30 Day Gouache Challenge - Build your Art Style with 30 Nature Inspired Bookmark

1. Intro: In nature, nothing is perfect and everything is perfect. From springs, hopeful new blooms unfolds, exquisite array of colors to Windows, magic and summers, energy each season, or bounce with different types of natural beauty to explore an admirer. For me, nature has always been the inspiration to paint. There's a whole world out there right outside your window waiting to be painted on your canvas. Welcome back to a new Skillshare class. I'm almost hit the barrier. Charted accountant by profession, and artists and art educator, a Skillshare teacher, and an enterpreneur. If you do not do much about me, you can find me on Instagram under the handle, creating from the heart, where I share all of my works, including works with watercolor, wash it clearly. You will also find my handmade sketchbooks, journaling supplies, handmade phone cases, vintage theme, and other creative works that I do on my Instagram handle. Welcome to a brand new 30-day challenge. After watercolors, if anything fascinates me to try to paint is gouache. Unlike watercolors, gouache is a forgiving medium and it's quite easy to revoke with gouache. These quash paints are made up of pigments and gamma ray big mixed together. And these come in water-based medium as well as acrylic based medium. For this class, we are going to be walking in with water-based gouache. You can have a look at all the pigment number of the gouache set that you have to understand the properties of quash better. In this class, I will be guiding you through 30 different nature inspired bookmarks, step-by-step creating in the details, working with gouache, understanding the basic techniques, layering, and all the details about gouache. Do not be intimidated. If you are an absolute beginner with gouache, I will be guiding you through all the basic materials that you can use and the alternatives for each of the material. After step-by-step guiding you through the materials, I will be helping you out with the basic techniques of gouache, which will include understanding the right consistency, the blending techniques, how you can create in the tonal variations. And after we dive into these basics, I will help you out with each of the class project on day-to-day basis for the coming 30 days. So without further ado, come join me into this class and let's explore and build your own art style through 13 nature-inspired landscape. I hope to see you guys into the next lesson over the 30 days journey. 2. Materials You'll Need: So let's have a look at the materials first. The first thing that we would be needing is the paper. I'm going to be using this Canson 300 GSM. This is a booklet of 30 papers. This is a mini art book. And this is perfect. For gosh, this is not 100% cotton, but you can see the texture of the paper is quite pretty and looks beautiful for quash artworks. This comes like this in a booklet form, which is tied up through a screw. So you can just unplug the screw like this, remove a single leaflet from this paint and then you can again create the bunch of all of your paintings together into this booklet. This is from the brand Canson. This is a 30 leaf booklet and perfect for the 30-day challenge that we are beginning today. So you can see these aptly punched on one of these sides and how beautifully you can remove them easily. And again, file them all together using the same screw that is provided along. Coming to the colors I'm going to be using in this squash set from the brand Magellan mission. This is a 34 colors set, and this is a professional gouache set. And it is highly pigmented and the colors are beautiful and they are opaque in nature. Apart from that, I'm going to be using in this separate black and white quash because the black and white quash is not included in this set. Plus I'm even going to be using in the 56 set of the heme anemia. Gosh, said that I have so far a few class project just to show you the difference I'm going to be using in that as well. Then you would be needing in a jar of clean water palette to mix in all of your colors and to tape down the paper I'm going to be using in this board and using a masking tape. I'm going to tape down each of the class project paper. Before each of the class project, I will have my paper taped down onto this. So you can go ahead and use any board or a movable surface. Because at times having a movable surface underneath helps in the planning process. If you want to rotate your board for better hand movement, it becomes helpful. Lastly, coming onto the brushes, I'm going to be using in the brushes from the brand hemi, Mia, and Princeton. All of these are synthetic brushes and perfect for gouache. So majorly, I'm going to be using in the filbert brush from the human me asset because it's perfect for blending and the base layer. Then for detailing I'm going to use in the Princeton liner brush, round brush, and some other details brushes. So for every class project as I keep using which brush and the size, I'll keep sharing them with you. So these are about the brushes that you would be needing. Now apart from this, you would be needing a few more of the other stuffs as well. Which includes you would be needing in a rough cloth for dabbing your brush at places and for removing off the excess paint and water would be needing a spray bottle to wet your pains if they try because quash being a water soluble medium, you can leave it it using simple water. And next you would be needing in a pencil and an eraser and a scale. That's some basic stationary for some detailing work. Apart from that, you would also need a black pen for adding in details and white gel pen as well for adding in some highlights at places. So this is all about the materials that you would be needing. Grab them all, and I will see you guys into the next lesson. 3. Day 1 - Sunset: So let's begin with our class project for D1. So impose going to show you how do I taped down my paper. So I'm just going to show this exercise for the first-class project. And then from the next class project, I will have my paper taped done already. So I've just removed one of the leaf from this entire booklet. And now I'm going to use this board underneath so that it becomes easier for me whenever I want to move the angles deep down our paper onto the table, it becomes a little difficult when you want to adjust your hand movements, Poisson blending exercise, or for some detail, adding in. Now I'm going to begin taping down this paper. For taping down, I'm going to be using in the simple masking tape. This is a half-inch masking tape. It is available in any stationary store or any carpenters store. You can get it easily. Now you can already see I have a pretty punched hole on top at the left corner. So I'm going to make sure that I cover up that space using the masking tape so that I do not go ahead there with the pain. I've left the small gap out there at the top space and at the bottom also, I'm just going to tape down. And you can see I am using in like almost 2.5 MM space for taping down the paper. Rest of the masking tape is on the outside on Buddha mode. Now I'm just going to go ahead with the same sizing onto both of the left and the right edges as well. Now after every year of the masking tape, you can see I'm running my fingers firmly across the edges and making sure that the masking tape is secured properly so that there is no space for the pains to see the edges. In case if there will be gaps left in-between, the paints will move on to those white edges that you're trying to preserve using the masking tape, making those edges don't shabby. Again, it's quite important to make sure that, you know, you are taped down the masking tape very firmly and run your fingers firmly so that there is no space, space left for the pains to see when we're ready taping down a paper. Now let's begin with a first-class project and let's begin spacing out the paints. There is no pencil sketch for the first-class pressure. We are going to be painting a pretty simple sunset kind of a field. And we are directly going to go ahead and add in the details using in the colors. So first let's have a look at the colors for the sky. It's going to be a good, pretty multicolored sky. So I'm going to use the cobalt blue, violet color and the orange color. Now, again, if you do not have the exact same sheets, there's nothing to worry about. You can go ahead with the new array similar looking shape. Because with quash, whenever you use in a lot of white pulp blending, it does not make much of a difference if the palate tonal value is one shade or to shade lighter or darker. So I'm just squeezing out each of these colors. I'm using the permanent orange, bright violet and the cobalt blue color from this set. So now with this cobalt blue color, you can see since the paint has not been specced out, since a long time, the gum arabic has come onto the top completely. I'm just teasing out all the gum arabic posed separately because it's so much a gamma ray which will go into the color. It will make the color a lot sticky, squeezed out the excess of the gum arabic separately, and I've spaced out a little of that paint out there separately. So we are going to begin in, but the most important color that you would be needing is the whitewash. You can either these outlet of the white parts separately and keep it because you wouldn't be needing for each of the class projects. You can squeeze out a little by little for each of the class project. As I told you, there is no pencil sketch. We are directly going to go ahead with the details for the paints directly. So I'm going to use in this size three filbert brush for the first-class pressure. Now this brush helps in the perfect, basically a blending, quite easy to make the colors blend and flow into each other. So fast I'm beginning with the cobalt blue color directly at the top. Now I've just added very small tinge of photo because I want to make sure that the color stay opaque. So make sure you do not add excess water. Otherwise, the Bassanio white people will be visible underneath. Now I'm using the white color to blend in with the blue and create a little lighter tone as well. In between. You have already seen all of these blending strips and Jake's in the blending section of this class. In case if you have not visited the blending section yet, I would recommend you to how you add the blending section once, because it would be very helpful in understanding why we use whitewash at certain places to create the lighter tones and make the planes cause movie. How you can avoid in those muddy tones. And those are all brown tones that form because of the colors blending into each other. So I've just added in the violet color as well. Again, onto the top of violet color also, since I want it to dilute that color and get a little basal tone, I've run ahead with the white wash and you can see I blend it till the blue color so that the color blending looks perfect from top to bottom. Now, just underneath the violet color, again, adding in a small layer of the white and now shifting into the orange color. Because if you will blend the violet and orange together, it may form a molecule. So in order to avoid that muddy tool, I'm making sure to use in white in-between, which will create the pasting tones and will help us in avoiding getting in those muddy tones by blending as well. For blending again, I picked up a little thing to off the white on my brush. And you can see how easily the blending goes. Plus the white is now covered with a light orange tone. When you are eating in onto the papilla, as you can see, there is no muddied only in palm despite the orange lending in with the purple. Now again, I'm just going to use a little bit of the white and theater listen lighter orange, bottom side, closer to the horizon line. And just adding in a little bit more of the purple closer to the horizon line. Now the rest of the bottom space is going to be the field space, which we will be covering up with the green tones. So now for the field space I'm going to use in the yellow ocher and the green color and create a beautiful simple field area out here. So first I'm picking up the yellow ocher color from this set, and I'm going to squeeze out a little of this color out here on my palette. Father, green tone. I'm going to go ahead with the dark sap green color. You can go ahead with any medium or dark tone of green which is available in your palate. Also, again to mention if you do not have the exact same sheets, you can go ahead with the best palpating the colors available in your palate. It is not necessary to have the exact same sheets. It's more important to understand the technique and then following with your own color combinations as well. So now I'm going to pause beginning with the yellow ocher color. I'm post-marketing of the straight line. You can see that acts as the horizon line out there. And now I'm just giving in a small layer of yellow ocher color. And now I'm going to pick up the dark sap green color and fill it in the bottom space. You can see I did not add any water to the tag sap green color and it was giving me those dry brush stroke. So it's important to have the perfect consistency so as to get the blending and the movement of the colors is V. Now in-between, I'm just using a little bite, creating in little lighter tones as well. So that you get in different color variations to the field, making it look more nitrogen. So very randomly you can see I listed middle of the yellow coat color as well, along with the veins out. Now I'm just going to go ahead and blend all of these well to each other from top to bottom or bottom to top, that's completely your choice. Do not worry a little of the green and yellow ocher laid over onto each other that will make the painting look more natural and beautiful. So that is it. We are ready with the Bezier for the sky and the fee. Now, let's meet for all of these to dry completely, then even adding the further details into this painting and create the details. Now everything has dried completely and I'm going to go ahead with the further details on top of this. So first I'm going to go ahead and creating some Cloud details. The fact that I'm shifting into my round brush. This is the round brush size two from the brand Princeton business, the Evaluate tab series, which is a synthetic series and is quite perfect for working with gouache and acrylic. So first I'm going to pick up a little of this background, violet color. So this is kind of a shadow color that is used. I've just listed very little tint of this color to create in the Cloud. Now I'm going to use a little tint of this color and added along with white later on as well to create little mixed the background violet color because it's locked the regular violet color and I'm going to begin adding in the clouds out. Now in case if you do not have that background violet color, you can just mixing a small pinch off the Payne's gray or the black color with your violet color and it was darker tone of the violet color. Now in-between I'm going to add in little lighter tone clauses by mixing in the white wash. Now you can see I'm just using the tip of my brush, laying down the color, eating in those rough edges to actin as the cloud shape. So now I've just mixed in a little bit into off the white to this color mix here. And now, using this lighter color, I'm going to add in some lighter. So for the plaza cure and lending well with the darker zones added. Now using the same tones of the violet that we have created, a little of the darker and the lighter tones. I'm just going to add in some more random cloud details into the sky. So very randomly you can see I'm giving in some loose strokes randomly to create those fluffy cloud effect. So you can see I'm just using the tip of my brush and pulling up strokes to create the cloud effect. Just putting them closer together. I'm in the cloud shapes so as to show those clouds sheets and those rough edges for the clouds. Next time I've mixed in a little tent of the white to my orange color. And using this, I'm going to add in some of the cloud strokes with the orange color over on the violet and the blue color space. Now you can see this fight and adding the orange color over the violet color. It's not forming in those muddy tones because of two reasons. One, in the base layer also we have used in the white, which is helping in blending out here. And secondly, even in the orange color we had added in the white thin, which is making it a pistol tone and hence not creating in those muddy and OB tones. Now using the orange mix, I'm just adding in some clouds in-between randomly. I'm just dabbing some colors using the tip of my finger, creating it. The details for the clouds as well. I'm just adding in very random DBAs out. You're feeding in some cloud effect. So over closer to the orange color, you can see me using the dark tones of the violet color. And over to the violet color we are using in the lighter tones at the orange color so as to create a contrasting effect for the Cloud DB. Now next I'm just creating in a litter of a darker green thing. So basically, since I have the darker violet already on my palette, I'm just mixing in that taco violet and little onto the green color and getting into this darker green to add in little glass strokes and details in the bottom space in the P. In case if you do not have the Wiley College, you can simply either take the dark green color directly or if you already have access of the green, you can also simply just mixing a little bit of the black or blue color to create a darker blue. Now using the liner brush, I'm just beginning to giving very simple grass strokes in the bottom space. We're just going to keep it loses time for the first-class project so that it is not too much and overwhelming with all the details that we go ahead with. So I'm just going on adding in the grass strokes layer on layer two, I began with approximately a little below the little about the center of the field space. And now I'm just going ahead with layers and layers. If you want, you can go ahead with the big 0 class strokes or for the smaller brush strokes, depending on what kind of things you want to go ahead with. Make sure you use this one liner brush. Or you can go ahead and add these details quickly using in a fan brush as bad. Because in that it becomes easier to add in the details. But open brush is not available majorly with everyone. It is a speciality brush because of the places that it has. So that is the reason I'm going ahead with the liner brush so that it's easier for everyone to follow along. I'm just pulling out these brush strokes very simply you are, you can see how beautiful the grass strokes at turning out to be. Now next time when to squeeze out a little tint of the brown color so as to add in little detail on the horizon line between this guy and the field space. I'm going to go ahead with the Van **** brown color. You can go ahead with any darker tone of brown, or you can go ahead with the burnt sienna or the bond amber color, whichever Brown is available in your palette. Again, as I told you, having the same color sheets is not important. It's important to understand the technique and you can use your own color combinations and create these beautiful simple landscapes. So I'm just adding in the brown color using the tip of my round brush. I'm distributing in simple ******** vet. And you can see how beautiful that space is turning out to be on the horizon line. I'm going to go ahead with different size of the bush deviance that we are adding in. So you can see I'm just having the tip of my brush creating in this bush detail, giving him the details. Look here. It's very important that you make sure that this color is in a good opaque layer. Also be sure that your cloud storage is dried completely otherwise, the bellows will begin to bleed into each other and will not give you the form colonic off the brown color because it will begin blending in with the BCL violet or the cloud colors. And it will create a little lighter tone then with gouache, it's quite important that the base layer is dry completely. And when you begin adding layer on top of the base, you keep your hand very lightweight it so that if you, if you will add it a lot of pressure on the BCR, the busier Carlos will begin to get activated because we are using in water-soluble gouache in case if you were using an acrylic based squashed than the BCL wouldn't get activated with water again. So it's important to keep in mind these little techniques. Otherwise, if you will add in a lot of pressure, the base year fellows will get activated again and will blend with the top colors that you are adding in giving an organ for the different tones. Now using the black pen, I'm just going ahead and adding in some lines into the sky and you can see very random, yeah, I'm adding them. In case if you do not want to use a black pen, you can use your liner brush and the black wash and adding these fine lines. But make sure that these lines are quite fine. And in case if you're using the technical pen, let me make sure you're using a work group one so that these lines to not get spoiled even if you have to correct any detail or if water drops in. Now using the white quash, I'm just adding in a small moon closer to the violet color. It's going to be a half-moon that I'm going to add in your so just adding in some last details with the brown color wherever I feel like giving you the finishing touches. And then we are ready with our class project for the one of this challenge. We are ready with this beautiful simple landscape. You can see the colors in the sky turn out to be so pretty and beautiful. I'm just taking the brown color a little into the field space as well and just giving him a little touch of this brown color on the edges, trying to show some muddy spaces in between the feet. Same thing you are as well. I'm just going ahead with a lifting the Dean of the brown colored the bottom space creating in Little Rock the muddy space in between the grasses. So that is it. I'm ready with my class project for d1. Let's remove the masking tape. Now certain tips make sure you remove the masking tape against the paper. So you can see I'm pulling it towards the other side of the paper. So now when I pull the left side masking tape the paper, the paper is towards my left right side. I'm pulling the tape towards my left side. And you can see it does not wear off the edges. And plus it does not lift up the same way at the top and bottom side, you need to be sure that you pull it against paper so that you'll do not tear off the edges. Also makes sure that your edges are basically completely dry. Otherwise, it will be very difficult and you may lead the fellows onto those white edges as the final painting for d, one of these that VB art challenge. I hope you enjoyed painting this beautiful bookmark with me today. I will see you guys tomorrow into the D2 class project. 4. Day 2 - Black Sky: Hello everyone. Welcome back to day two of the 30 day challenge. Today we are going to be creating a beautiful night sky. So for the base layer, I'm going to be using in this black color. Since there is no black color in my Magellan mission set, I'm going ahead with the black color to, from my hammy Oh gosh, set. I'm just going to mix in a little bit of the background violet color to this. So astro, given a little lighter tint to this color mix, I'm going to actually mixing a little tint of black to the violet color. You can see. Now in case if you do not have the violet color, you do not need to worry. You can just pick up pollution, new color or irregular violet color and mix it with a little tint of black. It's almost going to look like a black color as it is, but that little tent will make a difference in the color tone of the black that you will be laying down. So there is no pencil sketch for this one as well. We're going to go ahead with a layer of black color onto the entire paper, which is going to actin as our sky. I have made shot and security and all the edges so that the colors do not seep in from the edges out there. And just going ahead with a thick ball layer of this mix of the color that we have prepared and just giving in this flat layer for the base layer of the sky. Now, since this is the base layer and the final base Leo, make sure that you use the black color in a bold consistency. Do not add much of water, otherwise, the underneath whitepaper will be visible. Also, make sure that the layout of the black color throughout from top to bottom has the perfect strokes and does not have any deaf random strokes. Otherwise that will be visible because this is the base layer for our sky. On top of this, we're just going to go ahead with green leaves and the moon detail. So you can see I'm running my brush perfectly from top to bottom so as to get the blending go right. Now you can see it looks one single layer of the black color without any rough strokes in between or any different color patches. So this is it for our base layer. Now before we begin to add in the leaf details and the moon details on top of this. We need to wait for this to dry out completely only then we can work on this. Also, remember that gouache reactivates, wait for it to dry completely, then move to the next layer. Sky is completely dry it and you can see the beautiful bold black color that we have gotten. Now I'm going to shift into the green color so fast from the last exercise, I have a little of the sap green already out here on my palette. I'll use that first. Now, make sure when you begin adding in these details, you do not add a lot of pressure because adding a lot of pressure will reactivate the base layer black color. And you will find it very difficult to lay the details on top of this. If you add in a lot of pressure and deactivate the black layer, I've just mixed in a little tent off the white color, My us that sap green color. And now beginning from the top left side, I'm just going to go ahead and add in some simple leaf details. So you can see I'm just dabbing the tip of my brush to give him the leaf details. In case if you want, you can first pick up a liner brush to add in some branches detail and then shifting and begin adding in these little details. So you can see I'm building these leaf details very slowly and gradually. I'm not adding a lot of them altogether at once, paste together. I'm rather going on slowly adding in details and little spaces and then deciding it. Now at random places you can see I'm pulling out bigger branches and adding leaves to these branches that I'm pulling up to give him little more variation out here. At the bottom left space, we are going to have in quiet bigger detail leaf on which we will show a little reflection and shadow of the moon light falling. As well as those leaves will be with the olive green color and not the same sap green that we're using for the top side. So very carefully you can see I've pulled out some folded leaves from the edges vary randomly. And you can see how beautiful, even though single color leaf is popping out on the black layer, despite that basically are being off the black color. You can see how this color is still standing out, bold and opaque, even on the darker tone. So that is the beauty, of course, that even the lighter tones look pretty on the dark colors. Now next time squeezing out a little bit of olive green color. In case if you do not have the olive green color, you can pick up a little of your viridian green. You can mix in a little tinge of the yellow to it or greenish yellow color and a little tent of white to get a similar-looking tone. So I've just picked up a little of the greenish yellow color and little of the olive green color. And to this now, I'm mixing in the white gouache. Now in case if you do not have the VD didn't green color as well, you can go ahead with your light green color. I'm adding a little tint off the white quash and use your light green color itself. So before beginning to add in these bigger leaves, I'll go ahead and add in some branches this time first. So fighting in the branches, I'll shift to my liner brush so that I can get those fine strokes for the branches. And I'm just going to pick up a little tint of the Van **** brown color, which is therefore my previous class project. I'm just going to mix in with a little tinge of the olive green color and just add in some fine lines to actin as the branches. So very randomly you can see I'm pulling out the smaller branches as well from the bigger branches. At this moment, these branches may not be much clearly visible to you because they're still in the drying process plus they are very fine branches that I'm adding it. Make sure you keep these branches quite fine and delegate so that it maintains the entire look of the painting because the leaves on top of this are going to be the huge one. As I'm going to show that the top leaves are far, far from our view. Hence they're visible in a smaller size and these leaves are quite closer to our angle and hence they are visible in a big ball size. And plus the moonlight reflecting on top of these leaves. Now using the mix of the olive green and a white color, I'm just beginning to add in these leaves. And you can see how beautifully you can add in this one stroke leaves. You can go ahead with the random is shaped possible that you want to go ahead with these leaves. You can add them in whichever angle you want. It's absolutely your choice. You need not have the same placement or same number of leaves or the same design as mine. It's absolutely a nature painting and nature has every different kind of leaf possible. So if you notice my leaves, you can see I'm adding them in all different directions, trying to pull them out in different ways from the same branch. On top of this, I'm still going to go ahead with some darker tones to actin as the shadow spaces after we added the moon as well. The one advice that I would like to give you while adding in these leaves is that going very slowly and patiently? Also, you can see I started with the leaves from the bottom right side. And I have been adding one leafletting, leaving in a little space between them so that you do not add the leaves at one specific place. A lot of the leaves together going create a rough patch around and then see where you should add in. A few more leaves are where you need to add in the smaller ones for just filling in the spaces or what kind of details would go. Well, now I have some greenish yellow on my palette and I'm just going to get it in the right consistency. And I'm going to go ahead with a little detail with this greenish yellow color. Now again, the important thing is if you will have excess water in your pigment. It will activate the base year as well. And then the colors of this layer and the base layer will begin to merge into each other and will not give you that opaque look. Rather, it will show you as a blended color. So it's very important that you do not add a lot of pressure. And also the consistency of the color should be thick enough so that it does not reactivate the base layer. So very randomly you can see I've just added few often needs with this greenish yellow color. You can see though this color looks almost similar to the first color leaf that we were adding. That is the olive green and the white mix. But still it makes a difference on the paper over the black color. And you can see that little thin difference that gets the beauty to these, these. Now next aspect up the olive green color directly without mixing it any white. And I'm just going to add in some darker lines onto the leaves that we have added. So basically these darker lines represent the folded areas or the shadow areas. So very randomly I'm going to go ahead and majorly, I'm going to try and show these darker depth on the top of the leaves to source some points on the leaves. Because of this, the shadow is being created. After this, we will be left to add in the moon into our sky. So first in-between the leaves very randomly, I'm just adding in some more branches using the same olive green color to show the connections and movements happening between the leaves. Now I'm going to shift my liner brush and to some of the leaves, I'm going to add in some vein details using the same olive green color. So make sure if you are adding in these windy days, you shift into a detailer brush so that you can get these details fine. Do not go ahead with a bigger size brush for these details. Otherwise it will not fit in proportion with the details that you're trying to add in. Also make sure that your base here of the leaves are completely dry before you begin to add in this vein details. Otherwise, again, this will not make any difference and it will just look, blend it with the base layer leaves. You can see, I'm going ahead with the mix of the green mixed with white gouache, along with a little tender of the darker color as well. On some leaves I'm giving this self vein details using in the mix of the white gouache and the green color. And I'm Sam, I'm giving him the darker green details. Also. I'm not going to add in this vein details to each of the leaves out. You're going to be on a few bigger ones which are going to create the main focus closer to the moon space. Now, before we move on to the moon, I'm just going to go ahead with some leaf strokes more. So because at the bottom space here, I'm a little unsatisfied. So I'm just going to go ahead with little more off the leaves with the darker tones so that I can cover up this piece and make it look perfect. Now let's begin adding in the moon. So for the moon, I'm first going ahead with the white gouache and I'm going to create a glowing space. So I'm going to add in a small dot of the white color. And now using the damp brush, I'm just going to blend this color into the background and create a detail view. Now since the base layer is a black color, you may need one or two layers to create this glowing space because the black color will absorb it and make it look more dull. So it's important to go ahead with one or two layers so as to make the glowing space bold enough for the moon to show in as the glowing light. So as I told you, I'm going ahead with this second layer now, this is not the final moon. I'm going to blend this into the background and create that flew in space well enough. I'm satisfied with the growing space for the moon. And now I'm just going to use the tip of my brush, pick up some bold white color without much of the water or making it in a lighter consistency. I'm just going to pick it up in a ball consistency and I'm just going to drop it in the center of this growing space that we created. And now you can see that how the moon looks like a little moon because of the growing space that we created in the background using the same white color. Now, lastly, I'm just mixing in a little more of the white to this green color mix and using this lighter tone, I'm just going to add in Some more often, I believe, detail randomly because I am a little unsatisfied and I feel that the leaves look a little dull and the moonlight does not reflect well. So I'm just going to add in some strokes on some of the leaves to make it look lighter to show the glowing effect of the moon light falling onto these leaves. So you will notice majorly, I've added in these lighter leaves towards the top side, also has to show that the light effect is falling closer out there. Now one last thing towards the top-left leaves that we have added the smaller ones out, you're there. I'm going to go ahead and mix in a little more white to that sap green color. And using this lighter color, I'm just going to add in some highlighted leaves to show a little of the moonlight effect falling on this part of the leaves as well. So you can see very little highlights that I've added in. You're not much of it. So just lifted so as to show in the little moon effect falling out there as well. And that is it. We are ready with our class project for D2 of this RTD mini art challenge. I'll just go ahead and add in some more branches before we remove the masking tape because the branches seemed to be not visible in-between these lighter leaves. So I'm done adding in the branches in between. And you can see as soon as you add in those branches, the leaves getting new life as in because the branches make it look complete. Now let's remove the masking tape and see your final painting. Make sure your edges are completely dried before you begin to remove the masking tape. And always remove the masking tape against your paper so that you do not tear off the edges. So here's the final painting for D2. It's a pretty simple painting with just two to three colors that we have used. But you can see the impact and the details that we have created using the lighter and the darker tonal values. And also showing in the light effect falling onto the leaves. I hope you guys enjoyed painting this beautiful bookmark with me today. I will see you guys soon into the D3 class project. Thank you so much once again for joining me into this class. 5. Day 3 - Pastel Sky: Hello everyone. Welcome back to day three of the 30-day gouache challenge. Today we are going to be painting a beautiful pastel sky with a very simple silhouette. I'm going to begin directly with the colors. There is no pencil sketch. I already have the colors from my previous exercise. I'm just going to rewrite these. So first I'm mixing in the blue and the white and creating a very pistol sky blue kind of a tone. I'm using the cobalt blue color along with the white gouache. You can go ahead with any blue color that is available in your palette. So far, the base layer I'm giving in this blue color on the entire space. And then on top of this we are going to give him some basal Cloud details using in the pink, orange and the violet color details. So I've given a good even layer of the same color. I'm just going to pick up a little more of the blue and the white and going to run from the bottom till the top so that I haven't even looked throughout. So at the bottom I will still not satisfied. So I'm just running with one more layer. I just mixed in a little more off the white and the blue color. And I'm running from top to bottom. And you can see when I run from the top to bottom, I get a seamless blending between the layers as well as you can see, even tone of the blue and the white layer laid throughout. Now for adding clouds on these, I'm going to be shifting into my other palette. And for that, I'm going to be using in this mop brush, one-fourth inch. Do not worry if you do not have this brush, you can simply go ahead with your round brush and go ahead Adam in the clouds. So now on the palette here I'm for squeezing out a little bit of the white gouache. And now I'm going to space out the colors that I'm going to be using for adding in the clouds. So the first one I'm going to use in this brighter, paler color to all of these sheets. I'm going to mix in the bytes that we have added in the center space. Next from my previous palette, I already had a little bit of the bright orange color on the palette. So I'm just lifted up little of the orange color and I've added it to my palette here. Now for the first layer, I'm beginning ahead with a very light mix of the orange and the white color so that we get a little lighter tone base. And then on top of this I'm going to add in the other colors so that we get the glowing effect. Now have just lifted a little bit of the brighter pair up in color on the same brush, which holds the white and the orange colors too. And just blending it and same with the same brush. I'm just lifting a little bit of the violet color as well. I'm going to blend in at the bottom space. So this is one big piece to color Cloud that we're adding in here. Now at the bottom space, again, am going ahead with the lighter mix of the orange and the white color. Now I'm just going to clean my brush and I'm going to dab off all the excess water. And now using the damp brush, I'm just going to soften up the edges of this entire Cloud and blended into the background so that we get a smooth-looking cloud in-between the sky. Now in the same way, I'm just going to go ahead and add in little more of the cloud somewhere. I'm going to keep in the pink color much in focus. Sound that I'm going to keep in the orange color in focus. So at the top space here, I added in a cloud with a lot of pink in focus. And you can see I'm just using the tip of my finger to blend in. So in case if you are also using a round brush, you can use the tip of your finger to blend the clouds into the sky. But whenever you are using the tip of your finger, you have to be careful about one thing. That after every time that you dab in clean your finger again, because the colors that get lifted onto the finger will again be laid onto the other species where you go ahead with the dabbing technique. Now I've just picked up a little more of the orange and the white color mix analytic love the pink color to go ahead with the next layer of the clouds onto the first patch that we added in. Now in the remaining spaces randomly, I'm just creating a little of the Cloud details using the white quash. So in the same way, even at the bottom side, I'm just going to go ahead bit some lighter clouds. And very randomly, I'm blending some of these clouds into the bottom space and in-between you will see I'm adding in some random strokes as well. Now using the damp brush, I'm blending these white clouds as well into the background so that everything looks very blended and settled into the sky. Just as added in the highlights using the white quash, I'm just adding in some highlights using in the mix of the white and the bright opera pink. And very randomly you can see those little clouds creating in the glow into the sky. So all in all it's creating in the paste and look into the sky that we need. Now, let's wait for the sky to dry out completely and then we will begin adding in the silicate into this. So my sky has dried completely and I'm going to squeeze out a little bit of the permanent yellow light color. I'm going to add into off the street light silicate. And I'm going to add in the light effect using in the yellow color. So false. Let's begin in adding in the silhouette detail. So what I'm going to do is first I'm going to go ahead with the black color and I'm going to create the polls for the silhouette. Then I will shift into this mix of the yellow, orange, and white color that I'm creating here for adding the highlights and as well as the light details. So firstly, let's lift up the black color. Make sure you use in a detailer brush to add in these details. I'm going to be using in my liner brush or my round brush size zero to add in those Paul details. So I've shifted to my liner brush so that I can get in those fine lines for the moment. Later on, I'm going to add in the highlights on top of this using in the yellow and the pink color. And then I will give him the finishing stroke using the black color. So I'm going to add into off the street poles out to you. So I've added in these two fine lines for now and now, I'm going to shift into the colors that we have added onto a palette. And I'm going to begin adding in the details with the yellow, orange colors. So before moving onto the colors, I'm just adding in the light detail as well and just creating in the silicate and outline in the spaces where the light will be added in. Now till the black layer dries in. I'm just going to go ahead and add in a few buds as well into the sky. So I'm using the same liner brush so that I can add in some fine detail brush, sodium fine detail boats. You can go ahead and add in simple but silhouettes and was indifferent flight angles out here. So this time I'm adding in a little detail than what I usually add in the rest of my paintings. So just one board that I'm adding, but a detail one that I've added. Now, I'm going to pick up the mix of the white, orange and the yellow color. I'm going to begin adding in the details. So basically I want to show the effect of the pasta's sky falling onto these polls as well. That is the reason I'm going to go ahead and add in a little highlight on to the poles as well. So to add the highlight, I'm using the liner brush itself so that I can get in those fine strokes. Now in the same way I'm adding it onto the smaller pool as well. Now for the light effect, I'm going to use the same color and fill this entire light spot with the same mix of the yellow color. If you want, you can add in a little more of the white quash and created a little and paste still in tone. Now next half mixed in the pink and the white goulash. And using this color, I'm going to add a little more highlight on the poll so as to show the effect of the pink color clouds as well falling onto the whole space. Now at certain places I feel that the highlights are looking to bold enough. So I'm just going to go ahead with the black color and give it a little covering up space so that we have little of the highlights on new visible. Now, before moving ahead to the next layer, I will wait for all of these to dry out completely and then I will go ahead with the next layer. So I'm just a little bit unsatisfied with how the polls are looking at this moment. But I will wait for these to dry and then add in little more details and adding some more silhouette. So now my layer of the pole is completely dried and I'm going ahead with the same black wash first and I'm going to begin adding in little details out here. And then I will shift in and move on to the other silhouette. So basically now I will just have to take in the poll a bit because I'm a little bit unsatisfied with the highlights of the poles. I'm going to minimize the highlights by running black color and making the poll thick. And then to cover up so much of the thickness of the poll, I'm going to go ahead with a little bit of the bush silicate at the bottom space. So again, these are small fix and trips how you can use rather than throwing away an entire painting, how you can correct your mistake to add in some details that will help him covering up your mistake and giving him the little detailed view again. So I've covered the entire pose with the black color again. And on top of this I will add the highlights once they dry out. So until they try out, I'm going to go ahead and add in the bush detail at the bottom space using the same black color. So basically now you can see that these bush details cover up half of the poles because of which, you know, the thickness of the pole that has gone to take at the bottom space gets covered up because of the bush and everything again seems back like in proportion with the painting size and the size of paper that we are using. Initially, when I started with this class project, I had no intention of adding in these bushes. It was just going to swap out at those two poles. But since the poll highlights didn't turn out as I've wanted to correct those highlights. I had to thicken up the width of the poll. So I was unsatisfied with those take polls. So now to cover up those polls, I'm going ahead with these bush. And you can see how beautiful that polls are looking coming out from in-between the bush and the thickness also gets covered up because of this bush detail that we have added in. So on the left side as well, I'm going to take the pushes a little bit taller so that it covers up a little of the colon space on the left as well. And then the black color of the pole will also dry out. So I'm just going to give him the highlight effect now first and then move on to adding in the bush again. So I've just mixed in the white and then it'll tint of the yellow color. And I'm just going to go ahead with a fine line to actin as the highlight. Now on the yellow palette itself, I'm just going to go ahead with very little pink highlights on random spaces. It's not compulsory to add the pink highlight on the entire species. You just need a little highlight to show the light of the sky falling onto these polls as well. So I actually forgot to add in the rest of the bush detail first, so I remove the masking tape. But after removing the masking tape, I'm going to go and add in the bush details again. So if you haven't removed the masking tape as of now, make sure to first add in those books detail and then remove the masking tape so that you do not mess up with the edges. And in case if you have also remove the masking tape and then you are adding in the bush TJ. Make sure that you go in very carefully so that you would not do end up those edges. So as I told you, half of the poll out your will also be covered. Now since you've added the highlight, you can see in-between the bush, a little of the pole highlight is also visible at the bottom space, making the painting look so much more real and the details look perfect. Now, the thickness of the phone is also majorly covered up and it looks all imbalanced with the size of the paper that we've used in. So that's the best thing about gouache some way or the other. You can try either correcting your mistake or hiding your mistake using in some more detailing method. That is a reason I love this medium so much. Now just adding in some more highlighted knees before I end this class project for D3. So here's the final painting for d3 of this class. I hope you guys enjoyed painting this with me today. I will see you guys soon into the next class project. 6. Day 4 - Daisies: Hello everyone. Welcome back to day four of the 30-day bookmark challenge. Today we are going to be painting a beautiful DZ field with a pretty beautiful sunset view. So I'm first marking out the horizon line, which is a lot below the center space. And on top of the horizon line we are going to have into mountain ranges. So I'm just giving a very rough pencil sketch. The first mountain range is going to be a big one, but the second one is going to be just a small space behind the first mountain on the right side. But the mountain ranges will be off the different color. This is going to be a sky space, the mountains and the field area. That is how our composition is going to be. Now for this guy, I'm going to be using in the ultramarine deep color along with a yellow tone. So I'm going to squeeze out a little of this ultramarine deep color out. You are closer to all of the blues on my palette. For the yellow I'm going to be using in the permanent yellow deep or the light color. And then in-between I'm going to use in the white quash for blending so that we do not have any green tones. So I'm going to use the deep color so that we get a little bold, beautiful yellow as well. So I am using the same palette that I have been using from the first class projects so that I can reuse the colors wherever possible. Because gouache, we are using the water-soluble ones so you can reactivate it with just a few drops of water. So now I'm going to squeeze out a little bit of the white as well, closer to the viewer, blue out here on my palette. And now I'm going to randomly pick up the little tent of the ultramarine deep blue along with whitewash and beginning from the top space. Remember if you will try to blend the blue and the greens without the help of fight, you may get in green tones in between because blue and green, blue and yellow mixed together gives you a green tone. I'm just lifting up a little more of the white only and I'm just going to add in a little more space. And now I'm just blending till the top so as to get a smooth transition between the color completely. You can see as soon as you run in the entire space, all of the colors look perfectly blended into each other. And you do not have any hash or prominent color strokes in between. Now, next I'm going to shift into the permanent yellow deep color. And along with that as well, I'm going to lift up a lot of whites. So I picked up the white and then I just touched it into the yellow color, as you can see. Now closer to the blue, I will still leave a little space for blending with white later on. So I've added a layer of the yellow color in the rest of the space. I have left the mountain spaces blank because there will directly add in the color in case of little color seeps into the mountain range also, it's perfectly okay. Now I'm just going to lift up your bite and in-between add the blending point using the white I'm going to blend and have a perfect transition between both the colors. And you can see I'm overpowering both of the colors onto each other. So little of the yellow going towards the blue and the middle of the blue as well coming towards the yellow so as to get in the perfect transition and the perfect evening look. So that cluster base layer for our sky. Now on top of this, I'm going to be adding in a lot of Cloud details. And for that I'm going to use in the orange mixed in with the white color has shifted to my smallest size filbert brush so that I can get the details right. Now, I'm going to pick up the orange color from your, which is Alt key on my palette. In case even if you have the colors from previous exercise already on your palette, you can reuse the same colors like this because since we're mixing it with the white wash, it again gets us opaque consistency. So I've mixed in a little tent of the yellow, orange, and white. If you want, you can directly use it. Orange color mixed in with a little tend to often write course so as to get in that little blended and the soft loop. Now just using the tip of the smallest size brush, I'm just going to begin adding in some Cloud details. So fast and adding a little biggest piece of this yellow, orange color to blend it into the background. So on the orange, oh sorry, on the yellow part of the sky, I want a little orange space as Ben. That is the reason I added a little layer of the orange color. And now just quickly using induction. The finger, I'm dabbing and blending it all. Now on top of this layer, I'm going to begin adding in the Cloud details. And for that, I shifted into my smallest sized round brush which has a pointed tip and so that it becomes easier to add in the Cloud details. So I'm using my size two round brush, but since it has a pointed tip, my work will be easier. Now I'm picking up the same color which we mixed in for adding the highlight over the yellow pad. And using this color on the top space, I'm going to just begin adding in small half C strokes. Now in case if you want to learn more details about the clouds, you can go ahead and visit my previous 30-day quash class where I have discussed a lot in detail about the clouds and the ways in the technique section. So in case if you are an absolute beginner and want to learn the different strokes for the clouds in detail. You can go ahead and just visit the technique section of that class. So very randomly you can see I'm placing the half the strokes with a mix of this yellow, orange and the white goulash. I'm just creating in very small details over to the blue color. You can see because of the opaqueness of quash. And since we've mixed it with white quash, the orange is also visible on the blue color. Plus you can see how beautiful the peaceful tones are looking because of the white quash. And they are not bombing in any muddy tones. I'm going very slowly and peacefully adding in these small Cloud details at the top space creating in the depth into the sky this time. Now for the bottoms piece, I'm going to add in a little more tenth of the orange to this same mix because we've already used this lighter tone at the bottom space, but adding in the detail. So now with this little darker tint, I'm beginning in with the same strokes at the bottom space. And you can see at the bottom I'm adding a little bigger strokes as compared to the top space because I want to put in more focus towards these bigger cloud spaces out. Now I'm going to pick up the mix of the ultramarine blue and the white gouache. And using this mix, I'm just going to add in very little cloud stroke to overdo the yellow just behind the mountain range to give him blue sky details there. So you can see I'm closing the brush so much closer to the bristles space so that I get more precision and control over the brush by adding in these little details. Also at the top space you can see we have the orange focus and very little strokes of blue that I'm adding at the bottom space. Then at the top as well, I'm going to give him little of the blue highlights. Now at the top space you're closer to the orange color. You can see I'm just giving him very little highlights of the blue color. Wherever I feel that the spaces are turning to darker pool, I'm quickly dabbing it so as to give it a well settled and, you know, blended luck with the rest of the details. So these are just small tricks and tips that you can use for blending in. Like you can use your fingertips quickly for blending in. If you feel that the details are turning to bold, you can use white gouache and blend it into the background or a damp brush and blended into the background, like the clouds and the species. You can quickly go ahead and blend it into the sky time to show it a blended look rather than giving him the ball look. Now at the bottom, you are closer to the mountain range. I'm just blending. Extra blue, that seems to me. So I've just used in the orange color to false, give it a basically a plane. And now I'm just going to go ahead with the damp brush and blend it again into the background. Now I'm going to begin adding in the details into the mountain range as well. So I have some background violet color which I had from the previous exercises. And the end of the black and the blue color that I'm mixing in. So it's basically are dark blue kind of tone. If you want, you can directly using the Prussian blue color or an indigo color as well. But since I have certain colors on my palette already, I want to reuse them. So the background mountain color you can see it's still towards the lighter tones side. And the front mountain that we will be adding is going to be further off a darker tone so that there is perfect distinction between both the mountain ranges. Now for the foreground mountain range, I'm going ahead with the black color directly and I'm going to begin adding in this mountain range, you can see the top of the mountain ranges quite uneven and very tough so that it looks more natural. So now I'm going to fill in this entire space with the black color. And in-between if needed, I will just keep blend it with a little tinge of blue to give him that little the blue color as well. So you can see both the mountain ranges are standing out distinctively. The background mountain ranges of the dark blue tone and the front mountain ranges of the black color, but standing or distinctively from each other and having a different view. Now let's begin adding in the details for the fields piece. So I already have the sap green color again from my previous exercise as well. So I'm going to go ahead with the sap green color. And along with that, the other greens that I already have on my palette, I'm using a mix of the sap green, olive green, and the white gouache. And very roughly I'm creating in the base layer in-between. I'm going to use in a little of the white gouache as well. So as to have little lighter tones. Plus I'm using a little tint of the yellow color as well to give him little yellow grass details. Now closer to the mountain range going very carefully because the mountain range maybe still wet and if you run forcefully, you may run into the mountain range and the colors may bleed towards the bottom site. Now for the fee, this is just the base we're creating. So I've picked up a little tint of the Van **** brown color also, which is again line from my previous exercise on my palette. And I'm just reusing multiple tones out here to create the base layer. On top of this, we are going to be adding in the grass strokes and the daisy detail, which we'll be covering up measure of the space. So this time you can call this as the color blocking that we are doing so as to show in the rest of the grass details. So you can use yellow ocher color if that's available in your palette. Brown color at any green tones that's available in your palate, it's not necessary to have the exact same tone as I am using in your. So I'm done with the base layer for the field. Now I need to wait for this to dry so that I can add in the grass details on top of this. So I'll wait for all of this to dry and then we will move ahead further with the details. So now my base layer for the field is completely dried and I'm going to go ahead and begin adding in the further details into this. So I'm going to shift into my liner brush so that I can add in those fine strokes for the grass detail. Now for the class, I'm going to use in the olive green mixed in with white gouache so that it stands out boldly. Onto this space that we have added, believe me, white quash serves as a magic while working with quash for detailing, you mix it with any color and lay it over any color. It will stand out bold and beautiful. So in the base layer you can see revolt. He used the olive green color. But despite that, since I'm going to mix it with the white quash now and use the same olive green and a white mix for adding in the grass strokes. Standard, bold and beautiful out here. And given the profit DD look and the background color will act as a perfect filling space for rest of the details. So varied randomly, you can see I'm going ahead with some bigger strokes of the class. Some of them are even overlapping the mountain space there, that huge that I'm trying to show it. Now in-between, I'm going to pick up a little more of the lighter mids, just going to begin adding in some more lighter strokes as well. Now you can see the brush strokes are moving in all different angles as well as some of them are taken. And now I'm adding some detail ones from the bottom space so as to show some grass strokes and major focus areas. Now you can see the background brown, greens that we added is already acting in as the filling space, trying to show that those are also the dresses, but a lot behind Haden's not visible in the detailed manner. Now I've just picked up a little more off the dark green color. And using this, I'm going to add in some more grass strokes to this. I'm not going to add in the white gouache, rather I'm going to just add in some darker strokes of the grass so as to get some balance into the painting. So just as we added the lighter ones, I'm going ahead with this darker strokes as Ben. Now, since my lighter strokes are visible in-between, you can see at random places the dark green color is not getting laid over and that's getting the more beautiful blend into the grass strokes, trying to show the grass strokes and tangle between each other. It says, make sure to not overdo these grass details. You can see I'm not adding much of these. In fact, I've even left a lot of gaps in between. I think that background color be the filling space and trying to show that there is class unmatched in the background as well. So that is it for the class strokes that I wanted to add in your, now we have to add in the daisies on top of this. And for that, I'm going to be using in the white gouache. So far, adding in the daisies, I have shifted to my round brush, which is size three. And I'm just going to begin adding in the audience with the white goulash. Now before you begin adding in these daisies, make sure that your grass strokes are completely dry, otherwise the colors will begin to blend and bleed into each other. I'm just beginning in with the white gouache, adding it very simple daisy details out. You're now at certain places, the green color seems to be still a little wet because of which you can see, I had to go ahead with one more layer of the white color. Now I'm going to go ahead with very random daisies. It's going to be somewhere half some veggies petals, some web big ball Daisy. So you can go ahead with your own mix as you like it. Now you can see at the top, I added a daisy in a different angle views, which is making look the bottom side petals a little smaller. So as I told you, it's not compulsory to have all the petals. Are the flowers in the same direction, same angle, are the same sizing. You can go ahead with any random size, shape, movement, or. Angles of the petals. So I'm just going to add in a few more daisies. I'm not going to add a lot of them now at places, I'm adding very small ones trying to show some of the disease just file from our view. Because of fish, they are visible in smaller sizes. Into all of these, we're going to add in the center bar using in the brown tones later on. For now, let's just add in the disease first and then move ahead further. Now ready randomly at certain places, I'm just going to drop in a few of the small petal details as in the disease are about to bloom in. So you can see a few of the grass tools that we had taken towards the mountain range. I've added very small disease out there as well. But since those are far from our view, you can see I've added them in a very random manner, not in a much detailed view. Now I'm just squeezing out to little tint of the yellow ocher color. And using this, I'm going to begin adding in the buds. Now, it's not compulsory again to using the same yellow ocher tone. If you have two browns on your palette, you can pick up the brown sheet as well and add it in the center space. Now I'm picking up a yellow coat color in a bowl consistency. And I'm going to add it towards the center of the flowers. Now at certain places, the center of it maybe are a little different because some of the petals are of the smallest size at the bottom space. So depending on the kind of flowers that you've added, all the angles that you've added, you can go ahead and add in the buds out there. Now, made sure that your white flowers were a little dry towards the center space so that you can add these buds easily. Otherwise, they may blend in with the white color and it will be very difficult for you to add in these details. So even to the smaller flowers you can see I've added in those but details and given the detail look to each of the flowers that we have added in. Now. Lastly, using the white quash, I'm just going to give him some splatters at the bottom space trying to show some more very tiny daisies which are about to bloom and giving it a little more detail view to this field space. Make sure that you cover up your mountain range and the skies piece if you are not confident about the control of these plateaus. So that is it. We are ready with a class project for D4. Let's remove the masking tape and see your final painting with those clean edges. Make sure to remove the masking tape only once you're age is a completely dried it. And always remove the masking tape against your paper so that it does not tear off the edges and lifts up the color. So here's a final painting for D4 of this type. Dd, add challenge. I hope you guys enjoyed painting this beautiful simple daisy field with me today. I absolutely loved the sky of this one, how it has turned out. You can see this talks of blue and orange creating the perfect balance into the sky. Thank you so much for joining me into this class. I will see you guys soon into the next class project. 7. Day 5 - Day Sky: Hello everyone. Welcome back to day five of the 30 day wash challenge. Today we are going to be painting a beautiful daytime sky with very simple Bush seller heat. So again, for this class project as well, there is no pencil sketch. We are directly going to go ahead with the paints for this guy this time I'm going to be going ahead with the sky blue kind of a tone for this class project. I'm going to be using in this set of 56 colors from the Nemea gouache set. So that you can understand the difference between the top pains do paints that we have been using so far for all of the class projects. So I'm going to pick up the sky blue or the blue color. You can go ahead with acetylene, do color or a sky blue color, whatever available in your palette. Basically a light blue color from your palette. To this, I'm going to be mixing in a little bit off the widest spread. So fast I'm beginning with this blue color without mixing in the white. Very than the mean between I'm going to just pick up white directly and keep blending it out on the paper itself, did it? So now I'm squeezing out some fresh write out your on my palette so that I can keep using it in between and keep on getting in the blends of forfeit. So this time this guy's pretty simple. It's just going to be a blend of the blue and the white color very randomly. The lighter strokes and rough strokes in between, I'm getting the blends right. Now you will see that I'm going ahead very random leave, It's very random color strokes. I'm not going with a setback in-between. I'm going to keep some of those spaces white as well with the help of white gouache. So as to show some cloud Shining Path in the sky, giving in that cloud effect automatically with the blended new color look. So you can see I'm going in very slowly and very handily. I'm creating in the blue and the right layout. I'm not worried about having the perfect blend or the perfect transition, or the perfect same colors pieces throughout. I'm just going to randomly creating in the beautiful or daytime sky, blue and white color mixing. Now since we are using in the white color, make sure that you know on the edges you have the bellows made perfect p.stance. Otherwise, when you will peel off the masking, you will see that color has not been made there. So going very carefully, now I've picked up the blue color directly without any Mixer five for the bottom space. And you can see how beautiful and bold effect bleeds into the bottom of the sky. So again, at the bottom, most things are blended with the white color. Now from the bottom till the top, I'm running my brush once so that I can get a little smooth transition. All you can see not much of the hash strokes in between. Now I've picked up a little bit of the new palette again, I'm going to go ahead and given some darker details and new places where I see that the white is a little over poverty. So you can see very randomly just use brush, I'm just adding these colors very naturally. I'm creating those blend and the transitions as well as you can see, since my paper is still a little wet, the fallows are blending well with the base colors already, giving you the perfect blended look and do not have any sharp edges. And all of this guy is looking up, blend off the white and the blues together. Now at random places I'm just using the tip and creating in some more cloud effect. And you will see that just using the tip of the brush, I'm adding some darker strokes with the blue and very gently blending it with the base steel back down so as to create a little blended into the background. So that is it for us. Yeah, ready with the sky. Now the only detail here and that's to add in is the 5-HT did. Now we will wait for a few seconds for this to dry out completely. And only then beginning with the foil HDP. For the for loop, I'm going to be using in the black color on top of this blue color details obviously did once everything dries out completely. So make sure if your paper has not dried out, you wait for a few minutes for it to dry. And then I'll shift into the black color. I already have a little of the black color on my palette. I'm going to reuse from the previous class project. I'm going to be using in this point, brush to create in the quick five-ish detail. So basically, this round brush have been spoiled because of the usage with the acrylic colors. So I'm not going to dip the brush in water, I'm just going to touch the tip in water and reactivate this black color. And you can see I'm holding the brush perpendicular since the beginning. Make sure to the black gosh, I spend you do not add a lot of water or getting into a lot of watery consistency, you need to keep the color as well in a little ball consistency and the thick consistency so that you get the spoilage detail, the dry brush kind of fibers that we are going to add it using in this pointed brush. So very careful, yeah, back the brush onto the painter last time. Now again, I'm holding the brush perpendicular here. I'm just beginning to adapt the tip of the brush to create the foil is now in whichever sheets you want to see, the entire file is moving your brush accordingly and create the entire space accordingly. So you can see I'm just going ahead with very random shape to create in the foliage look. Now, going very slowly and carefully by creating in this DDL, do not crush under not even one flat single-line loops. That is not keep the height of the foil is same everywhere. Try to give it different sheets. I'm trying to move those spoilage come out in different directions. Notice my foils are not in one single direction. Do I'm holding the brush perpendicular, but the point is, is moving in all different directions possible. Trying to show that the natural beauty of these voyages moving up in all directions. Now in the same way, I'm just going to go ahead with a little more of the 5-HT did before we move ahead and added some more detail view into this foliage. So you can see how I've broken the foliage. On the left side, it's the tallest or the space in-between you have lateral of the formulation of smaller height. And then again at the right side you have it in the smaller height. Now let's wait for all of this to dry forest. So now my photosphere of the coalition has dried completely and now I'm going to shift into my liner brush. I'm using the same black color. I'm going to add in some branch details in-between these. So I'm just going to go ahead and keep adding in some branches out you're randomly in-between. The point is to show that all of these four images coming up from the branches and then hanging on the branches. So you can see very carefully, I'm adding in very small branches in between all of these brushes that we've added in. I'm going very slowly with a mix of some smaller branches, some bigger branches so as to keep the balance in between all of the details that you've added so far. You can see I'm going ahead slowly pulling out this thin branches. Make sure you use a smaller size brush or a brush, or a brush that has a pointed tip so that you've been getting these fine details. Now on the screen it may be visible to you that these branches are not making any difference. But if you have a closer look at your own painting while adding in the branches, you will see the difference that it creates in-between the bush. Some of the branches may not be visible right now, but when they try out, you will be able to see the difference of them, even over the ******** as well. So I'm still going to go ahead and add in some more branches. So you can see I did not overdo all of them together. Now I'm even adding in digital detail was tedious. I'm just pressing the tip of my brush, giving in some detail bush look at random places from in-between the branches that is just giving him those ones strokes and can leave the name to bring a little more detail look out. So just go ahead and keep adding in some detail leaves as well in the grid so that it gives you a body didn't look. Now after this meeting, the left to add in a few violence and do this phi. And then we'll be ready with our class project per day five. A pretty simple class project yet so much to learn about the dealing and how little details make the difference. Always be careful never to add all the details altogether. You can always go ahead further and add in those details. But removing off those details once added is quite difficult. So even when you started with the first step of the bush layering, makes sure to go ahead and slowly to just add in little and then go ahead with the branches and the deed AND and then see if you need to add in more of the bush details or if you want to add in more of the detail leaves or more of the branches. And accordingly as to what we're add more beauty to your painting, you go ahead with that kind of a detail. I'm almost done. I'm just going to go ahead and little more leaf detail. And you can see as soon as I've added in these D1 least, it's making so much more difference to that weak point is that we have added it. So basically that wakefulness eats to the speed of filling in the spaces. Philip of majors, please quickly. Now on top of that, we're just going ahead with lids of the time you're given a balance or the beam. Now lastly, I've shifted to my liner brush and I'm going to go ahead and add in those details. I'm just going to pull out some violence into the sky. Go ahead and pull out some violence. So I'm going to hit very uneven these violence. They're going to be very random. So again, your as well, you can go ahead with your own layout. For the bushes value need not follow the same placement as mine. You can go ahead with your own placement. Now onto these violent very randomly, I'm just going to add in a few bought silhouette as well. So at the top you can see I've added didn't do off the detail looking worse in flying motion and subnet, I've just added in the simple ones as well. So some birds have shown they're quite far and visible in a video on tiny dot like structure. So that is it. We are ready with our class project for the five. Let's remove the masking tape and see your final painting. Make sure that your edges are completely dried and always remove the masking tape against the paper. And also be very careful when pulling out the masking tape. Otherwise, it may cut off the edges and lift up the fellows from your painting space as well. So you also find that painting for d phi of this study was challenge. I hope you guys enjoyed painting this beautiful sky, blue and white color. And then just using the black color. I will see you very soon into the D6 class project. 8. Day 6 - Powerlines: Hello everyone. Welcome back to D6 of the 30-day quash challenge. Today we are going to be painting a beautiful evening sky with some simple solo hate. This time we are going to go ahead between different layout of the colors and the clouds into the sky. So again, that is not going to be any pencil sketch. We are going to go ahead with the colors and begin building in our sky. So for this exercise as well, I'm going ahead with the same hymn emia gouache set off the 56 colors. So fast I have picked up the cobalt blue color mixed in with a little tint of the ultramarine blue. And in-between for a little darker tint, I'm picking up a little of the Prussian blue as well. So basically you can go ahead with any medium to dark blue tone. And I'm just going ahead with this color at the top layer first. So the blue color from this set is actually a little towards a transparent site. That is the reason I've gone ahead with the darker tints and gone ahead with multiple layers so as to get that beautiful opaque loop. Now next time picking up the purple color from this set. It's not exactly a violet color, but it's more towards the purple side. So I'm just going to go ahead with this purple color closer to the blue color. Now you can notice even this purple color is a little towards the transparent site. That is the reason I had to go ahead with multiple layers. So this is what the difference it makes when you are going ahead with a student grade paints and then you go ahead with an artist grade paints. If I would have been using my Magellan mission set right now, it wouldn't have been this transparent and I wouldn't have to go ahead with multiple layers of the same color so as to get an opaque look. Now next to the purple color, I'm just picking up a shade of pink color and I'm going to begin adding in this pink shade out there. So I'm just going to pick up the color first and activated well on my palette so that it spreads easily on the paper. You can go ahead with any bright pink color which is available in your palette. And I'm going to run it till the top, blending in well with the blue color. You can see the violet and the purple mixed together. I'm making that layer much more opaque and I'm blending it well to the blue color so as to get the perfect transition between each of the color shifts. Now below the pink color, I'm going to go ahead with the yellow colors. I'm going to use a permanent yellow deep color and just go ahead below the pink color. Now at this point they for blending you want, you can use in a little tent of the white quash, but I'm going to run the yellow or whether things so that I get a little orange tint as well in between. And you can see how beautiful the orange tint creates the effect. Now below the yellow color, I'm again going to go ahead with the pink tone, the same that we use at the top space. You can see between the pink and the yellow, the orange transition creates a beautiful effect. That is what happens when the colors are close to each other in the color wheel and go well with each other. That transition because of the third color is being formed mix the colors look very smooth. Now this time I've even added a little tint of a pistol pink color to my pink. That is the reason you can see the palette is quite opaque. And now I'm just going to clean my brush completely and then go ahead using in a little tint of the white for blending. So rather than using in the right, I'll go ahead with the orange or sorry, the deep yellow color only and blended well. So now you can see above and below the yellow color, both places you have a little of the orange tint form because of the transition effect. Because this time we haven't used the white in-between for blending. After every little time you can see I'm cleaning my brush so that the pigments do not get moved from one to other. So you could see when I clean my brush the last time it had a lot of pink and if I would have run that over the yellow, it would have completely hidden the yellow and turned it into an orange, which I didn't want. So after a few little blending, it's quite important to keep cleaning your brush. Now at the bottom you can see I've just gone ahead with a light cheat because most of that space will get covered up with the silicate later on. So that is it for the base layer of our sky. Now on this we are going to be adding in quite dark clouds this time. I'm going to go ahead and mixing the color for adding in the clouds. This time we're going to have quite ball looking clouds onto this pretty beautiful sky that we have created so far. For speaking up a little grayish blue, a tint you can just mix in a little tint of Plataea, Prussian blue color. So it's a very little tent or you can directly using or indigo color if you have a direct linear palette. And I'm going to go ahead with a little lighter tone of this first. So this time I'm using the angular brush and I'm just going to begin creating in the cloud shape using the tip of the brush. Now this color still seems a little dark, so I'm just going to mix in a little tender white to this so as to cut the color a little lighter, make it look perfectly, are going in harmony with the background sky. So as soon as I've added in that little tent or fight, it goes back down into the entire sky space. And now you can see I'm just using the tip of the angular brush and creating random cloud shapes leaving in spaces in between. Because then I'm going to go ahead with some more other color tones so as to get the blending and the transitions between the clouds as well. Now in the recipe says I'm going to go ahead with these smaller cloud details as well. So you can see we've added two huge clouds and then from the edges and pulling out the smaller looking clouds. Now seeing that the bottom space as well, I'm just going to go ahead with smaller clouds scattered out urine there. Also be very careful when you're using in the detailer brush for adding in these, you can either add this using an appointed tip brown dash or using an a flat brush if you do not have an angular brush. But having an angular brush makes the job easier. Now to the same mix I've added in a little more of the white color to get a lighter tint. And now near to the bigger clouds, I'm going to run with this lighter color and create a little blended effect and have to transitional between the color tones. So you can see between the cloud says, when you get in those two color transition happening in. Now using this lighter color as well, you can add in a few scattered clouds urine there if you wish to. Now I'm using my damp mop brush and I'm just trying to blend in some of these clouds into the background by just dabbing in there and making it go into the background. Make sure you do not have excess water or pigment on this brush. You directly just using the damp brush for blending and making it look settled into the background. So that is it. I've blended that one big cloud into the background and given it a little soft edge. Now, I'm going to go ahead with the further details. So now I've shifted to my round brush and using the lighter color mix, I'm just going to begin adding in some lighter highlights randomly into the sky. Now with the round brush, you can see I'm just going ahead with the simple half C strokes to add in those highlights. Now, in-between randomly, I'm even going to mix in a little tint of the violet color and given some highlights, mixed it with the same blue and the white color. So you can see over the violet color when you are adding in this violet color highlights, it looks as a perfect transition and going well blended into the sky. Look. So what you can simply do is the colors that you've used for the sky. You can go ahead with one tone, lighter or darker color for creating the highlights and adding in the details. So I'm going ahead with the same pink and the violet color mix to add in some highlights at the bottom space has been mentioned yet the top space you can see there's not much of the Cloud details that I've added as of now. Now with the violet color, I'm just going to go ahead and add in little details onto the blue color as well, using in the mop brush and creating some bigger cloud effect makes sure that you go in very gently because the blue color out for me, yours is already transparent. So if I run too much or to apply a lot of pressure, it will begin to turn out to or lighter again. So I've just given a rough overlay of the violet color to give him little transition there as well. Now let's wait for all of these to dry then move ahead further. So now my sky is completely dry it and I'm going to shift into my black color to begin adding in the silhouette. So I'm going to shift into my round brush to begin adding in the detail. I already have the black color from the previous exercises. Please route on my palette. So I'm just adding in little drops of water to this to reactivate the paint so that I can reuse them. And paints do not copy stay. Unlike acrylic colors, it's quite difficult to reactivate them and they go waste if they dry out on your palette. But with gouache and watercolor, you can always reactivate them and use it in some or the other way. Now I've gone ahead with a very opaque consistency for the black color as well. And very randomly, I'm creating it a very rough cityscape kind of a detail. So in-between I've given a little bush details and then in the center, just a small house roof shape that I've added in. Now the bottom space, I'm going to go ahead and fill it with the black color completely, since I had a lot of black color. So even after reactivating, you can see it is giving me that opaque love. But in case after the activating your colors, giving you some lighter look, make sure to use some opaque color so that you get the perfect opaque look out here. So now you can see right in the base layer we had used a very lighter pink at the bottom space because it was going to be covered in with the black color later on. Now I'm shifting into my liner brush and I'm going to begin adding in the further silhouette using the liner brush. In case if you do not have a liner brush, make sure you go ahead with a lighter, your detailer brush, which has a pointed tip so that you can get in the fine details. Or if you want, you can even go ahead and use in a black waterproof pen which has a pointed tip. And adding these details, you could go ahead with a 0.2 or 0.3 pen because that will give you these fine details. So I'm going to add in some of the wireline Paul details out here. Now randomly to some of the polls, I'm just adding in some box detail so as to show the detail look to these are polls that we are adding here. Now these details that I'm adding are very random and not from a specific reference. You can go ahead and add in your details to the power lines that we're creating here. It may not be exactly same as mine. Also, the placement can vary according to your venture, according to the reference or the subject that you are following ahead. Now connecting all of these polls using in the y lines, again with the liner brush, you can see how find the lines are. And I'm able to achieve these fine details with the help of this liner brush. Now from one of them. I'm showing the lines getting connected into the bottom cityscape that we have added in randomly. And these violins again are also very random. So you can go ahead with your own connecting points and just create a, you know, a lot of buyers out here so as to show a perfect power line view. Now I've shifted to my round brush size three and using the white quash, I'm going to create a beautiful moon out there in-between the clouds. So I'm going ahead with the white quash and I will create a small background which will act as the growing space. Now using my round brush, I'm just softening the edges. I'm just going to blend it well into the background so that it has a perfect or glowing effect. Now you can see the bottom layer purple color is also being visible because of the too much tab again blending. So I'm going ahead with one more layer so as to get in the growing space. Now, once you get into perfect glowing space, I'm just going to go ahead and add in a small moon in the center of this. So I adapt that space and create, added one more layer of the white color. Now you can see the growing space is looking perfectly fine. So at times you may not get it right in just one go, but with multiple layers usually get it right and it becomes quite beautiful and perfect glowing low. In the center, I've added a small moon and you can see how beautiful deploying space is looking right now. We are ready with our class project for these six as well. So let's remove the masking tape and see our final painting. Make sure you remove the masking tape against the paper so that you do not tear up your edges. And also make sure that your paper is completely dry, especially the edges so that the paints do not get lifted and not ruin up your edges. So you always are beautiful, multi-colored sunset for the day. I hope you guys enjoyed painting this beautiful view with me today and learned blending in the colors without the help of white gouache. I will see you guys soon into the day seven class project. Thank you so much for joining me into this class and painting along with me. 9. Day 7 - Seascape: Hello everyone. Welcome back to D7 of the 30-day quash challenge. Today we are going to be painting a simple C ski. So we are going to be going ahead with a color combination of t and the yellow color for this class project as well. I'm going to be using in the same 56 color heavy meal gouache set. Actually, I have or customize this palette according to my own colony. You can get the ready 56 color palette, or even you can customize and pick your own colors and build your own palette. So going ahead with the pencil sketch, I have first marked out the horizon line. Now at the bottom of the horizon line, I'm going to go ahead and just mark out a small folder line. So basically I just thought of taking the horizon line a little more below than the first-line that I marked out. That because on top of that we are even going to be having in the mountain genes still. And everything about the horizon line is going to be the sky and below is going to be the seascape that we are going to be painting. We're going to go ahead with a very simple one so that you can get a hang of how to paint in the waves. So to begin with, the colors that we're going to go ahead with is going to be the teal green or teal blue color that you can use, along with a little tinge of yellow. So I'm going ahead with this teal grayish blue color. So basically this is the blue color, but you can see it's a little on the darker side and not on the pieces site, but I'm going to use in little white quash. You can see when the color is spreading at this moment, it is not that opaque and anti-B white paper is still visible at places. That is because we are using in the student grade paint. Now next I have picked up the teal green color and I'm blending them both well so that we can get a little opaque consistency. Now I'm going to squeeze out a little bit of the white course so that I can go ahead with the blending all over again so that I can get in that opaque layer. So I'm going to lift up elitist end of the white quash now and run from below though of cobalt teal green color that we have added. So just one line below, and now I'm going to run the top so as to get the blending and the consistency right. So you can see as soon as we ran with the white color, the entire color theme turned to opaque. And plus the blending and the transitions look much better with the help of white. Now I have picked up the permanent yellow deep color and I'm going to begin with it at the horizon line. And by the time of each closer to the white color again, I will just pick up a little bit into fight on my brush so that I can get a transition between the white and the yellow as well and get a little lighter yellow tone in between. So you can see at the top we have the green color. Then you have a very light tint of the teal green mixed in with white, then you will have a very light tint of yellow mixed in with white. And then you will have the pure yellow color. I've lifted up the white and now again, I'm going ahead with the blending in the center space. So you can see with the help of the white color, we've got such beautiful transition or color composition going in. So when moving from the lighter to the darker shades. Now let's begin painting in the base layer for the CED as well. So I'm going to go ahead with the same yellow and the green color that we have used for this guy. So this E is basically going to be an exact reflection of the sky. So that is the reason closer to the horizon line before started the yellow color. Be a little careful at the horizon line so that you do not run over the colors of the sky again and ruin the perfect blend that we have coating. Also, you can see, despite using an, a student grade paint, it is not always that you cannot create or turn them into opaque paints. You can see just with the help of fight gosh, how I could turn some colors opaque and use it perfectly. And the consistency was also perfect. Now, even in the area, I'm just going ahead with the same text. Of using invite in-between for blending. Now I'm just going to go ahead with the cobalt green color a bit more and I'm sorry, the team color. And I'm just going to run from the bottom so as to give him little darker That's at the bottom space. So we're ready with the base layer of sea and the sky. Now I'm going to go ahead with the CVs buy-in by sea area is still a little bit because I want very soft look to my base. I'm going to go ahead with the same teal green color that I've used. And I'm going to begin adding in the V's. And for adding those fine waves have shifted to my liner brush so that I can get in those fine details. Now you can notice closer to the horizon line, I've left a little space in the sea area before. Big thing to add in the views because they're going to go ahead with lighter consistency and the color of the v's so as to show and maintain that yellow effect that we've tried to create the show they effect and reflection of the sky into the sea. So you can see I'm adding the waves very randomly crisscross to each other. And very gently you can see some of the waves are quite thin and some of the visa and actually turning a little thicker because of the quick movement of the brush. Now I've again, she's due to my filbert brush and very gently and just running it over the brush strokes that we added for the V. Now you can see how settled the waves are looking. They have such a soft look. Now because my background layer was still a little wet, that is the reason the waves have settled in. When I'm in class, I use the damp brush for blending them into the bathroom. So you can see how beautifully you can create the software blue now aspect of the permanent yellow deep color. And I'm just going to begin adding in some ways closer to the horizon line using this color mix. So I added a tint of orange to the yellow color so that it stands out well onto this yellow color that we've already added as the base layer. So in the same day as I was running with the green color waves now I'm running in with the yellow color from top than the bottom. Now as I'm moving more towards the bottom side, the yellow color visa going to be more or less because the sunlight effect is falling majorly closer to the horizon line and very little towards the bottom sides. I'm just going to give in very little details and that also medially in the center space. Now again, I've picked up a damp brush and now I'm going to run quickly onto the entire way so as to give them a soft look. Make sure you do not have excess water or any pigment on your brush. Otherwise, it will get laid out there. So you need to use a damp brush so far. Using it, I quickly they fit into water and then clean it thoroughly with very little moisture left on the brush and then run it gently onto the v so as to make it give us set a loop. Even if your base here dries out and if you run the **** brush, it will get settled in and give you that blended loops. Because gouache gets deactivated when you run water on top of it. So when you're running that **** brush on top of the veins, the BCL also gets activated and it blends well with the top layer. Now using the green color have given very little wave details closer to the horizon line. Now shifted. So my round brush and I'm going to pick up the black color which is already on my palette. And I'm going to begin adding in the mountain danger top of the horizon line. I'm using my size two round brush, which has a pointed tip. And we are going to be adding in a very small, tiny mountain range on the horizon line. You can either use a detailer brush or a flash that has a pointed tip. And go ahead adding these details. Now again, you can see I'm using the same black color from the previous class projects, but you can see it is still standing autopay because there was a lot of color and I'm using very minimal water to reactivate the paint. So it's very important to understand whenever you are going ahead with the re-weighting technique or using the colors on your palette unique to understand whether you need it in the opec consistency or a translucent consistency. Usually when you need it is opaque consistency. Either you will have to squeeze out fresh paint or if you have excess paint, then you can just play a little of water and let it go. Oh, you know, paint get reactivated on its own and then blend it using a brush that will help in not using too much water. And it will get reactivated in an opaque consistency. But that will require a little time. So be careful so that you do not lose the opacity of the paints. Now using the black color, It's going to go ahead and begin adding in some random drops into the sea space. So I'm going ahead with very random placement of the rocks and in all different shapes and sizes. So you can go ahead with your own or either of reference that you're following or anywhere, or how you wish to go ahead with the layout for the rock to all the details of the sea. Just be careful you do not overdo any one kind of TDM. You need to make sure that you go ahead and slowly building in these details. Because once you begin adding these details, there's no going back. You even have to go and corrected somehow. Then. Now closer to the horizon line, I'm just adding in a small space kind of a detail connected to the mountain range that we have added in. So you can see I'm slowly building in the details in the z-space. I'm not going ahead with one specific kind of a detail completely. I'm building in the rocks as well at different places of different shapes and different angles. Plus you can see how slowly and building in the short space as well, depending on where, what needs to go. You can go ahead with very different sizes of the rocks like your you can see I've gone ahead with very tiny rocks at the bottom space. Now using the black color, I'm just going to splatter in a few of the droplets of the black color at the bottom space to show some very tiny rocks floating onto the scene. Now make sure you cover up your sky. If you are not sure whether you'll be able to control the splatter of the black color. I've gone ahead with very little splatters majorly at the bottom side. So be very careful otherwise it will ruin up your sky completely. Two to three small drops out yours. I'm quickly going to dab it with a tissue and get rid of those. Summation. It's closer to the horizon line where we're still going to go ahead with the sun detail so it will get covered up. But be very careful if you're not confident about this intensity of this platter that you are going ahead with. It's always better to cover up your entire sky till the horizon lines. And even a little of disease-based because you need these platters usually at the bottom space to show some very small rocks. Now I've listed the white quash and I'm just going ahead creating in a growing space out there for the sun. And I'm using a little tinge of the yellow and the orange color mix as well. Along with it. With the same color, I'm just adding in little cloud effect randomly at places. So basically my son is going to be in the center and on both the left and the right side for the sun that we will be adding. I'm creating a growing space, trying to show the effect of the sunlight across it as well. So in this Endo, using the white gouache I've added in a small son. Now using the white quash, I'm even going to pull out some of the sundries. Now in case if you're not confident about pulling out these trees using the brush, you can go ahead and using a white gel pen to pull out these risks. But make sure that you have a very fine pointed tip fight pen so that you get these details right? I have picked up a damp brush and from center I'm going to pull out the white color out in the form of this popping up from the sun space. So I've just picked up my liner brush to pull out these genes so that I can get in those fine strokes. And I've lifted up little of the white quash as well on my brush. Now from the center I'm going to begin pulling out these visa. So approximately just one one-and-a-half centimeters plus all of these v's out of different heights. Some of them are taller, some of them are shorter so as to give him the perfect balance. Sunlight effect. So you can see how beautiful the sunlight effect is coming out to be. It's looking as if the light of the sun is falling in the form of rays outside. Now I've mixed in a little more tender of the orange color to my yellow color on the palette. And I'm going to use this color and begin adding in the detail of the sun. So basically on the white center patch that I've added, I'm going to go ahead with this color. So that is it for the sounds p. So we basically created in the growing space using in the course first and then add it in the sun effect with the orange color, you can see the background whitespace is looking so beautiful. I'm trying to show the light of the sun into the sky. Now using the black color, I'm going to add in a few of the boards as well into the sky. So far the boards as well. You can go ahead with any kind of board that you wish to add in. I'm going ahead with a little detail view boards this time. So you can see I've tried to give him little feather details, little body details, all as well. But it's absolutely your choice if you wish to go ahead with the simple silhouette of the board and not the detailed one. I've gone ahead with a mix of both kinds of boards in-between. I've added in some simple boards as well as some detail boards. So you also finally painting. Let me give you a closer view of the sun effect. So you can see the rays are creating the perfect sunset effect and trying to show sunlight falling onto the sky in the form of those genes. So that we're ready with our class project. I'm just going to correct this board a bit. So let's remove the masking tape and see your final painting with those edges. Make sure that your edges are completely dried before you begin to remove in your masking tape. And always remove the masking tape against your paper so that you do not tear off the edges and the paints do not get lifted from the paper. You also simple seascape using in a very different color combination of the teal green, teal blue and the yellow and the orange sheets. I hope you guys enjoyed painting this beautiful seascape with me today. I will see you guys soon into the class project. Thank you so much once again for joining me for this class. 10. Day 8 - Walking through the Road: Hello everyone. Welcome back to day eight of the 30-day bookmark wash challenge. Today we are going to be painting a beautiful route side scene. So let's begin with a very simple pencil sketch. First, I've marked out the horizon line. At the bottom of the horizon line is going to be a path v. And across both sides of the pathway, it's going to be a greenery space that we will be painting. The top is going to be a beautiful pink evening sky look. Now on top of the horizon line, I'm just going to add in very simple cityscape details. So I'm just adding in the roofs of the houses and we're not going to give these houses the detailed look. We're just going to give it very simple loop. In the center we have the houses and on both the left and the right edges, we again have the greenery which will be blending in with the roadside greenery. So as we begin adding in the colors, you will be better able to judge how the entire composition is going about. Let's begin squeezing out the colors one-by-one. So fast I'm spacing out a little bit of the white gouache because we'll be hearing that for blending and for creating in some lighter tones at species. The next color that I'm using is this bright red color from the Magellan mission set. Now in case if you do not have a bright red color, you can go ahead with a scarlet color or any of bright red color or a pinkish tone if you want, because I'm going to be mixing in a little bit of white to this and then using it. Next, you would be needing a little turned off the yellow color. You can either use a permanent yellow light, permanent yellow deep, whichever is available in your palette, but not too dark tone. Go ahead with a medium consistency. I've picked up a little bit of the white and I'm mixing it with the leftover blues from the previous exercise on my palette, you can go ahead with any medium tone blue that you wish to go ahead. Or if you also have any of the blue leftover on your palette from the previous exercise. You can just add in a little tint of the white gouache and use the same color. I'm just laying down the little tins of the blue. On the right side, you can see I'm just adding a little towards the edges because on the rest of the paper I'm going to be going ahead with the red and the white color mix and blend it well with the blue tones. So now I'm mixing in white along with this bright red color. And you will see a very beautiful pinkish red tone that gets formed because of mixing of white with this bright red color. The remaining spaces, I've added this bright red color mixed in with white. Now in the space between the blue and the red, I've just added in literal sense of the white. And now I'm going to go ahead and blend all of these step-by-step. So you can either first go ahead and blend in the pink along with the white and then move on to the blue. But in case if you're moving directly to the blue as well, then be very careful that after every stroke you clean up your brush so you can see I'm blending the blue and the white quash together. And now I'm going to clean my brush in-between. You can still see the unevenness and blending. So you need to go with little layers so as to build in the plantings right. Now you can see a little of the blue has been overpowering or method. That is the reason I'm running ahead with the same red and white color mix one more. And now you can see the planting stoning much more better. So you may not get the blending is right in one go. At times you may have to go ahead with two to three layers so as to get the blending and the transition between the colors going in smoothly. Now again, you can see I'm adding in little gluten from the edges. And since my pains are already wet and there is white content in-between both the colors. The colors are blending in easily and having a perfect transition as well as smooth going between them. Now, one last time I'm again going to run little of the red color and getting the blending is perfect. Now using the yellow color, I'm just going to go ahead and given very small sunset detail closer to the plenary and the cityscape area that we have created. So I've just laid a little of the yellow color and now I'm just going to go ahead and blend it into the pink tones. So in case if you want, you can use in a little tent of the white color for blending in. Or you can even use the base layer red and white color mix so as to get the blending and the transition well between the yellow as well. So it's a very small tinge of yellow that we have added, not match off the yellow highlight, just a very small or sunset detail to show it. Now next time we're going to begin painting in the pathway, on the pathway as well. I'm going to go ahead with the same colors so fast. I'm going ahead with the red and the white color mix. Now on the pathway I want to show the effect of the sky or colors falling on the pathway as well. That is a reason I'm going ahead with the same color mix here as well. So first with the red and the white color mix that I'm going ahead with. Now, in the center you can see I've left in the space where I'm going to go ahead with the black color. I'm simply reactivating the black from my palette and I'm just mixing it with the blues. So first I'll give it a greenish tint and then wherever needed, I will give him some of the dark highlights using in the black color. So basically this red color that we have added is going to go ahead and blend in. And then you will just see the highlight of the red color being visible on the gray tones, which will act as if the light of the sky is falling on the pathway. So what we have done for the road right now is just the color blocking. We still have to blend it and getting the perfect field and the transition and the glowing effect. So I'm just going to use my biggest size filbert brush. So I've just dipped it a little bit into the water. And now I'm just going to go ahead and blend in this gray and the reddish tone. So you can see both the colors are getting laid over each other and that is exactly what I want. And now you can see the red color is only leaving a small highlight on the pathway trying to show the effect of this guy colors falling in your. Now I'm just going to go ahead with a little more darker tint off the gray colors. I've added in a little more of the black to the white and the blue mix. And I'm just going to give in darker effects at the bottom space. So majorly in the center part, you need to have in those red highlights, the top and bottom you need to have in those crazy things. So that was about a pathway. Now let's begin adding in the greenery species. So for the greenery spaces, I'm first going to go ahead with the black color as the base layer. Remember, since we are working with gouache, even the lighter tones will be visible perfectly on the darker tones that we added. So go ahead with the black color first. I'm just going to create a very rough detail with the black color. So at the top I'm just dabbing in the tip of the brush and giving in some kind of a detail at the bottom space. I'm just going to go ahead and fill in this space with the black color completely. The same process I'm going to be following at the left side as well. But in-between the cityscape space, I'm going to leave it blank. I'm not going to add in the black color there. Then we will go ahead with another base TO colors so as to begin adding in the details there. Now in the same way, I'm beginning on the left side as well. So first at the top space, giving in a little detail bush loop, then the entire bottom space, I'm going to fill it with the black color. Once these black color dries out, we're going to go ahead and add in the leaves with two to three different color tonal values of the green color that will stand out even on the black color because of the properties of squash, that since the colors are opaque, it stands out even on the darker tones. I'm almost done filling out this pace with the black color on the left side as well. Now you can see only in the center we have a little of the space left for us. I'm just giving it a little bush DID and at the bottom space as well. Now, I'm going to go ahead and fill in that cityscapes space as well. So for that, I'm going to use in the burnt sienna color. You can go ahead and use in any brown tone which is available in your palate. It may not be exactly the same color as mine. I've just created a rough roof detail and I'm filling the entire space with the brown color. As I told you, we are not going to be giving in much of the detail view to these houses. Rather, I'm just going to give him very simple details and highlights with the white gouache or white gel pen later on. Now let's move on and create our greens. So first I'm going to squeeze out a little bit of the dark sap green color out here on my palette. And then into this, I'm going to begin adding in the other color mixes as well. So we're going to create some lighter tones by mixing in the white color to it and some lighter tones you can mixing the yellow color as well. So I'm first going to go ahead and pick up this tag, sap green color. And directly using this dark sap green, I'm just going to go ahead and add in some leaf details. Make sure that your black color layer is completely dried before you begin to add in these green details. Otherwise, both the black and the greens will begin marching into each other. And once you're black is dried and you begin adding in these greens, you need to keep your hand and the pressure very gentle so that you do not add in a lot of pressure. You need to make sure that your hands are gentle so that it will not reactivate the paisley a black color because we are using water-soluble gouache and because of too much pressure and the wet color on top of it, it may get reactivated and again, blending and will not let you get in those green looks. Now at the top as well, just using the tip of the brush I've given in some detail bush and the grass know, with the green color as well. Now till the bottom space, I'm just dabbing in this color. It may not clearly be visible to you at the moment because the green is yet to try out. And still we are going to go ahead with much more lighter tones as well. Now, in the same way, I'm going ahead quickly on the left side as well, and then we will shift into the next green. So adding these leaves maybe a calming process for some people. It may be a tedious process for some people. And since we're working with caution, if you're finding it too tedious to add on all the layers of leaves together. You can add in some, take a small break, heavier coffee, and then come back and go ahead with it. Because unlike watercolors, you can take breaks in between by working with gouache in watercolors as well, you can take breaks, but only when your layer is drying out or you're going to walk dry, wet on dry details only then you can go ahead with the wedding. But if you're working wet on wet, you can not taking breaks out there. Otherwise it may ruin up the entire painting. And me give you a sharp edges. Onto the pathway liners by just giving it some finishing touches. So you can see the path we closer to the horizon line is almost diminished in-between the bushes. That is exactly what we want to show in the pathway coming out from somewhere which is not visible to our view. Now on top of these houses as well, I'm just going go ahead with little of the greenery details to showing some background trees from the houses as bad. Now after this, I'll wait for this first layer of the green to dry out completely and then go ahead with further lighter tone of the green color so that the details stand out much more better. So let's wait for this to dry and then go ahead with the next layer of the greens. So my first layer of the greens has dried completely and now I'm going to go ahead with the next layer. So for the next layer, I'm going to go ahead and mix in a little tinge of the white to my dark sap green color. You can either go ahead and mix in a little tent of the yellow or use a lighter green directly. You can even use a greenish yellow color, a light green color. Or you can simply mixing white and yellow and get a lighter green if you want to reuse the same green that is already out on your palette. Now with the same dabbing technique, I'm going to go ahead and add in some green details. So this is a beauty when you have to add in the grasses, you do not have to worry about any shape. You just have to go ahead randomly and keep dabbing in the tip of your brush to get in those green details. And when they come in all together, they look in as a bunch of the green grasses or the green bushes out there together. Now you can see how beautiful this lighter green is popping out on the dark green and the black color and the background darker tones of the green and black that we have used acts as the shadow to these lighter green grasses and mix the space looked filled up completely. Now in the same way I'm going ahead on the other side as well. And on the other side you can see random PM even adding branches of leaves out there. So as to give it a little more different detail to these details that we are adding in. You're also, you can see I'm holding the brush much closer to the present so as to get the precision and comfort while adding in these details. So I've quickly gone ahead and added in the details almost onto the left side as well. Now for the next layer of the greens, I'm going to go ahead and pick up a little bit of olive green color and mix it to the greens on my palette and create a little more different green tone and go ahead with the next layer for the grasses. So I've just mixed in a little tinge of the olive green to the right and the sap green mix. And I'm just going ahead with the text layer of leaves on top of this layer itself. So now you can see some of the lighter greens are also getting covered up with these darker green. I'm creating in the perfect detail. Look for the leaves as Ben. So on both the sides I've gone ahead with this green tone and a little bit towards the top side as well. Now using the black color, I'm going to add in tuples by the roadside. First one, a bigger one on the left side, which is going to act in as the street ball. And then on the right side I'm just going to add in sorry, on the left side, I'm just going to add a very small fence, kind of a poll just across the road side, in-between the greenery spaces. Now using the black color, I'm just adding in little more detail view for the grass onto the left side as well. Also, I forgot to mention one thing. If you remember, we had added a very small yellow tint in the sky. You can see I've made sure to not cover that up with all the grass details that we have added it. You can see how beautiful that little sunset color is looking from behind these green bushes that we have added, toning the sky into a beautiful evening, night sky transformation. Lastly, using in the white quash, I'm just giving you some highlights onto the road me and other details and onto the houses as well. In-between the grasses as well, you can see very little highlights that I'm going ahead. Now. Lastly, using the black color, I'm just going to go ahead and add in the pathway line so as to make the distinction between the pathway and the green grasses clear. Lastly, using in the white and the red color mix, I'm just going to add in some highlights on the roadway as bad so as to show in the traffic movement as well. Now, make sure this color is very light. You can see I've added in a lot of white to the red color and use this so that the skylight effect is falling on the entire roadway as we are trying to depict it. So let's remove the masking tape and see your final painting. I hope you guys enjoyed painting this beautiful roadway with me today. Make sure and be very careful while removing the masking tape because you can see how quickly it got pulled up. So here's a closer look and the final painting for the aid of this 30-day gouache challenge. I hope you guys enjoyed painting this beautiful one with me today. I will see you guys tomorrow into the next class project. 11. Day 9 - Through the Window: Hello everyone. Welcome back to day nine of the 30 day in cross challenge. Today we are going to be painting yet another beautiful landscape. And this time it's going to be a window view. So I have the three colors from the Magellan mission set. This is a bluish gray color. This is the medium yellow tone, and this is a sky blue towards the basal side. So I'm going to be using in these three colors. Now, do not worry if you do not have these sheets for this blue color, that's the grayish blue color. You can simply mixing your occlusion blue with a little tint of white and black color. And you will get space to grayish blue, kind of a tone to this as well. I've just added a little more off the white to make it more towards the lighter side. And now I'm going to begin adding this first at the top space. Make sure that you do not add a lot of water because we want these colors to be quite opaque enough so that the bottom underneath white paper does not stay visible. So at the top of this guy, I first added in this grayish blue kind of a tint. Now next I'm going to shift in this lavender blue, royal blue, kind of a tone that I have here. You can go ahead for the lavender color if you have, or even for this royal blue color tone, if you have either of it or you can simply mixing ultramarine blue with white to get this similar-looking tone. I'm adding this tone just below the grayish blue color that we have added in. Now again, before shifting into the yellow color, I'm going to go ahead with a little bit as white below this royal blue color. And then I'm going to shift into the yellow color so that there are no greens formed in between with the help of fight, the blending will also be smoother. So adding the white below and I'm just going to run my brush till the top so as to get the tones perfect. And even over the white you can see I'm giving in a very little highlight of the blue color. Now in the entire bottom space, I'm going to run in with the yellow color completely and make sure that you blend well. And if needed, you can go ahead and using the white color in between for blending. This is just the base here of the sky. Onto this, we're going to be adding in a lot of Cloud details using the same colors with the little thin distance with the help of bytes. And then we're going to add in a window to this to show the sky coming out from a window view. So now you can see I'm blending from top to bottom, that is from the yellow to the blue color. And you can see the yellow color being overpowering over to the blue color that we added. And it's giving him that light tint over the blue shades as well. And it is not forming a green because we've used white in-between for blending. I'm absolutely in love with the blending of the sky and how this guy, Carlos, have turned out lending in well with each other with the help of those lighter tones in-between, with the help of byte codes that we use for blending. Now, next I'm going to begin adding in the Cloud DNS. And for that I shifted into my round brush and I told you the Cloud DNS also we are going to be adding in with the same colors that we used for the base here of the sky, so forth, beginning in with the grayish blue color and using the round brush, I'm just going to go ahead and add in hussy strokes closer to each other to create the depth into the Cloud. So first on the yellow color space, am going ahead with this darker color clouds. But in-between, I'm even going to reread this color by adjusting in the white proportion in the color mix. Now in the same day using the lighter tones as well, I'm just adding in some low cloud details. Now make sure you do not cover up the entire yellow space at the above area. The reason I'm giving in this one big cloud out here because then we are going to be having in the black color window grills. Which will try to show that these clouds are coming in from the sky. And then from behind you have the yellow glowing light that will be falling in in-between again for blending again, see I'm picking up littleness to darker tones and just going ahead, layer on the lighter tones in between and giving him the blends. Now after adding in that one big cloud, I'm going to go ahead and smaller clouds. Now all of the clocks that I'll be adding will be quite small as compared to this one big cloud that I've added in. Now in between, if you want, you can keep our flat or a filbert brush in your hand if you want to make the clouds look soft and blended well into the sky. So I'm going to use a mix of both the Cloud. Some of them are going to stand out bold and vibrant. Some of them, I'm going to blend them quickly using in the filbert brush. So you can see I'm going ahead with both of the techniques. And using the filbert brush, I'm just blending in the edges into the diagram, giving in the soft loop and turning it lighter. You can see how smoothly blend into the background and gives you an acetal look. Now at the top space as well, I'm just going to head with the darker tone and I'm going to blend it. And given some subtle Cloud looked to trying to show in very light clouds at the top space. And then later on we'll add in little highlights to these. So you can see how slowly we are building in the entire sky. Now in-between, I'm using the mop brushes bell and just giving in little detail, sorry, the round brush and I'm just blending into the sky and giving him very dark cloud shapes. You can see I'm not giving in this setting and the soft cloud look completely. I'm going ahead with very rough and, uh, you know, sharp strokes as well, and lethal type rash detail as well so as to give him the aesthetics to the Cloud. Now next time mixing in a little bit into fight to the yellow color. And I'm going to use this lighter tints to add in some further highlights. So I've swiped off excess of the pain so that I do not add in matches the highlights. You can see I'm going ahead with very light tins of the highlight just underneath the blue clouds that we've added. Now feel that these highlights are quite prominent and just quickly blending them into the bag don't base layer again. So that is it now for our first layer. Now let's read through all of these to dry out completely and then go ahead further with the next layer and further adding in the details for today's class project. So let's wait for this to dry now. So now my size drive complete. Yeah, I'm going to squeeze out a little tint of the black color out here on my palette. And we'll begin adding in the window panes first. So using the black color, I'm going to begin adding in the window pane. I've shifted to my size two round brush so that I can get in some detail lines to match the outline for the window grill first. So at the bottom space I'm going to have in a small city scape as very visible from behind the window. So first I'm just adding in the outline out there and then I'm going to fill the entire bottom space with the black color, which will include the cityscape black as well, as well as the window grill black at the bottom space. Make sure you're using the black color in an opaque consistency so that the underneath layer is not visible. You need to make sure that you've not add a lot of water. Or pick up the color in a very loose consistency, you will not get the opaque. Now you can see the effect of those blue clouds coming in from behind the cityscape area and then shifting into the yellow sky, giving in all of the depth to our sky and then die of painting. Now I'm going to go ahead and mark out the window grill for the top space. So what you could do is you could first wait and watch out the entire outline that I'm giving it, and then go ahead with your own window will layout, if you want, you can go ahead with the same layout for the window, or you can go ahead with any other silhouette audit scenes of your choice. If you have any. If you're not confident about adding these lines directly with the help of a brush, you can go ahead and use a marker and mark the outlines and then fill in the spaces with the black color. You can go ahead and slowly and just have a pencil sketch and then go ahead filling in the details. The fine lines. You can even use article marker and directly add them with the help of a scale and MacArthur, who do not wish to go ahead with the brush. You're going ahead with the brush. Make sure you are using in detail brushes. I'm just going to go ahead with the pencil and the skin and just mark out one of the lines so that even I can have a little ease of movement. But in case if you're using in-between, make sure that the black color is still wet. So you have to lay off scale and the pencil very carefully. Now this bends in line may not be visible to you because it's over on the color. But it's visible to me and I'll quickly fill in the space so that you can accordingly determine the speed. So now the entire left side is going to be filled in with the black color. That is the reason you can notice I have not added much clouds on the top left side. I have kept that space very empty and minima because I knew it does as it is going to be filled in with the black color of the windowpane. Now before beginning to fill in with the black color, I'm just going ahead with some more detail line. You can see I'm taking the line in-between going in very slowly. Plus since I have my paper taped down on a movable surface, you can see how does for me to adjust the angle of the board according to the comfort of my hand movements and then adding the details very carefully accordingly. Now filling in this entire call-outs with the black color, but given that thick windowpane detail, just giving him some finishing touches as Beth was to make these lines look perfect and bold enough. So before moving ahead, I'm just going to go ahead and give in more detail lines. That is, I'm just going to define the line street and crisp again and just run on the edges so as to give them the perfect ETA. Now at the bottom left side here, I'm just going to go ahead and add in some bush didn't, because you can see the blue cloud is taking too much of the space and focus, which I want to reduce a bit. So that is the reason I'm going to go ahead with some bush tea. Then I'm just going to go ahead with the simple technique for cuff adding in these bushes, just having in the tip of my brush and then the bottom space I'm going to select some leaves me with the black color. Now just filling the rest of the bobbin space with the black color. And you can see how beautifully we've introduced the effect of that bigger cloud out there in the background. Now after this, to add in the city light detail, in the black color spaces at the bottom space do not, but even the city lights will be visible over on the black color as well because of the property, of course, the opacity of gouache. So let's begin creating in the first layer for the glowing lights. And for that I'm going to use in my whitewash with a very low content of the yellow color. Before you begin to add in this, make sure that your black space at the bottom, that is the city cityscape area, is completely dry. Make sure your brushes clean if you're using the same brush and it does not have any previous color tint. To the right, you can see I've added a very small tinge of yellow color and form Linux image kind of a thing. And now I'm going to first create in the glowing spaces for the lights that we will be adding in photo. If you have been following me for a while, you know, I love adding these glowing lights to my moon, to the city light effects and then adding the final details. Because this creates in the growing space. Now using a tinge of yellow and the damp brush, I'm just blending it into the background so that's at dries up completely and then add in the city light on top of it. On the edges, as you can see, I'm running my **** brush so that it has a soft and a blended look into the background. Now let's move for this photosphere of the growing space to dry and then we'll add the final details and removing the masking tape. Now I'm going to squeeze out a little of the permanent yellow, orange color. And I'm going to go ahead using this color to adding those bold light effect. My first BCR is completely dry. I'm just going ahead with the next layer. And we are almost through the class project for the night. So I've mixed in and it didn't end of the white along with the orange color and just mixing it with the yellow out here so as to get a yellowish orange light tone. Now in the center of these drawings pieces I'm adding in these bold, vibrant, light, opaque consistency of this color. And then other places I'm adding invidious one box, two sources of light for which we haven't created in the growing space. But you can see the ones that we created the growing space. How distinct leads standing out because of the glowing background space that we have in Europe. If you want, you can go ahead with a few more of the growing species as well, and then some smaller lights group. You don't have a balance between the glowing lights as well as the LDL and the background lights. You can see some of the lights I've added in very small, very tiny trying to solve them. I'm just mixing in a little more of the white color and going to go ahead with sunlight at all nighters and some highlights as well. So I'm just adding in these little highlights here you can see to mark out the edges of the building to show the effect of the glowing lights falling in. And do the glowing lights as well. I'm adding in more detail so as to show as if these are the street lights in-between the entire cityscape. One last highlight, you're on the pole of the window pane to show the light effect falling out your as well. So that is it. We're ready with our class project. Let's remove the masking tape and see your final painting for the night. So you also final class project for D9 of this statistic was challenged. I hope you guys enjoyed painting this beautiful color combination for today and enjoy eating in those glowing light space as well. As well as giving him the details for clouds. And you can have a closer look and see how beautiful that little cityscape is looking. Thank you so much for joining me for this class. 12. Day 10 - Into the Clouds: Hello everyone. Welcome back to day ten of the 30 day cause challenge. Today we are going to be painting one of my most favorite from this Saturday class project. Today we're going to be painting a beautiful sunset seascape. Let's begin with a very simple pencil sketch. The first one is going to be marking out the horizon line almost in the center this time that I'm going ahead with, this time for the sky, I'm going to go ahead with a very different color combination, which is going to be a blue, brown and orange color combination. Then in the Sierras bear, we're going to go ahead with the same color combination. And then we're going to have a lot of misty pine trees on top of our horizon line. Plus has taken up a small beach area, or you can say the short space closer to the horizon line. And then we're going to add in the reflection to the pine trees. I've gone ahead with a very simple pencil sketch because most of these will get covered when you begin adding in the pains. So this was just for your overview and how the class project is going to go about and what elements are we adding? I've gone ahead with the simple pencil sketch. Now, let's remove in the colors that we will be using. The first color that I will be using is going to be the Prussian blue color. You can go ahead with any medium to medium dark tone blue, whichever is available in your palette. Next, I'm going to squeeze out a little bit of the brown color as well. So for the brown, I'm going to go ahead with the burnt sienna color. You can go ahead with any medium tone of brown or even a light red color. So I'll go ahead with this light red color instead of the burnt sienna color. Because this tone will match in much better with the orange color tone that I will be going ahead with. Do not worry. If you do not have the same light red tone, you can simply mixing a little hint of your bright red or permanent red with a little bit of the bond sienna, and get a brownish red tone. Next for the orange, I'm going to go ahead with the permanent orange color. So I'm going to squeeze out a little of the permanent orange as well. So these are the three colors that we'll be going ahead for the sky. Now, let's begin adding in the sky. So I'm going to be using in this mop brush. This is one-fourth inch oval mop brush from the Velvet Touch series from the brand Princeton. Do not worry if you do not have the exact same brush, you can simply go ahead with a nominal smaller size mop brush, because this time I'm going to be creating in the Cloud in a very sky actually in a very rough, loose manner. So first beginning with the Prussian blue color, I'm going to go ahead and very round patterns this time to create the depth and the details in the sky. Now, next time lifting up a little bit of the white color and I'm going to begin blending it with the blues. And then again, I will go ahead with some darker blue at the top spaces and creating the blends. Now I've lifted up the same dark blue tone again and I'm going ahead with the dark blue color at the top space again and blending it with the white. This time you can see I'm going ahead in circular motion for creating in the depth into the sky and the clouds. Rather than going ahead with this simple flat blending method. Again, going ahead with a little bit of phi to add in that trauma into the clouds. So now I've just blended the white and the blue well enough. And I've given them a little flat or detail as well for now. Because when I go ahead with the orange and the browns, I'll again the blending all of them together. Now I've mixed in a little tent of orange to the white color and I'm going ahead closer to the blue color first. Do not go ahead with directly the orange color closer to the blue because then you'll make it in muddy tones. But since we've mixed it in with the white color, you can see we're not getting any muddy tones. Plus the color blending is going in fine enough. Now next I'm going to head with a little darker tint off the orange and the white mix. And I'm just going to go ahead and begin adding it below in the space, just underneath the blue color space. And again, you are also, you can see I'm going to add in little circular angles so as to get those blend. And the effect on depth into the sky. Now next aspect that orange color directly and applying it closer to the mix of white and orange color. Now you can see because of the white and orange it between the blue, we're not getting in any muddy tones plus b or having a smooth transition. Now, I have cleaned my brush and just using a damp brush, I'm gradually going to begin blending in the blues along with the orange colored tones. Be very careful after little spaces. Make sure to clean up your brush so that the blue color that gets lifted does not create any muddy tones by the time that you reach the bottom layer, orange, you can see I'm laying down a little bit of light blue color mix on the orange color as well, so as to show the transition, oh, you know, shifting from one color to the other, going in smooth. You can see I'm using the same circular motion angles so as to blend and getting the depth. Now next I'm going to shift into a little thing to off the light red color and begin adding. Get closer to the orange color at the bottom space. Now with the light red color, be very careful that you don't go ahead with a very dark tone of the brown color. Because if you will go ahead with a very dark prone, it will not set in well with the orange color that we're using in. So make sure that the colors go well with how many in each other and chosen as a perfect transition. Now see, we have just added in middle of the orange color till the horizon line, sorry, the brown, red color till the horizon line. Now I'm going to pick up a little of the brown red color and this begin adding in little depth and little strokes as well at the bottom space. So you can see I'm using the same mop brush, but very gently, I'm just using the tip so as to add in these strokes and creating the debt. Shifting to my smaller sized round brush so as to add a little more depth into the sky with some darker tones. So I'm just going to mix in a very small tinge of the black color to this red brown color. So as to add in just a very little darker effect as well. I'm going to blend all of these well into the background and not let them be this prominent. Now using the mop brush along, I'm just going to blend these and give them a soft edge. So I'm using the damp brush and just very quickly blending them at the bottom space into the bottom of base layer. You can see now these clouds are adding in a different effect on layer two, the entire painting out here. In the same way. I'm just going to add in a little more of the darker depth at the bottom spaces. So in this entire painting, you can see as chi is not a simple flat layer blending. Rather we have in the circular motion blending this time, you can either use a mop brush or bigger sized round brush or even a flat brush or a filbert brush. And just keep moving your brush in circular angles. So in case if you're using a flat or a filbert brush, you will have to keep your brush oh, you know, the inner sleeping angles so that you get in the flat side of the bristles to move ahead in circular motions. So very slowly you can see I'm building in the depth with the brown color. And I have kept blending all of them using in the mop brush in-between wherever I added in the colors at the bottom space, I blended it using the damp brush and make sure that after every blending you clean your brush. Otherwise the colors will get lifted. Now let's begin adding in the sea area. So we'll add the details on the horizon line later on. Let's begin adding in the CAD or false so that all of these tryout together. So in the C majorly, it's going to be the orange and the brown color that I'm going to go ahead Wake Forest going ahead with a layer of orange color. Now, in the remaining space, I'm going ahead with another layer of orange color, but with a little mix of the white. You can see this is one tone lighter than the previous orange that we use closer to the horizon line. The reason of keeping the orange dark closer to the horizon line is because you can see just above the horizon line it is the brown color. So to show that reflection of exactly that, it's going to be in the reverse proportion. So we're going to show in the brown details more closer to the horizon line, which will be just about the darker orange color that we've used. Now I'm just going to go ahead with a little layer of the blue color here because it may not be visible to you on the screen, but on my paper I can see the underlying. Or white paper tone still visible. That is, the blue layer is not that opaque. So as to have in the opaque loop, I'm going to quickly add in one more layer of the blue and quickly blend them into the bottom space. So this is again the beauty of gouache. Even if the paint is dry, you can quickly run in another layer and again, blend them using with the help of a **** brush and the same colors again. So now again you can see two so as to get the blending with the orange cosmo, I'm just using in the mix of the orange and white again closer to the blue to give in the cloud effect. So if it costs, you can see how easily you can go ahead with another layer. If at any place or any specific point, you'll feel that the blending or the opacity of the colors is not what you intended to have. Now using the light red color, I'm going to begin adding in the depth into the C part. So I'm just going to begin with this light red color, much more closer to the horizon line first. And then moving downwards, I'm going to keep it towards the edges. And you can see as I'm moving downwards, I'm darkening the color lighter by not lifting any fresh color. I'm just dragging my brush with whatever color remains on the top of the brush. So closer to the horizon line, you have to give him the darker death. And as you move towards the bottom side, just pull in light of waves from the edges. Now, I'm going to mix in a little tent of the black to my brown, red, light red color. And I'm going to begin adding in some more darker depth as well into the vape pod. And then we'll go ahead and add in the pine trees and the details for the painting. But make sure you do not pick up this color. Not too thick consistency or too dark consistency. You can see on the palette of colors still seems to be a little darker than what it is getting applied here. So I've made sure that while picking and adding in the color, I've gone ahead with the lighter tones. And I'm just laying down the colors for now. And then I'm going to go ahead and blend all of these well together. So now at this point, if you see these all seem to be just patches of color. So now I'm going to lift up a little of the orange mixed in with the white and add it in the center and then begin blending all of these together. I've lifted a little of the orange mixed in with white and I've just laid there and make sure you keep cleaning your brush if the Brown gets lifted. Now I'm going to go ahead and blend all of these well together for the background layer. So I just had a little of the orange and the white color on my brush, and I've blended all of these well. You can see now we have more of the brown colored the bottom side and closer to the horizon line. Now on top of this again, I'm just going to go ahead and add in further detail. Now first I'm going to pick up the orange mixed in with white and lay down this lighter tone in the center space of the sea area. Because in the sky as well, you can see in the center of the sky, you have the light to turn off the orange and the blue color. So to reflect that your raspberry I've just added in the lighter tones. And now again from the edges I'm blending it all well with this lighter tone. And you can see the edges also turn one tone lighter and in the center as value getting that lighter tone. Now I'm again going to squeeze out a little bit of the nitrate callout on my palette because the previous light red color is completely mixed in with black, which I do not want that darker tone as of now. So I'm just going to squeeze out a little of the flesh tone again. And now from the edges, while the base layer is still a little wet, I'm just adding in little strokes to actin as the vase. And you can see this time it's quite light as compared to the background darker tones that we already have. So now the background tones will act in as a little bit of the shadow to these lighter wave tones that you are adding right down. So that is it. Now let's wait for all of this to dry and then add the final pine trees into this painting. So now everything has dried completely and I'm going to go ahead and using the black color and begin adding in the pine trees into the painting. So we are going to be adding in the pine trees majorly on the left side. And then we're going to even add in a very simple reflection to all of it as well. So foster distinguish the horizon line I've given in a very small mountain range at the horizon line and even the bottom-left side closer to the horizon line, which is white. I'm just filling it with the black color because I'm going to show in the pine trees coming out from that space. So on the right side, I'm not going to be adding in the pine trees. That is the reason on the right side you can see I'm defining the mountain range quite well and crisp. Now beginning from the center, I'm going to begin adding in the pine trees. So beginning from the bottom short space that we have added just below the horizon line. You can see very simple pine tree details. I'm not going to go ahead with the detail looking ones. You can go ahead with the quick pine trees out here. Also, if you notice I'm going ahead with different heights of the pine trees. I'm not going ahead with the same height. Plus in-between them you can see the background is still visible closer to the horizon line, giving him the details look to the painting and the pine trees. Now in the same way, I'm just going to go ahead and add in a few more pine trees on the left side. And this big one, I'm going to add it in a little detail manner and create little focus out here. In-between you can see again, I added in the smaller one so as to balance the type of details that you add in. I'm almost done adding in the pine trees. Now let's add in the reflection to these pine trees. So the reflection is going to be in the bottom space and it's going to be very simple one. So far the reflection, I'm not using the black color in a very dark consistency and I'm dabbing it quickly so that I turn it towards a lighter tone as well. And further deflection, you can see the foliage I'm adding in very quickly, just moving left to right quickly. So you can either force, dilute your color and get it to a lighter consistency and then added or you can just dab in after adding in so that it turns lighter and you'll get in the reflection tones. So very quickly you can see I added in the reflection and in a very rough manner. It's not at all a detailed reflection. Reflection is always easy because of the moving water or the motions of the water. So make sure that you keep the reflection very casual and very simple so that it looks natural. Now using this orange color mix, I'm just going to give in small caps in-between the reflection so as to show some water reflection on there as well. Now using the black color, I'm just going to add in small rock and oh, you know, spaces in-between the CAD as Ben. So at the bottom you're again, I'm giving you a small short space so you can see the bottom and filling it completely with the black. But the outline of the shore I've given in a very random and a rough shape, not a detail, one of very loose shapes so as to depicting the sun space out there. And lastly, before removing the masking tape, I'm just going to lift up a little of the black color and going to splatter it at the bottom space to give him some tiny details. Make sure that these patterns do not move into your sky space. So if you're not confident about adding them or to a limited space, you can cover up your sky space using graph paper so that these plateaus do not go out there. And very roughly I'm just going to add in some smaller details as well. So that is it. We're ready with our class project for the ten. Let's remove the masking tape and see the final painting. I absolutely loved how beautiful this painting has turned out and especially the sky part, the cloud effect coming in so natural and real. So here's a final painting with those clean edges for the ten of this 30-day bookmark challenge. I hope you guys enjoyed painting this beautiful sky and the sea with me today. I will see you very soon into the next class project. 13. Day 11 - Beach Vibes: Hello everyone. Welcome back to day 11 of the 30-day cost challenge. Today we are going to paint a very simple beach painting. And let's begin with the pencil sketch first. Very simple markings so as to understand the area, the sand area, and the sky area. So just a little below the center line is the horizon line that I've marked out. And below that again, I'm marking out the small line. So the area between the horizon line and this line is going to be the area. The bottom space is going to be the beach and the science piece. The top area is going to be this guy space. So this is how a painting is going to go back. We're going to go in with a very simple blue cloudy sky. And then the beach colors. For this class project as well. I'm going to go ahead with my gouache set off the 56 colors. You can go ahead with any gouache set that is available with you. I will be discussing with you the colors that you need ortho alternatives that you can use if you do not have the exact same sheet. The first column I'm going to pick up is going to be the sky blue color. Now in case if you do not have a sky blue color, you can simply pick up your series in blue color mixing a little bit of the white gouache to that and get a pretty paste to sky blue looking tone. So I have also picked up a little of this Evelyn blue color out here. Onto this. I'm going to go ahead and mix in a little bit of the white course so that I get in an opaque look to this color. But I'm not going to go ahead with much of the darker tone because then in the cloud part I'm going to go ahead with the darker tones as well. So I'm just going ahead with the first layer of the cobalt blue color directly at the top space without any white to it. Now, I'm going to go ahead and mix in a little tender fight to this and create a lighter tone. So basically you will have a transitional sky moving from the darker color at the top towards the lighter color at the bottom side. So now I have picked up the white and the blue color mix and laying it exactly below the blue color and going ahead with the blending till the top. So automatically you can see the transition happening between the color. Now closer to the horizon line, make sure you do not go ahead with a very light color tone because the clouds are going to be off the white color on top of this. So make sure that the blue color is a little visible. So again, closer to the horizon line, I'm going ahead with a little darker tint of the blue color. I'm going to blend in well with the lighter blue in the center space. Now, let's go ahead and paint in the beach area. So the best thing about gouache is that you need not wait for one space to try to go ahead with the other space until and unless you're going ahead with the color blocking and if you've used the color in a very liquidy consistency, or if you're going ahead with layering, then now next I have picked up the turquoise green color from this set. I'm going to begin adding in this turquoise green color. Now in case if you do not have a turquoise green color, you can simply just go ahead and mixing a little tinge of your green to your blue color and a little bit of white and get a greenish blue tone for this area out here. Make sure you're using the paints and a good thick consistency so that you get the perfect clearing out here. Now the last piece is this an area so forth there I'm going to use in the yellow ocher color. But the yellow ocher color from this set is a little bit translucent and not to OP, I'm going to mix in a little bit of white to it so that I get enough good opaque consistency. Now using this color, I'm going to go ahead and added in the remaining bottom space. Now the meeting point of the SCM, the sun has to look in very blended with each other. So after adding this signed area now using a damp brush, I'm going to run it at the meeting point of the green and the yellow color space and create a smooth blend and transition between both the colors here. So that was about a basically offer the sky and the sea and the beach. Now I'm going to go ahead and begin adding in the Cloud so my sky is completely dry it and I can go ahead with the details on top of it. So I'm going to squeeze out some fresh white gouache color because I'm going to go ahead with very fluffy white clouds for this time. Let's begin adding in the white fluffy clouds. So I've shifted to my smallest size filbert brush, you can either use a round brush or a flat brush or a mop brush, but in a smaller size, because one, I'm going ahead with a very small size of paper. Secondly, even in that small size, there is a very small space in which I have to add in those clouds. So make sure you select your brush size accordingly and have to according control so as to add in the details in the limited space and size. So you can see I'm just using the tip of the brush and creating in those fluffy cloud shape first. And then I will go ahead with little blending at the bottom space is to show them looking well blended into the sky. So at this moment I'm just laying down the colors I have. I haven't blended them yet. At the top space you can see I'm just using the tip and adding in very small miniature clouds urine there. Now I've cleaned my brush and you can see I'm running over those spaces where I've added in those white patches and blending it into the background, giving it the dull and blended look. You can see the white is turning a little towards the dull side. Now I'm using a little of a grayish blue tint. So I mixed in right, along with that grayish blue already on my palette. You can just add in a very equal to naught end of the black color if you want and get a grayish thing. Now, after adding the grades ten to the bigger clouds out at the bottom space, I'm just going to blend them into the background using a damp brush. You can see the bottom of the clouds look well settled into the sky and look as if they are coming in from between the sky and even the bigger clouds. You can see how using a damp brush, I'm just dabbing it on the top so as to blend it into the background. Now at certain places, I'm just giving a little opaque details of the white gouache randomly. So you can see how simply we have created in those fluffy clouds as well. You can see I have gone ahead with different techniques to get in that fluffiness, one must first adding in the colors, then blending it into the background, then adding in little opaque spaces, not in the complete Cloud space. And then giving you a little blending with the finger to create that fluffy effect as well. Now I'm shifting into the black color. I'm going to begin adding in detail on the horizon line using the black color. So I'm just going to go ahead with a very tiny mountain range on the horizon line. So you can see the mountain range is quite a tiny one. Make sure you do not go overboard with these details. These are just my new details so as to add more beauty. But the main focus is the clouds and the beach space. Now I'm mixing in the cobalt, turquoise, green, and the white, along with a little bit of the grayish blue. So you can just mix in a little bit of the blue and the small tint of the black color, just to 10,000. You just have to touch your brush with the black color and mix it with a lot of color. And using this little darker tint, I'm just going to go ahead and add a little wave t-test. So these waves will basically look kind of a self wave detail only as the color is not going to pop out much. But if you have a close-up view of it, your eyes closer to your painting, you will be able to see the color difference of the waves and the base layer. So right now, the camera, you may not find much difference in my base layer color and the waves color. But if you observe it closely now, you can see how the color is just one tone darker and giving in that self wave look settled in well with the base TO color, yet standing up distinctively. So in the same, I'm just going to quickly go ahead and keep adding in little more of the details here before moving ahead further. So closer to the horizon line, I had kept the wave smaller. And as I move towards the bottom side, I had increased the length of the veins. Now I've lifted up little of the light wash and I'm going to give him some caching may be dealt at the meeting point of the green and the raw umber color, sorry, the yellow ocher color. So I'm just going ahead with very fine line first and now I'm going to pull out very tiny waves. So basically I'm trying to depict in the crashing waves at the shoreline. Alright, I'm using my liner brush only two given these details so that you get in those crisp looking details. Now as soon as the white color that's popping out, you can imagine the crashing wave. Look at the short space if you've ever visited a beach nearby. So you can see that effect of those white waves coming in as the foams. Now I'm lifting up a little bit of the red light, red color which is already on my palette. You can simply lift up a little of the burnt sienna color or any little medium brown tone. And just given little dry brush detail very randomly on the shore space to depict the difference and the texture of the sand as well. So go ahead with very little details and blend it well into the base layer as well, so that you get in that sand looked like of a texture. So you can see this pop off the red light, red color that I've used. It is giving in such a beautiful pop to the same space and giving it that little detail view. Just very simple technique that we've used it. Now underneath the white shore line, I'm just adding in a shadow. So the same color that I used for the veins, I'm using the same color and I'm just adding a very fine line just under the whitespace so as to show the shadow of this caching waves out here. Now lastly, before I go ahead, you're moving into masking tape. I'm just going to go ahead with little more opaque Cloud Loop. So I'm using the same smallest size filbert brush and the why question, a thick consistency and just adding in some white details first and then I will give them a little blended look into the background. So now I'm just blending the bottom space into the background. You can see I dab in form enough so that it blends into the background. So that is it. We are ready with our class project. I just gave the clouds a little touch up with a gray tone as well at the bottom space so as to have the perfect blend it. Let's remove the masking tape carefully and make sure you remove the masking tape once you register completely dried and always remove the masking tape against your paper so that you do not get off the edges or lift up the colors from the edges. So you also final painting and a closer view of the waves, the beach, the Crashing Waves and the clouds. I hope you guys enjoyed painting this beautiful yet and easy beach painting with me today. I will see you guys soon into the date 12th class project. Thank you so much for joining me into this class and painting along with me. 14. Day 12 - Northern Lights: Hello everyone. Welcome back to day 12 of the 30-day gouache challenge. Today we are going to be painting a beautiful northern lights using gouache. We have always painted the northern lights using in watercolors. And I know painting in the northern light effect with the help of quash may be a little tricky. But let's go ahead and try out a hands-on painting this beautiful and other light. So I've just given in a small pencil sketch that is going to be the mountain range at the bottom side. And at the top we're going to have in another and sky. At the bottom are the details we will directly be adding in with the Paine's later on. So let's begin adding the colors into another and sky. Now, unlike watercolors, we do not go ahead with a base layer water. You're so be directly have to begin picking up our pains and begin adding them into the sky. So the first color that I'm going to be using is going to be a mix of the Prussian blue with a very small tinge of the black color to create an indigo color. Now the indigo color seems to be a little dark, so I just added in a very little tinge of the white color to it so as to get a little lighter tone. If you want, you can even add in a little more off the Prussian blue color and not adding the white color. I've added a small layer of the indigo color here. So basically I'm mixed into fruition blue analytics end of the black to get this darker blue tone out here. Now next closer to this indigo color, I'm going to go ahead with the white color and adding just closer to the indigo color and blend it well to create the little lighter space so that we can move on to the green color tones. For the green I'm going to be using in the turquoise green. Or you can go ahead and using the cobalt green color, lighter green color in my palette here, I'm going to go ahead with this color. This is the cobalt green color what we have in watercolor. So I have that same color in my anemia gouache set. Now in case if you do not have the same color, you can use the emerald green color mixed in with white gouache, or you can use in the green, blue, and the white color mix to get a similar looking tone. Now again, with the help of white, I'm going to blend these two colors well. So that is you need to have a perfect transition moving from the blue till the green color tone. As well as you can see, my blending is going diagonal. It is not in the straight line or in the horizontal or vertical lines specifically, I'm going in little coffee motions out here. Now between every blending wherever you feel that you want the color movements to go and smoothly, you can either using the white color or the next closer color to it so as to get in the blends smoothly and the transition between the colors happening. Well, you can see I used in the bite force to blend and then added a little bit of the blue on top of the white because it was a lot of white which I did not want. Now in the same way at the bottom side again, I'm going to go with a little of the white and then shift into the same blue color again. So you already, you can see I've added in the layer of the blue color again and now again for the blending, I'm going to go with the same method. This time. Since I have to move towards the green color side, I lifted up white and the cobalt green color so as to blend in and get the transition smooth. So the only difficult part that comes to painting another light using gouache is the blending between the colors and the transition. Because if that isn't smooth, it will not give you the another night effect. So at times you need to use the white and multiple layers so as to blend and get the transition right. Now at this point you can see how uneven the blending here is. And now as soon as I added a little more of the blue color tip out here. And you can see how smooth blending becomes with just one more layer. So at times you may have to run from one layer or from one patch to the end part again, so as to get the transition and the movements happening in smoothly. That all depends on how you are adding in the base layer colors and how you're blending each colors and between every color shift, how you get in the transition smooth. If you would have noticed for every transition I have used in white and the previous color that we used on the left side to blend in. So when I added the fourth layer of the cobalt green color, you could see I uses, I use the Prussian blue and the white color to blend. Now I'm just running my brush wherever I feel that I need to add little more of the color tones or the blending strike. But overall, you can see we've got a very smooth, clean blend with every color that I kept adding. I made sure to blend it with the previous color there and there. So that means my job easier. Now wherever I feel that there are more of the white particles and I want little color tint. I'm just going ahead with the darker tones that we have used along with the white colors. So as I told you, the only difficult part would be getting in the blends. And it may require layers of blending so as to get the transition smooth. Now in-between vary randomly. I'm adding in some small lines using the same, basically a colours so as to give little more movement and effect into another lights. Now this is completely optional because it depends on how much color movement and the color blending you want into your sky, and how you want the things and the movement of the northern sky colors. Now these colors strokes that I'm adding is completely optional as I told you, because this can get a little tricky for you if this is your first time painting in northern lights using the gouache colors. So be careful to not ruin up your main space. Or if you want, you can try out little smallest pieces, post on rough pages and then moving your right out at because pieces before ruining up your main painting. Now, after every color that I add in, you can still see I go ahead blending in again so as to get in the transition smooth between the colors. So you can see I'm going ahead with so many layers of blending. I'm not necessarily using in colors in each layer, but I'm still running smoothly so that the transition between the colors happen in smoothly. Now let's begin painting in the bottom space. And for that again, I'm going to squeeze out a little bit of the white quash, the bottom space. I'm going to show it as a snowy area rather than going ahead with a mountain range. So I've squeezed out a little bit of the white and I'm just going to mix in a very small tint of the cobalt green color that I used in the sky and I'm going to fill in this entire bottom space. Also, one more trick that just clicked me is in case if you do not have the gouache color of the same green tone, what you could do is if you have a cobalt green watercolor, you can mix in a small tint of that along with white course that will make it an opaque gouache color. Use that for blending it with the indigo color. So that's how you can use a watercolor as a gouache with the help of white gouache. I've given a very small snow layer here. Now I'm going to just pick up a little of the dark coating of the same green which we had used for the previous class projects. So that's already on my palette a bit. So it's basically the cobalt green, mix it with a very small window of the black and the white color. And using this darker tint, I'm going to add in the shadows effects at the bottom spaces out here. So from the bottom you can see I'm pulling these strokes diagonally and giving you the effect out here and making this pieces look like the shadow spaces and the darker effect of the snow. For this, no other visa enough, not using simple white color was to show the effect of the northern sky colors falling on this null space as well. So majorly from the bottom space you can see I've pulled out some darker details, not too dark, just one tone darker than the base layer snow that we have used it. Now after this, we'll be left to add in with the pine trees and then the snow effect on the pine trees. For that. Before moving ahead further, I'm just going to add in the star effect into another light. So my sky is completely dry it and I've squeezed out some fresh white gouache and I'm going to splatter some stars out on the sky. So from a distance I'm just tapping on the tip of the brush closer and you can see the splatters of the white color coming in as task. You can either use a brush to tap in again, or you can use your fingers. When you use your fingers to tap and it gets you more precise control over those plateaus. That is, we are ready with the Skype out completely. Now we will be left to add in some growing spaces later on. But before that, let's add in the pine trees so that they can dry and then we can go ahead and add in the snow details later on. Now I'm going to just quickly pick up some black wash. So I already have some black wash from the previous class projects on my palette. I'm just reactivating that. But whenever you are reactivating colors as well, make sure you do not add a lot of water, otherwise they will not remain open. So it's very important to reactivate the colors with very limited water. So as to get into details. Right now, I'm just going to begin adding in some pine trees very randomly into this nose. So I'm going to go ahead with pine trees of different heights and different angles. Some of them are even going to be tilted ones. So let's begin adding them one-by-one and see how everything goes ahead. Again. The pine trees as well. I'm not going ahead with much detail ones because we're still going to be adding in this more detail on top of these pine trees. And then most of the black color will also get covered up with snow deposits on the pine trees that we'll be showing using the white color. So right now I'm just going ahead with very simple shape of the pine tree that it should come up. And then once we begin adding in this naughty days, we'll try giving in the pine trees a little more shape. So as I told you, I'm going to go ahead with very different pine trees, so they're not going to be of the same height. Plus you can see some of the pine trees are very small and just located in the ISPs completely. And I'm going to go ahead with a lot of them closer out there. Also, the best thing about gouache is that if you feel tired or if you're bored about adding in the same details altogether, you can take a break, have a cup of coffee, and get back to it. Because with gouache, you know, a problem like watercolor is wet and if you're working wet on wet, you cannot skip anything in between. Otherwise the details will make a difference. But with gouache, since you walk on layers plus the drying of any specific layer does not make a difference. You can simply take breaks in between and get back to it whenever you feel like. So I've added one big pine tree out here. Again, you can see my pine trees are not much detail as I told you. I'm just going ahead with very basic PR because we are going to be adding in the snow details on top of yz. Plus I'm going to add in very small shadow details as well to these if needed. So I guess this will be the last pine tree that I'm adding towards the left-hand year. After that, we'll go ahead with this node it is. And we will also add some glowing stars into our sky to make our northern sky pop out a little more. Now in-between a random places wherever I feel the need, I'm just going ahead with some small details, just some quick details that I'm going to add in coming out from in-between these pine trees. Now using the black color, I'm just going to add in some dry brush TDL, most paste from the bottom, just moving in diagonally. So from the left-hand, I'm moving towards the right and from the right eye will move towards the left. And you can see, I'm adding in very little dry brush TD, make sure you do not have excess paint otherwise you will get patches of the black color instead of these light dry brush TTS. So this is a show. More details on the snow out here. Now let's move on to a white quash and begin adding in the snow details on top of these pine trees. So I'm going to begin using in the right course. So you can see very simply in between the black color of the pine tree, I'm just adding in some white spots to actin as this new collected on the fly. I let you off the pine trees. Now in the same VM going ahead with this no deposit on the rest of the pine jesus bank. And you can see as soon as you begin adding in the snow DDS, even if you have a messy black space of the pine tree, it begins to look in detail because of this, no details that you add on top of this. Now I'm just going to blend in a little off the bottoms pieces of the pine trees into this null space trying to show them. You don't blend it in with the snow area. Now, I'm going to go ahead and splatters are more snow so as to show some snow falling onto the top of these pine trees as well. I'm going to use in the whitewash and begin adding in some splatters. So you can see your, it feels like the perfect snowfall happening out here. And now the snow drops around the snow and the pine tree spaces as Ben. Now random here I'm going to select some because spots out you're in the skies piece and just going to create glowing space using in the right spot. And I'm just going to create a dull white background first and then going to add in details there to actin as the glowing stars. If you have washed my galaxy class on watercolor, you would have known how we create these spaces. How these add to the beauty of the night skies and the galaxies. In case if you want a perfect detail about these glowing stars, you can visit my 30 days of galaxy class on Skillshare and visit the technique section that I've shared in detail about creating these glowing stars for adding in details into your galaxy and the night skies. So you can see the pop that these glowing stars create and the effect because of the growing spaces that we have created using the dial details. Now lastly, I'm just going to cover up a little of the black spaces because I find them a little extra. Then we will remove the masking tape. So we'll just go with one more layer because it's looking a little extra dark so you can see how easy it is with gouache to go ahead with leering even after you are done adding in all the details. And if you want to adjust the color tones again, it's so easy. Now one last thing I will just given the glowing stars a little more effect because I've seen them a still, a little dull. So just going ahead with one more layer. So let's remove the masking tape and see our final painting. Make sure you remove the masking tape once your edges are completely dry. You can see how beautiful the northern sky is looking with those glowing stars. And the way it is a little tricky and you know, many layers to get into Blending, right? But you can see how beautiful it looks once it's all blended and well together. So here's a closer look at the blends and the pine cheese. I hope you guys enjoyed painting this beautiful class project with me today. I will see you guys soon into the d 13 class project. Thank you so much for joining me. 15. Day 13 - Mountains: Hello everyone. Welcome back to day 13 of the 30-day gouache challenge. Today we are going to be painting beautiful mountain ranges and a beautiful evening sky. So let's go ahead with the sky first. As always, we're not going to go ahead with any pencil sketch because, uh, you know, even if you were to try to add in the pencil sketch, they will all get hidden as soon as you begin adding in the color layers. So it's rather better to go ahead directly with the color tones and creating the debt. So the first color that I'm going ahead with is the Prussian blue color at the top space. Now I'm going to go ahead with a white color. And just as in-class project ten, we had created some fluffy cloud effect using in the round motions. I'm going to go ahead with that kind of strokes out here as well later on with the white. Now next I've picked up a light blue, surreal in blue color. