21 Days of Watercolor Seascapes - Let's Dive into the Waves

1. Hello and Welcome Back: Every time I look at the CVs, I feel like wiping off all the worries and negativity around. I believe in seizures bringing in good luck. When the toes are dipped in the sand, I feel I sold grounded. I love being by the same more than the mountains, but I always feared painting the waves, fueling it to be a complex stars for me to accomplish. But as I always say, with practice, anything can be learned here and I am with a 21 day watercolor challenge for you to dive into the waves. Hello friends, welcome back to another Skillshare class with me and my sheet, the barrio, an artist and an art educator from India. I am a watercolor and gouache artist. And you can find all my walks onto my Instagram handle, creating from the heart. In this 21 day watercolor challenge, we are going to be exploring in painting and see escapes with watercolor and diving into the vase. I will first be guiding you through all the basics of watercolor and also be giving you a little depth about the techniques used in watercolor for adding in the background washes, as well as discussing a lot in detail about adding in weaves into your seascape, creating indifferent depth into your seascape. I will be guiding you through the materials as well for the 21 days. And then we will be diving into this 21 day class. If you always feared painting these leaves in this class is perfectly for you to begin with and get rid of your fields of painting the leaves. I would love to see you join me into this class. So without any further ado, let's begin in discussing in the materials and the basic techniques for us and then dive into the day one class projects for today. I hope to see you all join me into this 21-day challenge and explore. Bc escapes with me. Let's begin diving into the next lesson. 2. Materials Required: Let's have a look at the materials first one being the paper I'm going to be using in these people. These are approximately 12 centimeter by 12 centimeter. I have gotten bigger sheets into smaller size. You can go ahead with your own preferred size of the paper. I'm going to be using these for each of the class projects throughout for taping down these paper I'm going to be using in this board onto which I'm going to be taping down the paper using a masking tape. You can tape down your paper onto any movable surface. I would recommend to go onto a movable surface so that it's easier for adding in the details. Next is the watercolors I'm going to be using in this Magellan mission. Watercolor said, this is actually board from tubes into this palette out your do not worry. I'm going to be helping you out with each of the shades that we will be using in each of the class projects. You can go ahead with the very basic sheets available with you. Next other brushes you will be needing in some flat brushes, some round brushes and some detail of brushes. Also, I'm going to be using in this pointed round brush for adding in details with white gouache into our CVs and creating in the form effect. You can go ahead with whatever brushes you have some flat round and detail brushes for each of the class project you will be needing into jars of clean water. Make sure for each class you have clean water. Next, you would be needing a masking tape to tape down your paper for each of the class project. Apart from these, I'm going to be using white gouache. So I'm going to be using in the whitewash on a separate palette for each of the class project, you can either use white gouache or white, because white watercolor will not give you the opaque look for the details that we are going to add in. Next, you will be needing in a few of the stationary or scale pencil, a black pen and write pen. Do not worry if you do not have a white gel pen, white gouache or white acrylic will do the walkway. Next, you are going to need an tissue paper. Make sure you have some tissue paper or rough clot handy because we will be dabbing in lot of the paints, forgetting in the details as Ben. So these are all the materials that you will be needing throughout the class. So make sure you have all of these ready. And let's begin discussing in the techniques for today and then shifting to a first-class project for D1. 3. Technique 1 - Basic of Watercolor & Clouds: Let's begin with some basic watercolor techniques before moving into the depth of adding in the weeks and learning details about the CBS, I will begin with the techniques one by one. The first technique is going to be the wet on wet technique. The wet on wet technique. We have a clean layer of water which is wet. And onto this wet LEO, we are going to be adding in paint, which is again going to be with this is called the wet-on-wet technique, wherein the layer in the underneath or space is already wet and onto that wet Leo, you are adding in the wet Leon with the colors again. Now, in my technique can even be covered on color. So when we are going to be adding in the waves in the photo classes, you will see that while your first color, the Oresteia, where we're adding in the waves didn't wet on wet. We're adding in the details, wet on wet over toby Nero photo. I've just used in one simple color of law, added it throughout the show in the wet on wet technique out here. This is the first technique which is very important. That's the wet-on-wet technique. Now the next technique is going to be wet on dry technique, wherein the base layer is dry, there is no water or wet layer of color. We undo this direct drying. The OPIA going to be beginning in with wet paint, hence it is in wet, on dry. Suggest using in wet paint, I'm going to add it completely. Now this technique is used when there is a very small space to be painted in and not much detail to be added in. And you want your space to dry in quickly. If on larger surfaces you will try to use this wet-on-dry technique, you may get in or sharp edges in-between because the paper will dry mouth to know as compared with the wet-on-dry technique. This is only by now adding in details or walking on small spaces. You can already see the color difference is coming in out your because of the wet-on-dry technique, because the paper was not wet, even it places it began to die in that I'm just running a **** brush over it to make it even there throughout like this. So that is why we will majorly be using wet on wet for because offices and only for the dealing we will be using in the wet-on-dry technique. Now next one you're going to learn in different kinds of wash. Let's begin in with a clean code of water. As I told you, we are going to be going ahead major, live with the wet on wet technique. So let's begin in with the wet on wet technique and beginning with the first type of wash out your the first wash is a gradient wash bedding. We adjust going to be using in one color and we are going to be having a no gradient to this. So at the top you can see we have the darker, deep, and at the bottom that intestine lighter. I have picked up the same color again and just running from top to bottom again. Now I just add the candidate at the top and using a damp brush, I just, you know, get radiation to the bottom space creating an a gradient wash. Now this gradient wash can either be top to bottom or bottom to top depending on how you need it. To see if you need it bottom to top, you can begin adding in the tint from the bottom and moves backwards. Now let's move into the next wash. Again, I'm going on with the wet on wet technique. So first adding in a layer of water onto your first time in beginning in with the blue colored the top space until the half, that is still the center line of this box. I'm going to add in this blue color. And from the bottom, I'm going to shift into the next color now. And I'm going to use in a darker tint of blue color, all masala and indigo color of this set, which is more or towards the black side. Alright, so this is called a variegated wash bedding you using two colors, blending them to each other. Now, these variegated wash can be of different colors as well, need not be just of the same color. Family. Modesto, according to the colors that you pick up, the variegated wash. We'll video later, depending on the color harmony of the colors that you're using. So you can see there are two colors, both of them blending well into each other. So this is the variegated wash. The first one was the graded wash and the second one is the variegated wash. Now let's shift it to the next one out. You're, so again, I'm going to begin in with a clean buret of water first and then begin adding in the colors. I'm using in the indigo palette from this set. This car wash is nothing but a flat wash. It's just one color in a simple theme color tone throughout. In the radiated wash, you will see that at the top or the bottom, you will have darker tones moving from the darker to the lighter color, but you're in flat wash. You will have one single color tone seen throughout, everywhere. So you can see I'm trying to add in an equal colored bone onto the entire space throughout having the perfect theme color spread throughout. This is known as a flat wash. These were the three different kinds of brushes. First, we learned about the wet on dry and wet on wet technique. Now these were the three different washers, that is the graded wash, variegated wash, and the flat wash. Now let's move on to the next technique for that. Well, I'm going to go ahead with the clean layer of water again. Your Ivan show you a variegated wash with two different colored tones, you know, of blending of which may form in a third color. So how we can do that as well. So I'm going to do in a variegated wash with the blue and the yellow color. Now we know when the blue and the yellow mixed together they will form a green tone. So to avoid that in-between, we believe in little white tab and let go the colors blend easily into each other. So you can see I have added in both the colors in-between. I left a little white gap. Now using a damp brush, I will just blend from the bottom of the blue pill, the yellow color. And you will see there is no green color form and there is a perfect flow happening in-between the colors. This is how you can achieve variegated wash, the two colors which may form in a third color. By living in a white gap, you can get perfect transition between the colors and go ahead with the variegated wash. So these were the different kind of wash. Now moving on to the next technique. Again, you're going to begin in with the clean layer of photo. Now I would recommend you to try out these basic technique first, if you are a complete beginner. These basic techniques will help you a lot in getting the class projects much easily. And this will also help you understand where you go wrong. So I recommend you to try out these techniques and get a hang of these before moving on to the final class projects. Now, we're going to learn about adding in the clouds. So again, this is wet on wet technique. I have a wet neuro photo. Now under this, I'm going to be adding in wet paint, but I'm going to add in paint, leaving in some white gap financial clouds to act in suggest adding very simply small patches of the glue Carlo going to form in little cloud shapes in-between. And then undo this. I will show you how we are going to be adding in the wet-on-wet technique or using in another color. On top of this. Now you will see how easily I've left in the spaces in between to act as the Cloud. Now undo this, I'm going to pick up the indigo color. I'm going to shift into a smaller size brush. Now this piece is still wet, wet on wet again, I'm going to add in the next layer up. Now this darker tone, I'm going to add in very little as compared to the blue color that I did it. Because I wanted the blue color as well to be visible. You can see how easy and you can form in the clouds as well onto these using the wet on wet technique creating imperfect depth. Now you can see three colors coming into our sky. The white gaps that you lifted. Now when you are these clouds wet on wet, you need to make sure that into this indigo color, you do not add much of photo. You need to control the water. Otherwise, you will just get one flat layer of the color and all the colors will blend and bleed into each other and you will not have any color distinctions in between. Now wherever I feel the pallidus spreading little extra, I'm just lifting it up with a damp brush and then we have got the perfect kind of clouds. Now let's begin with the next, a technique out you're getting going ahead with the clean layer of water first. Again, you are as well. We are going to learn adding in the Cloud. So this time I'm not going to live in any white gaps. I'm going to use in the blue and the pink color this time I'm using in the city in, in blue color. Next, I'm going to be picking up the pen up, sorry, the windows color. So using the Windows color, I'm going to add it completely. Now when the blue and the pink mixed together, they will formulated purple line. As you can see, if you do not want that purple color, you can live in mitten whitespace. And when just as we blended the yellow and the blue, these are different ways that you need to understand about blending in watercolors. Whether you want the third color to be formed or you do not want the third color to be formed. Now I have picked up a little of the violet color and I've shifted to a smallest size brush. Now you will see just using the tip of my brush, I'm adding in this color wet on wet for a million little cloud chiefs into the sky. Now in DSM-5, we'll add in lot of water to this violet color. Violet color will spread a lot and give me a flat loop of the violet color instead of retaining these cloud sheets that I'm trying to add in. So it's very important when you're working wet on wet with the color neuron color, you need to make sure that you control the water content. Our biggest to maintain and read in the sheep. Now automatically these cloud shapes will have a soft blending because walking wet on wet, but also they will maintain the shape because I've tried to control the water content and the liquidity of these watercolors. A24, I have added in the clouds using two colors. That's the red violet and the violet color. And you can see these cloud shapes are reading because I have not added much water. Also, the clouds are in the form and all PCR colors are visible if your is the dried loop of the complete thing. So let's remove the masking tape. These were the basic techniques. In the next technique we are going to learn in different kinds of adding in the CVs. Wet on wet, wet on dry, and different ways of adding reflections, shadows, B-trees are all of the videos in the next technique session. So far now, these were the basic ones. Again, I would recommend if you are a complete beginner practice, all of these, they will help you a lot in overcoming your viewers with watercolors and help you get better with your basic techniques. In the last one out you are, you can see how beautiful the clouds are looking wet on wet, maintaining a lot of bones as varied but maintaining the shape as your first technique session. In this first technique session we have lawn wet on wet wet on dry graded wash, variegated wash, flat wash, variegated wash with two colors which may form. Third color abiding in the third color, or adding in clouds, leaving the whitespace, adding clouds wet-on-wet with two colors forming the coat color. So I will see you guys into the next lesson discussing more about this. 4. Technique 2 - Different Ways of Adding Waves: Now we are going to be discussing in little more detail about adding in weaves in different manner into your cityscape painting. All of these will be helpful for you in the coming days to add in v's in different pathogens into your CVs. So far, the first one, I'm beginning in with the clean layer of water as we are going to be working on with the wet-on-wet technique. We are going to be adding beams wet on wet. I'm adding in a base Leo color of the civilian blue color, and this color is going to be red. I'm going to add in the v's with a darker blue color onto this wet layer, the blue color. This is going to be adding in the waves wet on wet. For now adding the waves I'm shifting into a smaller size brush, which is a size four round brush, which has a pointed tip. Now using in the darker blue color, I'm going to begin adding the wheels wet on, wet out. So now when you are going to add in waves, you have to be careful about few things. One, the water control into this darker blue tone that we're using in. Secondly, you need to make sure that you're basically of blue is not extravert, otherwise your paint will spread a lot. Suggest as we learned the water control for adding in the clouds in the same way we need to control a while adding in the waves your as bell. You need to add wet-on-wet, but you need to make sure that the pigment does not have extra water. And depending on the color tones that you need, you will be adding in. Now, we can use in wet on wet some thicker strokes like what I'm adding now. You can also lose intend single line strokes we're adding in details. Now you will notice that as we move closer to the horizon line, leaves will be smaller one. But as we move towards the bottom, spaced of veins will be thicker one. Now I'm trying to drink my horizon line to be the top line. So now I'm adding in various smaller and ANOVAs, as you can see, because of these that are closer to the horizon line are far from our view. And the ones that are at the bottom of the horizon line are much closer to our view. Hence we add them a little more teacup. So just adding little more darker death. This is how you can add in waves, but on where in this way you will be achieving in soft edges to your visa because you are playing along with the wet on wet technique. And you will also maintain the little darker loop because of the water control that you do while adding in the VCE. Now let us begin again with a clean photo photo to move on to the next detailing about the VFS. Onto this one, I'm going to give an allele or of the windows and we will be for this to dry completely then add the details on this. For now I'm just giving a simple flat wash wet on wet with this color. And then we will learn too, I didn't wet on dry. Now, I will move on to the next one wherein we are going to be adding in the v's are all wet on dry again, duress bell. But let me show you another way of adding the width. So I'm going to directly begin in with the color non-liberal fortunate, anything onto a blank space. Let's learn to add in the different weaves out to your. So for adding in the leaves giving in depth, if we're using in this modest sized round brush, this is a size two round brush. Now you will see I'm just adding these closer to each other but connecting them at some point. Now the ones that will be at the top that is closer to the horizon line, they will be quite smaller than length. As you can see, the ones that were at the bottom space for quite bigger than length. Again, the matter is the line that is closer to the horizon line is far from our view. Hence, these leaves are quite smaller than length, yet connected to each other. Then as the viewer becomes closer to us, we add the veins in much bigger Lynn. In-between. We're even going to be adding in a few of these tick OVS to give it depth to them and giving it different motions as well. You can see very randomly I'm just adding in some floating lines connecting them to each other at the point V1, V2 dot, dot and other two, the next one creating in the depth in-between again, you can see how the anemone I added in the tea coffee in-between, you can even add a little dry brush or just like at the end. Now from top to the bottom, I will connect all of these. So now you will see from the top as I'm moving towards the bottom, I'm increasing in the length of these views automatically, but I'm making short that one wave is connected to the next one and the next one to the next one. This is how you can add in a lot of waves when the main focus of the entire painting is going to be the waves. Again, it is very important that you keep connecting them breach or those who asked to give them a sense of depth. We're even going to be adding in waves which will not be connected to each other, just simple straight lines. But that is again, a very simple kind of depth that we will be adding in. This is a little detail depth of adding in the waste. Using in some texture lines in between and understanding the thinner lines knit closer to the horizon line. And as you move closer to the seashore, WBS will be bigger in length. Now let's move on to the next two weeks for that also, I'm beginning in with a thin layer of water. And this time we are going to learn adding in some crashing and some roaring wavy effect into RC scheme. So the first one that we learned was simple, basic wet on wet leaves giving a little detail to the waves. The second one we will still be adding in. The third one we learned adding the veins wet on dry when you'll see area is completely dry. Then how you can add in these dry leaves or giving him closer to each other. Now in this fourth one we're going to add in some crashing leaves are the roaring B's. First I have given in the near of the permanent red color, make sure you do not have excess water otherwise, the color that we will be adding on top of this will spread a lot. A little after crashing baby effect, I have picked up the burnt sienna color. Again, I've shifted to my smallest sized round brush. I'm making short that is not much excess water while I'm adding in this burnt sienna color, but I'm also making sure it is wet enough for it to blend easily with the BCR red color. So you can see I just added one single line and I tried pulling the waves towards the top side to give it the little crashing view. Cnbc, I want to add in one more layer to this. I have picked up a little darker brown bone this time and I'm adding it just at top of the burnt sienna color, but in such a way that little burnt sienna color highlights are still visible underneath this darker tone. Now just so as to make the blending little more better, I am again giving it a little touch of the red color at the bottom space. So all of these we are doing wet on wet too now you can see just by adding in the red color, the blending looks most Moodle. Now in the same BC, if you want to add another layer at the top, you can again adding more detail once this dries a little. So I'm going to be adding in one more layer of this crashing beef. You're at the top area. So I'm going to follow the same method. Just add a 9 first, then keep pulling out these leaves automatically trying to act in as the crushing leaf or the rolling wave effect. Now to this as well, I will give in further depth with a darker tone. You can see how you can begin adding in depth using in the color tones of the same color, giving him more depth to your leaves as well. We are going to be painting one of the paintings where we will be adding in these crashing or roaring baby factor into our painting, creating your perfect sunset painting kind of a view. Now my second block is still wet, so till that dries completely, I will begin in with the fifth block out here. So again, I'm going on with the wet on wet technique. So first adding in our clean layer of water, then we will begin adding in the colors your, this time into this block, I'm going to show you how to add our details into an overview of beach. Overview beach or overview ocean or a seascape, anything but it's a board I view that we are going to learn in your first beginning in with a flat layer of the turquoise blue color completely. I've done one flat wash off the turquoise blue color. Now while this is still wet, I will begin adding in darker depth with the turquoise blue palo suggest as we learned adding in the crowd saying Baby, I'm going to add in the board, I knew beach or the CBP is. You're also you need to make sure that you control the water content while adding in the dark or death. Otherwise, because of extra water, the darker blue color will spread a lot and give you one flat color of view. Now, you can see that dark nofollow was externa too. I just lifted it up again using In brush and spread it across. If you will not add enough water, the colors will not spread and give that soft edge. So it's what you need to control the water, but you need to make sure that is enough water than the paint spread easily. Now to this, you can further add more depth with further darker tones of the indigo pallor or picking in for the darker blue color. Then hadn't more depth to this. Now this fund that has dried your onto this, I will begin adding in the detail with the white gouache. You can see how you can add in beams with the white gouache as well. Adding in the detail to the sea area, it would seem be just as we learned, adding in the waves with the violet color in the same manner, I'm adding in the blowout you're with the white color following the same process, just that you're I mean, I didn't little more depth using in the dry brush technique has been, you know, you've been use this when you want to show a lot of crashing wave or high died kind of a loop there. And you can use invite guage for adding in glory detail or the moon glow details as well. Alright, let's move on to the next one out here now. So again, I'm beginning in vitro clean layer of photo. Now I will show you how onto an overview beach you can add in the crashing wave loop using the right court. Suggest in the fourth block as belonged adding in the crashing beef into the scene, you can add it into an overview beach as Ben, I've added in the bond sienna color to actin as the signed area of the beach. And I took it off, I'm adding a little of the blue color to act as the beach area. Now easily both of these are wet on wet blended well into each other OTO. Once this dries, we will add in the crashing wave at the short time to show in the perfect beach space coming into lay. Let this GI Bill then let's move on to the next block and creating the base layer for the next block. Again as when I'm moving on with the clean layer of water forced into this block as well. I'm going to show you to add details or wet on dry. So I've just added in a wet on wet layer and added an a flat wash off the violet color. And I will wait for this also to dry incompletely and then beginner adding in the details to this as bell of a. Now we've been weighed for all of these to dry in there. Then in the next lesson we will begin discussing for the details about this. So let's read through all of this to dry and I will see you guys into the next lesson where we discuss a little more about waves and then move on to our day one class project for today. Let's wait for these to dry and I will see you guys into the next technique section. 5. Technique 3 - Detailing into Waves & Shadow: Let's begin photo. I will first begin creating in this last patch out here. I'm false beginning in with a clean near a photo to your data has been my water has a little pigment of the violet color, but it's almost negligible. So that will work for now. Endoderm if we're going to be learning how to add in varied, boring, kind of crashing, kind of VIP detail of the ocean low. So fast I'm beginning in with a base layer of the pink follow. Now this time we are going to add in the leaves wet on wet. So in this, you'll need to make sure these veins will be moving towards the top V. So that is the half sea's torques. But you got to move them in such a way quickly and got to give them a little round turn around. So you will see these are quiet because compared to what we were painting at the top space. And boobies I'm giving in an inverted see kind of a structure sheep. Alright, so this is just an inverted see that we're adding, Given those roaring baby faked out here. Onto this, we will later on be adding in depth using invite gouache at the top space in-between, you can lift up the colors like this using a damp brush to give a little lighter shadows in-between these overloading beams. You can either leave some space light before adding in the darker tones or after adding in the darker tones. You can go ahead with the lifting technique. Now. You can see I'm adding in the darker tints. Again, this isn't the inverted T stroke that I'm adding in. So basically, you just have to keep adding in the inverted c. And this will create the routing baby facto tool. Now again from in-between this you can see I'm lifting up little after colors. Very simple technique, but it will give you such beautiful view out here in the coming days and manage the class project. We are going to be painting in a detailed painting with these roaring beams are showing in the perfect crashing wave coming into view with those white tribute at the top that we will be adding in with the white gouache. So for now you can see how Leo, Leo by either lifting the color or adding in, in Dhaka strokes controlling the water depth I have been able to achieve in so much depth into this simple wave out. You're now further glad little more depth. I'm just adding very few darker strokes with the violet color. Again, you can see how this gives in the depth to the shadow look as well. Now in the sixth block, your that is the overview beach. I will begin adding the details with the whitewashed, giving it the perfect shoreline detail. Beginning with the whitewash, I'm first going to be adding in a line across the blending point of the sea and the short, I'm just at where the blue and the burnt sienna color is blending into each other. At that point, I first added in align with the white gouache. Now you're simply using the drivers technique to add in the detail. This is another overview beach detail that you can learn to paint. This is also known as the dry brush technique detail that you can learn in your, in this method, you need to make sure you do not have excess water on your brush. You just need to have in little pigment, make sure if there is excess water or pigment. You're dab it onto a tissue to get these Dr. Rush may be tails. So what majorly across the shoreline where you have the waves crashing the shore, you'll get is perfect or, you know, details using the white gouache, white watercolor will not give you that effect. Now to add a little shadow to these, I'm going to be using in the same burnt sienna color. And underneath the white line, I'm just going to add in a very fine line with this one sienna color. And then just using a damp brush I read blended into the background. This will automatically act as the shadow to this crashing wave on the shoreline. This started in a very fine line of the bond sienna color. Now using a damp brush, I will quickly blend this very carefully into the bottom space. You can see now just by blending in the shadow looks much better on tour. In the same way, you can use white gouache for adding in VBD into animal seascape as bill, this was in an overview of view that we added in. Now in the normal, we're going to add these crashing kind of leaves with the white quash first and then add in the shadow details using in the business. So the basically around TO is the violet color you are, it was a brown color. In this one I'm going to add in the shadow with the violet color, faster adding in the veins. That is a little crashing wave detail with the white gouache out your So again, you know, you can use each of the technique either for adding highlights with the white color. You can add in with the same Leonato or, you know, kind of team going around. So as at the top one, we added in the crashing wave with the brown color. I'm adding in this crashing wave with the right color. And then we will be adding in shadow to this. Now using in the violet color force, giving in a very thin line just as I added for the brown color. Then quickly using a damp brush, I will just blend this into the bottom space. Now, by blending it into the bottom space, you have to be careful not to add much water. You just have to use a slightly damp brush and blended into the background to give it a soft edge so you don't want, if you will add a lot of water, then you may get an patches of the palette because the base is already dried. Now onto this one, I'm going to show you how you can add in for the one more layer of the shadow in-between the violet and the white color, I'm going to add a very fine line of the paints gray color. So automatically this will further given one more layer of depth to your shadow, you can see how just by adding in very lightly out of the Payne's gray color, there is so much more depth coming to this shadow that we are adding in. Right now, we're just adding one element out. You're asked to learn the element. But when you add all of these together into a full composition or a painting, all of this will automatically begin to look much more beautiful. Next, let's learn to add in little off the foam or the crashing wave effect using a spoiled brush. So I'm using this round brush which is coiled at the top, so the brushes are actually separated from each other. So using this brush out your eye can give in the form effect to the water that happens because of the crashing of the V's. So at the top, just dabbing the tip of the brush, picking up white gouache in a tea consistency, you can see how you can use a simply spoiled brush, but adding in details and texture to water. Now see, I can even add a little texture into this moving structure that is the half see inverted structures that we added in to create for the MOE form effect, as you can see. Now to this top one out here, I'm going to add a little of the DP, that is the shadow detail to this fourth picture as well. So quickly for him to pick up little of the Payne's gray color. Just going to add in a very small line. I'm going to blend that as Bill. So you can see after everything dries how you can still manage to add in little shadow, some dry details onto this. So I'm going to add in little dried EDNS vents. So adding in little dry brush using the paints gray color over to the brown of crashing the videos that we have added in. So you can see how slowly everything in the composition can get in more detail. Either wet on wet on wet on dry, depending on the type of composition or reference that you are working on. Now again, note also using a damp brush, I'm just giving it a soft blend into the background very carefully. When you use a softer damp brush for giving in a soft blend, be careful about not having too much water on your brush. Otherwise, it will be very difficult for you to, you know, get rid of the sharp edge that you may get didn't because of the water layer again onto the dry pattern out here. These were little details study about the different waves that you can add in, how you can add in furthermore, glowing details. There is lot more into this when we begin painting. You know, it's the same thing, but using it in a little different week and make a huge difference. It's the basic technique that's important to be understood. And then the different applications or Fed can make different composition, take different tones. Now, let's begin in today's class project with a very simple seascape painting. So see you into the day one class project. 6. Day 1 - Sunset Seascape: Welcome to D, one of these 20 day watercolor challenge. I have listed them all the color sheets that I will be using in this class project. If you do not have the exact same sheets, you can use the best alternative sheets available in your family. I have my paper they've done, and I will begin in with a very basic pencil sketch. So let's begin in with a vengeance stitch false, then maybe move ahead and begin the painting. So first I will begin by marking out the horizon line. I'm marking to arise in line almost in this ended of this piece. I am using approximately in 12 by 12 centimeters either Foursquare sheep. Now onto the right side, I'm deciding in a very small mountain range or a bushy. Now at the bottom, I'm just starting in this small short space out here. So you can see I'm adding in the shoreline very time to me and giving it a very tough I'm towards the right side. I have taken it a little longer as compare to the left side. This is our basic pencil sketch. Now we even begin painting the BB one-by-one. First I'm going to take another masking faith and I'm the lead at memorizing night. In this way, you can get a very clean horizon line after painting in the sky. So I'm just going to pick this masking tape and tape it down underneath the horizon line, right? I'm painting the sky. Whenever you are using a masking tape in the center like this, makes sure that the masking tape is perfectly taped down. Otherwise, the water and the veins may flow from the masking tape and you may not get the name edges for which you are adding in these masking tape. Now, I'm begging you, and with a thin layer of water on into the sky space both. And we're going to be painting over these impulse cry for the one to do. Later on in the pharmacy days, we are going to be painting in much more detail skies and OCBs as support today, let's keep it light and beginning with a very simple, yet beautiful seascape, I'm done adding in a clean, beautiful DO I have made sure I haven't evenly beautiful throughout. The first palette that I'm picking up is this Naples yellow. You can go ahead with any light yellow if you do not have the Naples yellow color. And next I'm going to be using in a little bit of the yellow audience needed on suppose beginning in with the Naples yellow onto my horizon line. I'm going ahead with that. I've been fantasy Lindsay of the paint and even on the bushy area you can see for now I'm adding in the beat because the bushes going to be off the beams getting out of the black color. So we can directly add that once the sky and the DBS will be completely dry. Next I am beginning in with the civilian blue color at the top space. In-between the blue and the yellow. You can see I've lived in a little space. This is exactly the method that I had discussed with you in the technique section off leaving this whitespace in-between and letting the colors blend together and actually using a damp brush that you do not have the green padlock coming in in between. Now, the remaining top space, I'm going to pick up the indigo color and I'm going to add in the indigo color at the top area and we ended with the new. In this time you have to follow radiations. That's the indigo sit in in blue and the Naples yellow color. I'm going for, I didn't literally it in with the orange following highlight into the sky. Coming ahead. I'm going to keep the masking tape underneath my board so that might be boys incline and the colors move downward and the yellow does not move into the blue color. Instead, the new flows naturally into the yellow color. Now for the blending, I'm picking up a little bit more of the yellow color. My paper is still wet, so make sure that your people means all wet enough because we are still working wet on wet and we are yet to add in little cloud details. While this is still rare, I'm picking up the yellow orange color. And with this yellow orange color, I'm going to begin adding in little cloud detail onto the yellow part. I'm going to use a smaller sized round brush. As you can see, it's a size two round brush which has appointed day. Now, while adding in this cloud detail, you want to be sure that you do not add an excess water to this yellow, orange color. So you can see I've added very limited water to my yellow, orange color. Only then the colors will not spread a lot. And we'll try to read in the cloud shape or the strokes that you tried to add in. Now you can see just using the tip of my brush, I'm adding very simple strokes with this yellow, orange color, trying to create a little cloudy effect onto the yellow. If you can see, I've left a little growing space into the sky and that's purpose needle, short little cloud effect and the color blend things happening easily. That is it for our sky area for now, we will wait for this to dry completely then more ahead and paint the CEO and the medians further ahead. Let's wait for this to dry completely and then begin painting further. Now my sky is a nucleotide and you can see the colors are so beautifully blended into eta dot and there is no green color font. Now very carefully, I will remove this masking tape and you can see such a plane horizon line we have achieved. Now I'm going to please this masking just about the horizon line. Do not body, the color will not be loved, but you need to be sure whether your paper open support this technique and whether your paints will remain the same. Because my paints and people support this technique. Hence, I didn't leave them this masking tape onto the earlier paint as well. Now when beginning in with the clean layer of water only into the CEO In into the shoulder area if it goes because they're shorter, again, that's going to be off a darker color. Now when I add the masking tape at the top area, this makes my process easier because you can see I can move in very freely even near to the horizon line without worrying about running into the sky area. This helps me and adding in the colors much more freely rather than being worried about how ADH will not go into the CEO. But again, with this technique, you have to be sure that you take down the masking tape very tightly. Otherwise, if the color's will seed from beyond this, then you will have to try to correct the DDL somehow are, your painting will be spoiled. The beginning with the same Naples yellow color post in the center area for the C. Now at the top and the bottom, I'm going to pick up the indigo color and when to begin adding in the details with the indigo color. First closer to the horizon line, I'm going to begin adding in the colored it in with the indigo color. So basically my Sea area is going to have in three colored tones with indigo near to the horizon line, then the Naples yellow and add the board dip the city and in new color In the city didn't move holidays better. Now, very carefully, I'm just going to add a little of the city and in blue color onto the yellow space as men, only in the center, I want to maintain that yellow light very carefully. This is called as glazing venue title Meta other Carlo over onto one BC of allo, but still trying to maintain that color look. In the center you can see I've maintained the yellow Pali look despite blending it with Lou and still a wide indicating the green tones. Now I'm shifting to my smallest sized round brush, which is again the size two round brush which I use for adding in the clouds. Now while this is still wet, I'm going to add in little of the DBAs, wet on wet. So all of this we had discussed into the technique section as well. Now make sure you do not have excess water or excess B. I've got my brush onto a tissue before beginning into adding these leaves so that I'm sure that there is no excess water or pigment on my brush. And if there is any excess, it will get absorbed by the tissue. Now you can see since I have the perfect What do control via am adding in these waves went on with the visa getting into soft edge. But still they are evil to maintain the shape that I'm trying to add them in. This is just the force the beams we will be adding in vivo wet on TI as well after everything dries. Now for adding the leaves on the indigo palette, I added the VMs with the indigo color. Now I've shifted to the city in, in blue color and I followed the same process of removing the excess water from my brush. I'm going to add in little beams with the city in Luke, hello onto the city didn't loose piece. You can see very bad numbers. I'm adding in a few lines connecting to each other, overlapping each other, and having a little hump in the center on the yellow space, you can see I've left this space blank and not added the VMs out there because they're either be adding in the waves with the yellow color highlight. I'm adding in the leaves with the indigo color as well on the sit-in in blue color at the bottom space. Now for adding in the wave highlight in the center AT onto the yellow Carlo, I have picked up the city in blue color but in a quite diluted consistency so that I get very light effect of waves out here. And I have the yellow color highlights still visible. So you can see the leaves on the yellow color are often quite lighter consistency than what I have added at the top and the bottom of the sea. Ilya, I'm adding all of these wet on wet so you can see all my beads are having a soft edge, yet they are visible clearly because of the water control by adding in these Bs. Now, I'm quickly adding in little more darker leaves using the indigo color at the bottom space. You can see even on the lighter highlights somewhere, I again, we added some indigo Carlo or leaves on top of them to act as the darker highlights. This was the falsely the leaves. Now I didn't begin adding in the wave second meal. So now my leaves have like almost 50% dry it in. Now this time I'm adding in the waves. You will see that they are a little more on the wet on dry technique rather than the wet on wet technique because these waves will have in Britain sharper edges as compared to the force-field of this. So I am adding these while this is 50% dry, just little highlights at the top space using in the darker color. Now see if you want, you can simply even blend it a little with a damp brush if you do not want, there are feedback loops at the moment. I want to give it a little darker highlights. Hence, I'm blending it into the fact that we're using I'm Josh. Very carefully, Let's remove the masking tape. You can see the line that we have maintained. And on the right edge you can see a little bubble because of which the color pastor there, but that's okay because there it's as it is going to be the bush. Now shifting into the whiteboard. I'm going to show in a sunset view out yours, I'm going to hide the sun width, the whiteboard. This time. I'm going to add the sun just little above the horizon line. And then once my CAT will be completely dried, I will be adding in deflection do that as well. Using in the White was giving in the highlight of the sunset on the wins out you are on the left side, you will see I'm just adding in a very small circle to act as the sun for now. To give you the little glowing effect, I am just blending it with a little bit of the yellow hello. I'm going to make this as the phosphine also using a damp brush. I'm just going to blend this circle that I have added in into the background so that I get little shine around the Sun that we will be adding in after this layer dries in this scene, we, as you know, or if you would have been attending my galaxy class, this is a theme be how we used to add in the glowing stars. In the same way to add a little glow around the sun out your post freedmen, the growing space on top of which I will be adding in the sun once this dries completely messy, EDI is completely dried and I will begin painting in the bottom short space. And you can see how beautiful the leaves are looking is despite adding them wet on wet and a few leaves that we added once it was a little dry. Let's begin painting in the show, in your photo shoot in here, I'm going to be using in different tones of brown color. The false color that I'm going to pick up is the burnt sienna color. I'm going ahead with the wet-on-dry technique. You're as it is, a very small space and there is not much Didi into adding very quickly. I'm going to first begin in Italy out of burnt sienna color. Now, my pencil sketch of the shoreline may not be clearly visible to you, but it is visible to me. So first I'm giving out a rough marking to the outline. And you can see in this outline as well, I'm getting, you know, a very rough sheep and giving it a very rough edge so as to make it look as natural as possible. I'm filling in this space completely and you can see because of the little blue color that had come into the space on the left side. Hence, I always recommend either take the entire new color till the bottom space or do not add it even a little into the shore space. But no problem as we are going to be adding in the darker highlights, this will get easily covered up. So I'm shifting into the Payne's gray color and I'm just going to be dropping in little highlights on the edges and at the bottom space. Suggest using in the department brush, I'm dropping the Payne's gray color wet on wet. So the brown color Leo is still wet. And you can see how beautifully the paints Michelob needs and blends into this burnt sienna Carlo. Make sure you are this burnt sienna fallow in such a way that the natural brown colors still visible in-between. Otherwise it will not make any sense for adding in that view of brown color. So at the moment you can see I have little brown highlight speaking through the burnt sienna color. If you want, you can even use the sepia color instead of the Payne's gray color. Or you can mixing your paints gray and brown color and get a sepia color. And using I prefer to directly using the paints gray color as I already had the entire brown there underneath. So automatically getting in the CPR Carlo. Now the bush space that I had marked out here, I'm beginning to paint in that. You are also, you will see four-star to talk. I'm giving it a very tough as they just dabbing in the tip of my brush, creating in the bush effect out here. Then the complete bottom bushy it Yeah, I will just fill it with the Payne's gray color completely. So you can see the bushy area is going to be half about the horizon line and half below the horizon line. Now quickly giving it the bottom line. And then I will fill it completely with the Payne's gray color. Make sure when you are adding the paint out, you're, the color is quite opaque enough and it is not transparent because we want a good dark layer of the paint palette out. You're just adding in mitten highlights at the bottom, trying to give it a rough edge at the bottom space as well, and showing a little extended bushy area to make it look natural out here, suggests you can see how simple strokes connecting them altogether, giving you a little more detailed look. Now lastly, let's begin adding in the sun. So my posts beautiful white quash is completely dried in. I have picked up the same bike course is timing a very thick consistency and just adding it into the center space of this glowing area, you can see the blue area acted as the double-space around this. And now this is standing out quite a bit. Now we're going to add a reflection to this exactly underneath into the CEO. So for that I'm picking up the whitewashing a thick consistency and I'm going to go ahead with the dry brush stroke out. You're just using the tip of my brush, going to add in very fine digress talks out the white color to act as the shine of the sun falling onto the water space. Make sure fine. Adding in this dry brush, you do not have excess paint or water on your brush. Otherwise you will not be able to achieve in the dry brush stroke, you will just get in flat patches of the white color instead of the drivers drool. Whenever you are adding in the dry brush technique, it's very important that your brush only has the two pigment, no excess water going very slowly, right? Adding in this, make sure you pick up the right question. I pick consistency so that you get the perfect drivers stroke out here. Now to give it a little more highlight, I'm mixing in a little bit of yellow with a white gouache. And I'm going to give him little highlight with this yellow allergists around the white color. Small lines that is just extending the white lines and adding the little onto the white lines as well to give it a little more depth. That is it, we are ready with our first-class project for this 21-day challenge. Let's remove the masking tape and see our final painting. You can see how such easy composition can still make it look so beautiful. So make sure your paper has dried or be careful by removing the masking tape if if any of you are is still wet, I'm going to quickly begin removing the masking tape. Make sure you pull the masking tape against the paper so that you do not tear off the edges. A final painting for one, let me give you a closer view of the weeds and how beautiful this is looking in. I hope you guys enjoyed the day, one of this 21-day challenge. I'm sure if you join me through the entire 21 days, you are going to fall in love with paintings, he sleeps and that's going to be our next favorite subject to paint anytime. Thank you so much for joining me into this class. 