25 Days Challenge - Learn to paint 25 Moody Landscapes In Watercolor

1. Introduction !: Monsoon season has begun. After months of dry and hot summer. It is a delight to finally hear that come off the style. The sound of the cold stream, quickly followed by the rain fall. I love to read. Slowly and uniformly. Falling rain droplets. Those are just simply a delight to a drought soul with the chains to season. My colors on my palette have changed to, to get you guys in the mode of the mountains. I'm starting this 30 days of Moody mountain landscape challenge. For the next 30 days starting today, we're going to paint one moody landscapes. I have given a special interest in choosing colors. So there'll be a lot of data and very moody colors, which I'm very excited about. All the class projects perfect for a big now, as well as an advantage. If you're a beginner. Don't worry, Jining, I'm gonna idea step-by-step. Hello. I'm so Krita, watercolor artist and Skillshare teacher. I also have an Instagram account where I post a lot of my paintings and experiments. You can follow me there if you're interested. This is my first 30-day challenge. So without further ado, let's get started. 2. Art Supplies : Let's discuss that supplies that we're going to need. I'm going to start with the papers. Have used Fabriano, a 100% cotton, 300 GSM papers. These are artists grade papers, and I'm sure you guys have seen me use these papers for almost all of my classes. I love the texture of these papers and the paper stays wet for a long time. So I can use my most favorite technique, wet-on-wet. So yeah, these are perfect papers, in my opinion. But if you don't have Fabriano, you can use any 100% cotton paper and make sure it's 3300 GSM. I'm very picky when it comes to brushes. So I don't have a lot of them. For this particular class. I'm only using three. So this is a syllable, silver. What about hockey brush? So I use this one to wet the paper. That's actually the first step of a painting. To wet the paper, you don't have to have a hockey brush. Any bigger sized brushes, fine. So this is silver black velvet number 14 brush. I think 70 per cent of my paintings are done using this brush. And last one is silver black velvet. Number six. The remaining 30%, that is details. Dan using this brush. Don't have to have exact brand. But make sure you're using the brushes that are similar to this size. Especially the last brush that is details, that the brush that I used to paint the details, make sure you have one small brush so it'll be easier for you to paint the details. Coming to the colors. I will only discuss about the brands that I've used. Not about the shades because I'm going to discuss the shades before painting each class projects. Because I have used a lot of colors for 30 landscapes. So there are only three brands that I've used. Saturnalia, white knight, and Daniel Smith. You can use any of the brands, make sure the shapes are similar. I have used this acrylic board to tape my paper on. And I have used a lot of tissue papers since we're gonna be using wet-on-wet technique a lot, make sure you have tissue study and a masking tape. Of course. Finally, a pallet and a water jar. Assemble all of these things on your table. Let's get started with the first-class project. 3. Class Project 1 Misty Green Lake: Welcome to first-class project style. Discuss about the colors later, I'm going to tell you a little bit about this particular class project. This is the main color that we're going to use to paint this class project. You can say this landscape is monochrome, but we're going to use a lot of values from the same shade. So I have mixed two colors to get this color. Centralia, forest green, and indigo, which are already there on my palette. And I'm going to swatch this color out for you guys, so it'll be easier for you to find the right shade. Like I said, this green color. The forest green color is from a Sennelier, and indigo is from white knight. Used both these colors equally, that is 5050 to get this shared. And I have mentioned about the values previously. So if you add more paint and less water, you will get the darker color. And if you add less paint and more water, you will get lighter shade of the color. I think every one of us is having indigo color. And if you don't have forest green, you can use any darker shade of green color. That is it for today's color palette. I'm going to get started with the class project. Let me get started with adding clean water using hockey brush. There are a lot of layers that we're going to have to add while the paper is still wet. So we're cluster with me. This is the first layer, and this is also a very lighter shade of a color as well. So take more water and less paint. So make sure to keep the top and bottom part of the paper a little whiter than the middle. Because I'm trying to portray there are misty mountains in the middle and the sky is lighter shade. Now, take just a little bit darker color than the previous shared. And while the paper is still wet, add a few mountains structures, mountain-like structure. If your paper is wet, Of course this is going to dissolve into the background. I mean, you won't get the shape. And that's okay if you don't get the detailed shape of the mountain because we are painting a misty landscape anyway. I'll take a little bit darker shade than these mountains in the background. And let's paint the trees in the background and the reflections in your paper has to be wet to paint all these mountains and trees. So as you can see, I'm not also painting reflection separately. I'm just painting vertical lines. And later I'm going to take a damp brush and I'm going to remove a little bit of paint in the middle. So that gives the illusion of subject and the reflections automatically, you will see have clean my brush and remove the excess water from it using this tissue paper, I'm going to just slightly draw a line between trees and its reflection. So since the paper is done, it will absorb the paint. Can see how such a simple action gave us the trees, as well as their reflections without much effort. The subjects will be a little bit darker shade than the reflection. So I'm going to just add, I'm going to just paint a few trees using the darker green color. Remember my paper is still wet. And now the last step is to add the repulse. Hi, I'm Ben. Blending these hard edges of the ripples using a damp brush to make them look more obvious and not stand out. This is done. I'm going to keep this for drying. And when the watercolor dries, it dries up very lightly. So don't, don't feel disappointed when all the colors turnout very light in color. So what happens with watercolor? My paper has dried up very quickly because it's so hot in here. And now I'm going to take the darkest color possible. I think I'm going to take the indigo directly without mixing the green color. And now I'm going to move onto my next step. This is the share that I'm gonna be using now. It's almost identical to the pure indigo color we have painted till now, is in the background. And also very misty. That's why we did not go for any details. So now we are going to paint the foreground and it will be how many details? So that's why I'm using indigo color. The foreground will be a lot darker than the background. In the background we have painted the trees and the reflections, but we did not paint them with details. So now I'm painting the same trees and the reflections, but in a very detailed manner. I told you guys, I'll tell you a little bit about this class project at the beginning of this video. So we went to this place a few months ago. It's a farm, but it's completely surrounded by the forest. Had just stopped raining on that day when we went to explore the farm and I found this biggest lake In-between the forest and the form. We had taken a lot of pictures. And what I saw on that day was very similar to what I'm painting today. Today I'm very happy to paint the scene that I have that my mind had captured. Back to painting. So I'm just gonna use a wet brush to, to clear off those hard edges. I wanted just to look softer because we're going to have to paint the exact same reflections for this trees. So I'm intentionally leaving the little bit of whitespace in between the trees. So now I can paint the reflections. And very smart tip, I can give our painting the reflection says make sure the reflections look exactly similar to the subjects, including the shape and size of the trees. In this particular case. Previously, we have painted the trace and the reflections in wet-on-wet. In this case, we are painting the reflections in wet on dry technique. It is possible for the pain to seep into that white space. It's okay. Occasionally just use a damp brush to clear off the whitespace. If that does not work, we can use tissue paper later. I'm gonna show you in the later steps. I'm going to continue to add the trees in the, in the upper part in a subject area. And later I'm going to paint the exact same one in the reflection area as well. Now take a tissue paper and remove a little bit of paint between trees and the reflections. I'm going to paint the repulse now using my silver black velvet number six brush, these ripples will be wet on dry, just like the trees and the fraction that we have painted just before. That is it for today's class project? I hope you guys enjoyed painting this with me and I'm going to be looking forward to painting with you guys for the next 29 days. I just loved this moody landscapes, if you can't tell at my Instagram page is full of them. By the end of this 30-day challenge, I hope you guys love moody landscapes as much as I do. Okay, See you tomorrow with a brand new class project. Thank you for watching. 4. Class Project 2 Winter Break: Hey guys, Welcome to Class Project Two. We're gonna go on a winter break and paint these two beautiful winter cabins. Gonna get started with the sketching fast. So there's not a lot of complicated sketch for this class project. There are just two cabins that we're going to draw. So this is a bigger cabin and for some reason it took me forever to get this part right. Now I'm going to move on to sketching the smaller cabin. The roofs of these cabins will have to remain white because this is a winter landscape and then there'll be snow. So I'm using a different technique to cover up the rules. Instead of using masking fluid, I'm going to use masking tape. So the masking fluid that I have is actually not very good. So I always use masking tape instead of the masking fluid. So what happens is whenever I apply it to the paper, the paper gets dried up and it won't absorb the paint later. Maybe I have gotten a damaged piece or I don't know. But a masking tape works just fine for me. I'm cutting the masking tape to the size of the roof on the cabin. And later I'm going to just place the table that I'm going to do the same under cabin on my left. It's a little smaller one. So I'm going to cut the tape accordingly. Area below the cabins should also be remained in white because it's a snow covered areas. I'm going to be applying tape over there as well, you know, just to avoid any paint spills. Let's get started by wetting the paper. Today's class project, I'm gonna be using a mix of orange and white knight indigo. And I get this dark brick red color. Paint the background with this color. Make sure you don't spill any paint over these cabins. We're just letting the paint flow very freely on a wet surface. So have fun with it. Do not be fixated on the end result. To develop the habit of losing control in watercolor. I think this is one of the best exercises you can do in watercolor. I am adding indigo color just around the cabins to give it that contrast effect. With minimal effort. Direct your paint in whichever direction that you please make sure to keep that white color on the top as it is because we need that contrast. Now while the paper is still wet, I'm going to have to add a couple of pine trees in the background. I'll be using indigo color for that. And my silver black velvet number small brush because these are the details. So you need to have a smaller brush for that. As you know, this is wet-on-wet. There is, I think there is 70 per cent chance that these pine trees will not be visible after the paint has dried. But that's okay. Even even though you won't see it, you will know that there are trees over there because we are using a very contrast color, indigo. Now I'm going to keep this one for drying and I'll come back once it's completely dried, do not use any hairdryer because that will manipulate the natural flow of the paint. As my paper has completely dried up, I'm going to remove this masking tape. And as you can see, the details of this pine trees are not that visible, but you can clearly make out that is a bunch of trees in the background. Using this brick red color. I'm going to paint the cabins. Both of them. Make sure the brick red color you are using is just a little bit lighter than the background indigo. You need to make out that there are cabins under foreground, as well as the trees in the background. For that, you need a little bit lighter color. Once that is done, I'm gonna be using indigo color to paint a few pine trees. These are the pine trees that are going to be visible at the end because the ones are in the background completely and these are in the foreground. So you need to add detail, the trees, at least a few of them. Going to use my Cilla Black or LET number 14 brush and I'm going to read the paper. I mean, the snow-covered area with clean water. At first letter, I'm going to add a few random lines on the ground using dark brick red color. Now using indigo and my silver black velvet number six brush, I'm going to paint a few pine trees underground. And with the larger brush, I'm gonna just do not drag the paint down onto the ground. It gives such soft and blended effect. And I do the same on this side as well. Now I'm gonna be using white watercolor to splatter some white paint because it is winter landscape after all. If you're having grayish color, you can use that. But I figured not everybody is having a whitewash with them. I'm just using normal white watercolor. Draw the outline of the cabin and dark side and other side as well, because obviously the snow will be falling on that side of the roof as well. I just love splattering this white paint in a contrast backgrounds. So I think I'm going go over here. So I'm going to stop. Well, that's it for today's very simple winter landscape. I hope you enjoyed painting this landscape with me. I'm gonna see you guys tomorrow with a brand new class project. Thank you so much for watching. 5. Class Project 3 Raven Calls: Hey guys, welcome to today's class project. I have planned a very simple landscape for today. But first, let's see the colors. I have White Nights, indigo, and Centralia stacks and purple colors with me. First, I'm going to swatch the Indigo and purples, so you guys will know which shade to pick. Now, mix these two colors together, equal amounts, 5050, and you get this dark purple shade. And with that, we're going to paint our landscape today. We have started our colors. The next step is getting started with the landscape. Read the paper with clean water, and I'm using my hockey brush. 70% of this landscape is to be painted in wet-on-wet. Work faster with me. I'm going to mix indigo and purple in larger amounts because we're going to have to paint the whole landscape with it. And I'm going to just see if the shade that I'm mixed is correct or not. Later, I'm going to get started on painting the top part of the paper. Keep in mind, we're going to have to turn this board upside down later. The paper is already wet, so you don't have to do much work here. Just put the paint down and let it flow in whichever direction it wants. I'm removing all the paint from the brush. I have cleaned it. And now with a damp brush, I'm just directing the paint not to let it spread. Turn the board upside down. Now comes the interesting part. We're going to keep manipulating the paint on this wet paper. Like I said, work faster because you don't want the paper to dry up. Now I'm putting a little bit of paint on the top. It's supposed to be sky. And it's supposed to be like this. Without much details. I'm painting the trees, wet-on-wet data in the background. So you don't have to paint a detailed tree. I paper has started to dry, so I'm going to have to speed up the process. And this is supposed to be mountain, it's wet on wet. Hence, not so detailed. Since the tricky part for a beginner, you gotta start somewhere. Start with this landscape today. Wet-on-wet technique. You will only be resting your paper if you fail. Taking my silver black velvet number six brush, which is a smaller one, I'm going to paint a few more trees in wet on wet. I said before for beginners, wet-on-wet can be very intimidating technique. But I have chosen a very easy landscape for you today. So you can quickly get started and see what it's like to paint a landscape in wet on wet, complete wet-on-wet. I mean, maybe 70%. It's very easy to paint a landscape in wet-on-wet compared to wet on dry. You can go for a sky, mountain trees, everything in one step. While the paper is still wet. So I think you can, that's added bonus. You can finish a landscape, you can finish your practice Landscapes, our everyday practice landscapes. In just a few minutes. I think my paper is completely drying up. I'm going to stop right here. I'm going to let this paper dry completely before we get started with wet on dry technique, we're going to have to paint a tree in wet on dry. And I'm going to splatter some paint. I use planning techniques a lot. I guess you guys have already seen in my previous classes. In my opinion, it gives such a wholesome wipe painting after it's finished. We're going to keep this for drying for real. Now. I'm going to come back once the paper is completely dried up. If your paper is dry it up, if it is still wet to not attempt the wet-on-dry technique. So I'm using indigo color for this, not the mix of indigo and purple, but directly indigo color. And using a smaller brush, I'm gonna get started on painting a very large tree. Paint as many branches as possible for this tree and make sure the tree is in the middle of the paper. Since this is a beginner friendly landscape for wet on wet, I'm keeping it very simple. But if you ask me how to make this into an advanced painting, there are a couple of things you can add. For