. I'll just go ahead with a very simple moon detail here. All right. A small crescent moon. Now, before we move in the masking tape, I'll just use a little opaque pastal green color and add a little lighter green on the left edge of the horizon line as well because I feel that this tote is looking too dark and not giving in that gold effect. A little lighter green color so as to create that that is it. Let's remove in the masking tape and see your final painting. Make sure you remove the masking tape from the edges and always make sure that the edges are completely dried before you begin the re in the massing t. Here's the final painting for D 18 of this 21 d w color challenge. I hope you Kyles enjoyed painting this beautiful orange pit combination sky with a very simple field ph detail. If you'd like this class, make sure to a proto class project and drop a review so that it can help me reach maximum students. Thank you so much for joining me and I will see soon into the next class project. H. 21. Day 19 - Beachy Vibes: Hello, everyone. Welcome back to Jay Martin of the 21 dot f change. The colors are red for today's tsp gesa Simu, Cobalt Blue, paint, yellow Oka, Toscana, shades of brown, Turquoise, shades of green, and bite ash. That's begin with a very basic tensal step. I'm trusting to begin for parking the, which is going to be a lift of the center line, and at the bottom, you're carrying the beach area. And towards the right side, we've giving lift of the park in a very simple one. Towards the left now, I'm marking the beach space, and towards the right, we have the sand area of the beach. So we at the fetal set, not the first begin paging sy. As a sunny sky meta t into painting. First beginning water and adding pa pater into the sky. Make sure you have an event at a simple blue sunny sky. First and ing with this edu color very randomly, sit crowded cup and dropping in the b fles Later on to this I' going to adding little dark be pings and little p s highlight. You can see randomly and ing in white cloud effect while adding in the ps. If you want to do so, you have to be careful about two things one Your water, sorry, pas should not have excess water. Any pigment should not be too watery. Otherwise, it will spread up completely even in the white spot. So to maintain that, you have to be a little careful. Now, I pick up a little cobalt blue color and adding little cobalt blue onto the cedinu, just fading in some blue shapes into the sky, you can use any blue that's available in your pant. Now I'm going to go ahead with a little of the pain stray highlights into the sky. Now paint spray, I'm going to use a very dutic consistency frequency. Otherwise, it will give it a very dark effect. I very little light consistency that I'm using. If you want you can use do color instead of pain spray as well. Again, that's superson showing how you is play along with the colors. Now at certain spots wherever I feel that the blue a little I'm just lifting up the colors while this is wet, to create lighter highlights into the sky as well. You can lift up the colors only while it is wet. Plus the staining property of the pigments will make a use difference to how your lifting technique will w with your pigments. It to the paint sy. I'll just adding a little blue highlight so that it does not look a very dull area there. We're only to the sky, a very simple light sky. We'll wait for this to dry out completely now and then we'll move ahead to the beach area and the sand space. Let's wait for this to dry flo. Now the sky is dry, let's begin painting in the water of the beach space. Now I'm going to go ahead with a layer of water onto the entire space, that's the sand and the water board because the base layer we are going to paint in together, and then lousing the white ash, we'll given the waves effect and separate the sand area and the water area of the beach. Let's begin with a clean layer of water. Make sure your water does not turn into the sky space. So I see, you can either use turquoise blue or if you do not have the turquoise blue, you can go ahead with the ceiling blue with a little mix of the indigo color. I'm going ahead here with the turquoise blue color, and just adding in closer to the left spaces first. Now randomly, I'm going to just go ahead and leave in those little white caps closer to the water line that we marked in the center. Now using the ciena color and the yellow mix. I'm adding in here a little off the sand area. Now you can see the turquoise color and the sand color are overlapping to each other. You can even use this sand dunes color. It's a peaceful color which I'm going to use it. But in case if you do not have it, you can simply mix in white to your yellow occur to get a similar tone. Now you can see how I've blended both the colors above, closer to the horizon line also. This is also the sand space. That is the reason I did not add the turquoise blue color there. Now, at this point, you will see the turquoise blue and the Rocana has a very soft blend. Now this point, we are going to separate later on once things dry out with the help of ppe wash, giving in the crashing wave effect showing in the foam coming onto the sand area. Into the water space, I'm going to add in little of the bet on wet waves if it so that I'm going to use the same point blue color in a one prone darker consistency and begin adding it here, er er creating in the dead. Now, for that, I'm going to use in a small size brush so that I can get in little fine details of the waves. I'm going to use the same color, but in a little darker consistency by adding in very less water. Now, my paper is still, so I'm going ahead bet on red with the waves detail. You can see very criss cross lines that I'm adding in to given the waves effect here. I will just add in a little more daka highlights into the gates. You can see at this point, I made so my turquoise blue and the Row Siena, both have a soft blend, but are not covering up each other completely because of the water control that I had while adding in both of Now into the waves