25 Day Gouache Landscape Adventure - Learn to Paint 25 Easy Gouache Captivating Landscapes

1. Welcome to the 30 Day Gouache Landscape Adventure: Creating art can be a therapeutic process in various ways. Art is more than just creating. It's a pathway to relaxation and self discovery. With art, you can unwind, express, and cultivate a habit that brings tranquillity to your daily life. I'm Marcia Paria, a chartered accountant, an artist, and a creative business entrepreneur. I go by the name Creating from the Heart on Instagram where you'll find my creative journey, my creative practices, and all details about my creative business. Welcome to the 30 day as adventure class. Over the next 30 days, we'll embark on a colorful journey into the world of quash painting, Creating 30 mini landscapes that capture the essence of nature's beauty. Gauche painting, a captivating blend of watercolors, fluidity, and acrylic opacity, offers artists a vibrant and versatile medium. With its quick drying time and rich mat finish. Gauche is perfect for creating expressive artworks filled with bold colors and intricate details. Each day we'll dive into unique color combinations, unveiling a spectrum of hues to breed life into your miniature masterpieces from the serene to the vibrant sunsets to lush meadows. We'll explore various scenes, as well as cover all essential materials and project specific color palettes before pining. We'll first dive into some basic techniques to elevate your kash painting skills, as well as help you mastering the essential techniques with kash. Whether you are a seasoned artist or a picner, you can join us in exploring the versatility of quash and unlock with us the secrets of creating he print and captivating scenes. Join me into this class and embrace the joy of painting and witness your artistic skills flourish in this exciting 30 day quash adventure journey. Let this class be your daily dose of creativity and your transformative journey where your brush captures landscapes both real and imagine. Without a further ado, let's bring these captivating landscapes to life, one mini masterpiece at a time. 2. Materials Required: So before we dive further into this class, let's have a look at the materials that you would be requiring for the coming 30 days. First is the set of Guh colors. I'm going to be using this twin cup jelly quash set by the brand A Arts. It's the Jimmy Gauche set. You can use colors in form of tubes or in form of bottles, jars, or any other format, or poster colors. Also, if you do not have, uh, colors, my palette has around 36 shades here. And it has all kind of shades of greens, blues, violet, red, yellow, white. It's all in one palette. Go to palette. Now, next for the paper, I'm going to be using the 13 centimeter by nine centimeter polaroid paper that I've cut. It's from a bigger sheet that I've cut. These are 300 GSM, 100% cotton cansin brand paper. Using this round cutter, I've cut the edges into these round shape, giving it that polaride look. So this is the kind of paper that I'm going to be using for the coming 30 days. It's 13 centimeter by nine centimeter. Using this round cutter, I'm going to cut the edges into these round circular edges, making it look like a polaroid. Now you can use any paper which says at least 300 GSM, if not 100% cotton. That will help you blend easily and will not buckle up your paper while blending or layering. I'm using 100% cotton paper because I like it, the texture as well. I will be taping down my paper onto this black canvas which is approximately of the same size of the paper that I've cut. Now for taping down this, I'm going to be using in masking tape, which is going to be a simple masking tape. You can use any masking tape, a simple car painters tape as well if you do not want to use the printed masking tape. Next, coming on to the set of brushes that we'll be using. I'm going to be using in majorly, all these brushes from the brand. Princeton, and a few of the other local brushes as well. For the brush, the main brush that you would need is one flat brush and one round brush. Rest of the brushes are optional or you can even have alternatives to that. So I'm going to use this bigger size round brush as well, which is a size five Princeton velvet touch brush. Apart from that, you would be needing a smaller size flat brush or an angular brush. Even if you do not have this, I will show you an alternative to use the round brush itself. Apart from this, I'm going to be using this spoiled round brush, the bristles of which are spoiled. Now, coming to these two brushes, this is an oval mop brush, and the second one is a round blender brush. Now, in case if you do not have these two specific brushes, it's perfectly okay. And if you have these kind of brushes, you can keep them ready. Going ahead further, I'll teach you where we'll be using this and how we'll be using it. But in case if you do not have that, I'll show you the alternative. I'm going to be using this ceramic palette for mixing my colors from these cups out here onto my palette. Creating in pastel shades, color mixes, and easy blending and consistency. You would be needing a char of clean water for each of the class project, preferably two, if you wish to. You would be needing some very basic stationeries, which is a black pen, a white pen, pencil eraser scale for adding in some pencil sketches and some rough details into the painting as well. This is all about the materials that you would need. You would also need a rough cloth or some tissues to dab your brushes for some dry brush details or for some cleaning of your brushes as well. Now, I've already discussed the alternatives that you can use for each of the paints, papers, brushes as well. Go ahead, grab the supplies that's available at your end. Again, you need not need 100% cotton paper. Any paper, about hundred 50 GSM, preferably 300 GSM, is best to work layers on layers so that your paper doesn't buckle up. Now I'll see you guys into the next lesson where we first begin with the very basics about quash, discussing some techniques, and then moving on to class project for day one. 3. Day 1 - Night Sky: Welcome to day one. The colors that you'll be needing for day one are crucian blue, sky blue, white, and black. In case if you do not have the specific shades of blue, you can go ahead and use one darker tint and one lighter tint of blue that's available in your palette. I'm first going to begin by cutting these piper into some round edges. I'll quickly show you that for one class project and for the next class project onwards, I'll keep my paper ready taped down onto my canvas part on all the four edges. Using the ten MM round, I have cut them into a beautiful Polaroid format. Now I'm going to tape this down using a masking tape. Same way, I'm going to keep the paper ready for the rest of the class projects like this with the round edges cut already so that we do not spend time onto taping down and cutting the paper for each class project. Now using a masking tape, I'm going to begin taping down the paper on all the four edges. You can use any masking tape that's available at your end. I'm just going to make sure that I give the masking tape edge of only around 0.5 MM. That's approximately two centimeter towards the inside to leave them as the white border. Now it's very important that you use a good masking tape because if the tape does not have enough glue, then it may peel off le painting because of the water that gets laid over the masking tape again and again, vile blending. It's very important to make sure that your masking tape is of a good quality through which the pains and the water will not seep onto the edges keeping your edges white and clean throughout. I'm done taping down my paper, you can see I'm running my fingers on all the four edges, making sure that it's completely sealed on all the four edges. No loopholes left anywhere for water or pants to seep in. We are ready with our taping down. Now let's quickly bring out the colors onto the palette. I will remove the colors on my palette and keep them ready so that I have them ready in the right consistency to begin blending. The first color here that I'm squeezing out on my palette is the Prussian blue color. It's a bold, dark blue. Next I'm going to squeeze out the sky blue color. You can use Errelian blue, sky blue, light blue by whatever name available in your palette. You basically need one darker tone of blue and one lighter tone of blue and white to dilute it further till the bottom, to create in that transitional or a wash effect from darker blue to the lighter blue. The last shade here is the white color that will be needing at the end to blend it completely and create further lighter tones of blue. Sprucing blue sky, blue whites from top to bottom, dark to light. Let's begin with the darker tint first. At the top space, I'm cleaning my brush from all the white and making sure I do not have any pigment left on my brush. Now make sure you have the paints enough and in the right consistency on your palette. Otherwise, it will be difficult for you as the paints may begin to dry. And you may have to go ahead again and again trying to blend in the colors. At the top, I have begun in with the blue color. You can see almost one third of the paper. I've covered it up with this darker blue tint. Now next I'm going to shift, turn to the sky blue color that's on my palette. And I'm going to blend both of these together. Now these two colors already you can see are lighter and darker tints of the same family. In between blending these two, you need not need a white tone because these will not be giving you any muddy tone or an unpleasant transitional color in between. So you can easily blend this color by just turning your brush to and fro at the meeting point, creating smoother transition from the darker to the lighter tint. Now at the bottom of space, I'm just going to pick up white and blend it with the blues from bottom till the top, creating in that perfect transition and the blend happening. So you can see just picked up a very light tint of the blue along with my white. And going to blend it from bottom till the top. Running my brush completely from the last edge of the bottom till the top. So that we have that smooth transition and blend going till the top. Now in between, it's very important to make sure that your brush does not run dry. Because while blending your brush may lose all the water and paints. So it's very important that you drip your brush into water. Or paints again as per the need so that your brush is not done dry. And if it turns dry, it will be very difficult for you to blend and get in the smooth transitions. Now I'm just going with little more white at the top space to create little lighter tints of the blue so that we have a more beautiful transition from different tones of the blues. It's very important to blend from bottom till top, or top to bottom altogether at once. So you can see in the blending, we do not have any rough lines in between. The blending is smooth and the entire space creating in that entire transitional effect in the blue color. Now, using some white, I'm just going to splatter in some stars into the sky. For that, you can either cover up the space around your paper so that you do not have any white spots left onto your table. I've just picked up the white in a right consistency on a brush. And using my fingers, I'm diving onto the brush from a little distance so that I get these splatters to act in as the stars at the bottom for the silt we are going to go in with a lot of pine trees with different kind of details that we've already discussed in the technique section of the pine trees. Now my sky is completely dried and I have picked up a little of the black color on my palette. I'm just getting it in the right consistency with the right of water. Using this plaque in a bold consistency with a smaller size pointed tip brush, I'll begin to add in an entire range of the pine trees. For the first class project, I wanted to keep it simple with the blending, no cloud detailing, nothing. Just a simple blend of colors from top to bottom with the help of white or transitional colors. The pine trees that we discussed, I'm beginning in with those different kind of pine trees. I'm actually going to go in with medium foliage pine trees here in between. I'm just going to use in some simple branches with very simple small thorn effects to give in little dimensions. In between, creating in more of a detailed look. Now, when you begin adding in these pine trees, make sure that you do not add them all of the same height. Try to vary the heights of these pine trees throughout, taller, shorter in between. You can even add in some very simple bush detail or little foliage effect if you do not want to go ahead with a lot of detailed pine tree. With every pine tree, you can see the triangular shape coming to life from top to bottom. At the top being of a thinner length and moving downwards, increasing the length of the foliage to create in that triangular shape at the bottom. You will majorly notice I given a lot of black filling to fill up the space completely and make it look like a detailed pine tree as well, with very simple techniques. Now I'm going to go ahead with another shorter one here. And then again, we'll keep on wearing the heights, as I told you now into these as well. You are free to follow in your own siluhate pattern. You can go ahead with just some dense pine trees in between and just one thick pine tree or one full filled pine tree. Or you can go ahead with the medium foilish pine tree throughout. Or you can even go ahead with a mix of those spiky pine trees, which we discussed in the technique section, trying to show in that those pine trees are far from view. That is the reason in very less detailed pattern for the first class project, as I told you, I've tried to keep everything simple for you to begin and get into the flow of quash painting. I've created a simple blended sky of just one color using in different tones of the same color. And then just corn ahead with simple pine tree silohates, which we've already discussed in detail in the technique section of the pine trees. So it's a very easy class project to follow along and would hardly take you 15 minutes to create a beautiful mini masterpiece together. Now here I'm taking one huge pine tree, which is almost half the size of the paper, as you can see. Now, I've deliberately tried and not to keep the biggest pine tree in the center, because if you keep the largest element in the center, it creates a very different view to the painting. But in case, if you keep it either left oriented or right oriented, it gives it a more natural look. And does not the entire focus onto just that pine tree, if it's in the center completely, it will just be focused onto that one pine tree. Again, here you can see moving downwards, I'm increasing the length of the foliage. I'm just going with simple strokes with the tip of my brush, just making sure that I achieve a triangular shape at the end. In between these, we'll be adding in those branches. Once we are done adding in all of the pine trees together. Now I'll just add in one last pine tree here at the end. And then we'll go ahead with the details in between. Add a small moon silhouette as well to a painting. And we'll be ready with our class project for day one of this 30 days landscape adventure. Now in between you can see I'm just adding very thin branches or bigger stems. And from that I'm pulling out smaller branches to create in that detail and break in the monotony of the pine trees, giving it a more natural and realistic effect. Just some last bigger branches here and then I'll be done adding in these branches as well. After this, I'm going to shift on to adding in the moon. For adding in the moon as well. We've discussed some silhouetes of the moon in the technique section, as well as we've also discussed creating in that glowing space for the moon. I'm going to go ahead first pick up the white color and create a small glowing space for the moon. For this class project, to keep it simple, we won't be going ahead with the glowing space, we'll just go ahead with the crescent moon shape for adding in this moon. You can even use a white Chellpen if you're not confident about adding a tiny moon using a smaller size brush. But in case if you wish to add it with the white quash, make sure you use a smaller size brush so that you can get the shape of the moon right. Making it with the color will make it more bold as compared to the white chellpen because that will look a little dull as compared to the opacity of the white paint. Now carefully, let's remove in the masking tape from all the four edges. Make sure that you do not remove the masking tape. If your edges are still wet, always hold the white edge perfectly and make sure your fingers are clean with the colors. So here's a final painting from day one. A beautiful simple night sky with simple pine tree silo heads. Learning in simple wash, getting in the blends, right? I hope you guys enjoyed painting this today. I will see you guys tomorrow into the day two class project with another beautiful landscape painting into the 30 day Gauche Landscape Adventure class. Thank you so much for joining me into this class and I hope to see you guys paint for the coming 30 days with me. 4. Day 2 - Simple Pastel Sky: Hello everyone. Welcome back to day two of the 30 day course challenge. Today we are going to be requiring the shades of purple, sky, blue, pink, orange, green, white, and black. We'll create the pastel shades if you do not have already in pastel colors. I have my paper taped down onto the canvas along with the help of a masking tape. I have my jar of clean water paints, palette, everything ready to begin with. We are going to first begin picking up the colors onto our palette. We are going to be using the shades in a little pastel color form. I'm just picking up this magenta pink color from my palette. I little white to this. Or you can even add in a little pastel pink if you have in your palette already, the next color is the purple color or the violet color. You can use purple violet or a pastel purple, lilac color, whichever available in your palette. Next, I'm going to pick up the sky blue color to this as well. Later on, I'll add for the little white to create it more into a pastel tint. These are the three colors that you would be requiring for the paste layer of your sky. Rest of the details will be with the silohate for the colors. We'll first begin with the sky to pick up a little more of the colors so that I have enough colors on my palette in the right consistency already. Now to this purple, you can either mix in white already on your palette or you can apply the color force and then use white whole blending in that way you will not have a much lighter tone. Because if you add white right now, itself to the color, then while blending also when you will use white, the colors may turn a little extra light than what is required. In this way, you can maintain the tonal consistency by using white only for blending. At the top, I've given a little more bold violet color. One third is going to be purple, then pink, and then blue. Now next I'm beginning in with this pink color. For the pink color as well, I'm laying down the color first, and then now using white, I will begin blending in the pink and the violets together. You can see as soon as I overlay a white for blending, it automatically gives me a pastel pink and a pastel lilac, a tone because of the white overlaying for blending. That is what I was trying to emphasize, that you need not always mix your pastel colors beforehand. You can use white for blending and create the pastel tones by overlaying easily. Same way for the blue as well. At the bottom, I'm adding in a small layer of the blue and leaving gap between the blue and the pink there. Again, I will begin with the white tone. Same way or lay overlaying onto the blue. You can see it will turn into a pastel blue. Moving further, I will blend it with the help of white. Now again, what I'm going to do is I'm going to blend all of these together from top to bottom, or bottom to top, whichever way you prefer that I have a smooth glen. And transition happening between the colors and no lines anywhere in between. Now I'm picking up a little bit of the pastel lilac color in between the blue and the pink. And adding it in the white space so that that white space gets covered up completely. I don't want any white past space for blending into my sky. This is how you can use ready pastel colors as well for blending at certain spaces where you want to aviden the white caps. Now you can see the smooth blend happening between the colors. No white patches having in those light and dark pastel tones and different transitions of the colors happening in very smoothly and the flow of the paints moving smoothly. At the top, I'm just adding little, a highlight of the violet color. Again, using a dam brush. I will blend it so that we have that smooth transition from the talks stint of violet moving downwards to a pastel tone. This is for the base layer of our sky. Now onto this, this time we're going to add in very little minute highlight, the father cloud highlights. I'm going to use the smaller size round brush, the simple strokes clouds that we discussed in the technique section. I'm just going to add in very simple clouds. Then we'll just go ahead with a simple silo het, the further cloud I'm mixing in the white along with the violet color, making it in a very, so that it's just visible on the pink lightly. I'm just going to add in little strokes of the cloud because we are going to step by step increase the of difficulty of our paintings each day. With every day adding in something new so that you learn something new addition into your painting. Making it easier for you to follow along each day. And keep on learning and implementing new things into your landscape painting. With the help of the pink and the violet tones, I've just added a small patch of clouds, you can see. I've used some bigger strokes and some smaller strokes at the top. And that is eight for the clouds. Very simple one. As I told you now on the left side bottom space, I'm going to go ahead adding the silhouette of some leaves. For that I'm going to use in the green and the black tones. First beginning in with the black color for the base layer. Then on top of it, we'll go ahead with little green leaf details. Then we'll just adding some orange highlight to act in as the flower. Now you can either use this round blender brush to create in that rough space, you can use that spoiled rum brush technique that we discussed. Both of these brushes will do the same job because both of the bristles are spoiled completely. Now, when you begin dabbing in this black color, you need to make sure you try to get a shape that you want for this bush area or the greenery space that you're trying to add in now with the same black color. Using in the smaller size brush, I'm japinging to dab in with the tip of the brush, giving in little detail leaves. This also we've discussed in the technique section of the grasses and leaves. Now I'm going to add in some detail leaves as well. In between some branches, some stems popping out, giving in that natural effect. You can see these lines are not straight, they're all curvy and moving in different directions, different angles overlaying onto each other to create that natural effect on top of it. Once the black color dries up, we are even going to go ahead with some green color strokes to give in the greenery effect. I'm done with a little of it now. I'm just going to go ahead add in some bigger branches randomly, here and there. Before we shift on to the green tones. You can see how I'm just using in the tip of the brush to add in these fine details so that they stay in proportion along with the size of the paper and the details that we're trying to add in. Now using the green color, I will begin adding in the leaves on top of these. Now make sure that you use the green in such a consistency that it's visible onto the as well. Now if you feel that your green is not visible onto the black tones, you can add in a little tinge of white to it, so that it will get a little pastel color which will easily be visible onto the black tones. Or you can even use a lighter sac green color. Or mix in light green and dark green to get a medium tone green so that it's visible easily. Now with the greens you can see I'm just adding simple leaf creating in little leaf texture automatically. The black tones that we added is beginning to act in as the shadow to the green leaves that you're adding. Now, now with the green color as well, I'm going to pull out some branches and some detail leaves after that. And on top of all these, once these try out, we'll go ahead with little orange flower details. Now to my green, I've added a little bit of the white to create a further lighter green. And now I'm adding little strokes with this lighter green. So you can see two variations of the greens as well. You can use a light and a dark green readily available in your palette. Or you can use the same green with the help of white, adjusting the tonal value. Now next until this tries out, I'll go in with the next detail using in this pointed tip pen, this is a 0.5 nib pen. You can go ahead with any 0.3 or 0.5 nib pen. Or you can even use a very fine liner brush and the black color or the pinscrey color to add in these details of the wire lines into the sky. Now to these, we're going to add in the light effects. I'm just adding in the hanging part of the lights. The lights will directly be adding in using in the white paint. This time we are not going to create in any glowing effects for the light. We are going with very simple street light details so as to begin in the coming days, when we begin with our further projects, we'll even go ahead with some glowing background effect into the lights. Now, at times your pen may stop working. In between, run it again onto a rough sheet of paper so that it again gets the grip. And then again, go ahead and add in. Because of the paints, the nib may catch in paints, which may make it difficult for the pen to run on the pines. Now onto these. I'm just going to add in little bold effect with the black color the lines. I'm going to keep them those thin only if you want, you can add in another line of lights as well. I'm just going ahead with two to maintain it in spect with the size of the painting that I'm going ahead with. Now picking up the white color in a bold consistency, I will go ahead and add in the light effect for that, make sure that you pick up the white in a very bold and thick consistency so that it's visible, perfectly opaque effect. Just using the tip of the brush, you can see I'm creating in a light effect. Giving in a circle white dot to act in as the street lights to each of these hanging. I'll quickly add in these lights till then my green spaces will be dried for me to add in the orange part or the floral part that you can say into the leaf area. I'm done adding in the light effects. You can see such simple details, but creating in so much more depth into your painting. Now I will pick up the orange color to this orange, you can either mix a little tint of yellow to make it a little pastel tone, or you can mix in the white color. I'm adding in a little tint of the yellow color to it to create a little yellowish orange To now using this, I'm just going to add in small dots into this space to act as F or as the fruit details. If you want to consider it that way, you can consider it as an orange fruit, Simply consider it as a marigold flowers. Just very simple dots that I'm adding in between. Very simple but still will make it look so much natural and realistic. Was done adding in these little floral details. You can see just simple dots, but they make it look so much natural like flowers, I've gone ahead with different sizes as you can see. Now lastly, I'm just going to go ahead add in a small moon. For that, I'm going to use in the white quash. I'm going to add the moon towards the top space, I first added in a white dot. Now I'm going to blend this into the background and create a dull space for that. I'm going to use my damp brush and create it as a dull white space to act in as the glowing space for the moon. In the previous class project, we added a simple moon to keep it simple. This time adding one more layer, creating in a glowing area for the moonlight effect. Now to the center of this, I'm just going to add in bold, white color. Make sure that your base layer of the glowing space is dried so that this bold layer of the moon is visible perfectly. So let's remove in the masking tape and see a final painting. Make sure that your edges are completely dried and always hold your edges and make sure your fingertips are clean while holding the edges that your edges remain bold and white. Here's the final look at a beautiful pace of sky with simple cloud details and simple silo hat. For day two, I hope you guys enjoy painting this beautiful painting into this 30 day course challenge. I will see you guys soon into the next class project. Till then, make sure to paint along with me and keep uploading your class projects so that we can all share our works together. Thank you so much for joining me into this class. 5. Day 3 - Fluffy Cloud Sky: Hello, everyone. Welcome back to day three. Today, we are going to be requiring the shades of sky blue, orange, yellow, a bluish gray color, white and black. Now, in case if you do not have the bluish gray color, I will show you the mix that you can make while painting along. I have my paper taped down onto the canvas with the help of the masking tape. Now baking in with a very basic pencil sketch, I will just mark the horizon line to distinguish the sky and the sea. The top will be the sky, the bottom will be the sea. You can see it's much below the center line. Now I'm just going to begin picking up the colors. So for the sky first, I'm going to begin with a sky blue color. But to this I will add in a little white so as to make it a little more pastel, Sky blue. Always make sure when you're picking up paints, your brush is clean and does not have any darker tint already. Otherwise, your paints may begin to get spoiled. Now, beginning in with the blue at the top, this time we are going to be creating in fluffy clouds into a sky. For that, we are going to be using in the shades of orange, white, and yellow later on. For now just laying in a layer of blue at the top. And then using in the white, I'm just going to dilate it further and create in a very gradient of the blue color till the horizon line. Now in the remaining space at the bottom here, I'm just going ahead with this white paint, blending in along with the details here of the blue tone and creating in a gradient of the blue color At the top. You'll have a little taker blue moving downwards. You can see I'm just laying in very light layer because here we are going to create in that fluffy cloud effect with the tones of white, yellow, orange as we discussed. Now just to make the blend smooth, I'm going to run from till the bottom, or bottom to the top, whichever way you prefer to create that smooth blend happening between the sky and getting in that perfect transition between the blue tones, creating in that perfect sky color. Now to create in the fluffy cloud effect, this time I'm going to use in the round blender brush. Now in case if you do not have the round blender brush. In the technique section, we've already discussed the alternative use of a bigger size round brush that you can do to create in these fluffy cloud effect. Since I'm going to use in both the brushes in different class projects and show you the use in both ways for this class project, I'm going out with this round blender brush now. I've just picked up the white color. I haven't dipped my brush in water, keeping it damp and dry and beginning into creating those fluffy cloud shapes into the sky. You can see the pretty shapes that I'm trying to blend in here. Now, when you begin this, you need to make sure about few things. Your brush shouldn't have excess water. Your paints need to be good, opaque. Your paste layer needs to be dried. And you need to go ahead in the shapes that you want your clouds to be visible into. So it's very important that you lay down the perfect shapes into the cloud so that the sky later on has that fluffy cloud effect. Now next I'm going to pick up a little of the yellow tint, mix it along with white, and use it in a little pastel consistency, and just dab it over the white a little to create little blends here. Now in case if you feel that here your blending is not happening easily with the white. You can use your fingertip to blend in the white and yellow together. Same way, I'm going to add in a little tint of orange to this mix again and create a pastel orangish color. And add in little highlights of the pastel orange color. Now make sure that you have very little tint. You can see that tint seems a little too dark. So I'm just cleaning my brush so that I do not carry extra tint along with me of the orange color, because I want very little yellowish orange highlights out here. Again, always you can use in white to blend in these colors into your base layer. But again, while dabbing, you need to make sure that you create in those fluffy cloud effect. Now closer to the horizon line. I'm further going to go ahead with a little darker blue tint to create in that fluffy cloud effect on the horizon line later on. Again, going ahead with little bowl layer of the white at the top. Again, main important trick here is your color needs to be in a very thick consistency to get in that opaque look of colors on the taker background. And blending needs to happen quickly, either using in your fingertip or the round brush or the round blender brush, whichever you are using in. Now I'm just going to pick up a little color and define the edges of these clouds a little more using a smaller sized round brush so that I have more boulder cloud effect into these fluffy clouds here. Now, in order to create a bluish gray color, I'm just adding a little hint of the black color to my blue color. And you can see I've got that bluish gray color out there. Now to this if you want, you can add in a little white if it's too bold. And I'm just beginning to add in in the fluffy cloud effect using in a smaller size round brush. Because you can see this space where I'm adding in the bluish gray int is very small depending on the size that you need. The clouds, you need to choose your brush size. If you wanted the first layer of bigger clouds, you could have gone in with a bigger size brush. But here, since you need in a cloud effect closer to the horizon line, I'm going ahead with this smaller size brush. Now on top of it, again, I'm just going to go in, blend in a little of the orange clouds with the bluish gray clouds as well overlaying. So again, it's not just once you've laid down everything blends in easily. You need to work layers on layers to create that effect. So again, with that pastel orange laying it over, a little of the bluish gray cloud, blending in, again creating in that effect. And smooth transition happening between the clouds as well. Now I'll just pick up a little white and closer to the horizon line, just adding a little more white if needed. And at the top here, I will just add in some small larger strokes that we discussed for the clouds to act in as a perfect transition of clouds happening into the sky. Now I'm just using very little tint of the orange color highlight here as well. And I will add in little highlights with the orange color along with these white highlights that I've added a very light tint. It's a very light pastel orange. You can see a yellowish orange actually just adding in here to create in that blend happening in smoothly and giving in that perfect flow into the clouds. Now for the sea area, we are going to go ahead with a little bluish gray, kind of a tint. Again, I'm just going to pick up the blue color first and lay it down completely. And just going to give in the base layer onto this, we'll give in little wave effect. We've discussed the basic waves as well in the waves technique section where we discussed that the waves closer to the horizon line will be very smaller in length. And as we move towards the bottom side, we'll keep on increasing the length. Now here you can see I'm mixing in the black along with the blue on my paper, directly with the help of little white if needed, so as to create that bluish gray background layer. Now I already have a bluish gray color in my palette, but since many of you may not be having in that shade ready, I have used in the basic colors to create in that bluish gray color. For this class project. In the future class projects in certain spaces, I may directly use the bluish gray tint instead of creating in this color. Now with the black color, I've given the distinction point to the horizon line and I will quickly go ahead use in little blue white if needed or a damp brush and blend it so that that line does not remain bold. With the help of the blue color, you can see I'm blending it in. Basically, that darker line is to mark that distinguishing point between the sky and the horizon area. Now using in a blue and the smaller size brush, I'm just going to blend that black color quickly so that it turns a little dull and creates a perfect view for the horizon line. So you can see how with the help of the lighter base stones, you can quickly blend in the darker tints and create that smooth effect. And the transition happening in. Now at the bottom again, I'm just going to add in little darker hints of the bloom. And then we'll move on to the little wave details into this class project. Now I'm just going to use my flat brush and run it all over again so that the blends look smooth and easy. I'm just using in a little white so that it makes it easier to run my brush rather than using a damp brush. Because it may lift up the colors and create a little white patch of the later on. Now mixing in the blue and the black again to create a bluish gray color here, again for the waves. First, I'm going to go ahead with a very light bluish gray hint. If you want, you can just add in a very small hint of the black or else you can add in a little white. If you find darker, closer to the horizon line, you can see I'm adding very smaller length of the waves. As I'll move towards the bottom space, I will begin increasing the length of the waves as these waves become closer to our view. In between, I'm even going to add in some thicker waves to create some crashing wave or crashing water effect. That will be using a very dark tint Here you can see I'm going with a thicker bold wave, creating in that fat effect to the wave as well as giving in that long length effect. Now again, after that you can see I've shifted into the lighter, bluish gray tone that we've created. And now the length of the waves you can see is increasing as I'm moving towards the bottom side. It's longer and longer, crisp cross and blending into each other. Then we are again going to go ahead with some more darker, thicker waves at the bottom side, one or two more. And we'll blend them into the base layer with the help of the flat white and the blue tones. Now here again, you can see I'm adding in this darker layer of the black color, creating in that length detail. Now I'm just going to take one more wave here at the top of eight, you can see I'm trying to go ahead with a very curvy random wave effect, trying to show it as much natural as possible. Again here just increasing the length and trying to blend it into the middle wave effect. Actually, now to the bottom of this, I'm going to use in a little lighter grayish blue tint and add in little details. So I've just added in a few strokes here which I'm going to blend in with the help of the flat brush. I'm just adding these here in the lighter way so as to create that bottom shadow effect just added in the color, but going to blend in using the flat brush so that it becomes easier with the help of the dam brush. You can see I've blended it. Now I'm going to add in little lighter blue highlights as well. And blend the rest of the waves as well. Now if you want, you can directly use in this lighter tint to blend. Or you can even use in little white color to blend in into the base layer. You can see now those darker strokes that have added are blended into the sea again at the top as well. Softening it up a little so that it has a perfect blended and soft look into the sea and does not have a sharp wave effect using a dam rush. At the top and bottom of these waves, you can blend and give it that soft blend effect as well. Now in between the blue waves, I'm just going ahead with a little darker bluish, great tin, adding in some darker wave highlights as well so as to reflect those darker wave effect of the sunset falling here onto the waves as well at the bottom as well. Just going to give in little wave effect in between these thicker waves or the crashing wave effect that we've created. Now using the black color, I'm creating a very fine mountain range here at the horizon line, you can see I'm not taking the mountain range completely till the left edge. I've left it a little empty out there so as to give in that break and not give it that natural entire range of mountain. At the left edge, you can see I've given a very fine line so as to make that horizon line prominent and differentiating a but major mountain range you can see is on the right side going taller and taller as we move towards the right edge. Now one last thing. I'm going to quickly add in a small moon in the white color and we'll be ready with our class project for day three as well. A beautiful seascape with simple waves and learning in the fluffy cloud techniques using in the round brush and the round blender brush. Now adding in a small moon using in the white paint here, if you want, you can create that glowing space for the moon or simply just add in the moon like this. This time I'm not going ahead with the glowing space. Going with a simple moon here again, be very careful while removing in the masking tape such that your paper is dried on the edges. And do not lay your hands over wet paints and lay it onto the white edges that you've tried to maintain. Or else you may lose the white