25 Day's of Cozy Winter Landscapes with Watercolor

1. Welcome to the Cozy Retreat: Window is the darkest and often the coldest of the seasons. But which chill and the possible snowfall comes to holiday season. And ample moments for cozy retreat and hibernation. Who doesn't love calling up with a winter cocktail by the fireplace, snuggling up with a blanket and indulging a bit. Everyone, welcome back to class or whatever. Wash artist. If you do a sketch it. And obviously intrapreneur. Welcome to my new Skillshare class, 25 days of cozy window wipes. It's the perfect whether to take a hot cup of coffee, sitting down with your paints and paint these beautiful landscape. This class is going to be a penny five days watercolor challenge, where we'll be creating 25 different winter inspired landscapes or paintings. Do not be worried if you are an absolute beginner and joining in for the first time, I'll be discussing with you all the materials in detail, the alternatives, as well as through every class project, I'll be guiding you through with the color tones, the best color alternatives that you can use. Forming your own colors, Understanding the color pigments going through the basic techniques before attempting the final class project for this specific day, I will be discussing everything in detail, Class Project d by d, so that you are not overwhelmed with all of the details together. Moving ahead further, we'll be learning much about wet-on-wet technique, the water control, and creating in the beautiful landscape for 25 days, one day at a time. Whether you are an absolute beginner or an intermediate artists, you can join us and enjoy the 25 days of cozy winter with your hot cup of tea, coffee or hot chocolate, and sip and paints together. Without any further ado. I hope to see you guys join me into the next lesson and paint along with me for the coming 25 days of cozy winter. 2. Materials Required: So before we move further into the overview and the class project for d1, let me discuss with you the materials that you'll be needing. The first one and the most important being the watercolor paper. I'm going to be using this for Hong academy level, 300 GSM, hundred percent cotton paper. This paper, I have cut into size five inch by five inch square. So this is how a finance class projects will be looking. We'll be taping down the edges using the masking tape. So for each class project, I'm going to be using in this 1 cm masking tape and taping it down onto a movable. Now the reason of taping down my paper on a movable bone is so that when we paint in the northern lights are galaxies, It's quite easy to turn to this board and getting the planes between the colors easily and when they play along with the soft consistency of watercolor. So make sure to have a movable surface to tape down your paper. So that is about the paper. I would recommend using 100% cotton paper and the rough green one, or a cold pressed one. So this is cold press paper, but you can see it has a little texture. A rough green, maybe too hard if you are an absolute beginner. Next, I will be using this rough sketch book, wherein I'll be discussing with you the colors and the techniques for each day before every class project so that you are not overwhelmed with all of the basics techniques, colors altogether on the one with the every day will be discussing something or the other new unrelated to that class project. So that in that way you can learn a lot. But d by d. Next coming to the brushes, I'm going to be using some watercolor, synthetic and some natural hair brushes with every class project. And keep discussing it's going to be a mix of flat brushes, round brushes, some detail of brushes that you need. Next, you will be needing some basic stationary, a pencil or pen and an eraser. For the pen, I'm going to be using 0.1 and 0.5 board. Next, you need the spray bottle for spraying or to rewet your paints. If you're using them from already palette, you would be needing a white gouache because we are painting winter and snow means white gouache is what you'll need the most. Next coming onto the important part, that is the colors I'm going to be using in different color brands this time. So you can see I have my White Nights palate, which is the pan set. I have some of my PwC paint squeezed out on this palette. And apartments. This as in when for any specific class project, if I need other specific colors, I will squeeze them out separately on my palette, which will be from different brands, including PwC, Magellan, mission White Nights. So I'm going to keep using different color tones with every class project. I will keep discussing them with you so you need not need all of these colors. I'll be telling you different color mixing possible, which you can do with your basic palette to get these new color tones that we have. So squeezing out these colors I'm going to be using in this ceramic palette. You can go ahead and use in any palette that is available with you. Apart from this, you will be needing two jars of clean water for each class project for painting in and cleaning your brushes. You would be needing the tissue paper or a clot starving for dabbing off your brushes for the dry brush technique and for a lot of other things. So make sure you have one handy all the time. So these are all the materials that you will be needing for the coming 25 days. So grab all of them. And I didn't see you guys soon into the next lesson. 3. Day 1 - Pine Tree- Technique: So let's begin with our class project one, and let's begin having a look at the colors and the basic techniques that you would be needing to know before we begin the final class project. So first we'll talk about the color sheets that I'll be using for this class project. So the first color that I will be using is going to be this shade of violet. This is from the brand PWC. You can go ahead with any shade of violet or purple that is available in your palette. Next, I'm going to use in this red violet tone, which is again from PwC, you can use in rows, middle carmine, or any other bright pink shade like this. And the third color that I'm going to be using for this guy is going to be the parietal pleura color. Now in case if you do not have a brighter color, you can simply using any lighter pink tone or simply mixing a little bit of white to your pink tones to get a lighter pink. So we're going to begin with the violet at the top, then moving to the medium tone of pink and then to the bright opera pink color. Now the parietal pleura color, you can see I have used it in a very light consistency, so I will just show you the light transparent consistency that I've used an app, the horizon line. So it is this light consistency that is much more of water and very less of the pigment that we'll be using in closer to the horizon line. Now after this, we'll be adding in or wet on wet or the Cloud details onto our sky. I'm going to be using in the same colors on the base layer which is going to be wet. And on top of that you can see the lines that are coming in. These are going to be the wet on wet technique to build in their Cloud details into our sky. Next, coming to the pine tree that we will be painting for the pine tree, I'm going to use this liner brush. This is from the brand Princeton velvet, that series size one. So this is a very fine pointed brush. I'm going to go ahead with a very simple pine tree detail. So using this liner brush I'm going to begin creating in the pine tree. Now I'm going to hold the brush much closer to the bristles so that I have much more control over the brush. I'll be beginning in with a fine pointed tip and then beginning to add in the foil age. Now to remember how to add in the pine tree, you just need to understand the basic shape that it should form and the foliage effect. The foil each have to go in a little in a diagonal manner. As you can see, I'm adding them top-down at the moment. You can even add them from the bottom to the top. Now the shape of the pine tree should be a triangular shape like this at the end. So when you begin adding the foliage, you add the top, you'll begin adding in the village, which will be smaller in length. But as you move towards the bottom side, you will keep increasing the length of the foil age so that at the end of the entire process of adding in the pine tree, the buying team should get a shape of a triangle. Now, there are many ways of adding in the pine tree for beginning, and we're just going ahead with a very simple layout of the pine tree. Moving ahead further in the class projects, we may go ahead and add in a few more detailed pine trees and learn about them. But for now, let's begin with the simple ones. So you can see very simple file it step at the end of pine tree has gotten into the triangular shape. Now the next detail that you need to understand is the dry brush detail that we'll be adding in fathers no space to give him the picture to this norm. So far, adding in the dry brush for this class project I'm going to be using in the purple color itself or the bright clear violet color. So I'm going to pick up some color on my brush, dab it on the tissue so that the access of the paint is absorbed by the tissue. And then I'm going to run it over the snow space. So for now, I'm just running it on the blank paper to show you how you get the dry brush detail. Now, the texture of the paper also makes a difference to the dry brush detail that you go to add in. Because if you notice a little closely, my paper is a rough textured paper. Let me give you a closer view. So you can see my paper is very grainy. It's a rough green paper. Even the final class project is a rough, clean paper. So you can see how easily I can get in the dry brush plus the texture of the paper also helps in getting the dry brush technique easily. So that is how I'm going to be adding in the dry brush technique in this class project. And you can see we are going in diagonally as well. So these are about the basic techniques. Rest of the details are quite a simple one. This is how we are going to be going ahead with the day one beginning in with the sky force, then moving into the snow detail and the rest of the pine tree and little foliage detail urine there and the dry brush technique. And that will be a class project are very simple one to begin our 25 days journey for the winter illustrations. So a pretty simple one for day one. In the next lesson, let's begin painting this beautiful yet as simple painting together and begin our journey with winter landscapes. So I hope to see you guys into the next lesson and paint this beautiful simple landscape together. 4. Day 1 - Pine Tree: So let's begin in with our class project for d one. We've already discussed the basic colors that you need and the basic techniques that you would need to know for this class project. Let's begin with the little pencil sketch that we need that is just going to be a horizon line or below the center line of our people. Now first I'm going to go ahead with a layer of water onto the entire sky space. We are going to work wet on wet, painting the sky, and then we'll paint the snow and the rest of the details. There's no pencil sketch for the pine trees or other details. We are directly going to be adding them with the paints once our details begin to dry. Now make sure you haven't even layer of water throughout so that your paper does not dry out in between or you may get in touch with us. The colored neon sky. You can see I'm running my brush multiple times so that my paper stays wet for enough time until I'm adding in all of the details. Also make sure that you do not have excess water on the edges. Otherwise it may sit back into your painting. So first beginning in with the violet color at the top space and adding in a layer of a medium tone of the violet color. Next, I will shift into the rows metallic color. You can go ahead with a sheet of carmine or Scarlett if you do not have the exact same shape. And for the purple color, if you do not have it, you can mix in your blue and the pink tones for getting in that purple tone. Now lastly, you are, I'm adding a light layer of the brighter color. I'm going to further lighten up this tone by lightening the color by lifting a little on my brush. The reason of using a flat brush here is because I have a very flat layer of the color wash. And now using the round brush, I will begin adding in little detail into the Cloud space. So first using the violet color, just adding in some details. Now, make sure at this point when you begin to add in these Cloud details, you do not have excess water in the color that you lift up. Otherwise they will spread and completely just blend in with the base color instead of giving in that cloud detail or the texture that you're trying to create it. So it's very important to have the water control while adding on working wet on wet with watercolors, giving him the details in any kind of a painting. Now next, when we are moving further towards the bottom side, have shifted to the rose madder color. And now just adding in some highlights with this color, you can see I'm using the color in a very medium tone consistency not to write. Plus I'm working wet on wet. That is, my sky layer is still wet on those details. I'm adding in the wet details with the color tones. So you can see all of the clouds have a very soft and blended look with the base layer. Now roughly at places I'm lifting up a little of the color, creating in some lighter effects as well into the sky. So that is it for us. Now we'll wait for this to dry out completely, then move ahead further. So now my sky is completely dry it and I'm going to go ahead painting in the base layer for this no force. So again, I'm going in with a layer of photo. The snow area is going to be very simple one we're just going to pick up the pink and the violet color and create a very light effect of the snow. Now the reason of using the pink and the violet color is to show the effect of this guy colors falling on the snow. That is the reflection of the sky colors being reflected on this nose piece. You can see I'm lifting the color in a very light consistency. It's basically a liter of water with just a little tinge of the color that we're adding in your. Now at certain places I'm going to give in some darker debts are darker movements with that same violet tone so as to show some darker shadows pieces of the snow space. But again, you have to work very carefully. One, we're still working wet on wet, that is, my snow space is still wet. And second, when I lift up the colors for adding in the details and making sure I do not have excess water. Otherwise, the colors will spread a lot, plus I'm not picking up the color into dark consistency. Otherwise it will again create neuron. Darker patches which will be difficult to lift up. Now next step is squeeze out a little bit of the white gouache until my small space dries out and I'll just add a very small moon space into the sky. So till this has no spaces drying, I'm going to quickly add in the moon using in the white gouache. Now in case if you do not have to whitewash, you can use biotech relics as well or a white gel pen. If you'll go ahead using the white watercolor, it may not give you the opaque and the bright loop that we need in for the moon. Because watercolors tend to dry tone lighter and a little transparent, so they will not give you the opaque loop that white gouache or white acrylics will give you. Using a smaller size brush. I'm just adding a very small moon towards the right side. Now my snow space is also almost dry, so I'm just going to quickly lift up a little of the black color on my palette and begin creating in the pine tree details. Now make sure to your black color, you do not add in a lot of water. We needed to know little bold consistency. So make sure you just added enough water so that you have to perfect consistency. But not much, that it turns out transparent. It's very important to keep the color opaque, otherwise the base layer colors will become visible. So I've just added a little spray of water onto these to get it into a perfect consistency. And now I'm using my size one liner brush so that I can get into the fine details for the pine tree. Now you can either use a pointed tip brush or go ahead with any smallest size brush that is available with you. Now you can see I'm holding the brush quite closer to the prison so that I get perfect control over the details that I'm going to add it. Plus I can add in the details more delicately. First, creating in the center space for the pine tree that we'll be adding in. Now, discussed in the technique section, that tree, that is a pine tree, has to take a triangular shape at the end. So at the top space you can see I'm beginning with a very small length to the village. And as I keep moving towards the bottom side, I'm going to increase the length of the foil it slowly. So as you can see, I'm going ahead with a very simple layout for the pine tree. I'm not going with a detailed one. And now as I'm moving further towards the bottom side, you can see I'm increasing the length of the village slowly, then die or bind. G is beginning to take in the triangular shape as we discussed in the technique section. I'm almost done adding in the pine G Just last little detail. So at the bottom space, I'm going to let little of that stem be visible without the foil. Now, next, we have to blend in a little off the bottom space into the eyes area to show up perfect or routing effects to the pine tree that we've added in. So using the smallest size **** brush, I'm just going to blend a little of the bottom space into the eyes area that we've created and give it a little dull if pec, this week, you will see a little greyish patch just below the pine tree, which will act as the space from where the roots of the pine tree are coming in and the pine tree will look perfectly blended into the snow area. Now I'm going to add a little of the dry brush detail on the snow space to create the texture on the snow. So far that I've lifted up a little bit of the violet color and I'm dabbing off all of the excess paint on the tissue so that I can get in the dry brush detail. Also, since my paper is a rough green paper, it helps in getting in the dry brush detail a little more easily, so fast and adding in very light effect. Now I'll go ahead and add in a little more of the darker effect. Make sure every time that you lift the paint, you dab it a bit on the tissue so that excess water or the excess pigment is absorbed by the tissue and you have very less paint on your brush so that you can get these dry brush detail easily. So at certain places you can see I've created a little of the diagonal movements as well with the dry brush technique. So I'm almost done adding in the dry brush detail as well. Now, I'm just going to add in a very small, tiny detail on the horizon line. And then we'll be ready with this class project for day one of our 25 days. Because even though challenge using in the plaque or the Payne's gray color, I'm just beginning to add in these little branches out you're using the liner brush. You can see very randomly, I'm going ahead and creating a bunch of these out. Now varies randomly. I'm just going to add a little of them out here at the bottom space you can see how find these details are. In case if you want, you can use a 0.1 pen as well for adding in these details. If you're not confident about adding these tiny details with a brush and the color. And lastly, on the horizon line just running with a very light layer of the violet color so as to distinguish the horizon line with the sky. So very fine line, you can see very light tone of the violet color. Now using the damp brush, I'm just blending this violet line a little into the small space so that it is not visible prominently as a separate line. It should look well blended into the snow area. That is it. We are ready with our class project for d one, I wanted to keep the D1 class project are very simple and an easy one so that you begin to get a hang of painting in these details. And it's a pretty simple one with very limited color palette. Now make sure to remove the masking tape once your edges are completely dry or it may tear off your edges and lift up the color from your main painting. We also ruin your entire painting and always remove the masking tape against the paper. So here's our final class project for d, one of this 25-year Winter challenge. I hope you guys enjoyed painting this pretty simple landscape with me. It just took us 15 min to create the entire beautiful landscape. I hope to see your class projects coming into the project section. Make sure to upload them as a venue. Paint along. Thank you so much for joining me into this class and painting along with me. 5. Day 2 - Snow Mountains - Technique: Hello everyone. Welcome back to day two of the 25 day cozy winter. Today we are going to be painting this easy yet a beautiful snow-capped mountain. So let's begin First understanding the colors that we'll be using for today's class project. The first color that I'll be using is the cell in blue color. Next is going to be the bright violet color that I'll be using. Both of these are from the brand PWC set. The next one is the indigo color. This is from White Nights, my pan set that I will be using in. Next, you would be needing either Payne's gray or the black color for the mountain ranges and for the pine trees. I'm going to use the black color this time from my right night set will be using this acronym blue, violet and the indigo color for painting the sky. Then on the mountain we are first going to use in this slide consistency of the blue tone for adding in the base layer of the mountain to actin as the snow space. And then using the black color will give the dry brush detail on the snow-capped mountain and paint the pine trees as well. So as chi is going to be a pretty simple one, we are going to be working wet on wet using in the three colors of the blue and violet tones. Then we'll paint the base layer of the mountain with the very light consistency of the blue color. And then using the black color, we are going to go ahead with the dry brush on the mountain range creating in the tip. Someday you will see patches of the black color that we'll be adding and some better dry brush as well as you will notice the dry brushes in the diagonal pattern this time that is the movement of the brush is a little diagram to get in the texture and the flow on the mountain for this no spaces. So a brushstroke are not going to be straight, rather it's going to be diagonal like this that we'll be using to create the texture on the snow-capped mountain. Makes sure the movement of your brush. Then for the pine trees will be simply using in the bowl consistency of the black color and adding in the pine trees. And then lastly, using in the white quash and the yellow color mix will be created the growing space for the moon and then adding in the moon with the white quash. So that is how our entire class project is going to flow through for the D2 off the third 25 day, cozy winter challenge. So grab on your colors and grab your paper ready. And in the next lesson we'll begin creating in this beautiful painting together. Hope to see you all into the next lesson of this class and paint this beautiful snow-capped mountains together into the next lesson. Now. 6. Day 2 - Snow Mountains: So let's begin with the class project. We'll first beginning with the pencil sketch for the mountain range and then move on painting the sky. So we're just going to go with the basic outline for the mountain range because we do not want the sky colors to go into the mountain range. Because a mountain range is going to be a very light tones and you'll have to darker tones of the sky already in the mountain range. We won't be able to cover them up. Now, make sure that your paper is taped down well enough. And let's begin in painting the sky first, I'll just mark out a small moon space. It's just a rough idea for you to know where we'll be placing the moon. It's absolutely not necessary to have this pencil sketch because we will be directly giving him the details with the quash later on, which we'll as it is be opaque. So I'm just lightening up the space so that, you know, because watercolors are a little transparent and the darker pencil sketches may be visible underneath, which I do not want him. So first beginning in with the clean layer of water onto the entire surface only till the mountain range. I will make sure unmarked outline of the mountain range very carefully so that I do not run the layer of water inside the mountain range. And I haven't given a good layer of water so that we can paint the entire sky wet on wet. Make sure that you have an even layer of water throughout so that your paper does not dry in between while you're painting in the sky and adding in the details, wet on wet. So the first color that I'm picking up is going to be the settling blue color and just beginning to add in some loose strokes with this color on the wet background. In case if you are someone who's not using 100% cotton paper and your paper tends to dry out quickly. What you can do is bed this office, wait for it to dry it on 50 per cent or so. And then go ahead again with a layer of water onto that have tried surface and then begin painting. In this way, your paper will stay wet for a little longer time because the cotton fibers inside the paper tend to absorb the water and that will already be wet. So when you add in the next layer of water, it will help in keeping the paper wet for a little longer time. Now the next color that I've picked up is the indigo color. And I'm just beginning to add in loose strokes with the indigo color into the sky. You can see I'm just using some flat coffee strokes to give him those details into the sky. Plus I have some white spaces as well maintained. Now next to this little blue on my palette and mixing in a little bit of the bright violet color and beginning to add in the strokes with the violet color. Now in case if you do not have the violet color, you can simply mixing a little tone of your pink to the blue, get a violet tone and begin adding in the details with the violet tone. Now again, for some darker this, I'm just going to go ahead with little details of the indigo color. You can see the strokes that I'm adding is not spreading completely. It's retaining the ship yet having a soft blended loop because we are still working wet on wet in case of you will have excess water. By adding in these details, all the color will begin to spread and create a flat look altogether and will not give you this distinctive look. Now I'm going to use a hairdryer to speed up the drying process. And I'm going to quickly dry out evenly the sky space so that we do not have to wait and make sure you are moving your hairdryer in all directions quickly so that you do not dry out a specific space. Otherwise you may get in patches of the color. So you can see I'm rotating the hairdryer in all directions so as to get an even drying. So my sky space is almost dry, just a little more so that it's completely dried and then we can begin painting in the mountain range. So for the mountain range, we're just going to go ahead with a very flat layer of a very light tone of the blue color, as we discussed in the technique section. So I'm going to quickly add in that layer using my round brush size eight. So I'm first adding in a layer of water here. And then on top of this, I'll go ahead with the blue color. So this is again wet on wet technique that we are playing along with. The reason of going wet on wet, despite being a very small detail is because if you go ahead with the color directly, you may get an patches which may look unpleasant. So that is the reason I added a layer of photo. Now you can see I used very little tint and spreading it across entirely so as to get the layer of the snow loop onto the entire mountain range. And the reason of using the blue color to give him the fear of snow is to depict the effect of the sky color falling on the snow area as well. Now again, to speed up the process, I will quickly use a hairdryer and dry up the snow space as well. In this class project that is not much detail which we did not wait to dry out naturally. So that is the reason I'm using in the hairdryer quickly and speeding up the process so that you do not have to keep eating in-between the process for it to dry out. So you can see I'm moving again in all directions so that I haven't even drying. Otherwise, if you keep your hairdryer station at one place, it will dry out that patch. Then when the rest of the details dry in, you may get in patches of the color which we do not want. I'm done with the drying process as well. Now let's beginning with the dry brush technique for the mountain range. I'm going to use the black color. I already have the color on my palette from the previous class project. Now I've picked up a little color, dabbing off the excess water and the pigment on the paper towel. And now beginning in with the dry brush technique, I'm using the size four round brush. This is the silver black velvet series. And you can see I'm moving in diagonally towards the left side, creating in the movement of the mountain range. If you want, you could move from the left to the right side as well diagonally. It's absolutely your choice. I prefer moving towards the left side this time. And my papers, since it's a cold press paper, it is a little rough grain texture. So it helps him getting this dry brush stroke easily because the paper is rough, your brush does not have excess of paint and water. So it automatically helps you in getting this dry brush draft details creating in the texture for the snow space. Now at the top species you will see I'm going to give him some darker depths as well at those pieces. I'm not dabbing off the excess paint rather than false giving in the patches at the top space. And then with the lesser paint, I'm just going ahead and giving him the texture effect. Now from the left side you can see I'm moving a little tinted towards the right side, giving in some flow towards the right side as well. Similarly from the bottom spaces by just giving out little texture. Now at the bottom or on the edges, even if you do not add much of these details, it's completely okay because we are going to be adding in the pine trees there. But just to be on the safe side, I'm adding it. The reason being, say in case of you're adding in the pine tree, It's not necessarily that the violation may fall at that place in order to not have that gap in-between from the behind layer. That is the reason for a safety measure. I'm already adding in the dry brush on the entire mountain range, despite knowing that we are going to have in a lot of pine trees covering up major of these pieces. Now randomly I'm giving in some dark patches and some more dry brush in-between before we move on to a pine trees. So now in-between you can see I'm giving in these bold black lines to show the movement of the mountain ranges and distinguishing points between the mountain ranges, breaking the mountain into parts, creating the texture of the mountain as well. So at the meeting point of the mountain and the sky, you can see I've given a good ball line so as to have the perfect distinction. Now I'm going to pick up a little more of the bold black color. And I'm going to begin adding in the pine trees. Make sure you do not have a lot of water while adding in the pine trees. Otherwise, your pine trees, after they try midtone transparent a bit, which we do not want. We want a good ball look for a pine trees. So make sure to use the black color in a good thick, bold consistency. Now first on the left side, I'm going to go ahead with a very big pine tree. The details of visual so you will see will turn a little bigger. But you will again notice as I move from the top to bottom, the length will keep increasing. And despite being the half or three only that is visible to us, you will still be able to notice a triangular shape to a pine tree. So make sure to maintain that triangular shape so as to get in the effect of the pine tree. So at the top I'm beginning with very small length of the edge and moving towards the bottom side. I'll keep increasing in the length of the foil age. So now you can see as I'm moving towards the bottom side, I'm increasing the length of the foil age this time since it's a bigger G, you can see I'm pulling out branches and from that I'm pulling out the phylogeny in the last class project, if you remember, I was directly pulling out the phylogenies from the main stem of the tree because it was a very small and less detail tree that we were painting in. This is also not much detail. You can see I'm going ahead with very big foil age, adding in the details quickly, just that I'm adding in smaller branches to the main stem and that pulling out the foil edges in May, even in between you can see I'm pulling out randomly some of the villages to give in that field effect, then try a pine tree. Now I'm going to go ahead with one pine tree on the right side as well, which is going to be a little smaller as compared to the one on the left side plus on the right one, you will see we have a little of the other side else's well visible. Now in the same way as we added the foliage effect on the left side, I'm going to quickly add in the foliage on the right side as well. Again, remember at the top you have to begin with the smaller length of the foil edges. And moving downwards, you have to gradually keep increasing the length of the foil it so that you can get the triangular shape for the pine trees. So I'm almost done adding in that second pine tree as well. Now in the center space, I'm just going to be adding in very little of the pine trees, just some smaller ones to fill in those gaps in-between and have an even layout. After that, we'll just be left to add in the moon and we'll be ready with our class project for day two. So this little pine tree here you can see I've added it in a little tilted. It's a little slant and bend towards the left side so as to get little variation as well. Now I'm just going to go ahead with little detail at the rest of the space in the center one. So you can see very simple pine tree. And this time again, you can see I'm pulling the foil age again from the center stem, only not adding in the branches. Now let's begin creating in the growing space for the moon. So I'm mixing in my yellow and the white tone and I'm going to create the first background layer for the moon. And then go ahead and add in the moon in the center of the growing space that we create. So I've picked up more of the white and less of the yellow color. And now I'm just going to go ahead and add in a layer first. Make sure you do not go ahead with a very big layer. So after adding in that small circle, I'm using my round brush and you can see I'm blending the edges into the background of the sky so as to get that blurry effect and plus a blended look into the sky in case if you feel that the color is turning to Dan, you can go ahead with one more layer, but again, blend the edges into the background so as to have that soft glowing effect look for the moon that we will be adding in. Now once this dries out, I'm going to use in this bold white color and add a moon in the center space. So I'm not going to add the moon as big as the circle that we created with the yellow color, It's going to be a little smaller before that, just using the white portion, adding in a little snow effect on the pine trees. Very term, not much. So I'm done adding in the snow effect as well, just a little effect on the pine trees. Now, let's quickly add in the moon and then we'll be ready with this class project. Make sure that your base layer of the growing space is completely dry before you add in the mood. So just in the center space, I'm creating in a small circle with the white color. I guess my white has a little tint of the yellow, so that is the reason it's not standing out that good enough. I'm just going to dilute it a little more and pick up a little more color and then add in a bald patch there. So that is it. We are ready with our class project for D2. Let's remove the masking tape and see your final painting. Make sure you remove the masking tape once your edges, that is the pine trees are completely dry. Otherwise it may lift up the color and method of your painting as well. And you can see I always remove the masking tape against the paper so that it does not tear off your painting from either side. So here's our final painting for D2 of these 25 day cause even the challenge, I hope you guys enjoyed painting this beautiful snow-capped mountain with me today. I will see you guys soon into the D3 class project. Thank you so much for joining me. 7. Day 3 - Sunset - Technique: Hello everyone. Welcome back to day three of the 25 days, cozy winter vibes. Today we are going to paint this beautiful sunset view by the snow area. So let's beginning with the colors, fonts that you would be needing for this class project. And then we'll move on to some basic techniques about the water control. So first for the sunset colors, we are going to use in the shades of orange, yellow, and blue and the purple thing. I'm going to use in this yellow, orange tone. Next after the yellow color, I'm going to be using the shade of red tone so you can go ahead with any red color Scarlett on. If you do not have a red tone, you can use a little tint of the vermilion color closer to the orange or yellow orange tone. Next it's going to be the bright clear violet color. And lastly, you would be needing a little tinge of the blue as well. So I'm going to use the cobalt blue color this time for the sky at the top space. And along with that, I'm going to mix in a little tint of blue color as well. So these are the two blue colors that I will be using. You can either use the cobalt blue plaster, saving him do all the Prussian blue color as well. So I'll just note down the other combination that's provided for extrusion loop. Basically, buddhism tones of the blue color. So those are the colors for us crying. Now for the smooth space, we are going to use a very diluted consistency of the yellow, orange, and violet color and give the effect of this type falling on this no space and then some dry brush detail and the fence detail. So far the fence and the detail on the horizon line will be using the Payne's gray color or the black color. So the details of the oldest silhouettes in the painting we'll be using in this black color, you can either use a black or a Payne's gray, whichever is available in your palette. Next, I'm going to use a little tent of the lemon yellow color to give in this sunlight effect at the end. So I'm going to add in this bright lemon yellow color in a very bold consistency so that it pops out at the sun space. So now let's understand some of the color properties before we move ahead further. So when the yellow and the purple color mixed together, they may form in muddy tones. So in order to avoid that muddy tones, we'll be using that pinkish tone in between so as to get the perfect transition. So let's see how the muddy tones react. I've added a layer of the yellow color and now going in with the layer of the violet color and try to blend both of these. And you will see at the blending point, when you blend both of these, you get a very unpleasant, muddy tone, which you would not require in your sunset painting today. So in order to avoid this muddy tones, we'll be using that reddish pink tone. So you can either use a red tone or you can even use a scarlet color, Carmine color, or Rosabeth or color or any other pink tone as well. Which will help you in getting in the transition from the yellow to the purple smoothly without having in this muddy tones form. So you can see the mud like calm mixture forming here because of these two colors, because these two colors are complimentary colors and they do not blend well with each other. So in order to have the transition from the yellow to the purple, we'll be using in the red tone. Now you may be off the question that in the AI space, when we are in the snow space, when we are using the yellow and the violet color, it is not giving in any muddy tones because if you see the snow area, the yellow and the violet color, both are in a very diluted consistency. That is, there is hardly any pigment that we'll be using and it's going to be more of water. So let's have a rough space for the snow area and see this yellow color is also quite dark enough what I've laid down. So I'm going to quickly lighten this up and lift up the pallet. And then we'll add a very minute it turn off the violet color as well and see why no muddy tones or form. So basically, because these colors are more of water and just attach off the pigment, there will be no mudstone form. So while painting the store space, you do not need the orange or the red or the, sorry, the red or the pink highlights do not use the orange color for blending the yellow and violet color. Because both even the orange color is a complimentary color and we'll give you a muddy tones. Now in the background here you can see we have some far-off blurry effect with the black color wireless guy was still wet. So at that moment you need to have the perfect water control so that you're, you know, that blurry space does not spread into the sky completely. We need to have it in a retain shape. And once that dries out, we'll be adding the details of the tree with the black column. So let's see the water controllers value here. So I'm just going to go ahead with a random layer of the yellow color for now. I'm not adding in the violet tones for now because this is just for you to understand the water control part. Now, I have the yellow layer. The yellow layer is wet. All right, Now onto this wet layer, we're going to add in the background rotary effect for the bush space. So I'm just lifting up some black color. Now, when you pick up this color and you're working wet on wet, you need to understand two things. One, your background shouldn't be extra wet. And second, your brush also shouldn't have extra wet paint that everything flows around. Now, you can see when I'm adding the color, the background also isn't too wet. The brush that is holding the paint is also not having excess water. The paint is also not too liquidy consistency. That is why it has read in this space and the shape in which I have added it. Now let's pick up the paint in a very liquidy consistency and drop and see how it reacts onto the wet background. Also, you could see I had tilted my paper when I was adding in those details so that the colors do not flow much at the top side. Now you can see when you have excess water and when you add that drop, it spreads completely, does not retain the shape and just moves around. So that is the reason while painting wet on wet, you need to have water control. So that is how we are going to be painting this background blur effect using the black color wireless guys still going to be wet. So that is all about the techniques you need to understand before attempting this class project for day three. Rest of the details are quite simple. One which we can directly add them while painting our final class project. I will see you guys into the next lesson where we begin painting our class project for d3 of these 25 days of cozy winter. 8. Day 3 - Sunset: So let's begin with our class project for day three. Let's begin with a little pencil sketch, just going to mark out very basic stuff. Rest of the details do not require pencil sketch. It's directly going to be in with the colors that we'll be adding in the details. Now if you want, you can add the details for the fence with the pencil. Or you can just give a small light layout right now or after the snow space tries, it's absolutely your wish. I'm just marking out the bigger lines so that we know the shape and the movement of the fence space. Now as we discussed in the previous section, we are going to have in the blurry effect on the horizon line first and then we'll be adding in the detail look with the black color later on, as well as at the top space we're just going to be having in some of the branch look moving out. So that is it about the pencil sketch and the layout. Now, let's begin painting the sky. So for that, I'm first going to go ahead with a layer of water onto the entire sky area. Make sure you haven't even layer of water so that your paper does not dry out in between. And as I discussed with you, in case if you're using a paper which is not 100% cotton, you could wet your paper completely, wait for it, dr from around 50 per cent. And then we wet the area wherever you want to paint in. And that will help you in keeping your paper wet for a little longer time because the cotton fibers in the paper absorb the previous layer of water and they are still wet. And on top of that you add in the second layer of photo. So in that way you can keep your paper wet for a little longer time and work with the wet-on-wet technique. So I'm almost done. You can see even I'm running my brush multiple times despite using 100% cotton paper because I do not want my paper to dry out in-between. So first big thing in with the yellow, orange color on the horizon line, you can see I'm just going ahead very slowly in between leaving in those white caps intentionally taking the color on the lighter tones in the center space to show a little sunlight effect. Now next I've picked up the shade of carmine color, which is a pinkish red tone, and I'm adding it closer to the yellow color. Now, in-between, wherever you feel the need, you can keep switching between the colors so as to get the blends and the transition easy and smooth. This Carmine color I'm using from the brand White Nights, that's the pan set. And the yellow corner was from CNN PwC, permanent yellow, orange color with the same carmine color. I'm giving him little highlighted effect over on the yellow space as well. When you're adding the highlights closer to the horizon line, going very carefully so that you do not drop the colors into the snow space because there we have a very light tone. Now next has picked up the violet color and adding it closer to the Carmine color. And you can see we do not have any muddy tones. Now remember watercolor dries a tone lighter at the moment, if you see the Carmine color is in the very light tone. So I'm going to add in a little more of the Carmine tones later on. When they dry, we have a bold, beautiful sky. So just going ahead with another layer of the Carmine color, creating in the darker, even for the violet color you can see the color is starting to light. I'm going to go ahead with more layers when I begin adding in the blue tones. Now, moving along, adding in the cobalt blue and the cereal in blue color both mixed together. So at the top space, adding in this blue color in very random motions you can see trying to blend it well with the purple tones. Now, I'm going to go ahead with the second layer of the colors again so that I have a bowl look when they dry out. So first beginning in with the purple closer to the blue tone and beginning to blend them all. I'm still working wet on wet, that is my base layer is still wet and you can see all the soft and the flow between the colors happening in smoothly. So that is why I recommend whenever you are walking with a wet on wet technique, make sure that your paper stays wet for enough time so that you can add on all of these details. So I just went ahead with another layer of the Carmine color, again, giving in the depth as Ben, and just giving in some more depth on to the yellow space as well, adding in the cloud effect. Now wherever I feel the need to add in some yellow highlights, just adding in the color and bending it when the sun effect that will be giving in with the lemon yellow color. We still have to add that as well. Now again, creating some darker cloud effect using in the darker tint of the Carmine color. You can see I added the layer of yellow. Now in the center I've kept the yellow space and around that I've added the cloud effect with the red tone. So this is for our sky. But remember, while the sky is still wet, we have to add in little details with the black color in the background effect for the blurry effect of the bush detail. So now I'm going to pick up the black color. You can wait for a few seconds for your paper to settle in a bit so that your paper is not too wet and a member of paint has to be in a perfect consistency, not too excess of water. So I'm dabbing off it on a tissue so that the excess water is drained out. Plus you can see I have tilted my board. I have given him the palate below it so that my paper stays tilted. Violate adding this effect of the blurry, much detail so that the colors do not move towards the top of the sky. They keep inclined, moving towards downwards. So you can see very carefully I've added in the effect now I'm just going ahead with one more layer so that once they dry out, they are visible enough. Because again, remember watercolors dry or tone lighter. So add them in such a way that once they dry out, you have a perfect consistency. Look in GitHub if you want to know how which color is drying, I would recommend you to have a swatch test of all the colors that you have. And then you can see when they dry out, what is the consistency that they come up with. That will help you in understanding much better about the pigments that you haven't. Now quickly using a hairdryer, I'm going to speed up the drying process. But the important technique again here is that you have to keep moving your hairdryer in all the directions so that all of the layers dry out evenly and together. Otherwise, a specific part of the painting may die out faster and the rest of the parts may still remain wet, which may cause in onCreate unevenness into your sky. So that is it. I'm done with the drying process for my sky. Now, let's move ahead for the beginning to paint in the other details. So I'm going to first go ahead and quickly create this cone space as well. And then we'll move on to the final details for the painting. So far, this noise idea is by first going ahead with a layer of water. Now it's not necessarily to keep your boat tilted. So I've quickly just remove the palette underneath. Now first, with the yellow palette, I'm going to give a very light effect. This yellow is turned up too dark, so I'm just going to spread this uneven lift up a little of the color and dab it on to the tissue. You can see how easily you can lift up the color quickly while it is still wet with the help of a wet brush. I've just lifted up the color and added it onto the tile. Now, I'm going to use in the violet color, again in a very light watery consistency. The pigment contained has to be very low and you have to have in more of water. Now just adding it below and above the yellow space that we added in the snow space. Now as discussed, the reason of adding the small space with these colors is to show the effect of the sky colors falling underneath as well. Now just adding in some highlights with a yellow color. So you can see, I'm just using the tip of the flat brush to create these highlights. Now if you feel that these highlights are also too dark, you can quickly just blend them and lifted it enough it and keep them in a little lighter tone. Now in the same, we're just adding in some highlighted space with the violet color, but these are turning out too dark, so I'm going to quickly blend them a bit and get them into a little lighter consistency. So all of this is still wet on wet that I'm working in. So that is it for this no space. Now let's wait for this no space to dry and then add the details. So now my snow spaces also completely dry down. And now we are majorly left to add in the details with the black color. So I'm going to remove some bold black color out on my palette and begin adding in the details one by one. So first let's begin adding in the fence detail on the snow area. You remember the light pencil sketch that we had added it. In case if you want, you can go ahead with a completely different silhouette of the fence space. It may not be exactly same as mine. So I'm using my size one liner brush. This is the Princeton velvet touch CDs liner brush that I'm using in, and you can notice the fence detail. I'm adding it in a very crooked way purposefully so that it gets into nitrogen loop. We do not want the straight lines out there to happen in. Now in-between the fence, just adding in the vertical lines out here. I'm almost done creating in the entire fence space. You can see we are done now. We have to add in some dry brush detail plus some rogue details in the small space, which will add on later. Now, let's begin and move on to the next detail. That's going to be the branches at the top space. So using the same liner brush and the black color in a bold consistency, I'm beginning to add in these branches, it's going to be quite thin branches. So I'm going to have in two to three bigger branches and run that I'm going to pop out these smaller branches. Again, you can see these branches also are going in very randomly. They are not in a perfect shape or straight lines. I'm trying to make them move as much natural as possible with those crookedness as much possible so as to give it a natural look. Now I've taught in places you can see the black college drying out quite lighter because if teams that there is excess water that I've picked up. So that is the reason that certain places I'm going ahead with a second layer with a bold consistency so that I get the ball look to those branches. So going very slowly adding in those branches so that you do not rush and add a lot of it. You can see I've added in very limited of it. Now. I'm going to begin adding in the details. But in between I'm just adding in some bigger branches and keeping in first using the liner brush before I shift into my round brush. Now I've shifted to my size three round brush and using the black color in a bowl consistency, I'm going to begin adding in the bush effect with the ball color of the black effect. Now, make sure when you are adding in this bush effect, you do not cover the entire background blurry space that we have created. You need to make sure that they are still visible from behind these black bushes. So that is the reason you can see I'm reading the height as well as I'm trying to maintain the background look visible. In this end beg, you can see the bush is very small in height because I'm going to be adding in the sunset effect out there. Now, those bush effect that we added with the liner brush, you can see they are visible in between this bush that we are adding him, giving him a little different effect or in-between all of these simple bushes. Now I'm just going to run with one more layer on top of these because again, you can see once they are beginning to dry in there looking a little dull. And I want that bold black effect. So again, I think there was a little excess water. So this is why I say when you need to have in the bold color consistency, otherwise you will have to run on with one more layer to get it in a bowl. Now next, using in the mix of the white and yellow colors I'm going to use in the white quash mixed in with a little hint of the yellow color, which I already have. You're on my palette. Using this, I'm going to create the glowing, glowing effect for the sun space. So just a very small space in the center where I'm creating in the light effect using in this mix of the white gouache and the yellow color. And I'm going to blend it well into the background using a damp brush. Using the damp brush, I've blended it well now I'm going to pick up the lemon yellow color in a bowl consistency. I'm using this color from White Nights pan set and I'm not adding much of water. I'm picking up a thick layer of this color and I'm going to add in the highlighted effect on top of this. First creating in a small circle and then going to spread it across to show the sunlight effect. From that small circle that I added. You can see I'm just filling out these smiles and raised to actin as the glowing space. Now you can see how beautiful that entire space is looking as if the light of the sunset and Sunday is falling as the sun is setting by. Now the last detail to add in these little of the dry brush effect on this no space for which I'm using in the black color. I've shifted to my size four round brush and I'm going to pick up the black color. Make sure whenever you're going ahead with the dry brush technique, you, once you pick up the color, you dab it onto a tissue or a piece of cloth, towels so that excess paint and pigment is absorbed by the tissue. And then you have very limited pigment so that you get these dry brush details easily. Lastly, at the bottom space, just adding in some splatters with the black color to actins as smaller, rocky spaces in-between the snow area. And that is it. We are ready with our class project for D3, another beautiful evening sunset by the snow space. Let's remove the masking tape. Make sure you remove the masking tape once you register completely dried so that you do not tear off the edges and your painting does not get to wind up. So you also find in painting for D3 off the 25 days cozy winter. I hope you guys enjoyed painting this with me today. I will see you guys soon into the day for class project. Thank you so much to each one of you for joining me into this class and painting along with me. 9. Day 4 - Snowland - Technique: Hello everyone. Welcome back to day four of the 25 Day winter landscape class. Today we are going to be painting this beautiful and very simple snowy landscape. So let's begin having in the look at the colors. So the first color, as you can see, is going to be this bright clear violet color that we'll be using in next for this class project I'm going to be using in this John Brilliant number one from the set Magellan mission. Now, you can just have a look at the pigment. It is a pigment, orange, yellow and mix of fight. So in case if you do not have this color, you can simply mixing your yellow, orange and a little bit of white gouache to get this tone for adding these highlights into the sky. So let me switch this color for you. It's a very opaque and a peaceful tone. That is the reason I told you to add in white quash. Now since you will add in white gouache automatically this color when mixed in with violet, it will not give you muddy tones. But yet you need to go in a little carefully so that the highlights are visible as we've tried to add them into the sky. Now at the top you can see to darken up the violet color, I'm going to use a little of the indigo color to get in the darker depth at the top space. Then lastly, for adding in the pine trees, I'm going to go ahead with the Payne's gray or black color. You can go ahead with whichever color is available in your palate. Now the only tricky part of this class project is going to be creating in the highlights into the sky using in this bright pastry tone of the yellow, orange mix that said John Brilliant color. Now how I'm going to begin is going to be that I'm going to first beginning with the John Brennan color closer to the pine tree space. And then I'll go ahead with the violet tone and then further add little highlights with the John Brilliant column. So I'll be beginning in with this color layer at the bottom space like this. Then I pick up the purple color. During the final class project, we'll be using the wet on wet technique. You are, I'm just going ahead with a simple layout for you to understand. So I've added the violet color at the top space and you can see they're blending in well together with each other at the moment. Now, to create in the highlights, I'm going to shift into a smaller size brush and using in the violet color, I will begin adding in highlights over the John Rollin color. And you can see a little lighter tone of the purple automatically being formed because of the white pigment involved in the John Brilliant color. Now that is how at the bottom space we are going to give in the violet color on the edges. Then again, we lift up a little of the John Brilliant color and begin adding in the highlights at the top space creating it and the glowing spaces into the sky. Now whenever you are going ahead with these glowing species, you have to be sure that you do not have excess water into your pigment. You need to pick up the pigment and a little thick consistency so that you get the perfect layout and those highlighted effect. Now again, for the darker areas of the violet color, you can go ahead with the violet color highlights as well. So that is the only major thing about this class project getting in the blend into the sky, right? Then using the same two colors, we're going to create the effect in this namespace. And lastly, using a little of the white gouache for adding in the highlights and the snow effect in the sky, as well as on the pine trees. So that is it for a class project technique for this class project. So let's move on to the next lesson and begin painting to these class project together. 