as well. At little spots, I'll create a little lighter tone effect by doing in the lifting technique. I shows some lighter tones of the as as well. Very simple, you will see this is a steaming pigment, but still it will given those lighter wave effect at certain spots where we go ahead with the lifting technique. Again, the lifting technique can only be turned till no pains are still. Now let's wait for all of this to dry out completely. Then we'll go ahead with the next layer of details into this. Now, I'm speaking out a little bit of the fresh white ah. M water and the sand space, both are completely dry. Now I'm going to begin adding in this white fh layer, showing in the crashing wave e peck across the meeting point of the turquoise and the sand color. For that, you have to go ahead with that rough shape of line that we had formed with the pencil during the pencil s. That line is not visible now, but you need to remember how you had added in that. First, I'm going to mark out that rough line and then using in the dry brush technique, pull out those crashing foaming wave int. Let's make sure that your white wash is in a thick consistency. You can see it's such a quick consistency that getting in that toque flow. You can see randomly a little of the turquoise blue color is towards the sand space, trying to show in the water, meeting the sand flowing over the sand, creating that natural effect of the beaches. Now using the white wash, you can see how I'm just stating in the dry brush effect, showing that foam forming because of the crashing wave which comes onto the sand area. I'm randomly taking in this dry brush effect. After this, we'll be left to add in little beach details with palm tree and bock towards the right side, and we'll be adding in sarish effect onto the sand as well. Pots, I'm just giving in little more depth of the white wash, pulling out towards the sand space as well, giving in little drywah effect towards the other side as well. Trying to show in the depth of the waves. Now, the top sand area here, I'm going to give in another layer of the sands color that you used so that I get in that perfect land out there because the top color had spread a lot. Now just losing the color in a bold consistency or adding in a layer again so as to show the beach across the horizon line as well. Now, using in my size zero. Sorry. Besides double zero point pointed brush and using the white pah. I'm going to give in some white lines across the drat that be adding to show in more of the crashing wave effect. You can see just by adding in some very random strokes of the wash, it gives me so much more of the realistic effect to the w. I'm adding them very randomly C cross overlapping each other. That's the natural beauty of these crashing waves. Having the water space as well, giving in some lighter waves effect, very simple ones. You can see tandem beach just dropping in the view of ten. Now, sing in a dakotron color. I'm going to give in the shadow effects to this crashing wave onto the beach. Before that, use a dakotron color and just use a fine to rush, be in a very fine line across the white line that be added and using a tan rush, we'll blend this into the base layer, creating in that soft look of the shadow of these foams falling onto the sand area. You can see the line that I'm adding is very fine right now. Now quickly using the damp rush, you can see I'm blending this color into the base layer, giving in that soft age, such that it gives in that realistic shadow effect. It's very easy. You can just use the base layer color also to blend if you feel at certain points. The blend is not happening smoothly with the water. A at the top lower as well. You can see dress len in creating in the soft pack, giving in that depth area. Now let's go ahead with the next detail. I on the horizon line. I'm giving in a very fine mountain range on the left. For that, I'm losing in the color. You can use mixed in with p or different des of terms as for your choice to given these details. A same day, adding in another mountain. You can see I'm adding it on top of the sand area as well. Towards the right side, I'm going to create a rocky bushy kind of food detail together, and they're adding very simple palm trees on top of it to given those perfect bet vacation bikes. Now you're at the top, I'm first using a green color as you can see. And if you want to adding a little bit of the brown mix, I'm going to differentiates of green randomly. You can go ahead with the choices of green color. I'm going ahead with a and a light to. You can use any greens that's available in your palette. Now, on top of this green bush area, I'm adding in very simple palm trees. You can see not at all the detail b, just using the pined trust and a dark and the pines green mix. I'm adding simple palm te expects out here on top of the green area that he's created. Towards the rightmost edge, I'm trying to show a palm tee that's not from PT visible to. Half of it is visible. Taking simply that it such major palm trees very easily sing in the dark green color. Now we are left to adding one major element that is going to be the shell fish at the bottom. And just wedding a gitive pushing at the towns. Now, here first, let's begin drawing in the start pase. I'm going to go with a very rough pencil sketch. The reason I did not do it before is because is because of the paints it would as it is be. I'm going to quickly add in a very rough pencil sketch so that we can begin adding in the paints and create the death. Now, for the first layer into this, I'm going to use in the bonciena color, or you can use a reddish brown color or mix in a little bit of ciena with the Bon sienna and add in. I'm going to the first. Now, quickly, I'm going to lighten up this layer by lifting up the layer with a legen damp brush so that I have a very light base layer first. This is the base layer for our star page. Now onto this, I'm going to go ahead with this taker color that I already have on my palette and begin creating the tp beginning from the edges. I on the