example, I have kept the sky and a mountain, very simple. But you can add at least three layers of mountains in the background. And you can make the clouds even more dramatic. You don't have to use different color. Only with the monochrome. You can add sky and the clouds, like the clouds you see before a storm. You can go for that effect as well. I have a class on this. You know, how to build up techniques from beginner to intermediate to advanced. It's called black and white landscapes. Please go check it out if you are interested in this topic. When you are going for wet on wet, make sure your paper is a 100% cotton. And it has this smooth texture, like very less teeth. So if you want to see, if you want to observe the texture of the paper that I prefer. You can go to art supplies, video, and check out the paper that I use. So it'll give you an idea on what paper you have to choose. I'm almost done painting the branches. You can see how many I have painted because I want to keep this tree wholesome. I'm going to splatter some indigo paint. Now I'm gonna paint this beautiful Raven on the top of the branch using indigo color. Once that is done, I'm going to splatter some more indigo paint. I think I'm going overboard with splattering again. Someone, please stop me. I hope you guys enjoyed painting this landscape today with me. It's a very simple, wet-on-wet landscape. I'm gonna see you guys tomorrow with a brand new class project. Thank you so much for joining me. 6. Class Project 4 Snowday: Hello, I'm back with a new class project. Have used a new color that I bought recently from Sennelier. It's called greenish amber. Well, if you don't have this particular shared with you, you can always mix forest green with the pines gray. You'll get a similar shade. For now. I'm going to take this color on my palette and swatch this out for you guys so you'll have an idea what the shape looks like. It's such a beautiful shade of green and perfect for our moody landscapes. Here is the closer look of this color. I have made a rough sketch on how today's landscape should look like. It's a wintry landscape. And be prepared for a lot of winter landscapes in this class because some are hardly Moody. Only one line in today's catching that snowy mountain, which is in the foreground. I'm going to get started with wetting the paper with clean water. I'm going to use my hockey brush. But make sure you're not reading that. Snowy mountain area, just a background. Put my silver black velvet brush. I'm going to wet the paper correctly. And then as you can see, their little imperfections here. I'm taking the greenish amber color right now. I'm going to first get started with painting the sky. This is wet-on-wet technique and we're going to paint all the background, all of the background in a wet-on-wet only. So there'll be mountains. I think I'm going to paint three mountains. And later we're going to paint a background, trees all in wet-on-wet. Walk faster with me. I left. This guy is in darker shade. Make sure you to paint the same way. Now I'm going to paint the first mountain. As you can see. Now I'm cleaning my brush and removing the excess water using a tissue paper with a damp brush, I'm just dragging the paint down. This creates the misty effect without much effort. Then I do the same for the second mountain as well. Since my brush is wet, I'm just directly dragging the paint down. Same step for the third mountain as well. Paper is still wet. I'm going to have to quickly paint the background trees. For this, I'm taking a darker shade of greenish amber that is less paint, less water and more paint. I'm just going to start adding these background trees. As you can see, they are not that detail because it's wet-on-wet and also there in the background. So you don't need details for that. Top part of this tree should be sharp and pointy. So we're going to have to come back later using a smaller brush. And we're going to make these trees look sharp. Now taking my silver black velvet number six brush, which is a smaller one. So I'm taking greenish amber color. I'm gonna just add a few details. At this point. My paper is getting drier. So I'm gonna have to work faster. When I first bought this color. When I watched it at first, I don't know what to do with it because this is very uncommon, especially the shared. I'm really glad that I found the shared today because this color is just, I think of all my class projects. Today's class project is my favorite. Just because of the color. I'm gonna take my silver black velvet number 14 brush the larger one, I'm going to read the area had the snow-covered mountain. I'm going to add a few details for it. What I'm painting currently is the shadow. After this paper is dried up, we're going to have to paint a larger tree here on the foreground. So for that I'm adding shadows. The foreground, the snow-covered mountain will have shadows under tree. And a few, a few other details. We're gonna get to it later. There is no right way that I'm falling here to paint the shadows. I'm just making it look as random as possible. Now I'm going to keep this for drying and I'll come back once the paper is completely dried up. I pepper is dried up and the background is looking beautiful. I'm going to take Chinese white, which is already on my palette. I'm gonna, you know, just platters and paint. This is winter landscape. After all. This white paint has ruined my table on the brush. I'm just going to have to clean up a little stand. Now. I'm taking binds gray color directly and my solo black number six, brush the smaller one. And I'm going to paint the large pine tree here on the foreground. Do not paint the inner. Do not paint the tree in a straight line. Make it a little bit slanted to whatever side you're comfortable with. I'm going for my right here. Hi, it's the changes like this. Even though they're small, they give such character to your landscape. It's the very nature of the nature. I think nature is very unpredictable and chaotic. And we can take a little bit of that mass and incorporate in our paintings. It's going to make such a difference and your landscapes are going to look so realistic using the same color, that is pines gray. And my syllabus number 14 brush that is the larger one. I'm going to paint a few shadows and a few details on the foreground. The last line, I said it's so fast because there is a train coming here. And I also scared of the Han. And I just wanted to explain my piece before the train gets here. Before you ask, my house is very close to station. Making the hard edges looks after by blending the color using a damp brush here. A few dots of white paint. Again. Since I've used white watercolor, it dried up really light and shade. I guess that's why people use white gouache. But I'm very comfortable with white watercolor. If you don't have a white gouache, you can use white watercolor. Hope you guys enjoyed painting this class project. This is my absolute favorite. Please share your thoughts about how this class has been so far. This is my first time. Going further today's challenge. And thank you so much for watching. I'm gonna see you guys tomorrow with a brand new class project. 7. Class Project 5 After Rain : Hello, welcome back. Today we're going to paint a very moody sunset scene. It's gonna be a rainy landscape as well. Like the sunset just after the rain kind of landscape. So first I'm going to get started with the sketching. There. Not much complicated sketch, there are few lines and make sure the lines should be a little bit diagonal rather than straight. Straight lines. Those are supposed to be roads. Trying to paint a road in the middle and trees on either side of the road and there'll be sun on the top. And the roads are covered in reflections because it had just strained. So I'm trying to paint that scene over here. So this will be wet-on-wet completely. Maybe not completely. Just last few details. We're going to paint wet on dry. So I hope you guys already, because so far we have painted landscapes alpha class projects Previously wet on wet. You can add this one in that list as well. I'm going to the colors. We're going to take our typical sunset or sunrise colors, yellow, orange, and pink. Queen Rose, I mean, so yellow and orange are from Sennelier. Cornrows is from White Nights. And I'm taking this unique color called Azar in crimson. It's from Sennelier as well. It's going to be like deep color. So I'm going to take that as well. And now I'm going to take indigo in order to paint the trees and reflections. To show in this video that have taken purple color as well. Then I use my old palette as well today because I have all the colors on it and I don't want to waste all of tent. So I'm gonna keep it aside. I'm going to use both of the palette with all the colors that I've just mentioned. Get started by wetting the paper with clean water. I'm using my hockey brush and make sure you're not just reading that top area, the road part. Just leave it alone. We're going to work on that later. I'm going to first take the yellow color and slowly I'm going to build the colors up from lighter to darker. So as you can see, I'm leaving that white circle without adding any paint. That is the sun. Now I'm going to add orange. Orange, I'm using alizarin crimson. So jarring crimson. Actually I, I did not use Queen Rose because I want to make this look a moody. So kudos is kind of like cheerful color. Instead, I have used dioxazine, purple color from Sennelier. Now clean your brush, remote access water using a tissue paper, and blend all of these colors together. This is a tricky part for a beginner, but it's just like blending any two colors together. Now, as you can see, the Sun is no longer visible. So I'm just gonna take a tissue and dab, dab off a little paint. Now blend all of these colors together until they look softer. Your paper has to be wet for all this to work. So make sure you use a 100% cotton paper. Now as you can see, the left side of the paper is empty. So I'm going to add indigo color over there just to bring out the contrast. When I say left, it's on my left and right after you adding this dark color, you can see the glow of the sun. So that's the beauty of this sunset colors. As you can see, the blend has become so smooth and it's only possible because the paper is staying wet. Now I'm taking indigo color and I'm going to add all the pine trees on both sides of the road. My paper is no longer soaking wet here. It's damp. But I have to paint these pine trees while the paper is still wet. So I'm going to have to work faster before my paper gets dried up. Is wet-on-wet. You don't see any detailed pine trees. We're going to work on details later and the paper gets dried up, just like we have done in previous class project. Now comes another one of tricky part. But I got you. Wash off your brush. And with a wet brush, just drag the paint downwards towards the road. Again, it only works well enough. The tree part is still wet. So you have to work immediately right after you paint. These paints. I'm going to take a little bit of indigo. Now I'm gonna just add a few reflections. Not very detailed because it is still wet on wet. Now, using indigo color, again, just draw a few lines so you can make a distinction between the pine trees and the reflections below on the road. The road part is still wet, but the tricky part is dried up. So I'm using my silver black colored number six brush and I'm going to paint a few details to those pine trees just to give them the shape. I'm going to keep this for drying and we'll come back once it's completely dried to add a few details. Okay, my paper has dried. I'm taking whitewater color, so I can add a few last-minute details. So if you have light gosh, you can use that as well. Remember those lines we have drawn during sketching part, covered them up using a white color. If you can't see them. Just draw based on your best guess. I guess because I'm unable to see them as L because it's covered in such a dark color, indigo. As bad as some indigo paint. Later, I'm going to add a few birds. All right, We are done. I hope you guys enjoyed painting this very moody after rain, sunset landscape with me. I'm gonna see you guys tomorrow with a brand new model landscape. Thank you so much for watching. 8. Class Project 6 Wonderland: Hello friends, welcome to today's class project. We're going to use only two colors to paint a magical winter landscape. There are turquoise, green from Sennelier, and indigo from White Nights. Now I'm going to swatch these colors out for you guys. I have two colors already on my palette. So I'm just going to take a brush and show you what the shapes look like. The last color that you see among these three colors is actually indigo. But I'm swatching this again. That was from yesterday's class project. So this is how integral looks like from White Nights is my absolute favorite brand for this particular color. This is turquoise green. For today's class project, we're going to have to mix these two colors to get that winter wonderland shared. But before we play with these colors, we're going to have to go for sketching. And there is only a single line. And it says snowy mountain. That's all the sketch we need. Pretty simple, right? The sketch, I'm gonna get started by wetting the paper with clean water. Garden. This message on Instagram, someone told me that they don't know how much wet the paper should be to paint wet on wet landscape. Well, I can't particularly in all tell you unless I am actually looking at your paper. But I can show what how much wet my paper is. So it's not soaking wet and it's not damp. You can see the paper is shining. I think that's the sweet spot. Hope this is helpful. And I'm going to turn my board upside down and we can get started with painting the background. As you can see, I'm mixing turquoise green with indigo first. Do not wet the snowy mountain area. I should have told that earlier. You know what? I'm going to also keep the masking tape under my board. It wouldn't hurt to use a little bit of gravity. Now I'm going to paint the background using that dark eyes, green and indigo mix. The same, so light. So I'm mixing a little bit of indigo. The paper is wet. It will blend. It will blend by itself. You don't have to go first after strokes or anything. As you can see, I'm painting very freely. Now I'm going to turn the board back and I will also remove that masking tape. We don't need that anymore. Take a lot of indigo color and a very little bit of turquoise green. And we're going to paint large pine trees in the background while the paper is still wet. So these spines are being painted wet on wet. So you don't have to worry about the details. You have to worry only about the shape. Said before we are still painting wet-on-wet and my paper is still wet, but it's going to dry up soon. So I'm gonna have to walk faster. I hope you guys are working faster as well. Painting this large tree in the middle. As you can see, I have left a little bit of space in the middle. Please. Do not ignore that. Little gap is important to us because that's where the light is shining through. And once the painting is completed, that's where our focus will go. So don't miss it. We're almost done with the background. I'm just going to add just a little bit. And now I'm going to keep this for drying and I'll come back once it's completely dried. Paper has dried up. Now I'm taking indigo color directly without much of taka is green in it. And I'm going to paint a few trees on the ground. As you can see, there is a little bit of water droplet that fell while the paper is still wet and it created a stain. So I'm going to paint a pine tree over there. Have told me about a white gap in between the trees. That's our light source. I'm going to paint a pine tree over it. It gives such contrast. I told you guys before that our focus will go there. It's because of this because there is a light color in the background and contrasting dark color on the foreground. And I'm going to paint a few more pine trees and along the border of that ground. Now while the pine trees or drying, we're going to work on the snowy ground here. So I just wet the paper using my silver black velvet number 14 brush. And I'm going to add indigo color slowly and gradually. As you can see, I'm leaving that white gap between pine trees above the ground below that white empty space. Without adding any color, you have to leave that white line as well. It gives such contrast to the painting. By adding the paint randomly written right here. You can add any shape. You can add a few pine trees as well. I'll covering the background with a tissue. I'm going to splatter some indigo paint on the foreground while the paper is still wet. I'm going to take white watercolor and make sure the pints that we have just painted using indigo color are completely dried up. Mine are still wet. But I thought it, I thought that died and I started splattering white paint. You can see that light snow had fallen and those indigo colored pine trees. We want those to look darker because I was talking about contrast earlier. So I'm just going to repaint those pine trees using indigo again. Winter is where my moodiness comes from. I hear too intense. So my colors are always done during winter season. And you can expect a lot of winter landscapes in this third today's challenge. And I hope you guys liking this challenge so far. Thank you so much for joining. I'm gonna see you guys tomorrow with a brand new class project. 