10. Day 4 - Snowland: Let's begin our class project for day four. Now, we've already seen the colors and the basic technique. Now, let's go ahead with a very basic pencil sketch, just marking out the snow space because we are not going to be adding in the colors in the snow space at the moment. So going very carefully, vile painting in the sky. Now first we are going to begin painting in the sky. So I'm going to begin in with a clean layer of water onto the entire sky area. Now makes sure you have an even layer of water because we are going to be working wet on wet creating in the glowing spaces into the sky. So I've just squeezed out a little bit of the John Brilliant color and I already have the violet and indigo color on my palate. Now I'm going to begin in with the layer of water first. Now may try even you have your colors ready so that once you add in the layer of water, you don't have to wasting any time getting in the layer paints out, otherwise the layer of water may begin to dry. As we discussed in the previous lessons, you can use in different techniques so that your paper stays wet for enough time. In case if you're using a paper which is less than 100% cotton, or in case even if you're using 100% cotton paper like mine, you know, I run my brush multiple times so that my paper is wet evenly and I have a perfect layer of water so that it stays wet for enough time. Now closer to the small space you can see I've gone ahead very carefully and add it in that layer of water so that I do not run into the snow space, giving him the perfect outline for the snow area. So I'm first beginning in with a ball layer of this John, Brilliant color closer to the snow space. And then I will shift into the violet color and then again to the John Brilliant and the violet color to add in the darker highlights. Always remember watercolor dries, lighter. So what I want to own you may be seeing while applying it on the paper, once it begins to dry out, it will go or tone lighter. Sometimes it may turn much more lighter if your paper is faulty or if your paints are of a very student grade quality. So that may make furthermore difference. But even if you're using professional grade paints, at times they try or tone lighter. And of course, a little lighter than what you see when it's in the wet consistency. So always add your layers accordingly so that you can understand as to what kind of a layout tone that you want it. Now I'm adding in a little bit of the indigo color at the top space as well to get in the darker depth. Now keeping my board a little tilted, I will beginning with the violet color to add in the highlights. Now when I'm beginning with a violet color over the John Berlin color, I'll make sure I do not have excess of water. Otherwise it will spread completely on the John Brennan color and cover up the space completely which I do not want. I still want letter highlights peeking through this space. So majorly in the center and at the top purple space we are going to have in these highlights because the bottom space is going to get covered up with the pine trees as it is. So even if you do not get a perfect blending there, it's perfectly okay because it's going to get covered up with the black color completely. Now I'll pick up again a little bit of the flesh john Berlin color and begin adding in the highlights at the top space using in a smallest size brush. In case if you want to know how your paints will be drying out, I would recommend you to swatch your paints in different consistencies on a paper which you are using for your final project so that you can understand how the paper reacting to the colors that you are going to be using it. And when you watch the colors and different tonal values, lighter, dark or medium tones, you can understand after drying, what tone do they grab it? And accordingly, you can decide which tonal value you need to use for your class project to get your desired result, outcome. So in that way, it will be very helpful to get in the color tones right. Now I've just added in little highlights with the John Rollin color now again running in with a violet color. Now at the top space, I know when it will dry out, it will still try out a tone lighter. So I'm going to quickly run in with a darker layer tone there as well. So then again, I'm going to use in my flat brush and use a thick consistency of the violet color. I need to lock the indigo color as well to add in the highlighted space. So you can see at the top I've given an, a bold dark space so that everything turns out quite bold enough funds it dries out. Now just adding a little of the indigo tint at the top as well so that I have a boulder finished data as well. So I will just add a little more highlight before we let all of this tryout. And then we'll move ahead further once this dries out to the other details of this painting. So I'm done with the details in the sky. Now I will wait for this to dry out naturally, I won't use a hairdryer for this class project, so let it dry naturally. So everything has dried out. Now I'm going to beginning with the details. So first I'll go ahead and add in the snow droplets into the sky and then move ahead further, squeezed out some fresh white goulash. And using my round brush, I'm just going to splatter some white dots into the sky so as to get in the snow effect. Now when you're going ahead with the splattering technique, make sure you do not add excess water to your white quash. Otherwise it will turn out transparent. You need the opaque layer of the white colors, so make sure you use it in a bold thick consistency, but not to take as well. Otherwise you will be unable to get in the splatter effect, maybe not the drop-off, the brush only. So it's very important to have it in the right consistency that you have an opaque layer as well as this platter out easily. I'm going to begin painting in this no space. There's no space is going to be of a very light consistency of this john Belinda and the violet color. I'm going to hit directly with the wet-on-dry technique because there's not much details to add any. So quickly added another layer of the John Berlin color. And now in the rest of the space, I'm just going to spread this violet color in a very light consistency. Basically you just need the effect of the sky colors falling on the stone space. That is the reason we've used a lighter tone of these colors to add on your. Now randomly, I'm just creating in some texture and some details with darker tone of the violet color onto the snow space. But just very little of it while it is still wet and you don't have that much time, it will stay wet, even walking or wet on dry because the first layer that we add it is in a very watery consistency is majorly only water and no pigment. So just adding in little movements of the snow. Also, if you notice majorly, are John Berlin. Color space is on the left side. That is a reason I added in the glowing effect on the left side of this new space. Now using a little bit of the white quash, I've just dropped it here on the right side, creating in some pure white snow effect, showing in some, you know, a pure white effect where the sky effect is not falling in. So just a little of it and blend it well into the background so that it has a soft look. Now just going ahead with a little more splatter into the sky because I want some bigger snowy effects I've just created are added in some. Now I'm just going to create some of the gluings spaces as well for the snow area. So just using in some bigger dots, I have blended it into the background and created a double whitespace. And now once they dry out, I will add in a bold white.in the center of these glowing spaces that we've created which are at the moment. And automatically this background double-space will begin to actin as the glowing area. Just adding in a little more whites no effect on the right side of the snow space. Now Bill this piece dries out, I'm going to quickly pick up some bold black color on my palette and we're ready to add in the pine trees, you can either use the black color or the Payne's gray color, whichever is available in your palette. I'm using in the neutral black color from the white knights pan set this time. I'm ready with the black color as well. I'll just wait for a few minutes for those new space to dry completely and then move ahead further. So my snow area is completely dried. I've shifted to my smallest sized round brush. This is a size to Princeton velvet touch Series round brush, which has a pointed tip. And I'm going to begin adding in the pine trees. Now I'm not going to go with much of the detail looking pine tree because as it is, we're going to add a little of this, no effect on top of this. So I'm going ahead with a very simple look of the pine trees that we went ahead for the class project one. So in Class Project one technique section, we've already discussed adding in the simple fine tree. So in case if you re not attempted the class project for day one, you can simply have a look at the technique section and understand the pine tree, the structure, the detailing. And go ahead. Now in-between randomly, I'm just going to go ahead with simple spiky foils detail to actin as some of the pine trees which are far, are clustered together because the fish not visible in much detail angle. So this will even save up your time and adding in the pine trees plus it will look beautiful and given the natural beauty look. Now you will notice throughout I'm going ahead with wearing look of the pine tree. That is I'm wearing the height and the thickness of the pine trees. Make sure you're using the black color in a bowl consistency so that you get the perfect opaque looking pine trees. Otherwise, when they begin to dry, they will dry dull and the background sky will be visible. Now you are, you can see I'm going ahead with a very big pine tree as compared to the rest of the pine trees that I've added in. But you can also see this pine tree is looking a little dull already because I guess I use the side which had excess water. So I'm going to go ahead with a ball layer on top of this again quickly so that when it dries out, it has a good bold black layer. Now as you move down the slope space of the snow area, you're again, remember to keep feeding the heights of the pine tree. Now I know adding the pine trees may be a little tedious task. So at this point, you can take a little break if you want to, because, you know, since we are walking wet on dry, nothing of the details will be affected or you get any patchy spaces. So these are the times when you can take a rest and come back to the painting with a fresh mind. Now on the right side, as it is drying out, I can see it's still drying. A little dull tone. So I'm just running quickly with another near death so that it dries out Brighton opaque. Now just left to add in some last pine trees on the left side. And then we'll be left to add in the snow effect on top of these pine trees. Again, on the left space here you can see I'm just going ahead with the simple spiky look to add in the pine trees and fill in the space quickly. So this saves up a lot of time as well as, uh, you know, you do not get bored. Plus you get into different detail looking in between. So I'm almost done adding in the pine trees. I'm done adding in the pine trees now I'll wait for these pine trees to dry out completely and then add in the snow effect on top of these pine trees. So let's wait for this to dry now. So my pine trees have dried completely and now I will begin adding in the details on top of the pine tree for this no spaces. So I'm going to use a very little tend of the violet color mixed in with the white color to add in the snow so as to show that LDL effect of the store because of this tie colors falling on this no collected on top of the pine trees as well. But first using the white color, I'm just adding in the star effect for the glowing spaces that we had added. And you can see how beautiful these, because stars are looking into this entire sky, or sorry, the blowing snow balls. Now next I'm just mixing in a little bit of the violet and the white gouache to add in the snow effect on the pine trees and little details you have to add it on the pine trees. Not much, just little patches of this no collected randomly. So in between your little of the pine trees do not dry. So I'm going to quickly using the hairdryer and speed up the process so that we do not have to wait just a little at the bottom spaces which is wet. I'm quickly running in the hairdryer there. So you can see the minimal effect of this node that I'm adding on the pine trees, not much of it. So quickly go ahead and add in this minimal snow effect. On the rightmost side yard. You can see I've shown a lot of snow being collected under the pine tree. So we're almost ready with this class project, just last platter of the snow and then let's remove the masking tape and see your final painting. So make sure to remove the masking tape once you register completely dried and always remove the masking tape against your paper so that you do not tear off the edges. You also find that painting for d four of these 25 days of cozy winter landscape using watercolor. I hope you guys enjoyed painting this with me today. 11. Day 5 - Misty Evening - Technique: Hello everyone. Welcome back to day five of the 25 days of cozy winter. Today we are going to be creating in this beautiful, easy landscape. So let's begin having a look at the colors that you would be needing for painting the sky. It's a very simple, misty evening, kind of a winter landscape that we'll be painting. The first color that I'll be using is going to be a little bit of the Prussian blue color. You can see in the final class project the colors are not quite light consistency that we'll be using in. The next is going to be the black color for adding in the darker cloud effect forgiving in that Misty evening winter effect that we'll be using in. But the black color also you will be using this in a very light consistency. So as of when it blends in with the blue color, it will give in a little kind of an indigo color effect into the sky. So in case if you want, you can directly use the indigo color, but using a black color gives a very beautiful misty kind of an effect into the sky. Then we will be painting the water space with the same colors after the sky. So we are going to use the same blue and the black tones for painting in the water area in between the mountain ranges. And then we'll be painting the mountain ranges. For the mountain ranges, you would need the shade of sepia color. Then you would be needing in some shades of green, then the black and the white gouache. So very little snow effect that we'll be showing getting deposited in the water space that is trying to show the little water turning into snore just on the top of the water space. So very little dry brush effect with the white color that will be giving you. But for the mountain range will be using in these three colors. That's a yellow ocher CPR and the olive green color. And then at the bottom using the green tones will be giving in little of this greenery effect. For that, I'll be using in the light green color forced in the base layer. And then I'll be using the dark green color on top of it. That's going to be the olive green on top of this light green baton wet. So those are all the details you can see. You're the light green color that is visible underneath. So that is the layer that will be giving in. First on top of that, we'll be using the darker green to give him the darker green effect. Now closer view, you could already see the dry brush technique that we will be giving on the mountain ranges and very little snow effect on the mountain ranges as well. So for the dry brush, we'll be using in the black and the white gouache for giving him the dry brush detail on the mountain ranges. Once they dry out completely. And even on the water space, we are going to go ahead with the white color dry brush technique. We've already discussed the dry brush technique in the day one class projects. So if you've missed it, you can again revisit the technique section of day one wherein we discussed the dry brush technique and even on day two, the diagonal dry brush technique that we discussed for adding in the details on the mountain ranges. So that is all for this class project. I've already discussed the other techniques and the rest of the details are very simple one. So in the next lesson, let's begin painting in a class project together and create this beautiful evening, misty landscape by the mountains. I'll see you guys into the next lesson with all your materials ready and painting in this beautiful landscape together. 12. Day 5 - Misty Evening: So now that we've discussed the colors and the basic technique, Let's begin creating in the class project for day five, beginning with the very basic pencil sketch to mark out the mountain ranges and the water space in-between the mountain. I'm going to head with the random shape of the mountain. It's a little bit below the center space. And because I'm marking this out so that you know where or what elements are going to be into your painting. Now from the left side, moving towards the right, I'm creating in the water space. Now if you want, you can go ahead with a little different pencil sketch here. If you have another reference that you want to follow along. The most important thing here is understanding the technique of adding in the detail. And then going ahead with your own outline or the pencil sketch or the layout or any other silicate as you wish to. As far as the colors are concerned, you could go ahead with any alternative colors of your choice to create the same, same painting. And you could still have a different beautiful outcome altogether. So that is it for a pencil sketch, very simple one, just a big mountain range and the water body rest of the details on the mountains spaces are directly going to be using in the pains. So first I'm going to begin painting in the sky. So let's quickly begin painting the sky first. So for this guy this time, I'm directly going to begin adding in a layer of color without adding the layer of water. But what I'm going to do is I'm going to pick up the layer of color in a very liquidy consistency, which would seem like a layer of water itself. A little off the civilian blue and a little tint of the black color to get a little Prussian blue kind of a color or an indigo sort of a color. But in a very liquidy consistency that I'm going to lift this up. And I'm just going to begin spreading this onto the entire sky. And it's going to be just the first layer for the sky on this. We're still going to be working wet on wet giving in the details. So very carefully, I'm defining the outline for the mountain range as well. Do not worry for little of the color goes into the mountain range because as you would have seen the mountain ranges of a query dark range. So it will all get covered up when you add in those darker tints. Now, using in the blue and the blacks and different consistencies, I'm just beginning to add in the cloud effect slowly. Now when you begin adding in these colors on the wet layer, make sure that you do not have excess of water. Otherwise, the colors will spread completely and will not retain the shape or the space in which you're adding them. So it's important that you make sure that you add these colors in such a consistency that they do retain the shape yet have the soft edge. So we are still working wet on wet Alton case. If you are using a paper which is not 100% cotton or dries too quickly. I would recommend you to go in with a layer of water for us without going in with the Payne's directly so that your paper stays wet for enough time. Now after the first layer I've shifted into my round brush and I'm beginning to add in the details into the sky creating in that depth. So you can see how slowly I'm creating in the details in the sky, not rushing with it because I do not want to lose control over the details as well as you can see, my clouds are retaining the shape in which I'm adding them. Now going ahead with a little indigo color mix that I have created, it's going, it's just a mix of the serine in blue and the black tone in different proportions. If you want, you can do a little swatch study by mixing in both the colors in different proportions, one-by-one. So you keep on increasing the proportion of one color. And then you can understand the different tonal values that you can create with the help of two colors. So that is it for us kind I'm using the same blue and the black tone. I'm just going to add in the layer for the water space as well, so that both of those can try together. In-between the sky and the water space, there is a small gap of the mountain ranges. So you can quickly go ahead and painted the amount of the water space is going to be off a very light tone consistency do not go with much darker tones here. I'm going to lighten up this tone using in a little more off the water and spread it till the water space. Now very roughly in the water space as well, just using the tip and giving him Lipton wave effect very little. They're still going to, you know, or blend into the background and not be visible badge on the white details that will be adding but still adding in because wherever a little darker pop can be visible, it will add beautifully. Now I'm just going to lift up a little color from the center space so that I have a little lighter tone on the water area as well. And that is it. Now we'll wait for all of these to dry completely and then move ahead further. So now my water and sky has dried completely and I'm going to go ahead with the mountain ranges. For the mountain range, we're going to go ahead with three color tones. That's going to be the yellow ocher CPR and this olive green color, olive green, I'll be using in very little to give effect on the mountain ranges. And yellow are called, so the effect will be little, but you need to use it so that you have those lighter effects in between this darker tone. So first beginning in with the sepia color. Now you're in the mountain range as well. I'm directly going ahead with the wet-on-dry technique because in the first layer you just have to add in all the three colors will blend it together. We will be adding it the divers detail once this dries out completely. So you need to run a little quick so that you do not have much dry patches. But in case if you have a little lining in between as well between the colors, you can try to hide it with the help of the dry brush stroke that you'll be adding later on. Now at the bottom you're adding in a little bit of the olive green blended with the brown. And now and pick up a little bit of the yellow ocher color and add it just below the green and the browns. Now at the top space also just adding in a little of this yellow ocher color underneath the brown, and then with a little bit of the green tones. Now when you go across or up closer to the waterbodies space, going carefully, define the shape of the water body. Because here you have to add in little details wet on wet on the outline of this water body so that you have the perfect precision. Now. Now on top of these lighter tones, just adding in little darker tones with the brown color as well, given the data effect on the edges. Similarly, on the left side here I'm going to define the water body space and given a wall outlined with the sepia color, and then fill the rest of the whitespaces. Now in-between the water body also, I'm going to show some of the rocks pieces as well, or little branch falling across from one edge, one end to the other. Blocking in the way of the view for the water body that we've created. Now while the mountain range is still wet, I'll quickly go ahead and define the shape of the water body well enough using in the sepia color. So just giving in little details on the water body marking outside side, some uneven edges, some uneven movement of the mountain ranges. On the right side as well at the edge, giving in the Docker depth using in the sepia color. Now, before we let the mountain range to dry, I'm just adding in some more green effects as well using in the olive green color. Now in case if you do not have the olive green color, you can simply using the sap green color. It's absolutely okay. But just use it in a little taco consistency, you know, so that you get that perfect blended look with the brown tones that we've used in. Now. Similarly, just going to drop in little effect with the yellow ocher color before we let all of this to dry out. Now again, I'll just drop little more of the sepia color. So all of these exercise of adding the colors again was to get analytical variation in the mountain range In-between the flow of the colors. Because you could see previously we had more of the brown color only visible. Just went ahead with one more layer. And the second reason was because watercolors dry or tone lighter and I wanted in a bold, beautiful effect of the colors out there. That is the reason I went ahead with a layer which tries out very evenly as well as very bold enough. Now using the smallest size brush, I'm just giving in more details towards the edge of the water body space defining and more of the darker spaces giving in more details moving in the mountain range. And you can see the inside of the mountain range for the water body also am going ahead with a very crooked and random shape so as to have that detailed look. So that is it. Now we'll wait for all of this to dry and then go ahead with our final layer of details onto this painting. So everything has dried out and now I'm going to go ahead with the green color first to add in the base layer of the grass details at the bottom space. So I'm using this yellowish green tone and at the bottom space, I'm just going to go ahead and create a patch for the bush or the greenery space that we'll be adding in. So at the top I'm giving in very rough shape just using the tip of the brush and then the bottom space till the bottom line, I'm going to fill it completely with this color. Now while the night green layer is still wet, I'm going to run with this olive green color on top of this and going to hide out almost all of the nitrogen tones, just a little of it being visible. So you need to go ahead wet on wet so that you get in that perfect green look, which has a perfect blend with the color tone of the mountain range as well that you've added in. So just the same technique that we use for the nitrogen color. That's the same technique that I'm using for the darker green color as well over the lighter green color and creating the depth. Now let's begin adding in the details of the dry brush on the mountain range. So first I'm going ahead with the black color and beginning to add in some dry brush movement and some very random movement or with the black color to give it a little darker debt. So very simpler random details I am going ahead with trying to create the texture on the mountain ranges. Now from the edges I'm pulling out these dry brush detail as Bell giving in the depth into the mountain range, creating in the details step-by-step. Now you will notice not everywhere that I'm giving in the dry brush detail in-between, you have to keep the mountain space also a little empty. So that's the base layer or colors that you've added still be visible and add places. I'm just going ahead with a little bolder look off the black spaces so as to show the movement and effect on the mountain range as well as the texture. So that is it for the details with the black color. Now let's move on to the white color and first begin adding in the details in the water space with the white color. So randomly from the left and the right edge of the water space, I'm giving you a little dry brush detail to finance that. Very thin layer of the snow being deposited on the water bodies. So very simple drivers didn't from the edges that I'm pulling out from the mountain range. So that is the reason why I had given in that darker layer on the edges of the mountain range and the water body so that you have that distinctive point. And you know, those darker edges act as the shadow to these spaces that you've added. Now after this, only the last thing left is going to be to add in little dry brush on the mountain range using the white color as well. Once the black color dries out completely, make sure you add the dry brush with the white color only once your black layer dry brush is completely dry. Otherwise, the black and the white mix together will give you a grayish tone and you will not have the perfect looking snow effect on the mountain ranges. So you can see, despite the base layer watercolor being so Light Divide dry brush effect is looking perfect and standing out such beautifully on the edges of the water body. Now randomly just going to go ahead and add a little of the dry brush on the mountain range, very little with the white color, trying to show very little snow on the mountain ranges. Just some last no effect on the right side here. And then we are ready with our class project for day five of the 25 days cozy winter landscape challenge. So that is it. Let's remove our masking tape and see your final painting. Make sure you remove your masking tape onto your edges are completely dry. The bottom green space is also completely dry. Otherwise the colors may get drip off and always remove the masking tape against your paper so that you do not tear off the edges or lift up the color. So here's our final painting for day five. I hope you guys enjoyed painting this very simple yet oh, beautiful. What about the landscape with me today? I will see you guys soon into the next class project. If you liked this class for whatever reason, make sure to drop a review so that it can help me reach maximum students. 13. Day 6 - Northern Lights - Technique: Hello everyone. Welcome back to D6 of the 25 days cozy winter challenge. Today we are going to paint this beautiful Northern Lights scene. So let's begin having a look at the colors that you would be needing for today's class project, and then move on to the final class project. The colors that I'll be using for the northern sky is going to be the shade of indigo and violet color. These are three colors that will go in for the sky as well as policy area. After painting in the northern sky, we'll first be painting in the sky and then moving to the CSPs and then painting in that dome and giving in all the effects out there. So that is how our class project is going to be structured. Now these are the color sheets which I've watched them right? Or para bright, clear violet, indigo and a little bit of the Syrian blue color. The same colors we'll be using in the sea as well. Because this is going to be a reflection of the sky colors. And in the sea you can see we are adding a little reflection for the dome as well. Further dome I'm going to be using in the yellow ocher color. I'll be using a little of the brown tone, so I'm going to use this light red color. And also I'm going to use in CPR and the black color for adding in the further details. So these are the colors that we'll be using in. Now before moving to the final class project, Let's understand the strokes that we'll be using will even be needing a little of the yellow to give a little lighter effect out you're on the horizon line. The light effect that we'll be adding in so far that you would need a little of the yellow and the orange tones as well. Now as I was talking before moving to the final class project, Let's understand the strokes that we'll be using for the northern sky. So first we will be painting the sky using these four colors that we squashed out first. So first we'll begin in with the pink tones, then move to the violet and then move to the blue tones. Then, for the dome space will be using the next four colors that we've already listed. For the C, It's going to be a reflection of the dome colors as well as the sky colors. Now if you have a look at the reflection here, this is wet on wet when we'll be painting the C will add the reflection for the dome space and keep it ready. So that is about how you will be going ahead with the deflection. Now for the strokes of the sky, I'm going to be using this one-fourth inch Princeton Neptune series flat brush. And using this, I'm going to add in those swale Stokes. Now, you can go ahead and use a round brush if you do not have this flat brush of this size. So we're just going to go in spiral motions or these curvy strokes out here to create the effect in the northern sky will first be adding in the strokes with the pink tone, then adding in the spaces with the violet tone and then adding in the last talks with the blue color in the empty spaces. So I'm just showing you the movement of the brush. We'll be creating the entire sky together in the next lesson. So this is how the movement is going to be. We may run with layers of the same color again and again so as to get an opaque look out there. So you can see how on the pink color I ran again so as to get the blending and the flow easy between the colors. So that is it. I will see you guys in the next lesson where we first go ahead with the pencil sketch. 14. Day 6 - Northern Lights - Pencil Sketch: Before we begin in with the final painting, Let's go ahead with a pencil sketch. The pencil sketch for this one is a little detail, so I've kept it as separate section so that you can go ahead and add in the pencil sketch smoothly and easily. So first off, Matata horizon line, which is much below the center space on top of the horizon line, adding in a mountain range which will be showing in as this completely snow-capped mountains. And then on the horizon line we'll just be adding little of the three details using the black color on which we'll be showing in the light effect. Now from the left space, I'm showing the walking space towards the dome and in the center, I'm just going to add in a simple door. Now, your pencil sketch for the dome or your silhouette for the dome can be different than mine. It may not be exactly same as mine. If you have any other specific reference, you can go ahead with your own reference and, you know, follow the pencil sketch for the same. I'm just going ahead with a very simple one. You can see not much detail. I want to keep the class project easy and simple so that everyone can follow along easily and paint easily. Now I'm just going to add in some sense the partition. So I'm going to split this into four different sides of the dome. And then while painting, we'll give him the Dhaka depth and the details using in the darker tones there. So that pencil sketch me take a little while and it may be a little confusing in the beginning so as to get those lines, strokes and the perspective, right? So if you want, you can have a look at the complete pencil sketch and then go ahead with your pencil sketch so that you do not have to overdo it. Now on this pathway, just adding a very small lamp detail that we'll be adding in. So that is it for all of our pencil sketch. Now in the next lesson we'll begin painting the details one by one. So make sure you have your pencil sketch ready and also make sure your pencil sketches not too dark. Make sure it's good. Medium consistency so that it does not become permanent once you add in the layers of water. So let's begin painting in another light in the next lesson. 15. Day 6 - Northern Lights: Now that we've already discussed the colors and the pencil sketch, Let's begin painting in our painting for D6. So I'm going ahead with a layer of the water only into the sky space. Make sure you do not run into the mountain space because as I told you, we are going to show that background mountain as a completely snow-capped mountain. So we need to let it be in a very light color. Let that space be white. And then we'll just add a light layer of the blue color on top of it. For now, Let's begin painting in the sky first, that is the northern sky. And if I need to love the color goes into the dome of the, sorry, the top of the dome, it's completely okay because as you know, that is going to be off the black color, but as much as possible to avoid it. And closer to the dome space, try to maintain more of the pinks and the violet tone do not take the indigo color darker tones there. So as we discussed first time, beginning in with the parietal pleura color. Make sure that your paper stays wet for enough time because, you know, I'm painting the sky is going to take a while to get the blends, the movement, the flow of the color. So in case if you're not using 100% cotton paper, make sure that you use some of the techniques which we've discussed so far, so as that your paper stays wet for enough time until you add in all of the details. So first I'm going ahead with these pink strokes. Now I'm beginning ahead with the violet strokes. So in-between the pink wherever I have to add in the violet store, using the same brush. I'm going ahead with the violet store. Now I'm not going to fill in all of the whitespaces with the violet color as of now because we still have to add in the indigo tones, but certain spaces just giving him the color tones. Now in between again, you will see me running in with the pink tones because I want the blending between each of the color in each of the layer to go in smoothly. So as soon as I added in another layer of the pink after adding in the violet tone, you can see the blending is done most mood and the colors are easy flowing into each other. Now I've picked up a little of the indigo color as well. And now I'm going to add in the indigo color on the other side first. Now the movement of your brush strokes can be completely different. I have added a layer of the city and blue color at the top. And on top of that I'm just running in the indigo color. So your movement of the brush strokes can be completely different than mine and you can play along with your strokes. But you just have to make sure that all the three to four colors that you're using in your northern sky are very blended into each other, yet visible distinctively. So now I've added the first layer to our entire northern sky. And now I'm going to read with the same colors again so as to get a good ball consistency. Remember, watercolors dry or tone lighter? If I leave it right now at this moment, I know once this dries, my sky will look a little dull, which I do not want because they want a ball looking sky. So make sure that whenever you are going ahead with any kind of another and sky galaxy, you add in at least two to three layers so that when everything dries out, you still have that ball look to your galaxy and the southern sky. So I'm running ahead with the same colors. That's a violet, pink, and the blue tones. Now, as I told you, close it with a dome space, keep the colors a little light. So I'm just going to add in a little pink tone. You're again because they don't pop is going to be off the black color. And if you will have to darker tones closer to it that don't talk. And the difference between the night, another light will not be visible. So that is the reason try keeping the colors closer to the dome top a little towards the lighter side. Now I'm going to keep on adding in the colors a little more and keep moving my board in directions. So you can see I have lifted up my board so that I can keep moving it so that the colors flow easily into each other. Now I'm going to tilt my board in all directions so that to have much more smoother blends. Now, make sure you do not keep your boat tilted in one direction for a longer time, just two to 3 s for each site. Otherwise, all the colors will flow towards one side and then the colors will get completely mixed up. And if your colors are in extra liquidy consistency, then it will be very difficult to get each of the distinctive color loop. Make sure that you have the abort tilted in very limited time so that the blend is going smoothly and easily. Now, let's wait for this guy too dry, but till then we can paint the Z space, which is going to be a reflection of the sky colors and the dome space a bit. So let's begin adding in the reflections first, then move on to adding in the sky details. Wet on wet. I'm going ahead with a layer of water first and then we'll go ahead and add in the colors one-by-one. So first I'm adding in the reflection for the dome space for which you can either use yellow color or the yellow ocher tone. I'm using the yellow ocher and a little tinge of the light red color. Now in case if you do not have the light red color, you can simply use in a literal of the vermilion or the red tone to add in this highlight. Now in the rest of the space, I'm going to go ahead and add in the same colors of the sky in the simple format. I'm not going to go ahead with this wall motions out here. So adding a little of the pink and now randomly adding in little of the violet. Now make sure you do not add a lot of violet closer to the yellow or ketones that you've added. Otherwise you will get muddy tones in between. Now the left side is a completely separate part of the sea, so I'll paint that separately later on. So on the left side now, I'm just going ahead with the indigo color. Your I'm going ahead with the wet-on-dry technique because it's quite a small space and not much detail or reflection of the colors to add in your. Now on the right side as well, I'll go ahead with the indigo color and adding the darker depth using the indigo color. Now again, I'll just add little more pink highlights because I feel the pink highlights are completely hidden between the violet and the indigo tones. Now on the left side also I added a little of the pink tones, but this left-side team to begin to have dried out. So I'm again going to run with a layer of color there so that I do not have any rough or uneven patches. I've left that little lamb space for the pathway empty because there we're going to give him the light effect later on. So that is it for the z-space as well. Now we need to wait for all of these to dry out only then we can go ahead further and add in the further details. One last thing using the indigo color, I'm just going to give in a little ball line out towards the pathway outline so that you have a little reflection to that as well into the z-space, I'm using my liner brush and a little bold consistency of the indigo mixed in with a little tint of plaque and giving in that darker detail all of this is still wet on wet. So the right side, if you remember, we had given an a layer of water as well while painting in the z-space. That is eight. Now let's wait for all of these to dry then move ahead further. So now my sky and z both have tried out completely and now I'm going to go ahead further beginning to add in the further details. So first I'm going to go ahead with a very light layer of the indigo color for the mountain range to actin as the snow space. So it's going to be very light consistency. I'm going to spread this much color into the entire mountain range. You can see a very lightly or off the blue tone that I'm going ahead your way to actin as the snow area. Now after this dries out, we'll be adding in the front pine tree details are in the simple manner that will be going ahead with the black tone. Now till that mountain range dries, we can paint this pathway space. We cannot paint the doorway area for now because it's connected a little towards the mountain range and the colors may flow into each other. So for the pathway and false going ahead with the yellow ocher tone completely. So giving it a good layer of the yellow coat color. Again, your ad spend, you can see I've left the lamps space empty for now. Now using the light red color, just giving you little highlights on the edges and beginning to give him the darker the epsilon, the pathway. After this we'll be using in the black color, you can either use the black or the Payne's gray color for giving in further details on top of this pathway. I'm going to be using in the black color. So I've just lifted up a little of the black tone and I'm going to first begin defining the edges well, and then give little texture effect in the center as well. Now you can see I'm going ahead with very random texture effect. Nothing much in detail or not a specific pattern. Just giving him the darker shapes randomly and blending it well into the rest of the spaces. Now I will just add in a little more of the lighter highlights because I find that the brown color completely hidden, which I want little more highlights pieces. Now, my mountain ranges completely dried. So I'm going ahead with the first layer in the dome space. You're I'm going ahead with the wet-on-dry technique. I have not added a layer of water. I'm first running with the yellow ocher color. And then after that we'll move on to the same light red tone to adding the darker depths. Now using the light red color beginning to add in the darker spaces. So I've blended the yellow ocher and the light red color. Now I've lifted and it's loved the sepia color. And I'll just begin defining the edges much better and giving him the darker effect on the edges so as to show the shadow effect as well. Make sure you going very slowly. This is wet on wet that I'm adding little of the darker depth one, this dries out completely. We'll add in those lines much more firmly. And the gate into the interior of this dome as when knee out to the pathway. We'll be adding it once everything dries out completely. Now I did a mistake here. I had completely forgotten that my dome is still wet and I went ahead with the black tones. So you'll be a little careful. You need to wait for your dome space to dry out and then adding this black detail. So you can see on the right space the connecting of the dome, a little of Hello has seeped in sight. So you have to be careful about this thing that if your layer is still wet, you cannot add in the black details for now. But since I completely missed about it, so I had added it and you can see the blunder that God created. So on the left side you can see I've left a very thin line visible of the snow mountain and covered it up majorly with the black color. Now gently, I've tried to lift up as much color as possible, and now I'll wait for all of these to dry. Now everything has dried completely and we are on the final leg of details. That is the details into the dome space, the light effect and the star effect into the northern sky, and then that little lamb. So let's begin in with the black color first and add in the details into the dome first. So I've painted the top of the dome with the black color now defining the edges as well, using in the CPM, the black color mix, I'm using a size two round brush which has a pointed tip and giving in these fine details. Now closer to the pathway you are giving in the entry to the domains while using in the black color, I'm going to add it completely with the black color. Now using a light tone of the yellow color, I'm going to give in the first layer of the lamb that we have on the pathway, you can use any medium or light tone of the yellow color to actin as the inside light off this little lamp that we're adding in. Now on the edges, you can either use a little off the orange color or the light red color to give him little warmth effect with the yellow color. Now I'm squeezing out a little bit of fresh right core so as to splatter the stars into the northern sky. So before moving on to the stars, I'm just mixing a little of the yellow and the white. And I'll add in the light details are on the horizon line, you're on the black space. So very randomly, you just have to go ahead with very random dots off the yellow color. Then we'll be adding a little orange to it. And we'll go ahead with little orange dots. And then lastly we'll go ahead with a little bit of the white dots as well. We're almost ready with our class project just last two to 3 min, adding in the final leg of details. And we'll read a div with a class project for days six. So now using the white quash, I've covered the bottom space and I'm just adding in this plateaus to actin as the stars into the northern sky. There are various techniques to add in this ties into the sky. You can go ahead with your different techniques, like using a toothbrush or using in different methods of splattering. You can either use another brush to splatter or your fingertips to dab on the brush to splatter. Now I'm just going to create some of the glowing stars as well. So just creating in some dull white spaces to actin as the glowing space. If you've been following me for a while and all of my classes, you know the secret of creating these growing spaces. Plus you also know the beauty they add to your painting. So in-between these light spaces as well, I just created two to three of the glowing spaces. Now adding in some of the light details with the vermilion color, I may have missed to share this color into the technique and the color section part. So we just use a little end of the war million color in a bowl consistency to add little light effect on the horizon line. Now the door Violet had dried. It seemed a little dark to me, so I just went ahead with one more layer on top of it. And now to give him the edges to this little lamp, I'm using my liner pen because the details are quite smaller one, so I do not want it to be messed up In a brush. So that is the reason using a pen to give him the outlines. So that is eat, we're ready with our class project just last. Let's add in this task quickly to the glowing spaces that we've created. Now let's remove the masking tape and see our final painting. Make sure you remove the masking tape once your edges are completely dry. And always remove the masking tape against the paper so that you do not tear off the edges. So here's a final painting for D6 of the 25-year cause even the challenge, I hope you guys enjoyed painting this beautiful northern lights with me today. I will see you guys soon into the D7 class project. 