edges and it may create a patch of the colors onto those white edge. So it's very important to make sure your fingers are clean. Here's a closer look at our painting from day three. Those fluffy clouds and simple cloud strokes at the top. A simple moon, simple seascape. I hope you guys enjoyed painting this with me today. I'll see you guys soon into the day four class project. Thank you once again to each one of you for joining me into this class. And make sure to upload your class projects as you paint along with me. 6. Day 4 - Pastel Sunset: Hello, everyone. Welcome back. Today four. Today you will be requiring in the shades of purple, orange, yellow, pink, white, and black. We'll be using all of these colors in pastel tones In case, if you do not have the pastel colors ready, we'll curate them while painting the class project together. I have my paper taped down and we'll begin by first picking up the colors onto the palette. There is no pencil sketch for this class project as well. It's a simple one where we'll be directly adding in the details with the black paint later on. Now, I already have a pastel lilac in my palette and a pastel pink as well, to which I'm just going to add in a little of the regular pink and regular purple because these are two light tones. Now in case if you do not have these reddy colors, you can simply mix your violet with white to get a lilac tone. Your pink with white to get a pastel pink tone. Your orange with white to get a pastel orange. And your medium yellow with white to get this naples yellow kind of a pastel yellow color. Now first we'll be beginning in with the violet color at the top. So I'm going to begin in with a layer of this lilac tone out here at the top. I told you the mix already. You can just pick up your violet or purple color and add in white and create a pastel purple tone. To add in here to my pastel pink, I've added a little of the regular pink to get a medium pink tone. It's not too dark, not too light, but in a pastel consistency. Now these colors blend well with each other. You can see the lilac and the pink blended well to each other. Now, even the yellow and the pink go well in each other and blend well and create a beautiful, a orangish peach tone in between while blending here. In these cases you need not use white specifically. You can easily blend these colors because the third complementary color that they create is in beautiful blend with the other two tones. Now make sure that with every layer of blending, you blend it till the top space. Now for the orange, I'm first adding in white here at the base layer. And then picking up the orange and going to blend in. You can alternatively even create the pastel orange first and then go ahead with the blending. This time for the clouds, we are going to go ahead with simple strokes of the clouds that we've discussed already. At the bottom here, I'm first adding in a little more of the orange highlight. And I'm going to blend it with these light tones on my paper already. Now the purple seems a little light to me. So I've just picked up a little of the bold purple. And I'm going to add it at the top layer and blend it perfectly with the pink. Now, every time when you blend in, make sure that you blend completely so that you do not have any patches left in between. Otherwise, you may get in those rough, unblended patches creating in very unpleasant look to your painting. It's important if you go ahead with another layer, your blending goes in perfect, so we have the base layer of our sky ready. You can see the transition of the colors is so smooth. There is a smooth blending as well as there are no muddy colors being formed in between. Now, I'm going to further create lighter tones of pink, violet, and orange to add in the cloud details. So now I'm using a much lighter pink tone. I'm going to dab off the excess pigment onto this rough cloth that I keep. And now I'm just going to begin with those simple strokes that we've discussed in the technique section of the clouds part. Now here I'm going to randomly keep on shifting between violet, orange, and pink over the pink layer of the sky. I'm usually going with the violet color strokes over the yellow color of the sky. I'm usually going to go ahead with a little of the violet strokes and pink strokes, and then we'll add in little highlights with her pastel orange and a yellow tint. So I'm creating in a very light pastel orange. Sure. Now, on top of the pink and the yellow, you can see I'm going to go ahead with little orange strokes as well. You can see I'm simply adding simple strokes closer to each other, creating in a little cloud effect into the sky. Now in case if you want, you can even go ahead with further softer tones and much more lighter tones. Now I'm adding these little highlights with the yellow color. Over the pink, you can see how the yellow strokes are standing out bright. When you add these strokes, make sure the color is not too bold. Also, make sure that the color is not too watery. Otherwise, it will give a very dull look. And also make sure that the pigment that you're trying to use will be perfectly visible on the darker tones. So you need to make sure the opacity of the colors is fine. Now, over the violet, I added the yellow tint. And I've blended it a little into the sky. And now I'm going to go ahead with little more strokes out there and blend in till the bottom layer of the sky that we've created. I'm almost done with the sky and the clouds. I'm just going to go ahead with little more pink strokes at the top to blend in with the yellow, because only yellow out there may create a little offflue. Here's a closer look. You can see the yellow pink, the orange cloud details. Each color we've layered on such a way that it's visible on the base layer color. Yellow on the violet, orange on the yellow and pink and violet tones on the pink and the yellow spaces, creating in that perfect transition of the same colors with the same cloud effect. So that is for the clouds. Now I'm going to begin picking up some black color to begin adding in the palm trees. Now for the palm trees as well, in the last section of the techniques class, I've already discussed in detail how you can add a detailed palm tree, or you can go ahead adding in very simple palm trees. I'm going to go ahead with the simple palm trees here, because we're going to add in a bunch of them. Plus, along with the palm trees, we're going to be giving in little details of those street lights as well. So I do not want to add in a lot of detail and spend time on adding in detailed pine trees. So I'm going ahead with a simple first stem at the pace, beginning in with a thin line. And from that I'm just pulling out simple strokes to act in as the foliage for these palm trees. We've already discussed this in detail in the technique section. In case if you want any doubt or if you want to go ahead with a detailed palm tree, you can visit the technique section and understand the detail and the easy both method. Now throughout the bottom space, you can see I'm going ahead with varied range of these palm trees, some of them taller, blending into each other as well as overlaying each other on the foliage part as well. In between, I've left a little space because there I'll be going ahead with a little of the bush detail in between, plus we'll be adding in some street lights as well and some wireline details in between these palm trees. Before that, I'll quickly go ahead add in the last few palm trees towards the left side as well, and then we'll move on to the next set of details. I'm almost done adding in the palm trees. I guess only one more would fit towards the leftmost edge here. And you can see I've gone ahead with the shorter ones in between the taller ones plus the foliage of the shorter ones overlaying the stems of the taller ones, creating in that natural effect of nature. Now, from the leftmost edge here, I'm just going to pull out little foliage, the stem of which is not in our view at the moment, so just a little foliage visible, giving in a little more detail. Same way if you want, you can add a little of it towards the right side, but do not add it at the same length of the left side. Otherwise, it will look like a copy paste thing. Try to vary the height. Now, I'm just going to add in some smaller one here, randomly, before we move on to the bush detail. Now, these palm trees, as I told you, can be your choice whether detailed ones or the simple ones plus how many you want to add them. Now in between the space that I've left there, I'm going quickly with these bush details, creating a little foliage effect for the bush area. Now I'm going to quickly add in the few poles for the street light, and then using in the white color, we'll add in the light detail in between them. These poles have to be very fine lines in case if you're not confident to add them directly with your brush, you can simply use in a black pen first to give in those fine lines to which I'm adding in the horizontal line as well to give the street light details later on. Now I'm going to take in between these palm trees, a little taller one. And I'm going to add in the light effect there as well. Now, your placement and heights of the palm trees may be different than mine. So you can go ahead with the layout of these street lights as per your layout of the palm trees, wherever in between you wish to add them now, quickly using in a black pen, I'm going to add in one bigger pole to be confident and to add it perfectly thin one. I'm going ahead with the pen so that it makes the task easier. Just add it in a fine line with little details to create like an electric pole, a structure here to the electric pole. You can see I've simply added in some wire details and some simple wiring work to show it as a natural electric pole. Now I'm going to add in the wire lines in between these palm trees using in the black pen itself. This is a 0.1 nip pen. So you can see the fine strokes that I'm getting in. That is the reason how these waterproof pens are helpful. Make sure you use a waterproof nip pen, otherwise the pins may spread. If you go ahead with any overlaying on top of it, this black color may then spread and create a very ugly effect onto your painting. Now I'm going to pick up some white paint to begin adding in the street light. For adding in the street light detail, make sure you use the white paint in a bold consistency and in a thick consistency so that it remains opaque after drying. And given that lighting glow, I'm not going ahead with a glowing space for these light here. Because I just want to keep it simple. As in coming projects, we'll even be creating in glowing spaces for the street lights and then adding in the light effect. Now I'm going to quickly add in a moon here into the sky. And we'll be ready with our class project for day four. A beautiful pastel sunset with the street effect. Before we remove the masking tape, let me give you a closer view of the clouds. You can see the strokes, the colors, how overlaying, which color. Now I'm just going to add in little more detail here and we'll be ready to remove in the masking tape. Make sure you peel off the masking tape. Once your edges are completely dried, your palm leaves are completely dried. And always peel off the masking tape against the paper so that you do not lift up the paints or tear off your edges and make sure your fingertips are clean and not fill in with paints. Otherwise, you may lay your fingertips onto the white spaces creating in patches of color out there. So here's a final painting for day four. You can see we've created such a mesmerizing pastel sunset in just under 15 minutes with so much details. I hope you guys enjoyed painting this beautiful painting with me today. I will see you guys soon into the day five class project. Thank you so much for joining me and if you'd like this class, then make sure to drop me a review so that it can help me reach maximum students. 7. Day 5 - Warm Sunset: He Everyone, welcome back to day five after 30 day course, Landscape Adventure. For today's class, you'll be needing in the shades of bluish, gray, orange, yellow, burn sienna CPA, white and black. In case if you do not have the exact same shades, you can use the nearest shade of the same color family and we'll try blending them with the help of white. I have my paper taped down and we're going to go ahead with a little pencil ske. This time we're going to be painting a pathway seen for this landscape. I'm marking out the roadway out here at the bottom space. It's moving from left to right, increasing diagonally. This is going to be the pathway on top of the pathway we are going to be having in two mountain ranges. Marking that out as well so that the top area can be the sky for us to paint in. I've marked out the two ranges across the pathway. Here we're going to add in simple pine trees. The top will be the sky, then the mountains and the pathway. Let's begin with the sky. This time for the sky, I'm going to go ahead with little orangish yellow and a bluish gray sky. Then for the mountains, we are going to use in the brown tones, creating in little highlight of the sunset effect. Now, I already have a bluish gray color on my palette, I'm using that, but in the previous class project, we've already discussed the how you can create this bluish gray tint by adding in your sky blue with a little tint of black and white to create this bluish gray tone to this dark, bluish gray as well. I'm going to add further white to dilute it a little more. Now remember, this bluish gray color and orange mixed together will create in a muddy tone In between, for blending these two tones, it's important to use in white so that the blends go smooth and do not create any muddy tones. Now, closer to the mountain range, I have very carefully tried to mark out an orange space. Now I'm going to use in little, medium yellow tint as well, just above the orange. And then I'll go ahead with the help of blending in by using in a little lighter yellow as well, I can create a little lighter tint still. For blending this yellow and the bluish gray in between, I'm going to use in white. I've just created a yellowish orange transition from the bottom of the mountain till the middle of the sky. Now from there I'm going to use in white and blend it along with the bluish gray color that we have at the top and get a smooth transition happening into the sky. In this way, you will see we do not form any muddy tones and still get in a beautiful and smooth transition in our sky. Now picking up a little orange on my brush, I'm just adding in little highlights from the edges at the top space, creating in those little orange hues into the top white space that we've used for blending. Now using a very pastel yellow color, I'm going to begin creating in the cloud highlights into the sky now as much as possible, while adding in the orange color, make sure you try avoid adding it into the mountain range because then it will be difficult for you to blend in orange with the browns and create in that glowing effect of the sky on the mountain range as well. We are going to depict in little sunlight effect of the sky falling onto the mountain ranges. Now in this very pastel yellow color, you can see I'm adding in cloud strokes into the sky. These are simple strokes that we've already discussed just using in little curvy strokes closer to each other, creating in those shapes. We are further going to go ahead with little more different tens of orange and the bluish cre as well to create more highlighted effect in between these clouds. Now you can either mix in white to your orange or a little lightish yellow only to your orange. And begin adding in little strokes with a very pastel orange color. It's going to be much, but we need to create in highlights. You can see how I have created in the flow of the clouds, moving a little in a zigzag pattern, This time leaving alternatively each side empty. Now I'm just going ahead with one more layer of the yellow highlights of the clouds at the top space, creating more bold effect wherever I feel, it's a little less. After this, we'll move on to the mountain range. Now, the first background mountain range that's on the right into that we are going to show in the sunlight effect just in the center there. We are going to have a little yellow and orangish highlight forming in between the mountain range. And then blend it with the brown tints of the orange. Let's begin this mountain range here. I'm first going to begin with a very light brown tint, mixing it with the orange. Now first using the orange color, I will mark the outline of this mountain range so that we have it distinguished from the sky. You can say I've used a bold orange color layer. Now. Next, I'm going to use in this burnt sienna color and add it at the top again. And blend in with the orange in the center space of this mountain range. That is just where this mountain range is from behind the foreground mountain range. There we are going to create in that little glowing space now to this second mountain range. I'm just taking in it very lightly. Now, with the help of little white, I'm going to blend in the orange and the brown. I'm using the smaller size round brush. And you can see I'm just trying to blend in the colors. The first mountain range is only in the background and only half space. The second mountain range will cover up the rest of the mountain range. That is the reason we've just added this in the half area here. Only now using a little darker brown tint, I'm going to add in at the bottom space and blend it and just create in the darker tints only on the edges, majorly in the center of the paper, you can see I'm still maintaining effect of the orange to show in that glowing effect. You're again adding in a little more white to create in that lighter effect if you want later on, you can even add in a small layer of orange there to create that perfect, glowing light effect. Now, the second mountain range here is going to be of a very dark tint I'm using in the CPA color. And I'm just going to mark out this range as well. You can see how it's overlaying the first mountain range. That is the reason I painted the first mountain range very roughly and only till the center space. Now I'm going to use in a little black as well. Into this mountain range at the top just a little and blend it with the browns. Now as we move towards the bottom space, I'm going to dilute the brown And blend it well with the black. At the top of this mountain range, we want a bold, dark tint. And moving downwards, we want to dilute it and create a gradient of the brown color. Because at the bottom, closer to the pathway, remember we're going to add in the pine tree details with the black color. At the moment, it's very important that you maintain a very lightish brown tint here, closer to the roadway, because otherwise the black color will not be visible on the same black mountain. Now on the background mountain range, I'm just going ahead with a little more highlights of the browns. Because you can see at the moment, it's too light as compared to what we need in creating little darker tints. But as I told you, I'm going to maintain little of that glowing space effect, just adding in little yellow overlaying as well to maintain that light effect of the sky falling onto the background mountain range. Now if you want, you can use a smaller size brush and blend the colors well into each other by just running smoothly. Now using a little lighter brown, I'm just blending it here at the bottom and creating in little details of the lighter brown tint. As I told you, closer to the roadway, we want a very light brown effect. Now you can see I've left that little space empty because there we'll be adding in the pine trees with the black color. Now to my bluish gray, I'm adding in a little tint of black again. And I'm just going to add in a little tint of white and get a little lighter tone off this bluish gray for the pathway. If you want, you can lay the color and then use white as well on top of it. Only for blending like I've laid this color. And after that, I'm going to use in little white if required, to just blend in and create a further lighter tint. Now very carefully mark the pathway space completely with this color. On top of this, we'll given little details of the pathway markings and highlights later on once this layer dries out. Now I'm just going to lift up a little white tint and I'm going to add it in the center of the pathway and blend it. The edges will be a little dark. The center of the pathway would turn a little light, trying to show a little of the sunlight effect falling onto the pathway as well. Very simply, I've blended it while the pathway was still wet. Now this little white space on the right to the pathway, I'm just going to add it with the brown color, trying to show it as a simple, muddy space and giving in shape to the pathway and the movement of the pathway as well. I'm just going to add a little darker brown highlights as well to this, so that it does not look just an different brown as compared to the mountain ranges. Now using the white, I'm going to add in little highlights onto the background mountain range and create a little lighter effect. We need to wait for the pathway to drive before we can add in further details on the pathway measuring the center of this background mountain range, you can see I've added little white and created a little glowing spot trying to show in the effect of the sunlight falling in here. Now I'm just going to swiftly blend this white tint with the base layers so that we have that blended effect and the white does not look patchy. Now let's add in the pine tree effect closer to the pathway here. At the top of this, you can give in little pine tree effect. The bottom will completely be filled up with black color. First, I'm going ahead with simple bush effect at the top, creating in very simple bush details by just having in the tip of my brush and the bottom till the pathway. I'm just going to fill in with the black color simply we are going to take this completely till the right end Very carefully. You can see I filled in this entire space with the black color, adding in the details. Now on top of this, we'll create little pine tree details in certain spaces in between the bush to give in little more detailed effect of the bush and the pine tree together. You can either go ahead with only the bush detail or you can just go ahead with only pine trees. It's absolutely your choice. Carefully, you can see I've gone ahead with a mix of the pine trees and the bush somewhere. I've added very tiny pine trees. You can see somewhere I've just let the bush details be there. Now, in between the bush somewhere, I'm just going to give in little of those simple pine tree details. Not too detailed one, just those simple strokes that we had seen in the technique section. Now carefully I will further just give a precise black line to mark the pathway crisp and clear now using a very yellowish orange tint, I'm going to go ahead and add in the details on the pathway. It's a yellowish orange brown hint tint. With this, I'm going to mark in the details onto the pathway. It's just going to be simple lines to show the movement of the pathway which are then going to merge here. At the right end, I've given the right end. Now from the center space, I'm going to mark out two lines, giving in little gaps, creating in smaller lines. Two lines at the bottom merging into one, reaching the right end. That's how we've added it in the details onto the pathway. Now I'm going to use in a white gel pen to give in the edges of the pathway. With the help of the white jell pen, you can use white paint and a fine line of brushes bell. But I find it easier with the help of a gel pen because I can get in the precise and fine detail onto both the left and right of the pathway. I've given in that little highlight and in the center a bit, the last thing going to quickly adding the birds into the sky. You can see when the project is closed, the highlights of the light yellow and the orange clouds into the sky that we've added over. The yellow, orange and the bluish gray tint. Just two simple colors but so much depth into the sky. Now for the bird effect, you can see at the top, I've just given a little dabbing with the black color, trying to show in a flock of birds quite far from us. And the closer ones I'm adding in in much detailed strokes. I'm just going to pick up a little bright yellow color because I feel the detail on the pathway with the yellowish orange is looking at because of the brown tint. So I'm just going to go with a bold yellow color on top of it and add in a little highlight stroke to create a little lighter effect in the center of it. You can see I'm just adding in a bold layer of this yellowish orange tint which is much bright. Using a little of the bluish gray, I'm just giving it a finishing outline so that it looks well blended and well settled. This is how you can correct your mistakes and guash or go ahead with simple overlaying with bold colors again and create in and correct the edges and give it a finishing look. Let's remove in the masking tape and see a final painting. We are ready with our class project for day five as well, In just under 20 minutes, a beautiful mountainside roadway view. Here's a closer look at our painting. You can see the glowing effect on the backdown mountain range that's in the center of the paper. The yellowish orange light that is showing because of the sky colors and the beautiful sky and the simple roadway. I hope you guys enjoy painting this with me. I will see you guys soon into the day six class project. Thank you so much for joining me into this class. 8. Day 6 - Sunny Day: Hello everyone. Welcome back to day six. And today we are going to be painting this beautiful blue sky day with a field view. The colors that you'll be needing is sky blue, yellow, burnt sienna, sap, green, light green, white, and black. Alternatively, you can use any tones of greens. You need not stick to the specific greens. Now I have my paper taped down and we're going to begin with a little pencil sketch that's just going to be marking the horizon line to know the field and the sky space on top of the horizon line. We're going to have in the pine trees with the greens at the top, We're going to have a bright blue sky with white cloud effects. So let's begin in picking up the colors onto our palette so that we can get them into the right consistency. I'm going to pick up this sky blue color for my palette. And to this, I'm going to further add in little white to make it into a little lighter tone. Alternatively, you can lay this color first onto your paper and then use white for blending. That's absolutely your choice. How you wish to blend in. I've added a little of the pastel blue so that it automatically turns light. You can alternatively add in only white, so I've got a pretty pastel blue color, which is the perfect sky color to add in here. And I'm going to add this color completely till the horizon line on top of it. We are going to go with simple cloudy look with the white colors to show in a beautiful bright day effect. So make sure that you mix in enough color on your palette so that you get the same color consistency throughout wherever you wish to add in. Also the consistency needs to be right. Otherwise you may get in uneven patches of the tones and you may even get a transparent look of the color acting in as water colors. So it's very important to have the right consistency mixed up on your palette so that you can have a smooth spread of the colors going in. At this point, you can see so many patches, so I'm going to run from the bottom till the top altogether, so that I get rid of all the patches and I get a smooth transition into my sky. You can see running 2.4 completely from top to bottom or bottom to top, makes everything go in sync and creates a beautiful flow of colors easily. Now I'm going to lift up some pure white color. I'm going to use this in a little darker consistency as in a little thicker consistency, only to get in that bold, opaque effect of the white. And using in a smaller sized round brush, I'm going to begin adding in smaller clouds. Here we've discussed this method as well into the technique section of the clouds wherein I thought you to add in clouds using a round blender brush or a round brush. First I'm adding in smaller white patches. Then using in the dam brush or your fingertips, you can quickly dab it into the base layer. I'm using my fingertips. And at the bottom space of the patches that I'm adding, I'm just dabbing it into the base layer of the sky, creating in that flow of colors happening in and trying to show the colors blending into the base of the sky. You can see only the top part of these clouds are bold. The bottom looks blended with the sky perfectly showing in the clouds coming out from the sky space. Very simply, I'm creating in a flock of clouds altogether. Here you can see for every cloud I'm laying down, the color at the bottom space, I'm dabbing it with my fingertip creating that dull white space, giving it that blended look with the pace layer of the sky. Trying to show that perfect, smooth transition between the sky and the clouds. In between the clouds. Also you can see I am leaving in enough space for the blue sky to be visible. So you get a transition from the blue of the sky to a little lighter blue and then the bold white cloud effect because of the dabbing technique. Now towards the horizon line, I've not added much of the clouds because there we are going to add in a lot of pine trees. Now I'm going to pick up a little of the blue color. And to blend this easily, I'm just going to add in a little darker blue cloud. So this is a little darker tint as compared to the tint that we've used in the Baselaer of the sky. So just a little darker tint and I'm going to add in little cloud highlights in between the clouds that we've added in. In between that cloud effect. I'm just adding simple strokes of this blue to act in as those darker cloud effect giving in that smooth transition, again, happening between the blue and the white tones. Now towards the bottom space here, I'm going to add in a little more of the Taka blue clouds trying to show in these clouds will come in from behind of the pine trees. From behind the pine trees, you'll get the beautiful, bold effect of these clouds. Now, before we move on to the field, at certain spaces, I feel that the white clouds have dried a little dull. So I'm just going to give in an overlaying effect over the blues as well. In between just creating little white highlights so that again, we have a beautiful transition and move on happening between the white and the blue, making it look all natural and realistic. Now let's move on to the field area. For that, I'm going to use in the shades of yellow and green to create in the base layer. And then we'll be adding in very simple flower details. With the white, I'm going to pick up this beautiful medium yellow tint and I'm going to use in greens and blend in along with this yellow. First I'll lay down a little of the yellow onto my paper. And then using the greens, I will blend in between just closer to the horizon line, we are going to have in little yellow highlights visible and the rest of the spaces will be blended with the greens. Now I first picked up the light may green color. You can see it's a beautiful light tone of the green. I'm just laying it at the white spaces remaining and blending it with the yellow, but making sure that the yellow is still visible. After this, we'll shift on to a darker green. You can use sap green, olive green, dark green, whichever darker tinted green is available in your palette. Also, in case if you do not have a lighter green color, you can simply mix in your dark green with a little bit of the yellow to get a little lighter green color. In this way, you can mix your colors and create different tonal values depending on the kind of colors available in your palette. Now picking up the darker green, I'll just begin to add it from the edges in the center. At the top space, we are going to maintain that yellow space glowing in now closer to the horizon line. I'm just adding in a line. I'm just going to give little darker green effects, making sure that we have little lighter green and the yellow still visible into the center space there towards the right you can see I've left a little spot yellow visible given in a green line, creating in those parts into the field and giving it that natural effect. Now for blending, if you want, you can use little of the white so that you maintain those effects of the yellows and the greens and you have a smooth transition and blending happening between the colors. You can see I'm just overlaying white onto the entire part to blend in all of these easily so that I get in that perfect blend and smooth transition happening between the yellows and the greens. We are ready with the base layer of the field as well. Now using a smaller size brush and the lighter green color, I'm going to begin adding in smaller grass strokes at the bottom space. It's going to be very little. We are not going to cover up the entire field with the grass strokes. We're just going to have in very limited grass strokes and a little of the floral details at the bottom spaces. Majorly, I'm going with very random strokes of the grass, layering it very randomly. We have discussed these grass strokes as well in the technique section of grasses and leaves where I've shown you these smaller strokes as well. So make sure that the color is visible onto the taker tint in case if you want to further lighter up the tone. You can add in a little white or a little yellow to your green so that it's perfectly visible onto the darker green that we've added on the base layer. Now at the top, I'm even adding in some grass strokes with a little darker tint as well of the green, so as to make sure that we have varied tones of greens into these grass strokes as well, creating in that natural effect coming in now to my green. I'm just going to add in a little more white to create a further lighter tint. I already told you this. You can use this further lighter tint to add in some highlighting strokes like these. You can see this color is standing out so beautifully on the darker green base layer that we have, creating in that perfect grass stroke effect. Now at certain spots, I'm not satisfied with the grass strokes. What I'm going to do is using in a damp brush, I'll quickly blend these strokes into the base layer with quash. You can see how easy it is to correct your mistakes or blend in some details into the base layer again, so that you can further go ahead again and add in the details on top of this. Now using a darker green color, I'm going to begin adding in some pine trees. First what I'm going to do is add in a space completely fill it with the darker green color till the horizon line. And now just on top of this, I'm going to give in little pine tree structures. Now here also for the greens, you can see I'm going ahead and adding in some lighter green, some darker greens. And trying to blend in and get in little, you know, blending and shades of green in this space as well, so as to make it look natural. You can go ahead with multiple tones of greens. Add in a little darker tint with browns or blacks as well. So I've just picked up a little hint of the black color. And I'm adding it at the horizon line here so as to give in that distinguishing point and make it a little bold and separating from the green. Now this line you can see seems too bold. So I'm going to blend it with the greens in such a way that it's just visible as a darker green shadow effect at the base layer. Now on top of these, you can see I'm just adding in very small silohates of the pine trees using in the green color. We've discussed these smaller pine trees also in the pine trees section. You can see how I'm taking it till the length where we have the clouds beginning in. And now the clouds are looking as if coming in from behind of these pine trees. That is the reason closer to the horizon line. We hadn't added much of the clouds and waste the time because it was going to be covered in with the pine trees. Also, you can see simply just adding in that entire base layer green and then on top of it, just adding in smaller pine trees makes the task so easier and makes it look much more beautiful and blended in altogether. Now one thing that you need to keep in mind, make sure that you vary the heights of these pine trees and do not keep them all off the same height. Go in with some very small tiny pine trees and some bigger pine trees so as to maintain that natural and realistic effect of the landscape. And you can see how the blue clouds that we added with a darker blue tint are now perfectly visible from behind of these pine trees that we've added in creating in that realistic effect of the clouds coming in from behind of the trees. So we're done with the pine trees. I'll just blend in a little more lighter highlights at the bottom space, giving in that depth. Now lastly, we are going to go ahead with little floral details at the bottom in the field here. So I'm going to use in my white quash and add in small, it's going to be pretty simple floral shapes that I'm going to add in. Just using in the tip of my brush, I'm going to add in small flower silohts to create in the flower silo het. You can see I'm just adding in five dots, adding in closer to each other in a little oval shape and I'm adding in them very scattered look. You can see I'm not adding all the florals close to each other, in the center of these dots and oval shape. You can see I'm leaving in little space there. I'll be adding in the bud effect using in the brown tone, you can see some flowers. I'm adding very tiny ones trying to show them very far away from our view. And some have added a little bigger as compared to the others. Just around 12 to 13 flowers here and there Randomly spread in to given that depth. Now here I'm just going to add in some minute dots randomly trying to show in some buds coming in or very tiny flowers, or some flowers very far away. So you can see how beautiful it looks and gives in that natural effect of the field trying to show in the flowers of different sizes and at different angles and positions. Now lastly, using in the brown color, I'm going to add in the buds, to the center of each of the flowers, just a very small, tiny brown dot. Now make sure that your white spaces are dried or you have enough space to add in the brown. Even if the white is not dried only then you'll be able to give in that bud effect or else the white may begin to blend in with the browns. Now I'll just go ahead with some random grass strokes more here and there before we peel off the masking tape. We are almost through the class project for day six, a beautiful, simple, bright day field. Lastly, I will quickly add in a few birds into the sky using in the black color and the tip of my brush, some very small silohates here and there. Randomly you can see I'm just adding in much closer to the field or the pine tree spaces. As you go far away, make sure that the birds are smaller and less detailed ones because they are far from our view. That is it. I'm done adding in the birds, you can see simple shapes to give in that silo hete effect. Now let's remove in the masking tape and see our final painting. Make sure your edges of the field are completely dried, as well as your pine trees. Your fingertips are clean so that while peeling off the tape, you do not ruin up the white edges because of your fingertips. So here's a closer look at our painting from day six. Those beautiful tiny clouds and those tiny birds with those little details of the flowers. I hope you guys enjoy painting this with me today. I will see you guys soon into the day seven class project. Thank you so much for joining me. 9. Day 7 - Night Sky: Hello everyone. Welcome back to day 30. Today is the last class project of this challenge. The colors that you need is violet, yellow, pink or red, orange, sky blue, prucian blue, white, and black. So we'll begin painting in this beautiful night sky today. So there's not going to be any pencil sketch. We are directly going to pick in picking up the paints onto our palette. We're going to begin in with the shades of blue. First, I'm going to pick up the Prussian blue color for the dark blue part of the sky to create in that very evening night sky a look first pinning in with the Prussian blue at the top. Make sure you do not add in a lot of water to your paints, otherwise you will lose the opacity of your paints. Now next I'm going to add in the sky blue color. I'm adding in the sky blue here. I will use a little white so that I can blend these both and get a little more opaque look here. Right now, I've just added in the blue at the bottom, but I want to lighten up these shades a little. I will use white on top of these. I haven't added any white to my paints while layering it down, I will pick up white and directly add it on the paper and blend in before the white moving onto the violet color, just below the blue I am using in a medium tone of the violet color here. And we are going to still add in white so that everything turns out well. We'll do that at a later step once we are done adding in some basic colors here onto the sky line. Now for the bottommost part, I'm going to use in this pastel yellow color, I already have a ready pastel yellow in my palette. You can mix in your own pastel yellow and add in here. Rather than picking up the white, I use the same pastel yellow brush and blended it till the top. You can see over the purple color, you have that light effect because this pastel yellow was a very light stone. I use this, you can use a little bit of white to get the blends between the colors. Right now, picking up the black color, just adding in a little hint at the top of the sky to create in that dark night sky effect. Coming in very little stroke that I've added, made sure that the blue is still visible. Again, for blending, if you need, you can use a little of the base layer blue so as to get in those blends. Right now, we're going to begin adding in some cloud details into the sky. For that, I'm going to begin with my angular brush and begin in with the yellow color. First, I'm going to use the yellow color to begin adding in the cloud details over the violet and