edges, just in very fine line of the taker color. Now my center lighter tone is still wet, so you will automatically see all of the beginning to get in the soft smooth plant, creating in that soft aspect. I will have to wait for this layer to dry first and then move ahead with the next layer onto this starfish. Now, this is completely dried. I'm using my very fine tip brush and the Tacon color. Just giving in very simple block effect, very random shapes. You can see I'm just creating rough circle squares or any random shape for that matter all closer to each other. Giving in that texture to the starfish that we are adding in low. Make sure that your pase layer is completely dried before you begin adding in this layer of detail, and then we'll create in the shadow effect to this starfish on the sand, just like we created the shadow of the waves onto the sand. Now I'm using one more darker tone of the crown and at certain spots, just giving in some more darker effect. Now, that is the reason I mentioned you can use any shades of crown that's available in your palette. You did not follow the same shades of crown as I have used here. Now, using in the dark down, I'll create the shadow for this. Across the outside of the sar fish at the top, I'm adding in the rocena color in a little darker consistency, and I will blend it into the base layer just as we did for the beach area. As we created that effect for the beach, same way I'm creating the shadow for the s fish onto the sand space. I've added in the layer of color. Now using in the T crush, I'm going to blend these into the base layer. On the edges, I'm dropping fine dark layer of the brown color so that the shadow stands out more distinctively. So I'm using my fine tip brush and adding a very dark tone of brown across the edges again so that you can see how it is giving in that darker if pack. And when we blend this, this little darker color will also come out, giving in that more of the shadow if pack. Towards the bottom side, you can see the shadow will be darker. That is the reason I've used this taker down on the edge to give in that shadow effect at the bottom onto the sand area. Now, if you want, you can quickly use the dam rash and blend this a bit. Now, sing in the whitewash as well, I'm adding in little texture onto the stars fish. You can see the shadow with the taker color now is giving so much more depth to the starfish that we've created in. That is it. We are ready with our class project. Let's remove in the masking tape. Make sure to use that darker to give in that shadow effect for the starfish into the sand space. Only then it will give in that three DD effect to that starfish. So here's a closer look at our final class project. I hope you guys enjoyed painting this and creating the shadows for the beach and the starfish in this. I will see you guy soon into the next class project. Till then, make sure to upload your class project. And if you like this class, make sure to drop a review so that it can help me reach maximum students. I absolutely love how the Starfish and the simple Palm t area has turned out in this one a pretty simple beach vacation for Day 19. I will see you guy soon into the next class project. Thank you so much for joining me. 22. Day 20 - Among the Northern Lights: Hello. Welcome back to T 20 of the 21 d Port coolor challenge, the colors that we need for today's class but taste, violet, bulge, blue, pains green, light green, permanent rose, violet pink, Opera paint, and it ash. L et's begin with our clastic checks at date 20. We are going to be painting a beautiful nothing light, and begin with a very simple pencil sketch, just marking out the bottom space for the snow area, and the entire top is going to be anhing lights. Let's begin with a lay of water into the Matting sky first. We'll be ahead with beautiful shades of pink, blue, yellow highlights, and green as well. Into the entire sky, I've added in a layer of water. I'm running my brush multiple times so that my paper stays wet for enough time for me to work we on. Also on the edges, make sure you do not have any excess water, otherwise, equal seat pack while you're adding in the colors and create very rough edges. Now let's begin in with the pains one by one. I'll first begin in with the cobalt view. Now, in case if you do not have this color, You can simply use a pastel turquoise color, or you can use your turquoise color, add in a little of pie quash to it and us, or you can mix in a little of your blue, green and white and get this greenish blue pastel shade. I would recommend using in white quash for mixing so that you can get in that opaque consistency. I'm catering just some swirls with this color. Now, next, I'm going to go ahead with a little bit of the light green color here and drop in closer to the horizon line. Now, very randomly, this is just the first layer of strokes that I'm adding in with the colors. After this, we'll still be going ahead with the same colors again to bill in the opacity, as well as the depth. Right now, I'm just placing in the colors. Now, when you're placing in the colors closer to each other, you need to be careful about the colors that will blend and create in any muddy tones. So there you need to be a little cautious while adding in the colors so that they do not move into each other until unless you lose either white to blend them or some blending color. I've added in a little bit of the pink, and now I'm adding in a little bit of the violet pink color. Now, in case if you do not have the violet pink, you can simply just mix in a little bit of your violet to the pink color and get this violet pink tone. You can see how roughly I'm adding in these strokes. You can see at this point, the blending between the cobalt green and the pink tones is looking so absurd and weird, but don't parry as we move ahead, it will all get better. Now, picking up the violet color, adding it into the space out here on the left, closer to the pink and the greens. Now onto the pinks as well, I'm going to add in a little highlight of the violet, just