16. Day 7 - Seascape - Technique: Hello everyone. Welcome back to day seven of the 25 equals even the vibes. Today we are going to paint this beautiful seascape with this new collective. So let's begin understanding the colors that you would be needing for today's class project. You can see it's a very minimal color class project, hardly two to three colors that you will be needing it. One is going to be a shade of pink and one is going to be a shade of blue. And apart from that black and the white colors for the blue I'm going to be using in the indigo color from my White Nights pan set and further pink I'm going to be using in a shade of carmine color. Now you can either use carmine grows Megara, any shade of pink, because you can see we are using it in a very light consistency closer to the horizon line. You can use either a Rosemead or color, or you can even use this red, violet color, whichever color you want. Just a little tone of pink is all you need. If you want, you can even use the bright opera color. So this is the light consistency that we are going to be using in it. So you could see the first wash. That was the color, look off the color and then diluting it with a lot of photo. We are going to use this diluted consistency closer to the horizon line. Next, apart from this, you would be needing in the black and the white gouache, even for the indigo color, we're going to use it in a very light consistency like this. So in case if you do not have an indigo, you can simply use in your Prussian blue mixed in with a little tent of black. Now using this color itself, we are going to give him the details for the AI space as well, as well as in the z-space. And then we'll be using in the black color for adding in the details closer to this null space, the branches at the top and the mountains on the horizon line. And lastly, you will be needing the right course for depicting the snow collected on these branches and the lethal effect into the bottom small space as well. Now, let's understand the wet-on-wet technique that we will be using to adding these wavy effect into the sea. If you have a look closely, you can see wet on wet as given in a little texture of the wave effect and not kept it as simple C effect. So let's understand that we are going to be working wet on wet your I'm not going ahead with the layer of water. I'm directly running in with the pain because this is just to give you a small understanding of how the wet-on-wet technique and the water control works. So I'm going ahead with a wet layer of the pains. And I have added both the colors simply for now. Now, while this color is still wet, we're going to add in the details wet on wet. In these wave details, wet on wet, you have to be careful about two things. One, the water control while adding in the waves. And second, the wetness of your paper. So first thing you can see when I'm beginning to add in the wave effect, I'm not picking up too much water on my brush because of which the details that I'm adding a retaining their shape than having a soft edge, but they're not spreading out completely. Now, next, I haven't shifted into a smaller size brush and begin adding in some further fine details. So now you can see I want very light details. My pink space is still wet on top of that using a smaller size brush and using the wet paint, I'm just running small lines. Now you can see lines are not spreading completely. They have a software here. They are retaining the shape in which I'm adding them. In case fc, you would have added a lot of water. It will spread completely cover the entire space and you will get one flat color look like this. So now you can see the difference in both the waves. The second one did right now was with a lot of water. It has spread it completely. It has covered up that space completely and not lifting up perfect looking wave effect. It's blended with the base layer and created one shade darker layer. You can see the colonists completely blended into the background. No wave is visible clearly. So that is what about the water control? In the same way as your paper? It will be too wet and it will go ahead with wet paint on it. It may spread again completely because either the paper or the paint, both of them have excess water because they do not retain the shape. In the same way we're going to add a legend off the wave details using the indigo color as well. The same technique applies here as well. Our background still wet but not extra weight. Plus while picking up the paint, I'm not picking up excess water. So you can see the shape. Everything is retained for the wave effect. Yet having in that soft blended look. This is the main technique that I wanted to discuss for this class project just about understanding the water control while painting wet on wet wave details in such a way that they retain their shape. Now in the next lesson, Let's begin creating this beautiful class project together for these seven, and create this beautiful snow landscapes. So I will see you guys into the next lesson and begin painting together. 17. Day 7 - Seascape: Now let's begin our class project for D7. We'll just go ahead with a very basic pencil sketch. I will mark out the horizon line so that we know where, what thing needs to go in, almost in the center space, I'm going to mark the distinctive point that is going to be top is going to be the sky bottom is going to be the z-space. Now in the sea, I'm just going to mark out the Snowbird that we are going to show it. So I'm just going to go ahead with a rough pencil sketch because there we do not have to add in the colors will later on be giving in the snow effect with the tones of indigo and the white gouache. Now for all the branches that we'll be adding, I'm not going ahead with a detailed pencil sketch. This is just a rough thumbnail for you to understand. I would recommend you as well to not add in much of the pencil sketch because we're going to be using in the watercolors in a very light consistency. And then it may so happen that the pencil sketch may be visible if you re not follow the same lines because of watermarks, sorry though, pencil marks becomes permanent as soon as you add in the layer of water. And then you will have to run exactly on those line while adding in the details. So as much as possible, try keeping the pencil sketch minimum. Now I'm forced running with a layer of water onto the entire sky. I'm going to make sure that I haven't even layer of water throughout everything. While I'm adding in the details, wet on wet dries evenly and not any specific space drying out quickly. So despite I'm using 100% cotton paper, you can see I ran my brush multiple times so as to make sure that my paper stays wet while I'm adding in all the details, wet on wet. So first I'm going to begin in with the indigo color in a very light consistency at the top space you can see it's almost equal to a watercolor consistency that I'm using in just water and very less of the pigment. So just giving in the first layer. Then I will slowly begin darkening from the top. So when I begin darkening from the top, you will see that I'm trying to get in a gradient wash at the top. I'll try getting in the darker tones. And as I keep moving towards the bottom side, I lighten up the color. Remember to keep a little space closer to the horizon line for the pink tones that we will be adding. Now, I'm going with the first layer of pink as well. Again, I'm going to use the calendar very light constancy. You can see it's just a touch of the pigment and more of water that I'm using it. Now I'm just going to run in with multiple layers of the color because remember watercolors dry or tone lighter. So if I would have kept them this slide itself, then of course the, by the time it will have dried, it would turn almost like a white background. So that is what I exactly do not want. That is the reason I have run-on with the multiple layers of colors so that after it dries, I have a ball looking sky right now just running in with the same pink color as well. Again, in the center you can see I've maintained a little glowing space to show a beautiful blowing sky effect as well on the winter evening. So that is the reason I have not added much of the darker indigo tone in the center space. So again, running with one molar of the indigo, you can see again in the center I've tried to maintain a little of the light space, but so as to have a blended look, I'm just quickly running in a **** brush out there so that everything looks blended and that's pays does not look uneven or left out separately. So you can see how using a damp brush, I'm getting in just very light tones in the center space to create that glowing space be there. So that is for our sky space, a pretty simple one. Now, we are going to paint in the area on the horizon line. We are going to have a small mountain range. So I'm just going to leave a very fine line in between the sea and the sky, where we later on adding the black color so that I do. I have to wait for the sky to try to paint the C. So now you will see I'm leaving a very fine white line in between so that the colors do not flow into each other. Now in case if you are not confident to go ahead with this and wait via Skype to dry out completely and then begin painting in the sea space. So in this ear, I have directly gone ahead with a layer of the pink color as the water layer. Because again, I'm just going to be using the colors in a very light consistency. Now, I have marked the outline of the Snowbird very carefully so that I do not run the colors out there. Now, I'm going to go ahead with the same thing and the indigo tones. And as we discussed in the technique section, we'll be adding in the wave effect wet on wet into the Z space. So we discussed two important things. That's the water control on the paper and water control in the pains that you use it. But first, just adding in the indigo color, mocking the outline of this no Beta again, very carefully. And make sure you do not cover the entire Ping space of the sea in the sky as well. We have very little Ping space, so in the CNS, but we're just going to keep a small highlight of the Ping space. Now I've shifted to my smaller sized round brush and using a little darker consistency of the indigo color and beginning to add in the darker that closer to the Snowbird so as to show the shadow effect of the snow falling in the water. That is the reason you will see a marking the entire outline of the Snowbird space with a darker tone which will look blend into the sea, giving in the shadow effect once we add in the snow. Along with that going to begin adding the darker depth of the waves into the C. Remember again, two important things that we discussed. Papers shouldn't be too wet in case if you feel that your paper is extra wet, you can just wait for a few seconds for it to settle in a bit and then go ahead with this layer of ways. But since I did not add a layer of water previously, so I know my paper is not too wet. Now I'm going to run in with the pink color waves as well while it is still wet. So you can see for the waves I'm just running with simple strokes, nothing much in detail. Very simple. Ten lines in between to actin as the waves. Just that I'm adding the lines and smaller length, not completely from left to right. I'm breaking them in between and take it other lines from Baltimore, top of it. Now just going to add in some more darker depth or from the edges in the center, you will see I'm maintaining the glowing effect because in the sky as well in the center, we've maintained a little glowing space. So in the same way to reflect the same into the area, I'm keeping the center space on the light side from the edges I've given in the colors. You can see my colors from the sea. You have not shifted into the sky. Now I'll wait for all of these to dry. So now my sky and the c both are completely dried. So I'm first going to go ahead and paint this no space so that even that dries out. So I'm just using a very light consistency of the indigo color and running a rough layer of this in-between, you will see randomly I'm leaving in white patches empty so as to show different colors of the snow. The reason of using indigo color is to reflect this chi, a light falling on this no space, making it look indigo in color. And that is the reason In-between, I've left a little of the white patches to actin as the white snow as well. Now using the indigo color again, I'm just giving a very thin line to the snow space so as to make it look distinctive from the water space. So just on the inside of very fine line at random places to give it a bold look. Now, while there's no spaces wet at random places, I'm going to give him more darker depth of the snow. So just going ahead with one more layer of the indigo color at places randomly to give him the darker, then you can see there's no specific pattern or no specific way of adding in these, Your placement of the darker snow can be completely different than mine and that's completely okay. It's important to build in that texture and the depth into your painting. The placement need not necessarily be the same because it's a nature painting and, you know, nature can be in different forms. I'm going to go ahead with one more layer of little darker texture. And I'm going to create a little of the darker texture detail on the snow. So just creating in some snow mountains but getting collected onto this number. So just giving in some more darker That's using the same indigo color. Now in this new space tries, Let's go ahead and add in the further details. So I've shifted to my liner brush and using the black color, I'm going to begin adding in the branches one by one. The first one out you are from the snow bed space. I'll add this and wait for this to dry up so that we can add in the snow details on top of the branches as well. Once it dries out completely. And then we'll add in the top mountain range and the crop branches that we're supposed to add into the sky space. Now from this bigger branch, I'm just going to pull out some smaller branches very randomly. Not much of them, very little. And then some other smaller branches from the smaller branches that you pull out. Now some smaller branches I'm going to pull out from the bottom side here as well. Just to branch off branches and just pulling out some smaller dry branches as well from the bigger branch. Now I'm going to create the bunch of branches at the top space here on the right edge. Now, again, I would say, I'm going ahead with very random celebrate for these branches. You can go ahead with any random kind of branch details you wish to go ahead with. Or if you want, you can add in pine trees into this painting. It's absolutely your choice, how you want to let your creativity change your outcome. So you can see I've gone ahead with two to three bigger branches. And then from that I'm just pulling out some smaller branches randomly in between you will see some of the branches. I'm giving it a little bold in color that isn't giving them a little thicker in size so that they stand out. And then from that the smaller branches pop out. So I'm going to quickly keep adding in some more branches from the top. And then we're almost ready with this class project just to add in the mountain range on the horizon line. And this no effect at the bottom spaces with the white gouache. Now I'll begin adding in the mountain range. So I'm gonna just going to tilt the paper so that I do not lay my hands onto the wet snow space and the red branches at the bottom space. Plus it's much easier for me to tilt and have the perfect Can movement for the mountain range. So using my size one liner brush, I'm just going ahead with a very fine line first on the horizon line. Now on top of this, I'm just going to give it a little mountain shape with the black color. It says it's going to be a very tiny one, not a big one. So you can see how slowly I'm defining in this mountain range, taking it in a very rough shape. Now next I'm going to go ahead with a little spoilage detail on these top branches that we've added in. So I'm just going to add in some smaller leaves out of these bigger branches that we've added in some bunch of leaves together, but again in a little dried pattern. Not much of the detail looked at, we'll be adding in. So just smaller leaves you can see randomly that I'm adding it or not much of it as I told you because we need to show it as a dried branch lot. But just some of the last leaves hanging out there is what I'm trying to depict in your I'm just going to give him little more detail and given little more branches and leaves in different angles so as to make it look more natural and fully filled up space out here. Now using the black color, I'm just going to add in a little off the rock effect into the sea on top of which we'll be adding in the snow detail with the white quash later on. So some tiny details that I've added much at the lowest space only you can see not much towards the top side of the horizon line. Now I feel there's no spaces still of a very light color, so I'm just going to run in one more layer of the indigo color so as to make it go a little more dark. Because since we're showing it as an evening view, I wonder, you know, the snow color also to have that dark evening sky reflection falling in. So I'll just go ahead with one molar of the indigo color and some more darker details. So using the indigo color, you can see I'm just creating in the darker details out here, giving him random texture. Now the last thing, let's begin adding in more detail using in the white quash. I'm going to be using in the white quash mixed in with a little tinge of indigo. I'm just going to mix in very little Justice, small tint of the indigo. You can see I've already added a small tent and using this color, I'm going to add in this more detail on the branches. Now make sure you do not add a lot of indigo. Makes sure it's just a small pinch of indigo into the white color and not the white in the indigo color. Now using this color Nan opaque consistency, I'm going to begin adding in the snow deposited onto this bottom branch. So you can see on top of the black line that we've added, I'm trying to show it in a very rough shape. The snow being collected, you can see the bottom black line is still visible. Make sure you add the snow in such a manner that the bottom branch is still visible, otherwise, it will look as if this noise hanging in the air. Now in the same way I'm adding in the snow effect on the branches at the bottom space as well. And I will add the snow effect onto the rocks as well that we've added it. Now lastly, I'm just going to add in little of this no effect in the bottom space as well, using in this white quash to give him little lighter details. So very randomly you can see I'm creating in this more detail. Now this lightest know that you are adding using the mix of the white portion, the indigo color at the bottom space, it's looking as that clean snow, which is still visible in despite the reflection of the sky falling on the snow space. Now let's remove the masking tape and see your final painting with those clean edges. Make sure you remove the masking tape. Volunteer edges are completely dried or as it may tear of your paper. So as a final painting for day seven of these 2.5D cozy winter challenge. I hope you guys enjoyed painting this simple yet the beautiful, it's noisy escape with me today. I will see you very soon into the class project. So I'm just blending in this no space out your lithium. And that is it. Thank you so much for joining me into this class. I will see you guys soon into the class project. 18. Day 8 - Bokeh - Technique: Hello everyone, Welcome to day eight of the 2.5D cozy winter challenge. Today we are going to paint this pretty simple snow illustration, which is going to be a part of the Christmas tree or the pine tree you can tear. And the blurry background with the snow collected on the foliage effect. So let's begin understanding the colors that you would be needing in for today's class project, and then some basic techniques. Further background, that is the blurry background. You can see we have shades of yellow, orange and the blue tones. So I'm going to be using in the yellow ocher color mixed in with a little bit of the light red color. These both colors I'm going to use in a very light consistency to get the effect of these colors out here. So it's going to be more of water and very less of the pigment. And then for the blues, I'm going to use in a little bit of the ultramarine deep color and the indigo color. So along with ultramarine blue color, I will even be using a little of this alien in blue and then the indigo color to give him the details for the blue color effect in the background. For the green area, that is the foliage and the background green blurry effect. If you have a look closely, you have a little blurry effect of the green as well. For that we are going to use in the sap green color. In the background. I will use this app cleaning a very light, watery consistency and then in a bowl consistency to add the main foil it. So for this no effect and a little of the bouquet effect I'll be using in the white gosh. Now coming to the bokeh effect, I'm going to be adding it in two ways. One is going to be the lifting technique, keep lifting up carlos while the background is still wet. And the second is going to be adding in the details with the white gouache once everything dries out. So let's understand the first technique, that is why lifting up the colors while the background is still wet. The second technique that is adding in with the white gouache, it's comparatively much easy as compared to this lifting techniques that we'll discuss a little about the lifting technique first, I've gone ahead with a layer of water and now on top of that, I'm going to add in a layer of the indigo color. Then on top of this, I'm going to begin in the lifting technique while my indigo layer is still going to be wet. So after the layer of water, I've gone ahead with a layer of indigo color. And now while the indigo color is still wet, I'm either going to use in the flat brush or the round brush. I find it more comfortable with the flat brush. I'm going to go ahead with the flat brush and begin lifting up colors in circular motion. With the flat brush, you can see it's quite easy to move around and get the circles easily. So in this way, I'm going to begin lifting up the colors one-by-one and creating the bokeh effect. Now while creating in the bouquet effect, two things play an important role. One is the wetness of your paper, and second is going to be the quality of your paper. Some papers may begin to wear off if they are of a cheap quality or of a student good quality. So in that case, I would recommend you to you can avoid going ahead with the lifting technique. You can even go ahead and use a tissue paper to do the lifting technique, which we'll discuss in some future class project. If we happen to use that technique with the tissue paper as well, you can lift up the colors and creating the bokeh effect. Now at times it may not be easy to get in the book a fact, right? By lifting up in one layer, you may have to go into three layers to get the perfect bouquet effect. So you can see how I'm lifting up the colors and creating the bokeh effect in two to three layers. When this dries out, you will automatically see lighter spaces like this. In our final class project, I've gone ahead with major lifting technique in the background space, majorly in the blue color spaces. If you want, you can even use the water splashing technique to get in a random effect. So basically when you add in a drop of water, it will disperse and creating the bokeh effect. There are much more different ways of getting in the bokeh effect of different styles, which we'll discuss one by one in the coming class projects. Next we're going to add in the layer of bokeh effect using in the white gouache to your, you can see I have a little tinge of yellow mixed in. So first bouquet effect layer, we're going to go ahead with this mix of the yellow and the white color. And for the second layer of the bokeh effect, we are going to go ahead with the pure white gouache on the blue tones. We'll go ahead with the mixture of the blue and the white color to get in the second layer of the book effect. So basically for the bokeh effect, you need to to three different color tones. The first color tone is going to be by the lifting technique. The second is going to be by mixing yellow and white. Just a little tinge to the right coercion getting the second layer of bokeh effect. For the third layer of bokeh effect will be going in the right color of white gouache to create in the book a fit. So you can see these bold by details that we've created. Some of them will be covering up the spaces. That is the previous book alias that we add in. And some of them are going to be sending out separately. This is how we're going to add in these final details. And then using the white course, we'll be adding in this no detail on the branches as well. So that is about the technique section for this specific class project. I hope you guys have got the basic knowledge of how we're going to go ahead with the class project. Now, you can see when we added the white quash on the wet background, it has also created a double bokeh effect. So in case if you are someone who's lifting technique is not working fine, you can go ahead with a small detail of the white gouache once your layer is still wet to get in those background, Dull book a fit. So now I'll see you guys in the next lesson. 19. Day 8 - Bokeh: So let's begin with our final class project for d eight. Now, I'm just going to go ahead with it with a very little pencil sketch. I'm just going to mark out the space for the branches. And there's no space on top of the branch because on this no space at the top of the branch, I'm not going to be adding in the colors. I'm going to let it be blank so as to have little whitespace. So I'm just marking out this new space. Basically. I've mapped out that one weeks no space and too little snow spaces, and that is it about the pencil sketch. So we're going to go in painting the background first. So I'm going to wet the entire background living in these new spaces that I've mapped out. So let's go ahead with a layer of water onto our entire back down first. Now this time you can see I'm going ahead with a little extra wetness and double layer of water. So I'm going ahead with all little more of the water consistency. You're not going ahead with a light layer of water because I'm going to create in the background blurry effect and I want the colors to flow and blend into each other easily. So I want the layer of water to be good enough also. Second reason is because if you will have a very light layer of water, then the paper will begin to dry out much quickly, which we do not want because we have to create the background bouquet effect by doing the lifting technique as well. So in that case you need a little of the extra weight consistency. Also, you can see I'm running my brush multiple times so that it still remains bet for enough time for me to add in all the details, creating the entire detail into the background sky. I'm done adding in the layer of water. Now I will begin adding in the colors one-by-one. So I'm first going ahead with a light layer of the light red mixed in with a little tinge of the yellow ocher color. So I've got an orange-ish brown tone. Your, if you want, you can simply go ahead with a vermilion color mixed in with a little hint of orange as well. Major near the top side, I'm going to go ahead with this color. The bottom side is going to be more of the blue tones. Just added very little you can see in light consistencies. Now next I'm going to go ahead with a little tint of the civilian blue color. You can use surrealism. Blue, turquoise, blue, Prussian blue, any medium tone blue color that you wish to. And the next is going to be the ultramarine deep color that I'm going to be adding it. Now in-between the blues randomly, you can see I'm going ahead with the colors. Now if you see closer to the leaf space, I'm leaving little off the white cap because there I'm going to add in little off the green layer as well. Now, this is just the force clear off the background color effect that we are beginning to add in. We're still going to add in a lot of the darker depths and then go ahead with the lifting technique. So I'm going to add in that little layer of the green tone as well. I'm not going to add in any color in the snow space. I by mistake clicked, touched my brush out there, so I quickly lifted up that color out there. So just close it to this null space, giving in a little of the background blurry effect for the, for Elijah as well that we will be adding in. Now let's go ahead. The second layer of colors while the background is still going to be wet. So I'm going to pick up the light red color this time in a little darker consistency than the previous one. And you can see randomly moving in my brush, I'm just beginning to add in random details, creating in random shapes very randomly because all of this is going to be in the blurry background effects. So we want to make it look very blurry as much as possible. Now next time picking up a little of the indigo color and beginning to add in the darker depth on the blue majorly on the edges you can see on the right edge and the bottom measures major lever. I'm going to give him the darker depth of the indigo color. Now I'm still going to go ahead with little more details because by the time that these colors begin to dry in, it will still be a tone lighter, which I do not want. I want good bold effect on the edges with the blue tones. The top side, I want to keep it quite light, and the center space in the medium tones. So those are the color tones that I need. So I'm going ahead with a little more of the blue or ultramarine deep color for now, I'll pick up a little more of the indigo color and given the darker on the edges for the blue tones first. Now you can see at the blending point of the right rate and the indigo color, I've gone ahead with a very light tone of blue so that I do not have any unpleasant color tones being formed there. Now I've picked up a little of the yellow ocher color and add it at the top space to give him little more depth at the top area. Remember, all of these will dry or tone lighter. You may have already seen the final class project and you know that the tones are a little lighter. Now while the background is still wet, remember we have to go ahead with the lifting technique to create in the book a fat. Now one important thing, after every layer of lifting that you go ahead with, you need to clean your brush and dip your brush in freshwater before going ahead onto the next layer. Otherwise, the colors that you lift up from the first layer will get laid onto the second layer and on the other spaces where you're trying to lift up. So somewhere you can see I'm lifting up half of the circles to create in the book a fact. Now I'll just wait for a few seconds for the colors and the water to settle in on the paper and then go ahead with the lifting technique again because at this moment the paper is too wet because if fish the lifting technique will be a little difficult. So I'll just wait for a few seconds and then begin again the lifting technique. So now I'm beginning to go ahead with the lifting technique. Again. You can see now the details are happening in more easily because the paper is just like around ten to 20 per cent dried, 80 per cent. It is still wet. But now you can see once you lift up the colors, the colors are not spreading again because the paper is beginning to become less moist and the lifting technique works more easily in such situation. That is the reason I told you, just wait for a few seconds. If you are painting on the layer is too wet so that once it settles in a bit, it becomes much more easier to go ahead with the lifting technique. So I'll just go ahead with some last details of the bokeh effect and then we wait for all of these to dry out completely. While this dries out, make sure you do not use a hairdryer. Because it may so happen that your book effect may get covered up again, which we do not want to. It's important to let this dry out naturally so that the bokeh effect does not get altered. So once we are done with the bokeh effect in the wet on wet layer, we'll wait for this to dry. And then once this dries up, we'll begin on with the further details into this painting. The next detail that we'll be adding will first be the branch details so that then the branch can dry and we can go ahead with us more details on top of it. And after that, we'll add in the rest of the book editors. So let's wait for this to dry completely. So now everything has dried completely. You can see how beautiful the bokeh effect in the first layer has come up because we did not use a hairdryer. And plus I waited for that few seconds. Now I'm just going to add in little more detail on top of these. So I'm just running with a layer of water first. I'm just going to use a very light tint of the indigo color, very little tent and going to add in little detail to actin as the snows of very little color onto this and not alter the entire space just randomly on the edges and then little urine there. In the same vein, these two small spaces as well. I've just added that little layer. Now very carefully just underneath the snow space, I will slowly begin adding in the pine tree details. So I'm just going to go ahead with the branches first and I'm using in the sap green color, if you want, you can mix in a little tinge of the darker green color in this as well. Or you can even use an emerald green or viridian green mixed in with the sap green color. I've just mixed in a little bit of the viridian green to this so as to get a little Christmas tree color effect. Now closer to the eye space, I'm going to go in very carefully. So I'll first go ahead with the formulation on the bottom space of this branch. I'm even adding a little tinge of the olive green color so that I get a good bold green color effect. Now from that one branch you can see I'm pulling out some smaller branches and giving him very simple foliage details. Even in the bottom space, those tools, no spaces that we've added in. I'm going to take care of those as well and make sure they are still visible. We'll still be adding in the snow detail with the white quash later on. Now when it randomly, you can see I'm pulling out branches from each other and giving in simple foliage details. I'm making it going ahead with the detail on the bottom side first so that all the top snow area details that we added with the indigo color can dry out completely and then we can add the details on the top side as well. Now to my sap green color, I've just mixed in a little of the indigo color to get a little more darker depth to the green tones. You can see the green color is looking a little dull, which I do not want. I want a bold looking green effect. So adding in a little of the indigo tends to, it makes it look bold and it gives us so much more depth to the painting. So I just add a little layer of the indigo color. And at random places I went ahead with a little darker detail for the foliage as well. Now, at the bottom snow space as by just pulling out some smaller branches, giving in little foil h d, t. So now the top small spaces all to try it. And you can see I'm randomly pulling out little branches on the top area as well. But I'm not going to cover up the entire snow space are going did very little for Alice detail on the top because we're going to show the snow being collected on the top of this palm tree leaf or the Christmas tree leaf. So make sure that you add unlimited mileage at the top space. So now I'm done adding in the foliage details. Now we need to wait for this to dry before adding in the snow details on top of this. So once this will dry out after that, we'll add in the snow detail using in the white gouache. Then I'm going to begin adding in the second year of the bokeh effect. For that, I'm going to be using in the mix of white and a yellow color and the white and the indigo color. To add in the second year of the bokeh effect. Now, make sure you do not add a lot of these colors to the white. It has to be a small pinch off the color to the white color to create the effect. So I'm just going to go ahead and begin creating in small details of the bokeh effect. First, with a mix of the yellow and the white color onto the blue color. I'm going to add in very little effect of the yellow, just one or two, not much. So make sure you do not overdo the yellow color bokeh effect on top of the blue color. So I'm done with the book, a fake for the yellow color. Now I'm going to squeeze out a little more of the white gouache and go ahead with the bokeh effect with the mix of indigo and the white color. Now first-time going ahead with some dots with the white color. And then I'll go ahead with the ones with the indigo and the white mix. So you can see some of these I'm adding overlapping the yellow and the white color mix bouquet effect. You need to make sure that the yellow color bouquet effect is completely dry before you go ahead with this next layer of the book, a fat. Now some bouquet effect, I'm going to create it in a very light consistency. That is, I'm going to blend it into the background. Or you can simply using the mix of the indigo and the white color to add this like this one out here. Now I'm going to lift up the white color and give it a very double-space only on the edge you will have that white colored effect. For such bouquet effect, you can simply using the white mixed in with indigo to get in that data look and then go ahead with the ball layer of the white color as well. Now with the mix of the indigo and the white color, I'm going ahead with some of the effects on the blue space and you can see the color difference between each of the bokeh effect layer that we are going ahead with. So again, very randomly, not much of the color effect bouquet with each color because we have different color layers as well. So you shouldn't be or filling up the entire space with the bokeh effect only. So it's important to go ahead with limited details. Also makes sure that you do add the bouquet effect in different sizes like here you can see I've gone ahead with different sizes and not one specific size. So adding in all of the layer of the book effect may take a little time and maybe a little tedious jaw. If you want, you can take a break in between and then go ahead with the rest of this nor details and then come back again to your bouquet effect. But you can see how pretty the entire background is beginning to look with these bokeh effect in different layers that we have created in. So I'm just going ahead with some final details of the bokeh effect before moving on to the snow and the final details of this class project for day eight. Now using the white color, I'm just going to go ahead with the bokeh effect on the blue spaces as well to give him the final details of the bokeh effect. So some are going to be quite small ones and some are going to be bold, bake white ones. So let's quickly add these and then move on to this node details. Now using the white gosh, I'm beginning to add in the snow detail on top of the foliage that we've added in. So you can see I'm going ahead and creating and very random details of the foliage. Now some of the snow space, we had already kept it right here. I'm going ahead with a little layer there. I'm giving him random shape on top of the foliage as well so as to show that random shape of this now being collected. Now I'm just going to go ahead and splatter in some snow onto the entire space, trying to show it as a snowfall seen as well. Not much but very little using in the white gosh, make sure you use in either white gouache or white acrylics so that you get an opaque look for the snowfall. White watercolors will dry lighter and may look dull and may not give you that snowfall effect. Now shifting into my smallest size brush, I'm just going to add in little more detail on the foliage as well. After this in-between the top snow, I'm just going to show a little of the green foliage peeking in through the snow. And then we'll be ready with this class project and ready to remove the masking tape as well. So that is it you can see very randomly, I've given in little of the foliage detail or quickly. And just, you know, giving him the trough, this no effect on the foliage as well. Now I'm going to just quickly dab off this one drop of water that fell off from my brush using in the tissue so that it does not create any uneven patches are dead. Now using in the sap green color, I'm just going to add in very small strokes in-between the snow so as to show some of the foliage speaking out through the snow space as well. And that is it. We are ready with our class project for the aid of the 25 days cause even the challenge. Let's remove the masking tape and see your final painting. Make sure to remove the masking tape once you register completely dried it, and always remove the masking tape against your paper so that you do not tear off the edges. So here's a final painting with those clean edges for the eight. I hope you guys enjoyed painting this with me today. I will see you soon into the D9 class project. And thank you so much for joining me into this class. 20. Day 9 - Frost - Technique: Hello everyone. Welcome back to day nine of the 25 day cozy winter challenge. Today we are going to paint this pretty simple blurry landscape again. So the background you can see it's going to be a blurry sunset. And then we are going to paint in on neither focus of these few branches out here with a little of this toy effect. So that is how our class project is going. So let's begin understanding the colors first. Let's have a look at the colors for the sky, then for the rest of the details. So for this guy, as you can see, for the sunset effect, I'm going to be using in the yellow, orange, and blue tones. So I'm going to use the yellow light color, the yellow orange tone and color. Now the yellow and the yellow orange tones, you can see it's in a little gold consistency that we've used. And the blue color is in a very light than you did consistency that I have used it. Alright, so I'm going to use the indigo color for the blue for a very light consistency. Now, make sure when the yellow and the blue closer together may give you a shade of three, you need to avoid that while adding in the detail. Then you will be needing in on itself the 1 million color to highlight the sun space. And given that much right effect for this EV are going to use in the indigo color with a little tent of the Payne's gray or the black color. And for the horizon line blurry, Bush stated as where we are going to be using in either the Payne's gray and the black color. Even for these background blurry leaves, branches. We're going to using the same brown ando of Payne's gray or the black color. And lastly for this no effect on the mean, this you will be needing in whitewash to give them that little very fine frost effect that will be giving it. You can even use a little of the brown, that is the sepia mixed in with white to give it a little lighter effect to some of the branches. I'm going to mix in byte course with a little bit of the sepia to give him some lighter effect. Now let's begin understanding of how are we going to be creating in that blurry effect. Because if you'll see we've painted the sky, the see all of the details together and not waited for anything to dry out. But the most important technique when comes to painting the blurry background is about the water control. Because if you will not have the perfect quality control things and give you one flat color instead of giving you all of the distinctive looks. So let's begin painting in the sky and paint the bush area and understand the water control, which is very important when it comes to water colors. So I'm going ahead with the random tones of yellow and the boost. So I've added the yellow color now listed the indigo color and adding it in a very light consistency. You can see I just added a little pop of color and now ones across everywhere. Now on the horizon line you can see we have to add in the detail with the black color. But false given a layer of this guy Carlos there as well. Because, you know, even if a little gap is miscible in between, then you may see white patch which we do not want. That is the reason I'm going ahead with this indigo color there as well. Now you know, the blue and the yellow mixed together may give you green tones, which we want to avoid in our sky because it is not pleasant to see in your sky Canvas in order achieve that, you know, so that we do not have the green balls. I made sure and use the yellow and the blues in a goodnight consistency. And between the yellow and the blue, I left very fine white lines so that the colors blend automatically into each other without forming in the green tones. Now while my sky is still wet, I have to paint in the booth space. So I have a little of the black color and width onto the wet background. I'm beginning to add in these details. Now you can see my brush does not have excess water. That is the reason the black color is detailing the space in which I'm adding them. Now I'm going to stick with a little mobile consistency of the black color. Now, in this part you can see it's not spreading. There is perfect quarter control. My background layer was also not too wet. But you can still see that dispersion is happening because of a little excess water because I went in with two layers of the black color because of the boldness of the black color. Now you are, let me draw up and show you the black color in managerial or watery consistency. You can see as soon as I added in a watery consistency, it begins to spread in all directions and does not retain the shape in which I'm trying to add it. And it completely blends into the background and gives you one shade darker of the Indigo. Also make sure to keep your board tilted so that the colors will not flow towards the top side of this phi. Rather they even flow towards the bottom of the horizon line. A little of the color correction you can quickly doing using in your **** trash and lifting up those discussions as well. So that is the important technique to understand that the water control when playing wet on wet, you can see now the Carlos have not moved. They have retained the shape at the bottom, but the top space color has completed this pose because of excess water while adding in the Palo. Now, let's go ahead with another patch here. Now, I'm going ahead with just in Europe yellow color, but I'm making this clear, very liquidy and very wet. And z that is the background layer is too wet. Now onto this to clear all three, if you will, add the black color in all. Perfect consistency, even then you can see it begins to flow in all directions as for the water, because the base is too wet and the water and the paint that you add wet on wet begins to spread completely. So these are the two important things to keep in mind while playing wet on wet. Now I'll see you guys in the next lesson where we begin creating in the class project together. 21. Day 9 - Frost : So let's begin painting a class project for D9. We've already discussed the colors and the techniques needed to know for this class. Now let's begin with a very basic pencil sketch that's just going to be the horizon line. Now since we are going to create the blurry background, we will be painting all of the paths together step-by-step. So we'll first go painting the sky. And after painting the sky will quickly move on to the water area. We won't be waiting in for the sky too dry because if that will drive in half that sharp line at the horizon line. I also added a small, some space between the further defining with the help of fight, persuade you will be perfectly okay if you miss onto. Now, let's add in a layer of water only into the sky first. I know it may be a little confusing for you as to how we'll be painting the area wireless sky is still wet, but that's how creating in the blurry background altogether step-by-step. So just trust the process and go along slowly. So I'm done adding in a layer of water now while beginning with a yellow light color first towards the left side may actually have shifted to my smaller sized round brush. And I'm going to begin adding in the detail slowly step-by-step. Now I'm beginning to adding the darker depths with a yellow color using in the yellow orange tone. But you can see I'm not using it in a tube, old consistency. It's more towards the yellow side because I'm using it like the consistency. Now on the left side and closer to the horizon line I've added in the yellow effect. Now I'm going to just lighten this effect a bit and then we'll move on to the indigo color. Now with the indigo color, I'm going to add it medially on the right side and a little highlight on the left side. But the indigo color we are going to be using in a very light liquidy consistency and not much at all in the dark consistency. Also remember while adding in the indigo colored leaves, little gaps in between if you're not confident about blending the yellow and the blues together well, because the yellow and the blue me give you a green tones. But since we're using an indigo color, it will not give you much of that green tone, but still you need to be a little careful. Now using the vermilion color, I'm just giving you a small highlight around the sun space that we've lifted. So just little movements around the sun using in the woman in color. If you do not have one, you can use in the orange color or you can go ahead and use in your scholarly tone mixed in with a little bit of the yellow color. Now why my sky is still wet, I'm going to quickly go ahead and paint in the Z space. So I'm adding in a liter of water into the area and policy space. We are going to go in with the base layer of the indigo color first. Now on the horizon line, you know, we are going to have in the black line detail that is going to be the bush space. But still, I'm going to keep my border little tilted so that the indigo color does not flow much about the horizon line. Also add the horizon line go a little carefully so that much of the indigo colors do not go into the sky space. But since the sky area is also bet and even as chi has a little of the indigo tends, it will not make much of a difference. Even colors flows. Now using the black color, I'm going to begin adding in the details on the horizon line. So you can see I had little excess water because of fish. The pains began to spread a lot. So I'm going to quickly define an 0 horizon line using in the black color. I'm going to go ahead with the base layer before moving on to the darker shade of the black color to add in these bush detail. So by the time a little of my sky settles in, I'm just adding in the wave effect wet on wet into the z-space. Now, It's the same technique of water control one, your base here of the C shouldn't be too wet. Second, the pain that you're using to adding the layer of the waves shouldn't also be too watery. If for every wet on wet technique that you go ahead with the main door, all important tips remain the same. That is the water control on the paper and water control in the wet paint that we're using for the layering technique. Now, I'm beginning with the black color on the horizon line and you can see it's not spreading much now because my sky is also just like 20 per cent or dried. And even my water and the black color that I'm using is not too wet. Now why does he it is still wet. We have to add in the background blurry branch effect as well. So for that again, I'm using in the black and the brown color mix, and I'll begin adding in the branch details. Now makes sure that even USE is just around 20 to 30% dry so that you, these details retain the shape. Otherwise they will begin to spread and just form one single base color. So now you can see I'm just beginning to add in some random branches as well using the black color. Again, you are, the important technique is the water control. Also, if you notice my paper is still tilted so that the details on the horizon line do not move much towards the sky because everything is still wet. My paper is still did with the balance of that underneath palette. That is their lifetime just going ahead and adding in some random branches, you can go ahead with any shape size, movement these branches, because most of them will get covered up with the main finish that we'll be adding in the foreground. Before letting everything dry, I'm just going to quickly go ahead and add a little more blurry details at the bottom space. Before that, I will just use the white color and adding a little glowing effect to the sun space, the so-called that we had mocked up because of the colors that I had saved inside. So I'm just giving it a little Brightspace again. Alright, now I'm going to shift into my liner brush again and just add in little more details at the bottom space. I'm just going to give it a second layer on the horizon line as well. So all of this, I'm still going ahead wet on wet. You can see because watercolors dry or bone light dark by the time this has begun to dry in a little, you could see the color tone to life. My background is still wet because of which I'm able to achieve in all of these details in the soft look and blended look alike to make sure that you do not add all of these. If your paper has begun to dry, if your paper has begun to dry in, you will have to stop in there or go ahead with the re-weighting technique. But in case if your paper is still wet like mine, you can go ahead with these layers. Still an add-on the details as much as you want. So I'm a bit unsatisfied with this left bottom space. I'm just trying to blend it into the background quickly and then go ahead and add in little more details on top of this again, because this looks like you not to cluster out yours. I'm just lifting up little of the colors as well. Then go ahead with fresh details layer on this. Now on to this space again, I'm going to go ahead and add in the background glory details. I'm just making sure that the people is not too wet. It's a little moist so that the details standout as well as they do not spread out completely. So I'm just going ahead beginning into adding little details into the background first. Again, this is still wet on wet but not too wet on wet to these will have a little soft tests but not spread out completely. So now I'm going to go ahead with little details only not going to cluster it like the last time. You could see how easily you could cover up that space and blended into the background because of the wet-on-wet technique that we were playing along with. And now you can see it's not too wet because the fish, the paints are not spreading much the early during the shape in which you are adding them. Now I'll wait. This to dry completely and then move ahead further and adding the final details into the painting. So now everything has dried completely and now I'm going to begin adding in the main branch details using in the light brown sepia and the white color mixing. So fast I'm beginning with the light brown mixed in with a little bit of the black tone. Now if you want, you can directly use in a sepia color. But since I have a little of the black color on my palette, I'm just going to mix a little of the light red color. I'm going to squeeze out a little bit of white gouache so that I can begin adding in the detail. So it makes it a little off the white quash to the brown and the blacks out yours, I'm going to add in a little of the sepia color. Now we're just going to add in very limited or details with this lighter tone wager details are going to be with our darker brown color. And then we'll add in the details with the white quash giving in that little frost collected effect. Now the same kind of branches that you might have used in the background are the same that you have to add in the foreground. Now at this point, you have to make sure that everything in the painting is completely dry because these T.DIST not have to have in a soft edge, they have to be involved enough and have to stand up because this is going to be the main focus of your paintings. So you can see from one main branch, I'm pulling out the smaller branches, giving in the details and adding in the details out you're now in-between. You can see I'm going ahead with different color variation some way light somewhere. Also all the color alterations you can see is with the help of fight course. So in case if you want to lighten up the color, you can go ahead with a little lighter brown as well. Or if you want, you can mix in the white portion as well. So if you want, you can use a little of the light red or the pond sienna color directly for some lighter details, you can use in the sepia color for some darker details. But in order to show it as a little delicate snow effect d1, I'm using invite us to show that different color variations, keeping in mind the snowy view that we are painting alone. Now as I'm moving towards the bottom side, you can see I'm going ahead majorly, the sepia color more keeping the tones darker. This is one big main branch that we're adding it and then we'll add in much of the smaller branches at the bottom side. But major focus is going to be this one big branch from which we are pulling out these smaller for an HTT. Now you can see it's quite simple details that we're adding in with nothing much about complicated or difficult to follow along. Very simple, nice details that we are creating it from one big branch. Now I'm just going to go ahead with some darker details on top as well. And we're almost ready with this one big branch out here. And then we'll move on to the smaller branches. And lastly, there's no effect on these branches and will be ready with our class project for the night. Now for the beginning to add in some smaller branches as well, with the same mixing of the brown, black and the white color, randomly alternating. So there's no specific pattern or specific color tone you have to follow at a specific speed. You can go ahead with different color tones as per your choice, and just building this entire space slowly. Now some details you can see I'm going to head with just some branches in-between randomly and some of them overlapping and moving in different directions so as to give that natural look to the entire DDS. I'm done adding in the branches base layer. Now we need to wait for this to dry completely before we add in the snow detail on top of this. But my main branch has almost dried out, so I'm going to begin adding in more detail onto those branches and then come to the smaller branches which are yet to dry out now using the white quash and a very fine liner brush or a pointed tip brush, just begin to add in very fine highlights on top of the branches. If you want, you can use a white gel pen as well, so that you get in the fine details you just have to show in various sign thrust effect being collected onto these branches. Not the details, no order. Complete snow collected onto these branches as we did in the previous class project on the branch, we had shown a lot of snow being collected. But this is just little frost effect that we are beginning to give in. So you can see very little effect that I'm giving you using in the violet wash. Now the reason of using a right question so that it stands out opaque, opaque even on these are brown tones that you've used in. You can see how Dr. Brown bones are, but still the white quash is standing out right and opaque because it's the consistency of gouache colors. Now my smaller branches are also almost dried, so I'm just going ahead very carefully adding in little of this, no effect on top of these as well. And we're almost done with our class project for the night. So let's remove the masking tape and see your final painting for DNA. I hope you guys enjoyed painting this simple, yet a beautiful class project. And I hope this class project help you in understanding more about the water control and especially painting the blurry background of without letting anything to dry out. A final class project for the nine of these 2.5D cause even though challenge, Thank you so much for joining me into this class and painting along with me. I will see you guys soon into the next class project. 