9. Class Project 7 Moody Lake: Hey guys, Today we're going to paint a very moody lake. And for that we're going to need three colors in total. Indigo, taco is green, which we have already used yesterday. Just to refresh your memory, tacos screen is from Sennelier and indigo is from white knight. The only extra color, the third color that I'm going to use today is dioxazine purple. It's from Centralia. I'm going to swatch this color out for you guys. You can use any purple or violet shade if you don't have this exact dioxazine purple shared, it's okay. I'm going to mix all of these three colors at some point, like I'm going to mix indigo and purple are full-width talk ice cream. But I'm going to explain step-by-step anyway. Since this is a lake, we're going to have to keep the horizon on the top because I want to focus more on the lake. The paint to bleed into the lake from the top. We're going to just put a masking tape. First. We're going to paint the top, the mountains, the sky and stuff. Later we're going to paint the lake. Like usual. We're going to get started by wetting the paper with clean water. Later, I'm mixing purple with indigo. And I'm going to paint the sky. Painting the sky and water, water droplet has fallen from my brush. But since the paper is wet, I have managed to correct the mistake. That's one of the advantages using wet-on-wet technique to paint the landscape, because it's very easy to correct the mistakes so you can save the whole painting. And now I'm just removing the excess water. Is there on the edges of the paper using a tissue. Now, before the paper dries up, we're going to paint the first layer of the mountain. And for that I'm using the mix of indigo and pulpal. Keep this for drying now and I'll come back once the paper is completely dried up. Now, it's time to paint the second layer of mountains. For that, I'm going to use the same colors, violet, I'm in a dioxazine, purple and indigo. Let's keep this for drying and we'll come back once the paper is dry. And then we can paint the lake. This masking tape. Only when the paper is completely dry. We'll start painting the lake for that. I'm going to wet the area with clean water. I'm using my silver black lung at number 14 brush. Now I'm going to keep masking tape under my board so it's easier for me to blend the colors of the lake. I'm going to use all three colors to paint the leg from light to dark. So first time using taka is green. Later I'm going to use dioxazine purple color. And later I'm going to use indigo color. Purple color. Now, indigo color. I'm removing the excess water around the edges using a tissue paper. The masking tape from another board. Now, using my silver black color number six brush the smaller one, I'm going to paint a few repulse using indigo. We're going to keep this for drying and we'll come back once the paper is completely dried. Hey, paper has dried up using my silver back wavelet number six brush and using indigo color. I'm going to paint a few details on the lake being the reflections. Later, I'm going to paint the subject about, I'm just thinking, a simple pine tree forest, a small island of pine tree forest. Then it's reflection. This is a difficult step for a beginner. So I would advise you guys to try on a rough piece of paper before attempting on the Main Landscape. And also this is called reweighting technique. It's actually one of the advanced techniques in watercolor. Painting this island, I'm going to go for a few rocks on the lake. So big enough. If you find this step, this island step impossible to paint. You can just leave it out and paint the rocks directly. Now, I'm done painting the reflections. I'm going to paint this object. I'm going to paint a few repulse, just a few straight lines using indigo color. The same indigo color and the same number six brush. I'm going to paint a few pine trees using a damp brush. I'm going to clear out some paint between the subject and the reflection. Remember we have, we have done this for class project one with the indigo color. I'm going to paint rocks on the lake. But after painting the rock, immediately, I will blend the edge of the rock using a damp brush that gives kind of soft look. The same technique for the rest of the rocks. Step like blending the edges of these rocks gives such realistic lake look to the landscape. So it's always important to observe a photograph or a reference picture before painting your landscape because these are the techniques that no-one will explain. These are the techniques that you will only get by observing very, very clearly. Final technique I'm going to splatter some indigo paint. Of course, not one of my landscapes will be complete without splattering. Looking at the landscape clearly, I, I noticed that reflections are much longer than the subject. So I have decided to London the pine trees, the subject. So for this I'm using silver back. Well, what number six brush and of course, indigo color. For today's class project. I hope you enjoyed painting this moody lake scene. At the end. It looked kind of haunting. So thank you for watching and I'm gonna see you guys tomorrow. The brand new class project. 10. Class Project 8 Rainy Field: Today we're going to paint a very moody feel seen when you see a field just before the rain. And for that I'm using two colors, forest green and indigo. And I'm going to swatch the forest green color for you guys. For a screen is from Sennelier, indigo is from White Nights. You can see indigo on top row of the paper. Catching is a tricky part for this landscape because you need to get the perspective right. And I took many trials even to get that perspective straight. So I would suggest you guys to go directly to the end of the sketching video. And you can directly sketch from there. Because watching me sketch will definitely confuse you. And of perspective in a landscape is definitely tough to get it right. But I would suggest you guys don't pressure yourself in a sketching exactly I am doing here. It will take a few trials. But even if you get the perspective on the sketch wrong, it's okay. Try out the landscape and see the techniques that I've used. You can apply to different landscape with a different sketch. Let's just sketch the top part first, the sky and the mountains. So to override the color leading to the foreground, I'm covering it up using a masking tape. Now. I'm wetting the paper with my hockey brush using my silver black velvet number 14 brush and indigo color. I'm painting the sky. I'm using my silver black velvet number six, brush the smaller one. And I'm going to paint the mountains while the paper is still wet. We need that misty effect to the mountains. We don't need a detailed mountain. Keep in mind, your paper should be close to getting damp here and not soaking wet. If you put paint on the paper while the paper is soaking wet, It's just it's gonna spread into the sky and it will not get a correct structure of the mountain. So be aware of that if your paper is completely soaking wet, please wait for a few seconds for it to get damp. After painting mountains, I have kept the paper for drying. And once it's dried, I'm removing that masking tape. Now, I'm mixing indigo with forest green and I get this kind of a taco is shared. So I will show the shed on my paper. And we're going to paint the pine trees using that shade. And I'm using my silver black velvet number six brush the smaller one. Sorry, it's not a taco shared. It's Palo shade of green. I'm going to paint a few pine trees along this horizon line. As you can see, I'm painting a very small pine trees that is smaller in size. So yeah, keep that in mind. Do not go for larger pine trees here. We need to get the perspective right. So you have painted a few pine trees. Keep in mind, we're only painting a few for now. We're going to take a wet brush and just drag the paint down. With that, we're going to wet the entire paper except that lake area in the middle. I think I'm going to call it a stream instead of Lake. Sorry. Yeah, sorry for that. Some reason I was working very slowly here. I was just my mind was elsewhere. I was worrying about how to bring the stream to life and what to paint in it and what not to paint. So I completely spaced out and was reading this area for so long. We're going to use forest green and we're going to use indigo as well to paint this area fast. I'm going to take forest green and walk faster because your paper can get tied up really fast. Gonna take indigo. And I'm going to just blend it in, into this field as well. Different colors gives depth to your landscape. Even for a monochrome, we always use different tones of the same color. I'm going to add one more layer of indigo. Like I said, dark color are a dark shades gives such a simple landscape. I'm taking my syllabi cultivate number six, brush the smaller one, and indigo color. And I'm going to paint a few more pine trees along the horizon line. And I practiced this landscape in ordering one of my experiments. I did not use masking tape. I have directly painted from Mountain two pints to the field. But It's gonna be difficult for you, especially if you're a beginner to try that method. I have used masking tape. My suggestion is please try out without masking tape with without applying masking tape. Ones that you will paint the landscaping completely wet-on-wet. The mountain, the trees and the field, all of those while painting all of those pine trees about the field area has dried up. So I'm going to get started on painting the stream in between. So for todays, I'm taking very light shade of indigo. As you can see, I have added so much water to the indigo paint. It has become so dull. And I'm going to use that shared to paint the stream. Once I'm done with that, I'm going to add one more layer of indigo color, but only at the edges of this in all fields about. And I'm using a normal shade of indigo that is dark shade. Now using a damp brush, I'm blending this color properly. One more layer of dark indigo color and one more round of PPP lending. Do you know why the stream is in light color as compared to the fields on either side. It's because as you can see, the sky about is in light shade. So obviously, the reflection in the water should be in light color. See if the paper has dried up and continue only if the paper is dry it. Now we're going to paint a few rocks, just like we have painted in yesterday's landscape. Grants. We are done with the rocks. We add hadn't read the landscape as I hope you guys enjoyed painting this moody feels in with me. So I'm gonna see you guys tomorrow with a brand new class project. Thank you so much for joining me today. 11. Class Project 9 Moody Evening: Hello. Today we're going to paint a very moody sunset to interlace. And for that, I'm going to use four colors. So this is Naples, yellow deep from Sennelier. And this is a raw sienna. It's also from Sennelier. And this is kaput Martin from light night. And you know, my all-time favorite indigo, which is, which will always be on my palette. And I have Naples, yellow to on my palette. I'm going to do it. The remaining colors on the palette as well. And I'm going to swatch these colors out for you. I'm going to swatch the colors from light color to dark. And that's the same order we're going to paint in our landscape as well. So faster comes Naples, yellow, later, raw sienna. And later. We're going to pay, we're going to swatch kaput Martin. But if you don't have kaput bottom, you can use any brown color. And also, I'm gonna be mixing kaput Martin with indigo. I'm not directly going to use kaput mortem for my landscape. So if you have any brown color, you can take that. It doesn't have to be kept at mortal and mix it with a little bit of indigo to get this dark brown color. Remember yesterday's painting, the moody feel, the sketching for this landscape is also very similar to us today. But as always, I'm going to request you guys to wait until I finished my sketching because this is going to confuse you so much. And you can directly skip to the end of the sketching video and sketch directly from there. Basically today's landscape, we will have a lake and snowy aligned on either side of the leg. And then there'll be a few pine trees in the background. Then this guy will be in Moody sunset shade. That is, there'll be some land, a few of the browns that we have just watched him now, I'm reading the paper using my hockey brush as you can see, I'm leaving out the lake area. So I'm using Naples yellow to paint the sky first letter, I'm going to layer it up with darker colors. So now I'm taking raw sienna color. It's just a little bit darker than the Naples yellow right? After this, I'm gonna be taking kaput mortem mixed with indigo color, like I have watched before. As you can see, I had a minor difficulty in mixing the colors here. I took a lot of indigo instead of equal mix of indigo and kaput motor. But I have character it because the paper is still wet. You can manipulate it however you want. This technique right? Taking a tissue paper, wrapping, wrapping it around your finger and just dabbing away a little bit of paint, you will get the sun back. He does totally covered with colors before right? Now I'm going to take a little bit of kaput motor mixed with indigo again. And I'm going to paint a few clouds just to add a bit of character to the sky instead of leaving it plain. And my paper is still wet. So that's why I'm able to paint these clouds very easily. But if your paper is getting dried up in order to not add clouds, because that's going to ruin the entire sky. I'm using indigo color. And with the same brush, I'm going to paint a pine forest in the background. As you can see, I'm not going for a very detailed pine trees here. Just lots of vertical lines. And my paper is wet still. So it's easier for me to just walk faster here. And I wanted to paint detailed pine trees later wet on dry. But after the way these pine trees dried up, they looked quite well and natural. So I did not go for it. Remember, we have added the water to the ground area as well except the lake so the paper is wet. I'm just lightly dragging that pain down in order to make that just softer. Start off leaving it as it is. I'm going to add a few details to the ground. And for that, I'm gonna be using light indigo color. As you can see, this was quite dark. So I have quickly adjusted the color. I'm gonna do the same. On this side of the lake as well. My day will not be complete without splattering some paint. After that. I'm going to leave this for drying and I'll come back once it's completely dry. Now, I'm going to read the area of the lake and we're going to repeat the same process of painting the sky. Remember light to dark. First, you take Naples, yellow later, raw sienna. So we're going to do just that to the lake area as well. Now I'm taking raw sienna and I'm going to paint the lake with it. I'm going to quickly exchange my brush. I'm taking my silver black velvet number six, the smaller brush. And I'm going to add the shadows using indigo color. That is right, I'm not adding reflections yet, just the shadows. You see. There'll be both. In a lake scene, the shadow of the land that is falling in the lake, as well as the reflection. So I'm going to tell you the difference in a minute. I'll drag the paint down. With your brush. You're not just like adding those vertical lines, but in reverse. And these are the reflections. I'm going to take darker indigo color. And I'm going to add the shadows, seeing the difference, right? I'm bartering up the land with a dark color and that is the shadow. And these vertical lines, reflections. I'm going to add shadows on this side of the land as well. I'm using dark indigo color for that. Child. Keep adding the shadows wherever I think it's necessary. For this. I'm using a dark indigo color. Now paint very lightly, just a few of them. Do not do it. I'm going to quickly add a few dried-up branches on the frozen land just to fill it up and does not make it to look in IMT. I'm using indigo color for this and my silver black velvet number six, brush splatter, some paint on a few areas as well because why not? As a final step, I'm going to add a few details. Are I should say cover-ups because I've accidentally painted a branch here and it was not looking good. I wanted to make this landlocked clearly the right frozen land. So I'm adding white color to it. I'm going to add light color as well to a few places where the color has seep through. And I'm done. I hope you guys enjoyed painting this moody sunset winter landscape with me. I'm gonna see you guys tomorrow with another moody landscape. Thank you so much for joining me today. 12. Class Project 10 Full Moon Night: Hey guys, welcome to today's class project. Today we're going to paint a simple moonrise painting. We have painted one of these before, but everything will be different. Just the moon will be similar. And for that I'm taking masking tape and I'm cutting it into a round shape and do not stick this moon in the middle. Just put it slightly on either side of your paper. Here I'm choosing a slight right. My right. And I'm using indigo color. This is from Daniel Smith. I'm using this because it's quite different from White Nights indigo, I will show you when I swatch the color out. Other than indigo, I'm using quite a different colors as well, but for the moon only. And those colors are primary yellow, orange, and French vermilion, which is the right color. All of these colors are from Centralia. Not going to swatch these colors. I'm going to swatch only indigo color for now. And also make sure you have light color with you. I might use it. Now. I'm taking into your color, Daniel Smith indigo, as you can see, it's really very, very different from White Nights indigo. But you are free to use any indigo color that you want. I'm going to wet the entire area with clean water and I'm using my hockey brush for it. As you can see, the moon is completely safe because we have put the masking tape over it. Gonna get started on painting the sky with indigo. And I want the top part of the sky to be in darkest indigo, because I want the moon to reflect the contrast. The moon will be in lighter colors, so the background should be in darker color. And I'm slowly dragging the paint down as you can see, I'm not adding any extra paint and just making a gradient wash. And now I'm going to remove this excess water because there is a chance that this water will back-flow and it will create those unnecessary washes on your paper. With my silver black velvet number six, brush. The smaller one. I'm going to paint pine trees wet on wet. You cannot paint very detailed structures while the paper is wet. And that's exactly what we need here because these pine trees, we will be in the background and they will not look very detail. Also, I forgot to remove the excess water on the top side. You can clearly see how the water is seeping through there. I have only observed it after my paper has dried up. It was too late for me. Makes sure you whenever you go for wet on wet techniques, make sure you remove the excess water using a tissue paper on all sides of the paper. And I'm just painting these large pine trees in the background. I'm not going for any details here as you can see, just the shape. Now, as a last minute detail, I might change that shape, the basic shape of these pine trees. Only a few. Using my silver black velvet number six brush. Just a few touches to not overdo it. Going to keep the paper drying and I'll