the boot spots. So I'm going to hold my brush diagonally and just using in the tip, begin creating in the cloud tip. This time I'm going to go in with bigger strokes to create in the clouds. Majorly going to be adding in a lot of the cloud effect towards the right side because on the left side. Later on we're going to have in the silo head detail. Now over the blue color, I'm going ahead with a little of the pastel clouds detail. With the violet color, I've added a little white to my purple color and created in a pastel violet color, like a lilac, a tone. And using this pining to add in clouds in the same stroke, you can see I'm just using the tip of my brush, holding my angular brush diagonal. You can even use a fine pointed tip brush. And adding these large strokes, I've shifted to my smaller sized round brush. You can see it's such a fine tip brush. And I'm going to begin adding in some fine strokes with the violet color. Now, defining in giving in more precise detail, make sure that your color is opaque, you do not have excess water, and also that your base layer is completely dried. Otherwise, the base layer color and this color will begin mixing into each other and will not give you that opaque look. At the top here you can see I'm going ahead with small strokes, closer to each other, creating in the depth into the sky. I'm going ahead very slowly building in the sky here so that we do not overdo and we do not have to redo any of the paths later on. Now, on top of the violet color, I'm going to go ahead with some yellow highlights at the top as well. You can see I'm using such a fine tip brush, hence able to carrying these very fine detailed strokes into the sky at certain spots you will see. I quickly use my fingertips to blend in wherever I want. Little lighter effects. Next, using in the pastel orange color, I've mixed in orange with a little bit of white. You can mix in your pastel yellow with a little hint of orange if you want to. I'm pinning to create in little highlights with the orange color. Now you will see I'm using the pastel yellow as well for blending at the bottom for the orange. Because I do not want a very rough random orange patch to blend in well with the basler yellow, using in little yellow highlights to create in that harmony and flow between the sky clouds. Now I'm going to pick up the black color and begin adding in the silohate detail. For that, I've shifted into my smaller size down brush and using in the black color, let's begin adding in the silo heate at the bottom space. I'm first going to just create in a random rough space with the black color. I'm going to fill this completely with the plaque at the bottom. On top of this, we are going to give in little foliage detail that will be detailed leaves and tapping in the tip of the brush to create in that foliage effect. Now make sure this black color space does not cover up your entire sky of the yellow space. Otherwise, you will not have that little sunset effect into the sky. So it's important to make sure that the yellow of your sky still be visible. Now quickly using in this foil brush, I'm going to give in the first layer of the foliage. Now when you begin adding this, you need to make sure you try to get it into the shape that you want to go ahead with. Here at the bottom, it's going to be very small foliage, and then on the top left we are going to have a detailed hanging foliage effect as well. But he also, you can see how I'm trying to vary in the heights. Now when I'm adding in this foliage, I'm going to make sure at the right side, I do not add it in an extra height because I want the yellow of the sky to be visible. As on the left, you will notice measure of the yellow sky will get covered up with the black. Only a little will be visible in between it. Now, same way, going to create in the first layer at the top as well. And then we'll move on to the detailed foliage with a detailed brush. I'm done adding in the first layer. You can see how quickly this fills up the base layer spaces. Now we'll go ahead with detailed foliage. Before that, using in the violet color, I'm just going to add in little cloud effect here, closer to the black space before we add on foliage on top of it. Because in the yellow space we do not have any cloud effect coming in. Just adding in a little drama here as well into the sky. Now again just using a little yellow and creating highlight again on top of it because you know, the violet color was moving a lot towards the right side. So just blended it a little bit, a yellow again, overlapping onto the violet so as to create that effect of the clouds happening in. Now using this smaller size brush, I'm beginning to add in the detail foliage detail here that we're going to add in randomly. Going ahead with some pine trees, some leaves, and some branch details towards the right, I'm adding in pine trees, but you can see on the right from behind, the yellow sky is still visible. So make sure that your yellow sky still stays visible Now onto the left side here, I'm going ahead with random leaves and foliage detail dabbing in the tape somewhere, pulling out branches, giving in detailed leaf effect. Later on, into the bottom black space that we've created, we are going to try to show in some city light effect as well. We'll create in some blowing lights popping out from between this foliage effect first, let's quickly add in the rest of the foliage. You can see randomly, I'm pulling out these branches, giving in some detail, dabbing leaf detail. You need to make sure all of these are not moving in the same angle or in the same way. Try to vary them so that it has all the natural looks randomly. Pulling out some small branches as well in between the leaves and giving in just some thorn kind of details coming out from these branches as well. After this, we'll quickly add in some detail foliage at the top as well and then move on to the last city details and the moon for this painting. Now from the top here, I'm trying to show in the leaves falling downward side. Accordingly, the movement of the leaves is all falling towards the bottom part. And I'm just going to begin pulling out some detailed branches here as well. The same way as we pulled out at the bottom space. Similarly going to do it at the top as well. It will be a mix of branches, a mix of leaves, detailed foliage ing in the tip of the brush and creating in the depth. Now one thing that I forgot was adding in some star details into the sky. This time I'll quickly add them right now. We should have actually added them before beginning in with the black parts, but not an issue. We'll add these and wherever at the black spots we have in the white spots, we'll quickly cover it up again with the black color. At this point itself quickly just platter in some white stars using in white quash, make sure it's in a thick consistency. Otherwise it will not give you that opaque look. Now at wherever spots I feel that the white has come over the black. I'll just quickly give it another layer of the black again so that the white spots get cleared out. Now to create in the city light effect, I'm going to go ahead with the white quash and I'm going to add in some random dots randomly at places. And using in the dam brush, I'm going to create in a dull space using in this white color. Once the dull space dries up, we're going to use in the orange and the yellow color to add in the details of city lights. That is, basically, this is a city area silo height, which is completely in black because of the evening ideology that we've taken in. And just the city lights popping out from between the entire siloate. So now using in the damp brush, I'm just softening up this white color. You can see I'm creating in that dull space, blending the edges, giving it a soft edge, blending in with a black color. So just the way as we have been creating in the glowing spaces for the moon, same way we are creating in the glowing space for the city light as well. And then we'll go ahead adding the detail light once these layers dry out. Now for adding in the light effect, you can either mix in red with a little hint of white or you can mix in a little bit of pink. Or you can just go ahead with yellow and orange lights. I'm mixing in a very little of the red along with my white, very little white and very little red. Getting in this beautiful, bold, red tone and going to add in at certain of the spots. Now after this, I'll add in yellow and orange to some of the lights as well. I'm just adding in a little more white so that stands out bright onto these spots that we've created. Now randomly in between two, some of the spots, I'm even adding in the orange color at certain other spots. I'm going to give in some random spots without, in the glowing space as well, but that will be very limited. Now I'm picking up the yellow in a good thick pastel consistency. I'm going to add it to the center of few of the dots. You can see how beautifully this creates in that light popping out from between the black color, same way with the yellow as well. At certain spots, I'm going to give in some small dots without the glowing space. If I feel that these spots will be too much later on, I can always cover them up with black quickly. I went ahead with another layer of the bright red color on the spots that were left, because the previous layer was not being visible perfectly. After trying, it was looking too dull. So I brightened up the red by adding in a little more white to it. Now I feel that certain spots are too much, so I'm going to quickly go ahead and cover them up with the black later on. Before that using in the white color, I'm going to add in a few white spots randomly as well. Now I'm going to create in a glowing space for the moon as well. This time we're going to add in a very huge crescent moon. For that, I'm firstrating in the glowing space. I've added a very big white patch as you can see. And I'm going to blend it and completely create in a very dull space. It's a quite big dull space as compared to the other projects that we've done so far. No, I'm just going to go ahead add little more of the dullness on the edges and blend in again, then we'll go ahead with the crescent moon. Once this space tries out completely at time, you can see you may need two to three layers to get in that dull space perfectly. So I went ahead with another layer of white here to create in that dull coming in. Now using the white in a bold consistency and my fine tip double zero size brush, I'm adding a very fine crescent moon at the bottom of this glowing space that we've created. Basically at the top of this, you will be able to see in that glowing space trying to show in the light of the moon coming in at the top. I'm just adding in a few fine dirty lines so as to create in that texture of the moon there. Let me give you a closer view at the moon here and the details as well, so you can see how the glowing space and the crescent moon is looking in there. Now, quickly using in the black, I'm just going to clear up a few of the glowing lights wherever I feel it's looking in excess. So that is it. We are done and ready with our class, will check for 30. We are at the end of this challenge and in the next lesson, we'll have a quick flip through of all the 30 paintings we did for this challenge. Here's a closer view at the moon, the details and the bottom details of the glowing city light. I hope you guys enjoy painting this with me today for the 30th class project. Thank you so much for joining me into this challenge painting along with me through the 30 days. Make sure to upload your class project and drop your reviews and I will see you guys in the next lesson, where we see a flip through of all the 30 paintings together. 10. Day 8 - Warm Sunset: Hello everyone. Welcome back to day eight. And today we are going to be painting this beautiful, warm sunset. The colors that you'll be needing are shades of yellow, orange, brown, a darker brown, or a sepia color, white and black. Now, for the yellow orange, you can go ahead with any shades of yellow orange. We'll try to adjust them with the help of white and red. Now let's begin with the painting. I have my paper taped down. This time we'll be going ahead with a little pencil sketch. We'll first begin marking out the horizon line and the sun space. Because the sun space, we are going to leave it blank as we are going to create a very lighter effect there with the help of the yellow and the white tones trying to show in that glowing sun effect towards the right side, I'm just marking out the sun on top of the horizon line. I've left in the bush space that we'll be adding in with the black, the top will be the sky, the sun, the bush and the sea space. So let's begin with the sky. So we'll begin with picking up the colors for the sky. Now you can go ahead with any medium tone of yellow, orange. And if you do not have a bright orange color, you can mix in a little hint of red or vermilion to it so that you can get that bold orange color. A sky is going to be simple of yellow, orange tints. I have picked up a little bit of the burnt sienna and the red color as well on my palette so that I can mix it with the orange. As for my need, because my orange and yellow are almost of the similar color tone to create little darker hints, I may use in little red with orange to create that darker effect. Beginning with the yellow in the center. And now just going to pick up a little red for the top space and blend in with the yellow. Automatically I'll get a beautiful, bold, orangish color, or a vermilion color. Now closer to the sun space, we have to leave that space empty. So make sure while adding in the color there, you let that space be empty. Now I've added a little white. And going ahead blending in so that we get a little more lighter tints of these colors. Now using this lighter orange tone that I picked up from my palette directly, I'm going to add it closer to the sun space and into the rest of the space of the sky. Now around the sun, you can see I'm going ahead very carefully. Going to mark out the shape and blend in accordingly. Make sure you leave the sun space empty. You can cover it up with masking tape, masking fluid. If you are comfortable or else like this. You need to go in a little carefully so that you do not add in the colors there. And we are going to create in the glowing sun there. Now again, to lighten up the colors and create in those smooth blends, I have added up a little white and simply blended in all of the colors. At the top, you have the vermilion color center. You have the yellow and closer to the sun, you have the orange tint. We're going to add a little cloud effects into the sky. Before that, we'll quickly paint in the base layer for the sea as well. Until then, our sky will also dry and our base layer for the sea will also. I'm just going to pick up a little hint of the brown mixed in with a little hint of the orange and we're going to create a very light base color. We are going to majorly be going ahead with a lot of wave details on top of it. I've picked up a little black as well to, given that little greyish hint, but you can see I've picked up the black in such a diluted consistency. It's just a small hint mixed in with brown and the orange for the base layer of the sea. It's basically a very small hint of black mixed in with orange and brown that you're going to add in for the base layer. And the base layer, as you can see, is not too opaque, it's on a little medium consistency side. Now let's begin creating in the details for the sun space. I'm going ahead with the mix of the white and the yellow color and I'm going to mark it towards the outside of the sun area that is into the sky. And using a dam brush will dilute this and blend it into the sky. Now I'm just using the dam, it hardly has any water. And just using in the tip, I'm going to blend it into the sky. You will see around the sun automatically you've got a lighter ring of this yellowish color in the sun space. We are going to use in the white and the yellow tints and create in that glowing sun effect. But the sun also, we need that effect of the sunlight falling, creating in that lighter space. Now you can see the line is very prominent. Quickly using the dam brush, you need to blend it into the sky and soften up so that it does not look as if it's a different stroke added. Rather it looks as a part of the sky simply. Now into the sun space. I'm going to add in a little light yellow hint in the center area. Now using in white, I'm going to blend it with the entire sun space so that you have that glowing sun effect there. Make sure you use a very bold white effect. Now I'll first wait for the outside drinks to dry till then I'll go ahead paint in the details for the clouds. For that, I've mixed in my white orange and a little hint of brown. And I'm going to go ahead with simple strokes into the sky to create in the cloud effect. I'm just going with simple strokes as you can see, just closer to each other. These also we've discussed in detail in the technique section of the clouds part where I showed you different ways of adding in the clouds using in the round brush, these simple strokes, how you can add them closer to each other or far from each other and create in different and bold cloud effects. Now at the top here, I'm using a little of the bold red color. And adding in small strokes, you can keep on using different tones of the yellow, orange, and red to blend in with each other and create in the cloud effect. Again, always as I keep saying, it's not important to lay the same colors at the same places where I am laying them. You can switch in the colors depending on your choice as well as you can use in different tones to create in the blending effect. Like I have just gone ahead with the red at the top and bottom if you want, Along with the red, you can even blend in your oranges and yellow. Now for the wave part, I'm going to pick up a little of the brown and black mix in, along with little red tint. And we're going to add in the waves effect. It's going to be simple waves. We've already discussed the waves as well in the technique section where I showed you the simple wave effect closer to the horizon line. The waves are going to be much small and tiny and as you move towards the bottom space, it's going to be longer, elongated, and much more pole because that's much closer to your view. In between, I'm even going to add in some highlights with the yellow and orange color to depict the effect of sunlight falling onto the waves as well. But for now, majorly, I'm going to go ahead with this marinish tone that we've created with the help of brown and red and the little hint of black in between. Randomly, I'll keep on adding little strokes with orange. Now, in between adding in some very darker tints with a very dark brownish color, it's more of a CPR tone. Again, you can either use directly a dark brown or mix in a little hint of black to your burnt sienna or burnt timber color to get a darkish brown color. Or you can simply add in with a little diluted consistency of the paint screen itself. Now at the bottom, you can see I'm increasing the length of these waves and I've added a little more white as compared to the red now to create in that darker effect. And the transition happening in from the horizon line. Basically, if you always watch a sea, you will be able to understand the waves that are very far off to the sky line is hardly visible to you. It's just a simple layer of water visible. But the ones closer to you, you'll always be able to view in the darker wave effect, the color, the color tones of the waves. So that is the reason closer to the horizon line, we've used in very lighter tones of the red. And moving downwards, we further created in a bold shade with the more addition of browns and black to the red. Now coming back to the sun using in white and blending in this yellow and creating the soft blend into the sky, creating in this beautiful effect in the sun. Make sure that you give the shape of the sun beautifully and define it well. Once we add in the bush effect in the white space in between, you'll be able to see more beautifully how the sun effect comes out. Now using in a little hint of the white, I'm just defining in this outline more bold and blending it into the sky so as to create that glowing space of the sun. Make sure you give it a very soft edge and do not leave it as a bold line. Otherwise, it will not give you that beautiful shining effect of the sun. Now with a very light hint of the orange color. I'm just going to give it a very soft outline and just defining that sun space much more bold. Now again, this outline also you can go ahead very softly using the damp brush and blend it with that outer lighter space that we've created, so that this outline also does not look bold. Now you can see you have that fine dark line, then the glowing space of the sun. And in the bottom you have that sun space. Now in the sun, I'm just creating a little more glowing effect with the yellows and the whites. Now for the bush area, we're going to go ahead with the tones of darker brown and black. And later on we're just going to add in little orange highlight trying to show the glowing effect of the sun onto the bush area as well. First, let's simply just go ahead add in the top spaces at the left area. Majorly, the orange space is going to be towards the right side where we have the sun trying to show the direct sunlight falling onto the foliage, which is creating in that orange highlights. Now towards the sun space, I've picked up the orange mixed in with black. That here we can show in that highlight. On top of this, we're going to cover it up with black also majorly, but laying down this color first so that we have these highlight spaces. Now I'm going to pick up a little of the browns as well and blend in with the orange again, majorly on the right side because the sun is on the right, on top of it. Again, as I told you, we are going to go ahead with the black color. We are not going to leave so much of the orange and brown spaces now towards the left, I'm going to fill the entire space completely till the horizon line with the black color. Now moving towards the right, I'm going to begin adding in the black in such a way that in the center we still have the orange and the browns visible now define the horizon line well enough so that you do not mess in with the sea space. We are going to be adding in a huge pine tree in between from the sea into the sky now towards the right side, as I told you, we are going to let the orange and the brown space be visible in the center, automatically, in the rest of the spaces. I'm just going ahead with the black and blending it with the yellow, orange, and the brown details that we've added in. Now make sure this bush details, you add it in such a way that you do not cover up the entire sun space. It needs to be there in such a way that the sun is still visible. Using a dam brush, keep on blending the black with the orange and the brown highlights. Now on the right, you can see how you're having in that glowing space trying to show in the sun effect falling on the bush. Now I'm going to use a little brown orange again here. And blending with the black so that it looks perfectly blended. You can keep on overlaying the colors until you get the right way of blend. You can see now on the right side how we have that beautiful glowing space of the yellow orange highlights trying to show in that effect of the sun falling onto this bush space. Again, going to go ahead with overlaying of the black so that we have that perfect and smooth glowing effect. That is it. I'm ready with the glowing space as well. I'm just going to give in a little more details to the bush out here and then we'll move on to the last set of detail that's going to be the pine tree coming out from the sea space. I am loving how the glowing space has turned out in the bush area. You can see it's having a perfect blend of the orange browns and the blacks and showing in that perfect glowing effect only closer to the sun space. Now using in the black color, I'm creating in a rocky space, first into the center of the sea area from where we are going to try and show a pine tree coming out. It's going to be, again, a simple pine tree, not much of the foliage, but it's going to be of a bold brown, blackish tone. You can use the CP color or mix in your brown with the black color. Now using a dam brush. I'm going to blend in the bottom of this into the sea area trying to show the shadow of these rocks falling into the sea. You can simply use in a small line and then use a dam brush and blend it into the sea. Under this, you can even add in some strokes of the black color into the waves trying to show in the shadow of this rock space falling into the sea area. You can see as soon as you soften up the edge at the bottom, it creates a shadow like effect into the sea of this rock space. Now I'm going to begin adding in that one bold pine tree that we're going to add in. So I'm beginning in with almost the center space of the sky. I am going ahead with a bold brown color as I move towards the foliage space, that is the bush area. You may need to lighten up the color so that the strokes be visible again. You're also like the last class project, I'm going ahead with a very scarce looking pine tree, the foliage of which are moving randomly up and down crooked. And you can see I'm trying to vary them, try not overlaying a lot of foliage over the sun space or covering it up completely at the bottom closer to the bush area. I will lighten up the color and add in there so that it's visible on the bush space as well. Moving downwards, I'm going to darken up the color further and add it in a bold blackish brown toll. Now, at certain spaces in between if you need, you can add in a little more detailed foliage effect. But I'm going to go in with a little scars only and you can see I'm just adding in simple dots. But the shape of the pine tree is still retained to the triangular shape. I'm just adding some more foliage in between randomly trying to add in more details. But still it has a scars and a dense look only, and not a detailed one, just overlaying so that it looks and gives in that natural effect. Into this class project, we're just going to be adding in one huge bird towards the left of the sky. At the top, it's going to be a detailed bird look with the wings spread across. Now towards the right of the pine tree, using in the orange color, I'm adding little highlights to the foliage. The foliage that is closer to the sun to show in the effect of the sunlight falling onto the pine tree foliage as well. These are little details that help your painting look more realistic, just majorly towards the right side. And the center space of the pine tree is where I'm adding in this high line where the sunlight is falling in directly towards the main branch of the pine tree. Also you can see towards the right part, I've added a very fine orangish line to depict the sunlight effect falling onto that pine tree line as well. Now at the top left here, I'm adding a detailed bird. I first added a small oval structure and now I'm going to add in the wings on both the sides to the wings at the bottom. I'm just going to give in little shape. You can go ahead with any detailed kind of a bird silo het that you wish to just pulling out little spikes to add in as the wings. I will give you a closer view so you'll be able to understand how to pull in these smaller spike details. So here's a closer view at the bird and the reflection on the pine tree with the orange color, the highlights that are trying to show in the effect of the sunlight falling in. So let's remove in the masking tape and see a final painting. Make sure your edges are completely dry and remove the masking tape against the paper. So here's a closer look at a painting for day eight, a beautiful warm sunset effect with that glowing highlights on the pine trees and the bush space. I hope you guys enjoy painting this beautiful sunset with me and that detailed bird look. I will see you guys soon into the day nine class project. If you'd like this class, make sure to drop me a review and thank you so much for joining me. 11. Day 9 - Pastel Sky: Hello, everyone. Welcome back to day nine. Today we are going to be creating this beautiful pastel sky for which you would be needing the shades of yellow, orange sky, blue, violet, green, brown, white, and black. We are going to be using all these colors in pastel consistencies for creating in the background sky. So first, let's begin with a little pencil sketch. I have my paper taped down. Now if you want, you can mark out the space of the pencil sketch for, you know, the street light that we'll be adding in. But I'm going to directly be going ahead with the colors into the sky. So I'm going to first lift up the colors onto my palette so that I can create them into the pastel consistency, I first picked up the yellow orange tone. Now next I'm picking up the pink color, all these colors we are going to be using. In the pastel consistency, I'm first picking up all of these colors onto my palette and then I'll be mixing in white accordingly. This time for the blending, we're going to go with a little different style, because we are going to be blending the colors not just simply from left to right, but we are going to have in small different spaces of the colors as you may have seen in the beginning. Now I'll begin mixing in white to each of the colors and begin adding those colors onto the palette. First orange color, I'm going to add in here, only at the top left side. You can see I'm just pulling it till the center space. This time the blending is going to be a little different. For blending, you can either use the lighter tone again or you can go ahead in white. Now next I'm laying down the pink color, closer to the orange color, moving from the bottom of the left till the top of the right. Now you can see at this point the blending between the orange and the a pink tone looks a little weird because of those rough patches. So those patches we'll be cleaning up with the help of white later on. Now using this oval mop brush, I'm going to begin blending in these with the help of white. From the orange till the pink. You can see I just laid a very light layer of the white color. And you can see how the blending has turned smooth. But I used a very light consistency of white. That's a little diluted consistency. Now you can either do this for each color, part by part, or first lay down each of the colors and then blend all of them together. Now I'm adding in the blue tone, closer to the pink again, bottom towards the left, and towards the right, it's at the topmost edge. So you can see this time it's in a little quarter circle positions that we're trying to add in the colors. Now again, I'm going to pick up a little white with my blender brush and begin blending the blue and the pinks together. Now at this point, again, you will see a little patches onto the pink. Now you'll again have to go blending in with the pink. So I'm just going to run in, in a little circular motion over the pink space with the help of white. And you can see how the blending turns in smooth again out there, giving in little cloud effect as well. Now lastly, we are going to go ahead with the purple color. Now in case if you do not have that oval mop brush or oval blender brush, you can simply use in your flat brush or your bigger size round brush or a mop brush to blend in these. Now for the violet color, I'm first laying down the violet as it is, because as it is we are going to be using in white while blending. So this will automatically turn in pastel. So I do not want to create a bigger or, you know, a very lighter pasted tone. So that is the reason I'll go ahead with white on top of it. Now at the top as well, I'm giving in some highlights with the violet color as you can see, blending in from the left to the right space. And you can see how beautiful the highlights are turning out. But you can see the pink spaces has almost got hidden up. We're going to add in little more pink highlights moving further when we begin adding in the clouds, but first beginning to blend in the violet with the help of the white till the top space. Now as I told you, the pink is a little bit hidden now. So I'm again going to lift up a little pink and lay it between the orange and the violet tints that we have added in. And blend those again. Now you can see how simple it is with hash to go ahead with overlayering the colors and getting in the right positioning of the colors. You may have to run on a little layers when you do not go with a simple blend, but rather go ahead with different placement of the colors. But it's always possible with kash because it's easier to blend in and go ahead with the layering. Now at the top, I'm just going to run the pink in a little circular motion and then blend in again. You can see we automatically begin to get in a little cloud effect as we, same way. I'm going to run with the orange again as well. Because you can see the orange has also turned too light and I want a little boulder effect. Now to these again, you can see a little rough patches. So you can just go ahead blending in smoothly with the lighter tint. Or just run a very damp brush swiftly on top of it so that you get rid of all those edges. Now using a smaller size flat brush or an angular brush, you can begin adding in little cloud effect. I'm using the angular brush and I'm going to go ahead with simple strokes with just the tip of the angular brush. Now you can even use a round brush. If you do not have a smaller size flat brush, you just need to create little cloud effects closer to each other. With the angular brush, the strokes going faster as well as going closer to each other as I need to add them. Now, make sure that the violet is just one tone lighter than the base layer of the violet that you've used in now. Next in the same way, I'm going to go ahead with a little of the blue clouds as well, creating in a pastel blue. You can see the blue in the sky is almost hidden, so we're going to create a little blue depths with the help of some blue sky. Now using a smaller size brush, I'll first blend in the orange swiftly at the top because you can see the patches out there. And I'll make sure I blend them before they dry out. Same way for the blue using a damp brush, just blending it into the base layer of the purple as well as the purple clouds as well. Just blending it into the base layer here on the orange you can see as soon as I ran the damp brush, those strokes are completely hidden up and they're blended well into the sky. Now in the same way I'm going to create add in little some white clouds and blend them as well. You can either use your fingertip like this to blend in and create that dull space. Or you can use a damp brush and blend it into the base layer. Now the placement of the clouds and the color tones of the clouds can vary as per your choice or as per your liking. You can go ahead with more of the pink clouds instead of going ahead with a lot of the purple clouds. Or you can go ahead with some orange clouds as well. Same way at the bottom here, creating in one big cloud with the help of white and violet. And using the damp brush, blending in, creating in that fluffy cloud effect, you can see how beautiful the sky is turning out with just creating in dull effects of the clouds into the background base layer. Now on the orange, just adding in some pink highlights because the pink again is hidden and there is bold orange color, just creating in little pink highlights, blending in with the violet, but making sure the violet cloud effects are still there. We are almost through the sky just a little more of the cloud detail before we move on to adding in the silo of the street light and the leaves into this painting. Now using the smaller sized round blush you can see I'm just going ahead adding in some orange highlights of the clouds into the purple spaces. Wherever I feel that the clouds are turning bowl, I'm quickly tabbing it with my fingertip and giving it a smooth blend into the background, base lier of the sky. Just very little highlights on the violet and the blue tones. Not much of the orange highlights. If you have a closer look, you can see the cloud effect. The different techniques that we've used, The fluffy cloud, simple cloud strokes, using the round brush and the angular brush and the blending between the colors going in. Now using in a technical pen, first I will mark the outline for the street light so that I can fill in the colors and get the straight line. You can even use a pencil and a scale to first mark the outline and then fill in with colors or and if you're confident, you can directly go ahead with the black paint and a fine liner brush. But marking out with the help of a scale and pencil makes the job easier to fill in with the black colors and get the right, you know, proportions as well as the straight effect. Now I'm going to fill this entire space with the black color on top of it, we'll take a fine line. So this is the main pole for the street light ad it, we are going to have in a lot of the leaf effect with the black and the green tones onto this pole of the street light. We're going to give in some highlights with the brown tones later on. Now at the top here, you can see the lines have turned fine as compared to the main pole. Now the light effect we are going to be adding in depth this time. It's not just going to be simple white light, we're going to add a little yellow effect. Now make sure you do not take the pole till the orange and the pink space, otherwise the yellow light effect will not be visible. Try keeping the light area onto the violet or the blue tones only so that the light effect turns out pretty this space. We'll first add in the light and then given the other details later on. But we'll have to first wait for the black space to dry out. Now you can just pick up a little of the yellowish orange color or you can go ahead with the yellow color directly. I've given a fine line with the yellowish orange color and now picked up a little lighter yellow tint, adding in the rest of the bottom space. Automatically, the top space acts in as a little shadow, giving in the darker effect. And the bottom of the light looks in a little more brighter. Now this street light effect we are going to show falling onto the pole, creating in the highlights. Till then, we'll just go ahead add in the details for the leaves you can use in different tones of greens that's available in your palette. You can use different tones of darker greens, lighter greens, and a little tint of black to create lighter and darker ones. You can even use whites to create lighter tints if you do not have much options of greens into your palette. I've picked up a little bit of the cream to which I've just added a little hint of the black. Now I'm going to go in with simple leaf strokes, pulling out the branches first. From these, we are going to pull out the leaves. We've discussed in detail about different ways of adding in the leaves and the bush detail. You can even go ahead add in a little bush as well. First, I'm just adding in some bigger branches randomly, here and there. And I'm just going to add them overlapping the pole as well. You can see like this. And then from these we are going to pull out the leaf details from these branches, from the bigger branches as well. You can see I'm pulling out these smaller swift branches, creating in some more tiny details. Now I'm beginning to add in simple leaf details. I'm just having in the tip of my brush and picking it up. Once I'm satisfied with the length of the leaves, you can go ahead with a mix of some smaller leaves, bigger leaves, thicker ones, or just some tiny bush details as well. All of these silohates can differ from each person to person as well as you can go ahead with different color combination for the silohate if you want. You can even add in little floral details along with the leaves. You can just go ahead with some pine trees or you can even go ahead with just some branches or some simple bush detail that we've discussed. You can even go ahead with detailed branches of the leaves if you wish to. You can see all of my leaves moving in different direction. I'm trying to add them in different shapes and sizes so that they look in natural. Some of them tilted, twisted, and you can see I'm adding in some of the pointed leave details as well. All of these we've discussed in detail in the technique section of the grasses and leaves where I've shown you different basic ways of adding them into your painting. Now I'm going to further create a little lighter tone of the green and add little highlights with this lighter green as well. Before that, I'll just go ahead with some simple branches or darker leave details with the darker green color. So you can see I'm just pulling out some smaller, very tiny branches and thorn like details with this darker color. And just added in some darker highlights randomly here and there of the darker leaf details. All of this adds in so much details and realistic effects to the painting. Adding these simple thorny branches as well. In between, we've discussed in the technique section how you can use these as fillers in between your bush pine trees so that you can get in that realistic effect. Now I'm going to pick up this lighter green which is on my palette and I'm going to add in some leaves highlighting with this color onto the pole. You can see this lighter color is visible much more just adding in some detailed leaves with this into this entire space. Then lastly, we'll be left to add in with some highlights onto the pole. So we are going to show the light effect falling onto the pole, which creates in the highlight. For that, I'm going to use in a little bit of the brown color. I'm a bright burnt sienna color. Make sure you use a bright brown color to add in this highlight. Just going to create some small lines onto this pole. Automatically, this tries to show the light falling onto the pole, because of which this shining effect happens onto the pole. Now even onto the hand of the light, I'm just adding in a very fine brown, high light, trying to show in that effect. These are little details which make the painting look more detailed and realistic. Now using a little brownish tint, just adding an underline for the light that we've added a very fine line to give it that shape of the street light. Make sure this light is very fine and the yellow color is completely dried. Otherwise, it may blend and create a dusty look onto the light effect. Lastly, using in some white, adding in a small moon into the sky on the purple space, I've not created a glowing space this time. And that is it. We are ready with our class project for day nine. Let's quickly add in some birds as well into the sky. I'm going to use in this small pen to add in very tiny birds this time and very few of them. And then we'll peel off the masking tape and see our final painting. Now if you want, you can even add these birds with the help of the black paint. But since I've wanted them very fine, I'm using in this fine tip pen, let me give you a closer view of this bird look that we've added different silos and different flight motions. Now let's remove in the masking tape and see a final painting. Make sure you peel off the masking tape against the paper. Here's a final painting for day nine. You can see the closer effect, the cloud details, the fluffy clouds that we've created, and the blending into the sky. The highlight creates so much more depth onto the pole as well. Thank you so much for joining me into this class. I will see you guys soon into the day ten C project. 