7. Day 2 - Simple Beach: Welcome back to the 21-day watercolor challenge. This is the class project for D2, and I have listed down all the colors that I will be using for this class project. You can go ahead with the best alternative colors to these sheets in your palette. I have my paper taped down and I'm going to begin in with a very basic pencil sketch to mark the horizon line and the C and the short Elian. The horizon line again is going to be almost in the center of the paper that I'm using it. Now, if you are using in a different size paper, your space would alter accordingly. I am going to mark the center line on little about, as you can see, the horizon line is actually a little about the center light. And then marking a short while you're on the right side. So the left side is going to be the CEO and the right side will be the shoulder area. Now on top of the horizon line, I'm going to be having an a mountain dreams are just added a rough sketch for the mountain range as well. This is a very basic pencil sketch that we need. Now, we are going to begin painting the sky first. For this guy, I'm going to be using in a combination of the yellow and the blue in color and in the center approximately, or a very small ground space. I'm going to leave it blank while painting so as to give a glowing sunset effect. And I wonder sundry effect to be quite bright the same. I'm going to leave that much space right? While painting, while applying the water, I will apply it onto the entire space. Now false, I'm adding the tape onto the horizon line. Though you can skip this fast as this time on the horizon line we are going to be having in a mountain range later on, the horizon line would automatically get corrected even if the color CPR in there. But I just wanted to be free while painting the sky. So at least I'm adding in the tape right now onto the horizon line. Now just beginning in better clean layer of water onto the entire sky. You will see that even onto the center growing space that I had, I'm adding in the layer of water onto that circle as well because I want little yellow soft edge out there while we paint the yellow color around that target. So you just have to keep in mind that inside the yellows often you do not have to add any color. All the colors we'll be outside that range. False beginning in with this yellow, orange color onto the horizon line. Now in case if you do not have the yellow orange color, you can simply mixing a little bit of your orange to your yellow. Next, I have picked up a little bit of the Naples yellow color. I'm using a 1 fourth inch flat brush out here so as to get this torques very minimum around the sun space. And also because I'm painting on a smallest size paper, so I want much paint control. Now across the rounds piece that I had marked, I have added in the yellow color leaving in the center space right now across it, I'm just going to be adding in the same Naples yellow and the yellow orange color alternatively, just adding in little yellow, orange highlight across the yellow as well. And at the top space now I'm going to shift into the city, Lynn in blue color. So make sure you clean your brush because audience and the blue mixed together may give you Maddie tones if your brush is not clean. So shifting into this blue color, I'm going to begin adding in the civilian blue color, also in a very liquidy consistency as you can see at the top of the sky area. Now just to be a little careful about blending this color into the orange color, because then you make it in muddy tones so you have to blend them very carefully using a damp brush are going very slowly. You can see I've used the city didn't blue color and quiet a liquid consistency so as to get a very light tone and in-between that also, I have left him little gaps. Now on top, I just added little strokes with a little darker tint, Dr. CD when Luca, No. Now I'm going to be adding in little cloud effect as well first using the tip of my brush, I'm just going to give them little strokes coming out from this yellows is make sure after every store you either clean your brush if any colour is lifted. Otherwise you may begin to get a little muddy shades in between. You can see I'm getting the two Newtons because I did not clean my brush and blending them easily again so that the blue tones are not visible. So now you can see the transition from the yellow to the blue looks much beautiful. And there is little Sunday, Sunday strokes coming out in between. Now next one, adding in little cloud effect into the sky. I'm going to be creating in a little muddy sort of a color. I'm going to pick up little off the Naples yellow, going to add in very middle of the city, Lynn blue. I'm going to add in little indigo color to this. I'll let now mixing in these three colors, you can see I've got a little dusky kind of fur color. Now using this and just using the tip of my round brush, I'm going to begin adding in very small cloud patches or overlapping the sun space as well. So you can see I'm adding all of these wet on wet. My sky is still wet hands, I'm getting into soft look to my clouds. Also you can see the water control that I've tried to achieve while adding in these clouds, I have made sure that there is no excess water and pigment on my brush. Otherwise, I may get in much darker. At the top space of this guy. I'm adding very random clouds just using the tip of my brush. Now I'm just using a damp brush here so as to get little blends it to get little more lighter strokes and you know, awesome soft edge so that even a little of the yellow color seeps into the whitespace. Now, again, just lifting up little color and blending all of this when using the damp brush, you can connect any harsh edges in between if you have because of the paper drying it. So that is it for my sky. A very simple cloudy sunset sky with that bright light of the sun in the center space. Now we will wait for this to dry completely and then begin painting in the sea area and the area together. Let's wait for this to dry. The sky area has completely dried and I'm going to first removing the masking tape. And I'm going to place the masking tape just about the horizon line again so that I can use any paint or the CDR for now. By the way, whenever you place this masking tape again, you have to be very careful because if there is any loophole left in the paint will flow into the sky because we are going to be moving in very freely. And then in this case we already had the mountain range. Two things can be corrected. But in case if there is nothing to add onto the horizon line, then chime in. Whenever you do this, you have to be very careful. Now I'm beginning in with a clean layer of water onto the entire C and the short area. I'm going to paint the base layer of the CMB, the shore together. And then we will begin adding in details onto this one by one. For the force field, I'm beginning with the turquoise blue color. So I'm using in the peacock blue shade from this palette, you can simply use in civilian blue eyes or any other tone of blue that you want foster only into the CATI you can see I'm adding in this color. Now on to the shore space, I'm going to add in the yellow ocher color. Now all of this Gallo will blend into each other because of the soft edge loop and the paper is still wet, I want a soft edge blending between the short space and the CSP area. Because then we are going to be adding in details with white gouache onto the shore line. Hence, I added both of these in the base year together so that there is a soft blending between both of them. Now I'm going to add in little of the wave effect, wet on wet as well. I'm shifting to my round brush and I'm going to begin adding in DPS. But before that I'm just adding some darker highlights of this peacock blue color. You can simply use civilian blue or turquoise blue also, if you do not have the exact same sheet. Now you will see closer to the horizon line, my peacock blue shaded darker. And as I'm moving towards the bottom of the paper, I'm lightening the shared by just using a damp brush and getting a radiation to the scholar. We had known this as well in the technique section to get ingredient to one single color, either from top to bottom or bottom to top. Now why messy ADI still wet? I'm going to begin adding in little VIV effect wet on wet. I'm using the same peacock blue color and using a smallest sized round brush. I'm just going to add very small, simple lines into the entire CAR. Only. I won't be adding in these waves into the shore space because on the shore we will be giving in the details with the whitewash. Now Menu begin to add these waves. There are two important things. One, you control the water. That is, if you have excess water, the waves will spread completely and will not give you a definite wave low. Secondly, you even need to control the color tone of the pigment. And thirdly, or people should not dry if you want these softwares. I'm going in very slowly using in a smaller sized round brush. I'm making sure the pigment is darker than the peace Leo, only then it will be visible on this near out. You're quickly going to be adding in very simple lines, nothing much detail or fancy. Simple lines closer to each other somewhere overlapping. Some valid will. Let trying to create an WE blue. And then if need, we may add in little waves wet on dry as well after everything drives it. So at the top, when I was adding in the views first idealized at the top space was quite wet. Hence I was not adding in there, I'd be dead for it to settle in a bit. And now I'm adding the leaves at the top space. Until then, I began adding in the wheels at the bottom area because that was almost 50%, right? So again, this is important that you need to understand that if your business is also extravert, you wait for it to dry, see around 30% or 40% depending on your paper and how fast it would dry, and how much time it would take you to add in the width and then begin adding in. Now near to the shoreline have not added in the waves wet on wet because I'm going to add them there with the white gouache. Now into the shore area, I'm adding a little darker spots with the burnt sienna color very randomly while this is all still wet, just using the smallest size down brush, giving in some darker depth, using in the bone sienna color. Now let's remove the masking tape. And you can see even I have messed up despite or, you know, taping down the people. Well, I guess the blue of the gum I started on the wrong side. That is the side which already had a little water content. Because of that, the water has moved into the sky area. Now, as I told you, we were going to be having in a mountain range out debt, so this can be easily corrected. But in these, if I did not have any mountain range to be added there, it would be very difficult to correct this. So first let's wait for all of this to dry then begin adding in the mountain range. First, I'm going to begin adding in the mountain range. Now everything is completely dry. I'm going to be using in the raw amber color this time and using my round brush, I will begin adding in the mountain range on the horizon line. By not adding in a pencil sketch, if you would have noticed, my mountain range was actually just supposed to be on the right side. But now since I have had this little mess about, you're going to add the mountain range even onto the left side so as to cover up this mess that I have created and also even have to alter a little height of this mountain danger accordingly so as to hide this part that has been created. As I told you, you know, correcting your mistakes as possible, but try avoiding as much as possible to get these colors bills. So this has happened to me or into this class project. But still, since we had the mountain range, it was quite easier to correct this this time. Now, to give it a little more detail, what I will do is I'm going to pick up little of the dark green color and just going to add it at the top of this raw umber color that I'm using in, so as to give it a little more depth out here. Because since I have little of new underlying color, I do not want it to be visible in the center space. If you see completely there is little blue color being visible at places. So I'm just going to in very random green depths as well into this area that I'm adding in. Your it was supposed to be only a simple mountain range, but since there is this mess up, I am adding in little bushy area as well. Now let's shift to adding in the details with the white gouache to the waves. So I'm going to pick up the white version, I think consistency and forced across the shoreline. I'm going to be giving in literal as the crashing the loop. While you're doing this, make sure you using white gouache or white watercolor is not going to give you any effect onto these dark colors. And it will just give you a pale color look off the base layer color. So it's very important that you use either whitewater writing clearly and more preferably white gouache since you're walking in with watercolors and gouache is also a water-soluble media. Now very randomly, you can see I'm giving in little or no curves to this, right? With that I'm adding it. So as to short the perfect crashing effect out, you're going to add one more shoreline towards the horizon line, sorry, towards the shore line. I'm adding the second line exactly at the meeting point of the yellow ocher and the blue color there. And then I'm making them meet onto the right side. Now under this and went to. A pullout, simple dry brush towards the left side, that is towards the sea area to give it that crashing wave effect. When it reaches the shore area exactly how the leaves look. Simply just adding in dry brush technique. Now whenever you add in the dry brush technique, there are two important things to take care of. One, you should not have excess water. Secondly is the white gouache has to be not thick consistency. Thirdly, make sure even your brush does not have excess water or pigment or you may get in, simply write patches and you need to go in quite slowly while adding in this dry brush technique. Depending on the size of the paper or the area that you have to add this dry brush, you'll need to adjust the brush size also accordingly. Now next time shifting into this coiled round brush and I'm going to begin adding in the details with this brush. Now when I will add the details with this brush, it's very important that onto these brushes when you do not have excess water, also make sure when you pick up the pigment from this brush, the pigments should be quite thick enough only then you will get an opaque look to this crashing be on the inside line. Now I'm just dabbing in little white gouache using in this brush. So you can see I'm holding the brush perpendicular so as to get the perfect effect out there. You are. I wanted to give you an extra form effect of the crashing wave happening on the inside. I'll let a very randomly you can see I'm adding little on the CV of area as well. Now in case if you do not have such as pointed round brush, you can simply use in your regular round brush and try going ahead with the dry brush technique you are as well. You can see we've got such an opaque look to the details that we added on the inside light. Now shifting domain, smallest sized round brush, I'm just going to add a little more of the rebuilding. It deals with the white gouache. And then we will move ahead and add a little more further details into this painting. Now when he handed me, I'm just going to add a few of the white lines into the Wave area as well to show little form effect, you are in debt into the cavea. Now on this side that is the outside shoreline, I feel that the white quash is still a little light, so I'm just adding little more dry brush. He didn't give it a little more effect. After this, we are going to be adding in the shadow detail that we learned in the technique section to make these waves look much more natural. The inside we've, I'm using in the same peacock blue color which I had used for the Sea area. And I'm going to the shadow with that color on the outside that is at the shoreline settings that I have added in there I will be using in the bond sienna fallow for adding in the shadow. So depending on the BCR fallow, your shadow color will matter accordingly. Since my basically was the peacock blue color, I have used the shadow color of the same peacock blue color but in a darker consistency. And now just using a damp brush and blending into the background so as to give it the perfect shadow look. Now to this shadow, I'm even going to add in little detail with the indigo color as well. Very randomly, very little darker debt. So make sure you use the smallest size brush so that you have the control onto these details that you add in. Otherwise, since we are painting on smallest pieces, if you go out of track, then it will be very difficult to control these details. Now on to this baby effect near to the shoreline I'm using in the burnt sienna color to add in the shadow effect. Just as I added the shadow with the turquoise blue collar or the peacock blue color on the inside lane. Same way you're going to add first very thin line of the bonds sienna color just under the white line. And then using a damp brush, I will blend this into the shore area. Then adding in the shadow as well. Now just picking up a little of the sap green color and I'm going to add a little detail out. You're in the center area, which I told you previously, that all you can see the blue colors still visible. Now the mountain range has dried completely hands. I'm adding in a little bush detail in front of this mountain range so as to cover that blue details completely. Last year, I just wanted to give little after shining effect of the sun onto the sea area as well. So just going to pick up a little of the white gouache and just underneath the sun in the area. I'm going to add a little reflection using the whitewash, just very simple lines to act as the growing space. You can see I've taken the reflection on me a little delta short area, not much. I'll let now I'm just going to pick up a little of the yellow color, mixing it with white gouache, I'm going to add a little effect with this color as well so as to give him the sunset effect onto the sea area as well. I'm almost done adding in little of the yellow highlights you can see on the shores piece, I have not taken much of this highlight. So that is it. We are done with our class project for D2 as well. Let's remove the masking tape now and see our final painting. Make sure that your edges are completely dry it and remove the masking tape against the paper so that you do not tear off the edges. Is our D2 painting for this 21 day challenge. Again, I went ahead with a very simple one to D as well, just including the shadow effect out slowly and gradually we are going to be painting in more complex escapes as well in the coming days. So I hope you enjoy this dado painting and I will see you guys tomorrow into the D3 class project. Thank you so much for joining me into this class. 8. Day 3 - By the Road: If you want to be, I have listed down upon the contours that we will be using these class project. Again, you're going to be painting in Albany sympathies. But on the root side, Let's begin painting it to these people deep known uneven beginning with the very basic fences get you guys going to begin talking about the whole rising 900 all going to be hard on the left, sorry. Make sure you add the Venter's did in a very light tone because if you've been having dark marks, then it will be visible after you apply the water. A fulminant looking at, as you would have seen in the beginning, the sky is going to be applying. This time. You can see I'm adding the fences, getting a busy night tone. Now, on the left side, I'm willing to be having enough in the past week across which I'm willing to be adding some broccoli, marking up the bushy area for us. And I will give you further details to the fat. It's going to be a little more of the bootstrap. Return. Very rough marking right now, make sure you're given a very tough and nights get anywhere however, you can send covered it up with the doctor would now it's March and arthropods moving to the right site, not in-between. Let's see, on the bottom is going to be the dean team behavior that you're going to add in. Just adding indigenous sketch out your offer us the past month. Rather than giving this means dark, is it for the basic sentence sketch? It begins with this guy false. Then move on to painting the details one by one. At the bottom, you're going to have a clean horizon line. I'm going to be using in another masking fluid and beating yourself on the horizon line so that I do not have to body at least when painting in the sky. And I can get that cleans teeth knife with the heads off the masking. When you are at such a mask and make sure that we're being careful about, you know, running your hands very firmly onto the masking feet so that there is more for the, if no other paints who blow it because then it won't be Adam asking please be a little more of, you know, moving in. Being careful to move in 3D, make sure that the IV is Steve Dunn for nicknamed with a painful for them to this guy here. This guy is going to be producing food, one, I'm going to leave it. Zaps and adversity deal with Dr. drops. The first beginning in with the city nimble follow. Now I'm using the same brush it says because it's very simple, as high as I can. Foster care. I didn't descending who partner in a very light constancy, as you can see, it's more of water, lots of pigment just adding in the same throughout the flat wash that we had learned in the technique section. The BCE Neil pilot of this guy. Now, this while this is still wet, I'm going to be hard in the middle cloud TPUs. And for that I'm going to be using indigo color maybe. Suppose that's pick up the right floss brush and a medium consistency not too thick and you know what z as bed. So picking up water, I'm going to begin in dropping in this wide feet, wet on wet for me, listen right into the sky even more. Does that automatically you will be getting a little cloud chiefs farming it because of the white. Now see if you do not want to use whiteboards. And what you could do this, wiping clean this time you couldn't even little white gaps will act as the Cloud. Discuss that method as in the techniques that she then I thought about the clouds in the technique section. With me in little cloud BBS, you can see I'm moving device wasn't a very liquidy consistency of torque so that it spreads and bends with the blue. All of these ongoing wet on wet that this might be new group and the sky is still wet. I'm adding in this automatically. I have to salt stretch through my notes. For this. I'm just going to add embedding the leading us back with the doctor told me that upmc, all the integrals. I think in the clouds now before adding the darker tones and with the pickup, the setting, unless asked me launch, adding in the shadow of who we are when I didn't additionality these clouds husband just added in a little touch of visiting a new panel and I'm using a damp brush, I'm going to put people into blended into the spice piece. All of these again are going by. My sky, is still representing the software design has been happening very easily. I'm going to add a shadow effect to the other Cloud Center and I didn't blended into the sky. In C are taught another piece that I'm adding in. Some darker clouds into the sky. Darker depth. I'm going to pick up the indigo panel. I'm just going to be dropping in vending machine into these whitespaces clouds and blended with the white panel. Make sure you add this color in a very nighttime to Cynthia, as you can see, also very quickly I'm blending it with the Cloud species. Now if you've been near the horizon line, I have a very light sky because of the big cloud that I didn't, and that's the perfect sunset kind of review on a sunny day knew that I needed it. You can see using the Payne's gray color and just adding some darker highlights to the white notes. And I didn't. But I'm adding even such a way that the whitespace still visible. Just adding a little more of the white dots or two or at the bottom. Because I want a very sunny fine go for blue to this time, this time. Let me get. You can see such beauty clouds. I didn't do the very nightfall of the white color. Now the height and weight for this to dry and then remove the masking tape from the horizon and begin painting into further details into this painting. Remove the masking tape now, but my sky is still a little wet. So what I will do is I will begin painting in the pathway post because that is not connected to this guy in any way. Because as it is, Ivan have to paint one element at a time. And when painting in the party, using the paints, I will just figure picking up the beans we covered today. And I will go it with the wet-on-dry technique because it's a simple path with only one cover layer, no RDBMS to be added wet on wet or any other mediation. So quickly using the Payne's gray Carlo, I even paint the entire path. I'm using a one full inch flat brush tool because I want to pull very carefully around the edges. Because on the right side of this box here I'm going to be adding the yellow ocher color. Make sure you do not fall outside the shape that we had added for the part three, it's very important to maintain the shape out because on the either side of the park with the college rooms are going to be quite light. And since we are walking with watercolors, the lighter color tools will not be visible on the desktop. We're going to quickly fill in this entire heart of the Payne's gray color. Now, now I will describe the dipole. Then even thinking about it even before that he pays into this being one by one. So let's meet for this to dry completely and then begin ahead. Not my thoughts being described is completely dried and I'm going to place the masking tape on top of my horizon line so that I can paint the CEO has been very freely. Now in the last class project you're more, I had a blender on the horizon line that might be able to stay with me this time because if I make a plan though, I didn't have to do something to correct it as better. Be cautious this time, I have taped down the paper you are live in. Now by feeding in the CER, I'm going to add in. This time also going to go ahead with the wet on wet technique for hiding in the weeds. I will be adding mean very little just flowing effect with the right brush bounds. Everything is driving. The father views. It will be going wet on wet only for this one as well. I'm going to pick up the same peak of Luke, which I have used in the previous class as well. If you do not have to pick a new color, you can use turquoise new or Saarinen new as well. Now at the bottom of the CTE, he didn't know padres going to blend both of these well with each other. The BCR for the seat. Now for Hobbes, hobbes, I'm going to pick up the same peacock blue color, darker consistency. Then the bigger and bigger. Bet on B3, honest, humble, pick up a darker color and just add in very simple lines goes with which are just using inductive walk me down just so you can see your, I'm adding in lines this time even closer to the horizon line. Alright, and I'm trying to connect them to each other. It didn't point between the wheels. Make sure that you do not have access, whatever pleases. Otherwise, you will not get in the look of the weeds or fit very important to control the water and make sure you add in fine lines and not the covariance. Now for these, I'm going to add a little more depth to the rigs while this is still wet. I'm going to pick up little bit of the Payne's gray color. I'm going to mix it with the new color, or you can even do a few using the index it as valid as the indigo color, you can mix in a little bit of your black or paint. We've got our little gaffer things like an indigo follow. Now I've took the two are for the smallest size brush and just using the tip of my brush and drop in these dark obese. So you can see how easily we are getting in more depth into RC Steve, starting in some leaves as well. Now if you've been no this despite me dipping down the white when I can see a little pigment which has moved into the sky on the right side. You can see that little blue below the masking paper out your blender on the right side this time, despite being much careful. So I will covenant up again with a very small bushy area there as well. Now first, I even paid for the entire area to dry, just remove the masking tape to attach also drives him by the seeds. You can see on the left, everything is perfect and I've gotten a very clean, whereas in light or new underwrite, the blender has happened despite being quite careful. I didn't cover it up again is very, very small, bushy area there again. Now I believe that all of this type, and then we even begin adding in the further details into this painting together. Let's be for this to dry now. My C has dried completely and you can see it looks so pretty. Despite adding them wet on wet, they have a soft look, but still they are visible, distinctive B, so that is very important and you will achieve that only if you have to forfeit water and the pigment control. How fast I'm picking up the yellow green color and became beginning to add this onto the left side of the bushy know near to the past we out here. On this, I'm going to be adding in the darker color as well of the beam alone. Now towards the edge of this bushy area, you've been giving me a very rocky deal, kind of giving you a very rough sheet at the end. Make sure onto the edge you'll give him a very rough Shift to make it look like a natural bush. With the same post you're on the right side as well. I will give him one day off with that. Then these two are still wet. I will add in the darker tones onto this wet on wet to in-between you make it visible. And then you will ask me to leave the darker tones visible. Before shifting into the darker tone. I will add middle of the night or being blown out your as well, not even near to the sea area you will see I'm going to give it a very dark sheet with a bush space in between the bush linear and the pathway. You can see the thin line that I'm being very careful about where I will be adding in the yellow. In color, literal. Meet, showing me that clean line of the bush under that didn't get a perfect crisp line out there as well. Next I'm going to do shifting a little bit to the bone sienna color. I'm going to mix it out. You're in-between who asked to pick, you know, begin adding in depth wet on wet itself. Then we will shift into the other tones of green, as you will see, I'm adding in-between that of the buoyancy and on this side, green color as well. Now next, shifting into the yellow ocher, going to begin adding in the yellow ocher color next to the burnt sienna color it out. You're trying to really this field as much as possible. All of this I'm doing y in the green color is still wet, blending into each other. Well, again, shifting to the green planet, beginning to add in little more detail. Lastly again, shifting into the bone sienna color and adding it into the rest of this piece. So this is how you can be in my entire piece together out you're with different color tools. You can see a peak in the bushy, a little carving the CEO's office, it onto that when we will add in the dark of being color now, they will get covered up completely. Now my bushy areas were completely wet still because I'm using a 100% cotton paper. But in these, if you're pushing idea or your people is something that tries in quickly, then you can paint one bushy area at the time and then shift into the next one. Uptight Bush's also stillbirths on top of the light green color. I'm just beginning in the dark of bean colors now are seeing the shifting out your near to the bottom see space. Now as I move, you will notice at the top space I'm defining the Gucci nerve with the darker color match petal. And automatically you will see that crisp line between the C and this was disappearing. Reduce visible in the false nail. On the left. As you can see, I have added in much of the details with the darker green. And even at the bottom of this, again, just speaking to add in the dark. But I've made sure that the yellow ocher on the bone sienna also be visible. So you have two aren't the dance of being in such a way that the light is off the b3, you're still be visible. Now I didn't pick up a little more of the dark in color and added to the top area out you're onto the right side as well. So you can see here to talk please. I define March with the darker tones, giving you the very dolphin natural edge as much as possible. We are almost through the painting, just little details to be added or, you know, with the right washed into the sea area as well as on the part of, you know, once we move ahead. So now I have picked up a little bit of the brown color and this point will follow very random branches from this book using in the brown color, giving me some very simple branch details in-between two again, this is all for wet on wet might be placed in red on who that I'm just adding in little brown details. Even if your paper has dried, you can add these details and just given little branch into the spaces. Now even at the bottom bushy, I'm going to add in little details with the bond Tiana, just adding in very simple branches in random directions to give them little deck. Again, this is also a bet on red, but if your people have started, you can add these as very wet on dry. You can notice at the bottom space I'm giving him very enough feedings with the burnt sienna very naturally so as to give little branch details popping out as well from this green beans pieces. Maybe you can add in if you want, you can add a few with the pains me, Canada's that is it now I didn't be on all of these to dry and then add the final details with the white brush and yellow ocher color. And we will be done with this class project has been completely dried. And first I will begin with the yellow ocher color. I'm going to use the yellow. In quite a thick consistency so as to get a very opaque loop of this color, I'm going to add it into this whitespace just in-between the bush anion and the pod mates drawing maintain that clean, crisp line that we have achieved, right? Adding in the other. And this entire piece with yellow ocher color completely. You can see I'm being very careful across the line out yours. So then I do not run either in the bush space or onto the Northwest. And I've got a very opaque color look for the yellow full-color because I've picked up the color in quite a thick consistency. And also I've gone ahead with the technique wet on dry her husband because it's just a simple one single fellow New York, very smallest piece completely. I'm done adding in this color. Now, next I'm going to push us into the whitewash. I'm going to add in the further details and the final videos into this painting. Suppose using in the right quash, we have to add in foodie, this one is on the path. And second, it's going to be little details into the CEO. I'm going to pick up the right brush in epic fantasy and z. So that are having a big loop of the whitewashed EPS. Wherever I added. Fast on the path, we am deciding in very simple obedience on the path we're using in the whitewash. You can see the DV is quite fine enough. Also the whitewash is in a thick opaque consistency. Hence I'm able to achieve in the opaque and made sure in the Gobi shape of the pathway that you have added it. Now using in the white quash, I'm going to follow the lines onto board decides of the pathway as bent, that's the left and the right side of line completely moving in together. On the right side, learners vary. I'm connecting it a little to the yellow color line in between an in-between. I'm leaving in this piece as very already. It's just very simple line, but it defines so much more detail into your painting. You have to add this video carefully so that you would not run out of proportion. Make sure you're using the smallest size brush to achieve these fine details. And so that didn't get the perfect gloves as well. Now lastly, using a little bit of whitewash, going to quickly add in very fine leaves as well into the CD. And then BBB done in with this class project, as you can see, intervenes with a little dry brush technique, but still intact so much life to your CDD or company. That is it. We already read countless project. Let's remove the masking TDE and see your final painting with those pin edges is a final painting for D3 off this 21 day challenge. I hope you guys enjoyed painting and already is in food seascape. It didn't mean that glowing effect with the whitewash and learning to add in details wet on wet into the bush easier as well. Also, this class project was more focused on the wet, on wet. So I can see your thighs into the next class project tomorrow. Thank you so much for joining me into this class. 9. Day 4 - Pink and Violet Sea: Hello everyone, Welcome back to day four. I have listed down all the colors that I will be using for this class project. If you do not have the exact same sheets, you can go ahead with the best alternative color according to the color sheet. Let's begin painting now. I have my paper deep down and I'm just going to begin by marking the horizon line. I will give you a very light pencil sketch and then deep down the masking tape. This time the sky area is going to be on to a bigger one. And I'm going to paint the CEO a little smaller one. This time in the CEO. I'm even going to learn adding in the waves wet on dry, giving you more depth. And this time we are leaving, going to be using invite gouache for giving in the effect or the short line. So first let's begin by taping down the paper onto the horizon line as well. After the last two blunders, I'm going to make sure that this time I have everything, a dumbbell enough so that I do not have to suffer anything on my horizon line. Again, I'm going to make an inverted lean layer of water into the sky area. This time the sky also, I'm going to be painting it in a very different way. It wouldn't be a simple, basic sky. As we are moving their head further into this class, we are going to increase and, you know, make our learnings more patho from simple to the 14th, which are actually easy to paint a followed step-by-step. So make sure you have an even layer of water to that there are no particles of water on your paper does not begin to die from any space. I'm gonna adding in a clean layer of water. And now I'm going to begin adding in the colors one-by-one. First, I'm going to be picking up the permanent yellow color. It's a yellow color, not too dark, not too light. I'm using a smallest size brush and I'm just going to begin adding in the yellow color in the centers piece. At the border near to the horizon line, I'm going to be having in the violet color. So I do not want to add the base Nao yellow faded out there. Otherwise, the yellow and violet mixed together will give me muddy tones there. Hence, I'm beginning to add in the yellow color in the center of the sky area. You can see I'm adding it very randomly. Next, I have picked up a little bit of the permanent red color to which I'm just going to add in a little bit of the yellow color that's already on my palette. And I'm going to pick up this orangeish color. It's a pasting audience kind of volcano that is being formed. And I'm going to begin adding that near to the yellow color highlights. Make sure whenever you begin to add in colors in patches, you have to be careful about the water content on your brush. If you went to pick up the colors with extra water, all the colors will bleed a lot into each other and you will not be able to maintain the distinctive color looks. Next to this same mix I'm adding in a little bit of the window scholar to get a little pink dash to add to my sky. And I'm going to begin adding in this color near to the yellow and the red tones that are added. Now, you will see this tone is a little on the pink side, and now I'm adding it to kneel to the horizon line as well because while it color and the pink color will not give me any muddy towards you can see how at the top space I have maintained the yellow color or light despite adding in the red and the pink tones. Now at the topmost piece, I'm going to add a little of the city in, in blue color. So this is just a base layer of the sky that I have added in. My paper's still wet and I'm going to be adding in a lot of cloud effect wet on wet onto this wire. If you know this is still wet, we have to add in the Cloud details. In case if your paper has dried, then you will have to wait for it to dry completely and then go ahead with the re-weighting technique. But since my baby boys wet enough, I'm going to quickly begin adding in the Cloud details. For that. I'm for speaking up the bright violet color from this palette to that I have added in a little touch of the white watercolor this time and not whitewash. And I'm going to begin adding in a little bit of the color tones very carefully using in the smallest size brush to this, I will fall doping adding in little darker tint of the violet color with or without the white as when later on. Do the complete horizon line. You can see I have added in the violet color, but I have made sure that the pink and the red tones near to the yellow are visible at pleases. You have to control the water control again, or you know, while adding in these cloud effects with the violet color. Now at the top spaces you are when I'm beginning to add in the clouds, you will see that I'm adding in the clouds in very small patches, just blows it to each other, forming in very small random shapes. Now I'm going to pick up the violet following a little darker consistency. I'm going to begin adding in the darker depths. Now, all you have to be very careful while adding in the darker Deb says When do not pick up with excess water, otherwise they will spread a lot and will not read in the cloud shape that we are trying to add in. So at the top area you can see I'm adding them very randomly. Also, you can see the little white cloud effect that I have tried to maintain. And at the top near to the blue color as well, on the blue all-time going to add a little of the effect with the violet color plots. Now, now you're at the horizon line. Everything is still wet and I'm just adding in little darker depths. So you can see I'm adding the darker depths very randomly, making sure a little lighter colors are also visible underneath. This is how a step-by-step, you can go ahead and add in so many details. Wet on wet. Now you're on the yellow color where I feel little of the violet color is coming in because of maybe it says in water, I just lifted it up so that I have the yellow color sky look as well. Now I'm just picking up a little bit of the permanent jet color again. And I'm going to begin adding in little darker deaths out near to the violet color. So again, you would have seen I dropped my brush onto the tissue for two reasons so that I do not have excess pigment or excess water. Otherwise, it will be very difficult to control the flow or the movement of the colors. Now using in the quinoa Scholar just pigment to add in very simple details onto the blue color. So automatically when the Queen Rose and the blue color react to each other, they are given the purple shade, as you can see in you can see if you lay the Windows Hello with a little gentle hand, you can see the queen rose color also into light and not a clear wireless color. So that is it for my sky ADR. You can see how pretty the clouds are looking and we've got the perfect COC, cloudy look at the top of the clouds. I have made short at the clouds are very small patches closer to each other. And on the horizon line I have added in the bigger cloud with the violet color. And at the horizon line I'm just going to add a little more depth, the violet color, darker tint actually. And I just need down or masking tape below my board so that this color does not flow much on the top side and remains at the bottom near to the horizon line. Again, my paper is still wet while I'm doing all of this. So you can see for how long my paper has remained with now are at the top also just adding in some darker greens very randomly. You can see I'm just using the tip of my brush, wet it under me for adding in the darker tones as well. So that is in and then adding in the dark codons. Now let's wait for this to dry completely and then we will begin painting the CEO of this pin-pin, once everything is dried in my sky is completely dried and you can see how beautiful the cloud looks at calm, and especially the whitespace started speaking out at the top right side. Now let us remove the masking tape and I've got a clear line out to her for the first time. Now while taping down the paper again, this time I'm going to be quite careful because I do not want any blunders. Do I'm going to be adding in little bushy area, but that's going to be only in the center of the horizon line. But I do not want to make mistake and then are they? So I'm going to be very careful and you will see I'm running my hand multiple times so that the tape is Steve down quite well enough and there is no all mistake or loophole left in this time. Now for the CDR, I'm going to begin in with the clean layer of photo in the C part also we are going to be having in two parts, we are going to have a very small short space at the bottom. And we are going to be having in the ca, not just below the horizon line. I'm going to paint both the business for these together, just as we did in class project 23. That is the shore and the beach area or the CDE area, together with having in a soft blending between the fellows. And then we will be adding in the details and trying to show. The separation between them. For now, make sure you have a clean layer of water throughout. And then we will begin painting in. My CTI is also going to be a reflection of the sky area itself. So I'm going to use almost the same colors. So first I'm mixing in a little bit of the Queen Rose and the red color. And I'm beginning in with my flat brush itself, approximately 1.5 centimeter from below my paper. I'm going to let it be as the short space. As you can see, I've lifted space white or light to have just given him a very light wash of this Windows color. Now next photo showed aid. Yeah, I'm going to add in the brown. California has picked up the raw amber color and just adding in a very night on the order of the raw umber color as well. So again, that is also a very light color tone, and I've blended both of these two now you can know or developing color. It is a senior and then it is assure area. On top of it. I've just added in a little bit of the brown sienna color as Beth. Now, even in the CAR, I'm going to be adding in the highlights with the blue and the violet color. For that, I'm going to shift into my smallest size flat brush. This is a one-quarter inch flat brush because my paper is quite small and I have to add in very little details. Now while this is wet, just using a smallest size flat brush, I'm adding in little purple strokes and you will see very carefully, I'm making sure that the ping Palo would still be visible. Same way, I'm going to add a little highlight with the blue color as well. Now again, the important thing is water control by adding in these color Leo's. The colors do not spread or bleed a lot and cover the entire space with this colors that you added. You have to maintain all the three color looked at is pink, violet, and the blue color. So you have to add these in such a way. When I didn't remove the masking tape, you will feel as if the C is a complete reflection of the sky colors itself. Hence, using in these colors for the BCR of the sky. Now, just going to add a little more darker tint of the willl attach majorly near to the horizon line. Because on the horizon line, you know, we have added in more of the violet clouds to give those antigens reflection. I'm adding more of the violet color and the horizon line. This is for the base layer. Now I'm just going to wait for a few seconds for this to settle in and then bind. This is 50% dry. I'm going to add a little depth to the shore area. Now this is 50% die and I'm going to pick up little of the bond sienna color and just going to be dropping in very random patches of the darker tint of the burnt sienna color into the shore species. You will see just using the tip of my brush, I'm dropping in little off the effects with this bond sienna color out. Now I picked up the bond sienna and much multicore consistency and you can see giving embedding more darker patches just using the tip of my brush. All of this while my short area is 50% way. So you can see it's not spreading match, but it has a soft edge. Now that does it for all the BCR of the sea and the short space. I will carefully remove the masking tape on the horizon line and then wait for all of this to dry completely. And this time I'm sure I have achieved in the perfect horizon line just a little bit out here, which I can quickly run my hand auto small tissue and covered it up. Let's wait for all of this to dry completely. Now. Now I see ETAs onto completely dried and I will remove this masking tape from underneath my port. And I'm going to begin adding in the details into the leaves. First, I'm going to use the smallest size brush. This is a size two round brush which has a pointed tip. I'm picking up the Y lip color in non-lethal liquidy consistency, not too light. Not too dark as Ben. And I'm going to begin adding in this. Alright, so first I'm adding in some darker depth. So for that I'm using in the violet color in a very dark consistency. It will almost look like a black color to you in the screen, but it's the why lip color. First adding in some very dark or depth and then I will add in the light of ifs. So I wanted to create little detail and you will see I'm adding in this also vary randomly, nothing specific and sheep just very thin compared to the size of your paper that it will really vary randomly. You can see I'm just adding in the darker depths false. Then I will begin adding in the fine beers. Now. This is wet on dry this time, that is my seat. Adr is dried completely. And under that I'm beginning to add in the detail and the depth using the wet on dry out too. Now I'm going to shift into the