come back once the paper is completely dry. And you can clearly see the water has completely seeped into the top layer of this sky sky area. Give you a paper is completely dry it apart not. And then take a very small brush. I'm taking my silver black velvet number six because we're going to paint very thin and dried-up branches using indigo color. Today's class project ten. So we have completed ten days of painting, moody landscapes. So if you guys want me to increase the level, intermediate level, advanced level of this wet-on-wet technique. Please let me know on Instagram or in discussion below. Because these are all beginner friendly and can be done in a very easy way. So we have painted ten of these so far. And I hope you guys got a good practice out of them. And if you think maybe it's time for an upgrade, please let me know because I have a lot of ideas to take this moody landscapes in an advanced or intermediate level. I'm going to, I was thinking, still we have 20 days left. So I thought for the next ten days, I'm going to go for intermediate level and later, later from the last ten days. I, I'm just having these ideas. I don't know if I will go through it because I really want you guys to feel familiar with this wet-on-wet, and only if you're comfortable I can proceed with this plan. So please let me know on Instagram or the discussion below. And don't just paint these dried branches in a straight way. You know, paint them slanted as well. It increases the character after landscape. Now I'm taking a white color and I'm going to splatter some of it. My paper going to splatter some indigo paint as well. The indigo color is still on my brush. I'm going to paint a few butts too. If your paper is completely dry, that can only remove that step. We always go from a light color to dark color. Yellow color is the lightest. I'm going to paint the moon. I'm going to start painting the moon with yellow first. And later I'm going to paint with orange. And later I'm going to add French vermilion, which is the red color. And once you painted the moon with three colors, taking a damp brush, blend all of these three colors together. Make sure you do not lose the hint of yellow. It's very important. When you see a blood moon picture, they will always be a lighter color on the top and the darker on the bottom of the moon. So do not just paint the moon with one color. It looks just a plane. So this is one of my techniques to paint the blood moon. And I hope you liked it. I'm gonna see you guys tomorrow with a brand new class project. Thank you so much for joining me. 13. Class Project 11 Night Sky: Hey guys, welcome to today's class project. I have a lot to talk about this one. But first I'm going to discuss the colors. Later. I'm going to tell you a little bit about this landscape. So I'm using Queen Rose and indigo from White Nights and turquoise, green from Sennelier. Use tallow blue from Daniel Smith. If you don't have this particular shade, you can use Prussian blue instead. The final color is a Chinese white. And you can use any watercolor. This is not quashed, by the way. I'm going to swatch these colors out for you. Later. We're gonna get started with the landscape first, I'm going to show you how queen rose from White Nights looks like, lead to talk ice cream from Sennelier. And after that I'm going to swatch tallow blue and later indigo. I'm going to use Queen Rose much, maybe just one swatch or maybe not even that. But I have this idea in my head to use tacos with rose color. So I just kept it there. And now I'm wetting the paper with clean water. And later I'm going to add the lightest color, their talk ice cream. I'm intentionally leaving whitespaces in the middle. I'm going to tell you later why. Truly going to add to swatches of Queen Rose in-between turquoise green. Blend it using a damp brush. And later I'm going to take tallow blue and I'm going to add, added under borders of the paper while leaving that white color as it is in the middle. Going to have to add one more color. Indigo. Work faster with me because I'm going to have to add it before my paper gets dried up. I think we lost queen rose there. It's again, never want it to stand out anyway. Now I'm going to take indigo and I'm going to carefully add it at the edges and in the middle of the paper while leaving a little bit of phthalo blue as well as that whitespace. So I'm going to tell you guys a little bit about this landscape. Yesterday. I asked you guys if you wanted to upgrade your wet-on-wet technique because we have painted ten beginner friendly wet-on-wet landscape so far. And I've got a few messages that they want a challenging landscape from now on, or at least an intermediate level. You take a step further into wet-on-wet technique in watercolor, the most difficult technique that comes your way is riveting. Because you can paint watercolor landscapes in so many layers. And those layers can be achieved by using this technique called re-weighting technique. So do not mind the landscape that we are painting here. It's a simple Milky Way galaxy, night sky, which we have painted so many times, I guess. Have chosen this subject because you guys are all familiar with it. And using this familiar topic, I'm going to introduce wet-on-wet technique for you. This the first layer. As you can see, these colors, especially the indigo, will definitely dry up very lighter than I intended it to be. So we're going to go for another layer by wetting the paper. So I'm gonna guide you step-by-step. For now though, we can keep this for drying and I'll come back once the paper is completely dried. Riveting only works when your paper is completely dried. So keep that in mind. And now I'm taking my hockey brush and I'm very gently wetting the paper. You can see that and not putting any pressure on the paper with my brush. Take only indigo color from Nevada. And so I'm taking indigo color and I'm gonna just add the color wherever I want the paper to be darker. Any case, if you guys are not comfortable with this technique, it could be a little bit advanced for a beginner. You can let me know on my Instagram are in the discussion below. I will stop Going, going for reweighting technique and we're going to paint simple landscapes. So I just wanted to let you guys know because you guys are really enjoying wet-on-wet technique. I thought I could show you another important technique while going for wet-on-wet as well. Now, with the damp brush, I'm going to blend this dark indigo properly onto the paper without losing that white color. If it is still wet. But I'm gonna go ahead and paint the foreground using my silver black walnut number six, brush the smaller one, and using indigo color. And this still paper is wet. Like I said, it won't be detailed. So we're going to have to come back later and work on the foreground again. I'm going to let the paper dry. And once it's dried, I'm going to paint the foreground again using silver black velvet number six, brush and indigo. Since the foreground is still wet, I'm going to cover it up with the spare paper. And I'm going to splatter some stars using light watercolor. Confused here for a bit, because at first I wanted only a few stars. Later. I have decided to go for a lot of stars in the night sky. But later I have decided to remove all that white stars using a tissue paper and go for a fewer stars. Again, it was a mess. But today our focus is not about the stars, it's about learning riveting technique. In watercolor. I have showed you guys and easy way to go for reweighting technique, which is the most advanced technique in watercolor. I hope you guys find it useful. And tomorrow I'm gonna see you guys with a brand new class project. Maybe that one will have riveting technique as well or not. Thank you so much for joining me. 14. Class Project 12 Road Trip: Hey guys, welcome to today's class project. I'm gonna be using three colors. Indigo from White Nights, forest green from Sennelier. And I'm going to also use a little bit of talk ice cream from Sennelier as well. All these colors on my palette, and I'm going to swatch the colors for you guys. I'm going to start with indigo. Later. I'm going to swatch turquoise green. And after that I'm going to swatch forest green. Mix all these three colors together to get that greenish blue color. And I'm gonna use only a little bit of turquoise green. So if you don't have turquoise green, that's okay as well. It doesn't make a lot of different. Start with the sketching. First, I'm going to sketch the roads lead. I'm gonna, you know, place where there are trees will be. And after that, there'll be a mistake. Very light colored mountain in the background. I'm going to sketch that as well. If sketching with me, it's confusing for you. You can just skip to the end of the sketching video and then fastest screen. Take a screenshot of the screen and continue your sketching. If you asked me, that will be easier and that's what I do as well. Once the sketching is done, I'm going to get started by wetting the paper with clean water. I'm using my hockey brush. I'm going to mix all these three colors now and I'll get this greenish blue color. I'm going to swatch that color for you guys as well. So it'll be easier for you to pick the right shade. Once the color is assembled, you can get started by painting the sky. The same shared paint, the mountain as well, like I told you at the beginning of the video, that will be a very light colored mountain in the background. You can see I'm not painting much on my right because there'll be a dark mountain over there. We're going to paint it later, which will be, like I said, literally in dark indigo. Even if you paint these mountain and sky on the right, you won't be able to see it. Taking a lot of indigo and very little bit of forest green. I get this dark shaded, greenish blue color. And I'm gonna get started on that mountain that I was talking about. Edge TO at the edge of the mountain. Try making the shape of a pine tree. Because this is not just a mountain, it's a forest. So obviously there'll be trees. Paint a few pine trees along the side of the road. This is wet-on-wet. We're going to come back later. Once the paper is dry, we can paint a very detailed trees later. And we're going to paint this mountain completely. That means you can clearly see the sketch over there, the border. So. Mountain goes till there. And I'm using indigo and forest green color mixture, but a lot of indigo. Now paint this carefully, paint this step. We're going to paint the reflections because it's a rainy road. And you need your paper to be wet. And if it is damp, this won't work out. Just drag whatever the paint is there at the edge of these pine trees down in a straight line. That's all for the reflections. Just correcting the structure of this mountain. I'm going to paint a few pine trees at the Edge as well. Because as you can see, since the paper was red, shape has completely gone. The pine tree shape. So I'm going to adjust that. Now, paint the reflection of this mountain as well. But this is not the final reflection. We're going to have to come back. We're going to have to revert the paper. And then we're going to paint the reflections one more time. In yesterday's class, I've told you guys that i'll, I'll be using riveting technique and I have given you a clear instructions about how to proceed with reweighting technique as well. So if you haven't seen yesterday's class project, please go watch and then this class project will be easier for you Then with the dark indigo color and my son earlier, number six brush I'm just lightly draw the border. It's time to keep this one for drying and we'll come back once the paper is completely dried up. My paper has dried. So I'm going to take indigo color with a little bit of forest green and my silver black outlet number six, brush the smaller one. And I'm going to paint a series of pine trees on the edge of the road. So be patient with me because there are a lot of pine trees here and we're going to paint them slowly as well. These are thin, a lot of branches. So it's going to take awhile. I'm going to paint is wet on dry detailed pine trees on this mountain as well. Because like I said, it's not just a mountain, it's a forest. It will be covered in trees. That is done. I'm going to take my silver vacuolar number 14 brush and I'm going to wet the road area. Now, this is when we're going to have to go back and paint the reflections once more. And I'm using indigo color. Not cover the entire road area with indigo color. Make sure you leave those white spaces in between. Because the blue that we are painting here is only reflections and their own well-being white color. I'm using indigo color and I'm taking my silver black and white number six brush the smaller one, and I'm going to paint the borders of the road, as well as few lines you see on the roads. So we're going to paint those as well with the same indigo color. At this point. The road area is still a little bit damp, not soaking wet, damp. So these lines will be like enough, not detailed and sharp lines. It's actually perfect because it's rainy road afterall, there'll be a little bit blur. Some indigo paint on the road. Now, I'm going to add one more layer of indigo color to this mountain because the paint has dried up very lightly and you need the contrast. That is, the road is in light colors, so the mountain has to be in darker color. But if your mountain is in darker color, you don't have to follow the step. Indigo color. I'm going to add a board over there in the background. After that, I'm done with the landscape. I hope you guys had fun painting this class project with me. We have used the re-weighting technique very briefly in this landscape as well. I hope you guys found that useful. I'm gonna see you tomorrow with a brand new class project. Thank you so much for joining me today. 15. Class Project 13 Lake Scene: Hey guys, I'm back with a new class project today. As always, we're going to discuss the colors first. I'm taking Naples yellow and a locker from Sennelier. And I have pines gray from White Nights as well. I have two tubes of pines gray, but I'm going to use the old one. So this is the pines gray color. This is how it looks from White Nights brand. It's completely dark color, almost black. As you can see from my palette, the light shade of yellow I'm watching right now is a locker. And the dark one is Naples yellow. We're going to need both of these colors because we're going to be painting a lake and a little bit of land in-between as well. And to paint the line, I'm gonna be using these two yellow colors and to paint the trees around it. I'm gonna be using pines gray to paint the lake, that is water. I'm gonna be using these three colors, turquoise, green, indigo, and Prussian blue. I already have these colors on my palette. Now I'm going to swatch these out for you guys. This is Prussian blue. It's such a beautiful blue I'm telling you. And then I'm taking a taco is green. So both of these colors are from a Sennelier and the indigo. You guys know it's from White Nights. We using indigo with a mix of Prussian blue. That's why I'm switching the indigo onto the Prussian blue, as you can see. Can I tell you a secret? I actually don't like sketching. I always go directly onto the wet paper to paint the landscape that I have in mind. But sketching is actually really good because most of the times when I painted the landscape directly without sketch, I have failed as well. But when I did sketch even a little bit, it helped me a lot. So I have to do it. And you guys know what to do. You can directly go to the end of this video, the sketching video. And you can sketch directly from there, but bypassing your screen, you don't have to sketch with me because I hardly know what I'm doing here while I'm sketching where I have painted the lake and the land that is not touching the leg. And now I'm going to lightly sketch the background. A few mountains and a few pine trees. The very light sketching of mountain and the trees, the pine trees. You just have to know where you place them. You don't need a detailed sketch. Sketching. I'm going to take my silver black velvet number 14 brush and I'm going to read the paper. For now. I'm gonna be reading only the upper part of the paper. Make sure you are painting only light colors for this. That is, this is the background. We are now painting the sky. You can see how light color I have taken. This is phi1 square, by the way. And now I'm going to paint the mountains as well. Very light color I'm gonna be using. I was not wearing my specs, so I confused forest green, which has already there on my palette with pines gray. But at the end, though it kinda look decent. I'm still trying to paint these mountains in very light color. So how quickly taken off screen from my brush and I'm taking Payne's gray and I'm going to continue painting those. Now. Background mountains is done. I'm taking dark color of pines gray. And I'm going to be painting these wet-on-wet forest. These are pints by the way. They don't look like it, but this is wet-on-wet, so they won't be detailed. And I'm quickly changing my brush. I'm just drawing the branches of the trees. Your paper is soaking wet. The paint that you have, you have just put on the paper to paint the forest will just, you know, spreading to the mountain area. So be careful. Paint only when your paper is getting damp. Does it for the top part of the paper. Now I'm taking a yellow ocher. I'm going to paint the land bordering the lake. If any of the pines gray seeping into that color. Pick the damp brush and just remove that paint. Add Naples yellow to this. The land area. You can see it's looking quite light color here. I want the contrast between this light color to the dark Payne's gray. I'm just covering it up with a little bit pines gray over there. Now this is wet on dry paint. This pine tree, pine trees. On the other edge of the paper. As you can see at the borders. I'm not going to go in for a very plain structure, Emily. I'm painting it as there are leaves on the borders. I'm going to take a locker and I'm going to paint the land on this side as well, just under this pine trees. Like we have done on that side of the paper we're going to do here as well. Just don't let the pines gray seep into that area. If it is in the paint is seeping into the yellow ocher. Just take a damp brush and remove the paint. Adding a few random details on the land. The more details with different colors, the more depth you can see in a structure. To paint these random details, I'm using Payne's gray. Now, let's wait for a few minutes until this land area on my right dries up. After the land area is completely dried, take pines gray, and paint the rest of the trees that are bordering the land. It's time to paint the lake. So I'm wetting the lake area using my silver back. Well, what number 14 brush. Make sure the pine tree that is on my right eye is completely dried before you attempt this because there is a chance the pines gray will seep into the lake area. We don't want that looking very light shade of Prussian blue. And I'm going to gradually build up the colors. So this is the light Prussian blue. I'm going to start with that. Later. I'm going to take talk ice cream. And later I'm going to take darker, Prussian blue and indigo. As you can see, we have taken very light colors to paint the yellow color. I mean. So we're going to have to increase the intensity of the lake because we need the contrast, right? So the forest about is in dark. Payne's gray. The lake is in dark blue color. It's going to look fantastic after we are done. I think this is one of the most beautiful landscapes I have ever painted. And I am thinking to paint this landscape again on a very larger paper. And I just want to enjoy the process once more. Take a darker indigo color. I'm going to just borrow that digests of this land. These are the shadows. If you observe any beach landscape, you will see that the islands are the lines will have the shadows just below them. And they'll be in a very dark color as well. Using the same indigo color, I'm gonna be adding the shadows on this side of the line as well. Details and shadows in the middle of the paper. Because we are seeing the line, a little bit of line over there as well. Make sure the lake is completely dried. And then paint this detail to the pine trees on the right, on my right. The same pines gray. I'm gonna be adding a few details over here as well on the land. So we are done with today's landscape. I hope you enjoyed painting this as much as I did. And I'm gonna see you guys tomorrow with a brand new class project. Thank you so much for watching. 