12. Day 10 - Pastel Sunset: Hello everyone. Welcome back to day ten of the 30 day quash landscape adventure. Today we are going to create this beautiful pastel sunset by the roadway. The colors that you would be needing is yellow, orange, sky blue, violet, white, and black. You would hardly be needing very little tint of the blue tones. It's majorly going to be the rest of the pastel tones. So let's go ahead with a very basic pencil sketch. I'm just going to mark out the pathway area at the bottom space of the paper. It's going to be a very small pathway. This time also we are going with a pastel sunset sky. We are going to add in the pine trees on top of the road bay, and the top is going to be the sky. And then they'll be adding a few of the street lights to these. So let's begin picking up the colors onto the palette so that we can create in the pastel tones for the colors. Now this time for the sky, I already have the lilac color on my palette. So I'm going to mix in the lilac with the violet color to create a little, medium pastel violet tone. You can simply mix in white with your violet to create the pastel tone that you need. Depending on the shade of your violet, you can adjust it with the help of the white color so as to get in the right consistency. Now next, I've added in a little bit of the pastel yellow. Again, you can use a medium yellow mix in white to create a pastel yellow. Same way for the orange as well. Now I'm first picking in with the lilac color at the top space, at the topmost area, I'll just add in little darker highlights with the violet color. Now make sure that you test in your colors how they look after drying, so that you can understand whether you need to keep the tones darker if they dry out lighter. Every brand may have the different properties of colors, so it's important to test them. Now, I've used up a little white in between, just below the violet color. Because I'm going to add in the yellow and the orange tints at the bottom. Remember, violet mixed in with orange can give you muddy tones. So make sure to use in white in between for blending closer to the horizon line. I'm going to go in with a little further yellow tint so you can see this beautiful pastel yellow color that I'm going ahead with at the bottom space. This time we are going to be creating in a lot of the cloud effect onto the sky. So this is just the base layer which will almost be hidden with those detailed cloud effect that we'll be going ahead for this painting. We are done with the base layer of the sky. Now using in a little darker hint of the violet color, I'm going to begin adding in the clouds, make sure that the darker hint of the violet is just one tone darker than the base layer. Because if you'll go ahead with a very dark tint altogether, it may look a little out of proportion with the colors in the sky. Now this time we are going to go ahead with a lot of detailed cloud. We are going to go with a lot of clouds and cover up most of our sky. Again, we're going to keep on using in the different techniques that we've learned. First, I'm creating in cloud effect by just adding simple strokes closer to each other with the violet color. Wherever I feel that I need a little dabbing effect to blend in the colors, I'm just going with simple dabbing, blending in the colors together. We are even going to go ahead with a lot of white, orange, yellow cloud details as well. Now in case if you want, you can add in a little pink tint to your violet color so as to get in violetish pink tint so that it goes ahead and blends in well with the orange tone. As you move towards the bottom side, I've added a very little highlight and quickly blended it with the white in the base layer. You can see how slowly we are building up the detail, look into the sky. Now at the bottom of the pink, I'm just adding in a little yellow highlight so that it has a beautiful blend effect in the base layer. Now I'm just picking up a very little highlight of the black color and going to mix in with the violet. It's a very little tint that you need to add in to get a grayish violet color. Now using this, I'm going to add in some bold cloud effect. To this, I'm going to add in a little more of the white color. Or you can add in your lighter color, because it does not have to be too dark, but it has to have that little grayish violet effect. Now, this color still seems to be a little dark, so I'm just going to go ahead with a little more white into the same mix and going to add so that it creates that beautiful pastel look again. Now using this, I'm going to begin adding in the Akal defect. Now keeping in a smaller size brush, ready to keep on blending on the. So you can see I'm just going to go ahead with this bigger brush, so you can quickly fill in the space rather than going ahead with smaller strokes and then blending in. So these are small tricks which you can use to make the process faster at certain spaces and given different effect. So I filled in the major space with the bigger brush. Now using a smaller size brush, just going to create in the highlighted effect. If you have a closer look, you'll see how beautiful this cloud effect is looking. It's not of the darker tin, but it's darker than the top color sky, giving in that grayish effect that we needed. Now I'm picking up a little more of the pink color and going to mix in white and create a pastel pink. And add in little cloud effects in the bottom space just of this color and blend in as well. Just using this damp brush, you can see I run it onto the colors that I've added quickly and violet is bed, it blends quickly into the base layer as well as the other colors. You can even use a brown brush or a mop brush if you do not have a similar blender brush. Now picking up a little more of the violet to add in a little more violet clouds at the bottom space. And then we'll move on to the yellow and the orange highlights just at the bottom of space. I'm adding in this violet cloud effect in front of these. We are going to be having in a lot of pine trees, basically from behind the pine trees, you'll be having in the effect of these violet clouds coming in. Now using a little lighter tint, I'm going to blend these darker clouds as well and create in little lighter effects across these so that it looks a little in harmony with the colors of the sky that we've been using so far. Plus this makes the process a little quicker because of the bigger size brush that I'm trying to use in here now, using a little of the white cloud effect closer to this so as to make it look perfectly blended with the yellow of the base layer of the sky. Otherwise, it will look in a little out of proportion because the colors are a little pastel as you can see. Now again, the placement of these clouds may vary for each of you because of the strokes that you use in or the placements that you use in. But this is how you can create in a detailed cloud effect into the sky. The rest of the silo heed that is the reason for this painting that I've kept in very simple, simple roadway with no details and simple pine trees. Because this class project, we were exploring more of the detailed cloud effect. Creating in clouds with different color tones, different patterns. As well as creating in so much depth into the sky. Now at the bottom, just giving in some orange highlights. Most of this will get covered up with the pine trees, but wherever you will be having in the smaller pine trees, so the background clouds will be visible. So make sure you add in the cloud effect completely till the roadway line. Now at the top, going ahead with the highlight detail, I've mixed in white to this yellowish orange tint and beginning to add in the cloud details at the top with this color so that it looks perfectly going in the floor. We are almost through the sky. I'm just going ahead with little more lighter highlights of the white at the bottom space wherever I feel that the color needs a little lighter effect and blending in quickly with the help of the damp brush. Now again, all of these may vary from each one because of the color consistencies that you're using. I'm adding in a little of the pink highlights as well on top of these. Now we're going to add in the detail for the roadway. We are ready with the beautiful detailed sky for the roadway. You just need to mix in your violet, a little tint of white and black to create a little darker grayish tint effect. Now, make sure you do not use a simple black color, because it will not look in harmony with the sky. To show the reflection of the sky on the pathway as well, make sure you use a little violet tint, but a little darker than what we were using in the sky. And for the roadway, we are just going to be adding in simple white lines in the center space. No more details. So just a simple roadway of a darker grayish violet tint. And on top of these, we are going to be adding in a lot of pine trees across the entire roadway and three to four street light details as well. Using the black color, let's quickly begin adding in very small, tiny pine trees across the entire roadway. Make sure you use in a bold black tone for this. And make sure that you use a very small size brush, because these details are going to be very small compared to the size of our painting. I'm first creating in an entire black line and giving in that little filler space in the bottom. On top of which, I'm simply going to go ahead with simple pine trees of different heights. Make sure you vary the heights of the pine trees at the top here. Also you can see I'm not going with a straight white line. I've tried to create it like a mountain range. Now on top of this, you can simply fill in with the pine trees. For the pine trees, make sure you add them in such a way that a little off the background, orange sky, violet sky. All of them be visible, creating in the depth into the painting. Now simple pine trees that you're going to be adding in, in between, you can use in some simple bush or branch details as well as the filler effect. We've discussed all of these in the pine trees section as well, where I've shown you different ways of adding in pine trees, some fillers, some bushes in between to fill in the spaces quickly. Now I'm going ahead with one big pine tree here. As you can see, it's such a detailed one that I'm creating. It's miniature but still looks detailed. And he in between, you can see I'm going with simple branches and thorn details to give us filler spaces in between the pine trees that this entire spread looks natural and realistic. Now going ahead with one more huge pine tree as compared to the last huge pine tree that we added in. Now from behind the pine trees, you can see how the orange clouds are also visible at the base layer of the sky that we added in. That is the reason it was very important that you fill in all of the sky and the cloud details completely till the roadway line behind of the pine trees, the sky and the cloud details would be visible. Now again, in between, you can see I went ahead with some simple details of some very simple leaf and grass strokes moving in here and there randomly to create in that natural death. Because in between these pine trees, we are even going to be adding in the street light poles now and creating a glowing light effect. This time we are done adding in the pine trees as well, just adding in some very simple branches in between wherever I feel the need to. Now, let's begin adding in the details for the pole of the street lights. So I'm using in the fine tip pen to add in those straight lines first. Now in the left center space, I've added one closer to the pine tree of the height of the pine tree, a bigger one towards the next pine tree, and the largest one towards the rightmost side. So in these three heights, I'm going to be adding in the light effect. Now, this time for the light, I'm going to create in the glowing effect first. For that I'm going to be using in the white color, creating that glowing space. And then on top of it I'm going to add in a yellowish white light effect, a very beautiful light yellowish effect that we'll be adding later on. So first this time I'm adding in white in an oval structure. I'm not going ahead with the simple round shape, I'm going with oval structure of the light this time. Now if you want for the background glowing space. Also you can add in little yellow highlights to these. I'm just adding little yellow highlights now I'm going to use a dam brush and blend these into the background base layer. And create in that dull space so that it looks in as the glowing space for the lights that we'll be adding on top of these. Now if you feel that in one layer you have not got a bold, glowing effect, you can go ahead with one more layer. So I'm just going with little more yellow highlights into the glowing spaces before we add in the final light effect. So make sure that you can go ahead with layers depending on your consistency of the panes that you've used it. Or you can always go ahead with another layer and create in that glowing spaces. Now on top of these, we'll be adding in the light effect. Now until the glowing space of the light dries out. I'm going to add in the details on the roadway first giving in a pole straight black line so that you have that pine tree line giving in distinction. Then using in the white paint, I'm going to add in the details onto the row. You can even use a white shell pen if you want or you can use in a pole white color and a smaller size brush and add in these simple lines leaving in gaps in between into the center of the roadway. Now lastly, let's quickly add in the lights because the glowing spaces have dried out. Now, use in a very thick, bold consistency of the white just in the center of these oval spaces that we've created in. To add in the light details so that the glowing effect of the light stays in. Make sure that you do not dilute your white lot, otherwise you will not get in that glowing and the bold effect of the light. I'm using it in a very thick consistency without adding in any water to it. You can see how beautiful it's creating in that glowing effect of the background yellow spaces. So make sure you use in that little yellow in the background because you can see how the glowing space is coming out to life in the center. I've just used it more of the white color, but make sure that this white has to be smaller than your glowing space that you've created. Only then the glowing space will be visible. The main light effect is smaller than the glowing space. Always. Now just this one light, I'm a little bit unsatisfied, so I'll just quickly go ahead with another layer on top of it. And then we'll be ready to remove in the masking tape and see a final painting. So I just created a little more glowing space there and then added in that bold, white light. Now let's remove in the masking tape and see this beautiful painting so far. This is one of my most favorite painting from this entire class because of the detailed clouds that we've created in this one, as well as the glowing light spaces. You can see the close effect of the clouds, how beautiful they are looking, the details that we've added in, the simple pine trees and the light effect. I hope you guys enjoyed painting this. And if you like this class, make sure to drop a review and applaud your class project so that we can see them all together. Thank you so much for joining me. 13. Day 11 - Winter Wonderland: Hello, everyone. Welcome back to Day 11. Today we are going to be painting this beautiful winter landscape. So the colors that you would be needing is a pastel shade of pink, lilac, violet, white and black. Now, in case if you do not have ready pastel colors, you can just have a medium tone of pink and violet and white and black, and we'll create in all the different shades. Let's begin with a very basic pencil sketch, first marking out the mountain ranges for the Snowy Mountain. I'm going approximately a little below the center line. I'm going with a very rough mountain range. The top is going to be a beautiful pastil sky with the lilac and the pink tones. And the bottom, we're going to add in a lot of mountain and snow details along with some pine trees and some rock details. This bottom area is going to be the snow space, and the top is going to be the mountain. And at the top of the mountain will be the sky. Now here we'll be adding in the pine trees as well, with the black tones. Later on, we'll first begin in with the sky. So let's begin picking up the colors for the sky. Now, I readily have pastel pink in my palette, so you can simply mix in a medium tone pink along with white if you do not have a ready pink. And for the violet, I'm going to pick up the violet and the lilac color both. And mix them with the help of white. So you can go ahead and mix in colors with the help of white. And create in your own pastel tones for the violet. I mixed in a little of the pastel blue with the violet color to get a bluish violet tone. Because now I'm blending it with the pink as you can see, and it has turned into a beautiful lilac tone. I had a ready lilac also in my palette along with the pastel pink. But I preferred mixing in the blue with the violet to get a little bluish tonal variation as well. Now after the pastel pink, again, I've added a little layer of this violet color. And at the bottom most pace, I'm going to go ahead with the pink again. Now, this time to make the pink one shade tone darker. I'm mixing in a little bit of the pink along with a little tint of the orange. It's going to be very little touch of orange. So you can skip that if you wish to, and mix in a little bit of white to turn this entire mix into a pastel warm pink color. And add it closer to the mountain range. Now make sure you do not add these colors in the mountain space. You need to define the mountain range perfectly, because the mountain range is going to be of a very light tone, so we do not want these darker tones there. Now we need to go ahead blending, so I'm going to use in white or the lighter tint. And go ahead and blend all of these colors. You are a blended in all of the colors. As you can see, with the help of the lighter tints, wherever you feel, you can lay over the color again to make the blending go smooth and easier. So we have the same two colors in two different parts. That's beginning in with the violet blue, moving to the pink, then again to the violet blue, and then again to the pink. So this is the base layer of our pastel Winterland sky. Now we're going to go ahead first with the base layer for the mountain range. For the mountain range, it's going to be white with just a hint of pink. It's basically a whitish pink color that we're going to add in. You can see the hue of pink in this is very negligible. Once this dries out, we'll go ahead with a little dry brush on top of this to create in that snowy detail on the mountain range. Now, in between if you want, you can mix in a little bit of the lilac as well for the mountain range so as to reflect the colors of the sky reflecting onto the snow. So the entire snow space, I'm adding in the base layer of this color. That's the lilac, pink and white mix in. Now again, your color mix can vary depending on the color hints that you use in. So I'm just going ahead with a little bluish violet tint a more and again I'll go ahead with pink. But you can see it's very light, almost a white tint and very little color hue just to give in that color effect of the sky falling onto the mountain ranges. Now next into the sky, I'm just going to add in some darker violet highlights. I'm picking up the violet color itself without adding in any white color to it and using it in a medium tone consistency. I'm just going to pull out some strokes from the right edge towards almost the left edge. But you can see as I'm moving topwards, I've decreased the length of these, just giving in that little darker tint of violet onto the right edge. Now you can blend in, again, with the help of the colors. Even on the left, I'm just adding in little hints since my base layer is almost right. But since I'm using a dam crush, the colors have blended and do not have those harsh edges. Now I'm going to shift into my round brush and pick up some black color to begin adding in the details onto the mountain range. You need to make sure that your mountain ranges are completely dried before you begin adding in these dry brush strokes onto your mountain range. We've discussed the dry brush technique as well in the technique section. That was the last technique section wherein I've discussed the technique of dry brush, How you need to add in the consistency of the paint, the flow of your brush, as well as the angle that you need to go ahead with. I'm first going ahead with very fine lines. You can see I'm just using in the tip of my brush, going in very slowly, adding in these little details. Now I will first just define the mountain range and the rest of the snow space. So I'm giving in this bold black line. You can see it's a little diagonal moving from top, sorry, from the bottom left to the top right. Now at the top spaces of the mountain, I'm going to begin adding in very small, tiny strokes with the tri brush technique. Also, the entire mountain range, you will automatically see I given a very fine black outline later on and it will be distinguished from the sky perfectly. Now you can see I'm going with very random strokes trying to depict in the mountains and the white spaces will then be acting as the snow. So originally you first painted the entire snow, now you're giving in the mountain look in between the snow. You need to go with a mix of some zigzaclines, cris, crust lines, and the dry brush technique and some patches of the color as well. At certain spaces, you just need to add in smaller patches of the paint to create in a bolder mountain look. And rest of the spaces you need to give in little dry brush and the stroke detail, you can see my brush is not having extra water or extra pigment. Because of which I'm getting in these strokes such easily and giving in that perfect, beautiful view, creating in that texture onto the mountain. Now at certain spaces on the mountains, you'll see that the black marks are more. Whereas on the other spaces, we've given in very limited detail. Now same way in the bottom snow space, I'm going to give in some of the dry brush detail trying to show in the rock or the space visible from between the snow. The white area was actually the snow which we pre added and now we are trying to depict in the area in which actually the snow has fallen in. As you will see, I'm going ahead with the drybrush technique, but here the dry brush is much, much closer as compared to the top spaces as well. I'm going ahead with some patches of the black color as well to create in some rock details. Now at the bottom here, I'm filling it completely with a black color line. First onto this we are going to go ahead with some pine trees or a bit of a fence detail. We'll be going ahead with a pine trees in the center, black line that we've marked. And here we'll be adding in a small fence detail. I'm just going ahead with simple grass details first here. Maybe we'll add the fence in between Somewhere here. I'll just create in a little bush area at the bottom of space. You can even add in small, tiny detailed pine trees if you wish to. I'm going ahead with very simple strokes here to fill in the spaces quickly. Now, in the left space here as well, I'm just giving in little details. And now I'm going to add in a small fence here, diagonally from the bottom left, moving towards the right center line. I'm just going to create a small fence look in between the snow space. So I marked out a line and now just adding in the fence detail, these are little details which makes the painting look more realistic and natural. Now onto the center black line that we've marked out. Let's quickly add in a lot of pine trees Now make sure your pine trees are tiny and in such a way that they do not cover the entire mountain range. The details on the mountain need to be still visible. That is the reason at the bottom of the mountain, you can see I've not added much of the dry brush because I knew it's going to get covered up with the pine trees. Now I'm going to quickly go ahead add in some simple spiky strokes in between. Look as the filler spaces. All of these also we've discussed in detail in the techniques section how you can use these filler elements in between your pine trees, bushes, grasses, so as to make them look detailed as well as a quick way to add in your details in between. Again, you can go ahead with some pine trees, some detailed pine trees, some scarce pine tree. Now one thing that you need to be careful about is that you need to vary the heights of these details throughout. Do not keep them of one single height, because in nature, all of these would be varying from one tree to the other, so no two trees will ever be identical. So make sure that you vary them and keep them looking natural. One last pine tree here and we are ready with the pine tree range. I'm just going to add in little more details at the bottom space with the dry brush technique, randomly trying to show in little reflections of the pine trees giving in these slant details. Trying to show the reflection of pine trees falling on the snow space and in the rest spaces wherever I feel the need just giving in little more black marks. Now again, all of these would vary from painting to painting space to space and size to size. Now using in a medium tone of violet, I'm going to go ahead add in some cloud strokes into the sky. Now this violet tone has to be one tone darker than your violet tone in the sky. Only then it would be visible. So make sure you just use one tone darker than your base layer violet tone, such that these strokes are perfectly visible. I'm going with simple, larger strokes to build in the sky diagonally, this time from left bottom towards the top right. You can see I'll add in one more such layer at the top space as well. And we'll be adding in a little of the star or the falling snow detail along with a little bit of the moon effect as well. Now, quickly using in the damp oval brush, I'm just blending in these strokes a little, giving them a little soft edge. If you want to keep them bold, you can even keep those strokes bold and not blend in so much, but I just wanted to give in a very subtle blended look with some darker highlights this time because I wanted to show a beautiful subtle sky with soft blends. Again, on top of it, I'm going ahead with some smaller strokes as well so as to add in, you know, little drama to the sky and little bold strokes. So I am going ahead with blend of soft and bold strokes. You can go ahead with just boldstrokes or blend of both, depending on your choice of liking for the details of the clouds. You can see how quickly I've created in that soft, darker effect into the sky with those bold colors of the violet tones. And given them a soft blend with the help of the damp brush. You can simply use in even your flat brush, to blend in. If you do not have such an oval blender brush, it's easy to go ahead with any kind of a brush. But it needs to be in a damp consistency and a little bigger in size as compared to the pace one. Now I'm quickly going ahead with the white color, adding in some little into the sky. You can consider it as a snowfall detail or some stars into the winter sky. And here I'm going to create in a moon effect for which I've added in the moon. And now I'm just going to first blend all of these create in the dull spaces. So this time I'm going ahead with the glowing stars as well as a glowing moon effect. So first for the stars you can see I added in very smaller dots. And for the moon, I added a very big dot. Because moon has to be a bigger as compared to the size of the stars. Now I've created the dull space for all of these that's going to act in as the glowing spaces for the stars and the moon. And once this dries out to the center of these, we're going to add in bold, white color. Now make sure the star dots are very fine and just tiny because the moon has to be the bigger glowing part. And the stars are just the accompanying part into the sky. So I'm going to use the white paint in a bold consistency. Now I'm just going to splatter some stars first. Now in these splatters, if little of these goes onto the bottom spaces also it's perfectly okay. It, we'll act in as a snowfall kind of filo, make sure your white paint is in a medium consistency so that you do not get in very dull effect of the stars. As well as make sure you do not have more color onto your brush, otherwise you'll get bigger patches of paint. And always keep your brush a little far from the paper and then splatter so that you get in those fine star details. As I've caught in now going with the white, bold color, all of my glowing spaces have dried out. And to the center of those, I'm going to begin adding in the star detail first. So very tiny dots you can see just to the center of the glowing space. And automatically you can see the dull white space around it is creating in that glowing effect, giving the shine to the stars. Now, in the same way, just going to add in the glowing space for the moon and the moon here. So we are ready with our class project for day 11 as well. And let's remove in the masking tape now and see our final painting. I absolutely loved working with the dry brush technique on this one and creating in so much of the glowing stars and moon. Make sure your edges are dried and remove your masking tape against the paper so that you do not lift up the colors and the tear off your edges. So here's a final closer look at our painting from day 11. A beautiful winter landscape. I love how the mountains and the snow look is looking with those beneath pine trees and the sky. I love the cloud effects, the soft, blended clouds. Thank you so much for joining me into this class. I will see you soon into the next one. 14. Day 12 - By the Lake: Hello everyone. Welcome back to date 12. And today we are going to be painting this beautiful sunset by the field. The colors that you would be needing is sky blue, yellow, orange, violet, shades of green, white and black. Now for the shades of green, you can go ahead with two or three different tonal variations of the greens available in your palette. Or you can adjust by mixing in white and black accordingly to create darker and lighter tones. Now let's begin with a little pencil sketch for this class project. So we'll begin marking out the horizon line first, which is a little below the center line. And we're going to mark out that small waterflow space or that small lake in between the field area. So I'm beginning in from the top left, top right of the horizon line, moving towards the bottom left. And you can see for the lake space, I'm going ahead with a very rough outline and a very crooked be, not going in with a simple straight lake effect. The center will be the lake. And towards both the edges it will be the field, and the top will be the sky. We'll begin with a pretty sunset. A view for the sky with the shades of blue and yellow, beginning with the sky blue. Now again, you can go ahead mix in white and adjust the need of the tonal variations of your colors. You may not have the exact same shades, so you can go ahead with the best possible color, shades of blue and yellow. Make sure it's towards a little lighter side and not too pinning in with the blue at the top of the sky. Now I'm going to mix in white while blending. So I'm not mixing in any white at the moment to my paint here. I'm just going ahead with a simple tones. Because for blending, I'll be using white. So automatically the color tones would go a tone lighter. Now picking up white, overlaying the white over the blue, and blending it till the center space of the sky. You can see half of the sky I have left empty for going ahead with the yellow orange tones. Now in this way, you can see you get different tonal variations of blue. Also, when you overlay with white and blend in. Now going ahead with this yellowish deep in a color and a beginning in from the horizon line, I'll move topwards. Now remember blue and yellow mixed together, we'll give you green tones. White blending, growth of these. Make sure you make use of little white tones so that the blend and the transition between these two colors go in smooth. I'm going very carefully towards the horizon line, making sure that I get that straight line for the horizon. Look now picking up the yellow color. Picking up the white color, I'm diluting the entire white tone and blending it with the blue. And you can see we do not get any green tones formed. Rather, we get the lighter yellow and the lighter blue tones, making the blending smooth and pleasant. Now, over the yellow part of the sky, we are going to go ahead with some orange highlights. Over the blue part, we'll go ahead with some darker blue highlights, along with a little violet highlights, but till the time it dries out. We'll go ahead with the base layer for the fields. For the field, I'm just going to go ahead with different tones of the greens. First one, I'm going ahead with this little light green effect here. And now towards the edges, I'll go ahead with a little darker green. And blending in such a way that towards the center space of the field, I have the lighter green effect, and towards the edges I have the darker green effect. Now make sure to mark the lake space very carefully, and do not add the greens there. The lake is going to be a reflection of the sky color, so we are going to blend in the blue and the yellow color itself into the lake space. If you want, you can first blend in the lake area and then go ahead with the green spaces, because that may help you to cover up any outlines if you are an absolute pigner. Because now when you paint the lake space after painting the field, you'll have to go ahead very carefully using a small size brush only towards the inside spaces, very roughly. You can see I've just overlaid the greens. Now I'll just go ahead with little more lighter greens and add it. I've gone with very rough strokes. You can see this is just a color blocking that I'm trying to do in for the field spaces first. Now quickly using a damp brush, I'm just going to blend in and smoothen out these strokes, but in such a way that I do not run into the space of the lake. In case if you feel that your movement is restricted, what you can do is you can cover up your lake space with some masking tape and shape cut out so that you can run your brush easily for the field space. Or you can use a smaller size brush as well and go ahead with little details. Now using a smaller size brush. I'm going to begin in with the lake area as well. For that first towards the horizon line, I'm beginning in with the white color layer to which I'll add in little yellow effects. So closer to the horizon line, the first reflection will be of the yellow color. That is the reason towards the lake, towards the horizon line. We're going ahead with the yellow first. And as we move towards the bottom of the lake, we'll shift on to the blue color. Now make sure here also you are making the use of white color for blending the blues and the yellows. Otherwise, you may get in green tones into the lake space. Now, across the lake space, on both the edges for the field area, we are going to give in little darker shadow effect, trying to show the shadow of the field into the water space as well. Now I'm begging in with the light blue color at the bottom space, I'm going to blend it with a yellow, making sure I do not get any green tones in the lake area. Now. Again, I'm mixing in a little of the sky blue along with the white. But this time the blue is going to be one tone darker than the base layer of the sky color. I'll begin adding in the cloud strokes into the sky, onto the blue color. I'm going to begin adding in the strokes with the blue color. I'm going to create a simple cloud effect. You can see it's just perfectly darker than the base layer of my sky. If you want, you can mix in black and white both so that you get a grayish blue effect. Or you can simply go ahead with just one tone darker blue. Now it's onto you how you want to go ahead with the blending into the clouds. If you want, you can have a little of the soft blends with the help of some round brush blending in, or damp brush blending or finger blending. Or if you want, you can have in some bold cloud strokes. It's absolutely our choice how you need to go ahead with these variations at the top. Going ahead with some clouds, you can see it. I'm moving in diagonally and making sure that the lighter blue of the sky is also visible now moving downwards, moving towards the right side, creating in a diagonal, moving downwards. Now along with it, I'm going to go ahead with some white strokes and add in along with the blue. And create in blends for this again, you can go ahead with little dabbing with your fingers so that it looks blended with the baselayer of the blue. As well as you can go ahead with an overlaying of the white onto the blue so that you get that blending effect and some different tonal variations into the clouds as well. Now next I'm going ahead with some lilac color. You can mix in your violet, a little tinge of pink and white to get a little pretty pastel violet tone. And using that, I'm going ahead with some cloud strokes over the yellow color. Now make sure when on the yellow you're using the violet color. You go with a little light hand. Because again, yellow and violet mixed together may give you muddy tones. So it's important to keep your light hand so that these strokes will just stay on top and not reactivate your baselyer yellow color creating in those muddy tones. I'm going with simple cloud shapes here as well. You can see simple strokes closer to each other in cloud shapes to create in that effect. After this, we are going to move on to the orange color to add in some highlights into the sky at the yellow place, closer to the horizon line. Now either you can directly pick up the orange color or you can mix in a little of your red or pink towards your yellow and get a yellowish orange tint. I already had a little of the yellow on my palette, so I picked up a little of the pink tint so that I can re, use the same yellow color and not waste it. You can directly use a little lighter tone of orange. You can see it's perfectly one tone darker than the baselier, yellowish orange tone that we have now going with simple highlights here with the orange color. But you can see these strokes are much bigger as compared to the other strokes that we were adding in for the clouds with the blue and the violet color. So this is how you can use different strokes in variation, creating in much more detail effects into your skies. I'm almost done with the sky. I'll just add in a little more highlights creating much better transition happening in between the clouds as well. After this using in a medium dark tone of green, I'm going to begin adding in the bush effect on the horizon line. Now in case if you do not have darker green or just have two to three tones of greens, you can mix in browns. Blacks, blues to your green to create darker tonal variations. Using this darker green, you can begin adding in little bush detail on the horizon line. Now make sure you add these in such a way that you do not hide completely the orange cloud strokes that we've added, you need to make sure that these bushes appear in such a way that from behind of these the orange cloud strokes be visible. Also, make sure to maintain the horizon line effect and you do not ruin it up because then you will have to cover up the space much more now for the bush as well. You can see I'm going with different heights towards the bush. Just dabbing at the top, creating in some effect and blending it at the bottom, creating and filling in with the same green color. So towards the rightmost end, you can see I've taken it much, much taller and created at that detail effect. Now after this, we'll go in with little more details into the field and the lake space and we are almost ready through the class project for date 12 as well. Now using a smaller size round brush, I'm going to go ahead with some strokes and creating in water movements into the lake space as well. I'm going with simple smaller strokes, moving from the edges towards the center. Cris cross same way over the yellow color. I'll go ahead with little yellowishorin strokes just as in the sky. And using the same blue here which we used in the sky for adding in the cloud details, just creating in little water effect here with some details of moving water. After this, we'll just blend in little edges of the lake with the greenery space that we've created to create in the shadow effect for the field area falling into the lake space. I'm done adding in the waves detail here. Now let's go ahead with a very dark green or you can pick up even paints gray or black color. I've just mixed in a little hint of black to my green to begin adding in the shadow effect to the field, into the water space. Now make sure for this, you use in a very fine tip brush and using