22. Day 10 - Lamp - Technique: Hello everyone. Welcome back to day ten of the 25 days because even the class, today we are going to paint this beautiful lamp in the snow. It's quite an easy class project with just a little more detailing step-by-step. But you can see how beautiful this painting is looking with a reflection of the light falling into the snow and the cute little snowflakes that we've had it in. Let's begin knowing the colors first and the techniques that we'll be using for this class project. For this class project first leaf or the background we are going to be using in the shades of blue. It's going to be the ultramarine blue and the integral. Hello me Julie. Then for the lamp light we're going to use in the shades of yellow and orange. So I'm going to use in my yellow light, and I'm going to use the yellow orange color and a little thin toss the lemon yellow color to give that bright defect in the center space. You can go ahead and use any tool, medium tones of yellow. I'm a little hint of orange as well. Lastly, on the edges I'm going to give him little of the orange tint majorly on the edges. And in the center I'm going to keep it light. Then move to the yellow, orange, and then to the orange on the edges. So that is all we're going to move with the colors in the lab space. Then at the top again, it's going to be the ultramarine blue color that we'll be using it. And then for the details on the land we are going to be using in the sepia color on the lamp. You can notice using the sepia color. I'm even going to create some highlighted parts trying to show in the light effect falling onto this time of the lamp as well. Next, I'm going to use in this olive green color to add in these Christmas leaves, our little red ornaments, Father Christmas decor. And lastly, I'm going to be using in the right class for adding in this toy effect on the snowflake details. So the bottom areas now it's going to be with the help of ultramarine blue color. Rest of the details, it's going to be with white gouache. So this is about the colors that you need to know. Now, let's go ahead and understand the technique that we'll be using to create the background detail. This time we're going to use flexing technique to create the background texture effect. So first we're going to go ahead with a wet surface. And on top of that, we're first going to run in with the ultramarine and the indigo tones. So very randomly, I'm going ahead with the placement of the indigo and the ultramarine deep majorly on the edges, It's going to be the darker indigo color. And in the center it's going to be lighter towards the ultramarine blue color. Now I'm just going to add a little more depth and then begin creating in the final details into this. So why is this still going to be where we are going to be using in this splattering technique to create the background texture. Now what you have to do is you have to pick up our brush filled in with a little bit of Florida and begin splashing from images. But you need to wait just for a few seconds for the colors to set and then dip your brush in water. And you need not have excess of water on your brush. You just need to have very minimal water from a distance. You need to begin tapping on your brush and the water will begin to splatter onto this. And as soon as it will splatter and you will see it creates small dispersions, creating in some lighter species later on which tries and turns into picture. So if you have a closer look, the smaller dots are creating in the texture like this. After it dries, it will turn into these beautiful light tone texture, giving into the perfect background texture effect for the painting. One of the previous class project, we had used the lifting technique to create in the bulky effect while we were painting in those Christmas or the pine tree branches. So this is another technique and it's same kind, your Viva just lifting up the color and you're creating in these lighter book a kind of an effect by using the splattering technique. Now why LOINC? And going ahead with this splattering technique, you have to take care of a few things. First being that your papers shouldn't be extra wet, your brush and not have a lot of water. Otherwise, it will give you bigger spots of water and we'll turn the entire space into one big patch of color. So it's very important to have very limited water on your brush, flat at it from a distance and not too close. Second you can go ahead and just drop some droplets of water like these to create some more bigger spaces if you need. If you want, you can first practice this on a rough sheet. The rest of the details are quite simple to add in, which we can directly add in the final class project. But to get a little hungry, this splattering technique, I would recommend to first try it on a rough sheet of paper. Understand the wetness of the paper that it should be y going ahead with this splattering technique and how our brains are reacting when they try out with the splashing technique. I will see you guys into the next lesson and paint this beautiful class project together. 23. Day 10 - Lamp - Pencil Sketch: So now that you know the colors and the basic technique for this class project, Let's go ahead and add in the pencil sketch. And then in the next lesson we will move on to painting in the class projects. I have kept the pencil sketch as a separate lesson because the pencil sketch for this class project is a little detailed one. So I do not want to rush and I want to break it into parts so that it's easier for you to follow along and revisit any specific section if you need to. First at the bottom, I've marked out the snow space. Now this time, as you know, we are going to have in a big lump in focused mode, a pretty small one. So I'm going ahead and just marking out first the body of the lamp. And then in this will keep adding in the details one by one. Now it's absolutely not necessary to go ahead with the same kind of lamp detail that I'm going ahead with. You can go ahead with any other silicate or reference picture for the lamp that you wish to. It's absolutely your choice. The details and the color of the lamb can also vary accordingly. Important thing in every class project is to understand the technique, the color properties, the colors that we're using in the reaction of some colors with each other. And then go ahead with your own color choices are on celluloid for that matter. It's always important to just understand the technique and the process of going ahead with her painting. I'm first marking the entire outline of the lamp. That it becomes easier to then add in the center details. That's the bottom detail closer to the light space of the land, giving in those handles and the holdings of the land. Once you have the basic layout ready, it becomes quite easy to give in the detail view. It may take some time to get in the proportions right off the top space. You can see even I am struggling a bit to get in the pencil sketch, right? Because so as to get in the perfect proportions and the perspective. But do not lose hope. It's quite an easy one and with two to three little adjustments here and there, you can easily get in the details, right? So I'm almost done with the pencil sketch, but just a little bit, again, unsatisfied with this top space because I felt it was more towards the right side. So just getting the right side character and moving it towards a little off the center space and getting the proportions right. As I told you, it may take some time to get in the proportions, right, but it's always okay. And going slowly and get the details right in the first step, rather than struggling with adding these details later on. Now I'm beginning to give him the details into the inside frame, that is those brown handles or the brown frames of the glass lamb that we are adding it. So again, these these handles, I'm showing it from a different perspective. So that's placement between each of these groupings will not be same. You can see on the right side we have one smaller one left. So it's completely okay. So I told you you can go ahead with any other reference if you wish to. So that is it for our pencil sketch, very basic butter little detail as well. So now in the next lesson, let's begin painting together this beautiful class project. 24. Day 10 - Lamp: So now let's begin creating in our painting together. First, we'll begin creating in the background. So we have to run in with the clean layer of photo. Now, make sure you run in carefully around the edges of the lamps piece. Because the lamp area is going to be off quite light colors at the top and at the bottom is going to be off the yellow tones creating in the light effects. You have to go in very carefully. Also make sure to leave that bottoms through space as well, empty. So if you want, you can paint this into two parts. One is the right part of the lamp and one is the left part of the lab. I'll go ahead and paint both the parts together. So I'm just going ahead with a layer of water first completely. And then into this, I'll begin adding in the details. I've run my brush multiple times and made sure my paper is completely wet so that I can go ahead with the details and play along with the wet-on-wet details and creating that texture that we are going to be using in the splattering technique. First, I'm going ahead with the ultramarine blue color. You can see I'm just beginning to drop the colors randomly in-between, you will notice some of the white caps as well to create in some lighter effects as bad. And very carefully around the edges of the lamp space, you can see I'm going in so that the colors will not go into the lamps space. In this scene, we have added in the ultramarine blue color on the left edge as well. Now I'm going to go ahead and move on to the indigo color and go ahead with the indigo darker depth into the background sky and then move on to the splattering technique. So you can see majorly and dropping the indigo on the edges. Now make sure you do not cover all of the ultramarine blue color with the indigo tone, you need to let two to three variants of the blue color be visible. That is the whole point of adding in the ultramarine blue color in the first layer. Otherwise it wouldn't make any sense adding in that color in the first place. Now on the right side using the indigo color, I'm giving this sharp edge to the alarm space so as to show the shadow for the lamp as well, falling into the background. And on the left, at the bottom space I'm giving him the darker that using the indigo color. So you can see how carefully at blended the edges well, now I'm going ahead with the splattering technique and you can see how beautifully the texture is coming into live. As soon as I'm dropping the water, I made sure my paper is a little, you know, just 10% dry. So I waited for a few seconds to let the colors of settled well onto the paper. Now I'll wait for all of this to dry and let the texture come to life. So let it dry naturally. So now my background is completely dry it, and you can see the beautiful textures that I've come in because of the splattering technique that we used it. Now, I'm going to go ahead with a layer of water into the bottom space of the land. That's going to be the light space. There. I'm going to go ahead with the tones of the yellow and the orange as we discussed. And once that dries up, we'll go ahead. The brown are the days as well on the land. So let's go in step-by-step first with the yellow details, going very carefully with the layer of water so that you do not make the blue color bleed. Because if you will add any drop of water or any even little space of water onto the blue tones, it will begin to bleed and move into the lamp space. So you have to go in a little carefully. So first in the center went ahead with the light yellow tone that I'm going ahead with a yellow, orange tone. And you can see I'm moving in circular motions. And lastly on the edges I'm going to go ahead with the warming in tone, but first blending in the first two colors that we've added in. Now picking up the vermilion color, I'm going to add it on the edges. Now make sure again, all of this is in circular motion. Now this little color that has come off, it will get it in. Or when I go ahead with the brown color margins to the land. So going in carefully, you can see how I've added all the three colors. All the three colors of visible separately, yet blended well with each other, creating in the warmth inside the lab. Another thing that you have to be careful, you do not pick up the colors in a very liquidy consistency. Otherwise they will begin and cover up all of these pieces. We want all the colors to be visible distinctively and having a transitional phase from the center light yellow till the orange on the edges. So you need to make sure that each color is visible. So, you know, the colors have to be in that consistent so that they read in their space, yet be blended with the rest of the colors. Now picking up the ultramarine blue color, I will begin painting in the top space is one-by-one. You can see between the yellow and ultramarine blue. I've left that gap in between, which I will paint later on once the yellow dries out. So I've painted the rest of the top space of the land. Now, I'll go ahead with some details onto this. I'm going to pick up my liner brush and begin defining the edges of the top space as well. Violet is wet on wet so that we do not want the sharp edges, we want the soft edges. And this will stand out separately from the background sky. So using the liner brush and ultramarine blue color, you can see I'm giving in the background edges and some dark adapt into the top space of the Lamb. Now, make sure you use either a liner brush or assault smallest size brush which has a pointed tip so that you can get these details right. You can see despite I'm adding this layer of the ultramarine blue wet on wet. Blending and moving around so easily and just giving is that darker depth and the distinctive low. Now if you want, you can also blend a bit of it using in a bigger size brush with the center space. If you feel the colors are not flowing at a specific space. Now again, at the top area as well, I'm just going to begin adding in little details. Now CMB, even in the Labspace, I'm just going ahead with a little of this splattering technique to give him little texture. Now makes sure my lamb space is still wet. That is the reason I'm going ahead now. I completely missed to tell you this before that in case if your paper is one which is going to dry quickly, you could have added this platter on this Labspace or before it dries out. You can see as soon as I add this, it creates texture into the space as well. Also going carefully so that these plateaus do not go into the background space again. Otherwise it will ruin up the background space and give you rough shapes in-between being formed. Now, let's wait for all of this to dry and then move ahead further and add the final details. So now everything is dried completely and I'm going to begin adding in the further details. So first I'm going ahead with ultramarine blue color and I will define the rest of the top spaces and then move ahead further with the further details. So the detail that we had previously added, your dental, look nice to me. So I just went ahead with another layer out there, only in the top space, the bottom space, ultramarine blue. I'm quite satisfied with the edges. So I'll just give in very fine details to define the distinctive parts of the lamp and give every part a distinctive layer and standing out, Oh, look. Now this white gap that we had left, I'm just going ahead and filling in these as well. You can see I'm just using the ultramarine blue color in different consistencies so as to create the depth in the top handle of the lab. So you can see first we used very light consistency and I gave him those are details in the edges to define that space. Then just in-between, we've given him to take bold lines of the ultramarine blue color to define the handle much more precisely. Now let's shift it into the sepia color and I'm beginning to add in the details on the bottom space of the lab using in the sepia color. Now into the center handled in the center space, I'm going to show a little of the light effect falling and creating a lighter detail out there. Hi, I've left a little of that space empty at the top and bottom, I've added in the brown color. And now just using a damp brush, I'm going to blend it the brown along with a little bit of the yellow and creating the lighter space. Now again, I've padding, if you feel that a lot of ground has covered up that space, you can go ahead and pick up a damp brush and lift up a little of the color and create the light-speed, which will again show the background. Oh, that is a basically a yellow color again popping out. So you can see I've created a little of the light effect calling it. I'm just going to drop in little more yellow again so that it stands out right in the same VM going ahead with this area as well. Even in this area, I'm going to go ahead and add in the light effect. But on this area, the light effect I'm going to show falling on the left side. And in the center one you can see I showed the light effect falling on the right side. Because I'm trying to show that the light is falling from center of both of these spaces. You can see the maximum bright yellow spaces in-between both of these. So basically on the left of this slide, the light deflection is falling on the right side. And the rod that is on the left or right of this light effect, that reflection is falling on the left side. Now again, you are as well. I added in the brown color and just going ahead with very simple lifting technique to create the lighter details. And the last line on the right side. Now using the black color, I'm just going to define the top space, or you can use in the ultramarine blue color, oh sorry, the indigo color as well. Now next, let's go ahead and paint in the bottom snow space. So the bottom is no spaces majorly want to be ultramarine blue, with just a little of the right-left fraction falling towards the right side. You can see major of the glowing light effect is on the right side. So just using a very light consistency of the yellow and yellow orange tone, I'm going to add it in a very light consistency. This is too dark, so I'm going to quickly lift up the color and created light. And then in the remaining whitespaces, I'm just going to add a very light layer of the ultramarine blue color to actin as the snow space. So you can see even the ultramarine blue color is so light, you have to use it in a very, very, very light consistency because the reason of adding it in ultramarine blue colors to show a little of the sky color effect falling onto this node. That is the reason we used in the ultramarine blue color. So make sure that you use it in a very light consistency. Now I'm just going to define in this center space which we've left blank. I'm going to go ahead with a layer of the bold black color out there so that everything stands out distinctively. Now after this, let's begin adding in the snowflakes. Now you can see since I have my paper taped down on a movable surface, it's so easy to just tilt the board and adjust according to my hand movement and getting the details easily. Now we've shifted to my liner brush and I'm going to begin adding in the snowflake details using the white board. Make sure adding a lot of water into your white quash, it needs to be in a good take bold consistency so that it stands out opaque onto the blue layer. You can see I'm going ahead with very simple silhouette for the snowflake. And we're going to go ahead with a lot of these. Some of them are going to be small, some of them. So go ahead with very details and then we'll add in little small details as well. Also make sure that you do not go ahead with a lot of these snowflakes altogether. Add them at different places first and then see if you need to add a lot of these. Because once you add them, it will be quite difficult to undo it. But in case if you haven't added them, It's always an opportunity to add more of it. So you can see I'm going ahead with different sizes on different placement for so that I can understand where it needs to be added more. You can see some of them I'm adding them quite smaller ones. Some of them I'm adding just half in our view. So half of it is hidden towards the left side, which is not in our view right now. So just hop off the same way. I'm going to add in a few like these, even on the right side. So you can see on this right side I've gone ahead with quite a bigger one. You ought to give him the detail. So you can see one or two of these snowflakes I'm adding even onto the lamb space trying to show that these are stuck to the glass of the land. And you can see how beautiful it's standing out even on the lam space. Now, I'm just going to go ahead and add in little off the depth of the snow onto the glass pieces as well and creating some little detail. So I'm just adding in a little of the bokeh effect using in the white quash one on the lam space as well, trying to show some snow and some bouquet both together. And some of them, I'm going to add them into the background as well. So in the background I'll see later on whether we need to add it or no, because I'll first go ahead with the rest of the details here. So I'm forced using a lifted off the sepia color and just adding one to two branches with the sepia color. And then I'm going to go ahead and add in using the green color. I'm going to be using in the olive green color and then the right Permanent red color to add in those little details out there, so forth. Going ahead with the permanent red tone and adding in the details you're just going to create in small circles. Out your two actin as the cherries or the Christmas ornaments, whichever you wish to consider it. And very smaller ones. And I'm just going to leave in very little gaps in between them so that they standardize separate and do not blend in with each other. And then in-between these, I'll add in little green tones to actin as the distinctive spaces. Now shifting into the green color, I'll begin adding in the details with a green color. If you want, you can add in a little tinge of brown to your sap green color because it will act more as a Christmas eve white. So you can go ahead either with an olive green color or a sap green color or a dark green color. Or you could simply mixing a little indigo and brown TO green to get a little darker green tones. So now you can see very randomly I'm pulling out these pine leafs kind of detail. And in-between the red details or the cherry details as well. I'm just going to give him little of the green details so as to make them look distinctive. So you can see how little patch of detail just around the land space has given the entire painting so much more detail and depth. Now I'm just going to add in little of the green leaves overlapping the brown ones as well. Now using in the white quash, I'm just going to splatter in some snow. And then lastly, we'll just add in little of the snow deposited onto different places of the land. And then we'll be ready with our class project for the ten of these 25 day cause even the challenge. Make sure you use the right question. A bold consistency and not put much of water because these details of this no need to stand out bold and should look distinctively visible. So very carefully I'm just adding little, little snowing, very random shapes being collected onto different spaces of the Lamb. So that is it. Let's remove the masking tape and see your final painting with those clean edges. I know this was a little lending class project, but with a lot of details to add in step-by-step so that you do not be overwhelmed with a lot of details altogether and be confused as to how you would proceed with such a detailed painting. So here's the final painting for day ten of the 25 days cozy winter class. I hope you guys enjoyed painting this beautiful lamp with me today in the snow weather. I will see you guys soon into the day 11 class project. In case if you've liked this class for whatever reason, make sure to drop a review. And I would love to see all of your class projects into the project section. So make sure to upload them so that all of us can have a look at your wonderful creations. See you guys soon into the next class project. Thank you so much once again for joining me into this class. 25. Day 11 - Northern Lights 2 - Technique: Hello everyone. Welcome back to day 11 of the 25 day cozy winter class. Today we are going to paint this beautiful another light and the pathway. It's a pretty simple class project, but with a lot of details to learn and step-by-step to implement. So let's go ahead with the colors first and then move on to the final class project. So far the night sky I'm going to be using in the cobalt green you from Magellan mission. And I'm going to be using in the indigo color from White Nights. Color is nice. You have a look at the pigment of the cobalt green. You first, you will notice that it has a pigment of green mixed in with a little bit of white. So if you see the pigment, It's CDC and it is P G7 mixed in with P W6, that is a pigment green number seven and pigment white number six. So in case if you do not have this, you can simply mixing your emerald green with a little bit of white gouache and a little interfering in green and you'll get a similar looking tone. So that is how you can read the color tones onto any website and then form your own colors with your own basic color palette. The next color is going to be the indigo color. In case if you do not have indigo, you can make some Prussian blue and black and get a darker blue tone. Even for the AI space, I'm going to go ahead with a very light layer of blue and indigo tones. And then using the black color will be giving in all the type rash detail and the pathway. So that is the colors that you would be needing next, you would just be needing a little tinge of the yellow as well to mark the highlight on the pathway, I'm going to mix in a little yellow with white color so that it stands out opaque on the black color. So these are the colors. Of course, you would be needing whitewash to splatter the stars as well. Now, let's go ahead and see how we are going to be painting the night sky. If you see the strokes in the sky or not this easy and the regular ones, it's quite distinct. Every color step-by-step, so many rays of the different colors. So let's go ahead with a layer of water first and then move ahead for them. So I first added a layer of photo now using the cobalt green color first I'm going to add in some coffee is true. So remember, for the northern sky, you have to go in with a little coffee stroke and your brush also has to move in accordingly and make sure that your paper is wet enough so that you have enough time to add in all of the details. I'm just going to run my paper with a layer of water again so that it stays wet for enough time. So after adding in this, we'll move on to the colors. So first we will be beginning with the cobalt green color. So you can see how I'm taking the strokes in Coby motions, leaving gaps in-between the strokes for the indigo color to come in. From the left, you could see I've added them moving towards the right. From the right, I've added them moving towards the left and at the top, just moving towards the center space. Now these strokes can completely be indifferent movements, different angles as per your choice. They need not be in the same angle or motion or placement as mine. Now, in-between all of these gaps, I'm just going to go ahead and fill in the indigo color. If in the first layer itself you see the blending is not that great between the colors. The colors are still looking quite done. So this is just the base layer color blocking you can call. And now we'll go ahead with layers on top of this so as to get the debt as well as to have the perfect blending. So now I'll again running with the cobalt green color and you will see as soon as I add in the second layer after the indigo is added, the blending between the indigo and the cobalt green automatically begins to look better. Plus the colors easily flow into each other. Same way, I'm going to go ahead with a pole layer of the indigo color. So now you can see with just two layers how bold colors have become. Now we're just going to move our painting in all directions so that the colors bleed and have a very soft blending with each other. And he still got a stroke should be visible. Also make sure to not keep your board or paper tilted in specific direction for a longer time. Otherwise, all the colors may get covered up and you may just get one mix of both the colors together instead of having the two distinctive color. Most important technique for this class project, that's the main sky. And rest of the details that simple dry brush wash we have discussed in previous class projects as well. So that was about this class, Friendship. Remember watercolors dry or tone lighter. So you need to go on with layers so that you get the ball look after it dries out. Now I will see you guys into the next lesson where we begin painting in this beautiful class project together for the 11. 26. Day 11 - Northern Lights 2: Let's begin in with our class project for the 11. There is no much pencil sketch, just going to quickly map the horizon line and the pathway. And that is it for the pencil sketch, just simple details so that you know where, what is going to be. Make sure you go ahead with very light pencil sketch, not much detail or not too dark as well. I'm almost done with the pencil sketch. I've even mocked out that small mountain range on the right side you can see because there I'm going to keep that space blank because there will be adding in the details with white and black later on. So I do not want to add in the northern sky colors out there. I'm just going to quickly go ahead and erase that one extra line because I did not do it is going to be covered in with black, but still I don't want to keep in any extra lines out there. So that is it for our pencil sketch. This is going to be a mountain range both side here we're going to have in snow with the dry brush technique and this is going to be the pathway. Now let's begin in painting in the northern sky first. So as we already discussed in the technique section, I'm going to be using this cobalt chlorine you from the brand Magellan mission. Again, the pigment number p G7 and P W6. You can mixing your greens, whites, and blues to get a similar looking tone. So I'm just going to quickly squeeze out a bit of this on my palette before we begin, go ahead with a layer of water. Now I'm just going to go ahead with a layer of water into the sky. I'm going to leave the mountain range and the bottom space empty style. Go ahead very carefully closer to the horizon line. Also, my indigo color is already in pan form. That is the reason I haven't squeezed out any indigo color separately. So make sure that you have your colors ready before you begin to paint the sky. Because if you will keep on removing the colors one-by-one, it will be very difficult to let your paper stays wet and get all of the blends between the colors, right? It's important to have all of your paints ready before you begin to add in the details. So I've gone ahead with a layer of water. I'm running my brush multiple times so that my paper stays wet for enough time so that I can paint the entire northern sky and have this soft blend between the colors. Now, I've shifted to my size eight round brush. This is the silver black velvet series. I'm going ahead with false the layer cobalt green colors very carefully. I've defined the mountain range edge and as I told you, the movement of these curves can absolutely be different than mine. So go ahead freely, just make sure between each of the curves, you'll leave a little space for the indigo tones. Now some of the tones at the top space, you can see I've taken it only till the halfway, not toppled it out down the center point. So it's always not necessary to have each of the stroke meeting at one point, you can leave some of the strokes that halfway in between. Now I've picked up a little of the indigo color and I'll begin adding in the layer of indigo carefully in-between all of the cobalt green. Now whenever you're painting the southern sky, it's very important to understand to not have too much excess water as well in your pains. Otherwise, the colors will flow and spread into the adjoining color. And you may lose the essence of the first color that you've added for the northern sky. So you can see my indigo color for now is not moving much into the green tones. It's staying in the space that I'm adding it because of the water consistency that I've picked up the indigo in. Now let's go ahead with the second layer of the cobalt green color so as to make the blending happening. As soon as you add in the cobalt green color, you will see the indigo color also gets activated and moves into the cobalt green color. Because on the first wet layer you are adding a second layer of color that activates the edges and make the colors flow into each other. So you have to go in very carefully. There. So you can see as soon as I'm adding the colors, I'm even tilting my board randomly so that the colors begin to flow into each other. But you will also notice that I do not keep my board in one single direction for much long time. Otherwise, as I told you, see, suppose the indigo color is too wet, it will cover up the entire cobalt green color. And then you will have one flat color look mix of indigo and the cobalt II. So that is why it shouldn't be tilted in a single, single specific direction for a much longer time. Otherwise you will lose the color looks. Now I've just gone ahead with the second layer of indigo color. And while adding in the indigo, as you can see, I'm tilting my board carefully in all directions. Now Genki, I will keep rotating my board in different angles so that the colors flow and have that soft blending. It's quite important to make the colors flow and bleed into each other. If you or people you seem or if you feel that you know, that is excess paint, deeper tissue on it, I've plot handy so that you can pick up the excess paint from the edges. Now I'm just going to go ahead and lift up the excess paint on the edge. As you can see, a little extra indigo is bleeding yours. I'll quickly lifted up using a damp brush and adding a little of the cobalt green again. So this is how you can go ahead with corrections, add in layers, get the blends right. You can see now everything has such a soft edge between each cobalt three and the indigo color move. You can see there is such a smooth edge that it does not feel there are two separate colors that we've added in separately. So you may not always get the northern sky right in just one go. It may take several layers of colors to get the blends moving easily and smoothly. So I'm just giving in some last details before I let all of this to dry out. Again. Every time you see I didn't even little color. I rotate my board in all directions so that, you know, the blending happens in smoothly again between the pains and the colors have a soft edge between each other. If you are someone who's completely new to watercolors and painting white northern sky for the first time, I would recommend you to first practice this on some rough sheet so that you can get a better understanding of the flow of your colors that you're using plus understanding the strokes, practicing this talk separately, as well as understanding and trying to get in that soft blend between the colors. So that will help you in understanding much more before attempting in the final class project. Now I'm just trying to give him little texture effect randomly, but you're, I guess I've messed it up a bit on the left side. I'm going to quickly again cover it up. So this was just a little experiment which did not turn when. And as soon as analyze data, I'm just going to quickly go ahead, run in with little indigo color on top of it again and get the blend right. So if you are someone who's confident about getting these strokes right, only then go ahead with this orange. Just let that be plain, simple as we added in the beginning. So that is it now I'll wait for all of these to dry out completely and then they'd go ahead further and adding the further details. You need to wait for this to dry completely before moving ahead further for any detail. My sky is completely dried and I'm going to go ahead with further details. So first I'm going to lift up a little of the white quash. I'm going to splatter the stars into the sky. Because if you've already seen the final class project, you know, we do not have those or snowfall R star kind of detail in the entire paintings. It's just going to be in the night. And I'm going to add in the star detail so quickly using in the white quash a thick consistency using a smaller sized round brush. I'm just going to begin dabbing on the tip of the brush. Begins flapping. In this task, you can use whichever method you're comfortable with. But adding manually will make it look a little unrealistic than what it looks when you add in with the help of a brush or a toothbrush. So now I'm painting in the snow area on the left-hand side of the pathway. So for that, I'm going ahead with a mix of the indigo and the cobalt green color vary randomly and you can see it's almost equal to a water consistency that I'm adding in. This is just the base layer which is going to act in as the snow. On top of this, we're going to add in the dry brush detail using the black color. So just giving you the basically off the snow to the mountain range as well. You can see it's again, such liquidy consistency that is much more of what and very less of pigment. And the reason I'm showing this, knowing these colors is to show the reflection of the northern sky falling on the snow as well. Same way even on the left side, I'm quickly adding the colors. Now while this is still wet, I'm just going to give it a little darker strokes as well, using the indigo too little dark naught to make sure you are just one bone or darker than the color that you've used it, and just giving some darker texture effect. Now we need to wait one more time for all of these details to dry before we move on the pathway and the dry brush teeth. So let's wait for all of these to dry out and then adding the final details into this beautiful another night painting. Now everything has dried completely, the snow, the Styles, and now we can go ahead and paint in the center pathway. I'm going to first go ahead with a boulder off the black color. Now I'm directly going ahead. Dry technique yard because there's no detail to be added on this black color, wet on wet. You know, we are just going to give him those blue lines of the path, sorry, the yellow lines on the pathway, which is going to be once you're black colored rising. So we are going ahead with the wet-on-dry technique so that it dries all too fast and there is no much detail. So why waste time adding in the layer of water? Now just go ahead very carefully across this new lines and define the lines. Well. You can see I'm using such a bold consistency of the black color. It's bold and it's standing out quite vibrantly. And make sure you do not add a lot of water to the plaque. Otherwise it may dry a little dull. And you may be able to see the underneath paper. Then. Now I'm going to quickly be filling in this entire space with the black color and then move ahead Further adding in the dry brush to on the left, right, and the mountains. So through every class project you can see, since I have my paper taped down or no movable surface, it's so easy for me to just into my board and get the details right and add them so smoothly with that. Without having to adjust match with my hand movement. Just directly adjusting in the board movement now has shifted to my smallest sized round brush. This is a size four, for instance, oh sorry, silver black velvet series. Now I'm going to go ahead and begin adding in the dry brush on the top mountain range, I'm going to add in much more of the black color. So very little of the obesity or snow will be visible on the both left and right edge. I'm going to go ahead with little details of the black color and more of this no detail. I'll let be visible. So in view of the previous class projects, we've already discussed the dry brush technique, so it's the same technique that we are falling. You need to keep in mind your black colors didn't have excess water. Neither your brush should have access of pigment. Otherwise, you will begin to get in batches of the color instead of getting this texture of the dry brush detail. So on the entire horizon line, I've given a very fine mountain range. Only on the right side. I've given that big ball looking mountain range. Now let's go ahead and add in the dry brush detail so you can see as soon as I pick up the color, now we're asked to add in very little black D-Day. I typed it onto a tissue for us so that the excess pigment is absorbed by the tissue and even the excess water and I have very less pigment. Also, my paper is a little rough green, so it helps him getting in these texture easily as well as you can see how easily I'm able to get in different tonal values of the black color as well. So this is how it helps when, you know your paper has a little grainy texture. I'm just beginning to add in little details. Somewhere in between you will even see I'm adding in bold black lines as well along with the dry brush so as to showing the depth and the texture effect perfectly off the side road ways. So similarly, I'm going ahead on the right side as well. I'm adding in for some bigger patches of the black color. And then in the rest of the space, I'll go ahead with the simple dry brush teeth. Also, if you see on both the sides left and right, we are going ahead diagonally adding in the snow details. In both sides. That's the left and the right. We are moving towards the edge and adding in the details diagonally according to the pathway movement. Now we adjust majorly left to add in the details on the pathway. So I'll just go ahead with the last leg of details for the dry brush out here and then we'll move on to the pathway, adding in the detail, I'm just giving you some more black, black color, bold look on the ice pieces randomly. Make sure you do not overdo it too fast. You see, I added in very little. Then wherever they felt the need to add in some more of the black ball detail. I just added it. If you already added in the fourth year, it will be very difficult to undo it and then you will have to use invite for which we are trying to avoid using in your. Next I've squeezed out a little bit off the right coercion. Now I'm going to mix in a little of the yellow, orange color to this and get a pretty bold pasty yellow color. And then losing this, I'm going to add in the two lines on the pathway. So I'm almost done adding in these lines. I've used my size two round brush which has a pointed tip and added in both of these lines, you can see despite being yellow color, it's standing out such bright and bold on the Blackstone because of the white dwarf, which makes them look opaque and stands out of wool and dark even on the darker tones. And once it dries on site will stay this bold it. So now let's remove the masking tape and see our final painting with those clean edges. Make sure edges are completely dry before you begin to remove the masking tape or is it may tear of your edges and your paper as well. So you also find in painting for the 11 of the 25 D cozy winter class. I hope you guys enjoyed painting this beautiful snow Northern Lights seen today. I will see you guys soon into the D2L class project. Thank you so much for joining me in to this class on painting along with me. 27. Day 12 - Camping - Technique: Hello everyone, Welcome back to D2L off the cozy 25, a vendor challenge. Today we are going to paint this beautiful simple galaxy and the camping view. So let's go ahead with the colors first. Again, you can see it's a very minimal color project, which is the blue and the blacks, and just playing along with the yellow tones for the camping light effect. So first I'm going to be using in a little of the civilian blue color. Next is going to be a little of the indigo color. And lastly, it's going to be a little off the black color. I will even be using in little of the ultramarine deep color to give him little variations in the galaxy sky. So these are the three tones that I'll be using to create the galaxy in the center, you will see that I'm going to use little lighter space. And in the snow area I'm going to use very light consistency of the blue tone first and then using the black color, I will give him the dry brush and the rest of the details on the snow space on the mountain ranges where you will see it's going to be pretty simple one. And then using the white gouache, we're going to go ahead and add in the detail and the middle of this no effect on the mountain range and further camping space. The colors that you will be needing. One thing is going to be the yellow, orange tone and a little tinge of brown. So just as we created the effect in the lamp, you remember in one of the previous class project, we are going to go ahead and create in the light effect out you're in the camp space as well. So I'm going to use the yellow orange tone and the woman told hand along with that, I'm going to use in a little bit of the sepia color on the edges to give him the darker debt. So now you can see closely and understand which color goes where. Now for the mountain range, you can see post go ahead with a very light layer and then go ahead with the details on top of the mountain range. So that is how our class project is going to be structured for the sky and then the other details part by part. So there is no specific technique to discuss for this class. It's going to be a very simple project, just begging into smaller parts. So let's move on to the next lesson and begin creating this beautiful class project for D2L together in this 25 days cozy winter class. 