16. Class Project 14 Himalayan Lake: Guys, let's paint a moody lake scene today. We're going to use three colors. And all three of them are from White Nights. I have indigo with me and cap it mortem and pines gray. So I'm going to mix Payne's gray and indigo together to get dark bluish color. I'm going to swatch those two colors together. So you guys will get an idea of what the shape looks like. This is it, It's such a dark bluish color. If you see white knights pints creates totally dark color and indigo is quite light for what I was going for. The mix of two is what I had in mind and I'm so glad that I found the right color. And now I'm going to swatch kaput mortem. It's brown color. If you don't have kaput modem, you can take any of the brown colors that you wish. And these two are the only colors that we're going to need today. Sketching is a long process for this landscape. So if you want to skip ahead to the end of this sketching video and directly sketch from there. You're welcome to do so because sketching with me is quite tedious. For this landscape. That's catching looks quite confusing. I get that. So let me break it down for you. In the background, there'll be mountains and the sky. There'll be very light color because there is a must here. And in the middle, you can see the land. At the bottom of the paper also you can see the land. But in the middle, there is quite a lake that is flowing through. So I think I'm going to attach the final picture here. So you guys will get an idea of what we're sketching here. Sketching is done. I'm going to quickly get started by wetting the paper with clean water. I'm using my hockey brush. I misplaced my hockey brush yesterday. So I had to use my silver black velvet brush, but I'm so glad I found it today. Now I'm mixing Payne's gray with indigo color. And I'm gonna get started by painting a sky. I'm going to use very light color. Immediately get started with painting the mountains as well. The paper is wet, so the mountains after when they have dried up gives misty effect on their own. I'm adding darker shades on either side of the mountains. But in the middle, I'm going to keep it light. You can see with the damp brush, I'm blending the mountains and the land together. And I'm going to take some more of indigo and pines gray mixture and I'm going to paint the land as well. There should be at the blended look between the mountains and the land. So I have used damp brush to blend that dark edge are there. And I'm going to do the same on this side as well. If you guys had seen the final picture that I've put up while sketching. This all makes sense. Currently, I'm painting the land. So the land will be in pints gray and indigo mixture color that is dark blue color. And later we're going to paint the land in brown color. It's such a good combination. If you guys want to try out oceans, please use this combination as well, because oceans look great with contrasting colors. You can see this is the sign that you have to stop painting wet-on-wet because as the paint is getting messy over there, so it's flowing and it's just spreading. And that is when you have to stop. So I'm going to stop right now and I'm going to wait until it completely dries up and I will proceed further. See you in a bit. My paper has dried. And now I'm taking kaput Martin and I'm going to start painting the land area. If he asked me, is this landscape is a bit advanced for beginners and for intermediate level artists. This is such a challenge. But if you know wet-on-wet and if you want to learn wet-on-wet, this will be a very good practice. Because even if you lose, you will only be losing a piece of paper. But if you, if you paint it, at least in a decent way, you have learned a skill. So that's what my mindset is. That's how I always go for experiments. Got a lot of messages. And I have seen all the reviews guys who have posted for this class. Most of you told me that you are enjoying this wet-on-wet landscapes. I'm so glad. And oh, by the way, I'm adding this indigo color on my right side of the land. To provide those shadows. I'm gonna add one more layer for this land. That wet on wet was very light. So I'm using indigo and pines, gray color. I'm fast bordering the land. Later I'm going to be using my silver black velvet number 14. Brush. With that. I'm going to be painting the land in a bit darker shade with a damp brush to blend those hard edges well, if damp brush didn't work, you can always dab away that extra paint using a tissue. I'm just going to randomly add a few drops after dark colored paint that is indigo on pines gray color. Like a tall in many of my classes before. The more color differentiations you see in a landscape, the more depth it will give. We're gonna do the same for the land here as well. I'm going to first add the border. Later. I'm going to add the paint using a fast, I'm going to use the smaller brush late. I'm going to use the larger brush. I'm going to do the same to the land space that is on my left. Using a brush. If that did not work, you can always go for tissue using only pines gray color. I'm going to paint a few pine trees on the top of this island. As I was saying. I'm so glad you guys are finding this class challenging. And I really want to go for challenging landscapes for all my classes. Because unless you challenge yourself, you will not upgrade, or more a little bit further into watercolor paintings. The same color. I'm going to add a few rocks. These rocks are in the moment. So we're gonna be adding the reflections later. I'm going to paint the reflections after pine trees as well. Give this for drying. We're going to have to paint water after this step. And we're going to have to paint the water over these rocks and the reflections after pine trees. So your paper has to be completely tied up before we attempt that very, very, very light shade of indigo guys because this is a mistake I have made. A lot of times. I have used the same color of indigo, like the line over there. So at the end, I couldn't differentiate between the land and the water. That's the worst mistake you can make. So take very, very light shade. I'm taking a little bit darker color of indigo and I'm painting the reflections, but only once the paper has dried up, especially the water part. Splatters and paint. You can skip this step. I disliked a slider for all my landscapes, ending a few rocks and the reflections on my right. For some reason I did not like this part of the landscape. Then it looked kind of okay. But not so great. So what can you do? But I just loved the rest of the landscape. I darken this area. Just look, looks good with a lot of contrast. So yeah, that's the end of today's class project. I hope you guys enjoyed painting this Himalayan lake. It is so movie. And I'm gonna see you guys tomorrow with a brand new class project. Thank you. Thank you so much for joining me so far. 17. Class Project 15 Abstract: It is class project is a little surprise. It's an abstract landscape. We have never painted those before. And I'm using sap green from White Nights and forest green from Sennelier, and indigo pan from White Nights as well. I'm switching to pants, but this landscape and Naples yellow from Sennelier, again, even though it's a pan and it tends to dry out, tonight's panel is quite juicy. That's what I have observed. I'm not sponsored to say this. And also you can see there is no difference between tube indigo and pan indigo as well. This is Naples yellow. If you don't have Naples yellow, you can use primary yellow as well. And this is sap green. This is forest green, which is a little bit darker than the sap green. If you don't have forest green, you can make sap green and indigo and you'll get this darker green color. You can say sketching is not that complicated for this landscape. Even for this, I have struggled for at least ten minutes. So only two lines for the sketch. And it's the land and below There'll be lake. Like I said, I have struggled enough and I'm using a ruler to draw this line. And I'm going to wet the land area above. And I'm not going to touch the lake. Now I'm going to take sap green and I'm going to mix it with the Naples yellow, which is there on my palette. And when you mix these two colors, you get this green color. She's such a beautiful color. Then a border up the land area. And later we're going to paint a few misty mountains and feel misty pine trees. Slowly and gradually. You can see how gradually I'm increasing the tone. After green. Here I have used a mix of a sap green and yellow. Here. I'm using only sap green currently. And later I'm going to take a forest green. I'm going to paint over it. The only dark color that is left is indigo. I'm taking that as well. I'm going to apply it on both sides of the paper. A wet brush. I'm also making sure I'm not leaving behind any hard edges because we need that abstract as well as misty effect. We're going to do whatever it takes to avoid hard edges. That's what I'm doing right here. I'm not using any color, I'm just using a red brush. Quickly changing the brush. I'm taking my silver black velvet number six, the smaller one. And with indigo, I'm going to paint those misty trees while the paper is still wet. As you can see, how when you paint wet on wet, you automatically get misty effect. Make sure you blend the edges of these trees into the ground like I'm doing right here. Few more pine trees. I'm going to paint a few trees, pine trees, at random places throughout this mountain area. With a damp brush. I'm going to blend all of these trees into the ground. This technique is quite easy, but you have to make sure your brush does not have any water or any paint on. It has to be very damp and without color. So you can blend the colors easily. Going to paint a few more pine trees at a few places. Mentioned in one of my previous class projects. If damp brush technique does not work, you can always go for a tissue. Hi, I'm done with the land area, but I'm only done half. We're going to have to work wet on wet on this in a few minutes. But first, we're going to work on the lake. For that. I'm gonna need a little bit of time so that this land area dresser. So I'm gonna see you guys in a few minutes. Check if the land area is tried out. Only if it is dried, then proceed. Now I'm wetting the lake area so that I can paint the reflections. Reusing only indigo color to paint the reflections. As you can see, the sky is light color. So the bottom part of the leg should also be quite light color. When compared to the reflections. Reflections will be in a very darker color. We have painted these type of infections in a lot of our class projects before. These reflections are wet-on-wet. And all you have to do is move your brush downwards and it creates the reflection shape of the reflections. And later when the paper is still wet, we're going to add the repulse as well. So we're going to now add these reflections that I'm painting right here. Off-center. You see those reflections should be larger in size when compared because as you can see, there is a misty mountain over there with lots of pine trees, right? As you can see when you move your brush, it creates this slide, circular shapes at the edge of your brush strokes. To cover those up, we're going to turn them into repulse while the paper is still wet. Wait until this dries up and I'll come back in a bit. Check if your paper has dried. And now take your hockey brush and very slowly without putting much pressure on the paper, wet top area. Now I'm taking forest green and I'm going to blend these pine trees properly. After that, I'm taking my silver black velvet number six brush the smaller one. I'm going to paint the pine trees that are. I have already disappeared because we have painted wet on wet. So I'm going to add a few details over there as well. With a damp brush. It's a very important step. Please don't forget this one. Then to add indigo at the border between the lake and land. Like I said before, you have to add darker shade between any reflection on the subject above because it shows that the land plants a shadow is falling in the water. That's completely different from the reflections my new. And now with the same indigo color, I'm going to add a few random things on the land. The more details, the more depth you see in a landscape. I paper is still wet. And I'm taking my sooner backwards with number six, the smaller one, I'm going to paint a few more pine trees. The top you're seeing here, and later blend them properly. I add one more layer of reflections because I did not find that the mountain has reflected quite well in reflections part. So I'm wetting the area again, should clearly be reflecting in the lake. So I'm going to work only on that. And I'm only using indigo color. Now while the paper is still wet. I'm going to add a few more repulse. This is my take and semi abstract landscape, which is done wet-on-wet. I hope you guys enjoyed painting this one with me today. I'm gonna see you guys tomorrow with a brand new class project. And thank you so much for joining me. 18. Class Project 16 Misty Walk: Today I have chosen a very easy subject for you guys. We're going to paint a misty at all. As always, please skip to the end of the sketching video and sketch from there. If you find my sketch a bit difficult to follow reweighting technique today. And we're going to paint this easy and very breezy landscape in about 15 minutes. Today's Monday. I don't want to bother you. I'm taking kaput Martin from White Nights and Sennelier orange. And I'm going to mix these two colors. And I get this beautiful burnt orange color, which is actually my favorite. And this is pines gray from Sennelier as well. I have the color already on my palette. I have sap green from White Nights, and pines gray from Centralia. I'm going to mix these two colors together to get this dark green color. Do not use forest green. It's quiet around Palo share. We just need a darker shade of green. So we're going to use these three colors today. I'm going to wet only the top part with my silver black velvet number 14, brush with pines gray. I'm going to paint wet on wet background. Pine trees. As you can see, the pine trees will be darker in color. On my left. And as we move through the right side, the arteries will get lighter in shared. That's how the misty effect is showing up in this landscape. Wet-on-wet method. So you don't have to paint detail to trace. Just make sure you get the shape right like I'm doing right here. Remote towards the right side. My right side, the pine tree has has to get lighter in shared. So what you have to do is add more water and less paint. You'll get the lighter shade of color. Add a few more last minute. Details, not detail the details, just the placement of trees. And I'm going to keep this for drying and I'll come back once the paper has completely dried up. My paper has dried up now. So I'm going to take the sap green and I will mix it with pines gray. I'm going to get started on painting the land area below. Slowly. Make it a lighter shades. I'm gonna be adding a lot of water and less paint because as you see, the top part is in dark color, the pines gray. So this one should be in lighter. It gives more contrast and depth to the landscape. You live the road area alone. Do not paint anything over there. Now, I'm going to take kaput mortar mixed with orange. And now I'm going to paint the land just below that green color. So it's kind of like autumn season that is coming up. So the leaves and the order that has fell on the ground has, is drying up. As you come to the bottom of the paper. Take green color mixed with pines gray, and add a random places. So the more color sheets you see in a landscape, the more depth it gills have already mentioned this in a lot of my previous class projects. As you can see, the green color on my right has already dried up, but it's not a problem. We're not going for wet-on-wet here. It's only wet-on-dry. Green color. You see over there the light green in-between pines gray and this bond orange. So do not lose that light shade. Whenever you see these landscapes, that's where your eyeballs on fast. So that's the very important aspect of this landscape. Splatter some random colors on the bottom of this paper. First I'm going to splatter this burnt orange and lighter green color. It dries. We're going to work on the right side of the paper. So as you can see, I've just added a little bit of green color. And I will continue from there by adding burnt sienna color, just like we did on my left. I add darker shade of orange by mixing a little bit of pines gray. Keep this for drying and I'll come back once it's completely dried up. Hi, paper has dried up. I'm going to paint two trees, one on left and one on right. On my right, I'm going to paint a pine tree and I'm using Payne's gray color for that. I'm also using my number six brush. The smaller one. Blend the edge of the pine tree with the ground. So I'm gonna use a little bit of pints gray color for that. And I'm going to use a tissue as well to remove extra paint. Going to paint a different type of pine tree. On my left. It has more branches. Unless Leah It's kind of like dried-up tree. Just properly. Next step is to read the road area. My brush had a little bit of indigo paint stuck to it, so it kind of blended in. So I'm taking only pints gray to paint the road. As you can see, I'm only adding light shade of pines gray. That also only in the middle of the road. Show you leave both edges of the road that is right and left side of the road in white shade only because that is the contrast. The contrast should be there to differentiate the land with the road. I'm going to add a few pilings on the side of the road, but make sure the road area is completely dried up. I made a mistake there. So I had waited for a few minutes until the road part has dried. And I will continue to add those pilings and make sure those pilings should be in different sizes. One should be taller, one should be shorter. So it gives more character. You guys enjoyed painting this misty landscape with me. I wanted to, initially, I wanted to make this a monochrome, but I'm glad I changed my mind and added that green color in the middle, which is my favorite. And then I see you guys tomorrow with a brand new class project. Thank you for joining me today. 