creating in little strokes like these at the top, in the center, I let it be pink, same way between the cobalt in as well, adding in more of the violet tones. Now, still at this point, if you see all the blending and the color placements look so absurd and weird, we still need to work more layers onto this to build in the depth and create in that f. Now, even from the bottom space of the pink color that we added between the creens, I've added in a little bit of the violet color. Now let's go ahead, begin with the same colors again and begin in the blending process. So first, I'll pick up the cobaltin color here, add it at the same spot where I've added. Now, when I'm adding this, I need to be a little cautious about the water control onto my brush. Because if at this point, I'll have excess water or pigment. Everything will just begin to spread in. Dropping in the greens again, you can see I've picked up the color in good bold consistency, dropping them. And along with that at this step, I'm beginning to rotate my boat, so you will see the colors flowing into each other, creating in that soft blind because of the next tier of paints that we're adding in. Now, again, in between the violet space that we have a lot on the left, going ahead with the pink tones. I'm using permanent rose color. You can use any tone of pink that's available in your palette. It can be scarlet, quin rose, permanent rose or carmine or any other shape for that matter of your choice. Now, in between the Coval cine, also, you can see how slowly I'm building in the violets. Now let's go ahead with a little bit of the white quash. I'm mixing in the white quash with a little bit of the violet to create little lighter effects at certain spots and move in with the blending, creating it much easier to blend. Now, going ahead with a little more of the violet tones. Now, remember, watercolors dry or tone lighter. So, you know, you need to be sure that after drying all of these strokes will ha in that old vibrant effect. That is the reason I'm running in with multiple layers to create in the tap. Even on the greens, when I'm running the violet color, I'm making sure I run it in such a way that I do not get any muddy or unpleasant blends or tones. So you've got to be a little careful with the blends. It may take a few strokes back and forth to create in the blends and, you know, flow between the colors going and haping smooth. Now here on the left, I'm going to add in a little bit of the cobalt cream stroke. I've picked up the color in a bold consistency, just adding it in one stroke. Once you add in, make sure you clean your brush before you run again because while adding in these strokes, you will notice that a little of the violet and the pink which is there in the base gets lifted on your brush. And if that same brush you run again on the color, it will again get turned into the violet and the pink tones. To blend in smooth again, you can see every time I've cleaned my brush and made sure that adding in the second layer again. I have a clean brush so that when I, you know, run again, there is no pigment on my brush already. Same way just going ahead with a little lifting techniques of the violet color to create in some lighter highlights randomly. Now, along with the sky, what I'm going to do is, I'm just going to paint in the snow area. For that, I'm losing in the bright opera color. I've just added a very light tint now using in water. I'm just going to spread it. It's basically 95% water that we need and just little tints of color. Along with the pink I've used in a little bit of the cobalt and the violet tones. Basically, the sky colors that you have, you just need to reflect a little of those into the snow area trying to show the reflection of the nothern sky falling onto the snow space. This is going to be the pat layer that we've created. I'm just going to add in little more highlights with the paint layer, the violet color on the edges, trying to create in some shadows, for the palm trees that we'll be adding in later on. So just some random strokes you can see on the snow to create in that texture. Now, after this, we'll wait for everything to drive a ky, a snow area, and then we'll move ahead further into this painting, adding in the stars and the details. Now everything is completely dried. I'm bringing up fresh white quash to add in the stars first into the night scar. You can see the colors have blended and dried and sourced smoothly into each other. So flattering in some stars using in the white quash, make sure that the white ash is in a thick consistency, so that after drawing you get in that opaque look of the stars. Also, you will see the size of the cars are very tiny that are dropped in. You need to be sure about the consistency of the paints as well if it will be two watery or two liquid. You will get in very big splatter of stars. The size of the trash, for angle, the distance from the paper of the trash also makes a difference for the size of the stars. If you want fine stars, take the brash a little far from the paper. If you want bigger stars, take the brush a little more closer to the paper so that you can get in more bigger patches of stars. I've added some spots for the glowing star effect. Now using in the Tam brush, I'm just creating in the dull space of the white patches to act in as the glowing space for the stars. Once these patches will dry out, we'll add in a bold white tort to the center of these to act in as the glowing stars. So you can add this at any place that you wish to. So you can see now to the center of these patches, I'm going to add in s thick bold white torts. So across that, you'll have the dull white patch, and in the center, you'll have the bold star effect coming in. Now till the time the stars dry out, let's quickly add in a few pine trees into the horizon line space. I'm just going ahead with a ble layer of the pines gray color, and I'm going to begin adding in the pine trees. You can go ahead with simple pine trees of different heights. I'm going to use in different pays to add in in