28. Day 12 - Camping: Let's begin creating in our class project. Now we've already discussed the colors and there was no basic technique or much in debt to be discussed for this class project. So I'm just going to go ahead with a very little pencil sketch. One is going to be the horizon nine, second is going to be the mountain range and Todd is going to be the camping space that we are going to be adding. So our first mapped out the horizon line, you can see I've taken the horizon line or little diagonally towards the right side. So on the left it's towards a little low side and on the right it's moving towards the little top side. Now I'm just going to add in the camp space. You can see it's a very simple one. I'm not going ahead with much detail, just pretty simple camp looking space wherein I'm giving in those rod details on with this Tandy. This tent is standing out or the camp site is standing out. So we're going to first beginning with the Galaxy sky. I will quickly add in the mountain range as well on top of this so that we know where we need to add in which color. Then move ahead slowly and begin adding in the details. So we are done with the pencil sketch completely. Now let's begin painting the galaxy first. I'm going to go ahead with a good layer of water onto the entire sky space where we're going to have in the galaxy. Now, make sure you add enough good layer of galaxy because we are going to go along and claim that the floating consistency of the Palo to get that effect into the galaxy of the lighter and the darker tones of you are going to keep tilting our board and let the colors bleed and blend into each other. We're going to play with the fluid consistency as well of the blue tones in the center. You remember if you've seen the class project and the technique section in the center of the galaxy, we have that white glowing space maintained. So we're going to keep that as bear in mind to make sure that you go ahead step-by-step. If you want, you can first watch the entire galaxy process, understand how things are going to be taking a head, and then go ahead and paint your galaxy so that you know the entire process before you begin to attempt the final details on your final painting. First beginning with the civilian blue color, you can see my paper is still wet. The watery consistency of the paper is so bad that the colors are beginning to float automatically. I'm picking up the color as well in a little liquidy consistency. And you can see while I'm beginning to add in the blue color, I'm naturally beginning into create that glowing space in the center so as to keep that center space white. And I'm already creating in the details for that. Now, I have not gone ahead in the mountain range as well. You can see very carefully I've defined the mountain range line as well. So make sure you do not run with the Galaxy colors in the mountain range. Despite the mountain range is going to be almost of the black color. But still as far as possible, a wide granting into the mountain range and in the center maintain the growing space. Now I'm using a little tent of the indigo mixed in with a little bit of the black tone if needed. And I'm just going to begin dropping this indigo color on the edge. You can see I'm using it in such a liquidy consistency. Now I'm just dropping the color and I'm tilting my boards so as to let the colors flow. So this is how I told you I'm going to be playing along with the liquid is flowing consistency. Now in the center again, you will see I'm keeping the color flow less. And as soon as the colors are about traditional centers space, I'm tilting my board quickly so that the center space still remains white for the glowing effect of the galaxy. Now very carefully, I haven't gone adding in the darker tones on the edges and keep blending it so that I have that effect of darker colors on the edges and in the center of the growing space and then a little lighter blue space, kind of a neat thing. Now whenever you are tilting your board, make sure you do not keep it tilted in one specific direction for an extra long time. Now using a little water, you can see I'm just dropping little water so that the colors flow. But in the center I've still maintain that glowing space, but I want a little blue layer there as well. So I'm making a blue tones flow in there very carefully. So you can see a night sky blue kind of a tone that has come over the whitespace. But since that space is remaining as the growing space, now picking up a little of the ultramarine blue color and beginning to drop it a little closer to the lighter tones. But this looks a little extra, so I'm in lift up a little color again so as to maintain that glowing space. Now again, you can see I'm running ahead with the darker tones on the edges. So this is how you need to build up your galaxy. It is in a lot of layers that you go ahead layer on layer with the colors. You cannot think of adding in the darker tones and the lighter tones altogether in one layer and expect to achieve the perfect looking galaxy look. It's very important to keep working in layers so that the color blends and easily you get in a distinctive color looks in your galaxy at this moment you can see there are so many tones of blue there have been formed because with each layer I kept adding the color, different spaces and the colors are flowing and then indifferently into each other. You can see I'm tilting my board randomly in all directions, creating in that effect into the galaxy sky. Now in the center you can see I've maintained that glowing space. Now. That is it for a galaxy. I will wait for it to dry out completely, and then I will go ahead and paint this small campsite space as well. So I'm going ahead with a layer of water there. Now this camp is not connected to the galaxy. That is the reason I can paint this. All you could first paint in the small space at the bottom of the mountain range and then paint the campsite. It's absolutely your choice. So I'm going to head with a layer of the yellow color and beginning to add it in the center space. Just as we created the effect in the lamp. It's the same way that we are going to go ahead. First the yellow color, then on the edges beginning to add in a little of the orange team. And then lastly, I will use it in a little bit of the brown tones on the edges. Now while this is still wet, I'm just adding in little darker. That's with the light red color. So I forgot to mention this color while discussing the color technique class. So it's just a shade of reddish brown tones. So you can either use your bond sienna color or you can go ahead with any lighter tone of brown. And given these edges, violet is still wet. Need not be wet. That is, you can see at this point the brown color is not spreading much. It's retaining the space in which I've added them have taken it up at a point when the campsite was not too wet to need to be a little careful about these little things that if you know your campsite will be too wet, the brown color will spread completely and cover up the entire yellow orange space, which we do not want. The brown colors are basically just the highlighting space as the campsite trying to show in the different forms of the camps space. Now using the sepia color, I'm just beginning to give him little darker That's at the bottom space. And then I will define in the lines again of the campsite. Now, let's read through all of this to dry completely and then we will move ahead further and add in the further details. So now everything is dried completely and I'm going to first begin painting in the skies, the snow space around the camp site. So I'm going to go ahead with a very, very, very light consistency of the city didn't blue color. So I've just added in a little patch of the color and now using in water, I'm just going to spread it in the entire space, which is going to act no space. Go around very carefully closer to the camp area that you've already painted in. Now on the left side, we're just going to give it a little yellow effect or closer to the Canvas site to show in little of the light of the cam falling on this glass. In-between, I've picked up a little tint of the black tone as well to give it a little darker depth on the small space. Very little, not much. And again, you can see I'm just using the color in a very light consistency. If any, space you'll feel that the color has gone into dark. Make sure to quickly lift it up. We do not want the dark tones of the galaxy to be reflected on this non-space we just wanted to highlight of the galaxy to reflect on the snow. So now when this is still wet, I'm just adding in little of the darker tones and just beginning to add in little more detail. And measuring at the bottom side you can see I'm giving it a little darker effect on the small space. Now I login, read through all of this to dry and then move ahead further and add in the further details. So now my small spaces all to completely dried, my Galaxy still a little wet. That is the reason I did not go ahead with the mountain range yet. I want to let my galaxy giant actually I haven't used a hairdryer as of now because with hair dry, the colors may begin to flow urine there and I do not want to lose the growing space or the darker edges and make them tone lighter. That is the reason I'm not using a hairdryer for this class project. So until then using in the sepia color, I will just define the campsite much more better. So I'm using my liner brush and you can see how find the details look in your. Now I will just blend a little of the sepia color into the center space using a damp brush and give these a little soft edge, not too sharp and not to blend it as well. Now in the center space, I feel that the brown color has overpowered. I'm going to quickly go ahead and lift up a little color from the center spaces so that the yellow effects still stays. So you can see quickly using the damp brush, I'm just lifting up a little of the color tones from your now just adding in little of that yellow light effect that we wanted to add in in the snow space to show the effect of snow lamp color, which I forgot to add in while painting in the snow space. So now I've just added that little yellow patch and using the damp brush, I'm just going to blend it on the edges. Now, you may feel it may look have a sharp edges on things that you can go ahead with a little concealing techniques. So when you add in the dry brush, you can add the dry brush accordingly closer to the yellow spaces. If any patches left in your painting, you can hide it off. So now my snow space is completely dried. So using the black color, I'm just beginning to add in simple dry brush. So just as in the previous class project we added in the dry brush technique on the accross side of the pathways. Same VRS verb. We're going to go ahead with the dry brush technique. Just make sure to not go over the yellow color now I'm dealing with is wet and go ahead in the rest of the spaces in-between, we'll be adding a little of the dark patches as well and in the rest of the space, just simple dry brush. So you can see on the right bottom side, I've gone ahead with quite a big detail of the dry brush and the patches, but when the right side, I'm going to keep a little excess of these patches and rest. I'm going to balance it with very simple dry brush technique. Now randomly you can see I'm just adding in little splatter to give it a little more texture to this null space. But I'm making sure that this texture space stays only on the left and the right side. It's not common to the campsite, not in the galaxies. They feel not confident about your splatter. Make sure to cover the rest of the spaces so that it does not get spread across every way. Now randomly in some rock details out here. Now in this new space, just adding in some random branches you can see on the left and the right side. And we are ready with us no space now the only details left to add in this painting is the mountain range, and this ties into the galaxy. So I'm first going to go ahead with the base layer for the mountain range. I'm just going to begin adding in the black color. Now I'm just going to first define the top range and then go ahead with the further details. So I'm going to fill in this entire space with the bold black color. And then later on using the white gouache, I'll give him the texture detail on top of this. As of now, we've always been going ahead with the black color and creating in the deck. But this time today we are going to go ahead with the black color first and then go ahead with the white quash and creating the texture on the Black Mountain so fast fill the entire mountain range with a ball look of the black color and let it dry completely. So we are done adding in the mountain range as well. Now we need to wait for the mountain range to dry it in. Then we can go ahead and add in the galaxy study design. So I will go ahead and I will cover the rest of the bottom space so that I do not have a lot of splatters on the bottom space. But first let me pick up the right question of good medium consistency. And then I will begin covering up by this plot. So now you can see I've covered it up till the mountain range and I'm just going to begin splashing in this task into the galaxy. Now my black space is still wet. I need the paper very carefully so you can see my black space is not affected at all. Now closer to the black space since it was covered, I'm just going to add in a few of this task manually out here quickly. And then we'll go ahead with the glowing star details. So first you are, you can see I'm just creating in some of the glowing spaces. If you've been following me for quite awhile, you know, I love creating these glowing stars in the galaxies. Night skies are when you are painting or dark sky and you want some study days, these actin as the perfect glowing effect. Now I've added in a few of the glowing effect. Now I'm going to go ahead and add in the white caution top of the center of this. But before that, let's go ahead with the white gouache and begin creating in some shooting stars, you need to wait for that background growing space to dry out completely before you begin adding in the center spaces to those tasks. So you can see this time we have quite a different detail of this task. Now in the center of these growing spaces, I'm just going to add in bold white dots. So now you can see automatically how this glowing spaces looking in creating in a different level of depth into your painting. So this is how different kinds of details helps in creating more depth into your simple paintings as well. Now last meeting using the white quash, I'm just going to give him little texture if I turn the mountain range. So my left side of the mountain ranges in the lifted vector, I'll quickly add them first on the right side. So you can see very little effect, not much man, on the left side, I will go ahead very carefully and add in the little effect that I need to. If you want, you can wait for it to dry completely and then go ahead with the detail. Or you can go ahead and create some grayish kind of a detail as you can see here with which adds to another color into your entire composition. So that is it. We are ready with our class project for day 12 off the benefit days cause even the class, we are almost halfway through the challenge. And I hope you guys are enjoying painting each of the beautiful winter whites with me. If you guys are painting along, make sure to drop in your class projects in the project section. I'll say if you love this class for whatever reason, make sure to drop a review and if you feel anything could be improved. I would love to hear from you in the review section of the class. So here's the final painting with those clean edges. I hope you guys enjoyed painting this. I will see you guys soon into my next class project. Thank you so much for joining me. 29. Day 13 - Lonely Tree - Technique: Hello everyone. Welcome back to day 13 of the 25 equals him into class. Today we are going to be painting this minimalist painting. You. So you can see the color palette for this painting is also very minimal. The colors that I'm going to be using is going to be the indigo and the black color. Black color is going to be for adding in that tree and the highlights towards the water side. And the rest of the details are going to be using in the indigo color. It's a very short, simple, sweet class project wherein we are first going to begin painting in the sky. This is going to be of a very light tone of the indigo color. It's going to be majorly water and just a very little tent of the indigo color. So this is the light consistency of the indigo color that we will be using for painting in the sky. It's going to be a pretty simple one. Then for the C also, we are going to be using the indigo color. But you can see that radiation closer to the horizon line is going to be off the lighter tone and moving towards the bottom side, it's going to be off the darker color than using the black color. We'll add that background blur effect. And this tree using the black color after everything dries out. For the tree I'm going to be using in this point round brush. So basically this pressure has got spoiled because of tech fairly colors that have worked with. So now I'm just going to use a damp brush, hold it perpendicular, and begin dipping it in the black color. Using it perpendicular. I'm just going to begin giving in this dry brush detail. So you can see for that tree I've given in the file age effect using in this brush first and then using an appointed tip or a liner brush. I've just given some branches detail. So this makes it a task easier, makes a detailed look complete together quickly. So now you can see after adding the foliage have shifted to my liner brush and I'm going to begin adding in the branches, font-style add the biggest stems of the biggest term is going to be a little thicker in the final painting. And then into this, I'm just going to add in smaller branches moving out in-between the foil age so you can see how realistic that tree is looking. But the efforts that you've put in this quiet minimum, the only trick your risk by losing this point round brush or any other brush you need to have the brush ****, try to use a brush which does not have a pointed tip. You can either use a fan brush, flat brush, or this round brush, but all three have to be completely damped so that these details come out in the dry brush pattern. So that is it about the basic techniques. This background blur effect will create wet on wet while the sky is still wet, using the black color in a very light tone and having the perfect Water Control so that it does not spread much. So much of the details are more about water control and the technique that is important. So that is it. Now I'll see you guys in the next lesson where we begin creating this beautiful yet minimalist class project for the 13 of this 2.5D cozy winter class. So see you guys into the next lesson. 30. Day 13 - Lonely Tree: Let's begin in with our class project. It's going to be a pretty simple small class project in just like in under 15 min. So let's begin just marking out the horizon line and the z-space, the snow area. We are going to be leaving it blank. We won't be adding in neither any white quash out there or any colors out there. Just the three that we'll be adding in there. And it's going to be a pretty simple one. So I've added in the pencil sketch the snow, the sea, and the sky space. Now let's begin first painting in the sky, because after we paint in the sky will have to wait for it to dry completely. And then go ahead with the bottom details so quickly let's add in the sky. Now for this guy, I'm first going to go ahead with a wet layer of water only in the sky space. Make sure you have a good even layer of water so that you can work wet on wet giving him those are most details on the horizon line. Now if you are someone who's using a paper which is not 100% cotton and struggles with keeping your paper wet for a longer time. I've shared this tape multiple times, but sharing it once more with you all. In case if you are someone who's using a paper which is not 100% cotton, I would tell you to first go ahead with a layer of photo, wait for it to settle in for a round till 50 per cent dry state and then go ahead with another layer of photo. In this way, what will happen is the cotton fibers in your paper will begin to absorb the water and will be wet. On that wet cotton fiber, you are adding the second layer of water which makes the paper stays wet for a little longer time. So now I've gone ahead with a layer of indigo color. Here you can see it's a very light layer of the indigo color that I've gone ahead in the sky. Now, make sure you do not go ahead with a very light layer of the indigo color as well. Because once it dries out, you know, watercolors dry or tone lighter and they are completely look as if there's no color added there. So it's very important to maintain accordingly such that your color is visible after it dries. Now I'm going to pick up the black color and begin adding in the background Bush effect. But now when you begin adding in the background Bush effect, you have to, to be very careful about few things. One being the wet consistency of your skies, second being the wetness of the paints that you're using in. I've kept my bolt tilted so that not much of the paint flow towards the top side. They stay towards the bottom side. So you can see a little tilt or with the help of that white gosh tube that I've taken and kept my boat tilted. Now I have mixed in my indigo with a little tent of black and using that color to define the horizon line, as well as add in that background blurry Bush effect. Now you can see it's a very small details that I'm adding. It's going to be majorly on the left side and two, moving towards the right. I'm going to make it quite small in size. Now I've lifted up a little more of the black color and going ahead with the second layer, giving in little darker depth as well as you can see how precisely I'm defining the horizon line just using the tip of the brush. Now, despite I'm using a size eight brush, you can see this brush has such a pointed tip, which is helping me in giving him even the small details so easily. Last this brush holds a lot of water, a lot of paint. So you have to build that habit of understanding how much paint or water your brushes having. So accordingly, you go ahead with the details. Now for the water control part, we've already discussed in multiple projects before this class project as to how the consistency of water or paint while paying along with the wet-on-wet technique plays an important. So now leaving this, I'm going to wait for it to dry completely and then move to the area. So everything has dried completely. You can see how beautiful the details I've dried the lottery detail that I wanted to add at the horizon line hasn't spread much because of the water control. Now I'm going to begin painting in this area. For that, I'm again going to use. Indigo color. And first I'm going to go ahead with a layer of photo. So very carefully I'll define the CSPs as well because as I told you, the snow area, we're not going to be adding in any paints out there. It's going to be the plane space that we are going to live in for the snow area. Then adding in this layer of water. Now I'm going to go ahead with the indigo color. Now, make sure that you go ahead with the darker tones of the indigo color at the bottom. And taking it in radiation tone, you move towards the horizon line. So as you keep moving towards the horizon line, the color will begin turning lighter in color. Now if you want, you can go the other way round, but then blending it gets a little difficult when you move from the darker to the lighter tone. It's much easier because you do not pick up the color again and you just keep dragging your brush and with the help of water, the color all automatically tones lighter. So I prefer moving from the darker to lighter tones. Now in case if you want, you can tilt your board and make your movement easy. But that's absolutely your choice if your paper is in a movable state or no. So you can see how beautifully I'm getting into radiation now, only thing left to add in the z-space is going to be that shadow line of the eyes space. So I'm going to use in the black color and using the liner brush, I'm going to add a little shadow area of the AI space falling into the water. That is, the CSPs suggest using a smaller sized round brush and using the black color. I'll give a very fine line out here on the inside of the sea. So you will see automatically it spreading and giving in that soft edge in case if you feel that the black color is not spreading and having that soft edge, you can use a damp brush and quickly blend it into the indigo color and give it a very fine line and a blended effect. So you can see how I'm using the damp brush and blending it at places where I feel like there's not moved well enough into the indigo space. Now after this, the only thing left to add into this painting is that lonely tree and will be ready with this class project. You can see such a simple class project with such simple details, minimalist colors, yet such a beautiful outcome, especially the pure white snow space that is going to remain at the end of it all. Now we can go ahead and paint in the tree as well, because the sky is completely dry, the tree is only going to be in the snow and the sky space, not in the water space. So we can go ahead and paint the tree. So I've lifted my liner brush and beginning in with the black color, I will first add in the three main branches and then go ahead with my spoilt round brush and add in the detail. We already discussed adding in the details with the spoilt round brush. So quickly going to go ahead and add in the details here. So as you can see, I'm going ahead with three main branches. The first one being the tallest, 1.1 on either sides of it. And all of them moving in different directions, having different shape, different costs. Now just at the bottom of these branches, I'm going to give it a little blended effect. I've just added a small line and quickly I'm just going to go ahead with a damp brush and show it well blended in the small space using a damp brush. So you can see I'm creating in that lighter effect, showing in perfectly how the tree is blended into the bottom space. So by doing this, you can see it looks as if the tree is perfectly rooted in between the small space giving him that effect. Now I'm going to shift into my spoilt round brush. We already discussed this technique and this pretty magical one use in our techniques section. So in case if you've not watched, watch this, I would recommend you to watch it so that you can understand better. I've not dipped my brush in water. I'm directly lifted up the paint and now I'm just going to hold it perpendicular and begin adding the foliage effect. It's kind of a dry brush effect that comes in, but in a little village way. Now, with adding the foliage, you will also notice I'm defining the shape of the tree as well. So my foliage you can see has defined the shape of the tree somewhere I've taken the phylogeny little longer. Somebody just closer to the branches only undefined the entire space of the tree as bad. Now quickly using the liner brush, I will just add in the rest of the smaller branches popping out from these bigger branches. And that is, it will be ready with our class project for day 13 of this 25 days cause even the class, this class project hardly took us 12 to 13 min to create entirely such a minimal one, but such a beautiful outcome. And I don't know, I find peace with this class project. And plus I just wanted to keep in a few easy, small class projects for everyone to follow along very easily in all of their busy schedules. So I'm almost done adding in these teeny many branches. You can see how slowly I'm going ahead using the liner brush, adding in these small branches to make the image look more real, more natural. Before we remove the masking tape, I'm just going to use a damp brush and blend this route spaced much more better into the snow area. I still find it perfect. I'm just going ahead with a little more blending, lightening the shade till the bottom space. And now you can see it looks much more better. It looks as if a little of the shadow of the tree as well falling on the ice space. So that is it. Let's remove the masking tape and see your final painting. Make sure you remove your masking tape once your water area is completely dry, otherwise, the colors may begin to bleed off your paper as well. And you can see how beautiful the pure white snow space has turned out. So here's our final class project with those clean edges for the 13 of the 25 day cozy winter class. I hope you guys enjoyed painting this simple minimalist class project with me today. I will see you guys soon into the day 14 class project. Thank you so much for joining me into this class and painting along with me. 31. Day 14 - Let's build a Snowman - Technique: Hello everyone. Welcome back to day 14 of the 25 days cozy winter class. Today we are going to be painting these cute little snowman completely snugged up in, no. It's a very simple class project, yet such a beautiful outcome. And again, very minimal colors that we'll be using. So first let's go ahead with the color for the background blurry sky, which is going to be the ultramarine and the indigo color. Then for the small space, we are going to go ahead again with the same ultramarine and the indigo color. You are going to be using the colors in a very diluted consistency. It's majorly going to be water. Just a hint of these colors you can see because we are trying to create an entire snow scene. And then we'll be adding in the book a fat and then those cute little details onto the snowman. So using these two colors will be painting in the background, sky, the snow space, the body of the snowman, the 40 details of the snowman had the, and then the bokeh effect using in the white gouache and the details on the snowman, that is the red color that I'll be using. It's the permanent red color from the PWC said, you can go ahead and use any bright red, scarlet, crimson color, whichever is available in your palette. And you would be needing a little bit of the Payne's gray or black color to add in the eyes and the hands of the snowman. I will be adding it details using the brown color and the rest of the detail on the snowman, I will add in with the black color. Now you would be needing white gouache to create that bokeh effect in the background sky. So we're just going to be going ahead with a very simple book, a fact. Hardly I guess we'll go ahead with two layer of the colors and then with this bright white layer color, one of them. Let me give you a closer view of the bouquet set. If you can see I have a background layer of the bokeh effect with a dull color, which is actually a mix of the white and the blue tone, and then this bright effect of the white color. So from far it may not be visible to you, but when you view the painting closing, you will understand the two layers of Bokeh effects. So there is no much detail to discuss will directly dive into the final class project and begin creating this beautiful, cute little snowman together. So I will see you guys into the next lesson where we begin creating this class project for day 14. So without further ado, I'll see you guys in the next lesson. 32. Day 14 - Let's build a Snowman: So let's begin with our class project for day 14. I'm first going to go ahead with the pencil sketch. It's going to be a pretty simple pencil sketch with just mapping out the snowman and the snow space. So I'll just mark a very valid if randoms no space at the bottom space you can see I've gone ahead with a very random line, nothing in specific, Nora, simple straight line. Now just going to mark out a simple outline for the snowman. It's going to be a pretty simple one. If you want, you can go ahead with the details. No, man. If you want, you can go ahead with two snowman together. If you want, you can go ahead with another silhouette of the snowman. It's absolutely your choice, whichever reference you wish to refer for this. I'm going to head with a very simple one. Now I'm going to show that the bottom of the snowman is stuck into the snow at the bottom, you can see I have not completed that bottom space around, rather have just taken it along and shown it snug up into the snow. While adding in the details with the blue color will take care of those details there so as to show that 3D effect. Now just adding a muffler around the neck. That is the meeting point of the circle. That's the face and the body. And at the top I'm just going to add in a Red Hat and on the bottom body just adding into small buttons. And then after adding in the Hat, I'll just go ahead with the details of the eyes and the rest of the details of the snowman. So you can see it's a pretty simple pencil sketch that we are going ahead with. Now, as I told you, it's absolutely your choice if you wish to go ahead with a detailed one, if you want, you can even add in much more details on the snowman as well. That's depending on your reference. Now, make sure to go ahead and lighten up these lines because as you know, the entire painting is going to be in a very light color tone. So I'm just going ahead and rubbing off all of Texas charcoal mask so that once this painting dries, it does not have all the pencil marks visible. Because remember, as soon as you will add in a layer of water onto this everything, all of the watermarks basically will become permanent and you will not be able to erase them after that. So it's very important that you erase off all the unnecessary pencil, unnecessary pencil lines in the beginning itself. Makes sure that these pencil lines are not too dark of the ones that you need it. Make sure to keep them very light and consistency. Now last week, just giving you the details of the face of the snowman. And then we will move ahead and begin adding in the details into this painting. Create, adding in one detail at a time. Now I'm done in with a pencil sketch. I'm going to go ahead with a layer of water into the top sky. Now I'm not going to add in the layer of water in the snowman. So I'm going to go ahead carefully. If you want, you can add the layer in the snowman heart, because the heart is going to be off a bold red color. So these light blue tones will not make much of a difference, but I want to avoid it as much as possible. So I'll quickly go ahead, add in a layer of water marking out the outline for the snowman and then begin filling in the sky first. And then move on to the further details. Now, make sure you have an even layer of water throughout so that you're painting does not begin to dry unevenly. As you know, we are going to be painting in a very blurry and very simple kind of sky background. First time beginning in with the ultramarine blue color you can see I'm just giving you a very light layer of the ultramarine blue color. And very simple detailed, nothing much you can see just pulling out this slide, consistency of the color from the top area. Now across this snowman, you can see I'm going ahead very carefully defining the edge of the snowman so that the colors do not move into the snowman space because we are going to be painting in the snowman as well with a very light consistency of the colors later on. So make sure right now you go in very carefully so that the colors do not move into each other. Now while the ultramarine blue color is still wet, I'm going to go ahead with the indigo color and add in the detail on the snow line. That is the line that you've mark to distinguish and there's no space. So I'm just going to go ahead with simple rough pine tree kind of shapes. So I've shift into my small sized round brush and using the indigo color in and liquidy consistency, I'm randomly beginning to add in this. Now make sure you do not have a lot of water in your indigo color. Otherwise it will begin to spread completely, which we do not want a, you need to make sure that your indigo shouldn't have a lot of water. People shouldn't be too wet. If your paper will be too wet, then also it may begin to spread a lot and may cover up the ultramarine blue cover at the top space. So it's important to have in both the water control in the background, as well as the water control in your indigo color that you're using in very carefully on both sides of the snowman. You can see I've added in details with the indigo color on the edges. I'm just feeding this a bit and adding in a little more detail. So that is it. Now we'll wait for this to dry only then we can go ahead and paint further. Otherwise, the colors will begin to spread and move into each other. But before letting this to dry, I'm going to give him one layer of the bokeh effect using in the white quash, I'm just going to drop in and adding small circles to actin as the base layer of the bokeh effect. You can see automatically those small circles beginning to turn around as soon as you're adding in the white gouache. Now my background is not too wet and not completely dry. It's about 80% wet and 20 per cent dried. At this stage, I'm adding in these colors and you can see the bokeh effect beginning to come in. So this is the first layer of bokeh effect that I'm going to be using in the double layer that I showed you in the technique section in the background. When this dries out, it will have a little bluish tint because we're adding it wet on wet on the ultramarine deep color background. Now for this layer of bokeh effect that you are adding in, make sure you do not have excess of water. Otherwise, it will begin to spread completely and create a patch of the color. So now let's wait for this to dry and then move ahead further. So now everything is completely dry it, and I'm going to begin painting in this little space for that enforce going to go ahead with a layer of photo or lean this nose piece. Again, I will define the edges of the snowman as well this time because we're not going to run the colors in the snowman for now. We'll add them once there's no area also rising. So going into a little carefully. Now the major color that we'll be using here is again going to be the ultramarine blue color first, and then little highlights with the indigo color. I'm done adding in the layer of photon, however, beginning with the indigo color. Now, make sure you have to use the colors you are as well in a very light consistency. So you can see this indigo color is still a little on the darker sides have quickly lifted up little excess water and now I'm just going to spread this color across everywhere. Now I'm lifting a little of the ultramarine blue color and on the right side I will give him little details in between, you will see I'm leaving in those white gaps purposely so that so as to give in a little of the snow effect. So make sure that, you know, you live in little of those white caps as well. Now, the bottom side of the snowman that we are trying to show in the detail of the snowman stuck into the bottoms. Know, they have given him little shapes so that it looks as a 3D effect of the snowman being stuck inside the bottom snow. So just make sure to give it that little darker highlight there. So that is it for this null space, pretty simple one with the indigo blue tones and living in little white gaps in between. Now in this new area dries, we'll go ahead and painting the details of the snowman. So I'm going to go ahead and paint the muffler first. So now the muffler is connected only to the top skies base which is completely dried. It is not connected to the bottom snow space. So we can paint in the muffler first. So I'm just going ahead with a bold, permanent red tone. This is again from PWC. Now I'm just going to go ahead and fill in the time of law for now and then later on using the black color. I will given the details out there. Now go ahead very carefully yard because, you know, you need to maintain the shape and perfect sizing as well of the details that you're trying to add in. Now to these bottom snowman buttons as well. I'm giving in the red color. It says just two to three of them depending on the size, you can go ahead. Now if you are someone who's not confident about adding the rest of the details of the snowman with the red color. So I would recommend you to wait for those non-space to dry completely. Then first go ahead with the blue details of the snowman and then go ahead with these details. Because after this no space rise, we are going to be adding in little of the blue effects as well in the snowman. That time you will have to be a little careful. Otherwise, if you will run into the red color that time, then the red colors may begin to spread and blend with the blue and give you publish tones which we do not want. It's important to understand and ago had very carefully, same case if you're not confident about adding in the blue color later on, wait for everything to dry, add the force, basically a blue color for the snowman body, and then go ahead and add in the details once the blue layer rising. Now for the hat as well, I've added in the red color, the bottom space of the heart where I'm going to show us the fire effect. There. I will just be using in a very light layer of the blue to show in the far effect, I won't be adding in any other details out there. Now using the black color I'm just defining in the eyes as well and the smile of the snowman as well. So far this mile, instead of using the black color, I'm going ahead and using in the Permanent red tones so that it stands out differently. Now after this, I'm going to shift into the sepia color and using the same liner brush, I'm going to add in those twigs and to act in as the hands of the snowman using in the sepia color. Let's begin adding in those little twig details. So I'm just adding in some bunch of Crockett tweaks intertwined with each other, you can see just really simple details, but yet such a beautiful effect on the same lines. I'm going to add it on the left side as well. And on the left side you will see it's a little coming out from the snowman body because of the perspective that is visible to us. Now, let's go ahead and add in the details with the white gouache for the bokeh effect in the background because we need to wait for all of the details to dry before moving ahead further at any space. So let's quickly add in the bokeh effect. So now the first layer you remember we had added in while our background was still wet. You can see those LDL bokeh effect. Now I'm just going to go ahead with the white quash color in a bowl consistency and adding the different details to actin as the bulky layer. Now you will see that these circles are of different sizes everywhere. And I'm going to scatter them in such a way that we do not have access of these. So go ahead slowly and keep adding in these. Make sure you do not add a lot of these because we do not want to make the entire painting being focused on these. It's just filling element for us. Simple background. I'm almost done adding in the bokeh effect as well. You can see how beautiful the painting is turning out slowly with every small detail that we are adding in step-by-step. Also, if you see, I've tried to vary the sizes of these bouquet effect throughout. I've tried to, uh, you know, make sure that they are not all of the same size throughout to make sure that you keep them off different sizes. Otherwise it will look like a monotonic displacement. Now I'm beginning to paint in the body of the snowman using in the blue tones. Now you need to go in very carefully as I told you, around the red colors, you have to be a little careful so that you do not add in any drop or touch of water there. Otherwise, it will begin to spreading. Now using the ultramarine blue color. Basically, I just have to define the edges of the snowman that it stands out separately from the entire space. So basically, I added a little layer of water. And now just using the indigo and ultramarine blue color, I'm just going to define in little of the edges. So majorly on the bottom side you can see I've given in the color effect at the top species, I'm just going to fill in the center space with a very light layer of the color by spreading it with the help of water. Now closer to the button space, I'm just going to leave it blank, just blending it with water till there. So when this dries out, you will see as if the color is or near the bottom space. But everything will have a soft edge, not have any sharp edges because I've blended with water till the top space. So going very carefully closer to the red tones. Now at the bottom you can see as soon as we added in that darker tone, it perfectly looks as if it's stuck into the snow space because of the shadow effect that we've given him. Now using ultramarine blue color, I'm just going to add in the detail in the headspace as well. I just added a drop of ultramarine blue color. Now using in water I'm going to spread it. You're also going very carefully so that you've not run into the red tones, as well as going with a very, very, very light tone so that it remains as a fighter color there. So you can see I've just lifted little color and tone it so light, very light and just a little touch of ultramarine blue color that can be seen. Now in the same way, I'm just going to go with a little touch of the ultramarine blue on the phase-space. Again, it's just adding in little color on the edge and spreading and blending it in the rest of the space. Now, you're also go very carefully because you have the nodes detail, the eyes detail the spine detail the muffler. And if you know, even a little touch of water touches out there, it will begin to spread it. So on the left you can see I've gotten the perfect detail. Now let's begin adding in the details on the hat and the muffler. For that I'm going to use in my black pen size 0.5 and adding the texture detail. Because adding in these small textures using the brush and the black color, maybe a little tricky, and I do not want to ruin my painting. So using the black color, I'm just going to define in little details here. And then we'll be left to add in the hand details on the left side because that time the red color was wet. So I did not go ahead with the brown color there. So I'm just going to add in very simple hatching detail here to actin as the texture on the muffler. So just simple, vertical and horizontal line corresponds to each other. Now the reason of adding the blue color details on the face only on the left side you can see it's showing as if the light is falling from the right side and falling on the right part of the face, making the left part look a little towards the blue side, showing in the shadow effect. So that is about the perspective even in the body, if you'll see on the left we have more of them, blue color effect and on the right side on the edges also you will see less of the blue effect. So basically I'm trying to show the light is falling from the right side because of which the shadows falling on the left side. Now in the same way, I'm just going to add in little texture in the hat as well, and then we'll be ready with this class project as well. So then adding in detection, I'm just going to add in that little softball on top of the hat out you're using in the blue tone. And then just adding that one more hand with the twig details. Now using the sepia color, I'm just going to quickly add in the twigs out your two actin as the hand, and we'll be ready with this class project soon. Now if you want, you can splat it in a little snow effect as well, very little, not much of it as needed because you already have the bokeh effect and this will not standard that right where I'm just adding in a little bit of it. So make sure to remove the masking tape once your edges are completely dry. And you'll also find a painting for the 14 of the 25 days cozy winter class. I hope you guys enjoyed painting this cute little snowman with me today. I will see you guys soon into the D 15 class project. Thank you so much once again for joining me into this class and painting along with me. 33. Day 15 - Snowland - Technique: Hello everyone. Welcome back to day 15 of the 25 days cozy winter class. Today we are going to paint the simple snowfall scene. You can see just minimal detail, minimal colors yet such a beautiful outcome. So let's go ahead and foster understand the colors and then understand the perspective and the shadows details in this painting. So for the colors I'm going to use in the same blue and the black tones. It's going to be the ultramarine blue, indigo, and the black color. And you would need a little bit of the white goes just to add in that bright moon in the sky. Rest of the details in the snow space also you can see there with the indigo ultramarine and the black color. You would need in the white quash, just a bit to add in the moon as I told you. So just a very small moon detail with the help of fight. And that is it for the color tones. Now for this guy, you can see we have a mix of the ultramarine and the indigo color for the sky. And we're going to leave in some white gaps randomly. And then we'll add in the moon using the white board for this null space. You can see I've just added highlights with the ultramarine and the indigo color. Now, this creating the highlight part, and thus no space depends on the light of the moon as well. Then we'll add in the fencing detail using in the bowl black color and the shadow of the fence as well. So let's understand the light perspective you are for the shadow. So our moon is on the right side. So let's just understand the moon is here. The moon light will be falling on the object which is just in front of the light. That is, the shadow, will be almost in a straight way, very little diagonal effect, it will have it. Now if the moon is falling on an op light, moonlight is falling on an object which is towards the right of the moon. The reflection will move towards the right side. If the moonlight is falling towards the left, the reflection of that object will fall towards the left side. So in our final painting, we have the moon. You're, so the fence that is just underneath the moon, the reflection you can see, it's just very little diagonal. The fence that is towards the left of the moon, the deflection also you can see is moving a lot towards the left or right and the fence that is towards the right of the moon, the reflection of that is falling towards the right because of the night perspective. So this is about the perspective while creating in any painting, understanding the lights and the shadows. So you can understand from where the light is falling in and how the shadow placement has to be. Now if you see the moon light is in the center. So in the center, just below the moon, I've kept this no space also glowing and white. And on the edges I've given him more of the effect of the indigo tones. Alright, so I hope you've understood the reflection shadow and the light perspective. And then we'll just add in the shadow using in this ultramarine or the indigo color mix. So that is how we're going to add in the shadows. It's a very light shadow with the base layer colors that we are going to be adding in. So that is it about the basic techniques for this class project? A pretty simple one, just the main point being understanding the shadow space placements. So now I will see you guys into the next lesson where we begin painting this beautiful and simple class project for Day 15. 34. Day 15 - Snowland: Now let's begin with our class project. I will first go ahead with the pencil sketch. It's going to be a pretty simple, small class project, just like under 15 min, you will be able to create such a beautiful painting. So I'm Martha horizon line, It's a little below the center space. And now I'm just going to give in a rough detailing for the fence detail that we'll be adding in. I would recommend you to not go ahead with much detail pencil sketch because, you know, the pencil colors, the pencil marks actually will be visible because you notice no space is going to be a very light colors. First, let's begin with this guy and then move on to the snow and then add in the fence detail. So I'm first going ahead with a layer of water onto the entire sky area. And then we'll paint the sky, wait for it to dry, and then move on to the further details. Make sure you have an even layer of water throughout so that your paper does not dry in between. It's only the sky that is a little detailed. One rest of the details are quite simple and just an easy go and can be achieved quickly. So now when beginning in with the indigo color, you can see first-time going ahead with a very light consistency, do not go ahead with the darker colors together at once. Tried to build in layer on layer in your sky so that you will have different tones of colors visible in your sky, giving in the nostril look, instead of having in one simple flat color loop, I'm just defining the horizon line well, and then I'll add in more colors to the sky. Now you can see I'm slowly beginning to give him the darker depth. I'm just trying to create in some misty cloud kind of effects into the sky giving in that warm winter evening effect. But important thing you are again, is defining your horizon line well, so you can see every time I'm adding in color at the horizon line, I'm making sure I have that perfect looking horizon line detail because as you know, in the bottom space we're just going to be having in very little snore details. So you need to make sure that your sky is visible perfectly. Now, on the edge is majorly, you will see I'm giving in the darker effect because in the center we are going to be having in the moon, I want to keep little off the spaces light so as to show the moonlight effect falling as well. So a little towards the right side you can see now lifting a little of the ultramarine blue color, I will begin adding in little highlights of the ultramarine blue in the sky. So that is it. We are ready with us. Kai just left those white caps intentionally to show the moonlight defect. So let's wait for this to dry naturally so that we do not lose those white gaps. And then we'll move on to this null space and the rest of the details in the bottom space of the painting. So now my skies completely dried and I'm going to begin with bottom layer. So first I'm going to go ahead and paint in the snow space and then add in the details. So let's go ahead with a layer of water first. Now, even in the snow, if you have seen the final painting, you know, most of the space is going to be white. We're just going to be adding in very little highlights with the indigo and the ultramarine blue color. Now again, remember the light perspective that we discussed in the technique section. So our moon is going to be on the right side closer to the horizon line, we're going to keep in more of the white snow space so as to show the effect of the moon light falling on the snow and making the snow be bright and white. And at the bottom spaces we are going to add in the color detail so as to show the darker area of this note because of that out of the sky color falling on the snow. So I'm just going with a very light layer of the color from the center. I will quickly lift up that color a bit if I feel it. Now I've taken a flat brush along and using ultramarine blue column, even adding in a very light layer. You can see I've added a very, very, very light rail which will dry almost equal to a white tone once I leave it to dry. As I told you at the bottom space, I'm showing the reflection of the sky colors on the snow space. And closer to the horizon line, I will be showing the reflection of the moonlight on the snow space. That is by keeping it bright and at the bottom, keeping it does, because as chi colors are dark, now, lifting the indigo color, Let's begin adding in the dark cadets, as we discussed. So closer to the horizon line, I'm just going to add in very little of the darker effects to show in just some random shadows. Now when you are adding these details, wet on wet, make sure your paper is not too wet. And also make sure that the pain that you're adding in is also not too wet otherwise, as we've discussed in many of your previous lessons, you know that if your paint and paper boat when p or either of fun when we access wet, then the paints will begin to spread completely and cover up the entire space instead of retaining the shape in which you are trying to add them. You already, you can see the lines that I'm adding in with the indigo color. They are retaining the shape and having the soft edge because the paper is perfectly wet and even in the panes have not picked up much water. But yet you can see I'm adding the indigo color in a very light consistency. So there are multiple aspects to get in all of these details right and easy. Now at certain places I'm just adding little more of the darker depths because when these will also begin to drive, they will turn a little lighter. Now tells us no spaces drying, I'm just going to go ahead using the white gouache and add that small moon because my sky is completely dry. So I'm going to directly lift up the paint from the tube itself because it's a very small moon that I have to add it so quickly, just adding in a very small moon out here. Now, make sure you're using the white version, a bolt or a consistency so that you have this bright effect for the moon. Do not use it in a diluted consistency. Otherwise after drying it will don't turn down, which we do not want. So that is it now, we'll have to wait for all of these to dry completely and then move ahead further and add in the last leg of details. That's the fence and the shadow. We've already discussed the shadow effect in the technique section. So in case if you've not watched the technique section, just go and have a look. Now everything has dried completely and I will begin adding in the details for the fence. So I'm going to lift up a little of the black color on my palette. Make sure to use the black color in a good bold consistency. Now I have not added any pencil sketch for the fence details. I'm directly going to go ahead and add in the fence detail. If you want, you can first have a look at the kind of friends. It's not going to be much detail fence or a lot of grills. It's going to be a pretty simple one that's very limited details and some wire between the fence connections. So you can see how randomly I'm adding it. I'm going to take it diagonally from left to right. So basically on the right side you can see it's a little in the center space of the snow and moving towards the left, I'm going to take it moving diagonal downwards. Now in the center you're just below the moon space. I'm going to add in a three to four or stack of fence kind of a detail. And on the right side you can see I've just added a very simple one. So moving further towards the left you can see I'm just adding in very simple fence details and living in much space in between. So it's a very simple detail as I told you. And now the main thing is going to be the shadows for this from the moon. The shadow for the center space is going to be very little diagonal towards the left and right. It will be more towards each of those sites. So first let's beginning from the center space of the moon, the light falling on the center or object. That if reflection is going to be diagonal, moving towards both of the sides and very little diagonal, not much. So for that, I'm going to use in the mix of indigo and ultramarine blue in a very liquidy, watery consistency. Makes sure to use it in a very diluted consistency because you want a very small effect shadow. So fast for the right side, the shadow is going to move towards the right side. Now again, I'm finding this shadow a little darker tones. I'm just going to lighten it up quickly using in the lifting technique if needed. In the center space, adding in the shadow, moving a little diagonal, you can see the major deflection in the center space is as if it's just falling straight on and very little diagonal effect. And also you will see that I'm not giving you all of the shadow details exactly the same. And plus the shadow is usually a little taller than the actual object. So that is the reason you will see I'm making the shadow till the bottom edge completely and not taking it off that exact land. That was one thing which I missed discussing it, the technique section. So that is the reason now we've taken the shadow till the edge of the paper. Now towards the left side you can see I'm taking the shadow much more tilted and diagonal towards the left. So that is about the shadows that we've added in. Now, I'm going to shift into my technical pen, which is going to be 0.1 that I will be using for adding in those fine wire lines in between each of these pens connection. Now make sure you're using a waterproof pen. And I'm just going to take these very rough random lines. They are not completely straight. They are also moving according to the details of the fence. And onto these, I will just add little more of those details as well. And now just quickly, I'm just going to add in one or two more of these. So you can see, I'm just giving you those small cross details. Those are those whose details on the y lines. So we're almost ready with our class project. Just this last detail, you can see such a simple class projects step-by-step, yet such a beautiful outcomes, especially I loved the fence and the reflection of the fence because if the moonlight and the entire snow space. So just a simple class project which I love completely. So now, if you want, you can just add in little details as well. I'm just giving you little drop kind of details out here. So let's remove the masking tape and see your final painting. Make sure you remove the masking tape and your edges are completely dried so that you do not tear off the edges and you do not lift up the paint from the edges and tear of your painting. A final painting for day 15 of these 25 days, cozy winter class. I hope you guys enjoyed painting this simple, yet a beautiful painting with me today. I will see you guys soon into the day 16 class project. Thank you so much once again for joining me into this class and painting along with me. 35. Day 16 - Cottage - Technqiue: Hello everyone. Welcome back to Day 16 of the 25 days cozy winter class. Today we are going to paint this beautiful scene by the lake with the cottage house. So let's begin having a look at the colors first. So for this guy you can see we have a pretty pasty looking sky. The colors that I'm going to be using is this Naples yellow color. First, if you haven't looked at the pigment of this, it has a pigment yellow, orange, pigment white, which makes it a little pasty yellow and tone. Next I'm going to be using in this space till pink color from White Nights. This is by the shade of Mongolia. Now again, this also has a white pigment to it, which makes the pink color already pasted. Your refusal. It's a pigment red mixed in with pigment white, that is P W6, and a pigment red PRO 29. So basically, I already have these pastel tones ready, so I'm using them. Now. If you do not have pastel tones ready, you can simply, simply just create these tones by mixing in with a little bit of your watercolor or white quash. The first color is going to be this Naples yellow. Next is going to be the pasted pink tone from the White Nights. The Naples yellow is from Magellan mission. Apart from this, I'm going to use in a little of the violet tone. So I'm going to use the violet in a very light consistency, which will automatically acting as a little bit of the base tone directly, even for the snow area at the bottom, I'm just going to be using in the violet color. Then for these background blurry tree effect near to the cottages, I'm going to be using in the sepia color. Now, by looking at the painting, you can see that this is going to be wet on wet. Wireless guy is still going to be wet. We're going to add in the background effect. For the cottage. I'm going to use this bold payroll red color from the PwC is set. And even further reflection I'm going to use in these two colors firing in the reflection. In the next, I'm going to be needing in the white gouache for adding in little of this, no details and little highlights in the snow. Like near to the cottages as well as close to the lake space. So that is how we are going to go ahead first painting in the sky with these top three colors. Then while the sky is still wet, we'll add in these background blurry effect tree with a brown tone. Then once we begin painting in the area that is the lake space, there also, we are going to be going ahead with the same colors of the sky and the cottage color to give in that shadow effect. Now, let's go ahead and understand the wet-on-wet technique before moving to our class project, I've just adding a layer of water here. And now I'm going to go ahead and begin adding in the detail. So I've added another layer of the pistol pink color. Now I'm just going to go ahead and begin adding in little of the yellow tones. So I'm just going ahead with a very basic layout you are to make you understand the wet-on-wet technique and the importance of having the perfect Water Control on the paper as well as the brush. Now when beginning to add in this brown color, and you can see it begins to dispose if your paper is going to be too wet. So one thing you need to keep in mind is to keep your border little tilted so that the colors flow towards the bottom side because we want the fellows only at the horizon line. So we'll make them flow only till the horizon line because below the horizon line you can see there is no water, so the fellows will not flow there and automatically retain at the horizon line. And secondly, you need to make sure that your paper is a little dry, as well as the color that you're adding, that's the brown color also is not too bad. So this is how we are going to be going ahead and adding in the paints out here. Now if you have a look at the z-space, it's an exact reflection of the sky colors. The colors that will be for the C is going to be the same as hi Carlos. And with the same colors of the other elements we'll be adding in the reflection. So just underneath the cottage space, we'll be adding in little of the red reflection and underneath the background blurry trees that we've added will add in that reflection. So this is about the basics and the water control for this class project. Now I will see you guys soon into the next lesson where we begin painting in our class project for day 16 together. 