19. Class Project 17 Winter Evening: Welcome to today's class project. First, I'm going to go for sketching. Later. We're going to discuss the colors. I'm going to first draw the horizon line. Later. I'm going to draw the lake. So today's sketching is simple. The only the only difficulty you can face here is the drawing of this lake in perspective. If you want, you can skip to the end of the sketching video and directly draw from there by posting your screen. That will give you more time. So coming to the colors, I'm going to take Sennelier orange. I'm going to swatch this out for you guys as well. I'm going to take a low primary yellow and then Queen Rose. But I'm gonna be using the mix of orange and queen rose to paint this onset. So that color should be similar to the swatch that I made here. And I'm taking backs in purple, which is from Sennelier, and finally, indigo color from white knight. You know that shade, right? So I'm gonna be using a mix of dioxazine, purple, and indigo that should look something like this. I mean, not this. This was quite light color. The one that I'm swatching out. So make sure your mixes something similar to this. And that's all about the colors. As always, we're going to paint the sky for us. I'm putting the tape to the horizon line so that the color won't bleed into the land area. Now, the landscape begins, wet the paper using clean water and a hockey brush. And now in watercolor, as you guys know, we paint from light to dark. So the lightest color of all his primary alone. We're going to start with that. Later. I'm going to be mixing orange with Queen Rose. And I'm going to paint that as well. After Hello. Just place the colors for now. And later. We're going to blend them all together. After the orange and queen rose mix, I'm gonna be taking Dax and purple mix with indigo. And I'm going to paint that as well. It's the darkest color of all. We are painting it at last. Now. Wash your brush and remove all the water from it. Make your brush damp and blend all of these colors together. It's not purely a sunset painting. So there won't be any cheerful colors. Eventually we're going to have to paint over that bright yellow color to make it look Moody. Just make sure to have a hint of a law somewhere in there. You don't have to keep that primary yellow, which is very bright yellow in the middle. Later if you want to darken the sky a little bit using purple and mix, you can do so as well. All the blending I'm going to do for the sky. And I will keep this for drying. And I'll come back once it's dried. And then we're going to paint a few trees. Oh, are there authorise and line. My paper has dried. So I'm going to remove that table there. And later I'm going to take my silver black velvet number six brush the smaller one. I'm using indigo. I'm going to paint a few trees in the background. And this is wet on wet, wet on dry. When you reach near that alarmed orange mix, paint. The trees in orange are orange Queen Rose mix because it shows that the light is shining under stress. And later you can continue with the indigo. Continue with the indigo paint till the horizon line. With indigo. I'm staying testing pad. I'm gonna take my syllabi valid number 14 brush and I'm going to gently drag the paint down. But make sure you don't use the integral directly. As you can see, as I'm trying to draw the paint down, only light color or light shade of indigo is coming down. Paint only with that. Now try to replicate the same shared the land below as well. So I'm using a lot of water and very little of paint here to get that lightest shade of indigo. Add a few details, few random details. And with dark indigo. And I'm going to keep this for drying. And I'll come back once it's completely dried. The highlight part of this landscape is the lake. And after the paper has dried up, we're going to paint that. My paper has dried up. Now, as you can see, there is yellow and all of those pink color here, we're going to paint exactly that in the lake. And also if you have so, you can see only purplish shade of color and not Indigo. So do not try to paint indigo for the lake. So let's get started by reading the lake area with clean water. Exactly how we have painted the sky area. We're going to start with primary law. Later, we're going to add the mix of Queen Rose and orange, quickly followed by Dax and purple mixed with a little bit of indigo to not make it dark. Using a damp brush, I'm gonna blend all of these colors together. Make sure you don't leave that primary law as it is. Paint over it lightly. Do not make it cheerful. We are going for moody landscape. Take the indigo color and my Scylla backward, right, number six, the smaller brush. And I'm going to just add the paint below that. Land, snow-covered land. And since the paper is wet, it automatically becomes the reflection or the shadow of the line. You can see how the paint is beautifully spreading into the water because the paper is still wet and this is all the water. I'm not doing anything. It's the magic of water. This step until it feels right for you. Like, you know when to stop. Same brush and the same paint, indigo. I'm going to paint a few random details on this snow-covered land. You're not just a few things. It's always good to paint something. Instead of leaving it. The plane land. In. The more details, even though they are random, the more ad, the more depth it creates for a landscape. Like I have said this a lot of times in my previous class projects. This is the only thing I didn't like in this landscape. Have tried to make it in a bushy, dried-up branches, but it turned out something else. I hope you guys paint this better. And I really hope you guys enjoyed painting this class project with me. I'm gonna see you guys tomorrow at the brand new one. Thank you for joining me. 20. Class Project 18 Mist & Mood: Hey friends, today I thought I'm going to teach you a new method in painting missed in a landscape. Do you remember the colors in yesterday's class project? We're going to use the same colors. Primary yellow, orange, Queen, Rose, dogs in purple mixed with indigo. So all of these colors, plus I have one extra color. It's Chinese white. It's watercolor, It's not gouache. In order to paint the midst. As always, I'm going to start by wetting the paper with clean water. And I'm using my hockey brush. In watercolor, we always start from light color and then we proceed to dark. So in our color palette, the lightest color is primary yellow. So I'm going to get started with that. And I'm using my silver black velvet number 14 brush. Directly. After adding primary alone, I'm going to take a Queen Rose mixed with orange, just like we have painted yesterday. I just wanted to make sure the color is correct, the shape that I am mixing here, I have mixed Queen, Rose and orange, and I'm painting over the primary law. It's alright because you can still see they are lower there. And remember, this is a moody landscape. We don't want the brightest color, indigo. After Queen, Rose and orange. I'm going to start with dogs and purple. Later, I'm going to complete the first wash with the darkest color indigo. I have started using my indigo from the pan and that pan is from White Nights as well. And isn't it perfect the color words so easily? I just loud the pan mode and the two. Now using a damp brush, I'm going to lightly blend the colors. Do not overdo this because we're going to add Mr. later. And even though the colors have blended well, they go unnoticed because the midst gets highlighted. I'm going to remove the excess water on there just using a tissue paper. After that. I'm going to keep the paper for drawing. Welcome back. Once my paper is completely dried up, my paper has dried. And now I'm going to take indigo color. And my silver black velvet number six brush, which is a smaller brush. And I'm gonna get started on painting a few pine trees. These are not full-fledged pine trees. I should say. I'm going to only paint the top part of the tree. And remaining part, I'm going to leave it as it is. You guys are watching me paint this pine trees. I'm gonna tell you a little bit about this landscape and what's so different about painting missed here. Usually in Allah for landscapes. In this class you have seen me paint the midst in a very different way. That is usually the midst well-being, white color. So you guys have seen me leave that space out wherever I want them to be. Usually that's how you have to paint the mess. But I have also started painting mist using a white color. And we have perfected the riveting technique in previous class projects. So I thought, why not try the MR technique as well using the riveting technique. So that is what this landscape is about. Also, you guys are seeing me paint these pine trees. One thing you should remember while painting these are paint all of the pine trees in various different sizes to not paint them in a similar size. So it gives such a random effect. At the end, you will see the ion seat at the final result. See the pine tree that I'm painting right now is the only tallest pine tree in this landscape. And keep it that way. And as you can see, it is quite off-center. I hope you guys paint it as well to not paint it in. Medulla exactly in the middle. Place it somewhere on the right or left ear choice. Fill up the entire landscape with these pine trees. Painting at random sizes. Next step involves the re-weighting technique. So now I'm gonna keep this for drying and I will come back once my paper is completely dried up. Remember whenever you are going for riveting technique in watercolor, the previous layers have to be completely dried. Rls derivative technique will not work, but don't be hard on yourself. There will always be some paint that will just flow with the water when you re wet the paper. And that is okay. What is not okay, is that the entire landscape will just goes away with the water. And that's when your paper was actually wet and not dried up before you attempt the riveting technique. So right now I'm going to keep this for drying and I'll come back once it's dried. Paper has dried and I'm going to take whitewater color on my palette. Now the actual fun begins. We're going to paint the mist. Now. My hockey brush and clean water. I'm going to gently wet the paper. As you can see, I'm not putting much pressure on the paper, but still there's a bit of paint that's getting activated and going away with the water and that's perfectly okay. We are counting on that. Remember we're painting the missed. It has to look that way. And now I'm taking my silver black hole at number 14 brush. And I'm going to take white watercolor. I'm going to paint a few swatches off-white color onto the paper. As you can see, the paper is wet so the paint is getting spread up so beautifully. Like the natural missed EOC in foggy mountains, right? We used a few swatches of white watercolor and it's very important to not overdo it. And also it's very important to keep the contrast. You can still see the dark color trees in the background and the white mist is getting highlighted here. So it's important to keep, I'm maintaining that contrast to not just put white watercolor everywhere, just a few swatches at random places. And this is how I paint them in my own way. I hope you guys enjoyed this as well. Right now I'm going to keep this for drying and I'll paint a few boards later. My paper has dried up. Now I'm going to splatter some indigo paint with my silver black velvet number six brush and with the same brush and with the same paint, I'm going to paint a few birds as well. So this is one of the ways of painting messed after you have painted the landscape. So I hope you guys enjoyed painting this class project with me. I always try to teach something new. Something I have learned in my own experiments. So I'm gonna see you tomorrow with a brand new class project. And thank you. Thank you so much for joining me today. 21. Class Project 19 Moody Aurora: Hey guys, what's moody landscapes without at least one error, a painting. And today we're going to do just start to paint another light. We're going to need four colors. When his primary yellow from Sennelier, chocolate ice cream from Sennelier, sap green from White Nights. And as you guys know, my indigo of pan, it's also from White Nights. I'm going to swatch these colors for you. Now. I'm going to swatch primary alone. And let us sap green and later turquoise, green, and finally, indigo color. The color we need to paint Northern Lights today is a mix of primary yellow sap green, and turquoise green. So I'm going to swatch that share as well. That's a perfect shade to paint. Bright northern lights. When you combine this color with indigo, you get such beautiful contrast color. These two shades, along with white watercolor, is our color palette for today. Now that we have sorted out our colors, we're going to get into sketching. Sketching is very simple. We're gonna just have to draw a snow-covered land. In sketching terms, you only have to draw one line. And after that, we're going to cover this. Land does not cover land that one line with masking tape to avoid tax rental color flow. Here, this is supposed to be in white color and it will remain in white color. You can also use masking fluid instead of masking tape. Once we have sorted it out, we're going to read the paper. Only double sky area using clean water. I'm in my water is not that clean. And I'm also using my hockey brush. After that, I'm going to take the Northern Lights mixture that is primary yellow, sap green, and turquoise, green color mix. I'm going to paint the northern lights. Even while painting northern lights, we're going to start from light to dark. So in this case, light color is this later we're going to follow up with indigo color. Rush moment when, when it comes to painting northern lights are quite interesting because there is no fixed reference. While painting northern lights, you can just dance with your brush. And at the end, you will always end up with a perfect Northern Lights painting. And that's my favorite thing about painting auroras as well. Now I am painting with indigo color. And later I'm going to blend these two colors. Wet or damp brush. It's also important to paint very fast because the paper is getting dried up. As you can see here. There is always a fixer plan. When painting northern lights. You may not see it. Because just a while ago I told you that I'm painting freely. But there are few things that you need to keep in mind. Where do you want your contrast? That is the dark indigo color. I have decided to paint the paint with indigo that is dark color on all of the sides of the paper, except a small little corner on my right and in the middle, I have left the color, I have left the light color. So keep that in mind and planned beforehand. The excess paint over the edges. And now I'm going to mount the paper. Using my water jar. United helps in paint to flow freely and it gives more natural look. I'm going to keep the, keep the paper like this for a few seconds. So I have covered the snow, covered land with masking tape. It's because when you keep your board like this, That's a perfect chance for the paint to just trip into the land. And while the gravity is doing its thing, I'm doing mine. I'm cleaning up my table. I'm gonna keep the board in reverse direction. After a few seconds of your board hanging upside down like a bat, reward, and keep it on the table properly and let it dry on its own. The paper has completely dried. I'm going to remove the masking tape. We're going to paint that land area some wetting the paper with clean water. I'm using my silver black velvet number 14 brush. Later, I'm going to add light shade of indigo. Add a few layers of indigo, and make sure you do not paint anything. In at the top of that land area. You can see that I have and left it in white shade. It's very important because you can clearly see the contrast between the dark indigo above and below. The indigo is there as well. So that white color should be highlighted. And I'm going to add a few dots of indigo paint while the paper is still wet. I'm just going for random details here. Nothing specific. Indigo color and my silver black velvet number six, brush. I'm going to paint lots and lots of pine trees along that entire snow-covered area. Lei wanted to paint even darker. Northern Lights painting because I want to make it as moody as possible. I was initially going for purple and quin rose mix of northern lights instead of the screen share. But I have decided at the last moment to change the color palette. But I was thinking to add that one as well because I have already shot the class project. So if you guys are interested, I'm going to post that one as well to include this include in this moody landscapes series because that one was way too darker and way too dull. Let me know your thoughts. Either on my Instagram are here in the discussion below. As you can see, I'm not painting these pine trees in a similar length. They're all in different sizes. Make sure to paint them in this random sizes. It increases the depth of your landscape. Once you're done painting all the pine trees using a larger brush, blend those trees with the land below. Just like I'm doing right here. Add a few more random details using indigo color. Here underlined. Notice I'm using a smaller brush for this. Looking good, isn't it? One last step is remaining yet. Gonna take white watercolor. I'm going to add a few gorgeous stars in the sky. You can see I'm not directly going for splattering method here. I'm going to manually place my largest stars at random places. I'm going to slightly splatter some stars. I don't want to go overboard here because I don't want my sky covered entirely. White paint. I will highlight is not the light. That is all. Today's class project. I guess painting rather nice is everybody's favorite. And I'm sure you guys loud painting does not been lights today with me. I'm gonna see you guys tomorrow with a brand new class project. Thank you so much for joining me today. 