right brush first. I'm going to add in little detail with the white quash, then shift into adding the leaves photo to this white gouache. I'm going to add in a little bit of the citrulline blue color and a little touch of the violet color. Very little done already. It won't be a clear white color D1 that I will be adding them. It will have a little effect of the sunlight or the sunset actually are lacto, it will have a little effect of the sunset colors into the waves as well. Do not use pure white pigment out. You're makes sure to add a little tint of the wildlife and the blue color to give it an effect of the sunset out. You're now in the center In-between these violet lines that I added him, I'm adding in these little details with a white quash has failed first. Now on top of this, I'm just going to begin pulling our little baby deals. So it's not completely dry brush this time, but it's not too much of the pigment as well, just randomly giving in some dabbing details to act in as the verb near to the shoreline areas. Now almost similar kind of a detail. I'm going to add an exactly on the shoreline that is at the point where the pink and the brown is blending at the bottom space. I'm going to begin in with the white line forced out there as well. And then given literally deal with the whitewashed data as well. You can see just by adding in that little tent of the blue and the violet color to the white gouache. This fields as if all you know, you have the perfect sunset effect onto these waves as well. If you would have added in the pure white pigment, it would look a little more standing out on different from your entire composition. Hence, at times to make the things blend well into the composition, you can mix it a little tint of the BCL color. So after showing the deflection of the sky colors as well, now on top of these darker tones of the violet color alter, I'm adding in little or no form the deal with the white gouache. Now after this, I'm going to begin adding in the wave details that is still left to be added. Now the waves that I'm going to be adding in is going to be with the violet color, but it's going to be lighter than what I have been adding previously. So I'm using in this liner brush, this is a very fine tip liner brush. And I'm going to use this violet color in a very light consistency, not too dark. It's just going to be enough data to be visible from the base. Yellow, violet color or light. I'm going to begin adding in very smaller wheels closer to the horizon line. So the moment you may not be able to see these fine leaves, I will give you a closer view. As I add a little of it. Let me give you a closer view now you can see how fine and small these leaves that I'm adding it all vector closer to the horizon line. You have to add in these fine weaves all closer to each other. You could see they were in some way or the other connected to each other very randomly. I'm making sure these lines are not exactly street, they have little cove and movement in itself as well to depict of ears. Now as I move downwards, I'm going to increase the length of these waves as you can see it, but still they are all closer to each other. And also you can see the waves. Hello is just a tint darker than the BCL violet color that I have used in. So you have to make sure that the violet color is not too dark as you know, you use in the false darker dead start, you added it. Otherwise the darker depths will not stand out separately. Now in-between these Altair, I'm just going to add in little of these waves vary randomly. I will make sure I do not overlap the white quash at places wherever I didn't. But in-between the darker depth of the violet and the white, I'm just going to add a little bit of detail using my brush perpendicular. Now with this same thing, I'm going to add the shadow to these white waves, suggest to underneath the white line adding in the shadow, you can see just as you begin to add in little, little detail step-by-step, all of it begins to look much more natural together are then. So for the shadow I have used in the lighter tint only or not the darker. Make sure for the shadow area you use in the lighter tint only. Now lastly, with the same violet color, I'm just going to be adding in very random patches onto the shore area as well. You will see it's very little and very randomly that I'm adding into given little more depth to the CAD or this style. Now I'm going to add in the shadow to the bottom line of the white gouache, which is connecting the sea and the space. There. I'm going to add in the shadow using in the burnt sienna color. So just underneath the white line, going to add in a very fine line off the bonds sienna color. Now using the same burnt sienna color, I'm just going to add very random Dr. Rush onto the shore AVR suggesting it didn't. I'm going to make sure I pick up the burnt sienna color and a little thicker consistency without excess water and just going to move my brush vary randomly and given little dry brush technique very randomly at places. Now let me give you a closer view of this dry brush that I've added him. It's very little, but it adds so much more depth into the beach area again. Alright, so you can see just very little details with the dry brush that I've added in. And you can even see the effect of the whitewash mixed in with the blue and the violet color gives him the perfect reflection of the sky. Now I'm going to pick up the violet color again. And I'm just going to add in little more depth to this shadow that I've added in because I feel it's a little light suggest going to add a little more detail to the shadow to her. Now using in a little darker tint, I'm just going to add in a few darker leaves at the top space out here. When he landed me just going to be adding in very little of doors, not much. So make sure you do not rush. And I had a lot of them. I'm again using the same smallest size brush on the A24 so that I get the fine details as I have been getting in till now. Lastly, using in the paints gray color, I'm just going to be adding in a very small Bush detail into the center space out your data is going to be only in the center area and quite a small one. And I'm just going to be dabbing in the tip of my brush at the top space to define the top edge of this bushy area. I'm going to read it the height as well of this bushy area so that it looks natural. Of the horizon line you would have seen, I have added in a little darker line off the violet color so as to distinguish the sky and the Celia. Now I've added in the edge to the bushy area and now I'm going to just build this area completely with the Payne's gray color. Now randomly just adding in little Dr. Rashad patches with the Payne's gray color as well onto the shore space so as to give it a little more depth and showing little stone details onto the science piece out here. I'm just using the tip. You can see I'm dabbing in this Payne's gray color. Now using the damp brush, I just blend it into the background so that it does not stand out much prominent, but it has that little stone touch to it. So just some final details onto the science piece. I'm just going to add a little more of the burnt sienna color TO which I have just, you know, where that space again. So adding in little darker depths alert and then we will be done in with this class project as men do not worry, if you have rough edges in the sand area, it will make it look more natural. Just try to get an, a perfect look to design space. I have given it much more darker depth at the bottom species so as to give it a more beautiful of the sunset kind of a lookout. You are there too. This is our default class project. Let's remove the masking tape and see our final painting before. And I'm just going to add a very fine line out. You're on the horizon line because you notice sky and the CATI still not standing up distinctively suggest using an a very darker tint of the violet color on both the left and the right edge and just added a very fine line on the horizon line. That is it. Now let's remove the masking tape and see our final painting with those beautiful clean edges. Make sure your edges are completely dried and if there is any water or color onto your masking tape, then they move it very carefully so that it does not sit back into your painting or under your fingers and drawing out your clean edges. Here is a final painting for D4. We've gone into much more depth this time by adding in the clouds in a very different way, giving in so much depth to the sky and also adding so much reflection into the area of the sky. Thank you so much for joining me into this class. I will see you guys tomorrow into the D5 class project. 10. Day 5 - Warm Seascape: Hello everyone, Welcome back to the five. Today we are going to be painting in this warm sunset and the seascape. Nacada is that you need for today's class project is listed out here. You can go ahead and with the best sheets available in your palate may not be the exact same sheets as mine. So let's begin painting in today's project, I have my paper tape and I will directly beginning by taping down the masking p for the horizon line, I won't be adding in any pencil sketch. I would rather directly just tape down the thief directly as its only the sky and the CED at this time, no other details as you would have seen in the reference at the beginning. We're going to quickly pay down this first, making sure that this tape is taped on perfectly. So that is Norway for any mistakes. I've been forced begin with a clean code of photo only into the sky space. And after this, we will be painting the CAD or ones. This guy will be completely traded. So make sure you I didn't cleanly on a photo onto the entire sky, make sure that there's no excess water or portholes of water on the edges. I'm running my brush multiple types so that my paper stays wet for enough time for me to add the details wet on wet into the sky. First I'm in with the permanent yellow light color or undirected just a medium tone off the yellow that I'm using in and beginning at the horizon line with this yellow color, I'm going to add it till the little top area as well. Just going to leave little spaces in between. Now next time picking up the vermilion color, you can pick up any orange, red, scarlet color, whichever is available in your palette. You can see that this portion of this color, because of the paper being so read enough time adding it onto the left hand, the right side that I've left in the white space. But you need to add it in such a way that you make sure you do not cover the yellow color in the center near to the horizon line completely alter. You have to make sure the water control while adding in these colors. Otherwise they will spread a lot and covered the entire lighter. Don't start. We have to maintain in the sky even at the top species you can see I've given in the strokes quite carefully. Now next time picking up the burnt sienna color. Again, even my lighting in the burnt sienna color, I'm going to make sure that I control the water content, if you will, external onto the colors will spread and you will not be able to maintain each of the color loop. We are adding all of these wet on wet so that all of this has the soft edge and blended look together. But we have to even control the color lay out under the sky spaces. Now just as the previous class project at the top space, I'm adding in the clouds with this brown color just using In the tip of my brush as you can see, I like to just try to add in clouds very loosely out. So you have to just go in very loosely. All of this is wet on wet. If your paper dries anywhere in between, make sure you wait for it to dry completely and then go ahead with the liberating technique. Next time picking up the permanent red color mixing in a legit dint of the vermillion do it as well. So it's going to be darker than the war million color shade that I have used in previously. And I'm going to begin adding in little darker details with this permanent red color Major near at the top space to given that perfect warmed effect. Now in this also you can see I'm trying to maintain the water control and the water content in this. It's very important. And that's the reason I'm repeating again and again, that you have to control the water while adding in these darker strokes on the center yellow Cloud, although you can see I'm adding in lifting stroke of this red color to give them the cloud effect. But I'm making sure that the red color is not spreading on the yellow until and unless I wanted to. So that is why we want to control is very important while adding in these darker details at the top, you can see we still have some little lighter clouds visible. Now do my burnt sienna color. I am picking up if the analytical or darker consistency that is with much less of water. So, you know, more of pigment, less of water to give in some darker streets as well. Now if you want, you can add didn't need to be tough CPR quality or brown color if you are unable to achieve the darker brown details with the burnt sienna color itself. I'll read to you can see again at the top space just moving my brush very freely to add in these Cloud details, I'm making sure that lives in yellow is still visible at the top as well. Again, all of this is wet on wet still. Now you can see how I have added in the brown color on the red color, the brown color is visible, the red is also visible. The colors have a soft edge. They are blended into each other, but they're not spreading much beyond the control or limit that I wanted to. So that is why I want to control is very important by adding in such detail, try adding in a big bandwidth extra water by adding in these news and you would see everything will go into mess. Maybe try it out on a rough space actually. Now I've just added a little bit of the sepia color to my burnt sienna color. You can directly pickup Burnt umber color, raspberry few want to give in some darker streets at the top space, you can see I'm just ready randomly using the tip of my brush, I'm adding in very random strokes to create little depth into the sky. Just going to pick up little more of the red color. And given some little details, that is it for us guy, you can see the darker depth and the yellow color that I've maintained out you're in the center space that's very important to be maintained to show the perfect one sunset effect. Now we'll wait for this to dry completely and then remove the masking tape and begin painting the c. Let's wait for this to dry completely then move ahead and begin painting photo. Now my sky is completely dried and I will remove this masking tape out. You're in the center line and I'm going to very carefully place it at the top of the sky. Now I'm going to be very careful because on the horizon line There's no other details for me to add in. So I'm going to add this same people again, but I will be very careful and make sure there is no pothole or any loop or left for the paint to flow in at the top ADR ruining of my sky. Even if you are using in this technique makes sure if you're deep, has lost is new, the new use a fresh day. But I made sure my papers, the glue, and I am using it in the reverse manner right now. And I'm making sure I taped down the tape. Well, hands you can see I'm running my finger multiple times so that it's steeped, unglued Well to the sheep on right also, you need to make sure that your papers supports this technique easily. Now I'm going to begin in with the clean layer of water. This guy, sorry, the sea area you are. Now the CDI is also going to be a warm violet, is going to be a reflection of the sky, even more intense actually, to show the perfect night view coming into light. First, I'm beginning in with the permanent jet color tool at the bottom space or lead. You can see I'm using the colors in quite a milestone right now because we are going to be adding in the depth while adding in the views. So till the halfway I added in the red color. Now I'm going to pick up little of the yellow color to give him little yellow street in the top center space. I'll let this animation, they get covered up because we are going to be adding in much darker depth in the areas compared to the sky. Modesto have little light effect in between, I'm adding in this yellow color O2. Now, while discussing with you in the technique section, if you remember, the fourth kind of beef that we had launched, we are going to be using in this time or to give in depth with the darker towards false picking up the burnt sienna color, I've shifted to my smallest size flags star, so that it's easier. Now what I will do is I will remove out this masking tape so that I know I'm not going out of proportion and even on right. And I have not gone out of the line and it's perfect. You can see the horizon line is a clean line out there. But I have to add a little darker depth and I want to be careful so that the color does not go into the sky area. Now from the edges, you can see I'm pulling out the burnt sienna color on the board, the site still the little centers piece. And again, this is wet on wet that I'm trying to add in the detail. These are bigger size wave details, wet on wet. This is the first kind of wave that I showed you. Wet on wet. Just adding in bigger strokes rather than the smallest strokes out. To undo this, I'm going to further begin. In a darker brown color. So you can either mix in a little bit of your CPR color to your phone, CNR Carlo, or you can pick up the bond amber color, or you can even add a little touch of the Payne's gray to your light brown color. Now you will see I'm using a smaller size flat brush, and just using the tip of my brush, I'm putting up these random waves, make sure that you do not have excess water. All of this is only an only about controlling the water. We're adding all of these wet-on-wet. Say if by adding in these leaves all too, if your paper has begun to dry in-between, then wait for it to dry completely and go ahead with the re-weighting technique. Now as we learned the fourth technique by learning the technique section, beef fat. Alright, so that way I'm adding in some of the crashing wave with this darker color this time. So I did one big Aviv at the top space and at the bottom I'm giving in another photo crashing wave effect. So you can see died Monday, I'm just pulling out the color strokes very roughly giving you a very rough edge at the top end. I'm just using the tip of my brush for adding in these details are after this will dry. I will further add in little more detail to this as well. Now, Father, again, I'm just going to begin adding into much more darker leaves. Now I'm using in the sepia color, did I live without adding in any burnt sienna? So you can see the different color transitions that I'm using in. Also, you will see that I'm trying to maintain each of the colors still being visible. So the yellow, red light browns are still visible underneath these darker strokes that I'm trying to add in. You have to add the leaves in such a way that the bottom layer strokes on to be visible after you begin adding in these darker strokes. If you do not want to use the smallest size flat brush, you can add all of these using in the smallest size down brush. But I wanted to show you how even using a flat brush, you can add in all the details that you can add in using a round brush with the sepia color. I'm adding a second layer to this crashing wave out your, again, all of this is also a wet on wet suggest using in the tip of my brush and pulling a little darker strokes or lethal the halfway of the bottom layer. So you can see the bottom layer light color wave is still visible. Top of this, I'm adding in this darker brown tones, pulling out these crashing waves out too. Now at the bottom, yours is better just adding in little more depth out with this color out. You can see very randomly just moving my brush, Chris God's giving him more of the detail out. You're now taking up the sepia color in the tick consistency. You can see I'm just adding in little shadow to those. A darker leaves that are added in. Little darker effect on the top left and right side. That is it for the first year of the waves. Now, I will wait for all of this to dry completely. Then we will add in little off the drive EFD dance onto this. I'm then we will be done with this class project for today. Let's wait for this to dry completely. My waves are completely dried and you can see how beautifully they have tried on each of the color is still visible. Now as I told you, I'm going to add a little of the dark or waves on those crashing waves wet on dry. I will begin adding in those fees. So I'm picking up the sepia color out your again directly without adding any lighter brown to it. And I will begin adding in some smaller waves. First-out, you're at the top anion wet on dry. I'm going to add in very small areas closer to each other, near to the horizon light on it. Not much of it, very little because in the BCOP already have the VIV effect of the wet-on-wet technique. I'm not muddied much about the wet-on-dry details. I'm going to go in very quickly as well. On the left hand, the right edge, I'm adding in the weeds with this darker brown color in the center. I'm not adding in the veins right now onto the yellow color bar because there I will add the views with a little diluted torn off the brown color. Now under this crashing VIV, I have just picked up the CPR color in a thick consistency. And you can see I'm giving in the details. In wet on dry out your suggest onto that same soft wave that we have. I'm pulling out simple waves in order to diamond manner to give him more depth to these waves out. You're in the same way. I'm going to pull out these views for the bottom Leo caching. But to that I will pull out a little smaller and not cover that entire big crashing wave effect out there. In this scene via just going to begin adding in the darker depth with a very thick layer of the sepia color. So you can see the CPR pilot is quite dark enough this time before the first two Leos as well. Hence, it is visible onto these darker leaves as well. Now you can see your, I'm pulling out these wet on dry leaves only till the center of the brush that I have added in so that the BCR soft VIV effect is also visible. So first adding in a small line and then just pulling out simple lines diagonally. Do not worry if you get middle dry brush technique as well. In between adding in these waves, it will only look more predicate altogether. I'm done or I didn't end up on the edges. Now as I told you, I'm going to use in light that is a diluted tone off the brown color for adding in the VMs out, you're on the yellow light. I've picked up the burnt sienna color in a very diluted tone. And I'm just going to add in very simple lines out here. So automatically you will see the sunset effect on the leaves as well. On the edges you have the darker debt because of the dark, obese and new to the yellow color, you have the lighter wave effects because of the sunlight falling in there. Even at the bottom space light. But I'm just going to add in the lighter tones out to us. Next, I'm going to shift into the white gouache. And using the white gouache, I'm going to add in, spawned little reflection of the sun into the CEO. So basically in the sky space, the yellow color that you see is the sunset view. And do that I just want to add a very small deflection in the sky area. I'm going to pick up the white gouache forced in a little medium consistency that is not to take and not too watery and exactly in the center near to the horizon line. I'm just going to add in a very small circle out there. Now I'm forced blending in the edge of this circle into the bottom space because I want a very soft reflection and also so that it looks blended into this bottom space of the C. Alright. Now till that is drying, I'm just going to pick up a smallest size pen and it's going to add in a few boats into the sky. I want a very fine boards this time. Hence, I'm using an append. If you want, you can even use your black color or Payne's gray color and the brush and adding these boats. But I'm adding them using a point to or pen out your. So this is a waterproof pen. Make sure if you're using an append new, using a waterproof pen for adding in these. Let me give you a closer view of the boards that I've added it on right here you can see I've added the buds very fine, tiny and closer to each other, almost all diagonally on right? Now it to begin adding into further detail, I'm going to pick up little off the yellow color. That white patch reflection for the sun has dried completely. And to the center of data, I'm just going to add a little of the yellow color to act as the sun deflection that I needed there. Now just exactly at the top of this above the horizon line, I'm going to add a very small circle with a yellow color to actin as the photo settings are now dare to which the reflection we have added in the sea area. I'll let you, you can see the effect of flexion and the sun coming into life. Alright, let me give you a closer view again. You can see, make sure you use the yellow color in a very thick consistency only then you will get the opaque look onto that red color as bell. Lastly, I'm just going to be adding in a very fine mountain range on my horizon line. So for that, you can either use in the CPR or the Payne's gray color as you wish. I'll let I'm going to be using in my smallest size brush, I'm using the size two round brush which has a pointed tip. And onto the horizon line I'm going to add very fine tiny mountain range. It's going to be from the left till the center and from the right till the center. So as I move towards the center line, I'm going to make the mountain range height moving for the smaller, from the left to the center, it's going to diminish. And then from the right to the center, it's going to be a diminishing one. You'll see I have not even taken it till the complete center line. That is it done adding in the mountain range as well, not just going to add a very fine line in the sand over I have not added the mountain date so as to have the perfect distinction between the sky and the CEO. Now let me give you once again a closer view of the mountain range and then we will remove the masking tape. So you can see the fine line in the center and the mountain range showing in the perfect distant view. Let's remove the masking tape. Be careful when removing the masking dare. You can see such a beautiful seascape created in just like 25 minutes, going in slowly, step-by-step, in all the details one by one. So make sure you'll be patient. It may take time for you to get in the waves and the detailing pat dry matter, It's always worth loaning. Your final class project for day five. I hope you guys enjoyed painting in this warm sunset today. I will see you guys tomorrow into the D6 class project. Thank you so much for joining me into this class. I would love to see you all paint with me. See you guys tomorrow into the D6 class project. 11. Day 6 - Meadow Seascape: Hello everyone. Welcome back to D6. Today we are going to be painting in this meadow seascape. I have listed down on the colors. Do not worry, you can use the alternative colors in the best shape change that is available in your palette. So let's begin painting in today's project. I have my paper taped down and I will begin marking by the sky area or the area and the middle area separately. Suggests in data very light pencil sketch because this time I'm going to be using in the colors and a little pastel tone. I do not want my pencil marks to be visible. Now at the bottom, you can see a marking out a very rough space for the field and grass area. And just about that is going to be the CEO, right? So that is it for the pencil sketch, I will begin by taping down the masking tape on my horizon line so that I can paint my sky freely without worrying about moving into the sea area. Make sure if you're following this technique that you tape down your paper really well so that you do not go up or do not have any portholes in-between that the water or the paints flows into in shadow. The shades of yellow and orange that I will be using is the Naples yellow and the nipples orange. The Naples yellow is from the brand Magellan mission underneath both audiences from the brand White Nights do not everybody, you can go ahead with any shape that is available in your palette. You can simply use the simple yellow or the simple orange color. Now I will begin with a clean photo, photo on domain sky area. Make sure you have an even layer of water throughout. Also, make sure that you do not have any portholes of water left anywhere for the paint to flow anywhere. I've added in a thin layer of water and I run my brush multiple times so that my paper stays wet for enough time. I'm going to begin in with the Naples yellow color force, which is already on my palette. I'm going to begin adding in these colors in a very light consistency. That is, it's going to be like me are equal amount of water and paint and I'm going to add them very free handed, close to each other. So you can see such a light tone of yellow that I've added in. Now next to the yellow, I'm going to add in little of the nipples orange color. Now if you do not have the neighbors orange, you can simply mix in a little tint of your yellow and orange and get a yellowish orange tone and use that here as well. Alright, so you can see I've added it in such a way that the yellow-colored is still visible in the center space. So it's very important both of these color pigments are very close to each other. Alright, two, you have to make sure little color distinction between both of them has to be visible. Now at the top, I'm going to add in a little of the civilian blue color. Again, the blue color results are going to be in a very liquidy analyte consistency, as you can see, be careful of not mixing it with the orange color. Otherwise, Maddie, it may get formed out there. So it's very important to control the blending of those two colors there. Now next I'm going to mix in a little bit of the Naples orange and violet color together to get a little muddy, kind of a violet color. And using this color, I will place it. You're on the top-left side. Again. This also you can see it's in a little liquidy consistency and not to take data, it's very important that you make sure you add in these colors liquidy consistency so as to get these light tones just adding in little darker depths very randomly. Now on to this muddy violet tone, I'm just going to mix in a little of the orange and the violet color in a little thick consistency if it's little less water so as to add a little darker depth. Because at the moment it seems that once this dries, it will almost be a very light tone as watercolors dry or tone lighter, hence to get in a little darker tint, I'm just adding in very little of the darker or tone with less of water. And very handed me even on the blue color, you can see I've added in little highlights. Using the same muddy tuna I'm adding in mittens loud effect even on the yellow, orange colors, but I'm making sure that the yellow and the orange colors are also visible in-between wine adding in these clouds, it's very important to control the water on your brush. Otherwise, the paint will move a lot and you will be unable to achieve the consistency or the movement of the pins. Now, I have picked up a little of the yellow color and I'm just adding in a little sun shape out. You're with a very thick layer of the permanent yellow deep. It just has to be one-to-one darker than the base neon yellow that you have used it. Now using in a smallest sized round brush, I'm just adding little orange highlight near to the sun space that I've added in. I don't want a clear shape to the Sun, but I just want a little extra vibrant space out here to act as the sun. Hence, I added in that dark yellow patch and little of the orange colors across it. Just added one more layer of the yellow color because the previous layer was not that visible. Now across this again, I'm just going to add a little the audit and highlight moving or or what do these yellow space and around it as well. Again, all of this is still wet on wet and hence you can see how beautifully the colors are blending into each other and having in the soft edge. So I've tried to get in that little glowing space around the sun area near to the horizon line. Now using the Naples orange in a little darker consistency, I'm just going to add a little highlight below this violet multi-cloud that we have added in. Again, you're also going on wet on wet. But again, the important thing is water control. If you will have to paint in extra thick consistency or L sorry, extra tick or extra liquidy consistency, you will not be able to achieve this loop. Otherwise, the colors may either spread a lot or maybe not blending easily. That is it for the sky. Now let's wait for the sky too dry. Then we will begin adding in the further details. My sky has completely dried and I'm going to remove the masking tape. And you can see with the help of the masking tape, you'll get such a clear horizon line. Alright, now, little of the sky that is the center yellow patch is still wet, so I won't be adding in the masking tape now, otherwise the color will get lifted out there. This time I'm going to go into the eclipse without adding in the masking tape painting in the C idiom. I'm going to pick up some freshwater. I'm going to add in a layer of water onto my entire CSPs. Now if you run a little into the grass area, if you want to move in 3D, it will be perfectly okay because the grass colors are going to be off the darker tone. But as far as possible try to not run into the grass paste. I'm done adding in a clean layer of water throughout the sky area and the area are going to be of the same color tones. The color tones that we used in the sky at the same tone set, I'm going to be using an in the sea area. First beginning in with the nipples yellow color only in the center space. Because on the edges I'm going to get in the blue and the wildlife tones, right? To be very careful near to the horizon line. Shifting into the nipples, orange color going to apply just near to the yellow color. Vote on the left and the right side. Apply it in such a way that they can look at it is still visible and make sure that you do not have excess water otherwise the paint will spread a lot. Be very careful near to the horizon line that you do not go out of proportion. Next, I'm forming in the same muddy color of the violet and the orange color and going to begin adding it onto the remaining edges. Now added that such a way that the orange color is still visible in the center and the yellow as well. Very carefully, even at the bottom near to the field space, I'm adding in this layer of the Maddie tone of the violet and the orange color. You can see I'm using the colors you're expelling a very light consistency, alright, so that I get a very light onto my sky as well as the sea area. You can see this guy has dried in such well. Now using in this muddy tones, giving in very random believes wet on wet auteur. But again, I'm controlling the water so that the yellow and orange color do not get hidden completely. We are going to be adding in waves wet on, dry also later on. But for now just adding in the waves wet on wet very little. And that is it. We will be for this to dry completely. Then we will begin adding in the further detail into this painting. Let's wait for this to dry completely. Now. Ilya is completely dried and we will begin painting in the first layer for the middle space. And then by that will be drying. We will begin adding in the details of the CVs. First I'm picking up the green color and I'm going to begin adding in the green color out. I'm going ahead with the wet on dry technique here because I just have to add in the business greens and wait for them to dry in. First defining in the shape of the middle area at the top near to the sea line. And you can see I'm giving it in a very rough shape. Alright. Now for the first layer are true or I'm going to fill in this complete space with the base layer green color. I am mixing in a little bit of the sap green and the olive green color out. You can go ahead with a simple tone of the sap green if you do not have an olive green color in your palette or less, going to fill this completely. So this is just a false Leo volume. This is going to be still wet. I'm going to add in little darker depths to the grass area also. Now see if your people is the one which drives incompletely, then I would recommend you to go ahead with the wet on wet technique, even for the fetus piece that you can add in the darker tones while your field area will remain where? Now I'm going to pick up the darker green tone of the same tones and going to begin adding in some darker dead father, darker depths. I'm picking up more of pigment and less water. Hans automatically getting in the darker depth into this field area. Now let's begin adding in the CBMs while the field area dries in. So I'm mixing in the same market, all of the orange and the wireless color. And I'm going to begin adding in very simple CVs. So I'm going to pick up this color in a little watery consistency. It won't be too dark enough. It's going to be a medium tone and using in a smaller sized round brush, I'm just waiting to begin adding in simple leaves are wet near to the horizon line I'm going to be adding in. These waves are smaller in length. And as I move more towards the field, I'm going to increase the length of these bees. Make sure you use a very muted analyte tone. Do not add much water or much pigment. And you can see every time before I begin to add in the leaves with the fresh feed pink color on my brush. I that my brush onto a total order people tissue that the extra pigment or water is soaked in by the tissue. And it's easier for me to add in these fine beers. So I'm going to quickly continue adding in these leaves out your, I'm shifting into a liner brush so that my brush can hold in much more pigment and I can add in much bigger waves together. Now, if you are not sure if the pigment will stay enough for you to add in all the ways, either makes a lot of pigment or try to get the best tone again, if you run out of the color by adding in these waves. Now you can see as I'm moving more towards the field area, I'm adding in much larger leaves as compared to the ones that I was adding near to the horizon line. Also making sure to connect these waves episode in point randomly urine they're asked to meet. All of these waves look connected to each other. Well, also, if you see as I'm moving downwards, I have increased the tonal value of this column mix that I'm using in that is at the top, I used it in a very light consistency. But as I'm moving downwards, I'm increasing in the tonal value and taking it a little darker than the top Leo. But the lines are because as compared to the top space and much more closer to each other. I'm almost done adding in the first layer of the waves near to the grass field area. I have added them very carefully. Now next I'm going to pick up a little more of the violet to this mix. This time it's going to be more of a violet and very less of the orange touch. And I'm going to add in some darker leaves into this. And this time I'm going to pick up this color. In a little darker consistency, I'm going to add in some darker leaves vary randomly in-between. You can see I'm adding these waves in a little curvy motion and closer to each other at places giving into our movement into the wheels. Now ready randomly, I'm just going to add in some darker leaves into the sea area. This giving in simple wave lines as well. I'll let make sure you do not add a lot of them, but make sure you have them enough so as to balance the color throughout. Just to give in some darker depths. You can see I've added a few of the tick obese as compared to the basically of leaves to give in some darker depth or movement into the CAD. So let me give you a closer view. This is our CBP spot for this painting. Now let's begin painting ahead further. Shifting into the Payne's gray color. I'm going to be adding in two of the very simple palm leaf dropping out from the top space here. So I'm using in the same size two round brush which has a pointed tip. And very simply you can see I'm just dropping in these simple leaf structures popping out from this. I'm adding these as well very fine, and a few of them overlapping onto each other. I'm going to add in two of these leaves coming out from this piece at the top. Then I'm going to add a few of these leaves popping up from the grass area, but that I can add in once my Sea area is completely dry. For now you can see I'm adding in these Neves when he randomly just simple it and it'll deltaic closer to each other. Same wages going to add in one more of this onto the left side. Now in the same way, I'm going to begin adding in another palm leaf on the left side of this leaf that I have added in, make sure you use the smallest size brush. And of course, depending on the size of your paper, you can add in a few more leaves if needed. You can see the second one is quite smaller than the first one that I have added in. So as to balancing, you know, and let the sky also be visible as I'm going to be having in more details coming into the sky from the field area out. Now let's begin adding in the details into the field area. So first time picking it up a little bit of the sap green color, I'm going to pick the sap green in a little darker consistency and just add the top of this field space that I painted in. I'm going to begin adding in more of the grass depth. I'm just beginning to dab the tip of my brush and begin adding in this bush beating at the top space. Now you can see as I dab my brush and begin adding in these details, the field ADR begins to look much more natural than the forest clear what we have added into a file. So CMV, I'm going to add in a little more off the bush detail at the bottom spaces as well. And then in-between these bush we are going to be adding in very simple flowers with or based on mics off the pink or the red tones. Now at the bottom space, I'm going to be picking up little off the sepia color or you can use in the Payne's gray color or the black color. I'm using in the Payne's gray palette out, you're just adding in little darker leaves at the bottom space to act as the shadow areas for the flower and the leaves that we will be adding out in the centers piece of this field area. Hence to add a little darker. I'm using in the Payne's gray carried out to her. If you want, you can even using a very dark lean tone or a black color instead of the paints gray color. Now in-between these very randomly going to add in little off this, add pink color details as well while this is still wet. Now the rest of the area out here on the left side, I'm just filling in it with a darker green tone. Alright, so almost a false Leo will no longer be visible, only a little less visible at the top spaces. But I found a False New York extra light. Hence, I had to add in this layer to given the perfect sunset depth out your again added in a little patch of the Payne's gray color and then at the bottom again a little off the yellow color to get in the perfect balance and the shadow ranges. Do not worry the flowers we are going to be adding in mixing with the white gouache. They even have an opaque look, even on these darker tones that we have been using it. Now, on the right side, I'm going to add in little off the bush titin popping out from these fields spaces very randomly. I'm going to pull out certain grass strokes and certain family structures out from the right side. First I'm picking up a little bit of the burnt sienna color to add in these details. On the right side, I'm just adding in a very small fence detail in-between these bushes with the burnt sienna color near to the beach or the shore space you can see in very little detail, but still it makes an adds to the beauty of the painting. Now from the right side, as I told you, using a darker tone of the sap green color, just pulling out the same family leave and grass strokes almost till the horizon line somewhere. I'm going to keep them shorter and some of them are going to pick them taller till the horizon line, trying to strike a balance you are as well between the details that we added. Now picking up a little bit of the Vendee green color, it is just a darker skin tone that I'm using it. If you do not have the same vendor clean color, you can simply pick up any darker green tone that is in your palate and added certain strokes with the darker green color. Now, all of this I'm adding in while all of it is still wet. At places they may blend and margin to each other, but that's perfectly okay. Now from behind of the leaves it in, you can see I'm randomly pulling out very simple grass strokes closer to each other. Now in-between, I'm just going to pull out little of the grass strokes going on a little beyond the horizon line, very little. Make sure you do not drunk too much out of proportion. And you can see again, I'm indignant very randomly, there is no proper shape or method to be followed out your offer adding in these grass strokes. After this, we will only be left for adding that it deals with the flowers or majorly in-between, you're just adding in little darker brown strokes as well to add to act as little branches and between very randomly. Now I'm just adding in little more darker that pure because as it is drying, I'm finding it a little more light. And after this, I will wait for all of these to dry completely now, then begin adding in the further details. Now, everything is completely dried in and I'm going to pick up little of the wind rose color and I'm going to mix it with the right words together, pasted pink color. If you do not have the windows Scholar, you can either use permanent red color or the scarlet color as well. And getting a little or light pink color kind of a tool in the center of this grass pays very randomly. I'm just going to be dabbing in simple petal shapes to act as the flowers. I'm not going to be adding in much detail look to the flower. I'm leaving little gaps because in-between I'm going to add in one more turn darker flowers. So you can see at present I'm just adding these closer to each other just as I had in the bush in the same, I'm adding in these flowers are too close to each other. The entire center line I have added in this detail with the light pink color for us. After this, I will add in LET with one tone darker to this tone, but I've used it and you can see I've tried to add them very randomly in random shapes out there. Not an exact straight line, but very randomly spread them across. Now to the same mix I'm adding in a little tent more of the Queen Rose color to get 12b1 DACA. And now with this one tone darker color, I'm going to add in further details out you're into the flower range. Just going to go ahead with the same technique. But this time in such a way that in-between the lighter layer is also visible. And then you have this darker tones in-between. The same way I'm going to add it quickly in the rest of the space as bed. Now with this darker tone itself, just going to add in a few petal details at the bottom spaces trying to show some scattered flowers as well. Same day just adding in a few at the top space, you can see they are quite few as compared to the, you know, density of the flowers that are added in the center range. So make sure just a little to add in as the filling spaces are random flower speaking out randomly. Now at the bottom media just going to pull out middle of the grass strokes using in the mix of the Payne's gray and burnt sienna color. You can even use in the sepia color very randomly. I'm just adding in little grass tool to add in more detail. Now, one last thing, I'm going to pick up the violet color in a little darker consistency and just going to add in a very fine mountain range on the horizon line, because I like to distinguish my sky and the sea ADR with a darker tone. So for that I'm just adding in this fine line to act as the far-off mountain range. You can see as I'm moving towards the right, I have decided a very fine line. I'll let to, instead of considering it as a mountain range, you can simply just considered it to be one darker line on the horizon line that would make it look much better. That is it. Lastly, using in the white gouache, going to add in the settings and detail out here in the center space where we had added in the yellow patch to act as the growing space for the sun. All right, so it's touching the horizon line as you can see. I'm just going to blend it into the background so as to give it the soft perfect look for the sunset view. Let me give you a closer view of the sunset now, you can see how blended and how beautiful it is looking. Good effects on set byte. So let's remove the masking tape, make sure your edges are completely dried and there is no red paint on your masking tape. Be very careful when removing the masking tape and pull it against the paper. Your final painting for D6, you can see the details with such a closer view and they look so beautiful together. I hope you guys enjoyed painting in this painting today. I will see you guys tomorrow into the B7 class project. Thank you so much for joining me into this class. 