36. Day 16 - Cottage: So let's begin with a class project for D 16. I'm just going to go ahead with a very basic pencil sketch. So I'm just going to begin marking out the horizon line first and then justice, no space. And those two cartridges on top of the horizon line. So we are going to be going ahead with a very basic pencil sketch. We won't be marking out the pencil sketch for the reflections are for those blurry Bush effect closer to the cottages. Those are directly going to be with the colors that we'll be adding in. Make sure you keep your pencil sketch minimum. Because, oh, you know, when, as soon as you add in the layer of water onto these pencil sketches, the charcoal marks become permanent and then these charcoal marks will be visible through your painting if you're using lighter tones. So I've just gone ahead and added in that one bigger cottage on the right side and now on the left side and closer to the center space, I'm just going to be adding in one more small cottage. So even in the cortex, the rest of the details I'm directly going to give him with the paints. I'm not marking out the details on the cottages as well. So first we'll begin in with the sky, then move on step-by-step to the sea, to all of the rest details. Remember, we have to add the deflection of the cottages and everything in this area as well. So first I'll be beginning in with the sky now. So I'm going to go ahead with a layer of water onto the entire sky space and begin adding in the colors there. And as we discussed, we are going to be going ahead with the pace till tones this time for our sky. So squeezed out the tuples yellow color and now a little of this pasted pink color as well so that we have the colors ready on our palate. And next the violet color is already on my palette and JD. So I'm directly going to take in from that palette itself because the violet color, we're going to use it in a variable consistency. Now the other two colors are already pasted for me. In case if you want, you can use and create a pasty yellow by mixing in your yellow orange with a little bit of white. And for the pink color, you can simply use in carmine with a little bit of white gouache and getting this basal pinkish tone. Now I'm going ahead with a layer of water onto the entire sky. I will leave the cottage space carefully so you can see closer to the cottage area and running very carefully because the coordinate space is going to be off the bold red color. I do not want to add in any colors there at moment. I'm almost done adding in the layer of photo now make sure you run your brush multiple times so that your paper stays wet for enough time. By Lou begin adding in the tones first time, beginning in with the Naples yellow color. I'm just going to begin adding in random strokes, going very carefully so that the colors do not go into the space of any medium tone of Naples. Yellow color in the center majorly that I've added. Now, I'll begin in with the pistol, yellow or pink tones. So you can see it's a beautiful baby pink tone. It's quite opaque. So that is the reason I told you to mix and white quash along with your carmine color or any other pink tones so that you get this paste till and opaque look as well. Now in between the cottages as well, I'm going in very carefully filling in the pink tones. Now, you can see despite I'm using a size eight round brush, the brush has a pointed tip, which helps me in adding in these minute details easily. After adding in the pink tone, will add in the violet highlights using in a medium tone of the violet color. Now I'll just lift up a little of the violet color and I'm mixing it with a little tent of the pink so that it also turns a little pasty because I do not want to add direct violet color because if it blends with even a little bit with the yellow color, it will give them muddy tone deaf, which I do not want. I mixed it with a little bit of the pace to ping so that this becomes a little paste till violet color. So these other little hacks that you can use now you can see I'm not getting any muddy tones despite adding in a little of the violet tint over the yellow color as well. Now randomly you can see I'm giving it a little cloud strokes into the sky. Now, the important thing again is the water control. You can see my violet color does not have excess water. That is why it is retaining the shape and the spaces in which I'm adding them all up my colors well, with very limited water, that is the reason they are retaining the space variables. I have added them in the sky. You can see the yellow, pink, violet, all visible clearly and separately from each other, despite playing wet on wet with each of the colors altogether. Now, let's go and add in the bush effect. So I'm going to tilt my board and tilted towards the bottom side. So now I'm beginning in with the sepia color and beginning to add in the background wash effect. Now in case if your paper is extra wet weight for a few seconds for the paints to settle in just a bit and then go ahead with these brown details but do not let it dry completely also. Otherwise, it may turn out that the brown color may not have that blurry effect. It may have those sharp edges. So in order to have these bushes are blurry effect, It's important for the background sky to be. Now I'm going to add it on the entire horizon line, just going ahead very carefully closer to the cortex spaces that we've added in. I'm almost done adding it on the entire horizon line. You can see on the edges I've taken them a little taller. And in the center space, I've kept them a little low on. I'm just going to go ahead with one more layer on the left side, defining the details much better. And you can see I'm using the sepia color in a good ball consistency so that after it dries, it still has a beautiful effect. Remember watercolors, dry or tone lighter, if you will use the sepia color and light consistency here, after drying, it will turn more light. So in order to have that perfect effect out your, it's very important that you make the pain some add-on in a good consistency so that it after triangles, so it has a ball look through all of the details. I'm done, kind of keeping the board tilted. I will paint the small space because we cannot paint the z-space now as our horizon line is still wet. So until that dries off, let's quickly adding the layer of snow. So just went ahead with a layer of water and now with a very light tone layer of the pastry pink color. So you can see it just added a small stroke and I'm spreading it across throughout so as to just show the effect of the sky color falling on this node. Now I'm just going to add in little hints of the violet as well. You can again see it's in a very light consistency. So just go ahead with a very light layer for this no space. Now very carefully, I'm just adding in little darker depth or at the meeting point off the sea and snow space to ask to show the reflection of the shadow effect of the sea. So line exactly at which the C and the small spaces meeting there. I've just picked up a little of the violet mix and adding in that shadow effect for the sea. So very carefully using the damp brush, I have blended in the shadow effect as well into the bottom space. Now randomly using in the violet color, I'm just going to add in little darker strokes and some darker shadow effect in the small space as well, very randomly. Nothing specific. Now after this, we'll wait for all of these to dry completely and then move ahead further and begin painting in the z-space. And then the rest of the details. It's a pretty simple class project, but just it takes a little time because you need to wait for each part to dry before moving onto the next part. So now I'm just giving in that final sharp edge to the C line distinguish so as to make the C and the snow space, or standard separately from each other and have the perfect shadow effect. Now I will keep this a little tilted so that the brown colors do not flow out there. So I've taken a few underneath and kept it tilted. Now I will wait for all of this to dry completely. So now everything has dried completely. Let's go ahead and paint in the z-space. So for that, I'm first going to go ahead with a layer of photo. I'll add in a perfect even layer of photos so that I can add in all of the details wet on wet. So I'm going ahead with a layer of water very carefully. You can see it closer to the horizon line. I've been very careful. Now, beginning with the yellow tones first, I will add in the yellow and the pink tones, leaving a little whitespace close to the horizon line, and then move on to the reflection tones. That's going to be the brown and the red tones on the horizon line. So since the head and the brown are to be just as a reflection, that is the reason I've given an underlayer of the pink color lightly in the Z space so that we have a little lighter look to the reflection blended in with the pink tones. Now just using a little of the violet colors, well, in the z-space to add the reflection of the clouds randomly. Now I have picked up a little bit of the red color on my palette here, and now I'll begin adding in the reflection to the cartridges first. So just exactly what you've placed the cottage about the horizon line just underneath that, given a rough layer of the red color in different height throughout. So you can see I'm trying to match according to the height of the house. So wherever the house is going taller, I'm taking the reflection a little taller as well. So just going ahead with this random red color tone for the reflection. And now at the rest of the horizon line, I will use in the brown tones to add the reflection to the bushes that we've added in. So using in a little tent of the burnt sienna color, I've just darken little of the red space so as to give them a little more bold look. Now I'm going to go ahead and begin adding in the further details. So fast I'm lifting a little bit of the white quash and just defining this space well, blending it into the sea and giving him that roof look for the eyes effect that will be showing on the roof of the cartridges that is filled up. It's not suggest giving a very little reflection here as well. If you want, you can skip this white part edition of the shadow. Now using in the sepia color, just beginning to add in the reflection to the bushes that we've added on the horizon line. Now, make sure you do not have excess water. You are not obese. Paper is too wet, otherwise everything will begin to spread completely and you will lose the control of the pains and the brown color me completely cover up your entire see space in-between both the cottages as well. We have that little brown detail. Now using in the pink tone, I'm just going to give him little cuts in between these reflection that we've added in so as to show the effect of moving water. So just very fine lines. You can see I'm just using the tip of my brush and giving in little lines. Now at this point, make sure to use this paint in a little thick consistency so that these lines are visible in the reflection and do not spread out completely because of the wet background. So that busy. Now I will wait for the entire C2 dry. And then lastly, we'll paint those two cottages at the top space and then just add in some details with the white color. I'm just giving it a little more effect with the brown tone yard because once it dries out, it may turn to light. So let's wait for this to dry completely, then move ahead Further, adding in the further details. So till the top space is drying, that's the z-space. I'm just going to go ahead add in little texture on the snow space. So I'm just using the violet color and adding in very little reflection. Now at the bottom it seems a little too dark, so I will just quickly blend it using a damp brush into the bottom space of the snow. And go ahead further. So I've just added a little of the dry brush. Now using a damp brush, I will blend the darker spaces and create a little texture effect. So you can see I've blended most of the part. I've just left little of the dry brush texture effect now let's wait for everything to dry. So now everything has dried completely and I'm going to go ahead and begin painting the cottages one-by-one. So fast picking up the permanent red color, I will just begin painting in the cottage first, the roof of the cottage. I'm going to show it fill up with snow, so we'll just be adding in little effect there later on. First, let's go ahead with the body of the cartilage. Because once it dries out, then we can add in the details on the cottage as Ben. So you can see very carefully, I'm filling in the entire cottage space. Make sure to go ahead slowly, yours so that you define the shape of the cottage when I'm using the bold red tone your now in the same way I'm going to go ahead with the second quarter is your is bad painting in jade with our side body. And then on the top we'll just be adding in little details. Now while the cottages are still wet, I'm just going to pick up a little of the red brown tone and adding a little shadow effect. So I'm just darkening up little areas, giving it a little darker effect majorly on the edges of the cartridges so as to show little shadow effects as well. So very lightly you can see I'm just adding on the edges giving in that shadow effect falling in. I've gone ahead with little of the shadow effect and little details with the red brown tone. Now in case if you do not have this light red color, you can simply use in red mixed in with brown or your bond sienna color directly. Now, I'm just going to add in little snow effect using in the violet color on the top of the roof. So very nicely, just little, make sure you do not touch the red tones. I'm just giving a very light layer at the top, making sure it does not touch the red tone. Now, let's feed for all of this to dry completely. Then we will move ahead further. Now, everything has dried completely and I'm going to squeeze out a little bit of the fresh white gouache to add in the last highlight details into this painting. And then we'll be ready with this class project for the 16. So I've just squeezed out some fresh white gouache. Now let's begin adding in the detail. So first I'm going to add in little of this noise effect on the meeting point of the sea and the small space. So just giving in some dry brush using in the white gouache. So make sure you do not have access what I knew, whitewash nor do you have excess paint on your brush. Just spread it very simply giving in the dry brush detail to show in the snow or LEO getting collected on the meeting point of the snow and the z-space. So basically the short space which is covered with snow and the CAD, or just at the meeting point you have a very thin layer of ice. That is what we are trying to show in your now next using in the white quash, I'm just going to add it at the top of the roof as well because the origin of the red color seems to have spread there. So I'm just covering up the entire roof again with a bold layer of the white gouache so that we have that ball look for the snow space. Now using the liner brush and the white quash, I'm just giving in some branch details using the white color to show some of the branches covered up with snow completely. So very simply in between the brown brushes, you just have to give in many simple branch details like these very crooked random ones. You can see I'm going ahead with very simple details out your CMB, I will add a little reflection to these as well in the water space. Now in-between, I'm even adding little of the snow collected closer to the cottages. So very little snow effect you can see just using the tip of the brush, trying to show us some snow deposited. Same way, once the cartridges or red color has dried completely, You have to even add in little of this no effect on top of the cottages as well. So I'm still using the liner brush and you can see how carefully I'm just adding in little details. We are still left to add in little more details onto the cartridges, defining the details of the cartridges when. Now adding in simple reflection here as well. And we're almost ready with our class project. Just last leg of details are on the cottages and will be ready with our class project for D 16 as well. So using the black color, I'm just adding in very simple detail to the cartridges you are, you can see just some door and window details. So go ahead and add these, make sure that your red color is completely dry before you begin to add these simple details. And that is it. Now, one thing that I forgot to record your Was the details of the chimney. So if you see I have that little chimneys based on what the cottages I met shooting that. You can just add those chimney details. At the end of this, you will be able to see the class project final photo with the chimney effect. So make sure that you add them as well. So let's remove the masking tape and see your final painting with the clean edges. So you always have final painting for the 16, you can see those chimneys added in with the brown tones. Thank you so much for joining me into this class and painting along with me. I will see you guys soon into the next class projectile then make sure you keep uploading your class projects in the project section. 37. Day 17 - Misty Forest - Technqiue: Hello everyone, Welcome back to day 17. Today we are going to be painting this very easy winter landscape. We just some forest lookout yours. It's going to be a very simple class project and a quick one. The only color that we'll be using is going to be the indigo color. It's kind of a monochrome painting that we'll be doing for the background will be using in the waters practicing technique to create the texture in the sky. And then using the different shades of indigo color we'll be adding in those stem or the tree details. And then for the lake as well, we'll be using the indigo color in the background. You can see towards the top will be having in the lighter tones and towards the horizon line will be having in the darker tones. It's going to be a pretty simple class project using just one color. That's going to be the indigo color. First, we'll beginning with the sky. Now in the sky you can see towards the top we have the lighter tone. And then we'll be using a lot of splattering technique that we've already discussed in one of our previous class project. On day ten, we discussed the splattering technique. So in case if you've missed attending in the day, then makes sure to go and just to have a look at the technique section to understand the splattering technique that we'll be using for creating the texture in the background here, will create the texture using the splattering technique, understanding and creating that texture. Then we'll be adding in these trees with different color tones of the indigo color. You can see the color variations in the tree, layer on layer. And then lastly, we'll just be adding in that little lake or water moving space in between the tree and the forest area. And it's going to be a pretty simple one. So I'll directly see you guys now into the next lesson where we begin creating this very easy class project for day 17. So grab your indigo color if you want, you can go ahead and use any darker tone of blue if you do not have an indigo color. And I will see you in the next lesson. 38. Day 17 - Misty Forest: Let's begin with our class project for D7. It's going to be a pretty simple class project. Let's begin with the pencil sketch. I'm just going to mark out the horizon line roughly. You can see again it's not a straight horizon line, basically just marking in the sky space and then that little water space that we are going to be creating in the center almost. So that is it for our pencil sketch, a pretty simple one, as you can see now, I'm going to go ahead and add in a layer of water into the entire top sky. I'm going to run in with an even layer of water throughout. Make sure that you add in a perfect even layer of photo. Now, do not go in with an excess of water. Because we are going to be playing along with the splattering technique. If you will, have excess water or excess wet background, you'll have to wait for a little extra time for it to settle in a bit and then go ahead with the splattering technique because this flushing technique will not work fine, you will be having an excess wet paper or excess water on your paper. So I'm just going ahead with an even layer of water. And now I'm going to begin in with the indigo color. So far, the indigo color, I'm going to have a gradient wash, but towards the horizon line I'm going to have in the darker shades and moving towards the top. It's going to be in the lighter tone. So accordingly, I'm going to tilt the board and accordingly I'm going to create in the lighter tone. So beginning in from the bottom space, I'm going to pull out the darker tone towards the top. I'm just going to give in a very light layer so as to show the light effect coming in. So you couldn't see, I just gave in a very light layer of the indigo layer first. And now going ahead with the taco layers giving in that very Raftery effect, using in the brush and defining the horizon line as well. Now at the top center space you can see the lighter tone and the lighter effect. Now I will begin dropping in the water droplets, but you need to go and layer by layer in this as well. First adding some weight for a few seconds for it to settle and see how it is reacting, whether it's giving you one flat Luke are taking in the shape, creating the texture. Then go ahead further. If you feel that your paper is too wet, then wait for a few seconds. Paper to dry around 20 per cent, and then go ahead with this flattering technique. Now I've added in the first layer of splatters and using the indigo color, I will quickly paint the bottom sea area as well. And then again, move on to the next layer of splatters and then wait for everything to dry in. Now, in this course, clear of the splatters, you can see that how everything has disposed and the texture has not come out that well, because the paper was a little extroverted, seems that is the reason you can see now all of the colors merging into each other and farming in one color. Now in the lake area as well, you can see on the edge I'm giving him the darker depth so as to show the shadow effect your aspect. So that is why I told you for the splattering, you need to go step-by-step layer on layers and see how after each layer the splattering is, you're not reacting and giving him the picture effect. So before going on to the next layer of splattering, I will wait in for a few seconds for the paper to dry a bit and then go ahead with this flattering so that I get that texture effect. Now going ahead with a second layer of splatter here, you can see now again, when I'm splattering, the texture is coming, but as soon as it begins to dry, everything goes for a dose because of the wetness of the paper. And again, this plateau makes the paper a little wet. So as I told you, this uniform achieving the texture, you will have to go layer on layer, going slowly. So now I will wait for this to dry. Now everything has dried completely and you can see how beautiful the texture in the sky has turned out. It took me one more layer which I missed to recording. So after my paper had settled in a bit like 50 per cent dry, I went ahead with one more layer of this plateaus to get in this effect. Now, I'm going to go ahead with different tonal values of the indigo color to add in the trees. So first beginning in with a very light consistency, I will just add in some random shape. After stemmed. We're not going to go ahead with the violet, just going to add in the branches details. Now make sure you're using the color in different tonal values. So along with adding in, I'm going to keep blending the base layer into this new space, trying to show it perfectly rooted in between the snow. Using another **** brush, I'm just blending the bottom space in the background. Now, next I'm going to just go ahead with some more lighter tones. First, keep blending it into the background, and then go ahead to the darker tones as bad. So now you can see I'm keeping in different heights of the trees. They are not of the same height throughout to keep waiting them as well. And you can see they're moving in all different directions. And every layer at the bottom, I'm blending it into the snow space well, so as to show it perfectly rooted in the snow area. Now I'm moving to 1to1, darker tone, and you can see how beautifully I'm trying to blend them all in. Now, again, you will notice all the different shapes, heights of the tree branches that I'm trying to keep in so as to make it look natural. So make sure you go ahead with different heights and different thickness of these branches. So now I'm done with the face first layer. And once all of these are almost dried, I'm going to go ahead with some of the overlapping tree details as well. Not much but just a few urine they're randomly to give him little overlapping effect. Make sure that before you go ahead with any overlapping, your first tree that is underneath that overlap is completely dry. Otherwise it may, you know, all begin to spread and you may not get an perfect, pleasant look. Now using a liner brush, I'm just going to add in a few thinner branches coming out from these bigger branches that you've added it from these biggest stems page and I'm just pulling out little smaller branches randomly urine there. So for the lighter trees, I'll pull them out in a lighter tone. And for the darker trees, I'll pull them out in the same color tone consistency. So make sure you keep the color tone consistency the same. And you can see I'm using the liner brush so as to get these fine strokes, make sure you're using a very thin brush so as to get these details right. We are almost through the class project just the last few minutes to add in a few more details and then we'll be ready with this pretty simple, easy class project. Now to one or two of these trees, I'm just going to pull in little reflection in the z-space as very, very light tone consistency of the indigo color, just pulling out little reflection. If you want, you can skip this part because it's a very minimal deflection effect that we've added in. So that is it. We're ready with our class project. Your final painting for day 17 of these 2.5D cozy winter class. I hope you guys enjoyed painting this easy painting with me in just under 10 min. Thank you so much for joining me into this class. I'm painting along with me. 39. Day 18 - Lighthouse - Technique: Hello everyone. Welcome back to day 18 of the 25 days cozy winter class. Today we are going to be painting this pretty simple sunset, kind of a winter landscape. It's going to be a pretty simple one with just little details going slowly. So first let's have a look at the colors. The first candidate I'm going to use. And for the sky is going to be the yellow ocher color. Along with that, I'm going to use an elliptical tint of the red color to give him little red highlights in the sky. And then lastly, the cloud effect using in the CPR Canada. Now at point if you want, you can mix in the red and the sepia color as well to give in the Cloud effects here. If you see that is elliptical red touch that I've tried to give it into the clouds. So for that you would need this little tint of red color. So that's going to be a pretty simple sky. Now coming to the next details. So basically, if you notice, most of the colors are in the monochromatic tone, only. The next color that I'm going to be using is going to be this shade of light red color, which I will be using for the lighthouse and the cottage detail. The CAD is going to be of the same colors that we've used in for the sky. And then for these are dry grass effect or Dr. Bush's effect we're going to use in the red brown and the yellow ocher tone. And lastly, you will be needing a little bit of the black color for adding in that. You're not just those branches close to the cottage out there and some highlights on that little mini high lighthouse that we've added. So these are all the colors that you need. Now there is no much detail to discuss. First, we'll be going with the sky using in the base layer of yellow ocher and then adding in the clouds using in the red and the brown tones. Now again, you are, everything is about water control, which we have been discussing since day one, so that you get those perfect cloud effect. Then we will be painting the sea again with the base color of the yellow ocher and then adding in the wave details using in the sepia color. Fathers no space. It's going to be a very light wash of yellow ocher color just to reflect the color of the sky falling on the snow. And then those dry grass details using the yellow ocher and the red brown tones. So that is it for the techniques of this class project. Now I will see you guys into the next lesson where we create this beautiful class project for DAT. 40. Day 18 - Lighthouse: So now that we've discussed the colors and the basic technique and the flow of the class project. Let's go ahead and beginning with the class project. So I'm just going to begin in with the pencil sketch first. And now I'm just going to mark out the horizon line. It's a little below or above the center line, actually now mocking the C line below it. So the bottommost space is going to be this new idea. The center space is going to be the same area and the top space is going to be this guy's face. Now in the snow space, I'm going to add a small lighthouse on the left side and the small cottage on the rightmost side. Rest of the details that is those grasses that will be adding the black color of laundry that we'll be adding. All the stores will directly be with the Payne's. We won't be having any pencil sketch for it even for the lighthouse, those blades, I will directly be adding in at the end with the black color. I won't be adding in the pencil mark for that as well. Now. Now just marking out the cottage out here. And then we'll begin in with the sky quickly. Now I'm going to go ahead with a layer of water into the sky first, make sure you have a good even layer of water. Not have excess water because we are going to be adding in the cloud effect for which should be one that the papers shouldn't be excess wet. I'm just going to go ahead carefully and run it till the horizon line giving an uneven liter of water. In case if you're using a paper which is not 100% cotton, I would recommend you to run your brush multiple times so that your paper stays wet for enough time. And also make sure that you go ahead. And if you want, you can wait for your paper to dry a bit and run with a liter of water again and then begin painting. In that way your paper will stay wet for a little extra time. Now I'm beginning with the yellow ocher color very randomly in a light tone, you can see I'm leaving in those white gaps to create the lighter effect as well into the sky. This is going to be the base layer for our sky. On this, we'll be adding in the cloud effect using the brown and the red tones. So very carefully just going ahead with very simple details out here. Now, beginning in with the sepia color and beginning to add in the cloud effect. Now, the important thing here is the water control. So you can see my sepia color is not having any excess water. Plasma paper does not have any excess water. So very wet. I'm adding in the CPR coverage, retaining this piece, having in the softwares because of the red background that we are adding it onto. So that is very important when it comes to watercolors and playing with the wet on wet technique. Now in-between aspect of a little bit of the red color and giving in the little j defect. And then I will blend this using in the sepia color that you just have those little red highlights in there. Now, major, neither cloud effect I'm going to be adding only on the left side and towards the right side a little less entered on the top area of the sky is going to be off that light shining color with the yellow ocher tone that we've added. Now I'm just going ahead with a little more detail of the sepia color. Remember, watercolors dry, a tone lighter. Whatever column will be visible to you right now. Once it dries out, it will be a tone lighter than what is visible. To summarize in line and on the rest of the clouds, I'm just running with one more layer of the yellow, sorry, the sepia color giving in the depth to the clouds and the sky. Now if you're not sure how your color will dry out, make sure to watch them before using in the final class project, wait for it to dry and see what tone lighter does yard of color dye, how pigment it is, how your pigments are reacting along with the people that will help you in better understanding what she'd will react, how after drying out and help you better understand your father selections. For this specific class project. We're ready with our sky. Now. We need to wait for this guy to dry completely only then we can go ahead with the CSPs. I'm not going ahead with this new space for us because we have to add in the shadows there as well later on. So I'll wait for this to dry. My sky is dry completely and you can see how lighter the sky has tried dried out as compared to what it was looking when the colors were wet, even the sepia color, you can see how light they have dried out and giving him the perfect balance into the sky. I'm just going to go ahead with a layer of water into this space as well. I'm going to leave the lighthouse and the corporate space blank. So you need to go at very carefully with the layer of water you're so that you do not run into the quotation, The Lighthouse piece, because those we are going to be painting later on with different tones of the brown and the yellow tones. Going very carefully and just add in the water layer in the area. For the C also, we are going to use the same colors as the sky. That's going to be the yellow ocher and the sepia color file beginning with the layer of the yellow ocher color forcing the entire C. And then given the details, the shadows and the depths using in the sepia color. So I'm adding in a layer of the yellow ocher color. You can see how beautifully the color is looking at the moment compared to the sky and everything. Now, now I'm going to shift into a smaller size brush and I'm going to pick up the sepia color and begin adding in first defining the horizon line. The horizon line I'm going to give in a very fine line of the sepia color. My mom I see is still wet and all of this, you have to go ahead wet on wet so that you have those soft blended loop. Otherwise you will have those sharp separate lines of the sepia color. You need to make sure that your paper stays wet for enough time for you to add in all of these details defining in the waves, the horizon line and the other shadow details. Now using this size zero round brush, which has a pointed tip, I'm beginning to add in some wave effect using the CPI and the light red color. You can again see the water control that is your because the waves are not spreading much, they are retaining the shape in which I'm adding them yet having the soft edge because of the wet background. So very carefully I'm just going ahead defining the horizon line a little more with the darker tint. Make sure it's not too dark and make sure that it does not stand out as a separate ground line. You can see I'm making sure it's very blended into the Z space weekly using the damp brush, I'm blending the bottom space indices so that all of it has the perfect blended look and not stand out separately. Now just adding in some darker details using in the sepia color. Now wherever you feel, if any excess color you can quickly lifted up to your I'm feeling a little extra CPR, Carlos, I quickly lifted up a little of the way from the top side. So that is it for the C. Now we need to wait for the sea as well to dry out completely. And then we'll move ahead with the further details because everything is connected to the C now where we have to add in the details. So let's wait for all of these to dry out first and then we'll move ahead further. So my sees almost dried and I'm going ahead with a layer of water in the snow space and I'll begin adding in the details in the snow area. So for this noise here, I'm just using a very light layer of the yellow ocher color. You can see it's almost equal to a white tone layer that I'm adding in. Make sure that you add in this layer in a very light consistency and using the sepia color, I'm just adding little highlights at the bottom space, so makes sure we use it in a very, very light tone consistency. Now my c is just a little wet. That is the reason I'm not running much closer to the sea line right now because I want to make sure that I do not make the Z follows move into the bottom space, that's the snow area. So just adding little highlights with the sepia color. And I will then all of these when using the damp brush because I do not want such sharp strokes, but just some highlights so quickly using the damp brush and blending these well. Now I'll wait for my C and the small to dry out completely. Then I'll move ahead for the adding those final details into this painting. So now everything is dried completely and I'm going to begin in with the lighthouse first. So for that I'm going to use this light red color. Now in case if you do not have the lighter tone, you can simply using a bone sienna color or mixing a little tint of red and brown to get a reddish brown tone. And beginning with a medium tone layer of this, I'm going to begin with. Bottom layer of the lighthouse. Now using the same color, I'm just going to beginning with the cartridges. Well now for the page, I'm just going to paint a little of the roof space and let the rest of this piece BY trying to show the entire cottage being covered in snow. So you can see I'm taking in the very rough lines, even on the roof as Velez, the bottom space, and even in the front entrance of the parties trying to show it as the rest of the cartilage is covered in with snow and just giving him little of the chimney and the window details quickly. So make sure when you go ahead like this, that is the reason I kept them back. What is right and did not see colors on the parties because of the snow effect that I wanted to give him. So make sure you have the perfect snow effect in case if you're unable to give it with the color directly, then you can use in the white quash later on. But I did not want to use in the white gouache for this class project. That is the reason I've gone ahead peeping in the cottage white only while adding in the colors on the page using the sepia color. Just giving him a little more details on the page quickly and giving him little of the mass defect closer to the page on the snow space. Very little, not much. Now, been these details dry in, I'm going to pick up the yellow ocher color and begin adding in the grass strokes out. You're on the left side. I'm going to shift into my liner brush and using the yellow ocher color, I'm going to begin adding in the grass strokes on the left side quickly. Just going to give them in random shapes and movements. Nothing specific to just go ahead with bold yellow ocher tone. Adding in the strokes on this, we'll be adding in little highlights using in the darker tones of brown. Once this dries out. You can see very randomly I'm going ahead with the stroke that I began in with the first knee on the leftmost edge and then moving closer, close to the lighthouse space. And some of the strokes are going to be overlapping the lighthouses Bell, I'm going to make it look natural as much as possible. The Lighthouse piece I've taken up the yellow ocher strokes now in-between the lighter than the cottage as well, I'm going to take in some smallest strokes closer to the sea line. So I'm just going to quickly add in some of the strokes out you're in this new space as well. But these are going to be quite smaller as compared to what we've added on the left side, adding in this trucks, but there's no space you can see. I'm trying to show them perfectly blended into the snow and trying to show as if they are rooted in the snow alien giving you that little dry brush detail at the bottom space to give him that perfect effect in the snow as well. Now using the light red color, I'm just running in with some strokes of the grass for the Doppler effect on the gases out here, makes sure that your yellow color is dry before you begin in with this. Otherwise, the colors will begin to blend, leading to each other. You may lose the look of watercolors then. Now in the same way, using in the brown color, I'm just adding in little highlights in the center space as well on the yellow ketones. Just very little in the center, not much. Now, I'm going to go ahead and add in the rest of the details. Just read the little details that we are left with once the details on the lighthouse and then adding in that clay on the rightmost side, so forth using the sepia color and just beginning to define the details on the lighthouse quickly. So pretty simple details on the lighthouse you can see using the sepia color. Not much of the details that we are going ahead. Yeah. Now to add in the plate effect, I'm using the black pen because using the black color, it may become a little difficult to add in these tiny details. So it's safe to use in a waterproof pen. I'm using my technical pen or a size 0.3, which, you know, it's fine enough and giving me the perfect fine details, make sure you use a waterproof pen. Otherwise, if you try to correct anything and if you run over to the black color and if it's not waterproof, then it may spread completely, so it's important to use in a waterproof pen out. Sure. Now lastly, using the black color, I'm just going to quickly add in those branches on the rightmost side of the cottage. So using the black color, Let's begin adding in that mixture to use the black color in a bold consistency. I'm first going to begin adding in two to three of the bowl branches out your and then using in some smaller branches connected to the bigger branches quickly. So you can see I'm trying to keep the shape as much nationalists possible, taking them in all the appropriate way possible and trying to create in the perfect balance out here. Now to these bigger ones, I'm just pulling out some smaller ones randomly which are matched in as compared to the bigger bowl branches that I've already added it. And we're almost ready with our class project for the 18 of this 25 days cause even the class, just seven more days for this challenge to ending, I hope you guys are enjoying painting these beautiful winter landscapes with different color combinations and different landscape. So let's remove the masking different CIA final painting. Make sure that your edges are completely dry before you begin removing in the mastering t. Or you may tear off the edges and the colors may get lifted along with the masking tape ruining your entire painting. You also find in painting for the 18, I hope you guys enjoy painting. If you're like in this class for whatsoever reason, make sure to drop me a review so that it can help me reach maximum students. Thank you so much for joining me into this class and painting along with me. I will see you guys soon in the next class project. 41. Day 19 - Wooden Log - Technique: Hello everyone. Welcome back to the 19 of the 25 days cozy winter class. Today we are going to be painting yet another beautiful lose landscape. So first in the background you can see we have that lose misty look. So we are going to be using in the tones of blue for that. First is going to be the civilian blue color. And next I'm going to use in a little bit of the indigo color and Prussian blue color for the darker tints. So these are the three colors. Now for this wooden log we're going to be using in the tones of brown. So for that I'm going to use in a little bit of this raw umber color. You can go ahead and using the yellow ocher if you do not have a rumba. And on top of that you can use in a little bit of the burnt sienna color. I'm going to next using the sepia color for giving in the darker depth and texture to the wooden love and those other branch details at the bottom space that you can see. And lastly, I will be using in the black color to give him those metal wire line detail across to the in law. These are the colors that you would be needing in for this class project. And then lastly, the white gouache to give in the snow details out here onto these branches and the wired lines. So it's a pretty simple class project will first be creating in this blurry background using in the tones of blue. At the bottom of this, you will see, I've kept in most of the space white reason being to show in this new area and the top as the sky colors. So that is why I've kept the bottom space here a lot white and add it very minimal glow effect there to show very little sky color reflection. And then we'll be painting the wooden logs and the rest of the easy details. And then we'll be adding the texture to the wooden log as well. And then the small details in the white gosh. It's a pretty simple class project to paint just under 20 min. So we'll directly move on to the class project now and begin creating in the details one by one. There is no much techniques to discuss here because these are the same techniques that we've already discussed in the previous class project. So I will see you guys into the next lesson where we begin creating the class project. 