between, I'm just going to use in the simple strokes as well to fill in the spaces quickly. So make sure that you vary the heights of the pine trees, you can add in some scarce pine trees as well, and you need not add in so foliage to each of them. There are various ways of adding in these details. You can choose which one suits the best to you. So I'm first creating in a rough layer so you can see a little of the sky colors beated into the snow space. That's okay because here I want to create a rough patch for the pine trees, giving in that natural love because, but obviously nature is not going to be in a straight pit pat line, so you can create this rough line to give in more details. I'm pulling out strokes which are pointed at the top, and at the bottom filled in with the pines gray color. You can use paints gray, bold black, neutral black, whichever is available in your palette. Now, the strokes that I'm adding also, you will see. I'm varying the height across, so somewhere taller, somewhere shorter. Then in between this, I'll go ahead, add in some detail pine trees. Now the benefit of doing this way is that your entire space gets covered up quickly, you have the height variation throughout and then quickly you can choose spots where you want to add in some detailed pine trees coming out from between. The rest of the space also looks like pine trees itself, but they just look as if they are far of pine trees, hence, not much detail. I almost through the space. You can see just a little on the right side that is left in. You can see I varied the height of these strokes as well so that we stay in that motion of trying to get in those distinction, as well as giving in that natural effect to the details that we're trying to add in. Now, after this, we'll add in some detail pine trees in between these strokes. You can choose your own spots for adding in those need not be at the same spot that I add in. Then on the snow space, we'll add in little of the dry brush detail, and then the detailed glowing stars before we wind up the class project for date 20. A you can see I'm choosing the spots randomly for adding in the detailed pine trees as shifted to my size double zero point. Now here I'm adding in a pine tree with very of the foliage detail. You will see I'm adding the foliage far from each other, creating in a very dense looking pine tree detail with more of the branches that has it. Now, as I said previously, you can choose different spots for adding in these trees, I not be the same as mine. You can add in some dry defect, some very, you know, filled up with the foliage effect as well. Different heights is what's important, so as to give in that natural effect. Make sure you're using in the right size of the brush as well. Otherwise, if you use a bigger brush, you may get in very bigger details. And since we're not painting that hue, it's important to keep in mind the size of the elements that you add in as well. So as to blend in well completely with the entire aesthetics of the sky or the painting that you're going ahead with. I want to stand ing the pine trees increasing how quickly we could add them with the help of the simple stripes that we added earlier. Now let's move ahead to the next lab of detail. I'll just adding a little more of the gold paint spots where I feel that the color is a little white. I'm using the pain spy. I'm going to give a little dry pash effect in the snow space as well. So I'm just dragging my brush very gently, you can see I do not have excess pigment or excess water. I'm just going to head very snowly dragging my brush, giving that little d pash effect. You show the texture on the snow. Is motes. And dragging my brush diagonally from left to right and right to left in diagonal angle so as to create that movement onto the snow as well. You can add in a little more of the darker depths as well. I'll use a little of the pain color given a darker th effect at certain spots, not necessarily, more of the depth of some rocks into the snow area as well. Make sure we do not overdo with the tripas dark details. We need to have a balance between the lighter and the tapo stroke so as to get in the depth of the snow area right. These also act as a little reflection of the pine trees that we added, but very randomly in the specific angles. Now I'm just going to add details, randomly into the snow space or some dried grass effect. Randomly, you can see, I'm adding them. So let in this here as well. Let's begin adding the stars that we left t for the shining star space and then we de the grass project. I'm using the white as in the consistency. I'm using in my small sized rage. I'm just dropping bold white dots into the center of these ging spots that we created previously. The dull white spots that we created by pending it into the face cla. You can see as soon as you add in the bold white color in the center the entire space around it, acts as the shining space of the star. I'm just pulling out two of the shooting stars as well. I'm using my fine tip plush and the white wash in a hold consistency. You can see how fine these lines are. If you want to use a white el pen as well to adding these fine details. If you're not confident to add them directly with the plush, but make sure that these lines are very fine and you use a fine tip pen if you are using in a white ll pen instead of the paint and the plush. So that is eight we are ready with the clash p check for date 20, one more to go before we wind up this 21 d parter coolor challenge. So now let's remove in the masking t and see our final paint. I'll just quickly add in a few more bold stars t randomly here and there because I feel that, the stars are looking too tiny and very smaller ones. I just quickly add t random spots, I'm going to adding a few white gold dots to acting as the stars. By removing the massin sure you pull it against the paper so that you do not tear off the edges and your edges remain crisp and white as you need them. Also make sure that the edges are completely tried before you begin to pull off the mast. So