12. Day 7 - Reflections: Hello everyone. Welcome back to D7 of this 21 day watercolor challenge. Today we are going to be using invade limited colors. And I have listed down the colors out to. You can go ahead with the best alternative colors of lipid in your palette for these scholarships that I will be using today. Let's begin painting today's class project. I have my paper taped down and I will directly beginning by taping down the masking tape in the center to distinguish the sky and the sea area. I'm not going to be adding in any pencil sketch your and directly going ahead, a tipping down the teeth out here to act as my horizon line. Almost in the center area, or maybe just a little about the center line. I'm going to be adding in this tape out, you're on top of this. I'm going to be having in the sky and the mountain ranges. Make sure you tape down the team perfectly so that there is no leakage of water on either sides. So first we will begin painting the sky, and then once this dries, we will begin painting the sea area as well. Let's begin painting in the sky first. For the sky, I'm going to go ahead with the wet on wet technique. So for that I'm just adding in a layer of clean water. Make sure you use in clean water for the false. Otherwise because, you know, if you use colored water, you may get muddy tones of the colors that you lay over. It also makes sure you run your brush multiple times so that your paper stays wet for enough time for you to add details. Wet on wet, despite using it 100% cotton paper. You can see I'm running my brush multiple times so that my paper with Steve it for enough time. I'm done adding the layer of water. Now, I'm first going to begin in with the nipples orange color. You can go ahead with the yellow, orange tone. It's perfectly the same sheet as the nipples, orange, beginning with this color closer to the horizon line from the left and the right edges at the top of the sky, I'm going to be having in the blue tones and Newton the horizon line, I'm going to add in the yellow tones. Now at the top out here on the right side as well, just adding in little thoughts, I'm going ahead with a very medium consistency of these peas. It, because I wonder very light sky and not too dark enough are there. So that matches it for the details out you're now next I'm going to shift in to the blue pallor and begin adding in the blue color tones first. So for that I am picking up the Prussian blue color this time. To the Prussian blue color. I'm going to add in a little tint of the nipples orange color again to get a little muddy, muted kind of a tone, make sure you add in very little tint of the orange color, not much light. If you do not have the Prussian blue color you can even use in the civilian blue color. Now. And you can see more of Prussian blue and very less of the orange tint that I'm adding in. So I'm going to use in this muted, muddy kind of atone for adding in the details into the sky. Now all of this is again wet on wet, so my people is still wet while I'm going to add in this blue color. Now I'm adding in this blue color strokes in such a way that idea is still the orange color. But I'm making sure on the paper I do not have much more muddy tones coming into life. Now, ready gently from the edges as well. I'm adding in little of the blue cloud details onto the orange color. I'm moving in my brush quite carefully while adding in these strokes out, you're onto this guy off the orange color. Now again, you can see when the orange and this muted tone mixes, you'll still get a little of the monotone, but that blends better because of the mudstone that we are already using in. You can see how I have achieved in the blue color perfectly. Now to this mix, I just picked up a little bit of the indigo color and just adding in little indigo highlights onto these blue clouds that I've added in. Now in-between all this, you can see the orange color looks a little dark, so I'm just going to quickly begin little orange color. I'm going to add it out to be very careful when you add this orange color again, because you already have the blue tones later on too. You have to add in very carefully and blend it well using an undamped gosh. That is it for us sky you can see the perfect orange and the blue clouds already. Now, after this dries and we will paint in the sea. The C is going to be an exact reflection of the sky colors and with a lot of veins. And then we are going to add in much more detail with the leaves and branches this time and a lot of mileage, even at the top space and even a little at the bottom media. So we will wait for this to dry completely now and then begin painting in the sea area. Now my sky has dried completely and I'm going to carefully remove this masking tape from the horizon line. And you can see even without any pencil sketch, just with the help of the masking tape, I could achieve a clean, clear horizon line. Now in the same VM, just going to tape down the same teeth out here at the top space so as to get the perfect horizon line after painting the sea area, as well as you know, I have faced to blend those in previous two class projects. I'm being very careful and taping down this steep much well enough and tight enough so that it does not, you know, below from anywhere in between by painting in, hence running my finger multiple times so that it stays intact out there. Now for the CAR going to begin in with a clean quart of water first. This time, the sea area is also going to be a reflection of the sky followers. And this time we are going to add in much more detail look to the waves wet on dry. First, let's begin in with the basically offer the C. Now for the base near as well. I'm using the same colors that we used in for the SPI area, that's an orange and the mixers, the blue tones, make sure you have an even layer of water throughout so that your paper does not dry anywhere in-between. Now for painting the CAD I'm going to be using in my van food inch flat brush. So picking up the nipples orange color first, I'm going to begin adding it near to the horizon line and when to leave little gaps in between and further, I didn't Lytton little of this tool in adding the orange color. Now in the same way as we have been painting the sky, I'm going to begin adding in the blue color from the edges over to the orange color. But I'm going to add it in such a way that it looked like I need to lock the wave reflection that you're trying to add in, or let's say just from the edges pulling out these tones. Now this time, once everything will drive, we are going to paint the widths diagonally, hands up, if you can notice I'm adding in these beams also little diagonally moving from left to right or tilted towards the right side, as you can see, not picking up a little of the indigo color. I'm going to begin adding in little indigo highlights onto these blue highlights. It's very important to control the water while adding in these blue layers it over to the orange color. Now you can see my paint is not spreading March the orange color stays intact because the blue color is water control and that is due excess water which flows easily. And in the center you can see I've maintained the perfect reflection for the orange color just as I have it in the sky area. Alright, so very carefully just added in little of these truths. Now going to pick up little orange color and create the depth of the orange color also darker just as I created for the sky area. That is a photo or basically over the sea area as well. I will remove the masking tape. I feel that this time again, there has been a little blender and little pain seems to be flowing upside. But as I was already going to have a mountain range there, it's okay. But you can see how you have to be careful despite being so much careful, I have this little line coming out to you. So I've been covered it up when I add the mountain range on the horizon line. But for now, let's wait for this to dry completely and then we will begin adding in the further reading into the CSPs. So let's wait for this to dry now. Now everything has completely dried in and you can see the sky and the C look perfect reflection of each other. Now as I told you, we are going to be adding in the waves wet on dry this time. So my CEJ is completely dried. And on that I'm going to begin adding in the bed with the leaves. I'm going to add in with a little darker tone off the blue color. So I'm going to mix in the same push in blue, indigo and the nipples orange color together to get a muted tone of a darker version, blue or red hands. I'm going to add in the tool of the indigo as well. Now this time I'm going to add in the leaves little diagonally and closer and connected to each other. It's mix the color first and then I will show you how we are going to be adding in the width we are going to use in a very smallest size brush this time. So I'm going to be using in my size two round brush which has a pointed tip. And using this brush I will begin adding in the V's. So I'm going to pick up the paints in a little medium consistency not to take a not too watery. Alright, And as I told you. It begin from the left and as I move towards the right, I will make it go diagnosis. Let's begin adding in the vase from the left side and see how we are going to add them directly. So first I'm adding it little in the center space out your, I'm going to show it to you. Then we will begin adding in quickly in the rest of the space. Once near to the horizon line, I'm going to add in smaller ones. And this time I'm going to take in more of the covariates instead of the straight flat lines. So as you can see, I'm adding in more of the waves in a little cubby manner. Alright, so now simply just going to keep connecting in these waves together. At the top space are TO near to the horizon line. You won't find much of the difference of the diagonal weaves that I'm telling you and trying to prove it to you. But as we move further below the horizon line, you will get to know when I add these VMs much closer and connected to each other. So at the top first I'm adding in these waves very closer to each other and smaller ones. And now when I will move further down, I'm going to increase the length of the beam as well as add these leaves a little thicker so you can see how take the weight is. Now I'm going to keep connecting a few waves closer to each other so as to give in depth. Now make sure you first using a medium tone of this column means so that you have a darker tone. I will able to add in little darker highlights as well. Now when I'm adding in these waves, the bigger ones out here, you can see the diagonal effect of the waves coming into view. Alright, now I'm trying to have a perfect combination of some thicker and something obvious as you can see, all of them closer to each other much enough such that you can easily add them. All right, so this is how we are going to keep adding in the waves into this entire see. Now you can see the diagonal movement makes a difference into this entire painting. And you can see the movement or the perspective of the waves on which you are viewing it. As you can see in-between, I add in a few of the ticket in some ANOVAs. Now here you can see as I'm moving downwards, I'm adding in more of the wheels much connected to each other and just giving in symbols exact lines to act as the waves out your. And because this area is much more closer to our view, hence I'm trying to make it look much more clearer to us. And the ones that is closer to the horizon line is far from our view. Hence they were quite tiny ones. You already, you can see the palette is also a van tone darker than the ones that have been adding near to the horizon line. Now you're again, I'm just going to simply be adding in a few of the leaves are thinner ones only because in the center you can see I've gotten enough of the takeover. Now at the bottom, I'm going to be adding in waves with a black color as well later on. Hands, I'm not wedded much about the takeover lives there right now because I will add in the Tico leaves with the black color because they will act as the deflection to the top area of our lives that we will be adding now. Now next I'm going to pick up the same blue one-to-one DACA. I'm going to add in little highlights at the top space as well, so as to get everything in sync with each other, are there to just one-to-one darker. I'm going to add in little highlights onto the lighter ones wherever I didn't leave with the lighter color. That was for the highlights near to the horizon line. Now I'm going to pick up more of the indigo colors who has to get much more darker tin and add the bottom space. I'm going to begin adding in more depth to this wheel so as to show much more closer to our view. And I'm going to create in very simple patches with this darker tone off the indigo color. You can see just like that, I'm adding in much bigger patches of this indigo color at the bottom space major Lee. And it looks so much more realistic now, I'm going to add a little more darker highlights as I move up. What's with this indigo color? I'll let just little, little step-by-step, everything you know, coming together, we'll begin to look much more prep you. Next. I'm picking up little of the black color and going to lie. I didn't get in depth with the black color at the bottom space, You are now connected to the indigo color. I'm going to add in little of the black color. Just bigger batches closer to each other to act in as the reflection to the greenery branches and the bush that we will be adding at the top space later on. So very randomly you will see I'm adding in these black waves for the reflection of the top space that we will be adding in. In the center tied to add in little of the black reflection. And now onto the right side as you can see, a little wavy effect and little patchy effect, same. We're just going to add in very little out here as well and get done with this reflection part. If you want, you can add this reflection after painting in the greenery area as well. But we are not painting the exact reflection of the bush, so it will not make much of a difference. Hence, I thought of adding them while we are adding in the waves itself and just adding in a few more dark Aviv's with the indigo color at the top space. That is it for the leaves spot for now. Next, picking up the indigo color again, I'm going to add in the mountain range on the horizon line. And then I will wait for all of this to dry before beginning to add in the bush the deals because the mountain range has to almost be dry before we add in the bush. So far as just adding in a very simple horizon line using the indigo color, I wanted to go along with the self tones only, hence choosing the indigo color out. You're only for adding in this mountain range. So now a very roughly I'm defining the mountain range with a medium tone of the indigo color. And I'm going to fill in this entire mountain range with this indigo color. Now, you can see I'm using in mid tone of the indigo color, not too dark and not too diluted as well. So completely going to fill in this mountain range now. Now in this first mountain ranges drying, I will begin adding in the bush details. So I will create the branches for the bushes. For that I'm going to be using in the Payne's gray color and using the paints gray color, I'm going to have in a lot of branches coming out from the top right side and a little from the left side as well. For now, I will not add these branches overlapping the mountain range because the mountain is still bed. So till then, I will just add in the other branches except for the mountain range. So quickly going to keep adding in the branches popping out from these bigger branches and adding in photos, smaller branches coming out from these bigger branches. Now in this scene we're going to add in a few of the brand just swapping out from the left side as well. But on the left side it's going to be a little less. So from the right you can see I've got the branches almost till the center area. But from the left I'm not going to get it till the center area. I'm going to let the left the center sky be visible. So that is how you have to judge tell which angle you have to take in autumn, which area or ratio accordingly. From the right you have to take it till the center space, but from the left you have to take it only till the little center and let us enter be visible. So I'm just adding in few more branches. You are in there wherever I feel like adding in the smaller ones coming out from these bigger branches. Now next, using the black color itself or the Payne's gray color, I'm just going to add into small ducts, yellow hate Saltillo. It's very simple. Just added in a small or sleeping oval or an egg shape to that, adding in a very small neck detail and phase detail for the dark. You can see very small basic detail and do that as well. I will add in a very small reflection in the z-space, same, we're just going to add in one more Dachau tour. Again, very simple shape. First or an egg shape in a sleeping manner. And then a little neck and then a little circle to act as the head and add a small beak to it. And then we will be adding in the reflection very fine lines just below this piece to actin as the deflection. And you can see how perfectly it looks and you know, the reflection looks so beautiful. Now let's wait for the mountain range to dry completely and then add the final details into this painting. Now, my mountain ranges completely dried and I'm picking up the indigo palette again with a little tint of the Payne's gray this time. And I'm going to add in a second mountain range, hence taking in 1to1 darker than the falsely or mountain. It can range of mountain is going to be a little smaller and it's going to be in front of the widths are big, honored and veins that we have added in using in 1to1, darker color of the indigo color, just add in a small mountain Vint in front of the bigger mountain range that you have already added in. And do this also, I am going to fill it completely with this tone of the Payne's gray and indigo mix. Now with this darker color of the indigo and the Payne's gray mix, I'm going to add in little or simple winds near to the horizon line to act as very little reflection of this mountain range that we added in. You can see very little detail, but it makes so much of the difference. Now using in this pointed round brush, which I discussed with you while discussing in the materials, I'm going to add in the foliage detail into these branches. I've picked Dr. Payne's gray color in a thick consistency so that I get an opaque look. Just holding my brush perpendicular without adding in much water to the paint. And my brush is also damp, dry, so I have not added much water as well. Just adding in simple correlates to these branches. From the right side, I've taken the foliage falling till the CAD, as you can see, trying to show that the branches are falling into the sea space. Alright. Now in the same beaches went to adding the foliage, even on the left side, your Asbell. You can see how If everything looks so beautiful and using it as point round brush, it's so much easier to add in the 5-HT deal quickly. After this, I will just add in very few leaves popping out from this spoilage to given little detail view as well. So you can see how simply you can add in the foliage quickly and get such realistic views. Now I have picked up my smallest sized round brush and very randomly I'm just going to pop out a few of the Cleo looking leaves vary randomly from in-between these filings that we have added in. Now after adding in this file, you can see the black color that we have added at the bottom of the sea area looks like the perfect reflection of these leaves into the hands off the black color. Lastly, I'm just mixing in a little bit of the orange with the white color. I'm just going to be adding in a few highlighted leaves onto the blue leaves out here at the bottom space. Very little of these highlight waves on top of the blue ones are just a few of them. That isn't reality. The top class project for these seven as well. Let's remove the masking tape now and see your final painting with those clean edges. Make sure your edge leaves are completely dried before you begin to remove this and all the paints on your masking tape is dried as well. Your is a final painting for these seven. I hope you guys enjoyed painting this and loaned adding in the views in little different angle and in a little different manner closer to each other. I will see you guys tomorrow into the day eight class project. 13. Day 8 - Ocean Waves: Hello everyone, Welcome back to day eight of these 21 day watercolor challenge. The colors that you need for today's class project is listed out here. We are going to be painting in these drawing bids today and giving in the form effectors when using the whitewash. Let's begin painting today's class project. I have my paper taped down and we are directly going to be beginning and beautifully in order for the onto the entire paper. We're not going to have in any pencil sketch. And the distinction for the sky as well as the CAPM, it will directly be doing in by lighting in the paints directly. We even begin painting both of these together and create the distinction later on with the right course. For now, make sure you have an even layer of water throughout onto your entire she makes sure you do not have any portholes for. Also run your brush multiple times so that your paper stays wet for enough time. Despite using in a 100% cotton paper out here. I'm running my brush multiple times so that my paper with Steve it for enough time because this time wet on wet, we are going to be adding in a lot of details into the rolling bass. In the technique section, if you remember, I had discussed with you one of Exploring Dave example, a very simple and tiny example out there using in the pink color. We are going to follow in almost the same procedure out here for this one. For speaking at the civilian blue color, I'm just creating in a very light sky onto the left top side. The entire top right side is majorly going to be off the rolling wave effect, alright? And the bottom space is completely going to be the ocean part as well. You can see the sky color I'm using in the city, Lynn blue color in a very light consistency and giving him little cloud effect as well by adding in some darker depth. So you can see on the right side I'm creating an, a very light sky space because whatever will be visiting, I do not want any whitespace to be there. So as a safety near, I'm adding in little of that color and keeping it on our next, I'm going to begin in with the turquoise blue color. So the peacock blue color from this palette is almost equal to the turquoise blue color. I'm picking up that color and first adding in a very Paisley around TO for the entire area. So this is just like the base layer out here. Now why is the system that we have to begin adding in the drawing VFD deals. I'm going to pick up the same turquoise blue color, but this time I'm going to increase the intensity of the pain. That is, I'm going to pick up the paint in a little darker consistency. And beginning the left, I'm just adding in false simple lines. And as I move towards the right, I'm going to give it the movement of the rolling wave effect on, you can see as I'm moving towards the right, I'm making my brush go round. Alright, to given the VBE facto tube, you can see completely from left to right or how I am taking in the wave movement on the left side, I'm taking it a little street and as I move towards the top space, I'm giving you a top curve, moving it towards the top right side from the right to the left. Now again, picked up the same color, but in furthermore, intensity and wine, all of this is still wet. I'm going to further begin adding in very simple coffee beans are till. This is basically the half C stroke, but in the inverted V out here, you can see how level by 11 you have to keep increasing the intensity of the paint. Now you're out, you're going to be giving in the whitewash detailing later on. For that I'm adding in the shadow out here. I have picked up the color and a little darker consistency as you can see, if you're adding all of these details wet on wet, you have to be careful about two things. One is a water control and secondly, Europe of ADR has to Steve it. You can see how level by level, I'm adding in the dark of evs in such a way that we have the lighter waves visible automatically creating in the depth and the movement of the water. You can, if you want, you can go from the right-to-left as well, showing eroding waves coming in from the left side. But I prefer going in from the left to the right to show in these crashing leaves out here. Now again, go ahead and go into pick up or the indigo color so as to give them much more darker depth. I'm just mixing in a little indigo to the turquoise blue so as to get a little blended view. Now again, you are to the shadow of the white gouache. I'm adding in little darker pins of the indigo color so as to show, you know, when you will be adding in the whitewash details out deaths. So you need to have the perfect darker shadow to that white gouache order of waters platters that we're trying to show in hands-on. We're adding in the indigo color. Now using the same indigo color. If thing into a smaller size brush, I'm going to add in some darker leaves at the bottom space as well. Again, your two important things you need to control the water. And all of this is still wet on wet. You can see with the indigo color I'm adding in much thinner. We're using in the smallest size brush and just meet any playing along with the tip of the brush. Now from the top side you're going to give a little more of the VFD, the indigo color blending it altogether, dying for showing more of the details. The shadow effect basically just giving literal shifts at the top space where we are going to be adding in the whitewash. Now you're in the center space from where the turning point is beginning in there also to give him little shadow effect, I'm going to add in little or indigo color later on. Mac now in-between varied randomly, just going to be lifting up little leaves to give him little lighter effect as well. Just using a damp brush, you can see I'm lifting up little baby facts out your, to give it a little more detail and depth to the wave. When he randomly leaving gaps in-between, pick up little colors, were asked to give him little lighter depth. Now if you see any picture of these rotting leaves, you would understand better about the reflections are the shadows of how you are adding them. Pick up any reference of rolling wave and you can understand why we are adding in shadows at places where we are going to be having in the turning points. Now picking up the indigo color, just adding in little more depth. Again, the important thing is the water control while adding in these waves only then these darker leaves will be visible. Otherwise, you may just get one flat color mix. Now out you're in the center space just adding in little water effect, letting it to dry. Then I'm going to be adding in the whitewash detail out there. So for that, just to sort of show some borders, Florida's out your have added in that little deeper as well. Lastly, I'm going to pick up the indigo color again. I'm going to add a little more darker depth. You can see how I'm building in the depth Leo by Leo. Because if you will begin adding the darker depth directly in the base Leo, you will not get the blends in between the movement of the waves clearly. So it's very important to keep adding in these waves layer on layer that you're building that depth, you have the perfect blending in-between the ways and the movement looks all together and not broken in-between. Adding in this darker depth using in the indigo color at the top space. Now lastly, just adding in a few of the darker leaves out, you're at the bottom area as well. And then after this, we will wait for this entire falsely or too dry. And then we will majorly be left to add indeed deals with the whitewash. Alexa. Now, we will wait for this to dry completely. But before that one last thing, I'm just going to add a little more depth out your, alright, so that I get the perfect on a distinction from the sky tone. Alright, so let's wait for this to dry now completely. Now the first layer has dried completely and you can see the blending in-between the veins is so perfect. Everything has a soft edge, but still everything it has a distinct look to each other. Now make sure you pick up a clean brush for picking up the white gouache. You can see It's got a little blue tent because my brush had little indigo color left somewhere. Now first I'm picking up the white gouache, and I'm going to begin adding in the details in the center space out here and are basically now we're just going to be adding in a lot of form effect because of these roaring or the crashing. What I'm going to be majorly doing our tour is going to be just tapping in the tip of my brush for adding in these details, make sure everything is completely dried. And now in this case, I'm going to make sure little blue color bees visible in-between. So let us little blue. It'll be visible. I'm going to cover rest of the spaces with white gouache. So what I'm doing is I'm marking out the space in which I will let the blue color be visible. Alright, and then just solve the spaces. I will just dab into whitewater given the forum detail because of the crashing or the high-intensity of the moving bees. You can see for the whitewash as well at the turning point, I'm giving you the detail in If Coby manner to given that toning or the movement of the waves as well. Now, you're at the top. I'm just going to keep pulling out this white color to actin as the crashing David effect. Although you can see I'm blending it till the liberal top area of the sky in-between, I'm letting in that little blue colors be visible. What I have a mock doped or to act and as the water is plateaus. Now, I'm just going to first mark out the outline from there. I'm going to be adding in the Bitcoin cash. So very randomly you can see I'm adding in a very rough and very uneven outline so as to make it look all natural. There I will be adding major details using in a spoiled brush as well later on giving in the form detail. For now, I'm just pulling out very simple ways from the top of this as well. Suggest using in the white gouache in a thick consistency, pulling out the wave effect in little COVID directions, as you can see. At the top right corner. You can see giving in this white detail to actin as the fall. Again, I would tell you pick up any reference from either Pinterest Unsplash, or whichever spaces you wish. And if you see any hoarding, it leaves effect. You can understand how you are adding in the shadows, how you are adding in this white detail to actin as the form details because of these are splashing waves. Now at the bottom, just adding in very little random Dr. Raj details out so as to show them connected to the wheels and not as a separate white patch. Now, very randomly in the waves as well, I'm going to add in little dry brush leaves with this whitewash. But again with this white color as well, you have to keep the movement of the waves seem as you have been keeping up with the turquoise blue color. So you can see with the white quash as well, I'm keeping the movement of the waves nettle COVID itself on the right side. Italy warhead with very dry brush technique for adding in the right ways that will make your painting look more natural and more real. Now out your, this is going to give a little Dr. Raj detail you can see. Make sure whenever you go ahead with the dry brush technique, there is no excess water on your brush, not even excess pigment. And make sure you pick up the whitewashing a very thick consistency so that you'll get an opaque look to these waves. It's very important. Otherwise you may just get in right color patterns instead of this Dr. Raj detail. Now next I'm going to pick up the white gouache. I'm going to add a little moving details from the left side C area as well. Because the far now if you see onto the entire right side, you have the form details coming in. On the left side still something feels missing. There also, I'm just picking up the whitewashing, a medium thick consistency. I'm going to pull out waves into the right side movement. Basically just trying to show him little details of the waves which is not exactly visibility into our site right now. By giving in the form details into our painting. As I told you. The year is going to be visible very less. Hence we painted it wet on wet along with the base layer of the sea area because major of it was going to be covered up with this form. The reason that we're adding in, you don't majorly, you're, you're playing along with the white gouache for adding in the entire depth into these paintings. It's very important using in the dry brush you connect the white form area with the blue color waves where it is beginning in so as to get the perfect blending in-between the colors as well. Now, I have picked up the indigo color and I'm just going to mix in a little tint of the indigo color with the white gouache. And using this color, I'm going to be adding in very little detail with this, you know, muted tone gray color. So you can either pick up paints gray or indigo color and over to this whitewash. Just I didn't literally effect with this darker color. So automatically you will see much more depth coming into light because of this little fellow variation. You can see majorly at the top spaces of these leaves I'm adding in this light ducting that we have created in. It's not exactly white gouache, but it acts almost like a white gouache muted tool. Now, I'm just picking up the same whitewash in a very thick consistency. So you can see just adding in little more opaque details onto the whitespaces because the false Leo seems to have dried in a little dull and it looks a little blended with the basically a blue colors. Hence, to give a little more depth, I'm going ahead with this second layer as well. In the second layer, I'm making sure to keep it at places and at least he's letting the false we'll be visible so that I have a perfect blend and transition again. Now to these dry brush behaves as well, just adding in little more depth. Now at any place, if you feel that the white gouache is a little more, what you can do is you can simply pick up a damp brush and blending into the background and get a lighter tone. So I'm going to do that out. You're now just using a damp brush. You can see I'm blending in little of the whitewash into the bottom space of the waves out here so that it will look more settled into the widths. Now lastly, I have shifted into my spoiled round brush. And just using the tip of this brush, I'm holding the brush perpendicular and I've picked up white gouache in a very thick consistency. I'm just going to begin dropping in much more detail. So just dabbing in the tip of my brush onto this white gouache, especially in New York to the connecting point off the white and the indigo colors out your drawing space. And trying to give him much more formal effect. So you can see when you add indeed the losing in this coil brush, it looks more realistic than the simple means that you have been adding in with the right course so far. Now just moving in a little of this brush onto these waves as well. At the point I'm making sure my brush also moves in the coffee manner. So when you are adding this white gouache detail onto your VMs as well, you will see that the form effect is coming from the bottom, moving towards the top. All of this makes your painting look more aligned on together and the movement of the wheels becomes more defined because of the details that you keep adding everywhere. Now lastly, just picking up a little off the turquoise blue color. And I'm just going to add in very little detail at the turning point out, you're in the center area because I feel that is extra white and I just need to give it a little in shadow. Do this. Now you're using a damp brush. I'm just blending in this new color with the white color Leo that I have added in. So make sure to not leave it like this otherwise it will look as a very rough patch added out your you can see using an a **** brush and blending it with the white quash PC0. So now you will see the profit movement happening in. It's very easy to blend using a damp brush with any color and create 4 fifth movements wherever you wish to. That is it. Now let's remove the masking tape and see our final painting. Make sure your edges are completely dried in. And also make sure that no whitewash details are dry before you lay your hand at any of the places. By removing the edges, be very careful so that there is no abet allow onto your masking tape which may go back onto your edges of the painting. It's the final painting for the eight of these 21 day challenge. Looking at the painting, it may look a difficult task, but believe me, if you do it step-by-step, it's very easy to paint alone, and the result is beautiful. It may take you a few tries to get into perfect movement and adding in the perfect details, but at the end everything is bought it. Thank you so much for joining me. I will see you guys tomorrow into the day nine class project. 14. Day 9 - Monochrome Sea: Hello everyone. Welcome back to D9 of this 21 day watercolor challenge. Today we are going to be painting in this monochrome sort of a seascape. The colors for which I have listed out here. You can go ahead with the best alternative colors that are available in your palette. Let's begin painting. I have my paper taped down and I will direct the beginning by laying down a tip to act as my horizon line. If you want not going ahead with the taping method for the horizon line, then you can go ahead with a pencil sketch tomorrow. Don't know horizon line. Make sure it is taped on both at least so that there is no porthole left anywhere for the water to seep through into the CSPs. Right? To run your fingers multiple times so that there is perfect dipping at the center space. I'm going to begin in the Technion layer of water into the sky space first. Make sure you run your brush multiple times so that your paper stays wet for enough time till the time you are painting in your sky. I'm going to begin this time with the ultramarine blue color. You can go ahead with any other blue tone that is available in your palate if you do not have the ultramarine blue color. Going ahead with the ultramarine blue color, I will first beginning with a very medium layer of this color tool. And then I will add in little darker depths using in the darker consistency of this color mixed with a little bit of indigo. I'm been having in a basically all now I will first pick up a tissue and just dab the excess paint onto the edges of this masking tape. You're so that these do not see back at any moment into the painting and drawing out the edges. All right, Now I'm going to begin in with the same color again and given little more darker death, this time I'm going to pick up a little darker tint of the same color, but with less of water so as to get in some darker highlights at the top space. Now next I am shifting into the indigo color and just from the top beginning to add in little indigo highlights, blending it till the middle area of the sky. Now using the tip of my flat brush, just going to add in little indigo color to atomize the Cloud spaces into the skies piece. Now as I'm moving closer to the horizon, a line I'm adding in little detail with the darker tone of the indigo color to act in as the plough such shifted into the smallest size flat brushes you can see and very simply just getting in very simple blends out here. All right, That is it now I'm just going to pick up little more of the indigo color and given little darker highlights at the top area of the sky again. So again, I'm using a very smallest size flat brush, and you have to be very careful about the water control while adding in these strokes to act as the cloud. If you will have access, what do the paint will spread a lot and you will get a flat log of one single color. So that is it. Now my sky is completely ready. You can see I've gotten some darker strokes as well. Now, I will wait for this to dry completely and then we will begin adding in the details into the area. So let's wait for this to dry completely. My sky is completely dried and I'm going to remove the masking tape now. I'm going to place it the horizon line. Alright, and then we will begin painting in the CEQA. Remove the masking tape very carefully so that you do not tear off the edges or the paper and removing it in a rush. Now let's see, area is going to be an exact reflection of this guy follows that we have used it. This time. I'm not keeping down the tip and directly go ahead with the clean layer of water into the entire space. So make sure since you do not have the tape, you maintain the cleanliness of your horizon line and maintain that clean look at the horizon lines having the perfect or distinction between the sky and the sea area. So I'm going to leave a very small white gap between the C and the horizon. The sky so as to directly add in the paints there and get the perfect blend and the perfect distinction. Now this time when painting in the CBF. So we are going to be going in with a lot of lifting technique of the pain, lifting up the colors to pay it in lighter depths. And we are going to be adding a lot of the COVID leaves this time. It's going to have in a little hump in-between the veins of NB begin to add them. And also we'll be working more of wet-on-wet weaves in this one as well. False beginning in with the same ultramarine blue color onto the entire space. I'm going to go ahead with the very medium tool. Now at the bottom you can see I feel that isn't excess water on my paper. So if it will create a problem, I may use a tissue and DevOps that excess water. But if everything works fine, then I will try to lift up little water, add it onto a tissue or people. Now, very carefully at the horizon line, you can see I'm trying to get in the perfect line with this ultramarine blue color that I do not run the colors into the sky space at all. See, I'm just adding in another layer of little of the cobalt blue color mixed in with a little of ultramarine blue. If you wish, you can directly go ahead with the ultramarine blue color, darker tone instead of picking of the cobalt blue color. But since I have to add in much more darker depth into the z-space, I'm going ahead with one load of the cobalt blue. You can see in-between the ultramarine blue is still visible. Now again, running much closer to the horizon line trying to fill in that white gap that I've listed, you have to go in very carefully so that you do not run into this Christ peace. Now with the help of a tissue, I will quickly lift up this excess water on the edges so that it does not move back into my painting at any moment. Alright, now next I'm going to begin adding in much more darker depth with the ultramarine blue color. We are going to be working wet on wet, as I told you. So make sure your paper is still wet because now we are going to begin adding in the wet on wet BFS so far that I'm shifting into my smallest size John brush, this is a size four brush. And now I am going to pick up the same ultramarine blue color. I'm going to begin adding in vgs little by little. Now again, there is two important thing. One is the water control. Second is the wetness of the paper. You have to make sure your paper is wet enough such that the paints do not spread mask but still have the soft edge. And secondly, the paints that you pick up onto your brush, you have to make sure that it does not have excess pigment or water, that it spreads a lot. Now ready randomly for the first layer, I'm just adding in very simple big Aviv's with this darker tone of the ultramarine new color. Further moving ahead, I'm going to shift into darker tones to given the depth to the width. So we are working very much indeed in this time, I'm going in step-by-step by adding in this detail. So make sure your people is such that it remains wet for enough time. And if you feel at any moment your paper is going to dry in 10-bit for it to dry completely and then maybe already wet the surface and try adding in the details. But I will in recommend make sure your paper stays wet naturally or because the writing will not give you the same effect as you would get in adding in these details in the false Leo, I shifted into the indigo color and I'm going to begin adding in the Humvee kind of leaves that we are going to add it. Alright, so again, your blue important thing that you have, the water control and your paper is still wet. Beginning from the bottom space, I'm just beginning to adding some Coby VMs with that little bulge in-between, alright, and trying to it connect them to each other at points, I'm going in with very random leaves. You can see how at places in between I'm connecting these waves to each other very naturally. Better at the bottom, I'm just going to give them more of the darker there so as to give him more of the night sky reflection as you can see at the top of the sky. And you have a very dark the end of the indigo color at the bottom, I'm adding in more of the darker. Now after this, we're still going to go ahead with the lifting technique to lift up little colors and given little lighter debt so as to show the moonlight effect as well onto these views. But first, keep adding in these big RVs and try connecting leaves in-between to each other. So they did under me, you will see I'm trying to build in connection in-between random waves with the bottom layer and the top layers as well. Now as I'm moving closer to the horizon line, you will see my leaves are becoming smaller as compared to the ones at the lower SPS. As I'm moving towards the top space, I'm going to make these waves go for the smaller. I'm going to add in very simple lines as well. Instead of adding in this little bulge at kind of the beast. Now from the edges or I'm just adding in the darker depths as you can see on the left and the right edges, polymer clay to data.gov. And even closer to the horizon line, I'm just going to give them a darker depth so that I have a distinction point at my horizon line. Once everything dries it. Now shifting into our smallest sized round brush, I'm going to begin adding in little darker leaves in-between randomly variable. I feel the need to in-between these bigger waves out you are at the bottom space where he randomly just adding in a very few of these In obvious so as to get a little balance into my Sea area. So it's going to be very little if you want, you can even skip this part, but you're not just adding in little depth can create a little difference. Now closer to the horizon line, I'm going to add in for ANOVAs as well because if you see closer to the horizon line, the waves are not much visible. Hence, I'm going ahead with another Leo TO much darker in tone and much thinner ones. It's picking up a little of the Payne's gray color and at the bottom space, I'm just went through I didn't little after we've highlights with these paints gray color, I'm going to be using in a smallest size brush. I'm going to add a little highlight on these Indigo. So they are going to be quite thinner and smaller as compared to the Indigo beings as these are just some darker highlights. Now my paper at this moment is quite wet and active. You know, if at this moment I will go ahead with the lifting technique, the paints will again be spreading because the paper is wet enough. So I will wait for a few seconds for this to dry in until this dries in. What I will do is I will add in the moon into the sky area. For adding in the moon, I'm going to pick up the white gouache and I'm going to add the moon at the top-left space, so forth. I'm going to add in the growing space for the moon losing in the whitewash. Now, I will tell you one thing. If your paper is one which is drying quickly audio leaves or if you feel that your leaves is almost going to be dry, so fast, go ahead with the lifting technique and then begin adding in the mood. So you can just skip this part of adding the moon for now, go into the lifting part ahead, and then come back to adding the moon. So make sure it all depends on your paper and your paper level of drying, how quickly it will dry. Faster I've added in this white patch and now just using a damp brush, I will blend it into the sky space. If you have been following mean to my galaxy class, you would know about the concept of pleading in this glow for your moon or sun sets or for your stars as bed. Just be eating in this background growing space using in the white gouache, I'm trying to blend it with the background and give it a soft edge. So this will be the dial whitespace which will act as the glue once you add the moon on top of this, the edges again, I'm making the blend profit so that there is no sharp edges visible for this glowing space. Now to the center of this, just adding in a moon, the moon is going to be smaller than the growing space. Only then the growing space will be working. Make sure you maintain the growing space. Nope, I knew I had a very smaller moon in the center space. Now my beings. Are almost 60%, right? So at this moment I'm beginning with the lifting technique. So I'm going to use my size four round brush and I have picked up the brush with a little damp consistency of water. I might rush into water and dab it onto a tissue and have a damp brush. And in-between the dark OB is just going to pick up little v's is the ship itself and trying to give them the lighter effect. So you can see just in the same way how you added the waves with the fallow. In the same way using a damp brush, you have to move your brush in the same direction and give the waveshape lifting in the colors. Now you can see the lighter colors are acting as the glowing effect of the moon falling onto the VMs. The meat you have to pick in middle of this wave effect. After picking up every week, make sure you dab and clean your brush. Otherwise, the pigments may be onto your brush and we just get laid down onto the next Leo that you tried to pick up. Now I'm just going to pick up little indigo color. I'm going to give him little finishes wherever I feel there is little need. Wherever I feel I have lifted up extra time, just went to a given very little connection then between the waves and tense, all of this is still wet automatically even having a soft edge. So now basically what I've done is I've just given a little breaks in between to the colors that I've lifted in trying to connect the waves to each other using in the indigo color. That is the number of leaves as well. Now let's wait for this to dry completely. And then we will add in the glowing effect of the moon into the sea area. Now my C has completely dried and you can see the effect of the colors that we lifted, creating the perfect glowing effect of the moon. My moon as well is completely dry. Now I'm just going to add in very simple shining effect of the moon onto the V's. So for that I'm going to be using in the white gouache. I'm just going to wet my white gouache. I will make sure that I do not all you know, adding much water because I want the little tick up uncertainty of the paint itself. Now, make sure you are using invite garage only then you would get in the shining look of the effect that we're trying to add it now. First closer to the horizon line just underneath the moon space, I'm going to add in very simple line. Then just going to add in very simple dots closer to each other to act in that little shining reflection of the moon onto the v's to very simple dots closer to each other to act as the shining part. Now closer to the horizon line, you will see I've added in a lot of these white dots, but as I'm going to move towards the bottom of the sea, I'm going to reduce the length of these white dots as well as the amount of these white dots so as to show in the diminishing Reflection Effect, going to add most of these only onto them inside because the moon is on the left side. So I want to add the reflection as well onto the left side. Now ready randomly, you will see as I'm moving downwards, I'm adding much more of the scattered effect of these are reflections. As I told you, as we're going to move towards the bottom of the CMB, going to reduce these reflections. I'm going to add them in a very scattered manner. Alright, now to this I'm going to further add in little more depth. Now, very important thing that you make sure you keep adding these reflection and little by little, step-by-step. If you will add a lot of these closer to each other all together at one single time. It will be very difficult to control them and to get into perfect minimum reflection effect of the Moonlight. So that is the reason you will notice I'm going in very little step-by-step. I added little at the top space false then added little scatter deflection at the bottom area. Now again, wherever I feel, I'm just adding in little more of the reflection again. Now you can see I'm adding in little bigger reflections closer to each other. That is a little hiccup out off the white color it. So you can see how the, the moonlight, shining reflection we are trying to add in and how that is impacting the leaves as well. Alright, so that is it for our class project for D9 as well. Let's remove the masking tape and see our final painting with those clean edges. One last thing before removing the masking tape, I'm going to pick me add in a small mountain range with the indigo palette itself on the right side, suggest going to pick up the indigo palette in a dark consistency. I'm going to add in a very small, tiny mountain range on the horizon line on the right side. Now just going to add in a very small one out you are on the left side as well only till the white light in the center. I'm just going to let the moon light effect we there. And only on the left edge you can see a very small and thin mountain range. Make sure that if you're mountain ranges still wet, then remove the masking tape very carefully. Remove the masking tape or against your paper so that you do not tear off the edges. Is our final painting for the night. You can see how it either reflection and the shining effect of the moon looks into the views. And also the lifting technique creates another glow into the sea area. Thank you so much for joining me into this class. I will see you guys tomorrow into the datetime class project. 