42. Day 19 - Wooden Log: So let's begin with our class project for D9. I'm just going to go ahead with the pencil sketch for the wooden log that we are going to be having it it's going to be out on the left side and almost a little about the center line will be taking the height of the window. Now you can see I'm taking the wooden log shape of very rough and random one to give it that natural elements look. Now to these wooden log we're going to be having in those white lines. So I'm just going ahead with very random basic sketch. Make sure you do not go ahead with the dark pencil lines for these, because as you know that your colors are going to be very light tone and especially at the bottom space is going to be majorly white. And then if you do not follow exactly these lines while adding in the wireline details, the charcoal marks maybe visible separately. So make sure that you have a very light pencil sketch or either follow the exact lines that you've added for the pencil sketch. So that is it. We are done in with the pencil sketch. Now I'm going to go ahead with a layer of water onto the entire paper. Just make sure to not add in the layer of water on the wooden log space as much as possible. Or if you've like, I missed to keep the good in log-space empty without water. So while adding in the colors, I will try avoiding to add in the color, the rest of the spaces are going to be off the darker tones. So even if religion of the colors go in there, it's perfectly okay. We'll be able to cover them up with the darker tones later on. So just go ahead with a perfectly at a photo, makes sure that your paper will save it for enough time, wet on wet to add in the details. If you're not using 100% cotton paper, make sure you run your brush multiple times so that it stays wet for enough time. First, I'm going ahead with the civilian blue color a bit. Now next I'm just going to shift into my round brush and begin adding in different tones of blue. And you will see I'm just taking the blue tones till the center part. So just a little tilde below the center line that I'm taking in the blue tones. Now, picking up the indigo color and beginning to add in the indigo color roughly the result of adding the layer of water onto the entire paper. Because I want a very soft blurry background. So the bottom whitespace and the top blue space should look perfectly blended into each other. But since this space I wanted to white color, I'm not adding the colors there. So automatically the blue tones out there will have a very soft edge. Now you can see randomly I'm shifting in-between different tones of blue to add in the details here. You can also keep using in any different tones of blue that you want. The shades did not exactly the same as mine. And very roughly you can see I'm just moving my brush in different motions. I'm just adding in these colored dots here, taking different color values of the blue on this, I'm just going to go in with little of the splattering technique to creating little texture effect. So now fossil just add in little more blue and then move on to the splattering technique at the bottom space. As I told you, we're just going to be having invading little gluten. So I'm just adding in very little blue effect and that also I will just blend it well so that we do not have those sharp edges. Now add the last piece where you are having in the last blue line, makes sure to run a **** brush and give it a blending and the perfect transition happening in. So you can see I'm just going ahead giving it a listen perfect blending effect so that the colors do not look sharp, sharp edged or anything. I've added a little splatter. Now, I'm just going to go ahead with a little more tense of blue wherever I feel that the colors are a little off the lighter tone. I'm just going to pick up on it in white first and adding little white at this meeting point. So that's the transition looks much more smoother. Now in case if you are already satisfied with your transition from the blue to white having a soft blurry effect, then you need not use this white effect. But since I was a little unsatisfied, I just used a little of the white watercolor to get the transition. Now just going ahead with a little bit of the indigo on top again, and I will blend all of these and again, Given little splatter. So at times you need to go ahead with three layers so as to get the blending that transition happening satisfyingly. So I just went ahead again with a little bit of the color. So the splattering technique now you can see it's completely hidden again. So I'm just going to go ahead with a little more splatters again. Now again, just lastly, I will just make sure that this blending and transition from the blue tilda, what am I space is happening in smoothly. So just running a **** brush yours so that the colors flowing smoothly and we have a perfect transition happening from darker blue towards light blue and then the whitespace of this door. Now, I'm just going to keep my board a little tilted towards the top side so that the blues do not flow much towards the bottom side because I wanted to major blue tones towards the top side. Now let's wait for this to dry. So everything is completely dry it and you can see the beautiful texture because if this splattering technique that we've used now a little of the wooden block, as you can see, it's covered up with the blue color at the top spaces, but it's okay when will go ahead with the Browns will try to blend in altogether. So I'm first going ahead with the layer of the raw umber color on the wooden log space creating in the shape and the outline. Now at the top space you will see an underneath blue color forming in a little greenish tone because of the yellow tents in the raw umber color. Do not worry when we'll go ahead with the darker brown tones on top bar at the top space. The blue and the green effect will get covered up with the darker brown tones. This is the first layer. Now I'm going to go ahead with one more layer, which is going to be a little more thicker. Now you can see as soon as we went ahead with the second layer measure of the blue tones have caught Kabbalah. There is still a little underlying effect which will again get covered up when we go ahead with the texture and the darker tints. Now I've shifted to my smallest size liner brush and using in the docket in the brown and black mix or you can use in the sepia color. I'm just defining the outline a bit of this wooden log. You can see such a fine line. I'm taking it. I'm doing this wet on wet so that it has a soft blended look. I'm using the sepia color, so it's almost equal to a very dark grayish brown or a blackish kind of tone that I'm getting in your now using the black color, I'm just beginning to add in the wireline details that I'm supposed to. So just taking out these lines are from the wooden logs. Now again, you can see, I'm going ahead with very random lines. They are not exactly straight at all and they shouldn't even be so try to keep them natural as much as possible. So at the top space, since the pencil sketches no longer visible, I'm going ahead with the lines that we had created in the beginning, keeping in mind the flow of the violence that have kept him. But at the bottom space you can still see my pencil sketches visible. I will make sure to follow those exact lines so that I do not have those charcoal marks visible separately. So I'm done adding in these lines as well. Now I'm going to go ahead and add in the rest of the bottom space branches that we are going to. I'll just wait for a few seconds for the black colors to settle in completely and then go ahead with these branches. So now my black lines have settled in a bit. So I'm going ahead with the sepia color again, adding in the branches. Now, as you know, we are just going to have in one bigger branch out, you're moving towards the right side and having some smaller branches from that and rest of the branches are going to be quite smaller one majorly towards the baseline. So just adding in this bigger one, you are false. And then I'll go ahead to the smaller ones at the bottom spaces. Now we're not going to have in a lot of branches as well, so make sure you do not overdo it. So I'm just adding one more or semi medium-size at the left edge as well. And from that again, I'll pull out the smaller ones again. And then at the rest of the entire bottom space, I'm just going to go ahead with a little more of the smaller branches quickly. So in-between I'm using a little bit of the lighter brown pins as well so as to have a little color variation at the bottom space. So that is it we are done adding in the branches as well. Now I'm going to shift into the white gouache and add in the snow details. So make sure you use the white gouache in a bowl consistency. Do not add a lot of water, use it in a thick consistency so that you have that opaque look of the white quash now Foster on the top of the branches, I'm going to create a little of the cotton flower, luca, which is covered up in snow again. So I'm just going to go ahead and begin adding in the details. So you can see very simple details that I'm creating your snow look on the top of these branches. Now on top of the wires also that we've added, I'm going to show in this no collected on top of them. Some places I'm going to show this no collected on the bottom line of the wire as well. So very little. Make sure that the black lines are still visible. So if you want, use a smaller size brush so that you do not cover up the black lines are in cases. So it happens that your black lines get covered up then go ahead again with an air of the black color underneath the white color to give him that effect of the violin. So you can see I've given in middle of this no effect Under the virus when trying to show that it's collected on the bottom side of the wildlife. In the same, they just keep going and add in the snow effect on all of the y's that you've added in. Now as you go towards the bottom side, since the bottoms background space is all to do you have the white color, does normally not be visible clearly. So at that spaces, if you want, you can just adding of two off the blue color to your white quash and then add in the snow effect so that'd be visible. On these bottom lines. I'm adding in very little snow effect. I have a very knitted light blue tint to add it to this. And just a very little effect that I want and you're not much of the snow effect that I'm showing in here. Now next to, or even you can see on the branches I've added in which love the snow effect and try to show a little snow collected on the branches connection points as well. So make sure you add in these little, little details which will give him more realistic look to your painting. So that is it. We are done with this no effect as well. Now the last thing is to add in the texture on the wooden log. So my base layer wouldn't log is completely dry and I'm going to shift into my liner brush and begin adding in the texture effect using in the sepia color. So I'm just going to give him the wooden log effects. So using the sepia color, I'm just going to keep adding in very small lines to actin as the texture and create a wooden effect. Now makes sure that you're basically out of the wooden log is completely dried out before you begin to add in these texture and create the texture effect on the wooden log. So in-between I'm even giving you a little of the spiral effect. I'm moving in very small lines randomly and creating in that natural law. It may not be clearly visible to you at this moment, but the ones I'll give you a closer view, you'll be able to understand the kind of texture that I'm adding in. So if you go ahead and see a very raw wooden slab order wouldn't love, you'll be able to understand the simple lines that are there that create a texture on top of the wooden law. I'm just going ahead with those random lines. You will see random strokes crisscross to each other. So I'm just trade in different sizes, different lens. So I'm done adding in the texture effect now the last thing is to splatter up little of the snow effects. I'm just going ahead with the white gouache. I'm going to quickly go ahead and splatter in some snow effect. So make sure that you use a white gouache again in a bowl consistency, valence pledging in the snow so that you have that perfect snow effect. Look. We are almost done with our class project for the 19, a pretty simple one in just under 20 min as I told you. But yet such a beautiful outcome, the blurry background and those little details. So let's remove masking tape and see your final painting with those clean edges. Make sure you remove the masking tape once your edges are completely dry, then you also final painting for D9 TV. You can see that texture effect from a closer view on the wooden log, how natural it looks. Thank you so much for joining me into this class and painting along with me. I will see you guys soon into the day 20 class project. 43. Day 20 - Monochrome Mountain - Technique: Hello everyone. Welcome back to day 20 of the 25 days cozy winter class. Today we are going to be painting this beautiful monochrome snow-capped mountain. It's going to be a pretty simple class project, just understanding the lights and shadows so as to get the perfect detailing. So as you can see, the only color you would be needing is going to be either the Payne's gray or the black color I'm going to be using in this black color from the white knight set. So you can go ahead and either use a Payne's gray or black, whichever is available in your palette. The next color that you would be needing is just going to be a little bit of the white quash for adding in little bright highlights of other snow-capped look on the mountain. Majorly, we are going to try and keep it all white while painting only. But in case at certain places for certain highlights, you may need another bit of the white quash or if I take relics, so keep them ready so that if needed, you can use them as well. So these are the only two colors that you would be needing for this entire class project. Now the only important part in this entire class project is going to be the study of the light and shadow on the mountain range so as to understand the darker areas of the mountain range. So let's break down the mountain range here. So this is how a mountain range is going to be. Now in this mountain range, we are going to be having in separate parts, we are going to show as if the light is falling from the right side. So accordingly, I'm just going to mark out the part, so see if the light is falling in from your, this is a light source that we are considering as. Now from this bend, the light will fall towards the left side. The shadow will fall more towards the left side. So the leftmost part of this mountain range, we're going to keep it off the darker tone to show the shadow effect. Now, the center part of the mountain range is going to be light because the light is falling out directly there. So it's going to be only the dry brush technique using in the same way when the light will go towards a little of the right side. The right side of this mountain range is going to be off the lighter tone and the rightmost side will be on little darker tone because if the shadow effect, so I'm just going to keep in the lighter areas more towards the top of this mountain range because you can see the lightest majorly coming a little or just towards the top side that I'm trying to show it. So as you mean that just it is on the little top space. I'm going to keep the bottom space of this entire mountain range little towards the darker side that is going to show in the shadow effect. So that is how we are going to go ahead with the colors for the mountain range, deciding the lights and the shadows. So the shadow area, we are going to give him a base layer of the grayish tone first and then add in the dry brush and the lighter area. We are directly going to go ahead and just add in the dry brush technique with the black color later on. So this is how you are going to study your light perspective, as in from where is the light coming in? So I'm assuming the light is coming in from the rightmost edge because of pitch on the right mountain, the light is falling at the top. And on the left mountain, the right light is falling towards the right side of the mountain. And the left side of the mountain has the shadow spaces. And on the right the bottom is the shadow space. So I hope you understood the shadow and the light study for this mountain range and that is it for this class project. Now, we'll directly move on to our final class project and begin creating in this beautiful and an easy class project for the 20. So I will see you guys into the next lesson where we begin creating the class project. 44. Day 20 - Monochrome Mountain: So let's begin in with our class project for day 20. Now, we're going to first going to go ahead with a pencil sketch marking out the mountain range. We are going to be dividing the mountain range in almost four paths, as we discussed in the technique section. The left and the right side of the mountain range and then the light and the shadow for both sides of the mountain range. So I'm just going ahead with a very rough outline for the mountain range. So I will just redefine this area of the mountain range. Again, I was a little bit unsatisfied with the outlines. I'll just quickly go ahead with the pencil sketch again. Now at the bottom, we are going to be having in a dark black mountain space as well. So I'm just marking that out as well. It's a very rough random shape that we are going ahead with, as you can see now, marking out the light and the shadow spaces as we discussed in the technique section. So in case if you've not watched the technique section for this class, I would recommend you to go ahead and watch it so that it will help you understand better. The lightened shadow study. Now on the right side as well, marking out the top space which is going to actin as the light space and the bottom space which is going to actin as the shadow space. So that is it for the pencil sketch, the two shadow spaces and the two light spaces, as we discussed, the light source is falling from the top right side. And the top and the bottom is going to be off the black color simply. So let's begin with this guy first, we are going to go ahead with a gradient sky off the black color tone. So I'm going to go ahead and add in a layer of water onto the entire sky. Make sure you do not run into the mountain ranges. Mark out the outline of the mountain range carefully and defining in the outline so that you know which colors needs to go in. Because the mountain range we are going to be having in the lighter effects as well. We're not going to have in much of the black tone completely covered in. So we need to make sure that you live in the mountain spaces blank for now. And just go ahead with a layer of water onto the entire sky carefully. Make sure you have an even dare refer to throughout so that when you beginning with a gradient wash, it becomes easy to achieve the gradient look off the black color. Some beginning in with the black color, the top space. And at the top I'm going to have in the bold black look. And moving closer towards the mountain range, I'm going to keep lightning this color and get the gradient wash. So this is just the first layer of the gradient wash that I've gone ahead with. Now again, I'll begin with a layer of black color from the top, but moving towards the bottom side, I will remove any excess paint on my brush so that moving bottom towards the mountain range, I get the gradient look. I'm just going to keep my board as well a little tilted so that it becomes easy with the flow of colors. Now it may be a little difficult to get the gradient closer to the mountain range because of the uneven shape that goes in there. But you need to go ahead and little carefully. Or if you want, you can use a masking tape or masking fluid out their cover those pieces and then go ahead freely. It's absolutely your choice, but I prefer going in a little carefully without any additional masking tape or masking fluid. Now make sure you have that gradient wash from the top to the bottom. Plus you need to make sure that, you know, watercolors dry or tone lighter. So by the time the color tone that you've used and how it will dry out is also important. It shouldn't dry out completely dull. So be careful about those things as well. I'm just going ahead with another layer getting in the blending and the transition right before letting all of this to dry out. So you can see it may take multiple layers or to get that gradient wash from the darker to the lighter tones. And because of that uneven mountain range, it may be a little difficult, but it's not impossible. I'm almost done with getting in the gradient, wash to the sky. Now we'll have to wait for this to dry out completely because we have to first paint the mountain range and then the bottom most black space, we can paint the bottom most black space for now because then it may be difficult to cover up that details of the mountain range so fast we'll wait for this to dry out completely. Then we'll go ahead with the details on the mountain range. We've already discussed the light and shadows in the previous lesson and in this class as well at the beginning, I hope by now you are, you know, you have a clear understanding of the light and shadow perspective. I'm just going to give it a little more finishing touch at the top before letting this to dry completely. So that is it. Now I will wait for this to dry completely and then begin painting in the details onto the mountain range. So wait for this to dry out completely then move ahead further. So now my gradient sky is completely dry it closer to the mountain range. I have the lighter tone values so that the mountain range darker tones will stand out perfectly. Now I'm going to begin adding in the details on the mountain range. So first I'm going to add in the base layer for the shadow parts. So for that I'm going to use in a very light consistency of the black color, giving in a base layer as a light gray tone. So make sure you use the colon are very light consistency. You can see it's Beach any water and just a hint of plaque that I'm using in on the leftmost side here. I'm just going to give it a base layer of this color because this piece is going to actin as the shadow part of the mountain. So it has to be off the darker color tone. After this layer dries out, we will add in the dry brush using the black color, giving it more of the darker effect on the lighter parts of the mountain range. We are directly just going to go ahead with little dry brush technique and have the base layer as pure white, I think as the perfect snow kept lighter parts of the mountain ranges. So very carefully, just using the tip of the brush, I'm giving it a little darker depth on the edges so that you have the perfect looking shadow effect. You can see how beautiful this color is not too dark and not too light in-between randomly, I'm just adding in little of the darker patches using inventory darker tone. Now seeing beyond the rightmost mountain as well, I'm just going to go ahead and add in the shadow part. That's going to be the bottom part of the mountain range. As we discussed, I'm just going to keep the tape of this right side mountain or as the lighter part and the bottom space, I'm going to give it the entire shadow effect. So I'm purposely leaving in some white patches in between here so as to let a little of the snow mountain Snow look be that nationally. Later on I'll be using in little white quash to give him little more details on these parts as bell. So that is it. I'm done adding in the base layer for the shadow mountain spaces. Now, we'll begin adding in the drivers detail on the lightest basis of the mountain range carefully. So for that, I'm going to use the black color I know are very bold consistency and in the dry brush format. So after lifting up the color, I'm making sure I do not have excess paint or water on my brush. I'm dabbing it onto the paper tissue so that all of the excess paint and water is absorbed by the paper towel. And I get in very minimal color on my brush so that I can get the dry brush technique. Now be careful do not run the dry brush onto the wet parts of the shadow spaces. Otherwise, the colors will begin to spread it. Then we will add the shadow effect once they dry out completely. So very randomly, I'm giving you a little outline to the mountain range and beginning to add in these dry brush pattern. Later on, we'll be giving you a little of the white gouache effect only on those gray spaces at the bottom area. So you can see we already have the underneath white layer. So that is automatically acting as the snow in-between the dry brush detail that you're adding in for the mountain range. So very carefully you need to go define the edges and keep adding in the dry brush. Now one thing that you have to be careful about is the whitespaces of the mountain range, that is the light spaces you need not adding a lot of the dry brush technique. You have to keep a balance between the snow area and the mountain ranges. So you automatically have to keep in the dry brush a little less so that the whitespaces are also visible, acting as the source pieces on the grid spaces which we've added as the shadow part, we'll be adding in more of them or dry brush technique and let less of the grave space be visible as the snow. So make sure you do not overdo the dry brush technique on the lighter areas of the mountain range. Otherwise you will not get the snow cave looked at you are trying to achieve in for this painting. So now on the left side as well, I'm just defining the outline first and now I'll go ahead with the dry brush technique. You can see I'm going in very loosely, very random strokes, giving in very different movements, different strokes. So make sure you try to keep it as much natural as possible. While going ahead with the dry brush technique, it's very important to understand the consistency of paint on your brush. If you will have excess pigment or water, you will not get the dry brush effect. Rather, you will begin getting in the patches of the black color instead of getting in these dry brush strokes. So it's very important to make sure that you do not have either excess paint or excess water on your brush when you go ahead with these dry brush strokes. So now my left side of this mountain range is completely dried and you can see your, I'm going ahead with more of the black tones and letting in very little of the gray tones be visible because this part is the shadow space. So I want to give it the darker effect, but I will make sure that the grid spaces are still visible enough. Otherwise, it was it wouldn't make any sense adding in the gray oh, Leah, force. So make sure that you do not cover up the entire gray space because automatically even the gray space is adding into the darkness of this area, giving him the perfect shadow effect to this mountain range. So you can see you ought to have gone ahead with little patches of the black color as well as the dry brush strokes. Lastly, going ahead with the dry brush technique on the rightmost side of the shadow spaces. You are also first time adding in little of the patches and then I'll go ahead with the dry brush technique on these. So for this patches, I'm going ahead with a medium tone of the black color. You can see it's not exactly bold black. Now I'm going to go ahead with little of the dry brush using in the bold black color. So using the ball black color, I'm defining the edges you are again, you can see now I have separated the right and the left mountain range with these bold line of black in between, defining in the shadow spaces for the right bound in as well. Now, I'll go ahead with little more dry brush before shifting into the white quash for adding in the further details. So now you can clearly see the two shadows spaces of the mountain range and the two light spaces of the mountain range because of the light source that we've discussed it. I'm just going to go ahead and give him little more details wherever I feel necessary. And then we'll move ahead further into this painting. So now till the mountain ranges dry out, the dry brush technique tries out. I'm just going to go ahead and paint the entire bottom space of the white paper as the black hello. And then once the dry Brushes right, we'll go ahead with the white gouache details if needed. So make sure you go ahead with a bold consistency of the black color at the bottom space to fill in the entire bottom area. So I am going ahead with a bold black color out. You are, and I'll fill in the entire space carefully, make sure you go ahead with this uneven line so that you have that uneven look. Do not go in with a straight or a simple curvy line that will not give you the natural look of these mountain ranges. So very carefully, I'm filling in the entire space. You can see I'm going ahead with such a bold consistency of the black color. And as soon as you're adding in the black color, the mountain ranges are popping out much more better and having a much better defined look. So I'm almost done with the mountain range as well. I just went ahead with one more layer at the top space defining in the top shape again as well, giving him the ball look at when this black color will dry out. Also, it will have this perfect bold look. So make sure you are using the black color or the Payne's gray in a very bold consistency to get this perfect loop. Now, lastly, I'm just going to pick up a little of the white quash. I'm just going to add in little snow spaces on this bottom Brightspace mountain range. So very carefully just going to add in little dry brush with the white hello, that's the white quash. I'm not adding any water to the white course because I wanted the calendar thick consistency to get the dry brush effect. I'm using it directly from the tube. As you can see, I'm using my size four round brush, which has a pointed tip, which is helping me achieving in the dry brush technique easily. So make sure you use the choline, a good ball consistency. Same as you did in with the black color. You need to go ahead with the white gouache as well. White watercolor will not give you this effect because it will dry or tone lighter. And we'll give you again a dull grayish view on top of the black color. So either use white gouache or white acrylic to given these highlights or the snow spaces wherever you wish to. So you can see how carefully I'm adding in little details at the bottom space to give him a little more snow effect and how beautiful it is turning out. Now I'll just go ahead with the black color and wherever I feel necessary, I'll just given the little more edges like this space, it needed a little more definition. We are almost done with the class project. Just a little touch up and then we'll be ready to peel off the masking tape and see our final painting. So I was just unsatisfied with the shape of this top area, yours. I just gave it a little white outline first and then using the black color, I define the shape of this top area of the right side mountain range again. So you can see how using in the black color define the shape of this mountain range again, because I have as quite unsatisfied with how the shape had turned out because of the sky while painting in the colors had seeped in. So now I'm a bit satisfied with the shape. I'm just blending in all well together. So that is it. We're ready with our class project for day two. And let's remove the masking tape and see your final painting with those clean edges. Make sure that your bottom layer black color is completely dry before you begin removing the masking tape or remove it very carefully. Otherwise, the colors may apply on the edges and it will ruin up your clean edges as well. So you also closer view at a painting for data entry, you can see how beautiful the snow-capped mountains are looking with just one color that we've used in the black and the white gouache. Thank you so much for joining me into this class and painting along with me. 45. Day 21 - Forest Branches - Technique: Hello everyone. Welcome back to day 21 of the 25 days cozy winter class. Today we are going to be painting this very simple and pretty landscape, which is the branches, the foggy look on this, no details. So let's go ahead and have a look at the colors. So the first color that I'm going to be using is going to be the CPR color. Now we are going to be using it in a very light consistency for us, for the background. Then in Dhaka consistencies for adding in the branches. The next color that you would be needing is going to be a little bit of the Payne's gray or the black color. And lastly, you would be nice it needing in white quash for adding in the snow details on the branches. So I'm going to be using in the white gouache from Bruce, true. Now if you have a closed loop in the background, we have a mix of both of these colors as the blurry detail. Then we'll be adding in the wet-on-wet branches in the background using in the sepia color, you can see the soft blurry branches in the background. And then we'll be going ahead with the main branches. So the main branches are going to be off a very dark colors. I'm again going to mix in a little tinge of the plaque to my sepia color to get in the poll look to these branches at the end. And lastly, using in the white quash, I'm going to be adding in this no detail on top of these branches to depict this no collected on top of these branches using in the white gouache. So that is how our class project is going to be running ahead. A pretty simple one. It will just take us like under 15 min to get the details right. The important thing here is getting in that background effect of those blurry branches, right? Which is by having the perfect Water Control while adding in the branches in the background. So when you're adding in the branches in the background, It's very important that you have the Buffett water control on the paper and on your brush, that these branches maintain the look or that they haven't. And you are able to achieve in that effect. So it's very important to make sure that your brush does not have excess water while adding in this. And you need to make sure that your brush does not even have excess pigment because you can see the branches are of a very medium tone. So that's the only important part of this class project. Now, in the next lesson, Let's begin creating in this beautiful class project together. So I will see you guys in the next lesson. 46. Day 21 - Forest Branches: So now that we've discussed the colors, Let's begin in without painting, there is no pencil sketch. We are directly going to go ahead with a layer of photo and we'll directly begin adding in the details with the color without any pencil marking. So let's pick it in with the clean layer of water onto the entire background, makes sure that you have a good even layer of photos spread across evenly so that your paper is wet evenly and you can add in all the details well enough without having any sharp edges. I'm done adding in the photo now I'm going to begin in with the sepia color and begin adding in the sepia color in the background. And I'm going to add it in a liquidy consistency. This is just the base layer that I'm beginning in width. And along with that, I've just mixed in a little bit of the black on the paper directly with the sepia color. Now add the water more space. I'm going to keep that little space right at the bottom so as to show a lot of snowfall in at the bottom space. So I'll always just around 20 per cent of the bottom space. I'm going to let it be white. Now this black color tone that I've added has gone into deep, so I'm just going to spread it and if needed I will lift up a bit. But now I'm going to go in with more of the brown tones and begin blending all of these. You can see how soft my color edges are having in because of the perfect water in the background layer that I've added in. So at the bottom, as I told you, leaving in the whitespace just giving in little of the brown streaks in-between to be visible. Now on top of this, I'm going to go ahead with a little more of the brown tones. Remember, all of these men, they dry out. They will be trying out a tone lighter. So you need to make sure that you add in the layer in such a color consistency that after drying you have the perfect tone. In case if you're not sure how your colors after mixing will dry out, try it out on a rough paper first so that you have an idea as to how your colors will be drying. So accordingly, you can put in the color layer out here. So we're done with the background layer. Now, I'll just be waiting for a few seconds for this layer to settle in. I won't let it to dry completely. And while this is still wet, I'm going to add in the background branches so far that I've lifted up a little bit the black color and I'm beginning to add it. You can see my paper is not too wet and even the paints that I'm picking up is not too wet. I'm using a smaller sized round brush which has a pointed tip, which will help in achieving in the details much more easily. Now, make sure that you add these branches very roughly. You shouldn't have any excess water. You can see I do not have excess water. That is the reason the strokes that I'm adding are maintaining the shape in which I'm adding them. Wherever I feel the need to blend them or lighten up a little. I'm using a bigger size brush quickly to lighten them up a bit. With every stroke you can see I'm going in very roughly randomly. They're retaining the space in which I'm adding them. They're not spreading despite the background paper being wet. Also you can see the shape that they are retailing because even on my brush I'm not having any excess water. The pigment is in a very medium consistency because of which I am getting in these lighter tones as well. So this is how you're going to keep adding all of these so as to create the background look, this is just a few that I've added in an in-between wherever I feel the need to lighten up, as I told you, I'm just lightening it up with a bigger brush quickly. Now using majorly the sepia color, mixing them with a very little tint of the black. I'm beginning to add in some detail background branches. So these are also you can see having in the soft edge only, these are also in the background. That is my base layer is still wet. All of these will have a little soft look, but a little more better soft look than the previous layer that we've added in the background most Leo was the softness. That is the reason I blended them where using a bigger size brush, these are going to be medium soft tissue, they're going to be a medium blurry layer. And then on top of these ones, everything dries out. We are going to have our foreground layer, which is going to be the prominent gold layer of the colors and the storm now in this year. So wherever I feel the need I'm quickly using in my biggest size brush, blending them a bit and lightening them up so as to give them a little blurry effect. So these little tips and tricks that you can use to get in your details, right, and going easy. So that is it. Now I will wait for this to dry out completely. So now maybe it's Leo is completely dried and you can see how beautiful the background branches are looking. All of them have the soft edge. Also you can see at the bottom you have more of the whitespace visible trying to show in the background snow as well. So make sure you maintain these little details to get the effect of the composition right now I'm going to go ahead with the main branches. And then the snow effect. And then we'll be ready with this class project for day 21. As I told you, a pretty simple one. But so much details and plus so many techniques and fixed to learning as to getting in the background branches right though, a blurry effect tried the details of the snow in the foreground as well. Right? Now, I'm going to go ahead with these bold branches. You can see it's the same kind of branches that we were adding in the background, but this time they are a little more detail. So to some of these bigger branches, you can see I'm adding in these smaller ball branches effect as well because these are the branches. John, meaning focus on our paintings so they need to be visible in depth with little details on top of it. So slowly, step-by-step you can see I'm building each of the branches, giving in little details to each of the branches. I'm going to go ahead very carefully and adding these branches in-between. You can see I've gone ahead with a little reddish brown tone as well for one or two branches in the center space. If you want, you can keep varying the color of the branches as well because it's a nature of beauty and they can have various colors ranging from every branch having a different color. So it's absolutely your choice if you want to go ahead with much more different color variations as well. Now I'm going to go ahead with a little more branches at the bottom space as well. And then we'll be only left to add in the snow. You can see I'm going to hit very slowly with the branches. I'm not overdoing these because at this step, once you are done adding in you, there's no way of going back. You can not cover it up in any possible ways of making sure that you go ahead very carefully, mindfully and do not add excess of it. And all you know, because the background layer also has to be visible, the background blurry effect has to be visible. So you need to keep in mind every time the reasons of adding in the previous steps so that you can come on to the final step. Here. We added all of those in the background for a reason for them to be visible. So you need to be careful and go ahead in such a way that you do not cover up the entire background completely. I'm done adding in the branches mainly, I'm quite satisfied with the number of branches or the look that it has created. Now I need to wait for this to dry before beginning to add in the snow. But some of the branches have already begun to dry in, so I'm going to squeeze out a little bit of the fresh white gouache on my palette quickly and begin adding in the snow effect using in the white gouache. Now to invite gosh, I'm not going to add in any water or anything. I'm just going to get it in the perfect consistency if needed, just a drop or two of water so as to get the consistency right and using a smaller sized round brush. Now I'm going to begin adding in the snow effect on top of these branches. So I'm going to show the snowfall effect because if vicious know being collected on top of these branches out to, you can see I'm just going ahead with the dabbing technique to create a rough snow texture collected out there. Not go ahead with the simple straight white line to depict in as the snow. Makes sure you go ahead with a very rough random shapes so as to get the details right. Now I'm just picking up some white gouache from the tube directly because I feel the one on my palette has diluted a little extra, which I do not want. I want this bold white look, some picked up directly from the tube so that I get this bold effect. Now I'm just beginning to add in the snow and the branches which have dried completely first, others, I get to be it for them to dry completely. So go ahead carefully on neon, those branches which have dried out. Also, you need to be careful that the base layer of the branches that is either the brown or the Blackpool, should be visible after you add in this white snow effect. So do not cover up the brown are the black lines of the stone out your otherwise it will make no sense adding them as well. Also, if you notice, I'm not going ahead with the same pattern of snow on all of the branches somewhere. I'm leaving in some gaps in-between by adding in the snow detail, we are even going to be splashing a little of the snowfall effect as well using in the white gouache. So just after adding these will be left to add in the splatters and we'll be ready with this class project for day 21. So that is it I'm done. Adding in the snow effect, does no effect on the branches. Now I'm going to split it in, legitimize the white gouache. So I'm using invite question of good ball consistency and I'm tapping on top of the brush so that you're getting these perfect splatters for the splatters also make sure you're using the right question of ball consistency so that you get the perfect bold effect of the snowfall. If you're going to have a very diluted white gouache, then once it dries out, it will give you a dialogue and will not give you the bold white snowfall effect. So make sure that you have the consistency is right, so that we're ready with our class project just a little most pleasure before we remove the masking tape. Now before removing the masking tape at places I feel like giving him a little more highlights with the black tones. I'm just going to go ahead with some smaller branches trying to show in the branches peeking out from in-between the snow spaces and at some places where I feel that the branches have dried out a little duller. I'm just going to give them a bold layer again so as to get the detail ando, or bold effect of these branches, right? So you can see as soon as I've added in the second layer, everything has turned out so bold and so prominent and it's looking more beautiful. So that is the problem that watercolors gyre tone lighter and at times those lighter tones make the painting go a little dull. So as soon as I've added in the second layer, you can see everything has turned out so bold and beautiful. So I'm just giving you a little more off the white brush touches as well. But I see that it's triangle, it is done. And then we'll be ready with this class project. So now let's remove the masking tape and see your final painting. Make sure you'd not lay your hands over to the vet spaces, that's the white gouache and those branches. Go ahead very carefully while removing the masking tape. We are just four days away from closing this challenge. And I hope you guys are enjoying painting these beautiful winter landscapes with me. I would love to see your class project in the project section, as well as if you love this class whatsoever reason make sure to drop a review. You also final painting for day two or day 21. I hope you guys enjoyed painting this with me today. 47. Day 22 - Bird House - Technique: Hello everyone. Welcome back to day 22 of the 25 days cozy winter class. Today we are going to be painting this very simple bird house hanging on the tree with this no effect. So let's go ahead and have a look at the colors you can see it's a pretty simple one. For the background. We are going to go ahead with the sepia color this time as well. We are going to be creating in that very rough, loose background detail. And then we are going to go ahead with the green tones. So I'm going to be using in the sap green color mixed in with a little bit of the sepia color to get a little darker tones of the browns and greens. Plus I will be using in little of the light red color for the bird's nest or the Boathouse detail. Lastly, I will be using a little tinge of the ultramarine blue for the details on the snow, you can see we have a very light effect of the ultramarine blue mixed in with the white quash later on. So that is how this class project is going to be. We are first going to paint the background. Then we are going to be leaving in the snow spaces blank and adding the tree details. Then we'll add in the highlights to this node using the white quash and the ultramarine blue color. And lastly, we'll be painting that little bird house using the word tones, which are going to be the sepia color, the brown, red color, and then the black colour highlights onto the trees as well as the bird house. So this is how our class project is going to be a pretty simple one. And lastly, we'll be splashing in little of the snow effect using in the white gouache. So while painting these leaves, we're going to leave in those white gaps for the snow beforehand only and then just highlights with the white quash on the bird house as well. So this is how a class project will be. Now I will see you guys in the next lesson where we begin creating in this beautiful yet an easy class project together for day 22 of these 25 days cozy winter class to see you in the next lesson. 48. Day 22 - Bird House: So now that we've seen our class project for today and the composition and the color that we'll be using it. Let's go ahead with a very basic pencil sketch. I'm just going to mark out the bird house first. And then I'm just going to mark out this no spaces. So that after we paint the background and even vile painting the background, we try leaving in those pieces are little blank. Do not even add the brown tones there. And plus I may not even add in the layer of water there. So first I'm just going ahead with the outline of the bird house. Then we'll move ahead further. So as you can see, I've gone ahead with a very basic but how sketch, nothing much in detail, a pretty simple one. But in the center I'm just a little bit unsatisfied, so I'm just going to quickly go ahead and get into the details right again. Now also make sure that you go ahead with very light pencil sketch because as you notice, class project background is going to be a pretty light one. Plus the details are going to be a very lighter tones except for the borders because that is going to be off the darker brown and the black tones. So I'm just going ahead and getting into dimensions and you know, symmetry. Look for the bird house first. And then I'll go ahead with the details. I'll just go ahead and lighten up the spaces wherever I feel. I'm running too dark with the charcoal marks. Now I'm definitely mocking out this no spaces so that we know that onto those spaces we do not have to add either the background colors or the green tones by adding in the branches. So very rough spots that I'm adding in for the snow space. As we go ahead with the details further, you'll be able to understand some of these may get overlapped with the green strokes that we'll be adding in. But roughly just add these and in a very, very light pencil sketch so that you know, because in the small space We are not going to be adding in the color. So we do not want these charcoal marks to be visible out separately. So make sure to use the colors in a very, I mean, the pencil marks in a very, very light consistency. Now I'm adding in a layer of water. I absolutely missed to not add the water on the snow spaces, but now while adding in the colors, I'll be careful and I will not add the brown tones there. If you haven't added the layer of photo onto others no spaces. What you can do is that you can just a wide using in the, you know, the water or details onto the snow patches that you've created in. So if you can even avoid that much, it will be good enough to go. I'm going ahead with the sepia color first. You can see I'm beginning to avoid adding it onto this no spaces on the house you can add in because at the end we are going to be painting the house in a darker brown tone. So you can completely go ahead with the tones out there. But in this no spaces you can see I'm trying to avoid adding in the brown tones in-between the snow also, I'm not adding in much of the brown tones because there we are going to be having in those green or details of the branches of the tree. So all of that to whitespaces will get covered up automatically. Just make sure that in the rest of the background you go ahead with such a brown tone that after drying it has a beautiful loop. Because as you know, watercolors dry or tone lighter, if you will be using nightly or in the background. After it dries out, it may almost look like a white layer which we do not want. So make sure that, you know, uh, you add in a perfectly or if you're not sure how your colors will dry out, make sure to swatch it out on a rough sheet and then adding the layer accordingly so that after drying you have that perfect looking background that we needed. Now I'm just going to go ahead with a little splatter of water to give him little texture in the background, very little, not much of it because our main focus is going to be the Boathouse and the details of the snow and the branches. But just a little detail here also that we have a little texture effect. So that is it. Now I will wait for all of this to dry completely and then we'll go ahead with the further details in this painting. So everything is completely dried here and you can see how beautiful the background is looking. Texture effect also is very minimal. You're as I needed it. Now I'm going to go ahead and begin adding in the first layer of the branches. I'm mixing in a little bit of olive green along with the sap green. You can simply using the sap green color if you've not have the olive green color. Next that later on I will be mixing in a little bit of brown as well to these, I'm just going to add innovative little pinch of the sepia color if needed to get a little darker green tones. So I'm keeping. Color as well, radio TO separately. I'm just adding in a tinge to get in a little, you know, that brownish green look off the ventilatory effect out here. Now I begin adding in the cheese out TR and just the branches basically. And very randomly now, I'm going to make sure that I do not add these in the snow patches that we've already created. So try moving out these branches apart from the snow areas, even the foils to these branches. I'm going to add it in such a way that we do not overlap them onto the snow spaces. Now very carefully, I'm beginning to pull out these branches. So it's kind of the pine tree foliage that I'm adding in your now I'm having in this small space spot, I'm running cross very carefully and running with the foliage around that snow space, but not adding in the foliage effect on this no spaces. Because I want to show that these are the snow patches collected on top of these pine tree or villages that we're adding in Europe. So you can see very carefully, I'm leaving in the gaps and going ahead and adding in this spoilage is needed on in the snow areas also will be giving in that very little sneak peek of the foliage effect as well. Now for the final niches, if you keep noticing, I'm using indifferent tones of greens. So basically I'm mixing in my olive green, sap green and a little bit of the sepia color. And I'm just altering the proportions of these mixes to get in the different tonal values of the green color for adding in these villages. So it's very important that you keep altering the quantities. Or if you want, you can directly using different color tones off the greens if already available in your palette. But since many of you may be having in minimum of color tones in your palate. I'm going ahead and mixing in. So even in my palette, you can see I've just squeezed out three green tones of which I'm using in two. And creating an all different tones of greens by adjusting their proportions as well as mixing in a little bit of the sepia color plus the sepia color gives him a little bit more tonal variation to the green, creating a more kind of an Audi green color, giving him the perfect winter and those pine tree wipes. Now at this point when you are adding in these details of the foil age of the pine tree, you can feel a very viewer look because of the patches that you are leaving it blank because of this no spaces, but do not worry as you keep adding these and after you will add in the snow effect using in the ultramarine blue color and the white course, you will see the look of those spaces also coming into coordination and linked with all of your branches on the tree house as well. For now, just go ahead and keep adding in and do not worry if by mistake Lee, you add in little of the violet into these new spaces as well. Because we are going to be using white gouache again, so you will be able to cover those up as well. So B3 and add these islet effect very simply. So I'm done with the file edges now I'm going to go ahead and add in the details on this board house. So I'm first going to head with a bold sepia color on the top space. For the bottom, I'm first going to go ahead with a light color and then given little wooden texture using in the CPR color. Now I'm beginning to fill in the bottom space. So for that I'm using in the mix. Raw umber and the burnt sienna color a bit. Or you can directly using a red brown tone if you want. I'm going ahead with a mix of both the color and I'm going to give him the base layer. Now between the roof and the bottom, how space you can see I've left a small white line gap because the top of the board houses also still wet. Now this is just the first layer of the bird house. After this dries out, we are going to be giving in the details using in the darker tones, giving into wooden texture. So now let's go ahead and add in the further details into this painting. So very carefully, I've linked the top space of the Boathouse and the bottom space because the top roof was completely dry. Now I'm going to go ahead and pick up the ultramarine blue and add in the first layer for the snow patches. Now my green leaves are almost dried out, so I'm going ahead with this layer. I'm going to use the ultramarine blue in a very, very light consistency. It's almost equal to water, just a pinch of the ultramarine blue color. And I'm just go ahead and add in very small patches out onto each of the snow patches that we've added in. I'm just adding in a very light layer. You can see I'm not even adding this ultramarine blue color onto the entire space. I'm just adding majorly in the centers peace. And to give them that little snow effect out there. Then I'll be adding in the details with the white quash later on. Now next I'm going ahead with little morphology fact closer to the snow patches, some of them I'm going to take in a little bit moving into the snow spaces very randomly, you will see variable. I'm feeling that there are too much whitespaces or backbone spaces visible. I'm just going to go ahead. Bits, little bit texture out there. So you can see slowly than the happy ending is taking shape little by little. We as yet to add in the details on the tree house and the details with the white gouache. So I'm just going to first add in little more of this village effect. Now you can see I'm using in little different tones of green by adjusting in the brown content to get a little highlight effect onto these Village of the pine trees. Now in-between the snow spaces you can see I'm just pulling out these very small details trying to show in some of the foliage peeking out from in-between the snow as better giving it a little more natural look. Now, my Treehouse is also completely dried and I'm going to go ahead with the further details defining in much more details of the tree house as well. So fast that I'm going to use in the sepia color in the center space to show that a whole for the buds to enter in. On the bottom left side, I'm just giving it a little shadow by lightening up the space and giving it a little off the shadow effect out here. Now in-between the roof and the bottom space, I'm just giving you little effect with the brown red color out here. And then I'm just going to go ahead with