you the final look of the Ndight from day 20. I hope you guys enjoy painting this beautiful, yet a simple Noting light painting with me. I will see you guy soon into the last class project. Thank you so much for joining me into this class. If you'd like this class, make sure to drop a rig so that you can help me reach maximum students and do a flow your class projects if you painted along with us. Thank you so much once again for joining me. 23. Day 21 - Pastel Sunset: Hello. Welcome Math P. O here on the last say of our watercolor challenge. The colors have que today's passe taste, maple yellow, orange, on int, violet, paint, light pen, other shades of green, pale spy, violet paint, and white color. So Ls beginning with a very basic pet step making out the elements of faste So fos beginning with the horizon. It's a little below the center levels you can see. At the port space here, you're going to be having a small water body moving from top right towards the body left. I'm going ahead with a very random shape for the water body. The rest of this space across this water body is going to be clean pas that you're going to be a usually in the shape of f. You can go ahead with a very rando shape. It will not be space in small. It can have different curves and flowing of movement of the water as you wish to add it. So towards the top left of the horizon line, it's going to be the field, and towards the bottom right here, it's going to be the feel, and the top is going to be a beautiful sky. So let's begin with the sky first. I'm going to begin with a layer of water in the entire sky. Make sure you have an even layer of ports p throughout such that, you do not add any excess water at any edges, as well as make sure that your edges does not have any collected water. P in pas if your paper dries out quickly, you can run across multiple times. You can even need for the first s pater to dry approximately 50% and then revert it again. This will help you in keeping your paper wet for a longer time for working red on red. I'm running multiple times so that I haven't even pater and no excess water collected on the edges. So first into the sky, and bring in with his permanent rose color. It's a cupul tone of tint of of the sky house files. Now, closer to the pint, adding in a little bit of the shelf fin color. It's simply a past color. You can either using directly a little bit of the white ash, with the same pink given that little lighter tint in the tow. I'm picking up the Naples yellow directly from my tube because I do not have any space cloud and closer to the horizon line going ahead with the Naples yellow color. So this is the first layer of the sky that need created. Now on today wet on wet, he is still going to be working, creating an ert the cloud details. This is just the base layer that need added in. Now, picking up the Jundi in color, it's a peach skin color tone, adding it in between the pink and the yellow, blending all of these three tones. You can see if we've created a simple blend, each colors go l with each other and not creating any ddy tones. Making it easy to blend and handing in a smooth transition between the colors. Now, picking up the prominent rose color, I'm going to mix it with a shell pink color, or you can add in white as. Basically, we have to create a little lighter hint of the pink or beautiful past pink each type of a tone. Using this, I'm going to begin adding the cloud effect, close the yellow space. Make sure you do not go ahead with a very hold pink color here. I want to create a beautiful paste in the sky. Hence I'm using colors, which are more opaque giving in that pastel effect. That is the reason I'm using in the shell ping color, which is a pastel color mixing with pinking in a beautiful pastel pink color. You can simply add in white ash in case if you do not have the shell pin color or the april yellow color. You can add white bash to your basic colors to get the pastel hints to your colors. Now, picking up a little bit of ca violet color, again, I'm going to just dilute it in a very light consistency and add in little strokes. You can see it's in such a light consistency. I'm adding it over a pastel color that weed added. So you can see the very light effect of the toe. It's usually water dated tone, but while adding in, I'm making sure of the water control into my brush, that will be more drop in excess water or pigment there. When you're working better were creating these steps using the clouds or in water bodies. It's very important to understand the water control while working wet on. Otherwise, the colors will spread out completely and will not stay in the space that you add them. Right now, if you see, my cloud are staying in the shape that I've added them at the space which are added them. That is because of the water control on my brush and the pigment control. In case, if I would have had excess water or excess pigment, the colors that I'm dropping wet on wet would have spread out completely, creating in just simply crops of colors instead of giving in these shapes. So it's very important to understand the importance of Water control and the pigment control while working wet on wet and also the wetness of the paper to get in the details sed. As a little bit of the gentle in color. I'm just going to be adding little data depths here at certain spots, creating a little more of the cloud effect. You can see how we began with a simple flat sky of two colored mits or simple flat vigated wash. And with the help of the clouds, we created such trauma into the sky gaining so and realistic effect to a sky with the help of simple, simple strokes, and simple color combinations, sozing in the pas consistency, cating in the purif paste sunset spy. I'm t with the sky. Now, what I'll do is, I'll pain the water body as well because that is no way connected to a sky. For the water body, I'm going to go ahead with a lave of water first. Now I know my water has turned a little pain because some people p is, my water body is going to be of the same colors that we have into the