the color in a very medium tone consistency so that you do not spread out. Add a very fine line following the shape of the lake, creating in that shadow effect. Now as soon as you add this line, you can see you have a three D dimension effect to the and the lake space because of the shadow that's falling into the lake area. Now, in the same way, I'm going to add it onto the right side as well. Once I'm done adding it towards the left side, you can see how thin the stroke is to create in that shadow effect. Now, quickly using, in a very damp brush, I'm just blending in and softening in the edges of this shadow that we've added so that it creates a much more natural effect very quickly. You just need to blend in little of this moving in towards the water space from the left, you will move towards the right and the reflection towards the right. You'll move it towards the inside of the lake space, creating in that shadow blended effect into the lake area. Now, I'm just going with one simple blend layer into the field spaces. You can see I'm just picking up little lighter greens and blending it over the green strokes that I had added previously. And which I'm not satisfied with just giving in a simple blend again, so that all of these looks easy. And a simple green field with no grass or no detail look just some simple field effect. Now I'll quickly just add in a little more highlight to the shadow effect here, which I was just blending in. We are almost ready through the class project for day 12. A simple sunset by the field. Quickly using in the pointed tip pen. I'm just going to add in some ore lines into the sky. You can go ahead and add these with a very fine tip liner brush with the help of some black pants as well. I'm going ahead with the pen which is 0.1 ni. You can see the fine details on the horizon line creating in more depth into your sky. Let's remove in the masking tape and see our final painting. I hope you guys enjoyed painting this simple feel with me for day 12. Let me give you a closer look of the painting now here's a closer look at the painting. You can see how beautiful the clouds and the reflection of the shadow and the field looks into the lake space. I hope you guys enjoyed painting this with me today. I will see you guys soon into the day 13 C project. Thank you so much for joining me. 15. Day 13 - Setting Sun: Hello, everyone. Welcome back to day 13. And today we are going to paint this put full dark evening sky look almost a night sky kind of a look. The colors that you would be needing is a grayish, blue, yellow, orange, white and black. You may even need a little tints of brown if you want to add in. We'll see as the painting progresses along. So let's begin. We do not need any pencil sketch here. It's directly going to be the paints with the sky first. So I'm going to begin with picking up the colors onto my palette. Now, in one of the previous class projects as well, I've told you in case if you do not have a grayish blue color, you can simply mix in your sky blue with a little tint of paints, gray or black, and a little hint of white, and get a grayish blue color. Now first I've picked up a yellow color. It's a medium yellow. And for the orange, I've mixed in the same medium yellow with a little hint of vermilion color so that I get that bold orange color, you can directly pick up an orange color as well. For the grayish blue as well, you can see I directly have this grayish blue color on my palette. But in case if you do not have, you can just mix in a little hint of black and white to your sky blue, erlian blue color and get a similar tint. Now I'm further going to darken up this color later on with the help of the black color at the top and bottom a bit. Now first at the top and bottom, I'm going ahead with a layer of this color in the center. It's going to be the sunset effect with the yellow and orange. Now remember, while blending these colors may give you muddy tones with the help of white, go ahead with the blending of the yellow here. So I'm just adding in a little white layer over the gray, grayish blue color on both the edges. Now in that center space, I'll begin with the yellow and orange in the center. I added in the entire yellow color. Now on the edges, I'm going ahead with the yellow orange tone and going ahead and blending. Now, again, for blending, if you want, you can pick up lighter tints as well. For blending. Now I'm using a little bit of the burn sienna color at the top and bottom for blending. Because it will make the blending with the grayish blue much more easier and smoother. You can use a burned sienna or any medium tone of brown that's available in your palette. Now first I'm blending in the yellow orange and the browns in the center. I feel that the yellow was getting hidden again, so I just picked up a little of the yellow to blend in. Now you can see as the yellow moves onto the grayish blue, you get that greenish hint that we'll cover up with a layer of the grayish blue color. Again, for blending. Now at the bottom, er, it's majorly going to get covered up with the black tint later on. I'm not worried much at the bottom space, but I've just added a small layer of paint there now, using in a little bit of the white at the blending points of the grayish blue and the browns, I'm going ahead with a little white layer again so as to make the blending and the transition smoother. You can even use a pastel yellow like this to blend in. Because it will make the blending go smooth. The transition happening between the colors will not have any muddy tones like the greens that were forming earlier. Now at the top here, again, I'll just go with little brown because you can see that greenish hint, which I do not need just covering it up with brown. You can see how you can use colors in between to make the blending and the transition go smooth. When the blue and the brown mix together, they will not give you any unpleasant tone. And the yellow and the brown mixing together, we'll also give you a pleasant sunset hue. So that is the reason I've used in a little bit of the brown here for blending it with the grayish blue. Because I did not want a lot of white effect because I wanted a beautiful night sky sunset look. So that is the reason I've used minimal white and very less of white so that, you know, we do not have that light effect into the sky. And I've made use of the darker hints of browns to blend in so that we do not get any green tones. You can see all the green tones are hidden with the help of brown. Now I'm going to go ahead with the black color and begin adding in the detail of the siloed. So I'm just going to first mark out a space at the bottom. I'm going ahead with a very random outline with some bush detail at the top. And I'm just going to fill in this entire space with the black color. This entire bottom space, you can see I've filled it up with the black tone now towards the right side. I'm going to go ahead with similar looking detail for that. First, I'm going to go ahead with this spoil round brush and create in some dabbing effect dry brush detail for the bush area. We've discussed this as well in the technique section of the leaves and grasses, where we've in detail, seen how you can add in these elements with the help of spoiled brushes or you can use in a damp brush, so you can see how this space gets filled up completely. And in a quick way then you can just go ahead with little detail look of the leaves and grasses or bushes effect so as to have that natural effect as well. Now when I'm adding in this damming effect, you can see I'm trying to go ahead with a very irregular shape, creating in that shape effect into the sky on the left so that we have that shape transition moving in, you can see how quickly the entire right side is filled in with this dry brush detail. Now I'm just giving in little shape outlines, pulling out some longer details at certain spaces, creating in that very natural effect for this foliage area. Now on top of this, I'm going to move on to my smaller size round brush, which has a pointed tip so that I can get in minute details. And using in the black color, I'm going to begin adding in some detailed leaves and detailed branch details. Now we've already discussed these detailed leaves adding technique or branches as well in the technique section. Let's quickly begin adding in them. Now I'm going to go ahead with a mix of leaves and these palm tree details. I'm just pulling out some branches from that, I'm pulling out further, smaller branches giving in some palm tree foliage effect here. Same way. I'm just going to quickly go ahead and keep on adding in these details. I pull out a bigger branch from that, I'm pulling out smaller branches in leaf shape. Now, all of this is very random and may keep varying from painting to painting, detail to detail. I'm adding it in a closer view so that you can see how we're going ahead creating in the depth into the foliage. Now when you're adding in these details, make sure you add them in such a way that you do not cover up your entire sky. We're painting minis here. You need to make sure that these details are in such a way that the details in the sky are still visible. You can see how I'm going ahead with overlapping details. This time I'm going ahead with more of these palm leaves, foliage, instead of going ahead with those leaf ones. Later on we'll go ahead add in a few leaves as well. But first I'm going to go ahead add in this kind of detail completely to the bottom space. At the bottom space also we're going to create in little detail foliage depth now into the sky. We are going to later on just add in one bright sun setting effect, which is going to be with a bright yellow color or a pastel yellow depending on what suits onto our color of the sky at the top as well. I'm going ahead with little of the branch details onto the black space. Now you can see the background black color that we added in with the dry brush effect is giving in such a detailed look, creating in the shadow, as well as the filler effect to the entire foliage that we wanted to add in. In the center, you can see how my beautiful sunset sky is still visible with the yellow, orange, brown tones and blending in at the top with a grayish blue color perfectly. Now in between, I'm going ahead with some dabbing leaves. These also we've discussed how you can add them. Just dabbing in the tip of your brush, press the belly of your brush and then lift up. Once you're satisfied with the length of the leaves, same way you can go ahead add in a few leaves detail in between these branches that you've added in to give in more depth to your natural look. Now you can see how I'm adding these leaves overlapping onto the branches that we've added at certain spaces. Just on top of that, I'm adding in simple leaf details, creating in that overlapping effect, giving in that natural interwined look to the leaves and the foliage detail. It's not necessary always that you need to put in all of these details separately from each other, or each branch separately. As more as they are overlapping and interwined, they will give in that natural and realistic effect to your nature landscapes. Now on top here also, you can see how I'm quickly going ahead with some leaf details moving in different directions. That's also an important aspect because if you observe nature, everything goes in different ways and not always in the same angle or the same way. Now I'll quickly add in little details at the bottom here. Now you may feel that you know this black color. How is it visible onto the base layer black? The base layer black was one tone, a little lighter, and this is bold black. That is the reason you can see these black details are even visible on the lighter black layer. That's the best property about quash the opacity if you use them in the right consistency. If you'll dilute this color while adding in this detailed foliage look, then it will not give you that detailed look. This will give you a very dull look. It's important to maintain the opacity by adjusting the consistency and the thickness of your paint. Now at the bottom space here, I'm just going ahead with some random branches, scarce pine tree look, or some simple branches with some leaf details. Now you also go ahead with a mix of different nature elements, leaves, branches, bush, pine trees, or just simple diving effect for the bush to create in that realistic effect. Again, here also be careful about one thing. You do not move a lot into the sky because we need to let the sky and the sunset effect also be visible at the top here, you can see how I'm dabbing in quickly and I've created in a very rough line. I've not given in that straight line effect here. Also, everything is of different heights and different movements. Now, before moving on to the setting sun effect, I'm just going to quickly go ahead add in little more details here and there. And then we'll add in the quick setting sun effect and peel off the masking tape for our class project. Now in the center here, I feel like pulling out one big branch, a very thin one. I'm going very carefully, make sure you do not cover up this entire space. It's just a small scarce branch effect that I'm pulling out, not adding much foliage to that branch. So make sure that you do not add a lot of foliage, otherwise the sky will get covered up completely at the top. Also here I've pulled out one big branch and pulling out very small branches out of it. Now I'm going to move on and adding the setting sun effect. For that, you can use a bright yellow color or you can use a pastel yellow color, or you can even use in a white color. I'm mixing in my white with a little hint of the yellow, creating in a beautiful pastel yellow color. Using this, I'm going to add in that sun effect. It's going to be a bright pastel yellow. You can directly use a pastel yellow if it's available in your palette, or you can just add in a hint of your deep yellow color to your white color and create in this beautiful pastel yellow. Now I'm not going to add in any glowing space this time. It's going to be a simple setting sun in between these bushes towards the bottom side, closer to the brown color effect. Add in a small rod sun so as to show in that setting sun effect happening in between the nature landscape. That is it. Let's remove our masking tape. Make sure your black edges are completely dried. Otherwise, you may lift up the black color with your fingers and late onto your clear white edges. Here's a final painting from day 13, a closer look at the painting, the details of the foliage and the silo hat. This is by far one of my most favorite class projects, so simple. Just under 15 minutes, with so much of depth and detail creating in that realistic sunset effect. I hope you guys enjoyed painting this with me and I will see you guys soon into the next one. 16. Day 14 - Pink Sunset: Hello everyone. Welcome back to day 14. And today we are going to paint another beautiful pastel sunset. The colors that you would be needing is pink, yellow, orange, violet, shades of green for the bottom field effect, white and black to adjust the consistency of the colors for tonal variations. So let's begin with the sky first. There's going to be no pencil sketch for this class project as well. We are directly going to go ahead paint in a beautiful, bold pastel sky. Picking up the colors first on my palette, I have picked up a pink color. This time, the pink color is not going to be too patil, rather it's going to be a little towards a bold pink side. So that is the reason I'm just going to add in a little light pink to this. Instead of adding in any white, I'm even adding in a little hint of yellow to the pink color itself to create a little neonish pink effect. A little orangish pink kind of a shade. Now, after this, we are going to use in the yellow and the orange tones into the sky. I'm just going to add in a little hint of flight to this pink because right now it seems extra bowl. I want to just dilute it. One tone lighter for the sky. We're going to use in this bold pink on that. We'll go ahead with a lot of cloud details as well later on. Now this pink seems a little light to me while blending, I will add in direct little pink color to create a little darker effect of the pink at the top space. You can rather go ahead with a pink color directly and then use in white to blend in and create a little tonal variation. It's a reverse way also, that you can follow half of the space. You can see I've covered it up with the pink color, and the bottom is going to be that sunset use of yellow and orange, picking up a pastel yellow at the bottom here, I'm going to blend in with the pink. Now this pastel yellow and the pink blend very beautifully with each other, so you will not need in white In case if you do not have a pastel yellow, you can mix in your pastel yellow, your deep yellow with a lot of white, and get a beautiful pastel yellow. Now I'm picking up the dark pink color and as I told you at the top, I'm going to create a little darker pink effect by blending in a little bold pink with the pastel pink layer that we've added in. Basically for the pink also, you'll have a transition from the darker pink towards the lighter pink. And then using in the orange stones and the violet color will create little cloud effects into the sky. Now for the bottom space, I've mixed in a green tones. I've mixed in black, along with a little bit of the green. And I'm creating in the background layer for the field. You can see I'm going ahead with very roughly creating in the top layer for the field. On top of this, we are going to go ahead with different shades of greens to create in leaf and the field details for the greens. Again, you are free to use in the greens available in your palette. You can always adjust the tonal variations of greens by mixing in yellow and white to create lighter tones. And by mixing in brown blues or blacks to create darker tones of your choice. It's always about experimenting with color mixes to create in that natural effect. Now at the top here, you can see I'm creating a very rough edge at the top to make it look, you know, the natural effect, the nature details creating in those messy look. Now next I'm going to begin with the cloud details into the sky. I'm going to mix in a little hint of violet to the pink on my palette. This will create a pinkish violet tone. And I'm going to add in little cloud effect with this beautiful pastel, pinkish violet color into the right area of the sky. In the center space, I'm going to add in a little hint of white as well if needed, but I guess this will be too light. I'm just going to add in a little more purple to it, so it's beautiful, pastel, purplish pink tone that you need in here. Now for the cloud details, you can see I'm going with very simple clouds, just adding in small strokes closer to each other in a different cloud shape, creating in the depth here at the top. We'll go ahead with little pink cloud details and towards the bottom space, we'll shift into a little of the yellowish orange tints to create in the cloud details. Now using a damp brush, I'm just blending in this cloud softly into the base layer at the bottom so that it has that soft edge. Again, I'm just going to pick up little pink and add in little pink highlight effect with the purple color so that it goes well with the base layer of the sky. And the blending in the transition in the clouds also looks smoother and prettier. Now towards the left edge, I'm adding in a little cloud detail with the pink color. For blending this, I'll use the same pastel yellow that I used from this palette. At the bottom of the pink cloud that I added here, I'll add in a little yellow effect so that again, this cloud looks well blended at the top. Also, you can see how I'm going ahead with simple strokes of the yellow color randomly, here and there, creating in more depth into the clouds. You're in between the violet and the pinks as well. You can see I've added in little of the cloud details with a yellow color. The cloud looks more natural realistic with a blend of the colors of the base layer of the sky. Now I'm going to pick up different tones of greens and begin adding in one layer of the leaves. Because we'll have to wait for this layer to dry before moving on to the next layer. Step by step, we'll keep on altering between the cloud details and the details in the field so that each layer can keep on drying while we add the details into the next place for the first layer of the leaves, I'm going with a medium dark tint of the green color. Now at this point, you may feel that this layer of color is not visible much onto the darker green layer. I'll agree with you, but this is just going to act in, as the shadow for the lighter leaves that we'll be adding after this layer. Now, I'm not going to go ahead with a lot of detailed foliage, rather I'm going to go ahead with limited foliage this time. And you can see these are much bigger leaves than what I'm adding as compared to what we've been going ahead. This is much detailed leaf painting that we're going ahead with. After this layer of leaves, we'll shift into a very lighter green. Then this layer of green leaves will act in as the shadow to the lighter layer of the leaves. I've picked up a beautiful light green color, mixed it to the greens on my palette. You can even use it separately. Now using this lighter green, I'm going to go ahead with the second layer of the leaves. Now again, the placement of the leaves, the size of the leaves can keep varying from person to person. Because this is nature, it can be of any size, shape, or angle movement that you wish to. You can see how this lighter green is perfectly visible onto the taco layer as well. This is the best thing about Kersh, that even the lighter colors are visible onto the taker colors. Because of the opacity of the colors and the thickness of the pines, it's important that you use them in the thick consistency. Only then they'll be visible on the taker tins. If you'll dilute this color alert, then it will not be visible. Now in between. I'm just creating in little technique, giving in some lighter leaf or grass details which is very far, so not much detail. Very randomly you can see I'm going ahead with very random leaf and foliage detail into the field area. Now for the next layer of leaves, I've picked up a very pastel green color. Now in case if you do not have such a pastel green, you can mix in white with your light green color and get a pure, full, bold, pastel green color. Using this, I'm going to go ahead with some more foliage. Now, with every step, you need to be careful that you add in the next color foliage layer in such a way that the previous layer colors are still visible at certain spaces. You can go ahead overlap them onto each other. For overlapping, you need to be sure that the first layer or the previous layer is completely dried. So here you can see my previous layers are completely dried, so overlapping them is becoming easier from behind. You can see how the darker leaves are visible, creating in that shadow effect and the nature effect into the painting. Now these lighter leaf details you can see are going to be much less as compared to the darker green details that we've added. Because we need to make sure that the previous two layer of the leaves are also visible. This layer has to be less as compared to the previous two layers. Only then the previous two layers will be visible. Now I'm just going to go ahead with some random more green leaf details here and there, naturally overlapping onto each other. You can see how I'm creating in dual tone effect into some of the leaves by mixing in and giving in two strokes. All of this, again, will keep on varying from painting to painting, person to person, nature to nature. Now with the lighter then as well, just giving in little diving effect in between creating as the pillar spaces. Now using the bold white color, I'm just going to add in one or two floral details into the field. I'm not going to go ahead with much detailed florals. I'll paint in a simple daisy here using in the white color, a smaller size brush. I'll just begin adding in this to the center of this, I'll add in the bud details with either the yellow or the brown to now to the center of this, I'm just adding in a small yellow ocker detail to act in as the bud. Now I'll move on to a little darker pink than the base layer of the sky color and begin adding in some cloud details. With that darker pink at the top here in the sky. It's just going to be one tone darker than the base layer of the pink that you're painting on. You can see it's just very minutely. Now, I'm just going to create very small cloud detail here. Now at the top and bottom of this cloud, using a dam brush and the lighter pink color, I've blended it into the base layer of the sky swiftly so that it has that natural effect. Again, now I'm going to create in the glowing space for the rising moon here, I'm just adding in a small white dot first. Using in the dam brush, I'll blend this white, creating a dull white space. We've discussed this multiple times. To create in the glowing spaces for the moon, sun or the stars creating in that glowing effect from behind of the main silo. I'm creating a dull white space to the center of this. I'm going to add in a bold white.in such a way that on the edges you'll have this dull white effect creating in the glowing space. In the center, you'll have that bold white moon. Now I just feel like adding two to three more florals here and there. So I'll quickly add them here into the sky till my glowing space for the moon dries out completely. But these are going to be very small and tiny ones. Again, to the center of these, I'll use in the yellow occa color to create in the bud effect so quickly using in the yellow ocher, I'll add in the bad effect to these. You can see I've added them in different angles, Some of them blooming towards the top, some of them blooming towards the down space. Accordingly, you need to add in the bad details here. Now, I'll just improvise a little onto the leaves, wherever I feel I need a little more foliage effect on the edge. Just a little more, not much of it. Now, it's completely your choice, depending on your painting, if you wish to add in more foliage or no, no. Lastly, using in the white color, in a bold and thick consistency, do not add in a lot of water to this. Picking up this, I'm going to add it to the center of the glowing space of the moon and add in the moon detail. Let's remove in the masking tape and see our final painting, a Puti, full pastel sunset with that glowing moon. It's such a simple painting with such simple details but so much more realistic effect. Here's a final look and a closer look at the cloud details and the paintings from day 14. You can see the glowing moon effect that's coming in and the tiny flowers and the grass details that we've added. I hope you guys enjoyed painting this with me. We are almost halfway through this class and thank you so much to each one of you for joining in and painting along with me. I will see you guys soon into the Day 15 project. 17. Day 15 - Rose Field: Hello everyone. Welcome back to day 28. For today's painting, the colors that you would need is red, yellow, violet, royal blue, shades of green, white, black, as well as a little hint of pink and yellow for adding details into the sky. Let's begin with the class project we are not going to be having in any pencil sketch, we are going to directly go ahead with the sky first and then move on to that field detail for the sky. The colors that I'm going to pick up is going to be firstly the royal blue color. Now in case if you do not have this color ready, you can mix in colors and create this. You can mix in a little hint of ultramarine blue with a little hint of purple and white to get a similar looking tone. Now I'm going to begin with this color at the top. At the bottom, it's going to be the field space, almost half of the paper. I've covered it up with this royal blue color. Now at the bottom, I'm just going to add in a little highlight of the pastel pink color. Again, you can mix in your own pastel pink by mixing in a shade of pink with a little hint of white. Now at the bottom most space, I'm going to go ahead with the black layer. For the first layer of the, the pink color here may majorly get covered up with the details later on. But just in case, if in between the field space anywhere we have the highlights visible, we'll have the perfect pink coming in at the bottom, adding in the black color in a bold consistency. Blending it with the pink now at the top, creating in a very rough shape for the field space. Make sure it's not a simple straight line because we're going to give in the natural effect of leaves, grass strokes, and then the rose field that we'll be painting in. I'm giving in a very rough layout at the top. You can see I'm just having in my brush randomly to create in that natural effect. Now beginning in with a pastel mix of the pink, I'm going to begin adding in some cloud details. Now I have mixed in a little hint of magenta, pastel pink and white. Wherever I feel if the pink is too dark or not standing out bright onto the sky, I'll add in a little more white and turn it a little more pastel so that it looks and gives in that perfect highlighted effect into the cloud space. You can see I'm using two to three tones of the pink color by just adjusting it with the help of white. Using the same tones. Going to add in a little more of the cloud effect at the top as well. And then we'll move on to a little more of the cloud highlights before we move on to the field details. Now I have picked up some green color onto my palette, to which I will add in a little hint of black to turn it one tone darker. Now, as I mentioned, you can use various shades of greens that's available in your palette. It need not be specifically the same green tones. Now using in the greens, I'm going to begin adding in leaf details into the black space. You need to be sure that your black space is completely dried. Otherwise you will not get in that opaque effect of the green leaves as it will blend in completely with the black of the base. At certain spots you will see, I'm just going to be dabbing in the tip of my brush, creating in some bush detail at certain spots. You'll see I'm going ahead with a lot of detailed leave branches. After this, we are still going to go ahead with a lot more tones of the green. So make sure you do not use a very light tone altogether. First, make sure you go ahead with different tonal variations of greens to create the depth into the field space. Now with this green itself, I'm going to take out some of the leaves moving up into the sky space as well. We'll be adding in these leaves with different greens further as well. So make sure you do not add in all of the leaves moving into the sky space with the same green color. Because we'll be having in a lot of different tonal variations coming in to create that natural effect of nature here. You can see randomly I'm going ahead adding in these details. I have even adjusted a little color consistency with the help of place by adding in little darker tint to this center leaf part that I'm adding in. Also, you will see all of my leaf branches are very different from each other. I'm not going ahead with the same slot of the leaves everywhere. Only then you'll be able to get in the natural effect. Now, I have just added in the first layer once this will try out on top of this, we are going to go ahead overlapping the different green tones to create the depth into the field space. Now let's wait for this first layer of the greens to dry out completely, then we'll move on to the next layer of greens. Now for the next layer, I've picked up a little pastel hint to the green. So I've added in a little white to the same green to which previously we added in the black. You can see how this color pops out differently onto the previous green that we've added in. Now, same way, I'm going to go ahead with leaves with this color, but this time you have to be sure you do not add as many as the previous layer because otherwise the previous layer greens will get completely hidden with every layer that you go ahead, the addition of the details will be less than the previous layer so that the previous layer is still visible in between this layer that you're adding in. Now you can see they are overlapping the previous green layer, and since the previous layer is dried completely, it's not creating a problem while adding in these details, it's very important for your previous layer to be dried completely. Now you will see that both the green layers are visible. We are still going to go ahead with one more lighter tone of green. So make sure you use in this second layer of green accordingly, leaving in space for the third layer to be visible and for that previous layer still to be visible. So now as you move into the sky space, you can see it's overlapping the previous layer that we added in, moving very randomly to create in that natural depth. Now for the third layer of green, I'm picking up this yellowish green color, which is a beautiful light green tone. You can mix in a little hint of yellow to your green to get a similar tone if you do not have a ready color. Now with this color, I'm going to begin adding in a little more of the highlighted leaves. Now again, first color green that you added was 100% layout. The second green was around 70% details that you added. Now this green would be less as we want both the previous layer of greens also to be visible. So very randomly you can see I'm going ahead with random leaves here and there and some dabbing details to create in little bush and wild details very randomly, but making sure that both my previous layer of greens still be visible in between these greens that we're adding in now. Now using in a little bit of white, I'm going to randomly add in a few strokes in between to create in the depth. We are almost through the green space of the field. Now we'll move ahead with the floral details. Very randomly, you can see I'm just adding in some white branches in between the leaves that we've added in. Now I've picked up the white color in a bold consistency and I'm just going to begin creating in rough patches for the florals. Make sure that your greens are completely dried at random spots. Wherever I want to add in the rose flower details, I'm adding in white patch as the base layer. You can see I'm creating in a very rough shape. It's not proper circle, neither proper oval. It has very rough and unfinished curvy edges to given that natural effect of the rose flow. I'm going to add in a few of these randomly at certain spots. Now, main important thing to keep in mind on your green layer has to be completely dried. Second, your white color has to be in a good opaque consistency. Third, while creating in the shape, make sure you do not follow a proper circle or an oval shape. Give it a random natural shape with very random curvy edges. You can also notice I've gone ahead with different sizes and different playouts. I've not placed them all together at one spot. I've just gone ahead very randomly, a few at the top, a few at the bottom in between just adding in some smaller bud kind of details as well to show in some of the flowers which are in their very initial blooming stage. This is just the first layer for the roses on this. We are going to go ahead adding the depth later on once this white layer dries out. Now let's wait for this white layer patch to dry completely, only then we can move on to the next layer of details. Now my white layer is completely dried. I'm beginning in with the pastel pink color and just creating in a spiral onto this white in such a way that the white strokes are visible in between. You can see I'm going with very simple strokes creating a spiral. You start with a small stroke in the center and then move on across eight criss cross. Trying to add in that depth of the spiral. Look same way. I'm going to go ahead onto all of the white patches that we've created. You can see I'm not beginning in with the exact center, I'm beginning in from the very top space. At certain spots, you can begin in from the center as well. Again, on top of this, we are still going to go ahead with a few more layers of different color tones. Now onto the buds, I'm just adding in the pink detail at certain spots. Again, here you can see I begin with a spiral. A look at the top in such a way that the pink, white strokes are visible in between the pink strokes. You begin with a small circle. Keep on adding in strokes across eight, crisscrossing each other. In this way, we are creating in the depth for this flower. You can see I started from a little center space, giving it a little center alignment look. So I'm almost done adding in this first layer of the florals to each of the white patches that we've added so far. Just another two more to go, and then we'll wait for this layer as well to dry and then move on to the second layer of colors onto these roses. Now for the second layer, I'm going ahead with a beautiful pastel red tone to my bread. I've added in a little hint of the white to create in this beautifully coming in pastel red tone. Very little hint of white that I've added in. Now on top of the pinks, I'm going to add in details with this color in such a way that in certain flowers, even the pink spots will be visible in the buds. You can see I'm just adding in strokes in such a way that in between white and pinks are visible onto the roses. I'll add a little of these in such a way that even the pink strokes are visible and even the white strokes are visible. Trying to show in the different color tones onto the petals of the roses. Same way strokes that I'm adding in, but in such a way that you have all three colors visible. These strokes will be less than the pink strokes, so that the white and pink both are still visible. Now if you want, you can go ahead with yellow roses, orange roses, or a mix of different color of roses as well. You need not follow the exact same color variations that I have followed in here. You can create in your own color field as per your choice, and vary the color of roses in your entire field as well. Now quickly using in a little bit of the pink, I'm going to add in some highlighting pink strokes randomly onto the roses so that we have that pink highlight visible at certain spots. Polly, now, at certain spaces, just having in small pink spots trying to show in very far off roses or flowers that are in distinct view yet to grow up completely. Now lastly going to add in a small crescent moon at the top, on the right side using in the white color, you can see I'm just using the tip of my brush very carefully to add in this moon. So that is it. Let's remove in the masking tape and see our final painting. Make sure you remove the masking tape against the paper. Do not lay your fingertips onto the wet areas of the paints, or else you may ruin the edges by laying your fingertips onto those clean edges. Again, here's a final painting for day 28, a puri ful field of roses. I hope you guys enjoyed painting and learning the new technique of painting simple roses. Thank you so much once again for joining me into this class and painting along with me. Make sure to upload your class projects and drop a review if you like this class. Thank you once again for joining me. 18. Day 16 - Serene Sunset : Hello, everyone. Welcome back to day 27. And today we're going to be painting this beautiful sunset by the seascape. The colors that you would need is blue, grayish, blue, orange, a little hint of yellow, white, and black. Now, in case if you do not have the grayish blue color, we'll mix in the color with the help of basic colors. Let's begin with a very basic pencil sketch. I'm just going to mark the horizon line that we can distinguish the sky space and the sea area At the top, very roughly, I've marked the mountain ranges, and at the bottom, we'll be having in the pine trees which feel directly added with the colors. Let's begin with the sky first. For the sky, I'm going to be using in the grayish blue color and the orange blending both together. I will use white because both these colors blending together will give you muddy tones and a very unpleasant transitional color going ahead with the grayish blue at the top. Now in case if you do not have a grayish blue available in your palette, you can mix in your normal sky blue color with a little hint of black and white and get a similar looking shade. Now picking up the basic blue color, I'm mixing in a little white and adding it below the grayish blue color so as to have a lighter transition to the blue as well. Now, closer to the mountain ranges, I'm going to go ahead with a layer of the orange color. You can see it's a bright orange color. In between the gap that I've left there, I'll be using in white for blending. Because remember, blue and orange mixed together, we'll give you a muddy brown tone. So it's important to use white here for blending. To get in that smooth transition happening between the colors, creating in the perfect sunset to night sky effect. I'm almost done with the sky. You can see a pretty simple one that we've gone ahead with just blended in the two colors. I've made sure we do not have any white patches in between that we use for blending. Rather, I have the lighter tone of the grayish blue and the lighter tone of the orange while tend now into the space as well. I'm just adding a very diluted layer of the grayish blue color. You can see it's a very light layer that I'm adding in and adding in a little light orange hint as well. You can see it's almost equal to a water layer, not a thick, opaque layer that I'm adding in here. I want a very light effect for the water space because most of it will get covered up with the waves and the pine trees that we'll be adding in, just a very basic light tone layer that you need in. I'm adding in the colors to the bottom so that if in between pine trees anywhere, the background is visible, it has a perfect view. Now, because we blended it in such a watery consistency, you can see you did not need much of white here for blending, you could simply just use both the colors in a very diluted consistency. Now using the grayish blue in a thick and dark consistency, I'm going to paint in the background mountain range. To this, I'm adding in a little hint of the black color to create a