the texture detail on the bird house. So I'm just going to first give him little highlights using in this light red tone for now next using in the white quash, I'm just going to go ahead and add in this more details first and then adding the texture on the bird house. So I'm using the right words directly from the tube. As you can see, that we get this ball effect of the white gouache color. Make sure to use it in a bowl consistency so that you have the perfect looking snow effect out your. Lastly, we'll be even splashing in a little bit of this node to this node details. Now on to all of the snow patches as well. I'm just adding in little of the white gouache very randomly to give in a little effect. Now on the screen it may not be visible to you the difference, but when you see it closely or see it live, you will be able to mark out the difference and the snow effect that these are white gouache details creating. Now some of the spaces that I had on the leftmost side yard were completely covered up. So I just went ahead with a layer of fight to make them act as the small spaces. So that is why I told you if you are unable to live in those whitespaces, later on, we'll be using in the right question you can create in the snow effect. So you can see at certain places, I used in the white gouache directly to create in the snow effect without having in the underneath whitespace. Now just going to splatter it in a little bit of the white gouache as well to give a little of this noise effect. Now, that's no details on the board house. I'm just going to lighten them a bit. And along with that, I'm just adding in a little bit of the texture effect using in the sepia color. So very simply just giving him the little wooden texture effect out here with random lines of the sepia color. So you can see how beautiful the details on the board house have turned up. We're almost ready with the class project. Now let's remove the masking tape. I will just go ahead with a little more splatter of this node at random places. Now let's remove the masking tape and see our final painting. Make sure you remove the masking tape once your edges are completely dry. And always remove the masking tape against the paper so that you do not tear off the edges. So you also final painting for day 22 of these 25 days cozy winter class. I hope you guys enjoyed painting this beautiful bird house with me today. I will see you guys soon into the next class project. If you like this class, make sure to drop a review so that it can help me reach maximum students. Thank you so much once again for joining me. 49. Day 23 - Sun Rays - Technique: Hello everyone. Welcome back to day 23 of the 25 days cause even the class. Today we are going to be painting this pretty simple winter landscape with the foot mug details on the eyes. So let's go ahead and first I will look at the colors. The first color, and this guy is going to be the civilian blue color. And then I'm going to use in a little bit of the violet color to add in little highlights in the sky. This time in the sky you can see we're going to go ahead with very different technique of creating in the light effect as well as those cloudy effect for this new area and the footpath area or the footprints area actually, sorry, I'm going to be using in the indigo color. And lastly, I'm going to use in the black color to add in the pine tree and the reflection to the pine tree as well. So I'm going to use it in a bowl consistency for the pine tree and in the lighter consistency for adding in the reflection or the shadow effect of the pine tree on the eyes. This other colors that we are going to be using in for today's class project. Now if you have a look at the sky this time, it's a very different than the usual skies that we've been painting this time. I'm going to give him little of Peking glowing effect using in the lifting technique. As well as I'm going to be creating in those cloudy details, using up the lifting technique with the help of a tissue as well as the brush. Let's understand this technique in a little detail. Yours, I've just gone ahead with a layer of water out here. And you can see, I've gone ahead with a wet layer as an added layer of water first. But I went ahead with a little extra wet paint so that it can compensate accordingly. Now, while this paint is still wet, I'm going to go ahead and go ahead with the lifting technique using the brush as well as the tissue to create the Cloud and the glowing sunlight effect in the sky that we are working for this class project. So first with the tissue, pick up a clean edge and I'm just going to go ahead and dab in quickly and lift up. Now you need to be careful a lot of pressure and pick up the paints. You wouldn't get in very sharp edges and you will lift up the entire color tone without leaving in a little color hint in the Cloud space. So you need not add in a lot of pressure while lifting up. You just need to lift it gently in such a way that a little color glaze is still stays at the bottom area. Now see if you will present like this, you will see its leaves in a more wider space, which we do not want. We want a little hint of blue even on the lighter spaces that we're creating in the pressure on the tissue has to be applied accordingly. The next one is the glowing space of the sun. For that I'm going to use in my brush for the lifting technique. I'm just going to dip my brush in water so that it has a little damp effect and keep lifting up each stroke. So you need to consider a center point from where you are trying to show in the sun space and across that you need to lift up these days to show that shining raise effect. After every stroke you can see I'm cleaning my brush, dipping it into freshwater and then going ahead with the lifting technique. Because after the brush lifting store, there is pain that gets onto the brush. And if you will go ahead with those pains for the next row, the veins will get laid over on the next stroke. Instead of going ahead with the lifting technique, at times it may take multiple attempts to just lift up the color of one single tree. But at the end, you can see the result. The effect in the sky comes in very beautiful and gives a perfect blowing out the peaking sunlight effect. So that was the two techniques. Now, even using in the tissue, we're going to create these smaller cloud effects if you can see in our final painting. So just a very clean tape you need to use and go ahead with very small spaces and lift up the paint to create in these little patches. Now at the top you can see that whitespace got covered up because of the excess water on the edges. But in case on your final paper, there will not be much water and it may not create that effect accordingly and the colors lifted will stay well enough there. So these were the details coming in for the sky. Now, let's move ahead and understand how we'll be adding in the wet on wet details to create that footprint effect in the snow area. So for this node, basically all we're just going to have in a very light layer of the indigo color. And then using a smaller size brush or a smaller sized round brush, you just need to go ahead with the indigo color and snow area is still wet. You just need to add invaders small details to look in as the footprint. Now. So closer to the horizon line, these footprints are going to be smaller because that is far from our view. And as you will keep moving out towards the bottom side, you can see the length of the footprint is increasing because this bottom area is much more closer to our view and the footprints are turning far from us as you're reaching closer to the horizon line. That is the reason closer to the horizon line, you will add in smaller footprint effect and moving towards the bottom side as in closer to your viewpoint, It's going to keep toning bigger. In the same vein, wireless no area is still going to be wet. We'll add in the shadow for the pine tree and bind G we've discussed multiple times. So it's going to be a pretty simple one. These are the basic techniques that you need to keep in mind. One is the weight while going ahead with the lifting with the brush as well as with the tissue, the dabbing technique with the pressure control so that you have little blue effects as well. So now in the next lesson, Let's begin creating in this pretty class project for day 23 of these 25 days cozy winter class. So I will see you guys in the next lesson and begin today's class project. 50. Day 23 - Sun Rays: So let's begin with our class project for the 23. Now, there's a very little pencil sketch that I'm going to go ahead with and that she's mocking the horizon line test of the details we're directly be going to adding in with the paints, no pencil sketch or no markings required for the same. Now let's go ahead with a layer of water onto the sky. First, we are going to be painting in the sky and then move on to the small details and the rest of dry details. Once everything dries out, make sure you have an even better photo spread throughout. Because for this guy, we need a layer of photo that will save it for enough time because we are going to be working wet on wet and we're even going to be creating in those Cloud details using the dabbing technique has been as all going ahead with further details. So make sure that you go ahead with a perfect evenly refer to throughout so that your paper is not dry out quickly in case if you're using a paper which is less than 100% cotton is read your paper, wait for it to dry up around 60% or so. And then go ahead with another layer of water again and then begin adding in the details in keeping your paper wet for a little extra time and give you enough time to walk for the Cloud details for this class project. Now I'm shifting into my round brush. I'm using a size eight from the silver black velvet round series. And I'm going to begin in with the civilian blue color and begin adding in. So far as the technique section, we had just gone ahead with a flat layer of surrealism, blue color. But while adding, I'm going to leave in a lot of bite gaps in-between naturally forced itself. So that's very light color layer flows in there naturally. Then just going to give him the dabbing details with, you know, creating in the effect in the sky as Ben. So let's just go ahead and add in these details out. So that was the first layer of this tie. Now I'm going ahead with the same setting in blue color but in a little darker consistency. And this I will add in as highlights at very randomly, not in the entire sky, but just in random spaces to give him little more depth to the clouds. So you need to walk layer on layer to get in these details, right? If you will go ahead with one bold color layer altogether at once, then you will not get into layering effect as well as the bowl cloud effect. So you need to keep working with layers on layers so as to get into details j. Now I'm going to go ahead with little more darker details as well to create in some more darker clouds, mostly closer to the horizon line and not much towards the top side. So go ahead very carefully, make sure that your paper is still wet. We are working wet on wet. We still have to create the texture for the sky. You can see for the Cloud details I'm already living in the whitespaces creating in rough cloud shapes. So that when we go ahead with the tissue for the dabbing details, we do not have to go ahead with much of the debate. We can easily just give it a little more design and 0, 0 proper shaping with the help of the tissue easily with the brush as well. I've just gone ahead randomly with some lifting technique to create in some lighter spaces. Now I'm going to pick up my round brush and false going to lift up and create the space for the sun at the top center space, and then move ahead with the Cloud DDS losing in the tissue as well. So you can see that the lifting technique here as well, it's taking in multiple attempts to get into details. Try it may not be that at first and lifting as cells, you will get into the details. You may have to go ahead at times. Brush, particular brush may not work in fine for you. As for me, the previous brush that's a round brush size zero was not working in good. So I've shifted into my size zero silver black velvet brush. And now with this brush, I'm going to go ahead with the lifting technique and the details seems much better. Also at times the paper may not support the lifting technique well, that is, the PayPal may not be suitable for listing techniques. In that case, a paper may begin to wear off. It will begin to leaving the parking lanes or it will begin to not even lift at all. In any case, I would recommend you to first try it on a rough patch of the same paper that you're going to be using it for the final class projects so that you know how your paper reacts for these techniques, such as the lifting technique, the dabbing technique that we'll be using in with the tissue. Otherwise you may not getting this effect as well. My paper, I know supports the lifting technique well, so that is the reason it's easy to lift it up. Also, you will have to keep a little check on whether the pigment that you're using safe, you're not using SADD and blue color, then whether the color is a staining pigment or no, because if it is going to be a staining pigment, then the lifting technique may not give you the same glowing results. It may leave a lot of steam because if the staining pigment now using in the violet color and beginning to create a little highlights in-between the blue sky, giving in some violet Cloud effects. So I'm not going to give in much of the violet cloud effect, just a little bit of it and going to blend it well along with the blue tones and not much in the darker layer. So very light tones that you need to give just as little highlights. Now again, I'm just giving you a little more cloud effect using the surrealism blue color creating enlightened darker. That's randomly. You can see I'm moving my brush in a very random motion, giving in very random shapes, not any particular straight flat look. So make sure that you go ahead with those details right? Now. Lastly, before letting this all to dry, I'm just going to pick up a tissue and begin at dabbing in the pains, make sure you do this dabbing technique or Lisa paper is still wet, otherwise you will not get the results. You may get in very uneven patches. So I'm just going to go ahead from a very pointed spot of the tissue. And I'm going to begin lifting up the paint and create those mini cloud effect, as well as the texture in the cloud, make sure you do not grab it too forcefully. Otherwise, as I showed you in the technique section, you may get in a plain white patch instead of getting in a little bluish effect in those clouds as well. So very carefully you can see I'm creating in cloud shapes randomly creating in those glowing spaces into the clouds, wherever you feel. If by mistake, the altar you've gone into harsh and dabbing, has taunted to hash. What you can do is you could just go ahead with a damp brush quickly and give it a blending on the edges. So now that is it. I'll wait for this to dry before moving to this no details and the other details. So now my sky is completely dry. You can see how beautiful all of the details look in the clouds, the growing space of the Sun. Now let's go ahead for this new space first. I'm just going to go ahead with a layer of water first and then having the indigo color in the snow area. Also, we are going to be working wet on wet for adding in the footprint di did and the shadow of the pine tree. And then lastly we'll be adding the pine tree at the horizon line in the top area of the sky. Now makes sure closer to the horizon line, you go in very carefully. Otherwise, if any water will move into your sky space, the colors from the sky will begin to bleed into yes-no area and may even when the picture of the sky. So make sure you do not run in with the brush layer there. Now I'm just going to add in a layer of indigo color of very light layer to actin as the detail for the snow. Now I've gone ahead with a layer of indigo color. Now the indigo layer color is such that I know after drying it will not be purely white. It's going to have that little blue tint. When he handed me at the bottom space, I'm adding in little darker death, not much, but very little, so as to create a little more highlights as well. Now, make sure you do not go ahead with a very darker tones where the highlight, but just one layer darker than the base layer tone that you've used. It. Now let's begin adding in the footprint details so far. So I'm going ahead with a very light marking using the civilian blue color so that it creates a little glowing space around the footprint as bad as we discussed closer to the horizon line, you can see the footprints are very small in size and moving towards the bottom side have increased the size of the footprint. Now I've picked up the indigo color and beginning to add in on the same or setting in blue color that I've added in and creating in the further details, footprints. Make sure you do not have excess water on your brush. Otherwise the paint will spread because we are walking on the red backdrop. So while working wet on wet, you need to remember you do not have excess water on your brush as well as all your papers shouldn't be extra bit. Now whenever I see that, you know, the paint is spreading a lot, I'm quickly dabbing it off with a tissue edge that I do not have a complete patch of color. I need the footprint looks. So I've just given in a layer. Now I'm again going to just add in a very simple layer for the footprint details. Now if you'll feel that your layer has dried up completely because it's the dabbing you can quickly run a baby right, gentle layer of the indigo color again and then go ahead with the details. I'm just going to pick up my wet brush and I'm going to blend all of these again so that the layer does not look dry out there. Now in the base you can see that basically are footprints being still visible despite blending them all. Because of this staining technique and because of the pressure of the brush that I'm using in now I'm just going to go along the same markings that I've gotten in the previous layer. I'm just going to add in the darker, That's for the footprints. Using the black color, I'm even adding in the shadow for the pine tree. So basically the pine tree is going to be almost in the center. And I'm trying to show the light falling from the top space because of the shadow is falling towards the left side diagonally. So that is the reason I'm adding in the reflection or the shadow towards the left side of the pine tree that we'll be adding in the center space. Now I'm going to quickly add in the pine tree as well. So just a very simple pine tree that I'm going to add in using in the bold black color. My sky is completely dry so I can add in the pine tree. Make sure you do not take the L bottom of the pine tree a lot into the small space. Otherwise it will begin to spread a lot of black color because there's no area is still wet. Now I'm going to begin adding in the foil. Remember the pine tree, you should take a shape of a triangle at the end of it. So make sure that you go ahead accordingly with the foil edge length. I'm almost done adding in the foil it as well. I'm just going to give it a little more defined shape at the top space. We're almost ready with this class project for D2 and D3. The new details to learn in this was the Cloud details using the dabbing technique with the tissue and the lifting technique using in the brush for creating in that glowing sundries effect. So that is a to B already with a class project. Now let's remove the masking tape and see your final painting with those clean edges. Make sure that you remove the masking tape only once your edges are completely dry. One last thing, I'll just add in a little more darker that to the footprints that we've added in. Because I feel that they may dry out much more litres while quickly running very carefully. My paper is still wet. That is the reason I'm running in and giving in this darker layer again, in case if your paper has dried out completely, do not go ahead with this without the reweighting technique. So that is it just a little more darker that, and now it seems much more darker and much more detailed than the previous layer. Now wherever I feel like, I'm just going ahead with a little of the lifting technique of the colors. So let's remove the masking tape and see your final painting. Make sure your edges are completely dried and always remove the masking tape against the paper. So here's a final painting for the 23. I hope you guys enjoyed painting this pretty simple winter landscape. But the details of the sky was the main thing to learn in this class project. I hope you guys enjoyed painting this. I would love to see your class projects in the project section. Thank you so much for joining me for this class and painting along with me. Make sure to drop a review if you liked this class. But whatsoever reason. Thank you once again for joining me. 51. Day 24 - Winter Evening - Technique: Hello everyone. Welcome back to day 24 of the 25 days cozy winter class. We are on the second last class project of these 25 days challenge. And today we are going to be painting this beautiful snow-capped mountain with the sea reflections. So let's have a look at the colors first, pretty simple. The first one is going to be the steady didn't blue. And next time we're going to be using in the Rosemead dark color. You can either using the rows metallic color, the Carmine color or any other beautiful light pink tone for the sky. And when the blue and the pink will mixed together, you'll get a little purplish tint in the sky. And that's perfectly okay. For this year as well. We are going to be using in the same colors. Then we are going to be using in the black color for the details of the pine trees and the mountain ranges. In the sky, It's going to be the blue and the pink and in the sea as well, It's going to be the blue and pink and in-between you can see we are living in the white caps, both in the sky and the sea to create a little lighter effect and the reflection of the same industry as well. For the mountain range, we're first going to be having very little blurry effect, wet on wet and then adding in the dry brush detail on the mountain change. And lastly, we are going to be adding in the bowl pine trees using the black color and the dry brush effect as well, using the black color on the mountain range to give in the snow cave look. Now in the water you can see we are having in the soft background look as well as the reflection for the pine trees. Mountains. Sorry, not the mountain but the pine trees and the details of the blur effect at the top. So there the important thing is about the water control. So we'll just quickly recap a little of the water control technique so that you can get in that reflection detail, right? So I'm just going to head with a base layer of water first. I'm just painting in the sky space to show you the study of the water control here. So basically I'm just going with a very basic sky. I'm not following the same layout as in the final painting, but you can see you're all so I'm going ahead carefully making sure that the paints are laid out separately from each other. We have those white gaps in-between, an in-between the blues I'm just adding in little pink highlights. Now. This is still wet. That is the sky is still wet. I'm not showing you the mountain range for now. I'm just showing you the water control technique. In the final painting we have the mountain range as well, which will be leaving blank and directly be adding only the dry brush detail there. Below the mountain range on the horizon line on the left side, you can have a look at those blurry or that smoky effect that we've given it using the black door. So we'll be adding that on the horizon line. So let's just understand how we'll be adding that. So once we paint in the sky, while you're still going to be where we are going to walk in with the black tone. So you need to make sure that the black color is not too wet. You just need to begin adding the color in a very, you know, consistency such that it does not have excess water, nor does it has excess paint. So at this moment you can see how the paints are not spreading their staying at the place where am I? Them giving in the perfect detail out there. So this is the perfect water control that is, my paper is also not too wet. My paints are also not too wet that they spread a lot. So you need to keep this in mind while painting in the blurry details of the painting and the reflection as well. So this is the only important thing to keep in mind for this class project. Rest of all of the details are quite an easy one. So I will see you guys into the next lesson where we begin creating in this beautiful class project for day 24. 52. Day 24 - Winter Evening: So now that we've seen the colors and the details and the flow of the class project. Let's go ahead with the pencil sketch first. So I'm going to keep the horizon line a little below the center line because we are going to be having in the mountain range on top of this and the pine trees as well. And since we are working on the smallest size paper will have very limited space left in for the sky. Then I'm just giving you a very light pencil sketch for the mountain range. Make sure to keep the pencil sketch very light because the mountain range, we are going to be leaving it blank and directly be adding in the dry brush details. On the left we're going to have in the foggy detail and on the right, we're going to have in the mountain ranges out, sorry, the pine trees and at the bottom we see, we're going to add in the reflection for the pine trees as well. So that is it will beginning with the sky for so I'm going to go ahead with a layer of photo into the sky. And then beginning with the further details, make sure you add in an even layer of photo only in the sky, not add it in the mountain range. We are going to be leaving in the mountain range, right? It says. Now make sure you haven't even little fortress around your brush multiple times so that your paper stays wet for enough time. I'm running my brush multiple times despite using 100% cotton paper so that my paper stays wet for enough time until I add in all the details into this painting. Now I'm done adding in the layer of water and I'm going to beginning with the civilian blue color. I'm going to go ahead with a very light consistency of the color. Make sure you use the calendar. Very diluted consistency. This is too dark, so I'm just going to quickly clean my brush and going to spread this color and let's tap the excess so you can see I lifted the excess fallow and cleaned it up. Now in-between, I'm just adding in very little danger ultramarine blue color as well to lighten up the tones and given a little more bluish effect, I may have missed to discuss this color in the technique section. So just a little tinge of ultramarine blue. You can go ahead with any light tone of blue. Or for that matter, if you do not have the ultramarine blue. Now on the right you can see I've left in Lala whitespaces for the pink already in the center, I'm going to maintain level of deploying spaces and not adding the pink as well there. Now when you are beginning to add in the pink tones, also be very careful to not have excess water on your brush. Otherwise, I think drones will cover up the blue tones completely and you will not have any of the blue tones left on the right side, which we do not want. Now randomly in-between the blues on the left, I'm adding in little of the pink tones. You can see in this guy in the center still maintain some lighter tones of the white color in case if you do not have, you can simply just go ahead with the lifting technique and lift up, lift up the strokes of colors and creating little of the growing spaces as well in the sky. Go ahead with a little more off the blue tones. We'll be painting in the sky and then when painting the sea and wait for everything to dry. And then we'll paint a mountain ranges and the pine trees once everything dries out. So for now I'm just painting in the sky first. And you can see now how beautifully I'm adding in the darker strokes with the blue tone, creating in that effect into the sky. Now using in the smallest size brush you can see I'm creating in some lighter strokes by lifting in the colors. So we had discussed this in the last class project as well. So I'm just using the same technique in the last class project, we were listing it in the rays of sunlight effect, trying to show in that glowing sun rays effect on urine just randomly lifting up too. So in some lighter clouds in-between. So that is it. I'm done in with the sky now till the sky dries. We can paint this area because the sky and the sea is not connected. We can not paying the mountain range now because it is connected to the sky. So let's go ahead with the sea area as well. Now in the CV are going to go in with the same colors of the sky just as a reflection and creating the same shadow of the sky. But in the CV also have to add in the reflection for the pine trees as well. While the z is still wet to make sure that for your C stays bet for enough time for you to add in the reflection with the black color as well. You need to add it wet on wet because we'll be painting the ball looking pine trees on the top of the horizon once this dries out completely. So beginning in with the same tones on the left side, I'm going ahead with the blue tones, and on the right side I'll go ahead with a yellow or pink tones and in-between I live in believing in lives lost the gaps off the white tones I spread. Now using the pink tones, I'm just going to begin adding in little reflection just as we added in the sky. Just in the same species in the sea, I'm going to begin adding in the same deflection. And then we'll go ahead and use the black color and add in the reflection for the pine trees as well. Make sure that your paper is still wet in case if you feel that your paper is beginning to dry out. After adding the pink and blue tones, then wait for the paper to dry out completely. Go ahead with the vetting technique and then add in the reflection with the black color for the pine trees. Now in case if you want to know a little more about the re-weighting technique, you can visit my specific class on the weighting technique to understand that the vetting technique in detail. Now I'm beginning in with the black color. I'm making sure I do not have either excess water or excess paint on my brush. And I'm just beginning to add in the reflection slowly on the horizon line. Now I've tilted towards the top side so that the paint flow towards the top and do not flow towards the bottom of the sea and cover up the z-space completely by any chance. So I'm holding it up so that, you know, the colors flow towards the top side, that is towards the horizon line and stay at the horizon right. Now on the left side you will see that the reflection is a little light and color. And on the right side the reflection will be a little tough. Because why having the pine trees at the top space that is on top of the horizon line. I'm going to keep the pine trees in a very blurry effect on the left side and on the right side, I'm going to add it with the bold black color. That is the reason in the reflection as well, and keeping it very bold and blurry on the right side. And on the left side, I'm just keeping it blurry. Now using the black color in a little ball consistency in using the smallest size brush, I'm going to begin adding in the reflections on the right side to make it a little more bold. I'm just pulling out simple straight lines you can see of different heights because on the top of the horizon line, when we begin adding in the pine trees, I'm going to maintain the same lens effect at the top space. Wherever I'm taking the reflection talk, just about that on top of the horizon line, I'll be keeping the pine tree there as well, tall. And wherever the reflection is short, I'm going to keep the pine tree right shot out there. So this is all we are going to be adding in the reflections as well. So very carefully I'm just trying to add in the reflection and giving it all. I feel that the paint is flowing a little excess. You can see I'm just lifting it up with a damp brush and cleaning it off so that when I go ahead with the next stroke, it does not have that much of the paint again. Now, I'm going to let this dry as well in this angle only. So I will keep somebody from the need to keep this paper inclined towards the top only so that the paints do not flow towards the bottom side. For now you can see the CDKs of the blue and pink tones as well, viewable separately, and the black lines of the pine tree deflection as well. So I'm just going to keep this tape underneath and keep the paper incline and wait for everything to dry out. Now. So now everything is completely dry it and you can see the reflection is staying on the place that I've added it. Now I'm just going to go ahead with a layer of water first on the mountain range, because we have to add in the blurry effect at the left side of the horizon line. So I'll just go ahead with a layer of water on the entire mountain ranges to add in that blurry effect. That will have to wait for all of this to dry completely. I'm just going to head with a very light tone off the black color here. If you want, you can use the Payne's gray color as well. I'm just adding in the blurry reflection only done half of the center Horizon life. Also you can see the height of this blurriness. It's quite small, not covering the entire mountain range. So make sure you do not take it too tall or cover the entire mountain range. Now we'd have to wait for this to dry completely. Then we'll go ahead with the dry brush technique on the mountain range. And then the finding pine trees on the right side, the bold ones with the black tones. So we'll false wait for this to dry. The reason of adding the water on the entire mountain race was so as to have this blurry effect, the soft edge throughout. The reason we have to go ahead with the mountain v. Now I'm keeping the paper inclined towards the bottom side and I'm just going to give him a little more patchy effect to this and then I'll wait for this to dry completely. Now everything is completely dry. Now I'm going to go ahead with the dry brush technique on the mountain range, and then we'll add in the final pine trees into this painting. So I'm picking up the black color, the dry brush technique we've discussed in multiple times as to how we need to go ahead picking up very limited water, beginning in the dry brush technique from this entrance fees. So towards the left side, I'm going to take the dry brush by mini, towards the left. Towards the right side, I'm going to take the dry brush technique that they need to watch the right side. First, I'm just defining it a little bit of the edge and then we'll begin giving him the dry brush. I'm going to give him these dry brush details as well in three layers. First, I'm going to go ahead with very light dry brush teeth. So this is the fourth layer of dry brush. After this, I'll add in some bold black patches on this so as to give him little more depth. And then I've been just defining the edges as well with the bold color consistencies. So towards the right side you can see I'm taking the drivers towards the right side now, towards the right side you can see I'm leaving a lot of the whitespaces because those spacemen get covered up with the pine trees that we'll be adding in the detail banner. Now been the first video settings. I'm just going to walk on adding in the fine Just quickly. So I've just defined the horizon line with the black color now, almost from the center space, I'm going to begin adding in the pine tree. I'm going to add in the smaller details of the pine tree by just pulling out these spiky looking or lines. And then in between I'm going to add in some detail pine trees random, which will have in the detail for each loop. In between randomly you can see I'm adding in some detail pine tree. Now when you are adding these pine trees, make sure that you maintain the height according to the reflection that you've added in places where you've added the reflection in the tunnel lens, make sure that your pine trees also taller at the top of the horizon line there. So randomly you can see I'm going ahead with the detail one and randomly in between, I'm just using the simple spiky strokes to fill in the spaces. So this makes your process quicker as Velasquez in a little detail here because of the detailed pine trees in between. So do the less than I've just taken in very small height Bush detail. You can see to define the horizon line a little well. So now you all, I'm adding in the taller pine trees because the reflection is taller. Now in-between these taller pine trees as well, some of the pine trees you will see I'm adding it in a very detailed manner so as to get in that 3D look to the painting as well. We are almost through the painting, just last few details before we removing the masking tape. So you can see how simply by using two different kinds of the details for the pine trees, you can get done with it quickly using in some filler elements just as simple strokes because altogether the actin as the pine tree. And towards the bottom side you can see I'm mostly failed everything completely with the black tones because so as to show the net effect much closer to each other out there. I'm done adding in the details with the black color for the pine trees. Now I'm just going to go ahead and solve it some of the ball details of the dry brush technique on the mountain ridge, adding in some bold black patches. So that is it. I'm done adding in the bowl black patches as bad now it's the time to remove the masking tape and see your final painting. You can see such an easy printing but such a beautiful outcome with the reflections, with the pine tree, the mountains, the blurry effect that we've added in so far. So you also find in painting for the 24 of these 25 days cozy winter class. I hope you guys enjoyed painting this beautiful one with me today. I will see you guys soon into the last class project of this class. Thank you so much for joining me into this class and painting along with me through the 25 days. I would love to see your class projects in the project section. I will see you guys soon tomorrow in the last class project. 53. Day 25 - Thunder Clouds - Technique: Hello everyone. Welcome back to day 25. We're on the last day to day and we are going to be painting this beautiful monochrome landscape today. So let's have a look at the color. As you can see, the main color that we'll be using is going to be the indigo color. If you need, you can use in a little tent off the black to darken and add the mountain ranges or at the dry brush strokes to give it a little more darker effect to the Indigo cargo. So these are the only two colors that we'll be using, the indigo and the black tones. And apart from that, you would be needing a little bit of the white quash for adding in the highlights in the moon space and a little of this no detail pathway. So first we're going to paint in the sky for the sky, we are going to use in their tissue dabbing technique that we learned in day 23. So the same technique we are going to be using here to create the effect into the clouds. You can see those bold Cloud outlines that we are going to be creating in then for the mountain ranges. And so the pathway we are just going to be using in simple indigo color for the eyes spaces across the pathway. We're just going to go in with the dry brush technique with the indigo and the black tones. And lastly, this Bald Mountain Range and the background light mountain range using in the different consistencies of the indigo and the black tones. And then that white quash will give him little snow highlight on the mountain range as well as on the edges we are going to leave in the whitespace for the snow areas. And lastly for the moon in the sky, we are going to use in the white goulash. So this isn't about the class project, a pretty simple one, just the techniques that we've discussed already in the previous lessons. We'll be using in byte watch for adding in the highlights and the moon and on the pathway areas as well as the snow at the bottom mountain spaces, we're going to try and leave or maximum spaces white and minimize the use of white quash. But wherever needed, we'll go ahead and use it Given that bold effect of the snow that we are looking for. So that is it for this class project, a pretty simple one, nothing much in detail about the techniques. I will see you guys in the next lesson where we begin creating this class project for day 25. 54. Day 25 - Thunder Clouds: Let's begin in with our class project. I'm just going to go ahead with a very basic pencil sketch. I will first mark out the horizon line, then the two mountain ranges and the moon space. Also the pathway so that we know which spaces are to be left white for the snow effect. So what this phase is across the pathway, I'm going to be living in white, just giving in the dry brush technique later on with the paints directly on top of the horizon line, I'm just adding into rough mountain ranges, one of which is going to be the bold foreground mountain, and one is going to be a background light colored mountain. Then in the sky I'm just going to add in the moon space, which I will be leaving in white while painting in the sky. If a little of the color goes in there, It's okay. We're going to use in the white course there to give them the details for the moon. So now I'm going to go ahead with a layer of water into the sky. So you're supposed to leave in the moon space blank. I accidentally added in the layer of water there. So I'll keep in mind while adding in the colors, I tried to lift up the water from the moon space using in a tissue. But as I told you, we are going to be using in the white quash, but as much as possible, avoid adding in the color tones there so that it becomes easier. So I'm just going to pick up a tissue and lift up the water by dabbing in there. So you will see that the space becomes dry. Again, only the moon space that I have to lift up the water. Now when beginning in with it, ecotones at the top space, at the top of the sky, as you know, it's going to be very bold and the bottom of the skies just below the moon line is going to be lighter of the cloud effect giving in the details in the sky and the clouds. So you can see I'm just adding in the color at the top spaces. And using in the tissue I'm going to begin defining in the shapes as well. First, I'll just add in little more darker there. You need to make sure that your paper will stay wet for enough time so that you can add in all of these details wet on wet. So make sure that your paper will stay wet in case if you're using a paper which is not 100% cotton, I've discussed in the technique for keeping the paper wet multiple times so that it can help you out using an edge of the tissue. I'm just beginning to draw a very rough cloud shape across the line of the indigo color. You can see I'm dabbing it very softly and gently so that you have that little light indigo tone laying out there. So this is the first layer of the Cloud that I've created. Now I'm going to go ahead with very light tone of the indigo color at the bottom spaces and begin adding in the depth and in-between, I'm going to leave and random white gaps so as to show in that cloud effect which we are trying to create it by lifting the colors. Now just at the bottom of the moon, I'm going to have in very little moon covered up with the Cloud effects. I'm just giving you a little of the cloud effect there as well. You can see the sky looked very complicated in the final painting. But if you see it now while adding in the pains, It's quite an easy one. The only thing was creating in that top cloud shape, using in the tissue and now using your brush in circular motions, you need to begin adding in different tonal values of the indigo by adjusting a little tent of black if needed, and creating these cloud shapes on the wet background. So my top indigo color is also still wet and the rest of the sky spaces also still wet. And you can see on wet, I'm giving in the Perfect Water Control to add in these details. Now again, you feel the need to create a little of the cloud effect. You can go ahead using the tissue and go ahead with a little dabbing technique to give him little form shapes to the clouds. Now I'm just going to go ahead with little balls tones, very little. My paper is still wet. That is the reason I can still go ahead with the all of these tones and given the variations, make sure that your paper stays wet until you are adding in all of these details in case if your paper has begun to dry, make sure you let it dry completely and go ahead with the re-weighting technique so that you do not have a lot of sharp edges ruining your entire look of the painting. So we're done with this guy, not the last tie dries out. I'm just going to add in a bowl layer of the indigo color on the center pathway because we cannot paint the mountain ranges until the sky is completely dry it out. And in this no spaces we just have to give in the dry brush details. So let's add in the layer of paint onto the pathway space so that once it also dries out, we can add the details with the white gouache. Now, I'm going to head directly with the wet-on-dry technique because it's a very simple layout, nothing much in detail to add anymore. So just directly going ahead with a wet layer of the bolt indigo color. So now I've conveyed for the sky and the pathway to dry out completely and then move ahead with the further details. So let us try out actually. So not everything has dried out completely and I'm going to go ahead with the further details. So first I'm going to go ahead and paint in the background mountain range for which I'm going to use in the indigo color in a very medium tone consistency if needed, you can add in a very little tinge of the black color as well. But later on, once this mountain range tries out, we are going to be adding in the dry brush using in the black and the indigo tones. So I'm just going ahead with a very medium tone of the indigo layer now onto the first mountain range, if I let you love the color goes inside the second mountain range, it's perfectly okay because as you know, the second mountain range is going to be of a very bold, dark, bluish black tone that we will be using it. So you can see how using the tip of the brush, I've defined the top of the mountain range well so that it has a bold finished line, as well as the darker tints at the top space. Now I'm going to go ahead with the dry brush technique for this no spaces across the pathway. So I'm going to false, go ahead with the indigo color. Now for the dry brush technique, you know you need not have excess paint, neither excess water on your brush. So I lifted a little of the indigo color and dabbed it on to the Cloud so that all of the excess paint and water is absorbed by the carton times. Now I have very limited paint and water. Now I'm beginning to give him the dry brush technique. You can see I'm going to hit diagonally out here. Now, make sure you leave enough white spaces in between to actin as the balls, no effect as well. So you can see I'm going to head with a very lonely out of the indigo color in such a way that I do not cover up all of the whitespaces. Plus we still have to add in the darker dry brush using in the black tones as well. Now in the same way as we went on the left side, I'm going on the right side as well with the little darker tints already. And for the right side as well, you can see I'm moving ahead diagonally towards the right side. Now we underwrite side as well. Make sure to leave in enough whitespace is to act in as the snow area. Now for the next one, the dry brush technique, you can see I've picked up much bolder color, so I've mixed in a little of the black with the indigo tens. And I'm giving in some darker details for the dry brushy area out your as well as I'm adding some patches of the black tones, very middle, not much. Now, same VM even going to go ahead on the right side, you can still see the whitespaces are still visible everywhere. And I can still having the small loop as well. So I'm done with the dry brush technique on the cross the pathway. Now I'm going to go ahead and add in the details on the pathway. So you can either use a white gel pen to add in the detail. But for me the white gel pen wasn't working bold enough. So I'll switch on to white quash and I didn't bold lines across the pathway for giving him the details on the path B. So make sure you use the right question. A ball consistency so that you have that opaque loop. Or if you want, you can use in a white marker as well or a white gel pen if that's working fine for you, but make sure it gives a bold look so as to have that perfect effect out there. So I'm using my liner brush and giving in this detail you can see the fine line that's coming across or through the pathway on both the left and the right side. Make sure you use a pointed tip brush or smallest size brush to get in these fine line details. Now in the center of the pathway, I'm just going to give them the details as well. So just giving him the traffic lines out there in the center space. Very simple one living in little gaps in between. Now next, using in the bowl mix of the black and the indigo tone, more of indigo, very little of the black. I'm beginning to add in the second mountain range. We are almost through the class project, just a little details on the mountain ranges and the little snow detail on the pathway using in the white gouache once everything dries out. So I'm just adding in this second layer out here so that it can dry until we add in the rest of the details. So you can see since I have my paper taped down on a movable surface, it becomes so easy to rotate according to my hand movement and getting the details right. It becomes quite convenient to just rotate the board and adjust your hand movements with ease and adding the details. Now I'm going to go ahead and add in the further details. So I'm going to go ahead with the dry brush technique on the back mountain chains. False, I'm using the indigo color layer for riding in the dry brush technique. And for the second layer, I will be using in Littleton to off the darker indigo or the black tones for adding in the dry brush. So we'll be adding in this dry brush only in the background mountain range, not in the foreground mountain range. Because as you know, the foreground mountain ranges already of a very darker tint. If you want, you can add in little off or white gouache, dry brush on the foreground mountain range once it dries out. Now using the whitewash, I'm going to begin adding in little dry brush effect on the pathway to actin as the little of this now being deposited on the pathway has very, very little, not too dark. So make sure that you go ahead with very little detail, not too much patches. It has to be very minimal outdoor. Now, I'm going to go ahead add in little more detail with the black color on the background mountain range defining the edges as well as little darker spots. So you can see it's very little as compared to the Indigo details that I've given in with a dry brush technique. So make sure you maintain each color look visible for every space, meet with the snow spaces across the pathway or the small effect on the background mountain range as well. Now, even on the right side, I'm just giving it a little more darker details out. Sure. Now in front of the mountain range, I'm just giving you a little of this no collected detail using in the white quash after this will only be left in with the details on the moon space using in the white gouache. And then we are ready with this class project for day 25. So I'm just running with one more layer because I wanted a bold effect here and it was a little dull. So just one more layer. And you can see very random dabbing 15th that I've used to depict in this small space. No specific pattern or shape followed out to you. Now for the moon space and false going ahead with a volunteer of the white quash and defining the shape of the moon. So you can see a little of the color had seep inside the shape of the moon. So I'm forced covering it up with a layer of the white quash. I've lifted up slash white gouache directly from the tube so as to get in the bold effect of the white gouache for the moon space. So now I'm going to wait for this first layer of the moon to dry out before beginning to adding the texture on the moon. So wait for this to dry out completely. So now my near of the moon is completely dried and I'm just going to go ahead and use the knowledge of the indigo paint and adding little dry brush detail on the moon as well to create little texture effect on the moon. So I'm just going ahead with the smallest size brush and I'm just going to begin adding in some spots onto the Moon using the indigo color and just creating the texture on the moon. So fast from the top left edge of the moon you can see I'm just pulling out those small lines to reflect in some Moon rays. And now I'm just going to add in very random details using the same indigo color on the Moon. Whenever you feel the need, you can quickly dab in using your finger as well to give him the perfect blended look. Very little effect that we will be adding in, not much of it. Now I've just picked up a little of the indigo color and defining the bottom cloud space a little more darker. And I'm going to blend it quickly using a damp brush with the bottom layer of the clouds. So using in the **** brush at the bottom space, you can see I'm blending it into the sky that you have that distinction between the moon and the Cloud space earlier, the moon color and the cloud color both look similar because of which you could not mark out the distinction from where the cloud is covering up the moon. So I'm just giving in this darker depth at the bottom space to show that distinction point. So that is it. Now you can see the moon separately about this darker spots off the clouds that I've added just below the moon space. And the moon is looking hidden behind these clouds a bit. Now using any of the darker tint, I will just add in little darker details onto the Moon. And then we are ready with this class project for day 25. So let's remove the masking tape and see your final painting. I hope you guys enjoyed painting this 25th class project with me are pretty beautiful one, I love how the clouds have turned out in this. And here's a closer view for you. Thank you so much for joining me into this class. In the next lesson, you can see all the 25 paintings or the glands together. Thank you so much for joining me into this class again. 55. Thank You: So you also look at all the 25 paintings that we've done in this 25 days of cozy winter class. I hope you guys enjoyed painting each of these beautiful landscape with me throughout the 25 days. If you've liked this class for whatever reason, make sure to drop a review so that it can help me reach maximum students. And in case if you're painting along with me, make sure to upload your class projects into the project section so that I can have a look as well as others can have a look at your beautiful works from the class. Thank you so much once again for joining me into this class and painting along with me. I will see you guys soon into my next Skillshare class.