sky. Basically, I'm going to show the reflection of the sky falling into the water body. Hence the color of the water is not blue, rather it's depicting in all the sky colors. Very randomly, I'm going to add in the colors here. The first closer to the horizon line space I add in to yellow color because we have the yellow sky closer to the horizon line. Now using in the pink and the pastel pink, I'm adding it towards the left and on to the edges as well. Into this as well, I'm going to give in very randomly the cloud effect just as we gave in the sky with the same colors of the sky, such that it can perfectly showing that the reflection of the sky is falling in re. Using the purple color. You can see I'm randomly dropping in the reflection, creating in the depth into the sky, very simple, very just simple techniques, and you will notice how realistic this is looking. It's looking as if it's the exact reflection of the sky that's falling into the water body space. Now at certain box, wherever you feel, you need to create in the blends, you can simply run a damp bars and create in the blend. Now here in the sky, my paper is still wet he I'm just running my gs, wherever I felt the need to. Now let's wait for all of this to try, then we'll move ahead further. A ky water bodies from p y. Let's begin with the fen space. For that, I'm going to randomly beginning from light green color. I'm moving, I'm going to give in daker depths with different tones of tres. Now, using the tones of greens is absolutely a choice, whichever is available in your palette. Now, for the field, I'm going directly with a wet on dry layer. So I did not add a layer of water onto my paper. I'm directly going the bit, light green colors first. Across the water body, I care in such that I do not run into the water body space, and across the water body, we're going to give in darker edges using in darker green color. This is just a base layer. Now, the first layer of green I've given it in a very diluted and watty consistency so that I can walk wet on de different cones of greens on top of this mow. Now from the edge of the water body, you will see and to drop in darker tings so as to show the shadow of the water body onto the green space as well, giving in that D effect out there. Now I'm going to define the line of the water body. You will see it's very curve it and not simple shape lines and make sure that we go ahead with very random shape to give it that realistic effect. To this, we're still going to add in a lot more dapper depths. This is just the beginning of the p space. Now on to the horizon line as well, heaving in the tackle fine color at the top, defining the horizon line well. Now, slowly from the edges, I'm going to begin dropping in the sack again. So first I use light beam, then now this layer was of the skin color. Now, I'm shifting in to mixed in with a little bit of the hookers green color to getting one more dark layer of the t. Now again, first onto the edges of the water body, I'll begin dropping in that. Now, for the feel, it's going to be such that in the center, you have to light a green spots coming in and towards all the edges, you will have the taple green de coming in. I'm still working better on that. In case of your paper is one that can dry out, quickly, what you could do is before adding the fospher of green, you could adding a layer of water into the green space as well so that you can work for a longer time better on. I added the fosphe green itself in a very watery liquidy consistency, such that it is going to stay for me to work all of the details. So now across the water body again, you can see I've given you the screen color. Nice you notice it's not easily blending in with the light green or that I added PC it's not giving me that soft page. So what I'm going to do is, I'm going to run colors again there so as to create in more depth and create the plan stripe. So I can use the light tan color again and drop it closer here. So you will see automatically now everything has begin to get in the soft and created in the darker depths as well into the field. I'm still going to add mitt or more darker depths into the field on the edges before we let this to dry as well. As soon as you've added in that darker line across the water body space, you can see the water body is lifted. It gives in that feel if there creating in the shadow, falling onto the field on the edges because of the darker lines that we've given in there. Now I'm using in the welded creen color to adding further details on the edges. You will see every taker green that I add is only from the edges. But with every next layer of the taken space, the space in which I'm adding them is reducing in such a way that you have various forms of greens physical. You will see my field will have the lighter green highlight popping out from center, and then the taker colors on the edges with various forms of the canes coming in. In case if you do not have a dicen color, you can simply mix in a little hint of the pace re spin to get a dafon color. You can create dapagen with the halt of brown pin and black, mixing with the basic pes of green sets available in your pallet. Now I'm almost summed with the p space just going to define in the edges before we move ahead further. Now sing it a little bit of the pain stray color, I'm just going to define a little more edge of the bottle body, giving in one more layer of the darker depth and still doing all of this while my paper is still. It's very important to make sure that you do all of this. Only then you'll get in that effect of the shadow and as well as giving in that realistic effect. Otherwise, you may just get in simple lines of the colors, giving in that group. Now, at this point, if you see, the pains line that I'm adding is standing out very distinctly. I'm not easily being with the ps. My paper is wet. Still, you can see it's having those sharp edges. What I will do is, I will quickly pick up a little more of the green and add it at the same spots of the ending of the pains color, such that it will again create