22. Class Project 20 Misty Field: Hi guys. Welcome to Class Project 20. We're going to talk about the colors first letter, I'm going to tell you a little bit about this landscape. So the first color I'm going to use is Naples, yellow from the brand Sennelier, and orange from Sennelier. And quin rose from White Nights, indigo from White Nights as well. It's a pan. I have this special color called blue-violet. It's also from Sennelier. And I'm going to swatch all of these colors out for you now, including this very different color. We're going to swatch from light to dark. So I'm going to get started with Naples, yellow later, and then a swatch, orange and queen rose, followed by blue violet color. It's quite similar to dogs in purple that I have been using. So if you don't have this blue violet color, you can always go for any purple shade that you have. As you can see, the shared is quite similar. I just wanted to try out this new color. And this is indigo from White Nights. While painting, I'm gonna be mixing orange and Queen Rose together, just like we are going to paint all of us and said paintings. And finally, I have white watercolor. After swatching all of those colors, my water is no longer clean, so I'm just wetting the paper with water and my hockey brush. We're going to start with Naples, yellow. Later we're going to follow the orange and afterwards Queen Rose. And when you paint all of these colors together, it's quite natural that the closer ones, like orange and Windows will get mixed up. And that's what happens here as well. And I'm going to use this white watercolor tube and I'm going to keep it under my board. As you can see, I have painted orange over there low, but still at the end you will see the yellow shade. It's because when I have kept that white watercolor tube, the paint is just coming down. And that's why you can still see the yellow color on the top. And I have added Queen Rose, and I'm gonna be adding that blue violet color as well. And lastly, I'm going to add indigo color since it's the darkest color. I usually paint by keeping my hands very freely. That's why you see all of that paint just splattered on my table. First, I'm going to clean that. Later. I'm going to remove all the excess water around the edges using a tissue. If it is still wet, we're going to paint the grass. I'm using indigo color for that. It's not a difficult task, I would say just adding a lot of vertical lines. A little bit about this landscape. Now, do you remember one of our class projects where we have painted the missed I think it was a class project 18. We have painted the midst after we are done with the landscape. So this is similar to that. We're going to be painting missed after we're done painting the landscape here. So keep white watercolor with you because we are going to need that to paint a message later. And now with a smaller brush, I'm gonna be painting a few more lines in order to make the grass look as realistic as possible. I'm just flattering water using my silver black velvet number six brush. Just to create some texture. I'm going to paint the faraway trees. You can say it is the horizon line. The horizon line is covered with lots and lots of trees. My paper is still wet. So I'm painting these trees wet-on-wet. And it is okay if you make any mistakes here, like I'm making here, as you can see, the paper. Is drying up and blending is not happening properly. That's okay because this area is going to be covered in mist that is white watercolor later. So don't worry, just paint whatever I'm telling you to paint, even though you've clearly see fewer mistakes because that's going to be getting covered up later. And my paper is still wet. I'm going to be painting a large pine tree. While my paper is not completely wet it, or it's almost damp and it's perfect for me. So I'm using my syllabi for like number six, brush the smaller one and indigo color to paint this big pine tree. So this is like the first layer. After when the paper gets dried up, we're going to add a few details to this tree. So I'll have to do now is get the shape of the tree right? That's all. Can I keep this for drying? And I will come back once my paper is completely dried up so we can add the details to this pine tree. Now using the same brush and the same paint, I'm going to be adding a lot of leaves at each branch of this tree. If the entire tree was painted on wet, on dry, it would have taken us at least 20 minutes to finish the tree. So we have finished all work in less than two minutes because I'm almost 70 per cent of the pine tree was painted wet on wet. Painting leaves is nothing but adding those dots at the edge of each branch. Once you are done with the painting, this large pine tree, you have to keep this for drying. And later, we're going to have to revert the paper and we're going to have to paint the message, so make sure the paper is completely dry. Before you attempt the next step, mine has dried. So I'm gonna be taking my white watercolor on my palette. And I'm going to start gently wetting the paper using my hockey brush. Now take my syllabi color number 14, brush and white watercolor on my palette. And I'm going to add missed at a few places, especially in the middle and near that grass and a little bit in the sky as well. I'm not always perfect at painting. Messed. And this is one of the techniques where I rarely get the results right. But this time, for this landscape, the myths that I painted right now is just perfect. So I'm going to stop right here and I'm gonna keep this for complete drying. And I'll come back to paint a few details. My paper has dried up. And now I'm gonna take my silver black velvet number six, the smaller brush and indigo color. And I'm going to add a few details to that grass over there. Now, I would say this landscape is advanced level landscape. So if you are a beginner or an intermediate level artist and you are just attempting wet-on-wet techniques. For the first time. You might think this landscape is impossible. And I would also say, you can fail a couple of times while attempting this landscape. But I have failed as well. I have failed twice when I was experimenting this particular technique. But here I am teaching you guys today. And that's only possible because I did not stop experimenting. I'm saying this again yet only vesting the paper. So go ahead. I'll hear me. It is a little bit of courage. So please use a 100% cotton paper when you're experimenting riveting technique, wet-on-wet techniques. Because these two techniques need a lot of patients, tend a lot of absorbency by your paper, and they have to stay wet for a long time. And all of these will only possible if you're using a 100% cotton paper. If you want to invest in expensive art supplies, I would say Please buy paper. You can manage with colors and brush, but paper is very important. I'm going to splatter some paint, and I'm going to paint a few boats as well. With that, we're going to conclude Today's class project. I hope you enjoyed painting this landscape today with me. Such a beautiful, moody feel seen, I would say, thank you so much for joining me. I'm gonna see you guys tomorrow at a brand new class project. 23. Class Project 21 Blue Icy Lake: Hey guys, welcome to today's class project. So today we're going to paint a beautiful snow scene. First, I'm going to start with sketching. Ching is very simple. We're going to first draw the horizon line later when I draw the outline of the lake. Sketching with me is a very confusing task. I would suggest you guys to skip to the end of this sketching video, pause your screen, and then sketch from there. When sketching is done, we're going to move on to colors. So I'm taking Naples, yellow from Sennelier. Quickly followed by corporate motto from White Nights. And this very bright blue from White Nights as well. And finally, my favorite color, indigo from White Nights and it's a pan. Now we're going to swatch all of these colors. I'm going to get started with Naples, yellow, followed by mortem. This bright blue color from white knight. If you don't have this bright blue, you can always use thoroughly and blue and indigo now, from White Nights, these four colors color palette for today. And I'm going to be using a mix of Naples, yellow, kaput mortem, and indigo together to paint the background. Next step is to wet the paper using clean water. So as you can see, I'm leaving out the Lake area and I'm adding water to rest of the paper. Start with the blue color. We're going to first paint the sky. And I have taken a lot more paint than I wanted. You can see the paint is just hanging around the brush. It's okay. We can remove the extra paint using a damp brush. With the damp brush, again. Just remove a little bit of paint here and there to make it look like clouds. But the paper is wet, so it's obviously will not hold. But I'm not going for a very detailed clouds here. Just a hint of light color in the sky will do. Gonna take kaput Martin. And I'm going to start painting the trees in the background. To paint these trees, I'm gonna be using kaput mortem, the brown color, Naples, yellow, and indigo. Since the paper is wet, you can see how the color is just spreading into the sky area as well. But that's okay, that's what we want. And this is nipples. Hello. I'm just adding a little hint of levels, a low into these trees. Quickly changed my brush. And now using Sennelier number six brush the smaller one. And I'm gonna be painting a little more detail, the trees. Not too detailed because the paper is still wet. Remember, I'm taking indigo color. I'm going to paint these contrasting trees in the middle of this Martin and a local arteries as well. Because the more color shades that you show in a painting, the more depth create reference here. So I'm just following my intuition here to paint these trees. I think much of Naples yellow. So I'm gonna be adding it a little bit while the paper is still wet. A bit of indigo here, because that is too much brown there. We need to show some difference in the shade. Add a little bit of indigo paint. On my right as well. It's looking at the plane. A paper is almost dry it up. So I'm gonna be making a few details to these trees. For example, like adding the shape of pine trees using indigo color tissue paper here to create textures. So if you are not comfortable, lead is in tissues. You can skip that part because It's not always going to pan out. The top part is drying. I'm going to paint a few details on this part of the land. First, I have added water. Later, I'm going to add kaput mortem color. Quickly, followed by indigo. They're not traced. These are not rocks. They're just some random things. In order to fill up the space. That is done. Keep this paper for drawing and come back once the paper is completely dried up. Because the next part is painting the lake and we need the trees in the background. All should be dried-up. Check if your paper is dry it and then later, the lake area with clean water. And I'm using my syllabus number 14, brush. Color of sky should be the color of lake. So I'm taking blue and I'm only adding a lot of blue at the bottom part of the leg. And as I go upwards, the color will be in light color. We're going to be painting reflections at the top part. And to paint the reflections, I'm going to be using indigo color. You're taking indigo color and I'm just slightly lifting my paper up. The paint can easily flow down. I'm painting the reflections. You've been mined about the sizes of these reflections. On both ends. The reflection should be longer. And in the middle, the reflection should be shorter. Just like I'm painting right here. Without adding much paint, just blend these two sides together. And while we're at it, let's also paint the repulse. Paint wet-on-wet the first time, the shapes will not be proper. So you have to always go for the second time and paint the shapes properly. Here I am making a few adjustments to the reflections and the repulse. The land area with very dark indigo color. So far we have painted reflections. These are core shadows. Smith, this small step will give so much of teeth detailed look to your landscape. I'm going to keep this for dying. After it's dried, we're going to add a few details with white watercolor. Paper has dried up. I'm gonna take white watercolor on my palette. Wherever the snow-covered area should be highlighted, add white color there. Also add a few dots of white paint in the lake as well. Just to give that extra effect, I'm going to splatter just very lightly. I'm not going to do it, I promise. And with this, we are done with today's class project. I hope you guys enjoyed painting this beautiful wintry scene with me today. See you guys tomorrow at a brand new class project. Thank you so much for joining me today. 24. Class Project 22 Swamp At Dusk: Guys, are you ready for today's class project? Gonna get started with sketching the horizon line first letter, I'm going to sketch the field. And in-between, there'll be a swamp as well. Today's class project is very interesting because even though we are using very cheerful colors, like orange L0, the class project still looks moody or Dan. And that's very interesting, don't you think? Now I'm sketching the field. And I think that's the only thing I'm going to sketch. The sky and reflection in the swamp does not need a sketch. So you can pause the screen at the end of this sketching video and sketch at their own pace, if you wish. First paint the sky. So I'm going to put a masking tape at the horizon line. And now let's discuss the colors. I'm using Naples, yellow from Sennelier and Sennelier, orange. And this bright blue color from white knight and indigo pan from White Nights as well. Now I'm going to swatch these colors. I'm going to go with orange, first letter, Naples, yellow and bright blue, and indigo, the last. And I want to, you guys, these are the colors only for the sky. And to paint the field, we're going to need a different set of colors. That is Naples, yellow, and kaput mortem. The field that we are going to paint should look Moody's. So it has to have all the colors. That is Naples, yellow kaput mortem, and indigo as well. To get that moody, dark look. And that's what I'm swatching here. I'm switching the mix of kaput mortem, Naples, yellow, and indigo as well. To give you that preview of what the field should look like. Then I'll get started by reading the sky area first with my hockey brush. Later I'm going to take my syllabus and what number 14 brush. And I'm going to get started with blue color. A lot by Naples, yellow. And after that I'm going to paint orange color. Since the paper is wet, as you can see, it's soaking wet. It's easier for me to blend all of the colors together. And mixing Naples yellow with blue color will not give that much of a green color. It's still there, the green color, but not that visible. So do not use primary yellow, use Naples, yellow. Splendid. We're going to paint the clouds. I'm gonna get started with Naples yellow. And I'm going to a few fluffy clouds at a few places with Naples yellow. Later, I'm going to add the dark shadow to the Cloud using indigo. Adding dark indigo color only on one side of the cloud. That is on my left here. You can add on your left as well. But don't add on two sides. The sunshine will only be falling from one side and the shadow will be on the opposite side. So now I'm blending these two colors using a damp brush. A very light shade of indigo. I'm gonna be adding few more fluffy clouds while my paper is still wet. And my new my paper is getting dried up really fast here as you can see, the paint is not flowing anymore. Adding a very light shade of indigo just at the edge of the masking tape to give that dark background color. So do not add darker shade here, just light shade is enough. And you can see my paper is leaving stains. That means paper has dried up. So I'm going to keep this for drying and I'll come back in a bit. The masking tape, if your paper has completely dried up. Now let's work on the field. I'm going to start by reading the field area and I'm using my silver black or let number 14 brush. You remember a house watched three different colors. Naples, yellow, cap at Martin, the brown color and indigo to create that Moody effect in our field. So we're going to paint that here. But before we start, keep a very dry brush with you. Do not let it get wet. Keep it aside. We're going to use it later. Now, let's start painting the field with Naples, yellow fast. By kaput motto, the brown color. If you don't have kaput modem, you can use any of the brown shade that you have. Changed my brush now I'm using the smaller brush. And I'm going to now take indigo color. I'm going to blend all of these three colors together. Make sure you don't lose that allow shared, at least at the horizon line. That's where the light is shining on and do not lose that. That's actually very important part of this