darker tone. But make sure that you do not add a lot of black because the front mountain range is going to be one tone darker. I've just added in a little white to adjust the consistency. Now going ahead into the background mountain that I've added in, just going to create in a lighter background mountain effect. And then in front we are going to add in a darker mountain effect to the background mountain. I've added in this beautiful color. Now at the top, I'm going to give in little spiky edges to create in the depth into the mountain range. I'm just using in the tip of my brush, giving in the details to the background mountain range, creating in the depth of pine trees out here on the horizon line as well. Same way, going to go ahead onto the left side as well. You can either paint both the mountain ranges like you could add this color. And then on top of this, go ahead with the second mountain range or leave in the white space for the next mountain range as I have left in. And then go ahead and add the darker tone there. Now till the first mountain range dries out. Let's go ahead with some details of the pine trees at the bottom. Space. For that I'm picking up the black color and I'm going to begin creating in a small patch of a bushy or a muddy space here at the bottom from which we will be adding in a lot of pine trees coming out. Now for the pine trees that we'll be adding here in the sea space on the left, we'll be adding a few highlighted pine trees with the grayish blue color mixed in with white to create some highlighted effects. First, I've created a very rough patchy space as you can see. Just gone ahead with randomly at the top and filled it completely with the black at the bottom. Now shifting into my double zero size pointed tip brush, I'm going to begin adding in very small tiny pine trees here. Again, these pine trees are very random. We've discussed the pine trees in detail in the technique section. I'm just going to go ahead with different sizes of the pine trees throughout at the bottom space. Just when I'll be moving towards the left end, I will have a little color variations with the blue because the second mountain range is going to be of the black color. If the pine trees are of the height reaching the mountain, they will not be visible with black color on the black mountain. To make them be visible on the black mountain, we are going to use in the blue shades there so that they are visible on the black mountain as well. If it may be confusing for you, let's wait. Go ahead. And then you will see what I mean to say by using in the blue to depict the mountains reaching the height of the mountains with the pine trees you can see. I'm just going ahead with very simple pine trees here closer to each other, wearing the heights of these trees throughout. As I'm moving from right to the left, I'm just going to keep on adding in a few more. My first layer of mountain range is also completely dried in between. I'm going to go ahead and add in the second layer of mountain range so that, that can dry out. Now, I will first go ahead add in the second layer of mountain and then come back to the pine trees, because we need to add in a few pine trees overlapping the mountain range. For that, we need to first paint in the second mountain range. I'm adding in more of the black to this Gresh blue color. It's going to be an almost black color tone that we're going to add in just with a little blue highlights here and there. I'm just pining in with the same black color. Going to go ahead add in a mountain range a little overlapping onto the first one at certain spots. Then on top of this as well, we're going to give in those details at certain spaces. We're going to create in some glowing highlight spots into this second mountain range that we're adding in first at the horizon line. Very carefully, I'm going ahead with a straight line so that I get that precise horizon line and do not mess with it. On the right, you can see I've used that grayish tint, which is a lighter tone than the black color, creating in that lighter effect space, trying to show the effect of sunset falling onto these mountain ranges as well. Now using my size double zero point tip brush just at the top, giving in little details of pine trees on top of these mountains as well. Pulling out very simple spikes in different heights. Now some of these will be crossing the height of the previous mountain that you've added in so as to create in that natural effect of these mountain ranges that we've added. I'm almost done adding these as well. You can see in the center, I've covered up the entire background Blue mountain and showing in that perfect two mountain ranges overlapping each other, giving in that beautiful effect. On the right, you can see we have that little lighter glowing space trying to show in that sunset effect with the lighter tone. Now I'm adding in the rest of the pine trees here at the bottom with the black first. Then on the right side, we're going to add in a few pine trees with a lighter tone of the gray blue color by mixing in a little hint of whites to there blue because these pine trees will be overlapping the mountains. Now on the right, you can see on the left the pine trees will be overlapping. Now on the left, you can see the mountain ranges of the black color. On top of that, if you will try to add in overlapping pine trees of black color, they will not be visible. To make these pine trees be visible on the mountains at the left side, we are going to use in a little of the blue hints to create that overlapping effect and give a beautiful opaque look to these pine trees on the left side, I'm just going to mix in a little more of the white to this grayish blue color using, in this very pastel, grayish blue tone, I'm going to begin adding in the pine trees on the left so that these will be visible overlapping the mountains as well. I'm using in the same smaller size brush so that I can get in the fine details. You can see this shade is much different than the black color and it will be visible on the black color. The only thing that you need to be sure is that your mountain range on the left has to be completely dried before you begin the overlapping process. Now at the top here, I'm adding little of the pine trees overlapping the mountain range. You can see it's visible on the black color because this color is lighter and has a little white pastel tint because of which it's visible on the black as well. That's about as that even the lighter tones are visible on the dark tones like black color. I'm just going to add in one or two more overlapping the mountain range on the left. And then I'm just going to add in little more black pine trees here at the left bottom space to create in that perfect blend happening in between all of the pine trees. You can see how I'm adding in the black pine tree overlapping the blue at the top on the mountain range. It's the blue pine tree visible at the bottom. Again, you have a layer of the black pine tree giving in that perfect transition and the color effect for the pine trees on the left so as to show in that overlapping effect. I'm just going to go ahead with very little random details and then we'll move on to adding in little waves into the sea space and a small sunset effect into the sky. On the left here, I'm adding in little highlights with the blue at the bottom as well. The same blue that we use for adding in the pine trees. Just creating in little highlighted spots, trying to show in the sunset effect falling onto these pine trees as well. Make sure that your previous black layers are completely dried. And use this grayish pastal color in a very bold and thick consistency so that you get in that perfect highlighted spot. Now using the same color, I'm going to add in random waves into the C space. It's going to be just a little wave effect, very randomly, simple wave details we're going to add. We've already discussed adding in the simple waves into the techniques section, so just going to follow that and add in simple wave effects. Now lastly, using in the white color, I'm going to add in the setting sun effect, just using the white in a bold consistency. Going to add a very small sun setting from behind the mountain ranges. I'm not going to give it a center alignment, rather I'm going to give it a right alignment so as to create in that beautiful effect just on the right, giving in that sunset effect. Here's a final painting for day 27, a beautiful sunset. I'm in love with how the details have turned out in this one. Delicate and beautiful. I hope you guys enjoy painting this beautiful one with me today. If you like this class, make sure to drop a review. And if you've painted along with us, do make sure to upload your class project so we can share it with each other. Thank you so much for joining me once again. 19. Day 17 - Beachy Vibes: Hello, everyone. Welcome back to Day 17. And today we are going to be painting this beautiful beach painting. The colors that you would be needing is going to be sky blue, yellow, ocher, burnt sienna, gray. Or we'll create a gray, white, and black. Let's begin creating these beachy wipes there. For day 17, I'm just going to begin marking out the horizon line and the waves area. The horizon line is a little above the center. This time at the bottom space, we are going to have in the sand space which I'm roughly marking out so that we know until where we need to add in the waves detail and where we need to add in the sand details. First let's begin with the sky colors into the sky. I'm beginning in with this beautiful sky blue color. You can use Erlin blue, sky blue, a zod blue, any blue light which is available in your palette. Or you can mix in white with your Erlin blue and creates a beautiful shape. I'm going to mix in white now for blending and diluting the color towards the horizon line at the bottom here, you will see I'm just going to use this blue and blend it to the horizon line closer to the horizon line. We're going to have in a lot of cloudy kind of detail with the help of white and gray tones. So again, at the bottom, closer to the horizon line, I've just added a little of the blue hint blending in with the help of white. Now in the same way I'm going to go ahead adding the base layer for the sea as well for the sea also it's going to be the same blue and white. I'm first going to roughly add in the blue color patch in the center mausually of the sea. Now from the edges, with the help of white, I'm going to blend in this blue and create the smooth base layer. After this, we'll begin adding in the cloud and the wave details. Now in the sea at the bottom we are going to blend in the yellow occur color for the sand space. So I'm going to blend in with the blue. Only right now you can see I've roughly added in the blue. I've not maintained that line because we want that natural effect of the sand and water overlaying on each other. Now, at the bottom space which we have left in blank, we'll go ahead add in the layer of the sand there you can use in a yellow occur color or a medium brown tone. If you do not have a yellow occur color. You can even mix in your yellow and brown to get a little yellowish brown tone and add it at the bottom space. Again, for blending these two, I'm going to use in a little bit of the white so as to dilute the color a little into the sand tone. And blend it with the blutal there. Now the distinction between the sand and the water will be with the help of white quash later on creating in the crashing wave effect. Now at the bottom, I'm just going to pick up a little of the Pon Siena color and adding little darker highlights. While this is still bed, just from the edges diagonally, I'm going to begin pulling out a little of this stroke. You can see it's very light color effect to create in that darker effect on the sand as well. Majorly on the edges at the bottom side. Now into the sky beginning in with the white cosh to begin in the cloud details First, with the help of a round brush, I'm just going to lay down a layer of white color in a cloud angle. You can see I'm going with very rough shapes. Now for blending these, I will either be using in the fingertips or the brush, or a mix of both. Then on top of this, we'll go ahead with a little gray highlighted clouds as well. We're going to have a fluffy cloud effect with the white and the grays completely till the horizon line. The top will be the blue sky that I'm leaving in the space First, just adding in the first layer of the white clouds. Randomly you can see I've added in the cloud shapes somewhere lower, somewhere taller. Now at the bottom, also adding in little white patches before we move on to the gray, for blending in between the whites and the grays, you can see at certain spaces, I'm just dabbing in the white color, not giving in an outline majorly on the right side, You can see that now I have a bluish gray color as I told you. But in case if you do not have that, you can simply mix in a little hint of the blue that you used in the sky with a little hint of black and white and get a similar tone. Now I'm going to mix this color with the white and create a further lighter tint. And begin adding in little cloud details in between the white in the same motion with this color. Now you need to add it in such a way that it does not cover up all of the white clouds. Plus you need to keep your hand a little gentle so that the blending with the white goes in smoothly. And you get in cloud shapes for both of the colors that you're trying to add in. You can even blend these, again with the help of your fingertips. Now when you're adding in these gray highlights, you can add in a few of the darker highlights as well, with the same gray hind and some lighter with the help of white color. Now you can see I've added them in such a way that we have in the highlights of the white clouds also visible now at the bottom. Again, I'm going ahead with some white highlights over the gray color. But you need to go such soft handedly in such a way that this color does not just go ahead and blend in with the last layer color, but in fact, distinctively stands out. Now at whichever place you feel you need a little blending or a shape outline, you can go ahead with the colors of your choice. Basically, you just have to create in a fluffy cloud highlight with the help of these white, blue green tones. Now at the bottom, closer to the horizon line, again, I'm just going with a layer of fight clouds, you can see in between. I've made sure a liter of the blue highlights closer to the horizon line is still visible into the sky. Color tolls, Now I'm just going to add in a little more grey highlights at the bottom as well. And then we'll move on to the next layer of details. At the top here, I'm giving a very dull cloud effect. You can see I've quickly dabbed in the white with my fingertip, just creating very light highlighted effect. If you want, you can add in a little lighter blue tint to create in this highlight if you do not want such a bold highlight. Now for the waves, I'm going to mix in the white, the color that we use for the sky, that's a sky blue color and a little of that grayish blue color to create in the first layer of wave details. Now make sure that this color is just one tenth darker than the base layer of your sea that you've added in. Now with this, I'm just going to first begin at the horizon line. On the horizon line, we're still going to have a black line creating in a mountain range. But for now I'm just defining a fine line with this taker tint as well, so that we know the distinguishing point of the sky and the sea. Now using in this smaller size brush, I'm just pulling out smaller waves closer to each other, creating in the depths we are going to go in with two to three color variations of the blues By mixing in white black to it and adjusting in the tonal variation. So basically you can just pick up the base layer blue color of your sea and keep on altering the color tonal variation with the help of black and white consistency in it. So you know, the more you add there it will be. The more white you add, the more light it will be. Mix of both will give you a similar gray tint. Now randomly I'm beginning into creating some wave details. You can see some thicker thinner, some crashing wave effect. The major crashing wave effect at the shore space. That's the meeting point of the waves and the sand there we'll be using in white quash later on and creating in the crashing wave effect. You can see I've gone ahead very randomly with the wave details here. Some thicker, thinner, some very short waves. Now I'll go ahead with some darker waves details as well later on. Now I've just gone ahead with almost a similar color tint. You can see I've gone very carefully added in some thicker waves to show in more water movement at those spots. Now next I'm just going to add in more of the grayish blue color to create the Daker waves. Now. So you can directly add in a little more of the black color to your blue with the help of white. And get in a grayish blue tint to begin adding in some darker wave highlights. Now you need to add these darker wave highlights in such a way that you do not cover up the complete lighter highlights. Now using in the white color, let's begin creating in that crashing wave effect. Taking it a little below that meeting point, trying to show the crashing waves coming onto the sand space and creating in that foamy effect of the wave. You can see I've given in a very rough line now using in this white quash, in a thick consistency. Going ahead with the dry brush pattern, I'm just going to begin pulling out waves from the bottom of this line towards the sea area. Very roughly, you just need to keep on giving in some drybrush depth, diagonally or straight. Now, make sure that your blue layer of waves is dried, otherwise the colors will begin to lift in to these. We are even going to add in a little detailed waves. So now you can see I'm just using the tip of my fine tip brush and beginning to add in some criss cross lines randomly. You need to make sure that your white quash is in a thick consistency. You do not have diluted white color, otherwise it will not stand out opaque. Make sure you use a very fine tip brush and just create some veins kind of detail. So if you ever notice veins in your body, they would be criss cross, just moving randomly, same way you need to create in this crashing wave effect. If you ever visited a beach, you may have seen how the waves come to the shore space, covering a little of the sand space, creating in that foamy effect across that line. So that is exactly what we're trying to create in here with the help of the white wash. Now just going ahead with a few more white lines, you can see these are much more bold, trying to make them go criss cross to each other so that they have that natural effect of the waves. Now using the white wash, I'm just going to add in another layer here at the bottom line that we created such that it's blending with all of those cysts lines that we've added in. After this, we're going to add in a shadow to the falling onto the shore area. For that, we are going to use in the yellow ocher color and the Bonnciena color. First, picking up the Bnciena color, add a very fine underneath line, The white line that we've added, it's going to be a very fine line. Make sure you use a very fine tip brush or just use the pointed tip of your brush to add in this fine line across the entire white space. And then quickly using a damp brush, we are going to blend it into the base layer, creating in that soft blend and the shadow effect. At the curves you can see I'm giving a thicker line and then just going with some thin lines in between for the shadow. Now quickly using the Am brush at the bottom line, you can see I'm just blending and creating a soft blend of the burnt umber, sorry, the burnt sienna with the yellow ocher color. You can see how beautifully it's giving in that shadow effect. Now, using a little mix of the black with the bone sienna color, you can directly use a CPA color if you have so or just add in a very little hint of the black to your bone sienna to get a very dark brown color and given a very fine line in between the black and the Bonn sienna color that you've already added. You can see it's a very fine line, just like an outline creating in more depth to your shadow and giving in more detail effect to the shadow effect that we've tried to add in here. Now using the same dark color on the horizon line, I'm going to go ahead and define the horizon line. First, I'm giving a much detailed blue line with the help of the blue color. Then using in either the darker brown color or the black color as you wish. So you can just go ahead and add in a very fine mountain range on the top. Now you can see the blue line. I'm just going to go ahead and again, here also create a soft blend so that it does not stand out like a distinct or an unwanted line. But has a smooth blend into the sea area, creating in that perfect distinctive point. Now, using in the black color, I'm just going to give in first some dabbing details at the top, creating in a small bush area at the bottom till the horizon line. Just going to fill it. Make sure you do not add this in too much heighted space. We need to make sure that it's a very fine detail on the horizon line because this is very far from our view. I do not want these details to be very bold or big covering up your sky space. A, make sure that your bold fluffy clouds are visible and not covered up with this mountain or the bush range that you add in moving towards the right side, you can see I've created this in a very fine length and just giving a very fine edge towards the left end and not taking it up to the left. Now let's remove in the masking tape and see a final painting I love creating in the shadow here and it looks so realistic. Make sure that your edges are tried before you begin removing in the masking tape. Here's a final painting from day 17. A beautiful fluffy cloud with some detailed waves study creating in the perfect beach scene. You can see the close effect of the shadows that we've added into the shore space. I hope you guys enjoy creating this beautiful beach vibes with me today. I will see you very soon into the day 18 class project. Thank you so much once again for joining me into this. 20. Day 18 - Cityscape: Hello an welcome back to date 26. Today we are going to paint this very simple cityscape illustration with an evening sky. The colors that you will need is red, yellow, brown, grayish, blue, orange, white and black. We'll mix in alternative colors. If you do not have the exact same shades, we do not have any pencil sketch. We are going to directly begin in painting the sky first and then add in the silo het with the black paint for the painting. First, I'm going to pick up the grayish blue color. Now in our previous class projects, I've discussed multiple times how you can create this mix by mixing in your sky blue with a little hint of black and white. To get a grayish blue color, I readily have this color in my palette. So I'm just picking in with this color at the top. Now next to this, I'm going to mix in the red color. But in between for blending, I'm going to use in a little bit of white. So I'm picking up white and adding it just below the grayish blue color so that we can blend in these blue and the reds easily. Having in a smooth transition, I'm picking a bold red color. Now I'm going to add in here and blend it with the top blue color. Now again, picking up some white here. For blending in both of the colors, you will see there will be no white cast left. Rather, you will have light shade of the grayish blue and light shade of the red color in between for blending, creating in the perfect transition happening in between the shades. Now picking up the pastel yellow color, I will add at the bottom. On top of which I'll be adding in a little of the orange tones. Blending in the yellow and the red together. You will already see a little orangish hint coming in. Or you can add in a little of the yellow orange highlights as well. Now at the top here, I feel the white is a little more in blending. So I'm just going ahead with a light layer of the grayish blue on top of the blending point so that the white cast looks a little less. Now picking up a little more of the pastel yellow, again, I'm just going to add in here because it looks a little messy. Just going with one more layer of blending so that the transition between each color looks smooth. And even make sure you run your brush either top to bottom or bottom to top depending on the color tones that you've used. So that you have an even layer of transition happening throughout. Without having any uneven strokes or without having rough color patches in between, we are done with the base layer of the sky. Now I'm going to begin adding in the cloud details For the first layer, I'm beginning in with the grayish blue color. I've just added a little white to the grayish blue. And I'm going to begin adding in little cloud strokes over the red and the meeting point of the grayish blue. I'm just adding in simple strokes closer to each other, creating in random shapes of the cloud. I'm going to go ahead with more of the cloud details on the right side this time because towards the left we're going to be having in more of the black silo hed coming in later on. Next I'm mixing in the yellow and the red and got in a beautiful peach tone. And beginning to add in with the peach color, some cloud strokes closer and over to the blue strokes again. Now I'm going to go ahead with a lot of overlaying onto the clouds so as to create the depth into the sky over the blue tones. We are going to go ahead with pink clouds over the red tones, we already went ahead with a little blue clouds. As we move towards the bottom red side. We are even going to go ahead with little brown cloud effect trying to show in the perfect evening spot. Now at the top you can see I'm just going with very rough dry brush kind of strokes. With this beautiful peach color, you need to make sure that you do not press your hand too firmly. Otherwise, the base layer blue color will get activated. And the peach and the blue mixing together may give you a muddy tone. Instead of giving in this highlighted peach effect, quash is like water colors, they can be reactivated. So you need to go in very light handedly with this overlaying strokes to create in the layers and depth into the clouds. Now I've mixed in a little of the brown to the red. And beginning in with this dark color on the red tone, creating in some depth of the brown clouds. As I told you, you can see measure of my clouds is just moving towards the right side and towards the left. I'm not adding much of the cloud details because there we are going to go ahead with a lot of the silo het, with the black color in between. I'm even going to use in only the brown color to add in a little darker depth here to the clouds that we are adding over the red space. Right now you can see it's kind of a dark brown tone. Only now more of brown highlight that I'm going to add in onto the dark red tones that we've already added in. Over the dark red tone, I'm going ahead with a little darker brown effect of the clouds. These are more of the dry brush pattern that I'm going ahead with to my brown. I've not added much of water to my brush as well. I do not have much of pigment or water. I've gone ahead with loose strokes to create in the depth. Now picking up more of the peach yellow, I'm just going to add in little layer under this brown tone and blend and create in that smooth transition happening in just adding in a small peachish cloud here, overlaying the browns. Blending in using the dam brush technique and going to add in little highlights over the brown with this peach color, just very little highlights such that it looks well blended. And, you know, moving in transition, make sure you do not add a lot and cover up the entire brown spots. Now let's begin with the black color to add in the silo het. I'm going to go ahead with a bold consistency of the black at the bottom. We're going to give in a simple cityscape kind of a silo het. I'm just marking the outline first for the silo het that we're going to go ahead with the cityscape. You can go ahead with your own silo het. It's not necessary to follow in the same silo het that I'm going ahead with for the cityscape. This can completely vary from each one of you to each painting that you want to create. Now filling in this entire space till the bottom with the black color. Make sure to your black, you do not add in a lot of water or dilute it much, otherwise you will not get in that opaque consistency. Now on top of this, I'm going to begin creating in little of the bush detail. So towards the rightmost side, I'm going to go ahead with a few random branches on top of the rooftop that we've added in. Now to these rooftop randomly, I'm just going to add in little of the foliage detail by just tabbing in the tip of my brush and creating in the depth. Now in between the foliage, I'm just pulling out some thin branches popping out from between the foliage. Make sure you use a fine tip brush for adding in these details because we are working with many pieces, so you know, each detail needs to be in alignment with the size of the painting that you're going ahead with. The more the delicate the details will be, the more realistic and beautiful the paintings will turn out. Now towards the center, right here at the top, I'm just adding in little branches popping out randomly. Very little because on the left side we are going to have in the measure effect of the branches coming in. On the right it's going to be very minimal and limited. All of these techniques we've discussed, you can see I'm just pulling out some branches and adding in by dabbing in the tip of my brush some leaf details. We've discussed all of these in detail in the technique section of the grasses and bush. Now next I'm just going to define this rooftop a little more. So I'm going to give in little detail to show in the brick work happening on top of the roof. Before that, I'll quickly go ahead add in some more silhotes here. I'm just going to add in a pole detail on the roof here at the left, in the center. I'm going to add in little bush detail by tabbing in the tip of the brush and then we'll move on to the brick detail of the roof in the center space. Now this entire space, I'm just going to fill in with the black color completely at the top. I've given in the Bush detail by dabbing the tip of my brush and creating in the depth. Now let's begin with the Bush detail on the left side. I'm going to go in very slowly here. We are going to have in a lot of mix of the branches, bush detail, bit detail creating in little detail leaves as well. Go ahead slowly and create in this entire big foiled space on the left top of your sky. Make sure you do not take it a lot beyond till the center space also keep it a little left aligned only because on the right you can see we may surely have the cloud effect coming in. And on the right as well, we've already added in limited foliage detail, so I don't want most of the painting to get covered up with only black. So you need to strike a balance so that you know your sky gets equal importance along with the silo. Hit very randomly. You can see I'm dabbing at certain places, creating in black patches, pulling out branches, creating in very random foliage detail. Again, this foligh layout may vary from painting to painting, person to person. Your shape, your way of pulling out the branches, your movement of the branches, leaves. Everything can be different. And that's absolutely okay. It's more about understanding the process of adding this and creating in that natural effect. Now randomly I'm going to keep pulling out some branches from this, between the foliage and creating those falling branch effect and given little detail leaf effect as well. Make sure again that you're using a pointed tip brush for adding in these details so that you get them right. Very randomly, you can see I'm pulling out branches, just adding in the tip of my brush. In random shapes, everywhere you will see somewhere the length is short, somewhere the length is bigger. The curves are different. That will create in the natural beauty of this entire foliage detail that you're trying to add in, in between this foliage. Now I'm just pulling out some random branches here and there creating in the depth from the top as where I'm just going to pull out some branches from the bigger branches. You can see I'm pulling out some smaller branches giving in more depth, going in, slowly creating in the delicate effects to this foliage space that we've created. We are almost through the painting just going to give in a little touch up to this part and then add in the details for the roof of the center. Then we'll be ready with the class project for day 26 as well. So you can see I'm taking my own time to build in the details here. I'm not going ahead with all together just at one space. I'm keeping on adding in little little details at spots and then moving to other spaces so that I can understand where I need to add in more of the foliage or the falling branch details. If you will just add in a lot together at one specific point, it may look overdue at one point. So it's important that you keep a balance entire space so that you haven't that natural look. Now let's go ahead onto the roof detail from this roof. I'm just going to pull out small strokes so as to show in the brick work onto this roof that we've added in very simple strokes that I'm adding on top of the roof top to create in the depth. It's just pulling out small strokes, in triangular shapes on top of this to create the brick effect. I'll give you a closer look of this. It's a little tagonal and triangular that I've added in now. Lastly, using in the white, I'm going to quickly add in a small moon at the top blue space of the sky. Make sure you use the white in a bold consistency so that you have that opaque effect to the moon. Also, make sure you're using in a smaller size brush to add in this detail so that you again, maintain the delicacy of the painting. So that is it. We are ready with our class project for day 26. Another beautiful Evening City Escape. Let's remove in the masking tape, make sure your black foliage detail is completely dried or do not lay your hands over them. Otherwise, you may mess up with your edges as well. So here's a final painting for day 26. You can have a closer look at the foliage. You can also have a closer look at the triangular details on the roof that I've added to create in that brick detail of the roof. I hope you guys enjoy painting this beautiful painting with me today. I will see you guys soon into the next class project. Thank you so much for joining me. 21. Day 19 - Northern Lights: Hello, everyone. Welcome back to day 19. Today we are going to create this beautiful Northern lights painting for day 19. The colors that you would need is sky blue, teal, pink, violet, white and black. Now, in case if you do not have a teal color, we'll be creating with the help of blues and greens. Let's begin with the class project. I'm just going to mark out a horizon line first. Rest of the details is directly going to be with the paints that we'll be adding. Just going to mark the horizon line a little below the center line. Now for the sky, we're going to go ahead with the shades of blue, violet and pink. For blue, let's create in the teal color. I'm picking up the sky blue color. To this, I'm going to add in a little hint of green and white. You can pick up a medium tone of green color, make sure it's not a dark green. Just go ahead with emerald green or dian green if possible. Now to this makes just add in a little bit of a white color to get that pistol teal color. Make sure it's not a dark color that you go ahead with. And also make sure that you know your green is not a muddy green color. Otherwise it will not give you that teal effect. If you directly have a teal color, you can use a teal color directly, or you can use a composed blue color, any bluish green tone which is directly available to you. I have created in this color. To this, I'll just add a little more green now. And we'll begin adding in the colors into the sky. First, since I have the teal on my palette, I'll begin with the steel color. This time also it's going to be diagonal in swirl motions. We're going to add in pink and violets across the steel and create in that northern light effect in between the teals. You can see I'm leaving in space for adding in the violets and the pinks first, just adding in the swirls with the teal color, while plending in the pinks and violets. You can surely make use of whites to make the plans go smoother as well as better without forming in any muddy tones. Next, picking up the violet color, I'm going to begin adding in this. Now again, there are two ways you can mix in a little of the whites to your violet right now while blending it in the palette. Or you can first add in the violet and then use white for blending. So that the blending also becomes smoother as well as the color does not turn too light on the horizon line adding in this violet color. Now you can see in between the teal and the violet, I'm intentionally leaving that fine white line because there will be using in the white for blending. Now along with the violet, at certain spots, you will notice I've left more of the white caps because there we are even going to be adding in pink to create in that perfect blend and transition between the violets and the pinks as well. First at the topmost space, adding in the pink along with the violet. At certain spots you can see I'm giving in little pinker highlights. Now the rest of the white caps, we are going to go ahead with white and blend these colors. Now while blending, these also go very smoothly. After each layer of color blending, make sure to clean your brush so that your brush does not have any color, which may, you know, create in a very uneven transition. First, I'm just adding in little white strokes randomly at all the spots, and then I'll go ahead with blending. But even by adding the white, you can see I'm cleaning my brush after every stroke where I feel the colors are getting lifted up. Now, picking up a little of the base layer color, Again, going ahead, blending in. You can see I'm going diagonally from the bottom right, moving towards the top left. Now you can see slowly how the colors are beginning to blend in. Now I'm going to pick up white at this huge spot of the cobalt teal color that we've created. And also, I've just lightened up that color a bit And moving onto the whites. Moving onto the pink with this white only to create that blend smooth each color, overlaying over each, while blending. You will notice a little of the violet goes over the teal, little of the teal goes over the violet at the top. That creates the smooth blend and transition happening into your sky. You can see how beautiful the sky has turned out with just very simple pending technique, but moving diagonally Now I'm just going to add in little violet highlights over the teal, which is the bigger steel space that we've added. But you will notice I'm just using the tip and dragging the color from the edges with the help of white. You can see it's just a small highlight, kind of a thing that's getting created in between the teal color, giving in those more color strokes happening and forming in more glow into the northern lights. Now moving to the base layer of the sea, we are going to cope with the same colors into the sea. It's going to be the pink, violet and the teal. But the blending will be a little different as compared to the northern lights. But almost similar strokes because we do not want simple straight blending here as well. Now towards the right side here, we're going to have in the reflection of the pine trees coming in a major look of these swirls should be on the left side here you can see I've blended in the teal and the pink tones. After this, we'll add in the violet tones at the bottom, towards the right side. As I told you, major space will get covered up with the black reflection of the pine trees that we'll be adding. This time, you'll learn a new and a simple way to add in the reflection to those pine trees into your sea, creating in that natural blurry effect. Now at the bottomost space of the sea, I'm just going ahead with a little darker hint of the violet. I'm going to add it there completely, very smoothly blending in the violet as well with the cobalt you can see we've got a reflection of the sky colors into the sea as well. Now to my lilac color, I'm going to add in a little hinge of b and C in that gray violet tint. And with this gray violet color, I'm going to begin adding in little highlights into another sky. It's going to be very little highlights to create in those glowing spots. Same way, using the same color. We're going to add in little wave effects as well. Into our reflection sea, you can see the color is not too dark. It's a very subtle color. It's very lightly visible onto our pace layer that we've created. I'm just going to use a damp brush and create a soft blend to a few of these with the help of this flat brush, just using a dam flat brush running on top of it to create in that smooth layout. It's still visible, but it's smooth and soft and blended into the pace layer of the sky, giving in those highlighted effect. Now using the same color, going to quickly add in little wave details or wave highlights into the water part. Now into the sea, I'm going to add in a little more of the black color. And towards the bottom side, I'm going to add in a little darker shadow effect, just going ahead with a small black layer at the bottom. Now going to clean my brush, I'm going to blend this. You don't need a very dark black layer, so you just need a very small highlight of the black. And blend in with the violets at the bottom. You can see it's giving in that dark shadow reflection at the bottom, but it's not black. The violet strokes are still visible in between the. Now I'm going to pick up the black color in a bold consistency and we'll begin adding in the pine trees at the horizon line first. Once we are done adding that, we'll add in the reflection to these pine trees as well. First, I'm going to mark out a very fine and straight line on the horizon line. You can see since my