15. Day 10 - Boat: Hello everyone, Welcome back to the 21-day watercolor challenge. We are indeed tend today and today we will be painting the simple seascape with the board. I have listed down all the colors that you need for this class project. Let's begin painting in today's class project. I have my paper taped down, and this time we will have to go ahead with a very literal basic pencil sketch for marking out the horizon line, the board space, and some bird logs that we will be adding into a CEO. Most of the center of the sea area. I'm going to add in a very small wood. So I'm going to add an, a very simple, basic board, not much of the detail one, but I'm just going to give it a side view. So you are viewing it from a little side angle and that is how I'm adding it out. We're going to add in the reflection for the boat as been the reflection we will directly be adding in while we add in the colors. But I will just give you a very rough pencil sketch to the reflection as well. So the reflection is just going to be exactly below the board that we have added in. You're ready randomly. I'm just adding in a few of the wooden logs, which I'm trying to show them into the Z space. This time in the cdr, we won't be adding in much of the details because we are adding in the board and these long details. This time we will be going ahead with adding in the reflection to the boat as well as all of these wooden logs that we are adding in. Now one thing, make sure you add these wooden lungs with a very light pencil sketch because or does he, ADA is going to be here for very light color. And also make sure that these wooden logs are already small ones and tin ones. I'm adding in very rough line to actin as the reflection how the deflection will be moving in. So do a few of the logs that reflection will be little diagnostic depending on the sun or direction that we are trying to join and do a few of the logs I've added in a very straight reflection at the bottom space. So that is it for the pencil sketch. Now, we are going to be adding in a very small, tiny mountain dangerous well on the horizon line, let's run it. It's marking that out as well. We are going to be playing along with the colors are for yellow, orange, violet, and siem will be the reflection for the CSPs as well. So first let's begin with a clean coat of water onto my entire skies piece. Make sure you run your brush multiple times so that your paper stays wet for enough time until you're painting a sky. We are going to paint a very simple, subtle sky with just very little cloud details near to the mountain range. We're just going to have in single flatly or color look. I'm adding the water onto the mountain range as well for now because the mountain range is going to be off a darker tone later on. For now, it will make my job easier while adding in the colors. First picking up the shade of yellow, orange. So it is more of yellow, less of orange. You can go ahead with a medium tone of yellow if you wish to. Now beginning with this color on the horizon line. Now after this color, I'm going to shift into a lighter tone of yellow. So I'm going to pick up the permanent yellow light color and I will add this little color, just about this yellow, orange color. You can see the shade distinction. It's a light yellow and the previous one had a little orange tint to it. Now after this, I'm going to pick up the orange color directly. I'm going to begin adding in little orange highlights about this yellow color that we added in. So it's going to be more of a sense that kind of guy. Make sure you pick up the colors little by little and go ahead with the smallest size brush so that you have control. But if you're using a bigger size paper, then your brush size can vary accordingly. Also your, you can see I'm picking up the pigments directly with very less dilution and the water. Next fitting up the queen rose color, adding a desirable the orange color little. The reason of using in the pigments directly is to get the vibrant touch into the painting and not have much of the diluted tones. Lastly, picking up the violet color and beginning to widen the violet color just about the Windows color. And you can see every color I have tried to blend it with the previous color node to get a soft, smooth transition in between. From the yellow till the purple color that we have added in, you can see the transitions happening in now this violet color I'm adding in diagonally and you can see I've covered the right speed of the wind rose color and a little tint of the orange color because I did not want a simple, plain or straight client kind looking sky. Now just below the violet color, I'm adding in a little bit more of the Queen Rose because I feel the palace at a little lights. And I want them to add even more vibrant and dark. I'm simply just adding in the same colors again so as to get a more vibrant look, you can see, even despite adding in the colors again, you can still see that I have a clear distinction between each of the colors. Now at the top space, I'm going to add in much darker pins. So I'm picking up the brush and blue color and just adding in little darker tint of blue onto the violet color to get a little highlighted tone out death. You can see I've added in the Prussian blue color in such a way that the violet color is still visible underneath the Prussian blue color. So you have to add it very carefully, little by little so as to make sure that the colors do not get hit completely. Now one of these I'm going to add in little cloud details, but I'll just wait for a few seconds for these colors to settle in. And once it is like code 30% dry, I can begin adding in the sheets. I'm picking up the orange color and I'm going to add in very little smaller strokes onto the yellow, orange color near to the horizon line. Now I've shifted to afford the smaller-sized on brush. As you can see, it is a size two round brush which has a pointed tip. I'm just using the tip of the brush. I'm adding in very simple strokes majorly towards the bottom part of the sky to act as the Cloud strokes for the sky. Now on the right side, I'm going to give it a major depth with this orange color Cloud. And we're going to add in much darker patches with the audience color trying to create and more of the darker side effects. On the right side, you can see how slowly we've built up a sky with perfect transition between the colors. And then adding in the cloud effect. I'm working wet on wet, still trying to maintain each of the color looks. That is it for the sky area. Now let's wait for this to dry completely and then we will paint the CEO and the reflections into this painting. My sky is completely dried and you can see we've got such a perfect, beautiful, vibrant looking sky. Also, if you see the clouds have a soft edge, but they have tried to maintain their loop. That is how you need to add in the clouds are having in the water control by learning in the Cloud. Now going ahead with a thin layer of water onto the entire area In the board space. You can add what onto the wooden logs as those logs are going to be off a very dark brown or black color. But into the board space and the reflection of the board makes sure you do not add the water as well as the paints there. Because there we will be painting after the CEA is completely dry. So around the board if you want, while adding in the water Leo, you can use the smallest size brush if you are not confident about adding in the water-level using an a flat brush. I'm done adding in a layer of clean water into my entire CSPs. So this CATI is going to be an exact reflection of the sky. So I'm going to begin with the same colors. First, beginning in with the yellow, orange color near to the horizon line. In the same way, I'm going to begin adding in the same colors one-by-one into the sea area and get the reflection to the Skype perfectly. Next, adding in this light yellow color, That's the permanent yellow light color. Now you can see near to the border area, I'm going in very carefully so that I do not enter the board space. Going very carefully. Now in the sea, I want a little lighter spaces as well around the boat area. So I'm just using a damp brush and pulling out the yellow color, literal till the bottom space. Now I'm going to begin in the window Scholar just below the point of reflection of light. And again, using a damp brush, I will pull this up. What still the yellow color and try to get a blend and a very light tone in-between. You can see I have not added any paints rather. It's used in a **** brush and diluted these tones. That is the yellow and the TK window Scala and blended them to each other. Now at the bottom-most piece adding in the violet color, and then I will add in little of the Prussian blue highlight as well. Lastly, at the bottom, shifting into the Persian blue color, I'm just going to add a little of the Prussian blue highlight moving from the bottom till the violet color or tone that we have added in. You can see I ran the color till the top neo color and try to get the blends much more smoother. Now, I'm just going to lighten up the tones still the top space. And if you feel the need, you can again add in little of the lighter tones at the top space. Again, if you feel that you're not the blend things are not happening smooth, all the colors aren't looking vibrant. But make sure that in the z-space in the center, you try to maintain a very little light space. As you can see, I have maintained near to the borderline completely. Now at the bottom space, you're just adding in a little bit more of the indigo color to give him little darker, denser as well. Just very little highlight as you can see. That is it for our CEO? As well as I told you, we won't be adding in much of the leaves detail this time it's going to be a very simple scene with the reflection of the sky colors. We'll wait for this to dry completely and then begin adding in the further details. Normally, edema is also completely dried in and you can see how beautifully the colors have blended into each other. And the reflection of the sky is perfectly scene into the CEO. Now I'll begin painting in the board area. So for that, I'm going to go ahead with the wet-on-dry technique. First, I'm picking up the yellow coat color and I'm going to begin adding in the yellow ocher color into the actual board area. Going to add in this complete earlier off yellow ocher color onto the entire board. And once this will dry in, I will given the margins with the burnt sienna color in-between, I'm just adding in little orange tint to give it a little Calibri. If you want, you can add indirectly or you know, little bit of the burnt sienna Carlo blended with the yellow ocher color, or you can even add in the audience highlights. The reason of adding in the orange highlights again, is to get a little of the sunset effect onto the board area as well. Now using the burnt sienna color, I'm going to paint this top space. Now. You have to paint it very carefully so that the colors do not bleed into the bottom board space because the bottom border area is still wet. But if a little off the color bleeds as well, it's okay because after this guy is, we are going to give in finite lines, alright, to or getting the perfect outlines to this board space. But as much as possible, try avoiding the colors to bleed into each other. Now you're, as you can see, the colors are bleeding into each other. And to stop that bleeding, what I'm going to do is I'm going to pick winners smallest size brush. And just using the tip of my brush, I'm going to lift up the color out your add the margin line quickly. I'm going to dab it. That will prevent the colors from leading March into each other and will make them stay. Hence, I told you you can either wait for it to dry completely and then add the bronchi enter or leave a small white line in-between where you will be adding in the margins as a desk. Now let's begin adding in the mountain range out here. So the mountain range, I'm adding it with the burnt sienna color with a very diluted tone or not to or dark and not too light as well. The reason of adding it with Bhante Anna euro as well is to get in a little reflection of the sunset onto the mountain ranges. I'm done adding in the mountain ranges bell. Now we need to wait for the boat to dry completely before adding in the reflection to the board. So till then I will add in the wooden logs that we have created. So far, the wooden laws I'm directly going to be using in the paints gray color, you can use in a CPR color, black color, or any other darker tone that you wish. I'm going ahead with. Is gray color and I'm going to paint the top spaces. That's the actual wooden log for now. I will add the reflection to these later on with a very diluted zone off the same color. While adding in that reflection, we're going to use in a diluted tone consistency where there will be ninety-five percent water and only 5% of the pigment. Now those two logs near to the CEO, I will pin them later on once the board dries completely. So for now, I'm picking up a very diluted consistency of the paint gray color, like as I told you, ninety-five percent water and five per cent pigment. And adding in the reflection, as I had told you some of the reflection, I'm going to add them straight and some moving in a little diagnostic towards the left, towards the right side actually, because I want to show the sun rays coming in from the left side, hence the deflection falling towards the right side. Now if you want, what you can do is you can even quickly dab the reflection with the other tissue to get in a very light tone and get it go more on the lighter side acting in us the deflection again. Now I am just giving them a little more defined shape so as to hide any pencil sketch that is still visible to me. Alright, now, do this reflection. You can see the color is bleeding a lot from the top space. So again, just using a damp brush, lifting up the color to make the reflection go very light. I'm just adding in the reflection to this one as well and keeping in because I will add the wooden block to that once the boat is striding. But the deflection can be added as it is no way connected to the board. Now my board is also completely dried, so I will begin adding in the further details one-by-one, going very carefully so that you do not tell you run out of sheep's out. Because now, since we are adding in the details, there will be no scope of production of these dark colors since we are walking in with watercolors. Now I will begin painting the reflection as well to the board and further reflection. I'm going to begin in with the burnt sienna color mixed in with a little yellow ocher. Just going to paint it completely and do the entire reflection space. My reflection, I wanted a little blended into the bottom CEO. I'm going to blend it using an a **** brush turning around the edges so that it has a soft edge. But before that I'm going to pick up a little bit of the paint gray color to give them little darker effect to the shadow or the reflection of this board that we are adding. It picked up the paints gray color and a little medium consistency and just adding it onto the edges, as you can see. Running from the edges you can see I've drawn the paints gray color till the center space, leaving in a VD small or burnt sienna color visible in the reflection area. Now using a damp brush across the edge of this reflection, I'm going to smoothen the edges and look at blending and make it look blended into the Z space. So you can see just using a damp brush when you begin to blend it into the background, it begins to look as if the reflection is a part of the z-space. But you need to make sure the blending that you use do using a damp brush. It does not have a nice sharp edge left, so you need to use a damp brush little water and get the blending tiller, lighter tone so that you have the soft edge to the reflection. Now the last thing left to add is the details under margins of the board space. So let's begin adding in the details to the boat area as well. Before adding in the detail to the board, I will quickly add in another mountain range out you're on the right side using in the Payne's gray color, this mountain range is going to be a little smaller one as compared to the one that we added in the background. That's the brown mountain range of any small mountain range majorly on the right side that I will be adding it. I will add a very fine mountain range out you are on the left side as well, but just a very small one as you can see, because they wanted to show it what connected to each other and given little more defining ship on the horizon line, hence adding it on the left side as well. Now lastly, let's begin adding in the margins or the outlines to the boat area. For that I'm going to be using in the Payne's gray color. First I'm adding in little highlights with the burnt sienna color onto the outlines of the board area. Exactly how I had done it with the pencil sketch, the same outline I'm following and adding it with the bond sienna color, as you can see at the bottom, I'm using the Payne's gray color to give them the darker highlights. That is the connecting point between the deflection and the actual board. Now, even closer to the A-band CNR, the top speed, I'm adding in very fine line with the Payne's gray color. You can see the outline has little bond sienna team, as well as the paint scraped in. Just using in a technical pen. I'm just going to add in little connection in-between the wooden log trying to show that the boat is tied to this wooden law using in a rope, very small connections. You can add these using the Payne's gray color and find the brushes as well. That isn't reality with our class project for details as well. Let's remove the masking tape and see your final painting with those clean edges. I will just add little initials to these votes as well. So I'm adding in the initial of my Instagram handle that the CFD HDAC from the heart, you can name your vote as per your wish. Alright, so just giving you a little more detail to this board. Now let's remove the masking tape and see your final painting with those clean edges. Your is our final painting for details of this 21-day challenge. A pretty simple C with very little details, but you can see it a little reflection and the board details also makes it look so much 50 off. I hope you guys enjoyed painting this with me too. I will see you guys tomorrow into the d 11 class project of this 21 days series. Thank you so much to each one of you for joining me into this class. I will see you guys tomorrow into the class again. Thank you once again for joining me. 16. Day 11 - City Lights: Hello everyone, Welcome back to the 21-day one colored challenge. We are on d 11, and today we will be painting in this beautiful city night seascape. I've listed down all the colors that you need for today's class project. You can go ahead and did the best alternative sheets available in your palate. So let's begin painting. I have my people deep down and we will begin with a very basic pencil sketch, 70s begin by marking out the horizon line. So for that I'm going to directly be using in the masking tape because there is not much DDL to be added on the horizon line. It just a mountain ranges. If we have to add in, I will add them later on directly with the black color. For now, directly beginning in little layer of masking TDE to define the horizon line. If you are not going ahead with the masking tape technique, then you can go ahead with the pencil sketch and later on the pencil sketch for the horizon line. So a little below the centers piece, I'm going to mark the horizon line. So you know that doping is going to be a little more as compared to the bottom space. Because on top of the horizon is going to be having in the mountain range as well. Make sure you've saved on your paper quite well. I'm the masking tape for the horizon line is also taped properly. Now, I will begin with a polynomial of order onto the entire sky area. This time we're going to be painting in a video 50s symbols, sky with those unsaid colors of yellow, orange, violet. Then we will be painting already symbiosis. This time we will be adding in deflection to the mountains based on deck as well as wet on dry they did on so forth. Let's paint in the sky. Make sure you have an evenly out of order 12. And you can see I'm running my brush multiple times, so that might be bursitis. Wait for enough time for me to add in all the colors into my sky. This time for the yellow color, I'm going to be using the Naples yellow color. Now if you do not have the Naples yellow color, you can simply using a little piece still yellow color. Next I am going to be using in the NAEP is orange color. Again, if you do not have the nipples are in shallow, you can template using a little piece to orange. So do your bees, yellow and orange. You can just mix in a little bit of light to get a little piece of tinge to them. All we'll be using in the other colors, That's the indigo and violet color. First, I believe beginning with the yellow and the orange tones near to the horizon line, I'm going to be using in a smallest sized round brush so that I can add the devious smoothly onto this smallest size people. First beginning in with the Naples, yellow closer to the horizon right? Now next close to the yellow, I'm adding in the Naples orange color. So half of this guy, I spilled in with the yellow and the orange tones. And half of this guy is going to be off the darker blue and the violet tones. Now, make sure you add in these colors in a goodbye print consistency because as you know what colors will dry in a bowl. Now next time picking up the paints gray color and just beginning to add in little darker effect near to the audience. So you can see I'm using the paints being a very light consistency, not too dark. And now I'm just picking up little orange and adding it again closer to the Payne's gray color to get a perfect transition between the orange and the Payne's gray. Hello. Next, picking up the bright teal violet color, I will begin adding the scholar at top of the Payne's gray color. False. I'm going in with a very light tone of this color and then I will begin adding in darker depth as well using the same color tone with less of water. You would notice as padding in every color, I usually shift into the previous color to get perfect transition and blends in the colors. Again, just added mission of the Payne's gray color to get in the perfect transition. Now again, her top off the violet color adding in the Payne's gray color at the top area of this guy. Now this is just the false basically, as I told you, and we are going to be adding in furthermore, or depth into the sky using in the same color groups but in a little more vibrant consistency. Now at the same places I'm going to begin in with the same color. So shifting into the violet color just at the place where we added it in the phosphine. Blending. The beans they do the top. Now you can see how wiping the followers are shifting into the Payne's gray and just below the violet color again. You can see how gradually you can build your sky nearby Leo and getting full pick transitions. Now this time has got the violet coloured till the little below the center line of the Skype. Now I will just add in little orange and yellow color lines again and blending well to get the perfect vibrant look to our sky. Now lastly with the Naples yellow again on another layer to get the vibrant blue. And you see how you're going nearby Leo. And you'll get the perfect transition between the colors and the smooth blend between the colors. Just when you blend the violet and the orange color, be careful so that you do not get the muddy tones. Hands in between, I've used in a little bit of the Payne's gray color to get the transition and the tone smooth off. So that is it for this guy. As I told you, we are going to be painting in a very simple Skype, or right now we will wait for this to dry completely and then begin painting in the CAD and the further reflections. Let's wait for this to dry now. Now, my CDN has completely dried and I will begin removing the masking tape in my horizon line. We will begin painting in photo, beginning with a thin layer of water into the entire CEO. Now the CIDR is also going to be a reflection of the sky colors only this time. Beginning in with the clean layer of water, make sure you have an even beautiful to run your brush multiple times this heads and making your paper stay wet for enough time for you to walk onto Leo's and get the blend and the transitions perfect between the tones. Now near to the horizon line, you can see I'm adding in the water near very carefully so that I do not run into the sky area. Now I have at the beginning with the same sheets of this guy. So false beginning in with the Naples yellow on the horizon night. So just below the horizon line, I'm beginning with the Naples yellow color. Naples yellow. I'm going to be adding in the nipples audience and get the blend between the yellow and the orange. Perfectly. The same colors that we used for this guy add the colors that we are using in your next at the bottom, I'm going to be using in the beans green and the violet color just as we did for this guy. So you can see the scene is exactly a reflection of the sky. And as I call you at this time, we won't be adding in March of the wheels GD, but rather we would be adding in the reflection for the mountain range that we will be adding at the horizon line. But first let's finish, complete the painting in the area. Then adding in the Payne's gray and I've blended a little of the Payne's gray with the orange color at the top as you can see. I'm just going to add in little more darker depth with the Payne's gray color. Now once again, I will just begin in with the same colors again so as to get the vibrant look at this point, if you'll see the colors look a little dark and once they dry, damaged dry for the tone lighter, hence document in the vibrancy to match the sky. I'm just going ahead with one more layer of the same colors. This will also help in getting the blends much more easier between the colors. Now in this EGD, as you can see, I have not added in the violet color, alright, because I do not want much of the violence reflection falling into the sea as the Seagate here is quite a smaller one. Now, either in the reflection to the mountain. So as you know, we will be adding in the mountain range about the horizon line. I'm going to add in a very rough reflection to that at the bottom into the CED. And while this is still wet, I'm using in the sepia color in our little medium consistency and just adding in very simple reflection. Now when you begin Brad and this deflection, you need to make sure that you control the water content while adding in this. Also, you need to make sure that you add this while your people is a little dry. So whenever you feel that the paint is spreading much, you can simply just go ahead with the lifting technique and lift up the paint as well and get the blends easily. Suggest a very small or reflection to the mountain that we will be adding it. So you need to add this wet on wet to Yossi area should not be too wet, otherwise the paint will spread a lot, but it shouldn't be even two or dry otherwise you will not get the soft reflection. Now to this, I'm just going to begin adding in the darker the window or mixed software paints gray color to the brown color. Just a little darker reflections. Is at the edge. You can see I'm giving you the little spiky loop. Now. All you need to add the reflection in the way as you are going to add the above mountain ridge. So I know my mountain dangers are going to be taller on the edges and as it will move towards the center space, I'm going to shorten the length of the mountains. Hence I'm adding the deflection accordingly. Now when you are at this, if you feel that at any point you need little blending in-between the reflection, you can just pick up the base layer color and added closer to those, those and then the blending becomes much more smooth. I'm just going to pick up a little tint of the nipples orange again, I'm going to add in little just below the mountain ranges because the audience follow already seems one don't light up and I want little darker effect as well. So what I will do is instead of directly adding in the color, I will just start in middle VB fit. Now all of this is also against in wet on wet to my entire Celia is sin. While I'm adding in these VIP days as valid. In this way, you can add little details as well to your area by adding in middle of event with BFS plus get the blending and the transition between the reflection and the C also when we are going to add in reflection wet on, dry also later on. But for now this is just a bloody reflection that we are trying to add it. At the bottom, I'm picking up little off the Payne's gray color and just giving him little vague notions with the Payne's gray cholera as well. That is, if not, let's wait for the CEO to dry completely, then we will begin adding in the mountains and the further details this painting. Now I see IDA has also dried completely and I'm going to begin adding in the mountain range on the horizon light. So far I didn't use the mountain range. I'm going to be using in the Payne's gray color. Now I'm going to use the Payne's gray gala in a very dark consistency by adding in the deflection, you can see I've used it in a little diluted consistency that is more of water, less of pigment. Now why not in the mountain range at the top space, I'm going to be using it more of pigment and less water. Now as I begin adding in the mountain range, as I told you in the center, the height of the mountain range is going to be smaller just as the reflects. And as I move towards the left and the right edge, I will be increasing in the height of the mountain range. I'm using in the smallest size two brush, which has a pointed tip, which will help me adding in more details at the top space. Now make sure you do not add a flat mountain range. Try to Wadi its height and also try to giving it, give it a little different and rough edges at the top space that will make it look more natural. Now onto these mountain ranges, once everything diets, we are going to be adding in the city light effect. So we need to wait for the mountain range also try incompletely after we painted completely with the Payne's gray color. So first let's paint it completely with the Payne's gray. Hello. I'm just defining the horizon line a little bit much better. Let me check. It'll get us cheat lie. In the same way I'm going to be adding in a mountain named on the left side as well, taking it till the little centers piece. This mountain range as well, I'm going to fill it completely with the paints gray color. You can see it at both the ends. I have tried to vary the shape of the mountain and given it a very rough shape at the top speed, the horizon main, given it a perfect straight line. So Tribal radio, all of these to get in the nutshell, look through these mountains and the city's gates that we will be adding it. Now on the left side, I'm going to extend this mountain area and take it in a little sand kind of an area. You can see auto Lidl or short space near to the mountain space. I'm going to fill it completely with the Payne's gray color. The right side as well. I'm going to take in a little more depth. On the right side I'm fostering to begin adding in little reflection. I've just added a line of the Payne's gray color. Now using a damp brush, I'm just going to begin spreading in the Payne's gray salary fill the reflection height. But we have added in this is the wet-on-dry reflection that I was talking about. So you can see how by adding in one more line of reflection gives in so much depth to the painting. So on. As I called UP, added in a little short space and on the right side we are adding in further reflection, very simply just blending it with the background using in a damp brush. This is how you can learn getting into soft edges after everything dries, it dries in as well. Now since we are going to be painting in cityscape out your, that is the reason I'm adding in small details out your two actin as the cityscape building towers as the deflection is looking in. So pretty and profit. Now, we will begin adding in further detail. So for that, I'm going to first begin picking up the right. I'm going to be adding in a moon out your time first, adding in a white patch. And then I make drawings piece to this. I'm just using a damp brush again, I'm blending it with the background, giving it soft edges and creating in the glowing effect. Again, if you have followed me into my thought it is Galaxy class, you will surely know about this creating in the growing space for the stars and the moon. I like to be a following in the same technique you're creating in the globe. We'll wait for this to dry completely. Till then, I'm just going to begin adding in little boats into my sky. This time. We're adding in the buds I'm going to be using in the Payne's gray color and the smallest size brush. Now make sure you do not rest your hand onto the wet mountain ranges. So be very careful or tilting your paper if that is convenient for you. Also, if you want, you can these boards using a smart technical pen mixture, but you use a waterproof one. I'm going to add in a flock of birds altogether majorly diagnosed. But in different angles. You can see how I'm trying to vary the shape of the boards that I'm trying to add it and I'm adding them or guidance and make sure you use the smallest size brush. Otherwise you will not get these minute details into the woods. It's very important to maintain the size of the elements that you add depending on the size of your paper and the area in which you have to add it. I'm just going to add in a few more of the smaller voids you are in there and just a few more at the top space. And then we will move ahead photo. We are majorly left. I'm adding in the moon once the growing space joins the city night effect, once the mountain ranges dry in IVB for all of these to dry because my mountain ranges still wet and once that dries, I will begin adding in the city light effects. Also, the moon area is also still wet, so I will be and the mountain named work to dry and then add the final details into this painting. Now my mountain danger has dried completely and you can see the right side reflection looks more beautiful because now the top area mountain range, it looks blended into the CEO without having in that line of distinction. I'm going to begin a picking up the whitewash and begin adding in the city light details. So I'm going to lose the whitewashing a very thick consistency and using the tip of my round brush, I'm just going to begin adding in Swan light into the mountain range to actin as the city light. First, I'm just adding in. This morning and I'll create little glowing space by blending this as well. Now just using a damp brush, I'm blending this, this one has been acting the background growing space when you add the light details are both on the left hand, the right side horizon line I added in a little white and created in the growing space. Now, by that settles in a bit. I will quickly add in the moon as well with the right version. Now by adding in the wound mixture, you pick up the right question, a very thick consistency. Only then you would get in the growing space, the moon only in the center of the growing space, and do not cover the entire growing space. Now I'm going to mix in a little bit of the yellow width of whitewash and begin adding in the city light effect. Make sure you mix it with a little thing of whitewash so that you get the opaque knocked to the light. If you will try using the colors directly, you will have to use it in a very vibrant consistency and validity, which we see it difficult. So I would recommend you to add in written whiteboards that will create the opaque look to the paint. Now I'm just dabbing very small dots closer to each other to act in as the city light. At the top space out your, I'm adding in the Tanakh the scattered light as well. So majorly on the horizon line Bevin created in the growing space I added in the light it closer to each other. And at the top spaces I added them in a little scattered manner. Now in the same way, I'm going to be adding in little off the lights with the orange color. I'm mixing a little of the orange to my yellow and white meats and using in this audience color, I'm just going to begin adding in the CMB or small dots closer to the yellow color and randomly you're in there to actin has knitted oriented delight effect. When you add both of these colors together, you'll get the perfect city light effect with a mix of the warm and the little warm and little of cold light effect. Now in the same way I'm going to add in a few on the left side as well, and little in the center as well. Now to give him little more warm effect, I'm going to pick up the orange color directly in a very thick consistency without adding in any right, I'm just going to begin dabbing in little orange lights in between as well. So this will give a very warm light effect of the city light. You can see how step-by-step you can build in the entire cityscape. Now on the right side you can see the mountain range that knocked the most completely with the C is now a distinguished with the help of the city lights at the horizon light and the reflection looks so pretty off the mountain veins, especially the wet-on-dry deflection that we added in. We are ready with our class project for the 11 as well. Let's remove the masking tape and see our final painting with those clean edges. Make sure your edges are the masking tape does not have any wet paint left on it. Otherwise, it messy back onto your edges and mid-winter in your clean edge. This is our final painting for day 11 off this 21 days seascape challenge. I hope you guys are enjoying painting in differences Kip. And for the coming ten days we are going to be painting in photo, more beautiful cityscapes. Thank you so much for joining me into this class. I will see you guys tomorrow into the day 12 class project. 17. Day 12 - Seascape : Hello everyone, Welcome back to deep 12 of the 21 days he escaped. Challenge. The colors that you need for today's class project are listed down your, you can go ahead with the best alternative colors available in your palette for these shades that I will be using it. So let's begin painting today's class project. I have my paper taped down. It will begin in by just taping down the masking tape at my horizon line to distinguish my sky and the CSPs. This time as you would have seen in the beginning, we are going to be painting in a very beautiful evening sunset sky. And B will be giving him the reflection of that into the sea area has been also this time the sea area is going to be a little different than the basic SI space that we have been following. It's going to be from a different angle. And also the sky this time is going to be a lot cloudy one giving it the perfect sunset and the evening view. So I will beginning with the three input of water onto the entire sky area forced. Make sure you run your brush multiple times so that your paper stays wet for enough time. I'm done adding in the clean layer of water. And now I'm going to begin in with the colors one-by-one. First, I'm going to begin in with the yellow, orange color near to the horizon line. You can see I'm using in a smallest size brush so that I can keep adding these colors and smaller Lewis. Make sure depending on the size of your paper, you would select the brush size accordingly. Next, I'm picking up the yellow color I'm using in the permanent yellow light out your and beginning in just about a yellow orange color. Next, I'm going to pick up the civilian blue color and begin adding it from the top sky. Now make sure that when the yellow and the blue will mix together, they will form a green color which we do not want. So I'm going to be leaving a little in-between and just using a damp brush for blending in the yellow and the blue. So you can see I'm just using water trying to dilute the color from the top to the bottom and blended it well with the yellow color without even having any green colors coming in between. Now while the sky is still wet, I'm going to begin adding in wet-on-wet Leo's of the clouds. I'm beginning with the ultramarine blue color and I'm using the color in a little diluted consistency. But you can see I'm dabbing my brush onto a rough travel before adding it out. You're on the paper. Excess water from my brush is absorbed by the toggle and there is no excess water that gets laid onto the paper. You have to go in very carefully. If you will have excess water, the color will begin to spread and you will just get one flat color loop which we do not want. In order to maintain and achieve the plow chip, it's important that you begin adding in the colors by controlling the water. And you only have pigment left onto your brush. Now, just using the tip of my brush, you can see I'm just adding in simple cloud shapes very randomly into the sky area so as to get the perfect clouds sky that we are looking for. Now, do my ultramarine blue, I'm mixing in a little bit of violet color and I'm going to begin adding in little bit discoloured as well. So again, you need to make sure that the pigment is not too dark. You need to take it in a diluted consistency. But again, you need to make sure that there is water control as well, otherwise, the color will spread a lot. So every time that I pick up fresh color, I dab it onto a rafter when if I feel that there is excess paint or water, very important technique when you're trying to work wet on wet for adding in the detail. Next using in the Permanent red color, I'm just adding in little highlights at the bottom layer near to the horizon line. Again, you can see I'm just using the tip of my brush. It's very important to have the brush control. And also you can see I'm holding the brush quite closer to the prison space. So automatically I'm able to get more control over the movement of my brush. Now using the same Permanent red color you can see I've added in very little highlights at the top area as well. Now shifting into the yellow color, I'm just mixing it with a little tint of the yellow orange color and getting an a medium shade of the yellow color. I will begin adding in little highlights of the clouds into the top area of the sky. So for this, you just need to make sure that you have very little pigment on your brush. I'm just using the tip of your brush. You have to drop this pigment. Now because of the blue color underline, you can see there is a little lighter green tint that is getting formed. But that is exactly how you know, because we blended it with the orange color. It's not coming out much. Now just adding little more of the violet highlights, giving in some darker clouds spaces over to the light clouds that we have created in going in very slowly. All of this is still wet on wet. We added in the force-field of clouds with a very light color. Now onto those light clouds adding in the darker color clouds very randomly, little by little. Now this time it's more of violet and very little of the ultramarine blue. You can see how you go in step-by-step and building the Leo's of the clouds automatically you begin to get so much more depth into your Skype. You can see multiple sheets of clouds coming into existence, giving a perfect evening view. Make sure you do not add one dark color all together at one go, going Leo by Leo from the lighter colors to the darker colors. Now you can see I've given little violet tones at the bottom median near to the horizon line as well. Now I've picked up the city didn't blue color in a little darker consistency and just adding little darker highlights of the civilian blue color in-between the gaps of the clouds majorly at the top space. Now I've mixed in a little bit of my paints gray and the violet color. And I'm going to add in the totally out of docker cloud. Again, this color alter. I'm going to pick it up in a little darker consistency but still diluted. This highlight. I'm going to add it much less than the previous color highlight, all too that I've added in. You will see I'm adding it very little as compared to the first two layers of the highlights that I added in. Now this is because I need to make sure that the base to Leo clouds are also visible at places. Hence, we began from adding in lighter clouds, moving into a darker shade and then the doctor sheet for adding in depth. Now, picking in the yellow color, I'm going to be giving in a perfect sunset view out here onto the left side near to the horizon line. So I'm going to add the yellow color in a very thick and opaque consistency out here. And I'm going to be lifting up some colors using in our smallest size brush. First I'm adding in middle yellow color highlight with a very thick consistency of the paint so that it stays there. Now, I will pick up little of the white gouache for adding in little more highlight, mixing it with a little tint of yellow. Now using this mix of the yellow and the white, I'm going to be adding in little highlights into the Cloud space just underneath the darker violet clouds that we've added in very little of these highlight into the cloud said I wanted to add it suggests on the edges of the clouds you can see. Now next, even into the sun space, I'm going to add a little more extra highlight using in this mix of the white and the yellow gouache intellect to us to get more brighter space out your because I really wanted to show a beautiful sunset view. Now we are going to be pulling out little San Luis by lifting in the colors. I'm going to use in this smallest size two round brush which has a pointed tip. And I'm just going to pull out the release of this color in-between if you want, you can just dip your brush invite wash so that you get those bright rays coming out if the color lifting doesn't go well, you can see I'm going to be pulling out raise in different heights, some dollars I'm shorter. Typo maintain depending on the size of your paper and depending on the sun area that you have shorten very carefully, just keep pulling out these risks. There are two ways. One what you can do is just lift up the colors from those pieces while this is still wet, using in a smallest size brush. And if you go ahead with the lifting technique, make sure after every brushstroke you clean your brush and then pick up fresh color. I'm going ahead with adding in the race using in this mixer. Equation, the yellow color. And despite that you can see are starting in every stroke, I'm cleaning my brush so that I do not get any other color tint into my wrist. You can see have a closer view and see how the sundries are looking right now. Now to this white and yellow mix I've just added in a little tinge of the yellow orange color and just adding little highlight in-between the violet and the yellow highlight, just little orange highlights as well to depict the perfect sun effect onto the clouds area as well. Just using a damp brush, I'm painting a blend between the Cloud and these highlights that we have added in so that these highlights to not have any sharp edge. So all of these I have done wet on wet, my sky is still wet. Now let's wait for it to dry completely and then begin painting the CEO. Now my sky has dried completely and I'm going to be removing the masking tape. You can see we've got such a, such a perfect horizon lines with the help of the masking t. Now with the pencil sketch, I'm going, it'll give you a little guidelines of the waves that we are going to be adding in. This time, the CIDR is going to be actually the short area is on the left edge, which is not visible to us. And the Ceti is on Assembly tried site. So these guidelines that I'm marking with the pencil are going to be the VBE for maybe even start. We are going to be adding in using in the white gouache. And we are going to be using in the same style colors for adding in those areas as well. But on the left side, as I told you, since we have the short piece, I'm going to give him much darker depth on the left side. And on the right side is going to be more of the sea colors using in the sky colors. Let's begin in first with a clean Porter photo. Be very careful while adding in the water near to the horizon line so that you do not run into the skies piece. I'm going to begin in with the civilian blue color force from the right side and closer to the horizon line. I'm going to be very careful. Next I will pick up the mix of the ultramarine blue color with a little bit of violet color. I'm going to add it near to the civilian blue collar out here. This onset effect. I'm just going to give it just where we've given in the sun effect without trees out there. So just in that space I'm going to be using in the yellow, orange color, rest of the sea colors I'm going to be using in more of these blue and violet tones. Now shifting to the yellow color closer to the horizon line just below the sun where we have added in. Make sure you do not blend it completely with the blue color directly. Otherwise, you may get in green tones in-between, closer to the yellow card, it adding in little orange highlights as well. Now, on the leftmost side, I'm going to add in logit of the wind rose color out you are as well. Under this, I'm going to be giving in the violet and blue highlights. As I told you on the left edge, I'm going to be giving it more darker death to still undo this, I'm going to add in much more darker death. Just going to have the sun reflection out there. Now on the right side has been very random. We just begin dropping in little more of the darker tint with the mix of the ultramarine and the violet color. Now on the left side as well, I'm dropping in the darker tint with a darker color tint of the ultramarine and the violet color meets. You can see slowly we are building up the same sky colors out your butt, just going to give in darker death. Then we are going to give him the white wave effect. This is it for the base layer of the CTL. Now I will wait for this entire basically out of the sea area to dry incompletely. And then we are going to be adding in more of the details wet on dry for the leaves. So let's wait for this to dry completely. Now my area has dried completely and I will begin adding in the week details wet on dry this time, I'm going to begin in with the civilian blue color first. I'm going to