landscapes. And at the end, it's going to warn you the Moody effect to the landscape and the contrast indigo color that we are painting now at the border. Going to blend indigo properly with the rest of the field. For that I'm using a damp brush. As you can see, I'm not letting die a low fade away. Add a little bit of indigo again to make it look more moody. And repeat the same process on this side of the field as well. By adding yellow color, followed by cupboard Martin, and then indigo. Final details. Using indigo color, you know, make sure you get, you got those shadows and everything right. And now we're going to keep this for drying and we'll come back once the field area is completely dried up. And you can clearly see how Moody the field area is looking already. Even though we have used a lot of bright colors for the sky. Now, now that my field area is dried up, I'm going to wet the swamp area with clean water. I'm using my silver black velvet number 14 brush for this. We're going to paint the swamp with the same colors that we have painted the sky because it is the reflection after all. And you don't have to paint it as detailed as this guy. Just make sure to add the similar colors that you see about in the sky. You can see, I did not go for a cloud or anything. I've just included those three colors that we have used in the sky blue, orange, and Naples. Yellow. That is done. We're going to add indigo. Mind you, we are now painting the shadow after field. So just keep adding the indigo color like I'm doing right here. Since the paper is wet, the paint will spread on its own. We're not going to interfere much here in painting the shadows because we want the water and the watercolor to take care of this part of the landscape. Add a little bit more indigo here because it's looking quiet, light and shade. And make sure you are painting this step while the paper is still wet. If your paper has dried up, you can paint this step because the paint will not spread anymore. We're going to take larger brush and slowly blend that indigo color on the top part of the land. Now I'm using that dry brush to paint the grass. They don't have to go for detailed approach here. Just brush in a vertical manner. And at the end it's going to look like the grass islet is drying. I'm going to take indigo color and silver backward, right, number six, brush and I'm going to paint lots and lots of pine trees at the horizon line. So make sure not to completely covered the horizon line with pine trees. Leave a little bit of space between the trees to make it look a little bit realistic and not overdoing it. Once you're done painting with the pine trees at the horizon line, takes him a black walnut number 14 brush or any larger brush that you have. And very gently and very lightly blend edges do not let the indigo color that light shade of yellow we're seeing in the middle. So that's what I'm doing right here. Take the dry brush again and indigo color, which is already on my palette. And I'm going to just add a few dried-up grass at one edge of the paper. And I, it's just a random detail. Before we finish up. With that, today's landscape is completed. And I hope you guys enjoyed painting this very moody feel. Let me today, I'm gonna see you tomorrow with a brand new class project. Thank you so much for joining me. 25. Class Project 23 Colorful Yet Moody: Hi guys, welcome to today's class project. I'm going to get started with sketching. And I'm going to first go for horizon line. A lot by the land on which we are going to paint a few trees wet on wet. And later, the below part will be lake. So we're going to paint the reflections as well. So today's class project is a beautiful lake scene, frozen lake. I have to say. It's a very simple sketch and it can be completed within two minutes. You can skip to the end of the video and pause your screen and then sketch at your own pace. Coming to the colors, I'm going to first start with Alizarin crimson from Sennelier, and bright blue from white knight. I'm going to first swatch these colors for you. Blue color will be this guy. Obviously. Those aren't. Crimson will be one of the colors to paint the wet on wet trees. So let's see what happens when these two colors get mixed up. Okay, it gives light purple color. And that's perfectly all right, as long as when the two kilometers does not change the entire color. So this is perfect. Paint the trees wet on wet. I'm gonna be adding kaput motto, the brown color with a Zarin crimson. Let's see what color we get when you mix these two colors together. Dolls aren't crimson and kaput Martin. That's a perfect color. And now I'm going to take pines gray to paint the darker hues. And that fine screens from earlier. I'm going to swatch that color as well. And finally at the end I'm going to take white color. So keep it ready on your table. We are done with selecting our colors. We're gonna get started by wetting the paper with clean water. And I'm using my hockey brush. As you can see, I'm only waiting till the horizon line. A little bit of water is coming onto the land area as well. And that's okay. Let's paint the sky with very light, bright blue. If you don't have bright blue, you can use certainly in blue as well. The color is quite darker than I wanted, so I'm going to lighten it up by painting it backwards. As you can see, that's what I'm doing here. I'm just sending the color backup and I got the light shade, paint the trees now, wet-on-wet, I have mixed cupboard Martin with ALS are in crimson. I have already changed the brush as well. I'm taking very small brush and I'm going to slowly introduce the color onto the wet surface. Slowly you the directions to the paint to which direction has to flow and let the water do the rest. Going to introduce different shades of colors and today's trees to make them look more realistic. So this is kaput Marta. Without alizarin crimson, you can add any brown color. You wish. Shade is pines gray. You're going to have to work faster because we have a lot of work to do and we have to do it before our paper gets dried up. Now, I'm taking Martin mixed with Alizarin crimson again. And this is very light shared compared to the color that is in the background. And I'm painting it on the foreground that is on the land. Not completely in the background as you can see. Tape pines gray directly. And I'm going to paint it here in this empty space. I'm intentionally adding a very dark color here because it shows that that tree bunch is very far behind this background tree that is pines gray. And these are very light shade of vitamin a jarring cream century that is on the foreground, get, get mixed up at one pint. So that's a very difficult part because they have to make sure that it still, the lighter shade still looks like it's on the foreground. They just have to blend these two colors so well, using a damp brush. Now I'm covering it up by adding a little bit of cupboard Marta, MK, but Marta, add a few dots of paint at random places. Please keep an eye on how the paint is spreading in the background. So I'm not doing much over there. I just kept the paint on the paper. The rest of the work is done by water. You can see I kept adding these random dots of paint. I've kept it Martin, on this white frozen land. Now I'm done with the above part. Now, let's get started on painting the lake. While the above part, that is land area is drying. We can get started on painting the legs. I'm wetting the lake area with clean water. I'm using my silver black velvet number 14 brush. Just like how we have added differentiates of paint about we're going to add the same to this lake area and we have to let the water do its work. You can see it's already letting the paint spread. And it's looking so beautiful, that reflection that is happening on its own. We only have one job here that is adding the correct shade. I thought we have added about the subject and the reflection should always look similar. Not forget to add the blue as well because the sky is in blue above. So I'm lightly adding blue color and my paper is still wet. Reflection part, which is having so many colors like Zarin crimson carpet, Martin pines, gray, or patch with the blue sky. That is blue color. At some point. If that happens, just take a damp brush and very lightly blend these two colors so that you don't lose both of the shapes. Just like I'm doing right here. I'm taking pines gray directly, and I'm going to add the color just under the land, frozen land area. This is the shadow of the land. Add shadow to this land here as well, but not to the entire border area. Just add the two places because this is where you can see the shadow. Add a little bit of Payne's gray once again, because since the paper is wet, that color I have added before has disappeared. Take Cilla Black or LET number 14 brush and very light shade of cabinet mode of analysis in terms and mix. And just add it a little bit on this line. It doesn't have to look plain white color. So we're going to add a few details to it. And now once I'm done with that, I'm going to keep this for drying and I'll come back once this is completely dried up, my paper is dry it and you can see how beautifully the color has spread. And I'm taking white color now. And I'm going to add a few details with white color. So I'm going to add white color for this piece of land that will have two blue color. I'm gonna do the same on that little piece of land over there as well. Taking pines gray and my silver black colored number six, brush the small one. And I'm going to paint a few dried-up branches. Painting this large tree with dried-up branches. I'm going to paint a few more, but a very smaller trees this time that I'm going to splatter some brown paint onto the slant. And I'm going to blend it a little bit. Small trees because I just don't know how to stop. That. We are done painting a very moody but colorful winter landscape. I hope you guys enjoyed painting this landscape with me today. I'm gonna see you tomorrow. Thank you so much for joining. 26. Class Project 24 Moody Contrast: Hey guys, welcome to today's class project. I'm going to get started with the colors. And this is indigo from White Nights, and it's sap green also from White Nights. We're going to switch these colors now. I'm going to first swatch the sap green, and later indigo. It is all for today's color palette. It's very simple, but beautiful colors. Coming to sketching. I'm going to get started with the horizon line. And later I'm going to add a little bit of land in the middle. This is a lake scene. And in between the line that I'm sketching right now is very important. You can say that a small piece of land in the middle is that action point for this entire landscape. Now I'm gonna get started by wetting the entire paper, except that small land area in the middle. And I'm using my hockey brush for this. My silver black velvet number 14 brush and indigo color. I'm going to start to paint the sky. And later, the reflection of sky in the lake below. The wash of these color should be very smooth. Do not add too much color. Just add lots of color on the top as well as the bottom. And from there, blend the color carefully into the paper in the middle of the paper. This is not the end that we then have to revert and paint the ripples later. But for now, we're going to paint the mountains and the ripples using the same indigo color. I need the strokes of these structures to be sharp, so I'm using a smaller brush now. I'll paint the reflection and paint it in a same shape as the subject about. That is in a little bit of darker indigo share paint, the background, forest. It doesn't have to be very clear structures. Just make out the right shapes. Think the subject about. Continue with painting the reflection of this back down trees as well. And my paper is still wet by the way. Interests to your paper doesn't get dried up. Take sap green and with the same brush, paint the land area completely with sap green color. Only natural that sap green will spread into the reflection part because the paper is wet and that's okay. That kind of gives these misty effect as well. Going to keep this far complete drying. And I'll come back once my paper is completely dried up. My paper is now dried. And I'm going to paint the details of trees, the foreground now that I'm taking the dark indigo color, that is more paint and less water. And I'll start painting a bunch of pine trees. I think it's in the middle. To paint another bunch of pine trees. A little bit right side of the paper, my right. Remember, we're going to have to paint the reflections as well. So I'm going to turn my board upside down so it's easier for me to paint the reflection and make sure to leave that land area alone. Do not paint anything in-between. Start painting the reflections exactly like the subject about the shape and size of the pine trees as well. If you see a tall pine tree, make sure you have one in the reflection as well. For this bunch of pine trees in the middle as well. Thunderbird. And see if there are any adjustments to be made in regards to the size and shape of the pine tree. If not, we can keep this for complete drying and I'll come back once the paper has dried up. Next, appease the riveting. So make sure the paper is completely dry before we attempt that. Your hands, if your paper is dry it up, only then proceed with the next step that is reverting the paper using hockey brush. And very gently. This step is only to paint the ripples in the water. As you can see, it's quite a light shade. The lake part. We have to add a lots and lots of ripples using indigo color. Now. I'm taking indigo color and I'm taking a very dark indigo color here. And that is more paint and less water. And my silver black walnut number 14 brush. And I'm going to paint the ripples in the lake. And now I'm taking my number six brush and I'm going to add a few more ripples. But as you can see, the middle part, I have let it being light color. Do not miss that. The lake, I realized the sky is very light in shared since the paper is still wet, I'm adding just a little bit of indigo or there as well. But if you are, the sky that you have painted is already dark, you can skip this step. In order to access water around the edges using a tissue paper. You can see the little bit of indigo is spread here, but not completely. And it's looking quite odd. So I'm gonna add a little bit of indigo to these trees as well. And with that, my painting is completed. I'm gonna see you guys tomorrow with a brand new class project. Thank you so much for joining me today. 27. CClass Project 25 Stormy Winter: Let's paint bright and very moody snow scene today, I'm taking primary yellow from a scenario, Sennelier, orange from of course, and aliyah, and indigo from white knight. I'm taking the tube this time and not the pan. Now I'm going to swatch these colors out for you. Start with primary yellow, followed by Sennelier, orange and white knight. Further landscape, we're going to have to make Sennelier orange with indigo. And I'm gonna see what happens when I mix these two colors together. I haven't used these two colors in a combination before. And this combines looking good. And it's gonna be very interesting to see these totally different colors combining together. With horizon line. I'm going to be sketching the horizon line a little bit to the bottom part of the paper, instead of in the middle. Sketch, a big cabin. And I would suggest you guys to just go to the end of this video and sketch the cabin at your own pace. I'm done with the sketching. I'm going to take my hockey brush and I'm going to wet the background area with clean water. We're going to fast paint the background area later. We're going to come for the foreground and the cabin. Now I'm gonna take my silver black velvet number 14 brush and the lightest shade of all, primary yellow. And I'm going to start painting the landscape with it. First. We are going from light to dark colors. So after primary yellow, I'm taking Sennelier orange. I'm going to play at the paper. Damp brush to blend these two colors. Spend too much time for blending yellow and orange. Because we need to add indigo color. And we're going to need our paper to stay wet. So we're going to have to work faster and smarter. After adding indigo color, I'm going to take a damp brush. I'm gonna make my brush dab by removing all the excess water using a tissue. And I'm going to slowly blend these three colors together. Indigo color till that border that we have painted the horizon line. Gonna be taking my silver black velvet number six, brush the smaller one. And lots and lots of indigo paint. And we're going to paint the background. Pine trees, wet-on-wet. This is wet-on-wet. You don't have to worry about painting the pine trees in detail. Just get the shape right, like I'm doing right here. Done with painting the background. So I'm going to keep this for drying and I'll come back once my paper is completely dried up so we can work on the foreground as well as the cabin right there. My paper has dried up now, so I'm gonna take my silver black, alright, number 14, brush. And I'm going to take a little bit of water and I'm going to wet the foreground area and do not read the cabin just at. We have painted the foreground for the snow scenes before in my previous class projects. So just keep adding the indigo color and make shadows. As you paint. There are no detailed structures that we're going to paint here. We're going to just add a little bit of paint. And later I'm going to splatter some indigo paint. Again. Little bit of splattering will also give you a nice tip to your landscape. The foreground is drying. I'm going to work on the cabin. So I'm going to take only indigo color. I'm going to get started on painting the front side of the cabin, paint with indigo and this side as well. After that, I'm gonna be taking my silver black velvet number six, the smaller brush. And my brush is completely dry. With a dry brush itself, I'm going to take a little bit of indigo and I'm going to draw it on the roof. It's called dry brush technique. It's good. It gives a very nice structure to the painting. Do not cover the entire roof with indigo color. Most of it should be in white color because it's now seen almost done with the landscape. I'm just going to be adding a few more random details to the foreground. For today's very colorful and also moody landscape. I'm gonna see you guys tomorrow with a brand new class project. Thank you so much for joining me today.