paper is taped down on a movable surface, it makes it so easy to just tilt according to my hand movement and my hand convenience and add in these details. Now on top of this, I'm going to begin pulling out the pine tree structure. We've discussed this technique of adding in these simple pine tree details in the technique section, where we discussed how you can add in these simple spiky strokes in different lens to make them look as far off pine trees closer to each other. That is the reason just adding them in a simple manner. This makes your edition of the silo quick as well as makes it look so much more realistic and natural throughout you can see I'm going ahead with ride hides towards the rightmost side. I've increased the length a lot now moving towards the right side, I'm just going to add in some detail somewhere at certain spaces in between. Just adding in little detail look of the pine tree. You can see this gives it more realistic effect. You have a plan off those detailed looking pine trees. And then in between you have the quick filler with these simple spiky strokes. It's not at all the places that I've added in the detailed ones, just at certain spots now towards the left most side, I'm going to keep the length very small, just going to add in very small details here. And then we'll begin adding in the reflection, and I'll show you a quick and easy technique to create very simple and realistic reflection. Now for the reflection, I'm going to add a bold black line, leaving a very fine line in between the pine tree and this bold line. Okay? You just need to add this bold line. I'm not going to add the reflection till the left most space, so keeping that pink gap visible. Now, using this flat brush, I'm not dipping it into water. I'm just going to pull this black color line that we've added and blend it at the top as well. When pulling it out, and you can see, you get that reflection just while pulling out this line. You need to make sure that you maintain the length as per the top spaces. That is where at the top you have the taller pine trees, you pull the taller pine trees there where you have, you pull the line small. In this way you can create reflection in such an easy manner. You can see it just took hardly a few seconds to create in that reflection effect. Now I'm just going to add in a little highlight with the grayish blue color on to the reflection as well. Just a small cut trying to show in that reflection line separating into the sea as well. Now I'm going to go ahead using the white color and add a few spots of stars into the northern sky. You can splatter the stars or you can add them manually in case if you wish to splatter. I would recommend adding them before you do in rest of the details in your painting so that you do not cover up the spaces. But in case if you want to add them manually, you can just go ahead and add them. I'm going to cover up the space till the bottom. I'm going to dab in a little stars. I've made sure my white is not in an extra liquidity consistency. My brush is at a little distant from the paper. That is the reason I'm getting in these minute details now. I'll just tilt it a little and cover it up and add in at the bottom space as well. I do not want my stars into the sea and the pine tree space. That is the reason I covered them up at certain spots where I'm feeling that the white is too bold and big. And a lot I'm just using the tam brush and blending it into the sky, creating in highlight spaces with the help of that white itself, you can see how you can just go ahead play with quash and easily correct and rectify things now. Lastly, I'm just going to add in one more time the same reflection so that the reflection turns a little bold. I've added that plaque line again. I'm just going to pull out that reflection again. You can see it's turned a little more bold and looks more realistic. You can see the spiky strokes. I'll give you a closer look. The important thing here is that your flat brush has to be damp. You need not lift any color on the brush. You just need to go ahead, pull those strokes down still the height that you desire according to the height of silo height at the top. So that is it. We are ready with our painting. So here's the final painting for day 19. You can see the closer look of the reflection, the pine trees and the details into an othern lights, the glowing spaces, and those little highlights. I hope you guys enjoy painting this, especially this reflection space that you can see, the little highlight that we've added with that grayish color to lighten up the space in between and the simple stroke method that we use to pull out the reflection. I hope to see you guys recreate this and learn this beautiful and easy technique as well. Thank you so much for joining me into this class and make sure to drop me a review if you like this class. Thank you so much, once again for joining in. 22. Day 20 - Window View: Hello everyone. Welcome back to date 20. And today we are going to be painting this beautiful window view, sunset. The colors that you need for today's class project is sky blue, yellow, orange, pink, a little hint of red. If you wish to add in violet, white and black, we're going to begin creating in the beautiful sky first and then move on to the window shield. So there is not going to be any pencil sketch first, we'll directly add the window details later on once we are done painting the sky. So let's begin picking up the colors for the sky. So the first being the violet. Most of these tones we'll be using in pastel colors. So you can form in your pastel colors, with the help of white and the basic tones, I have some of the pastel colors ready on my palette, like the pink, the yellow. But in case if you do not have ready colors, you can simply mix in white and create in your pastel tones. I'm first lifting all of the colors, so I've got in the violet, blue, orange already onto my palette. I need a little bit of the pink and yellow as well. We are going to go with very small spaces and very small patches of colors. And blend them into each other. So while blending, you need to be sure about a few things. Like if the yellow and orange and the blue mix in together, or with the violet, they may create in muddy tones. So while blending, you need to either make use of colors, which will create a proper blend, or use of white such that you do not get any muddy colors in between. I'm beginning in with the violet at the top. I'm going to go with very small spaces. You can see our paper is already of a very small size. We want a pretty pastel color sky with all the beautiful tones that we are going to be working with in certain colors. I'm directly going to use white while blending. Only that is the reason I'm not creating a lot of pastel colors. Because then while blending again, when you use white, the colors turn too light. So I prefer sometimes just adding the color first and then using white for blending as well as for diluting the color. Now, I added a small layer of white underneath the violet, but I haven't blended it yet. So cleaning my brush, I'm just going to go ahead and blend it with the white. Now under the violet, I'm going ahead with this blue color. Again, for the blue also, you can see I've not created a pastel color on my palette. Rather now when I'll be using white for blending the blue and the violet, it will automatically give me those pastel tones onto the blue as well. This is how you can maintain your color consistency as well. That is, if you do not want your colors to turn into light and too dull, make sure that while using white for blending, you create these into pastel tones, you can see how the blue has turned into a beautiful pastel. Now when the blue and the orange is laid closer to each other, be careful that it will give you muddy tones. So I'm just going to add in a small layer of the orange first and going to blend in with the help of white. Again, do not blend the blue and the orange directly together because it will give you muddy tones, which will create very unpleasant scene into your sky. Now below the orange again, I'm going ahead with a little bit of the violet. If you see my strokes, they are not in straight lines. They are a little diagonal and a little curvy. Now in between the orange and the violet. I'm going to go ahead with white for blending in, because these two also create in muddy tones. So I'm just going to add in the white over the violet. And I'm going to go ahead with a little of the pink tones, if needed, for blending in the orange and the violet so that we get in little pink highlights as well in between the orange and the violet. You can see I just went ahead with pink on the right and blended this. We're going to create in a lot of cloud effects on top of all of these. Do not worry. We're going to create in and add in the yellow highlights. Pink highlights more as well. Now at the bottom space, going ahead with the yellow color, blending it again with the violet, with the help of white. You can see despite blending such complementary colors, we do not have any muddy tones formed anywhere because of the use of white that we've done for blending. Now, while blending the pink and the yellow, you saw, I did not use any white. Because pink and yellow blending together does not give me any muddy tones. So it's okay to blend these two together. So you need to decide which color needs white for blending. Or which colors can go together and create pleasant color consistencies. Now let's begin adding in the cloud details on top of the sky that we've created so far. First, pinning in with the blue color. I've added a little white to the blue now, because by adding in the clouds, you cannot create the pastel color by adding white over it. For that, you need to create the color consistencies first on your palette itself. I'm going to begin adding in clouds with all the different colors that we have on our palette. Now to the pink as well, I'm mixing in a little bit of the white, creating in that beautiful pastel pink on the orange. I'm going to go ahead with some pink highlights near to the blue color as well, creating in the depth and blending in the blue and the pinks together as well. Now, these clouds can be absolutely of your choice and your color tones, but you just need to make sure that you add them in such light handed manner that they do not create or activate the baselayer colors. Creating in or giving you muddy tones like say, if you're adding in the blue clouds over the orange space. You need to go ahead with such soft hands that the orange color in the base layer does not get activated. And otherwise, if it will be activated, it will give you a muddy tone because of the blue and the orange mixing in together. In order to avoid those muddy tones, it's important to keep your hand light weighted while adding in these clouds. You need to give in feather like strokes, just moving in, quickly touching the paper, so that it does not activate your base layers. Right now, I'm just going ahead with simple strokes of the blue and the pink. Now I'm going to go ahead and create in a pastel violet as well. And go ahead with some violet cloud details. Then we'll go ahead with some yellow cloud details as well. Now you can see again for the pallet also, I've created that pastel tone already on my palette. Because as I told you, for the clouds, you need to create the tones that you wish to work with. You can't create those tones on the paper while blending in. It's important that you create these tones firsthand on the palette and then begin applying them onto the paper. Now beginning in with the yellow color, I'm going to create in a lot of highlighted space over the orange and at the bottom area. We are going to create in a lot of these cloud details in this class project. And after this, I mean silo height is going to be the window shield that we're going to be creating for the window shield. We'll be just going ahead with simple pencil outline on top of all of these. Once the dry, then using in the black color and some fine tip pens, we'll give in the details into the window and creating the little highlights. Now over the violet, you can see how light handedly, I'm going ahead with the yellow strokes. So those yellow strokes are perfectly visible on the violet. They have not diluted or reactivated the violet color again. Otherwise it would have given you muddy tones. Now, with the blue also that I'm going ahead on the orange, you can see I'm going so light handedly, it's not activating the orange. And it's staying that pastel blue that I'm adding in and not creating in any muddy tones in between. Now this time, make sure that you're adding in all the cloud details and the paint details till the bottom of space. Because our window grid is going to be at the top side, at the bottom, towards the right corner, we're just going to give in a small plant detail that is also going to be very minimalistic. Make sure that you have in your cloud details completely from all the four edges and not leaving in spaces anywhere for the silo het, because it's going to be very minimalistic silo Het covering very minimalistic part of the skies throughout. Now using in the orangish yellow color, adding in little highlights at the bottom. As I told you, the layout of the clouds can be absolutely of your choice, where you want to place them, which color over which color, and how you want to blend them. You can see I'm going with very random blending. I'm trying to blend in the blues and the pins, the violets and the blues, as well as the blues and the yellow. So that blending completely depends on your choice how you want to blend them. You just need to be sure that you do not create in any muddy tones while blending. Now, I'm just a bit unsatisfied here. Just quickly going ahead and blending this into the base so that I do not have that bold orange clouds. You can use a little bit of white or the lighter violet tone for blending in here. To blend that orange and create a little subtle effect of the orange color. Now, once your sky is completely dried, go ahead with a pencil and a scale and mark out the three edges for the main window grid. On the edge, I'm giving an approximately 0.5 centimeter width on both the left, right, and the top corner. I'm giving a pencil outline so that then I can fill it with the black color perfectly. So just a very fine outline of 0.50 0.7 MM. As per the size of your paper. You can increase the width of these edges. So this edge is going to be only on three sides. As I told you, it's not going to be at the bottom side. We are creating a window view in which our bottom window is not visible. Just a small plant siloate standing on the bottom window pane will be visible later on. Now in the center, we are going to be having in a lot of other details. I'll just go ahead and add in a small grid at the bottom as well, trying to show a small window pane visible here as well. Very small. Just 0.5 MM. Only now I'm going to pick up this black bold color, which I already have on my palette. And I'll quickly fill in all of these four edges. Make sure you go in in a very straight line and go in very slowly so that you do not know overdo it or move or create a thick line because it will cover up all of your sky. Then you need to go very patiently in case if you want more precise detail. What you could do is you could after the pencil mark, you could use in a thick pen first and mark the outlines. And then fill in the rest of the spaces with black. Now you can again see, since my paper is taped down on a movable surface, it's so easy for me to just keep on tilting my board and adding in the panes, adjusting my hand movements easily. I'm almost done adding in the grids of all the four sides. Now I'll have to wait for these grids also to dry out completely and then move with the center details of the window pane that we are adding in. Those are going to be very fine lines. You can either use a thin brush or you can use a pen and add in those details. But wait for this to dry completely and then we'll move ahead further. Everything is completely dried. Now using the scale and black pen, I'm going to go ahead and add in those fine lines. I'm using a 0.3 nib pen. You can use in a 0.30 0.1 And I'm going to be using a 0.50 0.8 for some thick lines as well. Now, make sure that your black edges are perfectly dried. Otherwise the colors will get begin lifting up onto the scale and from the scale onto your sky, creating in very unpleasant strokes of black onto your sky. Now approximately 0.3 to 0.5 MM lines that I'm creating here in between, you can see it becomes a little difficult in between to run your pen over these thick layer of colors. You can again, run it onto a rough sheet and then use in on the colors again. So I'm just going to go ahead and add in these lines completely till that three fourth line that we've added into the sky. Then we'll be creating in some vertical lines as well to give in more details into the window Shield. Now I'm going to go ahead add in two to three vertical lines. Now these vertical lines, later on, I'm going to thicken them up with the help of the black color or a thicker pen. First, I'm adding two on the right side. And I'll add one more here. One line is bigger. You can see there we're going to add in like a lock for this. How you can just pull that string and close the shield and open the shield, That lock we are going to be creating on that large line that we've created on the left and right. We've just added in 22 lines for the rest of the shield details. Now using a fine tip brush and the black color, I'm going to just thicken up a few of the lines that we've added so as to create that three D effect to this window pane first, the bottomost line that we've added. I'm just going to thicken this up. You can see again how easy it is for me to just keep on tilting my paper and adjust my hand movements easily to get in these fine details. Right now, this pull string as well, just thickening it up so as to show it as a perfect pulling out a string that we have in same way, that line also, I'm going to thicken it up. Basically you pull this string and the window pane either opens or closes accordingly. So that is what we've created and highlighted that line. Now I'm just going to give a little thick line on the left side as well. Now, in between to one of the panes, I'm just going to give in a little more thick line to give in a little more depth. Now you can either even use a thicker size pen, say ten MM pen, or a 0.8 MM pen to thicken up these lines. But using a black color gives it a more precise and finished look than what a pen would have normally given in. The only thing about working with the color, and you know, a fine tip brush, you need to be very precise. Otherwise, if you go ahead with thick strokes anywhere, it will be very difficult to correct this because you're working in with the black color. And then getting rid of that black color will be very difficult because it will create a lot of muddy effect onto your painting. So go in very slowly and carefully. Now at the bottom, I'm just giving in a small silo het of the plant peeking out from the window pane that we've created, very simple branches. And from that just adding out a few leaf details. Same using in the black color itself. I'm adding in these details here as well. So you can see I've gone ahead with a mix of some thick leaves, some thinner leaves creating in a lot of depth here, just onto the bottom right side. We are going to be adding in these again, for these also be sure that you do not use a very bigger size in between. Now, I'm just going to pull out some rough branches hanging in between. Now, lastly, using in a white shell pen, I'm going to add a small moon peeking through these window panes that we've created in. You can even use white quash and a very fine tip brush, but since it's a very small one, I'll go ahead safely with the white pen and create in this it's going to be a crescent moon shape that I'm going to add in here and say in case if you add the moon onto the window panes line, make sure that you add those black lines again crossing the moon so that it gives in that realistic effect. So quickly using in the pen, I will just blend those lines again on the top of the moon again. So now you can see the moon is peaking out from behind the window pane. Let's remove in the masking tape and see our final painting for day 20. I'm in love with how the simple window pane sky looks with simple details. So here's a closer look at our painting from day 20. I love how the colors of the sky have turned out, those simple cloud details and simple blending. I hope you guys enjoyed painting this window view with me today. And I will see you guys soon into the day 21 class project. Thank you so much, once again to each one of you for joining me into this class and painting along with me. I hope you guys are enjoying this class as well. 23. Day 21 - Nature View: Hello everyone. Welcome back to day 21 of the 30 day cost landscape adventure. The colors that you need for today's landscape painting is sky blue, royal blue, orange, pink, violet, white, and black. In case if you do not have a royal blue color, you can use a cobalt blue or ultramarine blue as well with the help of white. So I have my paper taped down already and there's going to be no pencil sketch. We are directly going to begin with the sky and then using in the black color, we're going to add in the siluate of the painting first pinning in with the blue. I'm picking up this cobalt blue color. And to this I'm going to begin adding it from the top of the sky. You can add in a little white to this if needed, or you can add white directly on the paper. I already had a little white on the palette, so I am directly going to add this color on the top. I'm going to add in a little hint of violet as well to this blue to make it a bluish violet. Toll you can directly use a bluish violet color if you have readily available in your palette. To this, I'm mixing in white so that I get a little pastel hint to this. Here you can see we've prepared in our own royal blue color by mixing in violet, blue and the white. Toll, now I'll begin with this color at the top, so almost half of the sky you can see I've covered it up with this color. We're going to add in a lot of details with the clouds later on. Now for the next color, I'm going to be mixing in a beautiful pastel, orangish red tone. For that, I'm going to mix in this light orange color, which is a yellowish orange color to the red which was already on my palette a little. I'm even going to add in a little hint of pink to this and then white, so I'm using this magenta pink color. And to this I'm going to add in a little white and yellow to create in that pastel effect. So basically, we've mixed in four colors, red, pink, orange, yellow, and then white. To create in the pastel tone, we've created this beautiful yellowish, red, orangish tone. You can see how beautiful it looks on the paper. Now, in between the violet and this stone, I have left in little space because there we'll be using in white for blending so that we do not have any muddy patches by any chance. So I'm just going to pick up white color and end it here and blend in. I'm going to pick up a little more of this color as well and add in till the bottom here. I'm adding in with this color only completely at the bottom. Later on then, we'll be adding in the silo head detail. It's going to be with the black color, only just adding in this color here, blending in all to create in that depth. Now at the top, I've just gone ahead with a little more of the blue to given little darker depth at the top and blended it completely. So you can see now we have one single blend throughout. I'm just going to add a little more dark blue at the top, so you can either use ultramarine or cobalt without adding in white and just adding a little darker highlight at the top again. Now while adding this again, you need to make sure that you blend it again with the base layer so that you do not have any rough patch or rough strokes in between drying of different tones. Now shifting into the smaller size brush, I'll begin mixing in the pink color. So I'm going to mix in magenta pink along with white. Or you can mix it with a pastel pink color. Or you can simply mix in any pink tone with white to create a pastel pink to begin adding in some cloud details. Now with this, I'm going to begin adding in the strokes here at the top. I'm just picking in, adding in simple cloud details. Now on the bottom carrot color that we've created on that, we'll be adding in cloud strokes with the blue and the violets later on. Right now I'm just going in with one layer of the pink clouds at the top. I'm going in very randomly. You can see just creating in rough shapes, moving across very freely. I'm almost done adding in the highlights with the pink color for the clouds for now. Now next I'm going to mix in the same bluish violet tone, in a little lighter tint with the help of white. And begin creating in clouds at the bottom space on the carrot color that we've created for the bottom of the sky. You can even add little highlights with that color at the top. Let's mix in that color to the blue here. I'm just mixing in little violet and I'm going to add in little white if needed. Now at the bottom here, I'm going in with one big cloud detail, not just simple strokes. I'm creating in that fluffy cloud effect by driving my brush in circular motions, creating in those fluffy cloud shape. Now at the bottom again, I'm going to use a little lighter hint of white and blending, creating in one lighter tone. I'm going to blend in this darker tint of the cloud, creating in multiple color variations into the fluffy cloud as well. This way you can try and create in more depth on one layer with a darker tint. And then moving in with lighter tint creating in more depth into your sky. Now I'm going to add in this cloud effect till the bottom space, because I want these to be visible from behind the silo het that we'll be adding at the bottom space. I don't want to miss out onto that because once we begin adding in the silhouette, it will be difficult to cover up here and add in details. Again, make sure that you add in the cloud details till almost the bottom space that even if they get covered up with the siloate at certain places, at certain places, it's perfectly visible from behind the silohate. Now using this color, adding in little highlights at the top as well. Now I'll begin with the black color for adding in the silhouette. We'll add on a little more cloud details at the end. We'll wait for this first layer of clouds to dry completely and then see until then beginning in with the black at the bottom, I'm just going to create in a patch of the black color throughout. And then on top of it I'm going to go ahead with a wheat field in a loop. So I'm going to go ahead with simple grass strokes and simple what field details. It's going to be pretty simple one and we'll just be adding them quickly. Ing in the smaller size brush, I've filled in this entire bottom space with the black color as you can see. Just created a very rough patch and gone ahead in a very random shape, not gone ahead in a simple straight line. Now I'm going to shift into a very small pointed tip brush so that I can get in fine details for the rest of the silo head I'm using in this fine tip brush, which is size two, but it has a pointed tip. Now we are going to have big strokes. The, you may have already seen the final painting at the beginning of this class. It's going to be big strokes moving almost to the top of the sky, pulling out one big branch from that, pulling out the smaller wheat field, kind of details in between, we'll be going in with simple grass strokes as well. You can see I'm adding in some strokes coming out from the edge as well, the right edge overlapping onto this branch. Somewhere from this bigger branch, I'm just pulling out some smaller branches. In this way, we are going to go ahead with a simple kind of silo head detail overlapping each other, creating in the depth in between. You can see I'm pulling out these smaller branches as well and smaller stem and grass details, adding in very simple random details. This can go ahead differently for each one of you. It's a nature painting and nature has many forms, many ways, many movements. It can be different for each one of you in a similar way. I'm going to keep on adding in these strokes quickly. Somewhere you'll see I'll be adding in very big and huge strokes somewhere. Just some grass strokes in between overlapping onto each other so as to create that natural look into them. Trying to show in that natural effect of the movement of the field into each other. In between, you can even see I'm adding in some thick one stroke leaves by pressing in the belly of my brush, lifting and giving in that pointed dip. Now one thing that you need to be sure about as well is that not all of your strokes have to be completely till the top of the sky. Some of them need to be small like this, only moving till the center of the sky so that you have the natural effect. Because not all of the nature's things are of same height, same shape, same size. They vary in movements, shape, and the height and length. With everything, you need to make sure that each element is different from the previous one that you've been adding in. So basically towards the right side, I've gone ahead with some bigger and large elements. Moving towards the left side, I have gone ahead with simple grass strokes and creating in smaller length details into the field. As I told you, you can see towards the left. I've added them in very small heights, but again, criss cross to each other. Some of them moving tilted towards the right side, some of them towards the left. Very random movements, criss cross to each other. Some thicker cross strokes as well, some thicker leaves effect in between as well. That's how you are going to get in that natural effect into this beautiful field that we're trying to create in, with some simple strokes. I'm done adding in the details into the field. Now I'm going to go ahead add in little cloud details. So I'm just going to pick up the pink color, but this time in a little more bright consistency. Because you can see the pink clouds after trying have turned out a little dull to give them a little bold effect. I'm just going to go in with a little more pastel pink, which stands out onto the blue color that we have in the base Very carefully, I'm going to add in a little more highlighted. So I've just created a little more pastel effect of this pink color. I'm going to blend in, create a little more highlights into the space very carefully. I'm adding them in between the grass strokes that we've already added in. I'm done adding in the highlights with the pink color. Now you can see they are stand out more bold and beautiful. Let's remove in the masking tape and see our final painting. Make sure you remove the masking tape once your edges are completely dried. And always pull the masking tape against the paper. Here's a final look at our beautiful painting from day 21. You can see the beautiful color sky behind and the clouds effect coming in from behind off the field that we've added in. I hope you guys enjoy painting this with me. I will see you guys soon into the next class project. 24. Day 22 - Scenic View: Hello everyone. Welcome back to day 22. And today we are going to be painting this beautiful road view with greenery all around. The colors that you need for this class project is a pastel sky blue color. Or we can create one with the help of white, yellow, some shades of green, red, white, and black. So let's begin creating in this beautiful class project together. For this one, we are going to go ahead with some minimal pencil sketch, creating in the details. First, I'm going to mark out the pathway moving from the left to the right. So the left is going to be broader, moving towards the right. We are going to have in that diminishing effect of the pathway, which is going ahead into the greens that we're going to be adding on top of the pathway. Just creating in that space for the green on the top of the roadway at the left and towards the right side as well, Across the road you have the greens, and in between you have the beautiful pathway moving in. And the top will be the sky. The details of the car, we'll be adding in directly with the colors later on. No pencil sketch for that. So let's begin creating in the sky first. Now for the sky, I'm going ahead with this bluish gray color. To this, I'm going to add in white and create in that pastel sky blue effect. If you do not have the similar tone, you can mix in your serene blue with a little hint of black. It's like 99% blue, 1% black, and then a little hint of white. But since I'm using white for blending the blue and the yellow, I'm not adding white to the blue directly. I'm directly adding in the white on the paper while blending. Now at the bottom, I'm first going to go ahead with a pastel yellow color. And then on top of it I'm going to go with a medium yellow tint and create in the highlights into the sky. Now at the blending point, make sure you either use white or some pastel hint so that you do not get in those greenish tone. Because of the blending of the blues and the yellow I've created in the base layer for the sky, a little of the yellow has gone into the green spaces, but that's completely okay. Now using a medium tone of yellow, I'm going to begin pulling out from both the edges on the yellow spaces, creating in the highlighting space and the sunset effect of the yellow color. Wherever you feel that blending is difficult, you can use a little white or the lighter tints to create in that smooth blend. You can see we have that blue at the top, a little lighter effect in the center, and then a bold yellow effect at the bottom space. Now picking up the same blue tone that I used at the top of the sky, that's the grayish blue color. I'm going to add in little white to this and begin adding in some cloud details of this color on the yellow straw. So basically this cloud will be visible from behind the green spaces that we'll be adding in. Now just as the previous class project, I'm first going to add in a line with this darker hint and then use in a lighter hint and blend it at the bottom space, creating in more depth into this fluffy cloud that we're trying to create. In at the top, we're going to have minimal cloud effect. It's just that one cloud pole that we're going to have in peeking in from behind of the greenery spaces that we'll be adding. Now picking up white mixing into the same color, creating in the lighter depth. I'm going to add in towards the bottom till the green space line, so that the green color will be a little overlapping onto this cloud effect that we are adding in here. Now using the finger tip, I'm going to quickly begin blending in a little of this cloud effect at the top and creating that soft, smooth effect. If you want to keep in a bold cloud effect, you can let it be bold. If you want to have in that soft effect, you can go ahead with little blending. Now again, using a brush, I'm just going to define the shape a little bit more because of the tab with the fingertips you can see it lost shapes at the top, just giving in that little cloud fluffy effect again. Now with the same grayish blue color, I'm going to paint in the pathway as well. For that, I'm not going to be adding in any white to this. We're going to use this color in a good bold consistency. In fact, I'm going to add in a little black to this to create one tint darker than this color. First, I'm adding in a base layer of this color into the entire pathway. And then I will just pick up black and blend it on top of it. So there are two ways. Always, you can either mix the color on the palette, or you can create in the base layer and then use in these colors to create highlighting strokes. This way, you will get different tonal variations blending into the space, creating in that more natural effect. So now you will see, we do not have that same black color effect throughout. Rather it's creating in little highlighted spots in between the bluish gray color that we've added in. Now next, let's move on to the greens. For that, I'm just going to pick up my smallest size brush for adding in the first base layer. I'm picking up a medium tone of the sareen color and I'm just going to begin adding in as a base layer into the right side for the grass details. We are going to go in with very simple technique. It's just going to be filling in the space and then using in that spoilt brush and creating in the texture effect first for the base layer. Going ahead with a little darker hint marking out the shape of the pathway. Well, with this color itself, I'm almost done adding in the base layer of the green completely on the right side. Same way we are going to go on the left side as well, but on the left side, I'm going to give it a little shape at the top, space overlapping onto the cloud, creating in that natural greenery effect. But across the pathway, make sure you define that shape into a beautiful curve, creating in that more highlighting space for the pathway as well. Now picking up a little of the lighter green color mixing into this green itself and just going to begin creating little more color highlight at the top here. Basically, now the road is getting vanished into the greens. At the right side, you can see the road is getting hidden and moving into the greens completely. That's a perspective that we're trying to create. The road is getting in between the greens, which is not visible to us At the top just created little lighter highlights. Now, with the white color adding the highlights on the pathway, my pathway is completely dried. So on both the edges adding in those white highlights on the pathway, creating in the depth. Now, using in the white color, we are going to be creating in the glowing effect for the cars piece as well. I'm adding in a little white to this pink, which is already on my palette. Or you can use a red mixed in with white color. Basically, this was that carrot color from the previous class project. Rather than wasting I'm using in the same color. You can mix in your red with white and create in. I've added in two dots, same way as we create in the glowing spaces for the moon. I'm creating in a glowing space here to create in that light effect for the car that we'll be adding on this pathway. Now, again, just creating in a small patch here, blending the edges into the pathway. Once it dries out, we'll add further details into this. So for now just create first layer of this patch. We may have to go ahead with another layer to create in that right glowing effect to come out. Until then with a smaller size brush, using in further a medium tone of green. I'll just begin adding in little grass strokes at the top here, giving in a little depth. I'm just going to create in a little bush effect or you can add in simple pine trees as well. Now I'm just going with simple strokes at the top to give in a little defined look at the top area now with some lighter greens creating in some strokes at the bottom. Now what I will do is I'll quickly go ahead and use in my spoil tron brush without dabbing it or into water. I'm just going to pick up the paint and fill in this space quickly because with this smaller size brush, the process seems to be a little slow and not giving in that great effect so quickly shifting into that spoiltronrhw. We've already discussed how you can add in the Bush effect with this, just as we discussed adding it with black color in the technique section. Same way you need to pick up the green color and begin dabbing in, make sure that the green is in a thick consistency. Your brush does not have water. You just need to create a little dry brush effect on top of the taco green that you've already added. We're going to go ahead with two to three shades of the green to create in that natural effect into this bush space. Now in the same way, going ahead with a little darker green at the top, creating in that bush effect on the cloud. Again, you can see how I'm just tapping in the tip of my brush, holding it perpendicular with different tones of green. This time I'm using a little darker green hint, same way on the left as well. I'm going to create in that detailed highlight at the top space. Make sure for this, you need to be sure that your brush does not have excess water or excess paint. Even after picking up paint, dab it onto a rough, tall or tissue paper so that the excess paint and water is dropped out and you can get in this dry brush effect. You can see I'm going with very different color combinations of the greens. I'm randomly mixing in sap, green, light green, and black in different ratios so as to get in different tones of the greens to create in this effect into the field or the greenery space here. Now with this darker green going ahead with little effect on this lighter green strokes that we added. Now you can see I'm adding it in such a way that not all of the lighter green effect gets hidden up. You need to be sure that the different tones of greens are visible. Only then you'll get in that natural effect into this greenery space. Now creating in this pastel green color. Again, I'm going to first dab my brush completely so that I do not have access pigment and just holding it perpendicular, picking up little pigment. Now going to add in this light pastel effect, little onto this greenery spaces. It's going to be very little. Again, these are just highlights you need to make sure with every layer of greens, your previous layers of greens do not get hidden up completely or else it would make no sense working in so many layers if you had to hide all of them with the next color. Now using in white, I'm just going to go ahead creating second layer of this glowing effect here. So added in white. Now again going to blend in this white and create the dull white patch for the glowing space of the car that we'll be adding in here. Now, once this is dried using in the black color, I'm going to add in a car silt on top of this, but in such a way that we only have that glowing space visible in between the black lines. That's going to be the headlights of the car that we're going to add in. Now for the head lights, you are going to be using in bold red color or mixing in red with the white in the glowing space. You can see I've kept in two circles of the light effect and rest spaces, I've covered up with the black for the silhouette of the car. Now using a further lighter tint of red and white mix, I'm going to add in that bold light effect on top of those glowing spaces that we've created. Make sure for this, you use in the red and white mix in a bold consistency such that it stands out now on behind of the car. Going to add in a little reflection of the light falling on the pathway, it's going to be very minimal. Here's a closer look at the car effect that we've created now. Quickly using in a fine tip pen 0.3 I'm going to go ahead add in little silhouette of some power lines into the greenery spaces. It's going to be very small. You can even add this using in a very fine pointed tip brush and the black color. I prefer adding them with these waterproof pens so that I can get in those fine details. It's going to be very minimal. You can see now pulling our three wire lines at the top. This time from this pole that we've added in. We are almost through the class project for day 22 as well. A beautiful roadside view with the car light coming in. That is it. Let's remove in the masking tape and see a final painting. Make sure your green edges are completely dried and you do not ruin them up while lifting up the masking tape. Here's a closer look at our painting from day 22. You can see how beautiful those skylights have turned out and especially the greenery spaces with Simple. I hope you guys enjoyed painting this with me today. 