pick up the Catalina medium consistency with not much water and not to take off the pigment has been it's going to be one shade darker than the BCR of civilian blue color that I've added in. Now just using the tip of my smallest size brush, I'm adding in very simple leaves out you're on the right side with the city Lynn blue color first, you can see very randomly I'm making the waves March and meet each other. Now as I move further down, I'm mixing in the ultramarine blue and violet color. And I'm going to be using a mix of this color for adding in the West as I move downwards towards the ultramarine blue patch that we have added in, you will see the color of the wind is going in Dhaka as we are moving at the bottom space. So these are very random leaves that I'm adding in. Most of these will get covered up with the four meetings that we will be adding it. But in-between little spaces disease you'll be visible. So it's very important to add in these waves before moving ahead. Now leaving the reflection of the sun near to the horizon line, I'm adding in the waves even at the bottom part, at the top space there either. I didn't meet with the yellow and the orange color later on. Also, you can see as I'm moving downwards, I'm increasing the length of the leaves as well. In-between you can add in a few of the takeaways as well to give in depth. And you can see very randomly, I'm just moving my brush crisscross, trying to make the waves meet each other at one of the other point and adding in beams very simply. Now next I have shifted into the orange color. I'm just going to be adding in little orange leaves in-between. Now, make sure that you pick up the orange color in a very thick consistency. Only then it will be visible on the blue parts that you are adding in. Next time shifting into the yellow color. And I will begin adding in little in yellow leaves out to your near to the blue side to give them little depth and effect of the sunlight out your as well onto the waves area. Make sure you pick up the yellow. Got it all to imitate consistency. Only then it will be visible out your, or you can make similar to think of the white gouache to get into view of the yellow color. Now on the edge out here on the left side, I'm beginning to add and lots of leaves with the civilian blue color photos. Now under the yellow column, make sure you are the bins in such a way that the yellow and the orange color is still visible in between. I'm just mixing in a little bit of the yellow and the white gouache because you already, you can see the yellow color after drying is no longer visible. To give him little more depth, I'm mixing it with white gouache so that it will stay open even after drying in. Now I'm going to pick up some fresh whitewash without mixing in any of the colors. And I'm going to begin adding in the form E wave effect. Now you remember that a pencil lines that I had marked to amortize that I lay. It may not be visible to you now into my painting and maybe not matching to your painting as well. But I'm just going to very roughly begin adding in these guiding lines again and you can follow along or wait and see the complete guidelines and then move ahead. You can see I'm just beginning to add in these white lines to actin as the guiding lines. Make sure you use the white gouache and a very thick consistency. Only then you will be able to achieve in these opaque loop. Otherwise, the color wheel drive data and you will not get the bright look of the foaming effect that we are trying to given. So first for your convenience, I'm just adding in the lines and then from these I will pull out the dry brush effect. Now as I told you this time, the short area is on the left side and we are standing on the left and from the left side we are having in this view. Hence adding in all of these VMs moving towards the right side and You know, from the center and not adding it as we have been adding it so far. Now from these lines that I've added in, I'm just going to pull out simple dry brush effect moving towards the right side. You can see in between I'm adding in the dry brush onto the bigger VFC sees as well. And now you can see in-between these whitespaces, how the underlying weaves is giving into effect to this area. Also make sure and be careful about one thing when you're adding in the dry brush strokes, It's very important to control the water into your brush. So whenever you are going ahead with the dry brush technique, make sure you do not have excess water or pigment on your brush or else you will just get patches of the color instead of getting into dry brush effect, the two important things, the water content in your brush and the pigment. So always if you feel that there is excess water or pigment, dagger brush onto a rough toggle order tissue. This will help in controlling the water on your brush and also help in getting into perfect dry brushstroke. I'm almost done adding in the dry brush to almost towards the right side. Now just a little more towards the leftmost side. And then we will begin adding in little more detail and will almost be done with this painting for today. On the left side, you're, the reason why I'm adding in this dry brush ready randomly is because the short line is still not visible to our site. And all wherever the short side will be on the left side. We know from there also the formula effect would be seen hence on the edge I'm adding in little of the form effect to given the perfect details into the shore area. Now to these leaves, I'm going to begin adding in the shadow details. Now, depending on the basically a color, I will begin picking up the color for the shadow. First one for the leftmost side, I'm going to pick up the windows color and we're going to add a very thin line just underneath the white gouache line. I'm going to mix a little bit of violet as well because underlying there is little violet content as well. So make sure you go ahead with very less of the water while adding in these reflection. And make sure you add in a very thin line now onto the white quash. I'm just pulling little of this color using in the **** brush. This will give them little effect of the sky onto this form as well and not show it a complete whitespace. Now, moving ahead, I'm adding in more of the violet color and beginning to add in the reflection moving towards the right side. Now to basically always violet color hands I added the reflection with the violet color. Now you're on the rightmost side. I'm adding in the shadow with a darker tint of the civilian blue color because the underlying color is the civilian blue color. Same way on the right most leftmost side out your near to the horizon line just started in a very small detail out there. Now just picking up little of the orange color and I'm just going to begin adding in little shadow out. You're at the top space near to the sunset area. Lastly, I've just picked up the ultramarine blue color and the violet color mix in a very dark consistency. And I'm just going to begin adding in a very small mountain range on my horizon line vector. This will mark up your distinction between my sky and the CEO as bell. Lastly, just giving you a little more detail with the violet color onto this dry brush stroke so as to get the perfect balance of the white color as well. That is it. We are ready with our class project for D2L as well. Let's remove the masking tape and see our final painting. Your final painting for the 12, another pretty sunsets escape. I hope you guys enjoyed painting with me today. I will see you guys tomorrow into the decoding class project. Thank you so much for joining me. 18. Day 13 - Sunset to Night Sky: Hello everyone, Welcome back to the 21 day watercolor challenge. We are indeed coding today. And today we are going to be painting this night sky. Kind of review the colors I've listed out to your. Let's begin painting in today's class project. I have my paper taped down onto all the edges. I won't be having in any pencil sketch. I'm directly going to begin by taping down this masking tape in the center to act as the horizon line. Because other pencil sketch that we need, the waves we will directly be adding in with the paints when we begin painting in. I've just saved down this almost in the center of the paper. So I will be having in an equal sky and the sea area we are going to be having in a very little short space as well at the bottom of the page. Now if you are going to add with this masking tape technique, then make sure that you've paid down the tip quite well in the center space. Otherwise the colors will flow from one space to the other. Now I'm beginning in with a clean mode of water into the sky area. Only we are going to be painting and almost equal to a night sky view. It's a perfect night sky coming into the view. This time we'll be painting it with the shades of pink, blue, and violet. I'm done adding in a clean layer of photo. Now I'm going to begin picking up the paint onto my palette one-by-one. First, I will begin with a very little thing of the yellow color. So I will pick up the lemon yellow color. You can go ahead with any light shade of yellow that is available in your palate. It need not be the exact same sheets as mine. I'm going to begin with the yellow color, almost just a little above the horizon line. So it's a full fit night sky view that I'm creating by two with the little sunset view, the horizon line. So you can see in between I've been living in little white gaps this time in the sky to make sure to add in little clouds, I'm going to be needing in little whitespaces as well in between. Now next I have picked up the permanent rose color. Now if you do not have this color, you can simply pick up a carmine or Scarlett or any other pink color that is available in your palette. Now ready carefully in-between. You can see I've added in the pink strokes from the edges. In the center, there is very little yellow highlight that is still visible. So make sure you let that little yellow highlight be visible. Now this time in this guy I have added in little diagonal strokes with the permanent rose color living in little white gaps. Next shifting into the Prussian blue color. Now I'm going to begin in with this Prussian blue color at the top space of the sky, almost neon pink color. And by adding in this color also, you can see I'm going to be living in very random white gaps in between to actin as the Cloud. Now you can see when the pink and the blue mixed together, they have automatically given us a violet tone, but I'm just going to pick up a little violet, mix it to this balanced pink on my palette and just going to begin adding in little violet strokes into the sky area. Now, make sure when you begin to add in these violet strokes, you do not have excess water. Also you can see I'm adding in these violet strokes a little diagnosed from both the edges to give them little cloud movement or effect into the sky. So accordingly, how you wish to show the effect of the moving clouds or the sky, it's very important to move your brush accordingly in that direction. Now picking up the permanent rose color in a little dark consistency, I'm just going to begin adding in little darker strokes. Now again, man, I will be adding in this darker pink tone on the blue. It will give me a purple tone. That is exactly what I need in-between, add the top space. So you can either directly using the violet tone or just using the pink color, mix it with a little blue and get a violet tone. Now I'm beginning to add in little darker strokes of the violet color. So you can see I'm going in very slowly layer by layer. Now when you begin to add in these clouds, again, I would recommend be careful about the water content in your brush. Next I'm picking up the indigo color. And using the indigo color, I will begin adding in the dark or highlight at the top space to show the perfect night sky setting in near to the horizon line, you will see the sunset view and from the top sky it will be a night sky coming into the picture. So that is how you can create the perfect night skies as well. Randomly you can see I'm adding in the indigo color, making sure that there's no excess water whenever you are walking Laos on watercolors to add in details, it's very important to have the perfect water control. If you will have excess water, then the paint will spread a lot and you will just get one flat color loop, which we do not want. It's very important that whenever you begin adding in these Cloud details or sky color details to control the water, only then you will get the perfect layer of these colors and maintain the shift that you're trying to retain despite having in the perfect soft blended Lu, I'm still adding all of these wet on wet. Now I've just picked up a little of the indigo color again. I'm just going to add little more darker diagonal strokes at the top area. So you can see in-between I leave little gaps for the lighter and the Visio fellows to be still visible. Now just adding little more darker effects with the darker tone of the permanent rose color without adding much of water, you can see just little highlights near to the indigo color that I've added it so as to have perfect blend and the darker tone transitions between the livers and at the bottom of the sky that is near to the horizon line, adding in little darker strokes, despite adding in so many layers of the clouds, you can see my paper's still wet. I'm getting in the soft look. I have Perfect Water Control on my brushes and the yellow color, a horizon line is still 3D. So let's wait for the stripes guy to dry completely and then we will begin painting ahead. Now my sky is completely dried and I'm going to remove the masking tape from the sky area. You can see using a masking tape, we get such a clean, crisp line for our horizon line. Now I'm going to go ahead without adding in a masking tape for the C space. So I'm going to beginning with a clean coat of water into the entire area. Make sure you have an even layer of water, not excessive water anywhere. Otherwise, it may sit back into your painting and give you some white spots and blooms because of the water. Also near to the horizon line. Be careful when you add the water because if the water moves into the sky area, the colors will get reactivated. And again, you will get in patches because we are walking in with watercolors. So what you can do is usually I leave a very thin line between the sky and or CDR. And there I directly go ahead with the paint so that it's quite easier for me to blend in the colors and to maintain no horizon line as well. I've run my brush multiple times so that my paper stays wet for enough time for me to work wet on bed. Now the CATI is going to be an exact reflection of the sky. We are going to be having in the same color tools that we used in father sky area. First beginning in with the yellow color just in the center of the sea area, near to the horizon line in our sky. Also you can see we have very little sun glow space near to the horizon line in the CEO just going to add a little in the center space very randomly just adding in the yellow strokes leaving and gaps in between. Next I'm going to be moving in the permanent rose color. So in case if you have used the window scholar or the Carmine color, you can use the same color you're instead of the rose color that I'm using it. Now again, you can see the pigment is a little darker ones. I'm just going to lighten it by adding in little water. And we're going to begin adding this from the edges. Now when you add this column near to the horizon In running very carefully so that you do not run into the sky area. That is why it's very important to use an appointed tip brush so that while adding in these details, it's very easy to get in the precision lines variable you needed Albrecht and very easy to run in as well. Into the entire space. I've given in a layer of the wind rose color somewhere. A codon somewhere lighter tones, but in the center you can still see I've tried to maintain in the lines of the yellow color to give him the reflection of the sunset area. Now again, very slowly, I will just run on the horizon line and define it well, the shore area this time I'm going to give them the deflection of this guy only and given the darker colors and not going with the tones of brown hens for the short video also have added in the pink color. For now, we will define the short video details of once we add in the whitewash we've laid it on automatically. You will have a distinctive short area. Now picking in the violet color beginning in from the edges, giving in the darker deck just as we began giving in the sky area. It's the same be how we're going to add it in the area. When he handed me I'm adding in some strokes in between leaving gaps. Again, you are also, it's very important to have the water control because if you will have access Porto, the color will spread throughout and you will not be able to read in the BCR colors. It's very important when you want to maintain the BCR colors that you do not add excess water into these waves while adding in the colors. Now from the edges, just again adding in little of the darker tones with the violet color. You can see I'm having in the Perfect Water Control hints, the pink color, the violet color, the yellow color, all colors of visible despite adding in Leo's wet on wet. Now next I'm going to pick up little of the indigo palette and begin adding in little depth with the indigo color into the sea area as well. So first closer to the horizon line, I'm going to add in a fine line of the indigo color. And then on the edges in the center, I will maintain that middle growing space of the yellow color. Now from the edges I'm beginning to adding the darker tint of the indigo color from both the left and the right edge. Now majorly, you will see at the bottom most space I have added in more often indigo color because I wanted to give them the darker depth to the shore space, as I told you. So the topmost sky, as you can see, is of a dark color. Hands at the bottom to the shore area also, I'm giving you the same color darker effect to show the reflection of the night sky onto the shore space as well. I'm going to pick up now little more of the indigo color in much darker than the false Leo. First or the horizon line I'm adding in this darker color so that automatically you will have a distinction between your sky. And I'm now just going to begin adding in little more darker debts from the edges to give it the perfect night view coming and reflecting onto the sea area as bell. Now this time I'm adding in babe effect with this color. So again, you are, you can see there is perfect water control, hence, the paints are not spreading much. I'm able to have a soft edge because I'm working wet on wet. The weave look is also coming. So these are the wet on wet. You can see in-between I'm giving in some takeaways and then some waves in-between photo takeovers. I'm just pressing in the belly of the same brush. So you can see I have painted the entire sky and the CAL with just one brush. How are you know, it will help you in learning as well. Pick up one size brush and try adding in all the deals with one brush. Now at the bottommost space, I won't be adding in these wave details much. I'll just define one line. And that will be the distinction between the short and the Sea area. Now with the Payne's gray color, I'm just adding in little darker depth at the bottom of these waves and in-between randomly adding in some darker leaves with the Payne's gray color as well. Now with the Payne's gray color, also make sure that you do not have excess water. Just adding very little of these dark OB is not much of them. Now next, just using the tip of my brush, I'm adding in very fine beams with the paints gray color at the top space major knee and at the bottom giving in darker debt with the Payne's gray Carlo completely. This is a force field of the CED on what we have worked wet on wet. Let me give you a closer view. You can see we've gotten the waves that the COVID and we've tried to maintain all of the color sheets visible. So you have the yellow paint, violet, blue, each follow visible, distinctive list yet blended with each other. Now let's wait for this to dry completely and then paint a head photo. Now to false figure of the sea has dried completely and we will begin adding in further details. So at this moment you can see everything has a soft edge, but each of the leaves are also visible because of the water control that we hadn't. Now first I will begin adding the details with the whitewash and then we will be adding in very little or wet-on-dry details with the other colors as well. So first beginning in with the whitewash, make sure you pick up the white gouache, not the consistency so that you get in the opaque look. Now you're at the bottom first I'm defining in the short space. So as I told you, the short area is going to be very little unjust the bottom space, which I've given him the darker tone. Rest area is going to be ilya. So this line I'm going to be giving in a lot of the form kind of a detail which you have near to the shore space because of the waves coming to the shoreline. So again, you are also, you will see I'm going ahead with a very rough edge and not all very street or a simple line. Make sure to have in draft ships that will add into the beauty of your painting. Now from the top space, I'm going to begin adding in little white waves this type. So you have to control the amount of leaves also that you added to not go overboard or access because we do not want a lot of them. Now next near to these thicker waves that I've added in at the bottom space, I'm going to add a little white details to act. And as the form near to these big obvious, you will notice that as I'm moving downwards, I'm adding in vain little vein and median here at the bottom of these Tico Andraka leaves that we added in with the indigo and the Payne's gray color. If I told you we need to control this white effect. Now, you're in the center again, I'm going to be adding in a white line to actin has another line, but you are going to go ahead with more of the dabbing technique. So you can see there also I had added in a very big line off the pulpal color, just about that I'm giving in this form effect on letter. You can see there I have added complete line from left to right with that dark tone of the indigo and the paints gray color. Just on top of that, you have to keep dabbing in your brush to give him visual form effect. You can even use a spoil tone brush for giving in the form effect or false. I'm just dabbing in the tip of my smallest size brush completely from left to right. I'm giving in this form the deal. And you can see in the center, I have given it a little cubby effect depending on my pulpal line. And I just followed the purple line and on top of it, I have given in this form detail. Now from the bottom space here, I am just going to randomly adding in zigzag lines to each other with the white gouache. Now make sure that these white lines are very thin, alright, and made sure to vary the shape so you will see just like branches as we added. I'm going to keep adding these very randomly. From the left, I'm going to show them tilted towards the right and from the right I'm going to show them tilted towards the left. It's a little diagram that you have to add it and also make sure that these are very thin. They have to be opaque enough, alright, because in-between we're going to add in little dry brush as bell, the bottom media. This is going to be exactly the shoreline of leaves that we have in the crashing wave looked near to the shoreline. In-between you will have some opaque white lines. And in-between these lines we are going to add in the dry brush details. Now in-between these lines, I'm just adding in little dry brush detail. When you add in the dry brush, two important things. You should not have access water, not excess pigment. So make sure if you have any of these, you dab your brush onto a tissue and then add it. Now after adding the dry brush, if you feel that the white lines are still not visible, OB, then just add these lines again over on the dry brush as well. I think the white lines are not visible enough, so I'm just adding in another layer of the white lines. As you can see, the dry brush will be one Leo lighter as compared to these white lines. Now I will just go ahead with a little more of the dry brush detail out. You're in the bottom space only. Again. When adding in these dry brush going very slowly. Do not rush, add in little by little because now as it is, you are working wet on dry so you do not have to worry about anything drying in quickly for you to add the details. You can go ahead and very slowly, if you will overdo it, it will be very difficult to correct all of it again, because you are walking in with watercolors. You can see I'm going to insource slowly and again and again. I'm adding in these white lines after they dry or later because I feel that the white lines were not visible opaque enough. Hence, I'm adding in the second layer again so as to get the perfect opaque know. Now in-between just going to add in a few of the white waves out your ads the top space as well to give him little foam effect out here. Now onto this form, the deal that we had added in, again, I'm going ahead with a second layer over this as well, because after giant, they look one shade lighter and a little dull. So very randomly in-between. I'm giving him little, much more opaque look with the white color. In this way, I will have to color variations to this for media you are as well, adding in and making it look more natural. Now I'm shifting into the indigo color and I will begin in little darker effects and the shadow effect. First at the bottom most line you're using in the indigo color just underneath this white line, I'm going to add in the shadow near to the short line, the short area, as you can see, he's off the sky color reflections, hence going ahead with the indigo color to add in the short area shadow. So make sure you add a very thin white line just underneath the asserting, the indigo line just underneath the white line. Now again, you have to go in very carefully. Do not add a very thick line, otherwise it will not look as a shadow. And at cases in-between give it a little thicker shadow so that it will look natural. Now, even to this form effect out you're at the bottom of the white color. I'm adding a little darker effect with the indigo color giving him as the shadow space. This also makes sure you add in very thin detail. You can see I'm not going with a very straight line. I'm trying to make it little COVID and little or unfinished kind of for loop to make it look natural. Now lastly, just going to be adding in little waves out you're randomly just going to go ahead adding in the width using the indigo color itself. Very randomly, just some wet on dry leaves. Now under the horizon line as well, I didn't give a complete line with the indigo color so as to have a perfect distinction between the sky and the CEO. Now in-between it randomly just going to add in very thin leaves using in this indigo color at the top space. Make sure you do not overdo this and also make sure these waves are very thin enough. Do not add them tick. It has to be quite thin and in-between a little dry brush leaves also you can add it, but you have to be very carefully. Now again, I'm going to shift into the white gouache. I'm going to pick up the bike question. A good thick consistency and just going to add in little detail out. You're just adding in a little thick line of this white color. Make sure you do not cover the indigo color shadow that you have added in. Wherever I felt that the line was to ten and it is covered. I'm just adding in a little thicker line is compared to the previous one. And from this until I'm just pulling up little off the dry brush effect to give them more of the natural law. After this, we'll just be left to add in the growing moon space near to the horizon line. That also I'm going to be adding in with the white gouache. I'm going to be quickly picking up my round brush of which, which has a pointed tip. I'm just going to be adding in a very small moon in the center area near to the yellow color, just above the horizon line. So you can see a very tiny moon suggests the perfect moonrise effect. And just in the center I'm going to give him little more white effect to show the growing moon effect as well. Just very little. Do not overdo it because you already have whitewash weaves in your C area. Now let's remove the masking tape. You can see such pretty colors and the seascape looks so natural. I wish we could actually visit such a view this time. Let's remove the masking tape carefully. Now, your final painting for decoding of this 21-day challenge. I hope you guys enjoyed painting this beautiful seascape with me today. This is by far my favorite of the 13th escapes that we have painted in. So simple yet so beautiful. Thank you so much for joining me into this class. I will see you guys tomorrow into the day 14 class project. We adjust it does away from closing this challenge. And thank you so much for each one of you for joining me into the class. 19. Day 14 - Window View Sunset: Hello everyone, Welcome back to the 21-day watercolor challenge, VR on day 14 today, and we will be painting this window views he escaped today. The colors that you need are listed out here. And we will begin with the class project. I have my paper taped down and I will just begin in with a very basic pencil sketch to mark out the sky area, the area under Window space, very roughly. I'm going to be adding in a very light pencil sketch. Let's begin adding in the pencil sketch first. I will add the rest of the painting sketch later on after painting the sky, the CEO, because they will get covered up with the color right now and will not be visible. So for now, just mark the horizon line and beginning in with a clean coat of water into the entire sky area. We will first be painting in, or beautiful night sky and then shifting into painting in the window later on, after painting the area, make sure you have a clean layer of even water spread out into the entire sky space. This guy is going to be off for D2, simple colors, that's orange and blue mixed first-time picking up the orange color from this palette, you can go ahead with the shade of war million. If you do not have the orange color or you can even go ahead with any other similar tone of the orange color. I'm going to begin in with the orange color in the center of the horizon line. Now moving till the center of the sky, you can see I've given in a larger space for the orange area and closer to the horizon line, a very smallest piece. Next time we're going to be picking up the Persian blue color. You can go ahead with any other darker blue that's available in your palette. With occlusion new color, I'm going to begin adding in the color into the rest of the whitespaces. Now when I begin to add in the Persian blue color, I will make sure I just added closer to the orange color, but not run it in such a way that it creates muddy tones. So you have to be very gentle on hands when you add the color on the orange color later on. For now you can see I'm just adding it till the edge of the orange color and very gently just pulling a little of it into the orange color. First, closer to the horizon line, I filled in the white gaps with this blue color. Now at the top space which is empty, I'm going to lay down an entire layer of the occlusion blue color. Near to the orange color, you can see I've gone in very gently so that I do not have much of the muddy low. Now, very carefully from the edges, I'm just pulling little of the blue in color tones still the center of the orange color to get in the perfect night view coming into life, I lead to very carefully you have to be very gentle on your hands and also you have to make sure that your brush does not have excess water, otherwise the paint will spread a lot. So now you can see just moving my brush to and fro of giving in very simple strokes. Now I'm going to begin in with a little of the orange color again. I'm just going to add it to your again so that it blends with the blue color wheel. Now into the sky area we are going to be giving in little of the Cloud D1 using in the darker tones of the blue color. Very carefully, I've picked up the pollution look a little again and just beginning to given very simple strokes into the Cloud to actin as the cloud in the sky. So you can see I'm being very careful about two things. One, I shouldn't have excess pigment, and two, I shouldn't have excess water has been now to my orange color, which is on my palette. I've just mixed in a little bit of the white gouache and I'm just going to begin adding in little highlight with this whitewash on the orange color here so that I do not have much of the muddy tones. And then getting just little of the light highlights into the sky. Just using a damp brush, you can see I'm just blending it well. And everywhere where the blue and the orange is blending, you can see how slowly and blebbing this color getting in the perfect blends in-between the colors. Now we'll begin adding in photo darker strokes. I have little indigo color on my palette and I'm just going to begin at again, the Docker Cloud strokes. At the top. I've just laid down a layer of the indigo color very randomly in-between you can see little cloud strokes as well. So major Cloud Stokes was near to the horizon line with the orange color. Now let's wait for this to dry completely and then paint the sea area. My sky area has dried completely and we will begin painting in the area in with the clean layer of water into the entire area. The area is also going to be pretty simple this time because the mean view that we are going to get into this painting is going to be the window view with the glazing technique that we will be using into paint Dakotas. For now, let's begin in with a clean layer of photo near to the horizon line. Be careful that you do not run into the sky space while adding in this layer of photo. For the CNA, I'm going to be in the Prussian blue color itself. I'm just directly going to begin with a clean layer of the Prussian blue color in a medium consistency, not to think and not to watch, suggest using an a bigger size brush. I'm adding in the Prussian blue color onto this wet on wet. We will be giving you a little of the baby effect with the darker tints. This time, as I told you, we won't be focusing much on to adding in detail. Because this Seaview, I wanted to give it with the Window View effect. Hence, our main focus and main picture of limb will be the window and the codons. So keeping rest of it pretty simple. Now to add in little details, wet on wet, I'm going to be picking up the indigo color, so I'm just removing, lifted up the indigo color out. You are on my palette. And using this indigo color, I'm just going to begin adding in little baby fix wet on wet. First on the horizon line, I'm going to give in an entire line of the indigo color. So it will mark a clear distinction between my sky and the sea area. Make sure you do not add a very thick line on the horizon line going that the very medium light. Now I've shifted into my smallest size brush. This is a size four brush which has a pointed tip. Now ready, randomly leaving spaces, I'm going to add in very simple VB effect, what we've learned in the technique section, all of this is wet on wet in-between. You can see I'm just adding in very simple thin leaves just using the tip of the brush. So you have to go in with the mix of what the kind of leaves. Now right now, adding in these waves also you have to make sure you do not have excess water on your brush. Otherwise, this indigo color will spread a lot and you will lose the look of the Prussian blue color, and you will just have one indigo color, flat Lou, It's very important when you walk wet on wet for adding the details to have in the Perfect Water Control. Only then you are details will be having in the soft edge yet visible. I've added in the wheels wet on wet. Now I'm just going to pick up little more of the indigo palette and just given a little more darker depth of the VFS. Now shifting into the paints gray color, I'm just going to pick up a little of the Payne's gray color and just going to add a little darker effect with the Payne's gray color randomly. Again, this is also a wet on wet to my CEO, is still wet. Hence, I don't know if you run your brush multiple times your paper with Steve it for enough time until you are adding in all of these details. Now till messy area is drying, I'll just add one more detail into the sky. So I have mixed in a little bit of my white gouache, yellow color, and a little tint of the orange color, I will add into this and using in this space will mix up the yellow, orange color. I'm just going to be adding in a little sun space near to the horizon line. It's going to show in the perfect setting sun look, this is just a false LEO. We will add in the detail once this dries in, creating in a little glowing kind of space so that the blue color near to the horizon line is covered up your very simply just using a damp brush. You can see I've blended it into the sky space and I do not have any sharp edges as well. This is how you can create a little lighter space for adding in the details later on, let me give you a closer view as well of the blending and you can see how easily even wet on dry, you can blend all of it easily using a damp brush without any sharp edges. And also the waves you can see. They are visibility yet soft. So now let's wait for all of these to dry and then add in the folder details into this painting. Now everything has dried completely. I'm going to begin marking in the outlines for the window using in a scale and a pencil, I'm going to be masking and very thin edges which I will be painting in with a darker tone of the paint gray color. You can either use black color if you do not have the Payne's gray color, very fine lines, you can see even lesser than one centimeter actually. Alright, so onto both sides, the left and the right side, and then at the top and the bottom side as well. At the top space here, I'm going to give him a little small drawn as well, just to adding it on other small or less than a one centimeter space out your online. This also we will be painting in with the black color step-by-step. As we begin painting, you would get to know better. Even on the right side, I'm going to be adding in a rod later on, you know, connecting it to the top rod as well. So first let's begin painting these many margins. So I'm going to be using in the Payne's gray color in it's very thick consistency. So it will automatically look in like a black color out to her and very quickly going to begin painting in all of these margins. Now when you begin painting in these margins, be very careful that you do not run out of proportion. So make sure you are using in a smallest size brush on which you have the perfect control. Last, make sure that the brush has appointed Pepsi. You can given the margins first and then paint the rest of the inside details. I'm done painting one side. You can see I've gone in source slowly and mid short that I do not run out of proportion. Also make sure that you haven't even mute off the color and do not add much of Florida. Otherwise the colors will not be OB, we need and very opaque black color lookout. Now team there. I'm just going to paint the rest of the three sides quickly and very carefully. I'm, you know, I'm rotating my board so that I do not lay my hands on to the whitespaces. So that's another benefit you have when you tape down your people onto movable surface. You can easily just tilt your paper and getting the perfect angle for your hands to move in. Fellini. I'm done painting in the third side as well. And now just the top side that is left, I'm going to tilt my paper for the just going to paint the top one as well. So the top border is a little thinner as compared to the rest of the three sides because at the top we are giving in another grill view as bell. That is the reason I've kept the top-line a little thinner as compared to the rest of the tree. Next, I'm going to that center or that I have added in. If you cannot see the center odd or how it will be painted to. Now when I painted, you can completely get a view of it using the same paints, gray color I'm going to paint in this space as well. I will just verify me using the tip of my brush mark out the street line. And now one thing if, say you are not confident about adding in a straight line using in your brush today clear. You can even use an a market on a scale and first mark the thick black outline and then fill it completely with the darker paints of paints, gray color, black color. So that will help you in achieving in the fine line effects as well. Now next on the right side, as well as I told you, I will be adding in another rod out euro as well. So I'm going to detect the begin adding this with the paint. If you, and you can go ahead with a pencil sketch for this as well. So it's going to be just the same Lord, as we added at the top space. Alright, I'm done, I think in the last black detail as well. Now I'm going to pick up a little of the yellow color, mix it with a little bit off the white gouache. And using this very pastel yellow color, I'm going to add in little lock the sun's piece again. I'm going to give it a very soft loop. And then once this dries, we will add in the final settings and detail in the next layer. For now, just mixing in a lot of white to a very little tint of the yellow color I'm going to create in the father gluing space. I've just added in the half sun loop because I wanted to show it as the perfect sunset view. Now using in a smallest size damp brush, I'm going to quickly soften up the edges using in the **** brush so very carefully so that you do not have any sharp edges as well in-between. That is it. Now let's wait for this to dry completely. And then we are just left to add end-all of cotton details and we will be ready with this class project. Now, everything is completely dried in and I'm going to begin adding in the code in detail. Now for adding in, in detail, we are going to be using in the glazing technique. We are going to be using in the Payne's gray color for adding in the fleece. So we are going to add the glycines are to enter the base near details of visible. So we are going to use the Payne's gray color. I know very watery consistency. So you can see about it in a lot of water to the Payne's gray on my palette. Now using this lighter consistency of Payne's gray, I'm going to begin adding in the cotton view. First, I will just add a very light pencil sketch for the curtain outline. The curtain at the top is going to be broad. And when you reach near to the horizon line, that's going to go Tina. And as you go towards the bottom space, it's again going to go a little thicker as compared to what it is near to the horizon line showing in the perfect folded curtain view and in-between, we will be adding in little darker lines to show in the false. Now using an a bigger size flat brush, this is a half inch flat brush I have picked up the paint is Greek island of watery consistency and with a very light hand, I'm going to quickly paint the paints gray color completely. In this case, there are chances that the base layer, Payne's gray color line may get reactivated. So when you reach those red lines, make sure you'll be very gentle on hand so that the paints do not get reactivated much and do not spread a lot. Now as I move downwards, I'm going to paint the rest of the garden space as well using the same paints, gray color. But you can see I'm moving in so light on my hand that even the underneath leaves are still visible despite giving it the curtain view at the top area. Now I've shifted into my smallest size round brush and using the Payne's gray color in a little dark consistency then the basically a color. I'm going to begin adding in little of the full details. And you know, HDD is to this coating. So first on the edge, I've given it to align with the Payne's gray color. I'm now going to give him little full details in the center, I felt a little off my color of the road was light enough, so I'm just giving in another layer of the beans grid. Now using just the tip of the smallest sized round brush, I'm going to begin correcting in very rare, I feel that the rod details are spreading a lot and just giving it the perfect line out. This way you can lift up the colors wherever you feel it is spreading across your control. Now using the pain scale alone, a little darker consistency while this is still wet, I'm just going to add in a few lines you're showing us the fall and the darker. So you can see many randomly I've just pulled out little strokes onto this. It's one codon darker than the BCR color that you've used in giving him little detail to the curtains. Now at the bottom you are as well. I feel the color was too light. I'm just giving you an another layer so as to make it a little bit darker. But again, this is also the same pleasing technique, giving it in a little darker tone or right. And at the top you can see the fault. I have blended them Well as well. They are still visible but still blended with the entire contents piece. At the bottom space we are, I've just given a little more darker data and given him much darker effect then what I have given it at the top space. Now at the top while this is still wet, just last few lines as well. So now you can see we worked on the coating also in three layers. First with a very light tint, giving into potentiate, then adding in little full details and blending it well, and then adding in little more details for the fall spaces of the curtain. Now one last thing, just going to add in the yellow color into the center of the whitespace that we created involved the sun area. So automatically you will have that glowing sunset effect. That is if now let's remove the masking tape and CF final painting, as I told you, it was a pretty simple painting compared to the others escapes that we have painted in the main detailing part and the main loaning thing Your was the glazing technique for painting indoor proteins. So there is something new in every class project, but you know, the perspective will be different. You can see how beautifully the obesity AS a spike allows us still visible despite the codon being added. So this is a final class project for d 14. We are just seven days of e from closing in this 21 day challenge as well. Thank you so much to each one of you for joining me into this challenge and painting alone. I hope you guys are enjoying painting in different cityscapes with me every day. I will see you guys tomorrow into the day 15 class project. 