in the plant with a pa. Now here, again, I'm dropping in green, glend in the paints gray with the base of the green. You can see now on the edges, we have the paints gray effect, yet blending it with the green with the help of the base lighter green color that we've been mosing so far. I'm just going to pick up my light green color a little again and drop it here at the top space, where I feel that the lighter gene is hidden up completely. You can see I pick it up in a little liquidity consistency and drop in there, creating in that lighter glowing effect. At certain spots, I will quickly drop in this little green color and I'll let all of dry now, and then you'll move ahead further. So everything is completely dried and now using in the paints gray color. I'm going to begin adding in the details on the horizon line. I'm first going ahead with simple mountain patches, and I'm just going to fill these completely with the paints gray color on the horizon line. You can see how tiny elements are adding in because of the size of the paper that we're painting in, plus trying to show in that these objects are far from our views physical in such tiny elements. We're going to add in a small windmill as well on top of the horizon line. So let's make go ahead one by one, adding in the details. O Amos on the entire horizon line, I'm just going to adding small mountains randomly of different heights. You can see. I'm going ahead with smaller heights at certain places, very rough edge at the top, not giving that simple straight line of a mountain. Try to keep it as a possible to given that realistic effect. I have a certain spots using the tip of my brush, I'm just going to dad in little of the change color, trying to show little more of the effect of this container. I'm just using the tip of my brush, dropping in, trying to give a little bush effect in between the mountains as well. I'm just using the tip. I'm using a smaller size brush. This is a size two round brush, but this is a point of tip so I can add in sound details also very easily using in this brush. Now, using this fine tip pen, I'm going to go ahead adding the other fine details into this. You can use in the pains color and the pointe size zero double zero crash. I'm using 0.1 it pen so you can see how fine the details are. I'm going to add in a simple electricity pole here. You can add in a windomin if you wish to if you do not want to go ahead with this detailed electric pole. Corner head added in the silo hate. Now, again, this silo hate also can vary for each one of you. You can use your own reference for adding these electric pole details. Now very randomly, I'm going ahead, adding in the connections in between gas, and in the entire center space, I'm going to add in the crispest lines. If you've ever observed an electricity pole or the line, you'll notice all of these details into the standout there. I'm just going ahead with those simple details here. You may get in a lot of references on pinterest as soon as you type electric poles or electricity vines on the roads, and you may have noticed yourself as well in real life. Now, I'm just going to add more Cris person to this. Spen of the edges, and then giving in the crisps and center of the small pas that is created. Now I hope you can resemble more to what kind of a pole am I talking about about this electricity. Now into this, we're going to add in a few of the electricity vi lines as well from this pole itself running into the top of the sky. Now, again, for that as well, pin goes in the paints gray color and a very fine pointed trash. But using in this pen makes it much more easier, helping in giving much more detailed details. Also, one thing to remember, make sure that the pen that you use is waterproof, because in case by any chance, you have to correct in anything with colors. Remember watercolors has water, and as soon as you add it over the pen, if the pen is not waterproof, the black ink may begin to spread out, creating in black space every day. It's very important to make sure to use in a waterproof pen while adding in such details. So with the same pen, you can see I've added in details. I've tapened up the edges, the outlines creating in more debt. I beginning with a fine pen, giving in fine outlines, then fine details, and then wherever needed, I've tapen up the details. Now, going ahead, adding in simple wire lines, that is the electricity lines passing through this phone do. Same day, I will quickly sect from the left to the pole as well now. They are almost to the casaste one. This 21 day journey is just about the end in a few minutes, but it's always the journey that matters and not the end. I at the back, I'm adding one more pole out here. This is a simple one, not a detailed one that I'm adding. This one detail and then some small simple poles, you can add in to given more character to your painting. Pain. Adding one more pole on the left as well. Working with PN is so much easier times while adding these fine details. To this pole, I've given in a small steep light detail. Again, very simple, not much of the light details. I'm giving just simple sit with a black color, and that is it ready with the clash picture. To move in the masking tape and see a fine painting for the last day of this body water cool challenge. I'm in love with the pack and how the clouds so realistic in this f and the water body effect, which is given in such real reflection details. As a cop painting for painting at least s one call cha. I hope you guys enjoy painting into son paintings with me and learn something more of the painting. I love the peaceful side and the realistic reflection in this along with the simple feel with tens of s. I have uploaded all the class projects into the project section for you to, all of them together. If you've painted along, make sure to upload them into the class project section, and do shop a review if you like this class. Thank you so much for joining me into this challenge. And I will see soon we can other challenge. Thank you so much once again for joining you.