25. Day 23 - Winter Sunset: Hello everyone. Welcome back to day 23 of the 30 day coach landscape adventure class. Today we are going to paint this beautiful Winterland sunset. The colors that you would be needing is a gray blue color, pastel orange, pastel, yellow violet. A medium yellow, white, and black. In case if you do not have the pastel tones or the gray blue tones, we'll create all of them by mixing in the colors first, with the pencil just marking the horizon line to distinguish the snow and the sky space. I have a ready Naples pastel yellow color here in my palette. But in case if you do not have it, you can simply mix in a light yellow with white as to get a pastel yellow tone. Beginning with the pastel yellow color first the major sky is going to be of the pastel yellow color, to which we are going to be adding in highlights with the grayish blue and the orange tones using in a smaller size brush. So I've covered the entire sky with the base layer of yellow color. Now on top of this, I'm going to go ahead with some tones of the grayish blue and the orange tone. Now make sure that you use the pastel yellow tone only here. Otherwise, when you will be adding in the grayish blue and the orange tones, you may get in a bit of muddy tones coming in. Now I'm going to pick up this yellowish orange color. You can simply mix in a little bit of your orange to the yellow and get this yellowish orange tint. And using the smaller size brush, I'm just going to begin pulling out smaller strokes randomly from the edges. But it would be in such a way that you do not cover up the entire glowing, pastel yellow highlight. Now next I'm going to go ahead with the grayish blue highlights. Now I already have this color ready, but you can mix in your sky blue with a little hint of black and white, and get a similar grayish blue tint. Now I'm using this color in a very light consistency. You can see very little pigment that I'm picking up on my brush and just dragging it from the edges, blending it into the base layer. My brush has very minimal plan and you can see I'm going diagonally creating in those highlighted strokes into the sunset space here. Now I'm just adding in some highlights with this tone. And I will add in a few highlights with the orange color. And then again, using the base layer, pastel yellow color, I will blend all of these strokes. So I'm just going to create a pastel orange by mixing in white to my orange color. And now I'm just going to add in a few strokes randomly pulling out into the sky. Now when I add these, you will see all of these looks very uneven. Or you can say very unblended with each other and does not give in that great look to your sunset view. To blend all of this, I'm going to use the pastel yellow on top of this and blend in automatically. These will just create in as highlight spots into your sky. Picking up the pastel yellow, I'm just going to lay over all of these colors and blend them all together with the paste layer turning them into lighter tones. Now using the pastel yellow color, I will begin adding in little strokes into the sky to create in some cloud depth. Again, you can mix in your pastel yellow if you do not have one ready. Now you can see this pastel yellow is light tone and I'm usually adding it onto the orange and the taker yellow tone so that this stands out visible in between. If you want to this, you can keep on adding a little bit of orange for some highlighted strokes as well. These are going to be very limited. You can see I'm adding them very randomly and creating in that little depth into the sky. Now next I'm going to go ahead and begin painting in the snow area for the snow space. I've first added in the yellow color at the bottom, only in the center. Now I'm going to pick up a little of the pastel pink closer to the yellow. The reason of adding in pink is so that the blending with the pastel violet color will be easier without having in any muddy or unpleasant tones. Just add in a little layer of a light pastel pink color so that you can have that beautiful blend happening. Now for the pastel lilac color, you can either mix in. Violet with a lot of white. Or you can simply pick up a pastel lilac color if it's readily available in your palette. I'm going to first go ahead pick up this pastel color, which is already onto my palette. First, I'm adding in a little more yellow highlights, blending in the pink and the yellow in the center, closer to the horizon line. You have to maintain in that glowing yellow highlight to show the reflection of the sunset falling onto the snow area as well. Now for the lilac color, I have mixed in the pastel lilac with a little bit of the violet color so as to create that little darker hint. Now you can see because of the pink color, the violet blends in so easily with the yellow without giving in any muddy tones. Now I'm going to pick up a little more of a darker tint of the violet color and begin giving in little darker hints to the snow from the edges. This is going to be very much so just make sure that you do not use a very dark consistency. Plus go ahead very soft handedly so that you have that glowing yellow space still there. Now adding in a little hint of black to the violet to get a grayish violet hint and adding it at the bottom space. Now again in the center, you can see I've still maintained in that yellow highlight and the colors are blending in well. So make sure you use a smaller size flat brush for doing this, so that you get in the details right and get in easily. Now using the pastel yellow, I'm going to define in the center space of the snow a little more bold and bright. Now using this patil yellow in a pole consistency, you can see I'm just giving in some highlighting strokes over the purple color to create in that perfect sunset effect color falling onto the snow area. Same way. I'm going to add in very little of the orange and the pink highlights. You can see these highlights masurely. I'm adding only at the top half of the snow space, not taking it much lower. Everything is very close to the horizon line. Now, with the pink color, adding in these little highlights on the edges, the top space is lighter and the bottom you have the darker snow reflection with the darker violet tones already. Now let's go ahead and create in the first layer for the bright sun that we'll be adding in here. For that I'm using in the white color. This time the glowing space of the sun is going to be a quite huge one. I've added a good pole layer here and now I'm just going to pick up a little off the medium yellow, orange tint and add it onto the edges. Now using a damp brush, let's blend this into the background and create in that soft, glowing space. We may have to work in two to three layers to get in that background effect of the sunset. This time the sun effect is going to be quite and it's much closer to the horizon line as you can see. Now this time I'm even pulling out a little of the sun rays in the left and right edges of this glowing space. For that, I'm adding in a little of the bold yellowish orange tint across this glowing space that we've created. And I'm going to blend this into the paste layer again using in the dam brush. So just a little highlight to show that beautiful sunset effect now till the time the first layer of the sun rise out, let's begin adding in little details at the horizon line. For that, I'm going to mix in the violet with a little hint of black. Now make sure you do not use a direct black color. Only try getting in a blackish violet tint for adding in this detail at the horizon line. I'm first going to create a very small line with this color and then at the top in a very fine tip brush. I'm just going to pull out some pine tree details. I'm going to be going ahead with simple strokes in different heights to create in that pine tree In between, you can see I've given a small cut trying to show in that sunset effect glow out there as well. Now you can see these details are very fine because on top of this, we are going to go ahead with fine pine tree details. So I'm going to use this pointed tip brush. It is a size double zero, which is a very fine tip brush using in a violet color, in a little darker consistency. So I'm just picking up a little more violet, going to mix in a little hint of black to this. So you can see it's basically a dark grayish violet tint Now just going to pull out spikes from this area and create in that small pine tree effect. So you can see how quickly we could fill up this space and you can see the length. It's very tiny, so make sure you go in proportion because we are working on smaller size of the papers. So we need to be sure that we do not go out of proportion or else it will be very difficult to get in those details. Now, same way, I'm pulling it out on the right side as well. Plus you can see since my paper is taped down on a movable surface, it's so easy to just tilt and add in the details swiftly. Now you can see it's not a black hint that I've used in here, it's a grayish violet color. Using the plaque, we'll be adding in few pine trees into the snow space later on. Now in the center, I'm adding in little highlights with the yellowish orange color so as to show the effect of the sunlight falling onto these pine trees on the horizon line as well. Just a little highlight majorly in the center spaces that I'm adding on top of this to show the reflection of the sunset. Now using the white, going to go ahead with the second layer of the sunset. Again, I'm just going to add in white and create in that dull space in case if in one layer itself you are satisfied with the glowing space for the sun, you can directly go ahead with the final layer to show in that sunset effect. But I'm going to build this into layers now. Again, using a damp brush, I'm blending the edges into the yellow strokes that we've created on the left and right of this glowing space to show in that sunlight effect falling into the sky now till that layer dries. Let's add in the pine trees into the snow space using in the black color. I'm going to add in these tiny pine trees quickly. We are going to add in a little reflection of these pine trees as well into the snow space. First, I'm going to just begin adding in the pine trees one by one. I'm going to go ahead with very simple folige detail, not going to go ahead with much detailed ones. I'm going to use a smaller size brush for this as well, so that I can keep the details fine and crisp, and delicate looking. So you can see I'm not filling in the entire pine trees with a lot of foliage. I'm rather going ahead with limited foliage details so that we have in that scarce looking pine tree, because of the snowy weather, because of fish, the foliage is less. Now, in a similar way, I'm going to add in four to five of these pine trees randomly and create in the depth of the pine trees. Some of them are going to be the big ones. First, I'm going ahead with the bigger ones, but still you can see these bigger ones are also very delicate. And I'm adding them with that double zero size brush so that I can get in these details Fine, I'm almost done with the second pine tree here as well. And now I'm going to add in two of the pine trees towards the right side. And then we'll be adding in very small details of some foliage into the snow space trying to create in those dried grass effect of the pine trees. Now make sure that all of your pine trees are of different lens, beginning at different spots or different levels of the snow. Do not keep them beginning in one straight line of the snow as well. With this fine brush, you can see how fine the details are that I'm getting in. And I'm simply just dragging my brush left and right, creating in these simple strokes to create in the foliage for each of these pine trees. Now I'm just going to add in little darker foliage randomly to these pine trees that we added previously. Just at certain spots. You need not give in a lot of detail everywhere, just randomly at certain spots. I'm adding in some darker spots wherever I feel that the spots were drying a little lighter. Now, adding one more detailed pine tree to the right. And then I guess we'll just go ahead with some simple details of snow and reflection. This last pine tree, you can see I've given in a lot of detailed foliage effect to this one and added in the foliage a lot closer to each other. Now, as I told you, in between, I'm just going to add in some small random strokes and very fine pine tree kind of details in between. In the snow land, very small and tiny ones. You can see that I'm adding in randomly. You can see very randomly, I've added in some very fine details into the snow, creating in these pine tree and grass details. Now let's go ahead and add in the reflection to these pine trees. For adding the reflection I'm using in the violet color mixed in with black, which is one tone darker than the base layer violet of the snow. I'm adding the reflection of the left pine trees moving towards the left diagonally and off the right pine trees moving towards the right diagonally. The reflection effect is because of the sun is in the center. The reflection of the trees which are on the left is falling diagonally towards the left side. And the trees which are on the right are diagonally falling towards the right side to the smaller ones that we've created. I'm randomly adding in effect of reflection. You can see those are very small ones. I just made a very big reflection to one of these here. So I'm just correcting that easily now using in the white I'm adding in the sun effect. Finally, now this white you can see I've picked up directly from the palette. I've not added any water. I've kept it bold, bright, so that it has that opaque effect to this. I'm going to add in this little lemon yellow hint so that it gives in that sunset effect and gives in that glowing effect just on the edges. Adding in this yellow highlight to give the sunset effect a more bold effect. You can see the sun is quite big than all of the class projects that we've been adding so far, plus the reflections of these class projects given so much realistic view to this beautiful Winterland sunset. Let's remove in the masking tape and see a final painting. Make sure you remove the masking tape against the paper so that you do not tear off the edges. Also, be very careful that your edges are completely dried so that you do not lift up the colors. So here's our final painting from day 23 of this 30 day challenge. You can have a closer look at the sun, the beautiful, subtle reflections that we've added to the pine trees and the snow effect. I hope you guys enjoyed painting this with me today. Make sure to drop a review if you like this class and do share it with your friends and family so that it can help me reach a wider audience. Thank you so much, once again for joining me into this class. 26. Day 24 - Simple Cityside Sunset: Hello everyone. Welcome back to day 24 of the 30 day cost landscape adventure. Today we are going to paint another beautiful landscape. The colors that you need are crucian blue, pastel, orange, pastel, yellow, violet, magenta pink, or any tone of pink, white, and black. It's a very simple, basic sunset painting. Let's begin with the painting directly. We are not going to have in any pencil sketch, we'll directly begin painting in the sky. Let's begin with the Prucian blue color first. I'm going to begin with this dark blue color at the top. You can go ahead with any dark blue that's available in your palette if you do not have a prucian blue color, or you can simply mix in black to your erlian blue to get in a darkish blue tone. Beginning in with this color at the top, I'm going to mix in a little white to this while blending, I'm not adding in white at this point to the blue. I make sure that whenever I'm going to use white for blending, I do not add in a lot of white to my base color then, otherwise the colors turn too light and pastal. Now I'm going to pick up the pink color. I'm beginning in with the magenta pink pink. Also, I'm directly adding without adding in white. Because for blending the blue and the pink, I'm going to be using in white. Now first I'm adding in little pastel pink color in between. Because I have a pastel pink to blend in, you can directly use white for blending. If you do not have a pastel pink color, it will give you an almost similar effect. Now at the bottom of the pink, I'm going to go ahead with the pastel yellow color and blend it with the pink. Now, since this is a pastel yellow, I don't need white in between for blending. And you can see the yellow and the pink have blended well into each other. Now using in a little of the yellowish orange color on top of pastel yellow to get in that sunset effect. Now at the bottom we're going to have in the silo it with the black. But still I'll pick up the pastel yellow and fill this space completely because a little will be visible from behind the bush details that we'll be adding. Now in between, you can still see some rough patches because of the blending. So I'm going to go ahead and blend in completely from top to bottom or bottom to top. It's more preferable to blend in from the bottom color to the top of the color tones that we've used in. Now Next I'm going to begin adding in the cloud strokes on top of this. For that, I'm going to use in pastel colors. I'm going to use in a little of a light blue tint, crucian blue mixed in with a little bit of white pink mixed in with white and little yellow strokes and orange highlights to create in the cloud strokes. First, on top of the blue, I'm beginning in with these light blue strokes. You can see I'm adding them closer to each other, creating in rough cloud shapes. Make sure you go ahead with very limited strokes and try to create in these random shapes to give in that depth into the cloud. The color has to be one layer lighter than the base layer blue that you've used. Only then it would be visible as a highlighted stroke onto the darker tones, onto the pink as well. Adding in a little of these strokes on the edges, you can see I'm just pulling out some criss cross strokes in between. The darker blue parts of the sky is also still visible. Now I'm going to mix in. Furthermore, whites to my blue and make in a further lighter hint. And begin adding in little strokes with this lighter tone onto the pink color. Again, you can see this is one tone lighter than the previous cloud layer that we've been adding. In. This way, you will be able to build in a lot of layers and also get in the different tonal variations into your cloud details of the painting. Now onto the yellow orange as well, adding in these little highlights to the blue. It's the light blue color to not use it in a very dark consistency. Also, make sure you go in very light handedly, so that the base layer orange does not get activated. Or else you may get in muddy tones. You need to go in very light handedly. I'm just going ahead with little dry brush strokes here to create in the depth you can see this time I've moved tagonally from top left to bottom right to create in that cloud effect here. Now using the pastel pink color, I'm beginning to add in the strokes with the pastel pink color here. Now I'm going to add in the pastel pink highlights onto the blue cloud as well. But in such a way that I do not cover up all of the blue spaces. You need to add them in such a way that the blue highlights still be visible. Only then it would make sense the reason of adding in that blue cloud. So you need to make sure with every layer the previous layers still stay visible. You can see I'm building in the cloud detail very slowly here, so that I do not overdo the clouds. You can always go ahead and add in more details later on. But in case if you add in a lot altogether at one specific space, then correcting it may be a little difficult task. Now, next I'm using in a pastel orange color and going to add in the highlights. With this color, you can mix in yellow, orange, and white to get this beautiful past orangish color. Or you can mix in orange with white only if you do not want to mix in yellow. Or you can directly mix in your yellowish orange tone with white and get in this pastel color. Now, with this color as well, I'm adding in little highlights onto the blue spaces, but I don't want them to be too bold. After adding them, I'm quickly dabbing them into the bate layer so that they just given that little highlight effect and not a bold stroke effect quickly using a damp brush, you can see I'm blending it into the paste layer, just letting it be there as a highlighted part. Now next I'm using in the pastel yellow color on the bottom space, adding in the cloud highlight over the orange stroke of the sky there. Also you can see I'm going ahead with random strokes and moving topwards, I'm going to add in highlights with this yellow color onto the pink layer as well. After this, we'll be left to add in the silohate with the black color we'll be having in simple bush silohate and some cylight details. Now at the top here, I'm just adding in a little more of the blue highlights overlapping the pink because I found the pink too bright onto the blue color after drying out. Now I have picked up the black color and I'm going to begin adding in the siloed first at the bottom. I'm going to quickly create in a bush area. For that I'll first mark out a line, or you can just tab in the tip of your brush and create in random shapes moving in different height variations. Now make sure you do not cover up the entire pastel yellow part of the sky, let that be visible from behind this black area, giving in that perfect sunset effect at the top. I'm done giving in the effect with the Bush details. Now I'm going to go ahead and add in the black color and fill in the entire bottom space from left to right or right to left completely with a bold layer of the black color itself. Make sure you do not add in a lot of water to this black, otherwise you will get a dull effect after drying out. Now using in the black color and my fine tip double zero brush, I'm going to begin adding in little bush details at the top. I'm picking up the black color again in a bold consistency. And I've shifted to my fine tip brush and I'm going to begin pulling out some grass strokes from top of this bush area. Now these grass strokes, you can pull out either in the entire space or leaving in some of the bush details in between as it is and just pulling out in center at random spaces. It's absolutely your choice. But again, make sure that these grass strokes are moving in irregular directions and of irregular heights. Otherwise they will not give in that natural and realistic effect. Now at the left here, I'm just giving in some bigger strokes. And randomly in between as well, I'll pull out a few bigger strokes so as to give in that break in between and vary the heights and make it look more natural. You can see I'm using such a fine tush because of which I'm getting in these details and very. Now using in the black color and this fine tip brush, I'm going to add in one of the street light pole. Now you can add this pole first with a black pen and a scale so that you can get in a straight line if you're not confident about adding this directly with the black paint. In previous class projects, we've used a waterproof pen to add in these details. This time, I'm using in a fine tip brush and the black color to add in these details. Both of these are correct. It depends on your conveniency and your confidence about adding in these fine details directly with the paint. Now what I'll do is, rather than creating this to be a street light, I will just add this one as an electric pole for the street light. I will add in smaller details into the Bush area. This big pole, I'm turning it into an electric pole rather than a street light pole. Now we are going to pull out some Vio lines into this electric pole. Now for these wirelines as well, you can use a 0.1 n waterproof pen. Or you can add with the fine tip brush like this. Again, this also depends on your confidence. You need to make sure that these strokes are very fine because these are wires which are very finely visible into the sky. For adding in these wires, you can even use a lighter hint of the black color by diluting it a bit so as to create more depth into your sky. Trying to show in that those lighter wire strokes are actually far from your view, hence visible in a dull color. Then the black color. Now on top of these, I'm just adding in some fine bird details randomly. So very little, not much of it and a few of them into the sky for that. Also I'm using in this fine brush, adding in simple silhouette of birds in different flight motions. Now I'm adding in that light effect of the pole here on the left side. I'm going to take these smaller, just adding in these poles and going to, again, fine strokes and I've pulled out the light hand now using in the white color. I will give in the light details to these poles Using the white in a bold consistency without adding in any water. I've added in the light effect to these poles. This creates a more delicate effect because of these two pretty small street lights. Now let's remove in the masking tape and see a final painting. Make sure your black edges are dried or do not lay your hands if it is still wet. And always remove your masking tape against the paper so that you do not tear off the edges. So here's our final painting from day 24. A beautiful sunset with simple street light details and the power hole. I hope you guys enjoyed painting this beautiful sunset with me. It hardly took us 15 minutes to create this beautiful in depth sunset. Thank you so much once again to each one of you for joining me into this class and painting along with me. I hope you guys are applauding in your class projects to share it with the other people as well. 27. Day 25 - Pastel Seascape: Hello, everyone. Welcome back to day 25 of the 30 day Cosh landscape Adventure. For painting Today's beautiful seascape, you would be needing the shades of pastel blue, pastel orange, pastel, yellow, red or pink shades of green, brown, white and black. We can create the pastil tones by adding in white to a basic tones. So let's begin with a very basic pencil sketch. I'm just going to mark the horizon line that also in a very light manner, it's going to be a little above the center line you can see because at the bottom we're going to have in a little of the greenery and the floral details. Now we'll begin with the colors. So I'm going to create a few of the pastel tones. First, for the blue, I'm picking up the blue color here, to which I will either add white here or add white wile blending to create in that pastel color. So I am adding in a little hint of the royal blue color as well. To get in that beautiful bluish tone, you can simply go ahead with any tone of blue and add in a little white to it to create a pastel hint. Now, I'm not adding white at this point, because while blending I'm going to use white. So I will add in white directly on the paper so that I can blend as well and not get in any muddy tones. Because at the bottom, closer to the horizon line, we are going to have in the shades of yellow and orange. Yellow mixed in with blue may give you green tones. So it's important to use in white in between. For blending for the yellow, I'm using the pastel yellow, which is already readily available in my palette. You can mix in your own pastel yellow. Now you can see while blending, it has come out so neat without any green tones, because of the white layer that I add it closer to the blue first and then blended the yellow. Now shifting into a smaller size brush, I will begin adding in little of the orange highlights. Now for the orange, I'm picking the yellowish orange tint mixing into the pastel yellow so that I have that little pastel hint to the orange as well closer to the horizon line on the yellow, adding in little of this highlight. Now that is the reason you can see I did not add white to the blue color while blending automatically. The blue on the paper has got that pastel hint because of the white used in between for blending. Now picking up a little of the bold orange color, mixing in a little white, and adding little highlights with the orange color as well. Now I'm going to blend this quickly using in white or the pastel yellow so that we have that smooth blend happening in again, just at the top. Again, to blend the orange shades, I used in a little pastel yellow. Now using a smaller sized round brush, I'm going to add in little more orange highlight on the horizon line. Because you can see with bigger brush, it was giving in bigger strokes. Just using a small brush, I've added little orange highlights closer to the horizon line And blending in with the help of white a bit. Now let's begin with the C. For the E, I'm going to go ahead with the same blue mix. I'm going to mix in my royal blue along with a little bit of the sky blue color of my palette. And then I will use white directly on the paper to create in the pistol and a tonal variation of the colors at the horizon line. I'm giving in very gently a line and I'm going to lighten up this line so as to create a very faded horizon line view this time. So I've just added a little layer now I'm going to go ahead with the white color and just create in tonal variation. Beginning in from the bottom, I'm going to begin laying white completely till the horizon line. You can see automatically how the blue has turned lighter till the horizon line. Now at the horizon line, I'm giving in a little of these white strokes and I'm going to use a damp brush and run it at the meeting point of the sky and the sea to create a very blurry distant view trying to show in the merging point of the sky and the sea area. Now I've cleaned my brush, Now I am picking up this damp brush. I'm diving off all the excess water and just going to run a soft stroke at the meeting point of the sea and the sky. And blend these easily, you can see the horizon line has turned very blurred and distant here. Now next I've picked up black color. And I'll begin with the first layer for the details at the bottom space. First, I'm going to build in a very rough layer with the black color. On top of this, we'll be going ahead with shades of greens and then some very simple wild flower details to create in that floral effect closer to the beach space. First layer, let's go ahead fill in completely till the bottom with the black color at the top. You can see I've gone ahead with a very rough shape with the black to create in that realistic effect of the grass there. And not given that simple straight curve. Now, mixing in the greens first, I'll begin in with a medium tone of green. Now for the greens, I am randomly mixing in greens from my palette to the other colors which are already in my palette so that I can reuse those colors. So I added a little of the green to the white and yellow on my palette. You can go ahead with different shades of greens that is available in your palette to begin adding in these details. Make sure that your black space is completely dried before you begin in with the green details. Only then it would be giving you that view. Otherwise, it will mix in with the black color and will give you a different tone. So first going ahead with some simple grass strokes. Randomly you can see I'm moving very randomly, left and right at certain spots because there is a few of the wet black spots. You will see different tonal variations of the greens forming in because of the green and the black mixing in. Creating in some darker tones of the greens in between. Now in the same way, I've picked up a little bit of the brown tones as well, to which I'm going to begin adding in some strokes at the top of the green, moving into the sea space a little, just some brown highlights in the background that I'm adding. Before we move on to the next tone of the green color, you can see I've gone ahead with very simple strokes of the browns. Just created in some dry grass effect with the browns. Now make sure you do not cover up the entire sea space. You need to make sure that the sea will still be visible in between all of the details that you're trying to add in to the brown as well. I've just added a little hint of black and created a little darker brown color and just darkening up some of the brown strokes to create tonal variations of the browns as well. Now with the lighter green tone, I'm beginning to add in very simple bush detail by just abbing in the tip of my brush. Now this green is a very yellowish green hint that I'm using in. Again, you can go ahead with any tones of greens that's available at your end. It need not be exactly the same green shades as mine. You just need to strike a balance between some darker green tones and some lighter green tones to create that natural effect. And given those natural green details. Now in case, say if you do not have a lighter green color, you can in your sap green with a little bit of yellow and white to get in lighter green tones. If you do not have darker green tones, you can mix in your greens with rows blues blacks to create in different and multiple tones of greens. It's absolutely a little trial and error if you do not have specific shades readily available. You can always create lighter and darker tones with color mixing. I've added a little of the Bush detail, you can see by dabbing in the tip of my brush. Adding in some leaf details with the lighter green color. Now I'm mixing in another tone of green. Again, it's a very random mix of sap green, olive green, and white. And I'm going to add in a few highlights with this color as well. Again, all of this will be overlapping each other as well. And plus at distinct places. First, I'm adding this in between the gaps that I've left in now from behind or between these. You are still able to see in those grass strokes that we added in the first layer. Now using in the white, I'm going to begin adding in a few highlighted strokes in between the greens. Now you need to be sure that every layer is dried. Only then you'll be able to work in with the next layer of colors and get in that opaque effect. Otherwise, the colors will get blended on with each other. And it will be very difficult for you to having that distinct look for each of the colors very randomly. You can see I'm adding in some white highlights in between the greens, Not just a few of them here and there. Now again, moving on with the white, I'm going to begin adding in the first layer for the florals. So very randomly, I'm just adding in some rough shapes with the white color creating in the paste layer for the florals. Now I'm adding them in the way of wild floral detail, just creating in random shapes with white. On top of this, we'll go ahead with a little of the pastel orange and pastel red tones you can use in pink tones as well for your florals. Or if you want to go ahead with a lavender feel, you can go ahead with lavender flower details. You can go ahead with daisies, roses, any floral of your choice, you can go ahead and change in here. For now, I'm just creating in some white patches. You can see at spots my green color was wet because of which the white is not standing out opaque. So it's very important that you make sure that your greens are completely dried. And then begin with this layer of white so that it gives you that opaque and that bright look of white for the paste layer of your florals. I'm almost done adding in the layer with the white color. I'm just going to add in a little more at certain spots now, we will have to wait for this white layer to dry first. Only then we can move on with the next layer of orange or the red tones that we wish to go ahead with. Let's wait for this to dry now. Until this is drying, I'm just going ahead with little more of the green details. I'm using a different bold green color, which is still pastel, but different from all the green tones that I've used in at certain spots where I feel that I needed a little more touch up to my greens. I've just gone ahead added in that now to my orange mixing in white, creating in that beautiful pastel orange color. I'm pinging on with the white, just going to add little spots of these over the white in such a way that the white is still visible. We are going ahead with wild flowers, so you just need to dab randomly and create in this depth. You need not have any specific shape or movement. You just need to let in each of the colors be visible and randomly. Keep on dabbing. In these strokes, again, the two most important thing, your white layer should be completely dried. And make sure that your pastel orange mix was a puriful, bold color. Now to the same mix, I'm adding in a little hint of the red color to create in one layer darker tone. Now I'm going to go ahead with some darker hints on the same flowers that we've added in now. Make sure when you go ahead with the darker hint, your previous two layers are completely dried in. Now I'll add this darker hint in such a way that the previous two layers, that's the white and the orange, are still visible. So you need to add them in such a way that all three colors in your wildflower field be visible to each of the wildflower detail that you're trying to add in. We are not going ahead with a detailed wildflower, we are going ahead with a very simple technique here to create in beautiful details with simple hacks. Now to certain flowers, I feel that the white is too light. So I'm just going to go ahead with some white strokes again, at the top of the orange and the red tones to create in the depth of the white. In this way, with as you can always go ahead work layers on layers and rebuild the layers so as to get in the depth and the details right now. Next, let's begin with the moon. For the moon, I'm going ahead with a white color. I'm going to first create in a beautiful, dull space for the glowing effect. I've added a white patch. Now I'm blending this, this time I'm adding the moon towards the top left and not the center space simply, I've just blended the entire space created in that dull, glowing effect. Now picking up the white in a bold consistency, I'm going to add in the depth to this. So I've added in the bold moon to the center of the dull space that we created. Now using the blue, I'm just going to give a small thin line at the horizon line. And blend it quickly because at the moment, I feel that the horizon line has been blurred out too much just to give in that one distinct point. I'm just adding in that layer and quickly blending in using the damp. You can see the line is still blurred but a little detailed as well, trying to give in that depth look. Now I'm just going to pick up white in a little bold consistency and add in a little more detail to the floral field. And then we'll be ready with this project at certain spots where the red was not completely dried, I was still left to add in the white details. So now I'm adding the white with a bold consistency. You can see I've not added any white water to my white. That is the reason I'm able to get in this bold effect. So that is it. Let's remove in the masking tape and see a final painting. Make sure that you remove the masking tape once your edges are completely dried, and always remove the masking tape against your paper. So here's a final painting from day 25, a simple seascape sunset. I hope you guys enjoy painting this, Plus you can see how the wild flowers look closely. Very simple technique, just having colors on top of each other once they try out each layer. I hope you guys enjoy painting this with me. I will see you very soon into the next class project. 28. Thank you for Joining: Let's have a flip through of all the 30 paintings from this 30 day gas landscape adventure. We began in with very simple paintings, simple silo heights. Each painting to cue around almost just 15 to 20 minutes and some under 25 minutes. But at the end, we were able to achieve such mini masterpieces. I hope you guys enjoy painting each of these with me. The different color combinations that we explore, the pastel consistencies and the pastel blendings that we tried creating in for each class project. From working on sunsets to sunrise winters, summers evenings and nights. I hope you guys have enjoyed painting each of these paintings. Of course, I have a very few special ones from these paintings, which are my absolute favorite. But I hope you guys enjoy painting each of these throughout the 30 days. This is a quick flip through of all the 30 paintings that we've done in this challenge. I hope you guys have painted along. And if so, make sure to upload in your class projects into the project section so that all of us can share our works with each other. Also, do drop a review if you like this class so that it can help me reach maximum students. I will see you guys soon into my next skillshare class. Till then, happy painting. And thank you so much, once again to each one of you for joining me into this landscape adventure class.