20. Day 15 - Misty Clouds: Hello everyone, Welcome back to the 21-day challenge. Be out on D15 to D. And the colors that you need for painting in dismiss the seascape to d are listed out here. We are going to go ahead painting in this guy first and then moving on to the C and the other details, Let's begin painting. I have my paper taped down and we're going to go ahead by taping down the masking tape for the horizon line. And then we will add in the rest of the detail with the pencil sketch later on. So first using masking tape to mark down my horizon line. This time my sky area is going to be a little smaller as compared to the sea area. You can see the CIDR is a little more than compared to the sky. Now in the sea area, I'm just going to mark out a very simple board that we will be adding into this mestiza escape suggest giving in the rough outline to the board out here. It's more towards the right side of the Sea area. You can see for the board also I have given in a very rough outline and just adding in a very small reflection as well so that we know as to what colors we have to add in the placement for the replay. For the reflections are the shadows you can call it. Alright, so this is it for the pencil sketch off the board is going to be a very simple solo hit. Now let's begin painting in the sky. So I'm going to begin in with a clean code of water into the entire sky area. Now this time the sky, we are going to live in very misty kind of clouds in-between by leaving and white gaps instead of using in any white gouache or white paint. In painting the sky step-by-step first to make sure you have an evenly or off water throughout. You can see I've run my brush multiple times, so that might be post is bad for enough time for me to paint the clouds slowly, step-by-step, adding in the layers Building in the sky. Let's begin with the violet color first, I'm going to pick up the violet color on my palette and diluted with a little bit of water. We're not going to directly using the colors in the darkest consistency. We are going to build layers on layers so that we get in the perfect details into our sky and the sea area. Next I'm going to be using in the ultramarine deep color along with the violet color. I'm getting all the colors ready on my palette so that we can paint quickly. As you know, we begin painting in the colors one-by-one. Let's begin with the ultramarine color force near to the horizon line. Now in the center of the sky, we are going to be keeping in a very whitespace. So make sure when you begin adding in the colors in the center of the sky, make sure you do not add much of the calories in the center. Now you will see I'm just pulling out the colors from the edges, taking it to the little center part and letting the center area be white. You can see the color nail, which I've added right now is so light the shades are in such a light consistency. Now onto this we are going to begin building up layers so as to get depth into our sky area from the edges very gently, just using the tip of your brush, keep pulling the paint in the center in different lines. Now next I will pick up the violet color and begin adding in little violet details over onto this ultramarine blue color that we've added in. Now as I move with the violet color, I'm going to fill in little gaps off the center space with some little strokes of the violet color. But again in the center, I will try to maintain a very large space right? Now I'm mixing in both the colors and adding in little highlights. Now when I began adding in the violet color, you can see I did not have much water on my brush hands. The paints are not spreading much. They are needed in the shape in which I'm adding them. In the center you can see I've got the Cloud fields as well, but still I've tried to maintain in the white pattern that we need. And for the misty look. Next time picking up the paints gray color and I will mixing the paints gray and the violet color. And then I will begin adding in little darker strokes as well. Just adding in little with the Payne's gray color directly first and then I'll mix in both the colors. Now I'll just mix in a little Payne's gray with the violet color out your and I didn't little darker strokes. Now when you begin adding in the darker strokes, you have to make sure that the darker strokes are little less as compared to the first two layers. Only then the forced to Laos will be visible urine debt. So that is how you have to go in step-by-step to build in your sky, giving it the perfect misty look. Now with this color, you will see in-between the white gaps I'm adding in very fine lines to give them little cloud lines in between as well. Again, you know, with everything adding in, I'm trying to maintain in that center glow space of the white color as you can see. Now, I will just pick up little ultramarine color again, and this time little darker to add the ultramarine color as bell. Now skies piece, you can see all the three colors are visible. That's the ultramarine blue color, the violet color, and the Payne's gray color in the white spot. I have picked up the paints gray color in a very diluted consistency and I'm just adding in a very finely are in the white spots. So basically it is like 98% water on my brush and just do percent pigment to get in that light view. Now let's remove the masking tape as we're done painting in the sky. You can see such a pretty simple sky in just under three to four minutes going in layer on layer. And my paper is still wet for if you wish to add for the more details on right. Now in-between the sky and the CAPM, we are going to be having an a mountain, James. So what I will do is I will mark another line out here, just the horizon line. On top of this will be the mountain range. And we can paint the C Ada and we won't have to wait for this guy to dry in. Then from below the line, Let's begin adding in a clean layer of water for painting in the sea area. Make sure you do not add the water in that between ten line that we have created using in the pencil sketch. Otherwise, the sky and the sea will begin to bleed into each other. When he carefully just begin adding in a clean layer of water into the CEO? I wouldn't be adding in the layer of water into the board and the reflection space. We will be painting that later on. So make sure you do not add water into these two spaces right now. Iran that at the Waterloo are very carefully, alright? And also makes sure that you have an evenly enough water just as you heard in the sky so that your paper with Steve at for enough time for you to add in the details. The CATI is going to be an exact reflection of the sky colors again this time as well. So the same three colors that we used on our palate, we will be using for painting in the sea area. So it's going to be a mistake. I end up with C deflection as well. Now I shifted into my smallest size brush again because I'm walking on the smallest size paper and I wanted to get the details correct. Now first going ahead with the ultramarine blue palette just closer to the horizon line. Because you can see near the horizon line in the sky area, we have the ultramarine blue color coming into the loop. Now in this area also, we are going to maintain a little of the whitespace closer to the horizon line. You can see I've left that white gap without adding in the ultramarine blue color because I wanted to show the reflection of the Cloud as well into the sea area this time. This time basically the CEO is also going to be an exact reflection of this guy having an whitespaces to depict those misty clouds of the sky. Next beginning in with the violet color, beginning to add in the violet color details from the edges. Now add the violet color detailed in such a way that you do not cover up all the ultramarine blue details that you have added in. Also make sure that you do not have excess water when you begin adding in the violet color advice the color will spread a lot and cover up the ultramarine color as well. Now across the board area onto the edges, I'm just going to add in the darker tint of the wildlife color and later on the Payne's gray color. Given more of the shadow reflections to the board while we're painting in the sea wet on wet. Next, beginning in with the Payne's gray color at the bottom space in a sky, if you see the darker tones are at the top space of this guy. So hence at this area also adding in the darker tint at the bottom space majorly and around the boat area, I'm going to add in the darker tint of the Payne's gray color to give in the shadow effect. Writing this is still wet so that it will have a soft edge to the shadow. Next I'm mixing in a little bit of violet and the Payne's gray color just as we mixed in for the sky color. But beginning with this color to add in little b's at the top space. I've just made sure that I do not have extra pigment also otherwise it will spread a lot. Suggest using the tip off. I'm going to begin adding in very little light pigments into the CAD using in this darker tint. Now, all of this is still wet on wet, you can see my paper is wet and y now adding in the waves I'm having the perfect What do control. Hence, the leaves are having in the soft edge, but they're not spreading much and covering up the rest of the spaces. Also in the center area of the senior to go rise in line. You can see I've tried to maintain in that white loop just as we have in the Cloud space and crossing that I'm adding in little VIV look as well to maintain the perfect kind of a cloud reflection. I feel that the waves are a little more so I'm just going to quickly lifted up while this is still were using in a **** brush, I'm just lifting up the colors from your enlightening them so that I have more of the whitespace to show the perfect reflection of the bigger cloud of the sky area as well. Now I'll just give it a little after finishing digestible dark colors. Feel needed a little more space into the sea area. That is it. I'm done painting in the sea area as bell, and now we will have to wait for this to dry and then paint in the boat and the mountain details. Let's wait for this to dry completely and then add the final details into this painting. Now this has dried completely and I'm going to begin painting into further details. First using an a mix of the Payne's gray and the violet color. I'm going to paint in that little field area between the sky and the CSPs. All right. I'm just going to pick up this darker color and add it there. In the beginning, I told you that it's going to be a mountain range, but I was mistaken. It's going to be a very small dark field area giving him the doctor flexion of the sky as well. I'm going to fill this space, but in-between I'm going to just lighten a little of the color by adding in little lighter tint or diluting it with a little tent of water. Just in this end dive, it diluted the color a little, giving it a little lighter tone. Now you can see the fields piece. I've given it a very rough edge at the bottom space and at the top space as well. Time to look at natural and you're not giving it a very tough shape instead of a VDS treat line effects that we need to give in. Next using in that ultramarine color, I'm going to begin painting in the board. At the bottom of the board is going to be the ultramarine color at the top, we are going to give it an, a very light wash and then add the seed details once this dries a little. And then the reflection we will be adding in once this dries again. At the top area you are, I'm just going to give you a very diluted earlier of the ultramarine blue color. And then once this will dry, we will add in the darker details. All of this dries. I'm going to quickly pick up the darker tint off the wireless and the paints gray color mix. I'm going to add in a few buds into the sky area this time. So be careful that you do not rest your hand onto the board area because that is where and even the field area that is still wet. So if you want, you can build out your paper so that you can easily have the perfect angle for adding in the boat. You can add in the boards and random shape of your choice. And as per your convenience, I will be adding in another one. You're at the top space. I'm just going to be adding in two of these. It's not going ahead with Mash details into the sky because I wanted to let the misty look be there. Now I'm a little bit unsatisfied with this fill space at the bottom media yours. I'm just giving it a little finished look out here so that it looks a little more or you know, in proportion with the details that we are trying to add it. Now my board has dried in and I'm going to first begin adding in the reflection to the board. So further reflection, I have picked up the paints gray color, and beginning in from the bottom media of the deflection space, I'm going to add in the Payne's gray color and just going to blend it into the sea, the area using in the damp brush on the edges, you have to go in very carefully and in-between are added in a little bit of the ultramarine blue color as well, so as to give him the color of the board as well to the reflection space. Now just using a damp brush, you can see I'm softening the edges of the reflection so that it looks blended into the sea ADR. Already. You have to do this very carefully so that you do not get any sharp edges and do the blending strokes and also the reflection should not look very sharp. Edge it as bed. Now at the top space, you're just giving him little details with the darker tint off the ultramarine blue color, make sure that everything is dried completely before you begin to add these details. Otherwise, they will begin to spread it. Now just giving it a little more details vary randomly into the board space. Now to the board, I'm just going to, I didn't want small drawn on a string connected to the front of the board. All of these I'm adding in using in the ultramarine blue color itself. Make sure you're using in the smallest size brush so that you get the perfect proportion of these details that we are trying to add in my reflection, your head, a little space left. I'm just trying to correct that using in the ultramarine blue color and getting in the blend perfect. Because I guess while living in the soft edge or the color guard lifted up excess. Hence, it had a little patchy look out there. So quickly you can see how you can protect the reflections as well or any other details for that matter. So that is reality with our class project for the 15, Let's remove the masking tape and see our final painting. Make sure you remove the masking tape against the paper so that you have in the perfect edges and your edges does not get lifted by turning it off with a masking tape is a final painting for the 15 we adjust six days away from this 21 day challenge. I hope every day you are getting to learn in new and different techniques for adding in different details into your painting. Like for this one we created in the DC area and the misty cloud space as well. I'll just connect this bottom reflection it because it seems to have in a little rough shifts like to see using an a **** brush you can easily correct in the detailed as bell. So that is it We already with the painting. Thank you so much for joining me into this class. I will see you guys tomorrow into the day 16 class project. Thank you once again for joining me. 21. Day 16 - Fierce Sky: Hello everyone, Welcome back to the 16 of this 21-day challenge. I have listed down all the colors that you need for today's class project. We are going to be painting in this POC sky if it's already coming see today. So let's begin painting in today's class project. I have been people down and we're going to begin in with the pencil sketch before moving ahead. This time, if we're going to have a mountain range on our horizon line and in the sea area we are going to be having in a few of the pine trees and a little jazz area in the middle of the sea. This time though, the horizon line, I'm taking it a little below the center space because we are going to be having in a mountain range, at top of this mountain range, Alto is going to be a little bigger on the left. And as we move towards the right, it's going to turn shorter. This time the sky area is going to be in a very fields. He kind of a look. And we're going to paint it in the style of the northern lights starts having in the COVID beams with the darker and the POC colors. Now let's begin painting the sky. So I'm going to begin with the clean photo, photo Olin to the sky. I will not be adding the water Leo on the mountain loons because on the mountain range we are majorly going to be giving in the details with the dry brush technique to make sure you maintain the outline of the mountain range while you're adding in this layer of photo, I'm going to begin with the clean layer of 14 to the sky. I'm going to run my brush multiple times so that might people will stay wet for enough time. I'm done adding in the clean layer of photo. Now I'm going to quickly be picking up the colors onto my palette altogether. And then I'll begin painting in so that I have all the colors really supposed is the permanent yellow deep color that I'm using it so it's a little darker tone than the medium yellow color. Next, I will be using in the burnt sienna colors. I'm just going to quickly pick up a little of the bond sienna as well on my palette. Next, I'm going to remove in a little bit of violet color. And after that I'm going to mix in a little bit off the pollution blue with the blue color and get that color as well on my palette. These are the colors that we are going to be using for painting in our sky. I have the colors ready. I'm going to begin in with the yellow color first. Make sure you have enough of the colors on your palette so that you do not fall short of the color. Now I'm not going to add much of the water, I'm just going to pick up a damp brush and beginning with the yellow color, I'm going to begin adding in little COVID leaves, as I told you. From the right side, you can see our beginning with a Colby angle. And I filled in the space with the yellow color as the base layer onto this, we will be giving in the darker colors as well. Then we begin adding the details with the darker color we will have to get in the movement of the clouds or the PLC sky that I want to give it next beginning and with the bonds here and our palette. Now I'm going to begin adding it in the little shapes. You have to move and carefully also for this, you have to make sure that your brush does not have excess water. Otherwise the paint will spread a lot and you will not be able to read in the shapes that we want to. Now onto the brown color, I'm going to pick up a little of the violet color. I'm going to give him little darker death automatically when the brown and the while it will mix together, you are going to get an, a much darker look to the brown color. So if you want, you can use in the purple color or directly using a darker brown tone for adding in the dark or highlight. Now you can see I'm building in the leaders in such a way that I have all the colors visible yet. Now on the right side, I'm going to apply this mix of the two blue colors that we have created in. Now near to the yellow color, be a little careful because we do not want any green tones to be formed. So I'm going in very carefully out there. If you see on the left side, I have intentionally left in a little cece White for giving it that little fuzzy cloud or that stomach Cloud detail as well there I have left at intention and not lifted by mistake. Now, if you'll see the colors now they are quite light and when they dry, they will turn for the light to give them darker depth. I'm going to begin in with the darker colors now. I've just mixed in a little bit of the sepia color to my burnt sienna color. Now make sure when you begin adding in these darker details, you shouldn't have excess water on your brush. I've kept a rough toggle onto my hand so that every time I pick up paint and feel that there is excess water, I can quickly dab it off so that no excess paint goes onto the paper. Now I'm I'm, I'm beginning to add in the depth. You can see I'm moving my brush strokes inside Jacobi manner so as to give those details into the sky, you need to get the angle right. Now him to pick up the indigo color and I'm going to begin adding in the depth with the indigo palette out you're into the blue pallor skies piece. I'm going to add it in such a way that I have learned to love the lighter color sky also visibility. Now with a clean brush and just went to pick up a little of the yellow color and given a clean stroke near to the mixing point of the indigo and the yellow color that I have a clean transition there as well. So you need to make sure you move your brush quickly, even in between the indigo color, I've just given him a little of the yellow highlight that have moved my brush quite quickly and have not added much of the pressure. Hence, the color stays there and no green colors for, for this, you have to make sure you pick up the color in a good thick consistency only then it will be visible in-between the indigo color as well. Now lastly, with the indigo color just adding in some highlights near to the right side also. Alright, so now you can see the details coming into the sky space creating in that PLC look. That is it for the sky area. Now I'm going to begin painting in the beginning with a clean layer of water into the entire area. We will paint the mountain range once this guy dry. So till then we can paint the sea, IDEO and then B for both the sky and the sea to dry together. Just went to begin with a clean layer of water into the entire area. Make sure you have an even layer of water. And you're also maintain the horizon line because we cannot run into the mountains piece because that we will be painting with the drivers technique as I told you in the beginning. Now the C is going to be of quite a light color, as I told you, I'm beginning in with the city when blue color, I'm just going to pick up a very nice end of the color. And beginning from the left side, you can see how light the colors are. It's more of water and very less of the pigment we need in very light details. In the next, in the center, I'm going to pick up the same yellow that we use in this guy's piece. I'm going to add it in the center space of the CEO. Now on the right side again, I'm just going to quickly be adding in the blue color and getting in a perfect blend between the yellow and the blue without having in much of the greens coming into existence in the center of the In later on we're going to add in that little grass detail as well. Now just beginning in with the little darker tint of the blue color on my palette and beginning to add a little darker highlights from the edges. But if you compare the sky color tones and the seed color tones, it's quite light as compared to the sky area. So make sure you go in with very light tones for the area and not make them much dark, but make sure you have in the perfect blend as well. Now I'm just going to give a little more of the darker yellow highlights as well. Now using the paints gray color, I'm just going to add in a little reflection to the grass area or the pine trees that we will be adding in the center of the C. So C is still wet, just underneath that space where we have those end up pencil sketch in the sea area. Underneath that I'm going to add in little reflection with the Payne's gray color. Alright, so this is wet on wet my CATI still wet. I'm adding in these reflection. So we are going to be painting in a lot of pine trees onto that tender space. So very roughly I'm giving him the reflection. So when I paint the pine trees, I will make sure that I balance the height of the binary is according to the height of the reflection that I'm adding right now. By adding in the reflection, makes sure that you go ahead with a very light tint of the colors you're seeing here is still wet. So you may ask to make sure that you do not have excess water as well. Otherwise, the paint will spread a lot and you will not be able to maintain the reflection space. So this was the first cleared of the reflection. Now onto this I'm going to begin adding in another layer of reflection as well. So while this is still wet, I will just pick up a little darker, the end of the paints gray color then the phospho color. I'm just going to add a little more depth. Again, this is also wet on wet to the things will automatically have a little soft edge. And this darker reflection is going to be a little more detailed, but a little lesser than the previously reflection that we have added it. That is it for the first layer of the sea and the reflection as well. Now let's be for the sky and the sea to dry completely. And then we will begin adding in the further details into this painting one-by-one. Now everything is completely dried in and we're going to begin adding in the detail. So the details that were left to add in a little detail of weaves into the CAD that it is under the mountain range and then the pine trees onto the center of the CEO. So first beginning in with the Payne's gray color, I'm going to begin in with the dry brush detailing on the mountain. So again, I have the rough napkin in my hand and I'm going to dive off the excess water than pigment. And when to begin with a very light handed dry brush technique. In-between, I'm going to be giving in little darker depths as well so as to define some darker areas of the mountain range and in-between, I'm just going to go in with lighter or dry brush detailing. The important thing while going ahead with the dry brush technique is that you shouldn't have either excess pigment or excess water onto your brush. Otherwise, you will just get flat patches of the color instead of getting in these dry brush detail. You can see I have tried to add in little darker patches of the follower as well as dry brush details to ask to get into depth into this snowy mountain, look, make sure you try to balance between the dry brush and the patches as well. I'm almost done with the detailing for the mountain, but you can see such a quite easy they didn't, but such a detailed look to the mountain yet. I'm just going to add a little more darker patches out. You're on the right site. You will need to strike a balance between the patches and the dry brush depending on the composition that you're working on. Next, I'm going to begin adding in the wave details into the sea area. So I'm going to go ahead with very simple wet-on-dry details for the Sea area. I'm going to be using in this pointed tip brush and going to pick up the blue color in our very light consistency, but just a little tone darker than the base Laozi color that we have added in. And just going to begin adding in verifying waves using in this point that the brush just going to use the tip of the brush and adding simple waves. Now, this time you will see to the waves I'm not adding in much of the detail just near to the horizon line. I've maintained in little smaller width. And as I'm moving downwards, I've just increase the length of the base and just adding them prescribe the exact closer to each other, near to the yellow color, I have not added much of the waves in the center space because in to add the waves therefore the with the lighter tone and very little because most of it will get covered up with the pine trees, but we need to add because they do love them will still be visible. Now as I'm moving downwards, you can see I'm adding in much larger waves as compared to the top area leaves that I've added in. And the variable, you'll feel that the color is a little darker. You can quickly dab it with a tissue and tone it lighter as well. Now just adding little highlighted with the top spaces randomly. That is somebody Kobe's to give him little more depth to the sea area. Now for adding the leaves in the center yellow space, I have picked up the yellow color and just going to begin adding in very random waves with the yellow color first. So again, the yellow color is the same that I used for the base layer, but just one tone darker so that its little visible on top of this. And then we will add a little blue waves if needed, in-between the yellow VCE. Now once you've leaves dry completely, the last thing to add in are the pine trees into the center space for which we have added in the deflection. So for that, I'm going to pick up the sap green color. You can go ahead with any tone of green that's available in your palette and using the sap green color, I'm just going to begin adding in the pine trees. So first I'm going to add in a little bushy area on top of this deflection. And then on top of that I'm going to paint in the pine trees. Now using a point of the brush, I'm just going to begin adding these details quickly. As I told you first, I'm going to add another little bush space with the green color at the top of the deflection that we have added in to the bush AT altough. You can see I've given it a very tough detailing out the top area as well and giving it a very rough shape, not going in with anything specific details or just a straight line. Now on top of this using in the same sap green color and little darker greens in between. I'm just going to begin adding in the pine trees on top of this. Again, you can go ahead with the color tones of your choice and need not be the same. Suggest using in middle of the darker green droplets into the bush Alia as well. And just using the tip of the brush dropping in a little paint out there as well. Now the center pine tree is going to be the bigger one, which almost touches the mountain space as well. So just going to begin adding in little foliage detail. I'm not going to go ahead with much of the detail formulation. This is going to give in simple foliage details. Now, when you paint the rest of the binaries, you have to make sure I'm taken to concentration that reflection that you have added in for the pine trees. So according to the heights of the reflection, you will have to keep adding in the height of the pine trees about them. You can see I'm trying to vary the height according to the reflection and the detailing that I'm going in for the pine tree is not that much detail. Just very simple pine tree for Lisa Madigan quickly using in this mop brush. Now rest of the two or pine trees out, you're on the right side. So just four to five of these pine tree in-between our left and little gap to show that there is a reflection of the bushy area as very what we have added in this pine tree. You can see that reflection that we have added in its quite big enough. So I'm just making this, he finds a little huge anticoag as compared to the rest of the pine trees as better. Now one last detail, I'm just going to splatter some stars using in the white gouache in the sky areas. I'm going to cover the mountain range and the Sea area. I'm going to add the stars only in the top area. But when I add the stars, I wanted to little look to the stars. So what I'm going to do is I'm going to quickly splatter the stars and David with our tissue autograph clots. So automatically I even have done look to the stars as well. So quickly using in this rough tissue, I'm just dabbing in the white stars that we splattered. So automatically I even have a little look and you can see I'm spreading some of them diagonally so as to give them little detailed look alike to that. Is it reality with our class project for this 16, let's remove the masking tape and see our final painting with those clean edges. Make sure you remove the masking tape frontier edges are completely dried in and against your paper direction. Here is the final painting for the 16 of these 21 day challenge. You can see such a beautiful outcome behalf, such as sympathy, yet too much detail. So that is it for today's class project. We are just five days away from closing this challenge. Thank you so much to each one of you for joining me into this class and painting alone. I will see you guys tomorrow into the next class project. 22. Day 17 - Northern Sky: Hello everyone. Welcome back to the 17 of the 21, the watercolor challenge. Today we are going to be painting this northern sky kind of a, C E. Look, the patterns that you need are listed here. And we're going to begin painting in today's class project. I have my paper taped down and we're going to begin in with a little pencil sketch for the mountain range. And then it will detailing into the area as Ben, I'm just going to begin by marking out the horizon line first, almost in the center space or just a little below the center line. I'm going to mark the horizon line because we are going to be having in a mountain range as well. So that is the reason I've taken the sky area a little bigger as compared to the CEO. Now this is going to give in a very rough mountain ranges in the CAD Yeah, I'm just giving you little drove PTAs. The reason of marking disease. We have to leave these pieces by, as we will be adding in details with the dry brush technique it as bed. So that is it for the pencil sketch. And now I'm going to begin painting in. First. I'm going to begin in with the clean layer of photo only into the skies piece. So we're going to begin painting each of the elements one by 1. First, let's begin with the sky. Make sure you add in an evenly beautiful water onto your entire sky. And make sure to run your brush multiple times that will help in keeping the paper wet for enough time. And you blend the colors and adding all the layers to get into vibrant look to Yana, the night sky. Then adding in a clean water to my entire sky. And now I'm going to begin adding in the followers into the sky one-by-one. First, I'm going to begin in with the bright opera color. So I'm going to pick up a little after brighter, better color on my palate. Now many of you may not have the bright or better color in your, you know, basic palette. You can go ahead with any vibrant pink or you can just create a little pastel pink up by mixing in Jak, wind, rose or modality, red colobus, little bit of white. Next time picking up the red violet color and the violet color as well. So I'm keeping all the colors for the Skype ID on my palette so that I can begin painting them quickly. The last color is going to be the paints gray color. So removing that as well a little onto my palette and keeping it lady. Now if you do not have the red violet color, you can just mix it a little bit of your violet and anything she'd to get a little pinkish violet kind of photo. Now first beginning in with the bright opera color from the right side. Next I'm going to pick up the red violet color and add it onto the left side to the private operator color that we have added in. So just going to pick up the ballerina medium consistency. After this, we will be adding in for the LEO to get in the vibrancy and the depth to the sky that we wanted. Now at the top space, I'm going to fill it completely with the violet color and onto the red violet color also very gently, I'm going to pull out little of the violet color strokes from the edges. Now when you begin adding in one color over to the other, make sure you have the perfect Water Control on your brush. Otherwise the paint will spread a lot. Next, picking up the paints gray color, I'm just going to add in little out the darker side or at the top side to given the darker depth to your skies piece. Now to give a little more darker effect into the sky, I'm just adding in little more of the Payne's gray color beginning from the top, directly picking it up from the band without adding in much of the water. Now you will see I'm getting into create more of the darker depth and do my sky into my sky area. I have to keep an already knowing space for the bright opera color and rest of the colors are going to be little on the darker side, creating in the darker blue for the sky space. Now. I'm just beginning to add in the same colors again. So I added in a little look the red violet in the center space because the left side, red violet, as you can see, who's completely covered with the violet and the paints gray color. Now again, going ahead with the second layer of Friday, it as well, so as to give them the depth to the opera colorized. Remember, watercolor dries a tone Dido, hence TO vibrancy of the paint will be a little duller one stay dry in. So make sure to get the Dakpo vibrancy. You add in another layer and building layer by layer rather than adding in the darker colors altogether. Now I'm slowly moving my board in all the directions so as to get the perfect blend in-between the colors that we have added it, make sure you go in slowly and do not tilt them a lot together. Otherwise, they will just move a lot and if excess water it will create one flat color. Now let's paint the CEO. It's going to be a reflection of the sky only. We will paint the mountains needed on the mountains this time also will be more of the dry brush detailing. First, I'm going to begin in with a clean layer of water into the sea area. I'm going to leave those little of, you know, rock spaces that we have added in. I'm not going to add in the Waterloo there because they're also, it's going to be the dry brush detailed look. Now in the CAD alter, I'm going to begin in with the same colors that we used for this guy area. Just an exact reflection. So on the right side first beginning in width the bright opera color near to the horizon line. Next I'm shifting into the red violet color and I'm going to begin adding that color just closer to the bright opera sheets. Now make sure you maintain the outline of this rock spaces that we have added, wherein we did not add in the layer of water. So make sure you give them the perfect edges so that the reading their shift when we add the details with the dry brush technique later on. The left. If I'm adding in the violet color again on the left side also that little drug space you can see I've left it blank. So now if you see the vibrancy of the colors in the cdr is so light and when they dry, they will still dry or tone lighter. So I'm going to begin adding in the deck. So first beginning in with the paints gray color, giving you a clean line at the horizon line so as to get the perfect distinction. In this India, if you see there is the darker depth on the left side and the topmost site in the CO2 am adding in the depth on the left side and the bottom most site so as to get the perfect reflection of the sky into the area. Now I'm just adding in another layer of the same color so as to get the more vibrant loss to the colors once they dry in suggest added in the red violet color and next picking up the brighter, better color and we're going to add it. You also asked to get them more vibrant look once this dries it. Now with the Payne's gray palette as well, just adding in little more darker. Randomly add the left side and the legend at the bottom side. Now one last thing before we read for this to dry and I'm going to pick up a smallest size brush. And just underneath the center roc space, I'm going to add in little darker tint with the Payne's gray color to act as the shadow once we paint this dark space to just using the Payne's gray color in a little data consistency, adding in a little shadow just underneath that drug space that we have left there. I'll wet make sure this is wet on wet so you get the soft reflection for the New York area as well. Now on the right side as well, just going to add a little more depth with the darker tone. Just really, not much. Just lastly, I'm going to add a little more of the red violet color tint very randomly. So I'm picking up and just dropping the color to create more of the color blues because there is very less of the red-violet, violet color because majorly it's got covered up with the Payne's gray color. I'm just going to pick up little of both of these colors and you can see I'm just dropping it, creating and blues are automatically even between the Payne's gray color. You can see a little lighter color effect coming in because of the violet color. Now after this, let's wait for all of these to dry and then add the final details into this painting. That is the mountain range and the details in the sea area. Now my sky and sea areas have dried completely and you can see such a vibrant look. We have cotton also in the CAD I2C, the leaves that I added on the right side with the Payne's gray color. I added them so light that after drying they given the perfect blending effects. So make sure you go ahead with very lighter tones on the right side. Now using in the bright opera color in a very watery consistency, I'm just going to add in a very lightly onto this mountain range. So it's mode of water, very less of pigment. The reason of adding this new node is because I wanted to show a little of the shadow of the northern sky colors onto the mountain range as well. You can see I just added pigment and now I'm just using a damp brush and spreading it across onto the entire mountain range. In the same way onto these small drugs into the CEO, I'm going to give in a very light layer of this brighter barrack info. Now, these false fear of the brighter, better dry, I'm going to quickly add in the stars into the sky because we've painted a northern sky without the styles, the sky will look a little empty for adding in the styles I'm going to be using in the whitewash. I'm picking up the white gouache and I take consistency so that I get the opaque look to the stars. And I'm just going to begin to planting in the stars into the sky area. I'm using in a smallest size brush so that I do not get a lot of them not we're getting the biggest plateaus at all. Now at the top I feel that is a little extra star gathered our tours. I'm going to quickly just blended into the background and make them disappear. We will be adding the glowing stars later on, but for now, my first layer of the mountain has dried completely. That's still a bit of pink layer that I added in. Now I'm going to pick up the paints gray color, and I'm going to begin adding in the dry brush onto this too, just as we added the dry brush in the last class project the same base we are going to be adding in the dry brush onto this mountain range as well. So picking up the paints green or Tico consistency, make sure you do not have excess paint. Keep it as Tocqueville audit tissue handy so that you can dab your brush every time you pick up the paint from the left, I'm going to begin moving towards the right side. In between your all-time going to be giving in little of the darker patches with the Payne's gray color and in-between. A little off the dry brush stroke majorly on the edge. I'm going to give him the black color budget so as to define the outline off the mountain range as well. You can see slowly and beginning to add in the dry brush detail, make sure you do not have excess water or paint, otherwise you will get only patches instead of the dry brush detailing. It's very important to control the water content on your brush only then you will be able to achieve in the dry brush. If you're not confident about adding in the dry brush still you can false test your brush onto a rough paper before adding it onto the main artwork directly. Now as I'm moving towards the right side mountain, I'm going to make these dry brush moves towards the left side. And if you remember, in the mountain range in between are given in little of the pencil sketch to distinguish the mountains from each other. So near to those lines, I'm going to give in for the darker depth so as to show the mountain distinction between each of them. Now under horizon line, I'm adding in a good thick line off the Payne's gray color first. On the right side you are to distinguish both the mountains you can see in-between I've given in such a darker patch and this right side mountain, I'm going to add in bone off the patches instead of the dry brush. So on the left if you see the mountain to have more of the smaller details and on the right it has list. And this makes this mountain range looked a little balance. Now I'm just going to give him little detailing onto the left side as well. Now in the same way, I'm just going to begin adding in little dry brush and patches onto these two rocks that we have added in the sea area. You can see at the top I've given in a darker detail with a darker patch of the Payne's gray Carla. And in the center of the rock space, I've just added it in. It'll dry brush detail, same v onto the left side mountain. You're going to give them little detail. After this, we will be left to add in little of the shining star effect into the sky. And then we will be almost done with this painting for today. In the dialogue to finishing detail with the Payne's gray color to this row. So you can see this time again, we have painted in a very simple seascape, not much of the waves detail, but again, more of the reflection detail of the same sky colors into the sea area. So that is how with every seascape, you will get to learn something new if you have been following us from day one. Now using in the white gouache, I'm going to first begin creating in the growing space for the glowing stars. First adding in the patches. And I'm going to quickly pick up another own brush and keep it damp and jelly and just going to keep blending this patches into the background, creating and deploying space for the stars. Very randomly. You can see I've made these scattered from each other. And now to all of them, I'm just giving them little blurry effect, trying to blend it into the background, giving it the dull view so that it looks center. Then you will add the styles on top of this. This will act as the growing space from behind the stars. Do the glowing spaces is drying. I'm just going to pick up some paints, gray color. I'm going to add in a little short space at the bottom of the sea area, suggest using the paints gray color in a very thick consistency. I'm going to add in a very rough shore space at the bottom area here. You can see I've given an n very uneven shaped to the short rate you're trying to make it look natural. And now going to fill this entire space with the Payne's gray color. You can see I'm using the Payne's gray color consistency so as to get an opaque look to this space. Now I do the sea area. I'm going to further be adding in a few of the rock beat is using in the paints gray color to these, we won't be adding in the small details, so just simple drops. Now two main drugs, we added it with us no detail and rest of these rocks can just be simple with the Payne's gray color. These rocks, you can see I've just added in the two reflection with the lighter tone of the Payne's gray color giving him very thin zigzag lines underneath them. Now lastly, just going to pick up the white gouache and I think consistency and adding the glowing stars in the center of these patches that we have created. And I'm going to add in for those smaller patches, you, it has to be smaller than the patch that you have in only then you will get in the glowing star effect out here. That is it reality with our class project for D7, let's remove the masking tape and see our final painting with those clean edges. Make sure you remove the masking tape against your paper and once your edges are completely dry, the bottom short space. Be very careful if the black color or the Payne's gray yellow is still wet, otherwise, it may get lifted and be applied on the edges as well. So make sure to have those clean edges. Your final painting for the 17 of this 21 day challenge, the address four days away from this challenge. Thank you so much to each one of you for joining me into this class. I will see you guys tomorrow into the class project. 23. Day 18 - By the Rock: Hello everyone, Welcome back to DVD. In off the 21-day challenge, the colors that you need for painting today's class project are listed here. We are going to be painting in this view by the rock side or, you know, and to kind of review, let's begin painting into this class project. I have my paper taped down and we're going to begin in with a slight pencil sketch to dependence is going to be marking the horizon line, that drug space entry that we are going to give in details, we will be adding in directly with pins just as we have been adding in so far. So let's begin by adding in the horizon line. And that big rock and the rock has beginning from the left side and it will be towards the top side. I wouldn't showing in the right side of the rock out. So at the top part, if you see I've made the rock go quite till the top edge of the paper to the rock also you can see the rough details that I've given them an, a very uneven edge. That is it for the pencil sketch. Now we're going to begin in with clean layer of photo into the sky area for us. Now, the rocks piece, as you would have seen in the beginning, is going to be over quite dark color. But still I'm going to try and avoiding adding in much of the colors out there. But while adding a layer of water, I'm just going to go ahead and let that water layer go there easily. That I do not have to worry much about the edge for this guy. First time beginning in with the Windows color, I'm going to pick up the color in a very light consistency. And I'm going to begin adding in these colors. The sky and the sea boat are going to be of very light pastel tones. Next I'm picking up the yellow, orange color out. You're mixing it with a little tint of that Windows color, which is onto my palette. Now beginning with this audio engine yet red color mix, I'm first going to begin in with them very lightly or of the color closer to the horizon line. You can see so much of water and very less of pigment. We want him very light colors. Next, I'm going to remove all of Compose blue colors. I'm just going to remove very little of this color on my palette because this color also be needed in a very light consistency only in the top area of the sky. You can see I've hardly picked up any pigment. It's more of water on my brush that is doing the walkout to us. We wanted very light colors to the sky and in-between you will see leaving a little white gaps as well to actin as the clouds. Now to this, I'm going to begin adding in little cloud detail. And for that I'm going to be using in the Payne's gray color to the remaining compose blue on my palette, I just added a little bit of the Payne's gray color. Now the landscape clouds also have to be off a very light consistency. So make sure you do not have much of the pigment and just have very light color. So I dropped in a little darker tones. I'm just spreading it with the help of a damp brush. Make sure you be careful about this thing before you move ahead. First, I will add in the yellow clouds. So I've picked up the yellow deep color and I'm beginning to add it closer to the horizon line. Now you can see the orange Galileo was so light that the yellow color is easily visible. But make sure you add these yellow color clouds in such a way that you still have to basically arrange visible in-between. Now I'm again shifting into the paints gray color and I'm going to begin adding in this at the top. Now when you're adding in clouds, despite you want to use the color in a very light consistency, you have to make sure that you do not have excess pigment or water on your brush. Otherwise, the colors will spread a lot despite picking up the color and a very light consistency. You will see that I adapt my brush onto the roof is that I do not have excess water and only very necessary pigment is onto my brush tip. Just using the tip of the brush. I'm just adding in the Cloud details with the mix of the Payne's gray and decompose blue color. Nice. You do not have to compose blue color. You can just use in a lighter tone of the turquoise new or the cobalt green color. So at the top of the sky you can see just using the Payne's gray color, I'm giving you the data cloud effect near to the edge line of ROC area that we are going to be having it in the center. I've tried to maintain little of the blue color. Look. You have to try and strike a balance between all the colors such that all the colors are visible, despite all of them having in their distinct look as well. Now using one tone darker, that is the Windows scholar, I'm beginning to add in little clouds with this darker tone as well. Now again, you are, it, you will notice the important thing is the water control on your brush. Otherwise you will just get one flat color look instead of getting in the Cloud detailed step-by-step. So we're done painting in the sky, a pretty simple sky. Now let's wait for this to dry and then we will paint the CAD Yeah, and then move to the rock species. Let's wait for this to dry completely. Now my sky area has dried completely and we are going to move into the area. I'm just going to remove little of the composed blue color again. You can see just a small dot is all unique to if you have the color in the palette, It's great. Otherwise, if you're removing it from the tubes just for one painting, then make sure you remove and very little paint. Now I'm going to begin in with a clean layer of water into the entire area forest. Near the horizon line became first that you do not run into the sky area, otherwise you will mess up the sky. So I've just added in a clean layer of even water onto the entire CSPs analytics of it has gone into the rock space. But as we painted the sky, we are going to paint the C also feeling because the rock is going to be off the darker color. First beginning in with the composed blue near to the horizon line. I just removed a little more of the color so that I do not fall short of the color white painting and otherwise may see area will begin to dry in, just beginning in with decompose blue color. Now as I'm moving towards the bottom space, I'm going to add in little highlights with the remaining orange color onto my palette. So you can use the same palette that you use for the sky area vector. This is bottom space is going to be the shortest piece. So we're going to go in with the weeds majorly wet on dry this time as well. I'm just going to add a little of the yellow highlights as well into the sea area just as we had in the skies piece. Now in the short space, I'm going to begin adding in little detail with decompose blue color over onto the orange color. Make sure you use the paint only from the tip of your brush and going with a very gentle hand. Otherwise, the blue and the orange mixing together will give you muddy tones, which we do not want. Martins behalf, a little of the red tones underneath that will help us in a sliding window or you know, muddy tones being fun. Now shifting into the paints gray color, even into the sea area, I'm going to be giving any little highlights with the paints gray color, Major knee towards the edge of the rock. I'm adding in a little shadow with the darker tone so that the all you know, when you paint the ROC area, you have a shadow of it falling into the sea. Now while my area is still wet, I have mixed in a little of the Payne's gray and decompose blue color and gotten a darker tint. And I'm going to define the horizon line with this darker. Then I'm going to give them little of the wet-on-wet leaves as well. Alright. And rest of the weeks we're giving it wet on dry once everything dries completely suggest very little detail with this darker, did two given the total depth into the sea area. You will see I've given in very loose leaves with the darker tint and I've made sure that I do not have excess water or near the end of leaves will be visible, otherwise they will spread and give you one flat color. Lou, I keep repeating this in each and every class project the importance about controlling the water while adding in the details into any kind of watercolor painting so that you understand the importance of this. Now, at the water molds have just added in little of the leaves to show in the crashing VIP near to the shore area. That is it. Now let's wait for all of these to dry and then add in the further details into this painting. Now I will wait for this to dry completely. Now I see ADR has dried completely and I'm going to begin adding in the further details. We have to add in the drug details and little detail into the CSPs. First, I'm going to begin in batting in the forcefully of other rock as well. I'm going to begin in with the burnt umber color and going to paint the entire rocks piece with this bond amber color. So for the ROC area, I'm going ahead with the wet on dry technique because I just want to add in the code of the brown color first. And then once this dries, I will give him little detail with the dry brush technique. So beginning in with the burnt umber color, I have marked out the edge as bed to the pencil sketch edge that you'll see. It makes sure that you are, you know, go across that edge. Otherwise, the pencil marks will be visible. Hence with watercolors, it's always important to go ahead with light pencil sketch so that, you know, you can hide them easily under the transparent colors as well. I'm just marking out the rough shape and going to fill it completely still into this. We are going to give them darker depths while this is still wet, your paper is less than a 100% or if it dries quickly despite being a 100%, then you can go ahead with the overtly out of water as well and then add in these details. But giving in the water they are defining in the shape of the rock can be a little tedious one, so be a little careful. Now. I am adding in the Payne's gray Canada as well along with your so that by the time I reached this space again, it shouldn't die in. Just adding in the dark adapt with the Payne's gray column majorly towards the bottom edge where we've given him that rough ship. Now at the bottom space you are on the left side. I'm going to fill up major leave it Payne's gray on given very little tent off the brown color in between. Now, on the left side your I'm just going to lift up a little of the color and given little of the light effect out here. Because there I will give you a little detail with the dry brush technique giving in some light effect. So for now I'm just lifting up little color very randomly. So this is for the first layer of the rock speed. I'm just going to add a little more darker detail with the Payne's gray color while this is still where majorly onto the edges. And then we will wait for this to dry. Until then we will add in the details into the CIDR. Now until this dries, I'm going to begin adding in the detail into the CEO. For this. I'm going to mix in again the composed blue and the paints gray color. And I've shifted into a pointed tip brush and I'm going to begin adding in the wet on dry. I'm going to add in very fine line width this time. Make sure you use a pointed tip brush or a detailer brush. My brush, despite being a size eight brush, has such a pointed tip that when I hold it perpendicular and begin heading in the V's, I can get in the fine details perfect. In-between. It will be adding in the dual of the leaves as well to given the crashing effect. Now you can see in between him, I didn't mean to love to take copies and now in-between these gaps, I'm going to keep filling in the ANOVA. I'm adding in shorter beams closer to the horizon line and adding them closer to each other to give in depth to the waves area. Majorly from the edges I'm pulling up, the bigger we've effected the centers piece. As we move away from the horizon line have added in March off the big details. Now for moving further below, I'm going to begin adding in much more, bigger of ease and I'm going to define a shoreline. There we added in the little crashing wave effect. Now to define the shoreline, I'm shifting into the white gouache and I'm going to add a little of the crashing wave detail. As I told you, the orange colored area is going to be the short space. So just about that I've added in a light blue, given some crashing BP deals out there. Now in the same way, I'm just going to add given little of the crashing phone details in the short space as well. So just going to pick up little whitewashing, a thick consistency and adding very random dry brush into the shortest piece. Now next, using in the white gouache, I'm just going to add in little more detail into the CEO giving it more formed detail. You know, the line that we added in from there also, I'm going to pull out little after dry brush dd to give him the form crashing effect as well. Now to this white gouache line that we added in, I'm going to add in the shadow detail with the mix of the paint gray and decompose blue color. Using injustice small, fine tip brush, I'm going to add in a very fine line to act as the shadow to this crashing wave effect. I'm done adding that shadow line. Now picking up the paints gray color, I'm just going to further add in little darker leaves as well. I'm Rob details into the sea area. Make sure you do not add the rocks in the same shape and size. Tried to scatter them and give them different shapes and sizes so that it makes them look nitrogen. Just going to add in a few more of them. And after this we will just do a left to be adding in little details into the big rock space. And then we will be done with this painting for D a dean. Now using in the white gouache, I'm just adding little form detail closer to these rocks as well to show a little of the caching waveform effect closer to these rock spaces as well. Using the Payne's gray color, I'm just adding in the shadow one more layer out TR so that I get in a little darker shadow, but this shadow is going to be for the ethanol. Then the foreshadow that we added in so that both the colors, the shadow are visible. Now let us begin adding in the dry brush detail onto the rocks piece. Using the Payne's gray color, I'm going to begin adding in the dry brush detail, so make sure you use the Payne's gray in a thick consistency. I'm going to shift into my size four brush, which will be much easier for me to add in the dry brush the day. After picking up the pigment makes sure you false dab it onto a tissue ordered October. The excess paint and the pigment board get absorbed by the paper napkin or the paper towel. And you will get in the perfect dry brush stroke. So we are going to be filling in major of these rocks piece with the dry brush in-between, you can give him little of the dark patches as bed. If you have excess water onto your brush, you will just begin having in the patches of the color instead of getting into dry brush and boo meet the rocks, look not sure. It's very important to get in these dry brush TDR. So make sure you do not have excess water or excess pigment on your brush. Both of them would give you patches and would not give you the natural look to the rocks piece. Now using the paints gray color, I'm just going to add in a very fine mountain range onto the horizon line majorly onto the right side first, the top of this mountain range, you can see I'm giving it a very uneven shapes so that it looks natural to try to 3D its height throughout so that it will give it the more natural look. Now lastly, I'm just going to pull out little of the dry brush with the white quash out your near to this crashing short wavelength that you'll get in the perfect form DD. That is it. Now let's remove the masking tape and see our final painting for DAD today again, another of you off the seascape, it minimum wave details, but having in so much other elements and so you know, giving it such a definitive view class using the colors in a very light consistency yet getting in the beautiful sunset kind of review is our final painting for the 18 of the 21 day challenge. I hope you guys enjoyed painting this. I will see you guys tomorrow and do the D9 class project. Thank you so much for joining me into this class. 24. Day 19 - Sunset: Hello everyone. Welcome back to the 19 of the 21 day watercolor challenge. Today we are going to be painting in this beautiful sunset and the reflections to the colors that you need are listed out here. You can go ahead with the first arch Native scholars. If you do not have the exact same sheets. I have my paper taped down and we are directly going to begin in with a pencil sketch. So I will begin knocking out the horizon right. Now almost in the center area, I have marked the horizon line. The horizon line, I'm leaving in little space. On the left side, we are going to be having in a very small area visible in-between the greenfield space. So that logins piece on the left side will be the see colors again. And this entire because space is going to be the greenery space onto which we will be having in the pine jeez. Even on the left side, we will be having a little of the TV it is. That is about the basic pencil sketch that we are going to be having eaten and we are going to have the reflection of these cheese out. You're into the idea that even be painting wet on wet, make sure to not give in the darker pencil sketch otherwise it will be very difficult to remove them. Now from the left side and a little on the right side, we are going to have a little of the leaves and the branches coming in aspirin. That is about the basic pencil sketch and the layout for the painting. Let's begin removing in the colors one-by-one. First, we'll paint the sky and then we want to see a PDF I'm going to be using in the Nathan's orange color this time. If you do not have to Naples audience, you can go ahead and use a yellow, orange color. That will be perfect meal. Next time. When do you use in the Naples yellow. Hello. If you do not have Naples yellow, you can simply using any lighter shade of yellow fallow. Next I am using in the shell pink color. So if you do not have the shell pink color, you can simply use your windows, adding a little bit of white and get a pastel pink color. These are the three colors that I will be using it. So let's begin in with a green border for not only into the sky, I'm not going to go below the horizon line for now. We're just going to paint in the sky area first. I'm gonna have in the thin layer of water. Now I've been false beginning with the Naples yellow color at the top space underneath that I'm going to add in the nipples audience color. You can see I'm using the colors in a medium consistency directly using a flat brush so that I get fulfilled. Glenn's between them. Next, shifting into the shelf things at the bottom space. Now I'm going to pick up a little of the windows color. I'm going to give him little darker highlights moving from the bottom space. So automatically, you will see now that, you know the shell pink color is almost like the pistol paint off the windows color. Hence, if you do not have to share think Carlo, you can simply use in little white and Windows. Now I'm just giving you a little more of the highlights of the followers. That is it for this guy. Now we'll paint the sea area as we have gap in-between, so we need not read. We can delete the begin painting the CSPs. So I'm going to begin with a thin layer of water into the area as well. The CDR is going to be exact reflection of the sky colors as well. We're going to begin in with the windows at the top side of the sea. And as we move down what we will shift to the orange and the yellow cargos. I began with the shell pink color, then shifted to the audience and now to the yellow. And lastly, I will just start a little of the crinoids highlight are near to the horizon line onto the shell pink color. Now my sky is almost 50% dry it and I'm going to begin adding in Digital of the green details while the sky is still wet. Your paper dries quickly then forced adding this detail and then shift into the Z space. So I'm going to pick up the sap green color, no medium consistency. And I've shifted to a smaller sized round brush and I'm just I'm going to begin adding in little of the financial detail into the sky space. This is wet on wet. You can see my sky is wet and then getting into soft edge to the green color. So I'm just going to add in this 3D then I will be the heights throughout, keeping them tall and short somewhere. You can see how JMP I'm going in your so that I do not blow out of proportion out of the horizon line. Also make sure that your site is 50% weight. Otherwise the paint will spread a lot. And also on the green color, make sure you do not have excess water otherwise, it will also spread a lot. Almost in the center space I've added in this bush, they didn't. Now I'm going to add the reflection to these in the CTE area. Now my area is also 50% better than 50% dry. So I will get in the 4-factor flexion for these as well. So I will add the reflection a little smaller as compared to the box area because in-between we have the little bit of the grass detail again. Now I'm just picking up a little darker green tone. And on the right side I'm going to add in the reflection. On the right side, I'm adding in the deflection for the pine trees that we will be adding on later on. So for now I'm just adding in a very dark reflection to the pine trees. You will see the reflection is very random. And again, my CTI is wet hands, I'm getting into soft reflection. Look, we are going to be giving you a little carton between these reflection as well so as to make him look perfect. Now make sure you add the reflection only in the heights that you will be adding at the top space. You'll give me the heights of the pine tree at the top space according to your wish. I'm adding the reflection accordingly. How I'm going to be adding in the trees at the top area into the sky space. I'm just going to pick up a little bit of the Payne's gray color. I'm just going to add a little darker depth to this reflection. You can see my area is also still wet hands, the reflection is coming in. Also, I learned in the reflection I'm making sure that I have the perfect Water Control on my brush. Otherwise the paint will spread or not and you will not be able to control it. Now why is this cdi still wet? I'm just going to pick up niche enough the colors using a damp brush to us to give in more depth to the reflection. So you can see just by lifting up the parlor or giving you those carton with we mixed the deflection look more real. You can either do this using in the lifting technique or using the wife wash for adding in these details. Now next in the center space near to the Greenfield area, you're going to be having a logit of the CSPs in-between time this window, adding the colors there and keep it. Then we need to wait for all of these to dry before beginning to adding the final windy deals into this painting. Now let's wait for all of this to dry and then beginning to adding in the wet-on-dry details of this painting. Now everything is dried and you can see the reflections a beautiful and perfect. Now we're going to begin adding in the green details into this painting supposed to, and beginning in with the sap green color and the white space that you can see in now, I'm going to fill it with the sap green color in-between. I'm even using in a little of the olive green color, but that's just optional. If you do not have it, you can simply just go ahead with the sap green color. Now you're going ahead with the wet-on-dry technique because it's a small space where I just need to add in the green color. On right side of this piece, we are going to be adding in the pine trees coming out from this green field area. In-between. I'm just adding in a little bit of the light green color as well. On the right side, I'm using the yellow-green color. You can go ahead and use any light that is available in your palette. Now, I have to walk a little distinction in-between that bush space and that little area that we have in between the field area, just giving it the green highlights, your Asbell. Now this is the green space dries. Let's begin adding in the details at the bottom of the painting. I'm going to pick up a little of Payne's gray color and I'm using a pointed tip brush. And using this pointed tip, I'm just going to begin adding in some branches at the bottom space. They're going to be very small branches. Make sure you use either or detailer brush or appointed the brush to get in these fine branches. So I'm using a size eight brush, but still this has appointed depends. You can see the outcome. They are such fine branches and just adding them closer to each other, close to each other, giving in the DDS. I'm done adding in the branches at the bottom space now I'm going to shift into another brush and blend to begin adding in the fine Gs at the right side Greenville area. So for that I'm just picking up a normal dark green color. You can go ahead with any darker green top. Or if you do not have the darker being brought, you can just use the sap green color mixed in with a little bit of the black or the Payne's gray color. Now when you begin adding in the fine Gs or basic, GO TO make sure you remember the height of the reflections that you have added it. And accordingly, I have the height at the trees, the top space. You can see I'm not adding in March, they look G. I'm just going ahead with very basic looking tree. You can go ahead with any other all kinds of detail that you wish to see if you just want to add in simple long bushes, all taught that will also work perfectly fine. As I'm painting in the trees at the bottom, I'm giving it the darker tones as well so as to solve the trees perfectly merged into the greens piece ADR. Now I have taken care of the reflection heights as well, and we read the height of the trees accordingly. Again, you will notice that I'm going ahead with very basic gene, not even the detail for an edge loop. So do not worry about adding in much of the detail look to the gene. You can go ahead with any other signs of a basic G as bell. Next on the left side, we're going to add in a lot of branches and very less of the foreign nation ECG. So for that I'm just picking up some Payne's gray color and mixing it to the balance green on my palette. And I'm just going to begin adding in the file HDD and out you're on the left side. So again, I'm using an appointed tip brush and I'm just going to begin adding in very simple branches. And from those bigger branches, I'm going to remove in some taller branches, the police. These branches can surely vary for each one of you also, you'd need not have the same placement of the branches as mine. Most of the entire left side you can see I've added in branches and various fine branches as well coming out from the bigger branches. Now make sure you do not move it a lot in the centers piece. To add the bottom media, I pick in the branches a little longer, but at the top space, I've kept it, uh, you know, limited space because we have already small size painting. Now just using the tip of this brush, I'm going to dab in very random leaf structures in-between these branches to given the foliage. You can see how just randomly just dabbing in the tip of the brush giving you that very random GDP. I'll give them so much depth and yet the detail view for this window, I didn't have a few more of these. Make sure you have them on it. It's got there. Do not add in a lot of polish this time door. Now in the same way, I'm going to pick up a little more of the olive green color and mix it with the remaining greens on my palette. I'm going to begin adding in little foil leach out. You're at the bottom-right side as well. You are not going to add in the branches. I'm just going to add in the foil it. So I'm going to add in the foliage much closer to each other so as to give him the more detailed view out your window, adding a little of the Payne's gray color as well between two given some doubtful debts as well. Now in the same, we're just going to pop out of the branches on the right side as well. But they are going to be quite less as compared to the details on the left side and on the right side. I'm not going to be adding in much detail as we're just going to leave these branches as a disk. Now next, using the tip of my brush, I'm just going to add in little of the branch detail into the bottom field space. Very random. I'm just going to add in very natural or branches or you can call them just little article grass details are there for grass details out you're in the center area. Now last thing using in the whitewash, I'm going to add in that setting some details from behind the trees and the bushes so far that I'm going to be using in the whitewash. Just from behind these bushes are given in that divide more detail first, I'm going to blend this a little. And then to this I'm going to add in little off the windows colored effect to given the effect of this guy space onto the sun area. Now using in the white gouache, I'm just going to add in little of the white highlights as well. As I told you in the beginning when we were adding in the reflection, you can use invited quash as well, be given those. It is. I'm going to add in a little tedious with whitewash to make sure you use the right question. I think consistency using an appointed the brush to given these white details. Now using in a little bit of the Payne's gray, I'm just going to add invaded little details into the CSP is to give a little stone details or you know, the original details and reflection into the sea area as you can see when it comes to these DTUs and going in so slowly so that I must run out of proportion because it will be very difficult to undo any of these. So make sure you go ahead very carefully with these. I just add a little of the green details or the darker diabetes onto the old vintage space as well. Now using the Windows color, I'm just going to add in little highlight to this anemia as well. And then we will be ready with this class project. So I just added a little stroke of the quinones and blended it with the white using in another brush. You can see the other green details as well onto the Greenfield area wet on dry, giving into much detail view. Let's remove the masking. T and C are fine and painting for D9 as your final painting for D9 of these 21 day challenge. Today we added in the reflection in a very different manner. I will see you guys into the day 20 class project tomorrow. Thank you so much for joining me. 25. Day 20 - Ocean Waves: Hello everyone. Welcome back to the 21-day watercolor challenge. We are indeed 20 and second-last painting of this challenge. The colors that you need. I have listed down out here. You can go ahead with the best alternative colors if you do not have the exact same sheet, Let's pick in painting in. I have my paper taped down and we are going to begin with a very light pencil sketch that's marking out the horizon line. The horizon line is going to be a little about the center space this time. Just to let you know about the center space, you can see the Ceti is a bigger one on the sky area is a very small space. Now in the sea this time we are going to be having in the movement of the weeks with the rough pencil sketch. I'm just marking out the movement or the spaces where we have to add in the darker debt. Then we will be adding in the form d1 with the white gouache suggests giving you the rough pencil sketch to showing the movement of the V's. So the weights are going to be moving from the left towards the right and on the, onto the center space. It's going to have in a little crashing effect. Let's begin painting in the sky. So for the sky this time I'm going to be using in the compost blue color, which I already have a little on my palette. Now if you do not have to compose blue color, you can simply using the turquoise blue color, mix it with a little bit of the Payne's gray or indigo color. Next I'm going to be using in the indigo color. And apart from this, the yellow and the orange sheets from the previous exercise. First I'm going to begin in with the clean layer of water into the sky space. Make sure you have an even layer of water throughout so that your paper will stay wet for enough time and adding in the layer of water. And now first I'm going to begin in with the lighter tones. So the lighter tones are going to be the Naples yellow and the orange color. I already have them on my palette. I'm going to begin in with the Naples yellow color first, make sure you do not have much after water into these pigments. Go in with a very light to Audi dealing with this color. I'm full speed, meaning that they get no Carlo. You can see just starting in very random patches to give them that little detail of the clouds in-between that gloomy sky. Next, I'm going to pick up a little after shell pink color. If you do not have the shell pink, you can completely skip this step or create a pistol pink, or use of flesh tint color as well. Now I'm going to begin adding in the details with decompose blue color. So using in the component blue color, I'm going to add it into the rest of the whitespaces. Now near to the yellow color, just be a little careful and even near to the shell pink color, lay the colors a little farther and let the water do its magic and blending easily. In-between all those little white gaps that we have. I'm just starting in little cloud details as well. Now I'm just going to add little more depth using this color. Right now, when I'm adding it near to the yellow color, I'm adding it in a little more liquidy consistency and with a very gentle hand so that the colors bleeding easily with each adult. And I do not have much of the green shades being formed very gently in ban adding emitted off the clouds, making sure that I do not have excess water. Now next I'm going to begin adding in the Cloud details using the indigo color. I'm going to begin adding in the dark clouds detail from the top space using the indigo follow. Again. This is still wet on wet, my sky area is still wet hands. I'm able to add in all of these details using the wet on wet technique out here. Now I'm going to add this indigo color in such a way that compose blue pattern is still visible at places. And the yellow and blue shell pink colored beads that we added are also visible. Now carefully, even near to the horizon line, I've added in the dark of gloves with the indigo color. Now I'm going to pick up the composed blue color in a little darker antique of antisense if without much of photo, I'm going to begin adding in the darker cloud depth. So you can see in the base the ove had used this color in such a light consistency. And now just by picking up the color in a thick consistency, you can see the color pigment, how dark it is then the base Neo, suggest beginning to add in random clothes in-between in the central space. Make sure little of the yellow and the shell pink color clouds are still visible. Just adding in some darker depths with the indigo color as well to build in the depth into the cloud area. Now at the top space you are just going to add a little more darker clouds and then we will be done with the sky. So after the sky, we will wait for this to dry completely now. Then we will begin adding in the details into the CEO. The CEO is going to be off the composed blue and indigo color majorly, or you can use in the turquoise blue color. Let's wait for this guy to dry forest. My sky is completely dried and we will begin painting the sea area. Now, I will begin in with a layer of water into the entire area. In this area, we are going to go in two steps. First, we will be painting in the base Leo adding in the darker depths, wet on wet. And then once this dries, we will be adding in the detail with the white gouache giving in the form details because of the crashing beers. Now the waves dependent sketch that we have added in will be acting in as the darker shadow or the movement of the dark Aviv's giving you the A-form effect out there. The first beginning with the clean layer of water into the entire area. Now I'm going to pick up a little of the cobalt gene Canada as well, so as to give it a little lighter depth on the right side. Let's begin painting in with the cobalt green color first, I'm going to begin in with the lighter tone of this. And then we will begin adding in the darker deaths. Now when you begin adding in this color type, omit the movement of the color into the shape of the ifs that we are trying to add in. Also, when you add this off, you off the pencil sketch may get hidden urine, they're all wine adding in the darker depth, you can go ahead with the national movement after we've already, you want to add in the darker depths, the entire sea area. You can see I've given in the layer the cobalt green color living that tend to leave space a little white. Now shifting into the compose blue color, I will begin adding in the depth of the V's. Again, when I begin to add in this color also, I'm going to keep the movement in the movement of the leaves that I wanted. It's very important to move your colors also accordingly so that when they dry, they have those shape retained in. So now I've filled in the darker depth with this darker layer off to compose blue color on the left side, the pencil sketch that we had marked in, and fewer Adobe's that we had added in with the pencil sketch. I'm just going to be adding in little of the dark of a movement out there with this composed blue color. The entire see, you can see. And I have been giving in the wave movement using in this darker color. So the cobalt green was the lighter color tone layer. And onto that we are giving you the darker depths using in this compost blue. Now if you do not have to compose blue and if you have the cobalt green color, you can just mix in a little indigo to get in the darker deck. Now I'm going to use in the indigo color up your LEA and begin adding in much more darker death. For now you will not be able to even see the movement of the waves that we need in the final painting, those depths. Now we're going to begin adding in with the indigo color. So be very careful. One makes sure you do not have excess water in your brush or nor in the pigment. And second, make sure that you are using in a smallest size brush and your layer, that is the C area is still wet, otherwise you will be getting the sharp edges instead of getting into perfect blending. Now I'm going to begin adding in the indigo color majorly from the left side, making it move towards the little centers piece. In the center, the bigger crashing baby fact that we are going to show it there. I'm going to mark out with this indigo color outline. Now according to him, giving him the shadow effect out here for the waves that we will be having at the top space out your two that I'm adding in the little shadow. First or knee while this is still rare. So the wave is going to be from the left to the right and on the right just underneath the V3 will be having a little darker, giving in the shadow to this bigger wave effect that we will be having in. So you can see how Leo, by Leo, we're building in the depths into the sea area. That is how you have to go given the movement of the leaves and also given though or movement while adding in the paint itself, only then when they dry, they will read in the shape and give you the movement effect. Now, what's the shadow space bottom area I'm showing in some movement going towards the downside as before letting the C2 dry. And I'm just going to give them in more detail using the indigo color at the horizon line, defining it perfectly. And then I'm just going to pick up a little of the compose blue color and this going to blend it at places wherever I feel the need to. Now, depending on your layout of the colors at the moment, you can go ahead whether you want to add in photo more color effect or do you want to leave it at that space? So wherever I feel that is a little extra indigo and I wanted to lighter depths. I'm just adding in little layer of this composed blue color so as to get a little lighter spaces. Now again, as I told you, this is perfectly and completely onto your choice because how your colors are pleased may be completely different from what mine are. The bottom yours. I'm just lifting up little color towards the downside to show some movement of the vase, suggest using a damp brush. I'm going to keep lifting up, lifted off the colors now to give a little light movement as well into the sea. You can notice after every stroke that I lift up, I'm dabbing my brush clean and lifting it up again with a damp clean brush so that I get the perfect lifting technique. Otherwise, the colors will not make much difference because you would already have little pigment from the previous lifting on your brush. Now let's wait for the C2 dry completely. And then just next to add in details with white gouache giving in the form details into the painting. Now, the EDI is completely dry, I didn't. And you can see the movement of the left side waves because of the way in how we added them. So it's very important, as I told you a while adding them, you need to define the movement while adding in those layers. Now using in the white gouache, I'm going to begin adding in the details into the sea area. Make sure to use the white gouache in a good thick consistency. Only then you will be able to achieve in the opaque look to the form effect. First I'm just defining the outline where a wonderful effect. So make sure you use undefined these outline very roughly and with a very small tip so that you do not cover major spaces. Now at this piece, I'm going to give a little of the form detail using the dry brush technique, giving you ingest some form detail out there. Before that, I'm going to just add a little more of the form and web detail very randomly into the rest of the z-space. You can see I'm adding them vary randomly and very little. Make sure you do not overdo this white part. Ready randomly, you will see I'm using little strokes and little dry brush as well to give informed the deals into this entire ocean space. To keep building in the detail step-by-step. Whenever you are giving in the dry brush, make sure you do not have excess water or pigment onto your brush. Otherwise, you will just begin to get into patches of that color instead of getting into a little detail loop. So it's very important by not adding in the dry brush to get the perfect control in your brush. Now to add in the form detail, I'm shifting into this coiled round brush which has very rough edges at the top suggest I am going to detect a debit into whitewash. I'm not dipping it into water at all and picking up the whitewash in a thick consistency. I'm just going to begin dabbing this tip of the brush out. You're given the forum detail. Now I will make sure I define the shape out your again and do not run out of the detailing us peace. Now, when you are adding in this detail with the white gouache, you can match better understand the movement of the beam and the form details that we are wanting to add in with this brush. Also, you can see I'm adding in little of the dry brush detail from the end of these waves. So this is just a spoiled round brush, which are the bristles of which are completely spoiled in which I use for adding in these details because it makes the tasks much easier and quicker and it also gives them march off the natural effect needed. Now randomly, I'm just adding in little more of the whitewash detail with this brush into the rest of the sea area, giving in some more form details randomly urine there. But those details you can see I'm giving it very roughly with a very gentle hands so that I get in very light details to that. Not much of the opaque look. Now to give in some finishing touches I'm going to use in this course, compose blue color again. And I'm just going to add in, out your near to the bigger form effect, the day, giving in the shadow detail on the inside part as well, suggest using the compose blue color. I'm giving it the darker shadow. So you can see it's one layer darker then the BCR color what I have in there. Now again, just some final touches with the white gouache and then we will be done with this class project. If you weren't also using a round brush which has a spoiled Brazil, make sure that you're not dip it in water. Otherwise it will become soft again and it will not give walk as B1 double spoiler brush to work as. Now let's remove the masking tape and see our final painting with those clean edges. Make sure you remove the masking tape once everything is completely dried and remove it against the angle of the paper that you do not tear off the edges. Your final painting for day 20 of these 21 day challenge. I hope you guys enjoyed painting this beautiful ocean behave today. And your is a closer view to the details of the waves that we have added in yet very simple, yet so much detail and such a pretty view. Thank you so much to each one of you for joining me into this class. We are just one more class project of E from this 21 day challenge. I will see you guys tomorrow into the day 21 class project. Thank you so much once again to each one of you for joining me into this class. 26. Day 21 and Thank You- Pink Sky : Hello everyone, Welcome back to day 21. We are on the last day of this challenge and we are going to be painting in this very simple night sky with the city lights again. So the colors are listed out here. And let's begin painting in the last class project of this challenge. I have my paper taped down and we're going to begin in with the pencil sketch. So I'm going to begin my finger horizon light, almost in the center space. I've marked the horizon line. At the bottom. We are going to be having a little field space from where we will be having in the families. And on top of the horizon line, you're going to have a small mountain range. Makes sure your pencil sketches are very light so that you do not have them visibility if your followers are light enough. I'm going to begin in with the clean water further into the entire sky space for us needing in the mountains. Or if you want, you can even paint the mountains along with it because the mountains or as it is going to be off the black color later on. I'm done adding in the clean layer. I'm going to begin adding in the colors now. So first I'm going to begin in with the bright of error color closer to the mountain. I'm leaving the mountain range blank. If little color goes in there, it's perfectly okay, but as much as possible, I will try a wide adding in the colors out there. So beginning in with the brighter parabola, disclose it to the mountain range and almost hiring half of this guy with it. Next, I'm going to pick up the violet color and when to begin adding in the violet color in the rest half in-between, you will see very lighter difference in between when the transition between both the calories. Now we're going to begin adding in the Cloud details into this. I'm going to begin in with the composed blue color that's already onto my palette. If you do not have to compose blue color, you can just use the indigo color and little medium consistency. Or you can use in any other blue shade that you want for adding in these Cloud details. Or you can mix in a little bit of your cobalt green color with a little bit of indigo to get the needle composed blue-collar kind of a look. I've just added in one layer of clouds. Now I'm picking up the permanent rose color and I'm going to begin adding in the darker depth closer to the bright opera color near to the mountain range. Now you can see I'm adding in the colors in such a way that each of the colors still be visibility. Now beginning to add in further darker depth using in the violet color as well. I am using in a size 0 mop brush out here. And you can see the amount of pigment these brushes holding and creating in the perfect depth as well, plus having in the perfect point to defer adding in the minute details. So try using and brushes with which you can add in much of the details altogether without having the shifting in-between brushes again and again. Now last it using in the indigo color, I'm just going to add a little darker highlights at the top space. It's going to be quite as compared to the detailing that we've already added in because I just want little darker effect and having the perfect pink night sky. Or this time, you can see majorly, I'm just using the tip of my brush for adding in these darker clouds. That is it for this guy. Now before I think this to dry, I'm going to pick up little of the color and create little rays effect on the right side. So I'm using the same brush. I have cleaned it well enough now just using the tip of the brush, I'm lifting up little of the race who asked for sure little glowing light effect which will be coming in from behind the palm trees that we will be adding in. This shifting into another brush. I'm going to quickly hip lifting this. Now after heavy lifting makes sure that you clean your brush so that again, when you lift up the color, you are able to lift up and not the color that is on your brush. Let's get a, gets made again. You can see on the right side we created in that glowing effect, which will be coming out peeking from behind the palm trees that we will be adding it. Now beginning with disease piece, I'm going to leave that center mountain space blank. And I'm going to just begin adding in the colors into the sea area. This area is going to be quite simple this time, but just the same colors of this guy and very little wave details. Make sure that you do not. Indeed the mountain ranges better. Then you wait for the sky to dry completely and then paint the area. Otherwise, the colors of the sky and this evil begin to bleed into each other. But since I have left gap in between, I can begin painting in the seed right now itself without reading for this guy to die in the CAD or forced, I've given it an air of the brighter, better color completely. You can see at this given in a very medium tone of the writer better color into the entire CSPs. Now onto this, I'm going to begin adding in the darker highlights using in the violet color. So the violet color, I will begin adding in from the bottom space and then just add more of it from the edges till then it'll center. In the center, I will let the bright opera look be there. Now I have bought them right-side you busy. I'm not adding in March of the beans because that is as it is going to get covered up with the black color later on. So I'm just leaving those spaces, whichever can be left easily. Now picking up the remaining of the composed blue color on my palette and adding that in effect with decomposed blue color. So I made sure that I do not have excess pigment or water. So I'm dabbing paint onto a rough cloth and then adding it into the CSPs so that the colors do not spread much. You can see how simply we are beginning to add in the depth grieving in little of the wave and the movement. Same vivid they indigo palette as well. I'm just adding in little darker depths into the z-space, giving in some wave effect that these are the wet-on-wet we've details, they're adding it. Then wet on dry. We will just be adding embedding UDL wave detail when you are adding these details also there is very important thing that you have the proper water control. Otherwise you will just get flat color looks and not getting these details we've looked at, we are getting in with the different colors. Now just adding in some darker highlights with the violet color as well. Again, you're also, you can see I have two Perfect Water Control, hence the paints are not spreading much. Yep, Having in the soft look, the wave effect. And I'm just using the point that the brush giving it the perfect detail. So it's very important to have the brush control, water control, and the pigment control when you're adding in details, wet on wet into any kind of a painting, otherwise you will not get in the detail note that you need it. Now from the edges, I'm just adding in little more darker detail with the indigo color and that is it. We are almost done with the base year for the CAGR as bed. Now we will be for all of these to dry completely and then we will begin adding in the details. That is the mountain range, the city lights, and the palm trees. Let's wait for all of this to dry completely. Now, my sky and C have died incompletely. So let's begin adding in the further details into this painting. I'm going to shift into the Payne's gray color and begin adding in the details and the palm trees. Make sure to use the Payne's gray color in a good thick consistency so that you get an opaque looks. I'm going to first define this little short space out your, you can see I'm giving in a very rough edge and just going to fund it completely with the Payne's gray color. If you do not have to paint it any color, you can simply when using the black color. Next, using the same paint is gonna be, I'm going to add in the mountain range. So I'm giving you the outline to the mountain range. If you have any pencil sketch visible and make sure you follow that, or you can go ahead with a very small mountain range depending on the size of your paper. I'm going to fill in this entire mountain range as well with this Payne's gray color, make sure you define the perfect line in the z-space as well, and not run out of proportion because it will be very difficult to correct any mistakes out here. I'm done adding in the Payne's gray color to the entire mountain range as well. And you can see we are getting in the forfeit evening law. We are going to be adding in the city light effect on the mountain range needed on once everything dries in. Now next, let's begin adding in the palm GD days. I'm going to begin in with the same paints, gray color. I'm going to begin adding in very simple palm trees. I'm not going to go ahead with much of the detail one. So I'm going to begin them and add them on the right side. And the bungees are going to be a little tilting towards the left side. You can see I'm giving him the family videos very simply and randomly. I'm not going in much of the detail. View me try you do not cover those lines that we have added in the sky space. Make sure you still have them visible while you're adding in the palm GO TO, YOU have to add the palm tree leaves. You're in such a way that from behind it looks like these shining rays are coming out. Now from the right side here. I'm just going to fill up Net ID of the family's going to short some of the trees which are not in our view presently, only the leaves from which are hanging out. You're into APIC just best to just adding a few of these. And then I'm going to add one of the palm trees almost in the center space towards the left of this big palm tree that we have added it. I have added in four to five of these families. And you can see it's beginning to look in so much more detailed already. Now in the CAD, I'm going too fast. I didn't a few wrong PBS. We get to add in the details in the CSPs as bell. Now at the bottom space you are, I'm just going to pull up these grass effects first and then run this Your, I'm going to pull out one more palm tree quickly. So you can see I've been using in just one same brush throughout the entire painting. And I've been able to add in all of the details just using this one brush, because this brush has a pointed tip pens, I'm able to add in all of the details as well, using in this brush and creating an all the Cloud treaty deals as well. So I gave it another layer of the paints gray color to that bottom floor space because the false PR seemed a little night to me. To give a little more depth CMV. I'm adding in a second layer to the mountain space as bad to give it a little more depth. Now the last palm tree I'm adding A2A as I told you, closer to the bigger T, but a very smaller one that I'm adding it quickly adding in small file HDD into this as well, not going in much of the detail, €1 as well. It's really simple one. Now next I have to add in little details as well. And then we will move to the city light and the sky details. So far, the leaf details, I'm going to shift into a pointed tip round brush. And I'm just going to mix in this bright or para and the violet color that's our left onto my palette, I'm going to use in this color and add a little off the violet color morphs needed. And just went to beginning with very simple leaves out to you. You can see I'm just adding very simple lines to act in as the views out your and this also I'm not adding much of them. Just randomly scattered detail that I wanted to give him this time. We are almost through the project now Next time we're going to pick up the white gouache and begin adding in the moon detail into the sky space. Make sure you use the bike washing or thick consistency do not add much of water, just a little water to reactivate it if it's going to be adding in a moon on the top left side of the skies piece. First I have created in a growing space for the moon. So I didn't earlier of the white gouache and blended it into the background. Now I've been read for this to dry completely and after that I will add in the moon to this. Now using the Payne's gray alarm, just going to add in a few of the boards into the sky quickly. You can go ahead with any random chip off the board staff you wish to make sure you're using in a smallest size brush for adding in this detail. Or you can even add these details with a permanent black marker. Now next I'm going to create in the growing phase on the mountain range by adding in the city light. So my mountain dangerous completely dried and I'm going to add a little of the whitewash patches and creating the growing space by blending it into the background as we did for the moon area. So you can say I'm randomly adding in some lines with the whitewash to create in the detail look out to her. And now just using a damp brush, I'm going to slightly blend them and creating little groin spaces. Now let's wait for all of these to dry completely and then we will add in the father details into this painting. So let's wait for this to dry completely. Now everything is completely dried and we're left to add in the moon and the city light effect. The father said the light, I'm going to pick up a little of the yellow color, mix it with the whitewash, create a very peaceful yellow color. No reason if adding it with white washes so that I get an opaque look to the yellow color. Now, just using the tip of the brush, I'm going to add in very fine dots closer to each other, creating in the city light effect onto the mountain range where we have added in these are white patches to create the glowing area. I'm going to even adding, be adding admit enough the city lights apart from these growing spaces as well. You can see almost the entire mountain range I have funded with the city light effect giving in very minute dots of this spacetime yellow color. And since we mixed it with white gouache, we have that too opaque look to the yellow color. If you've been using yellow watercolor directly, you will not get that opaque white color patch for the moon completely blended with the background and there was no groin space lifting. I'm adding in another layer so that I have and if there's growing space as well for the moon, so fast-growing to blend this very quickly. Now using in the whitewash, I'm going to be adding in all half-moon out you're into the skies piece. And that is, we will be done with this class project for this 21 day challenge, the last class project. We NAD without painting for day 21, let's remove the masking tape and see your final painting. I hope you guys enjoyed painting in this class project today and Android, the 21-day watercolor challenge with me. If you have been practicing good for the 21 days, make sure to upload it on your class projects and drop a review if you like the class for any reason. You're is the final painting for day 21. Thank you so much to each one of you for joining me into this 21 day challenge. I would love to see you guys join me into my next Skillshare class soon. Thank you so much once again for joining me into this class and painting along with me.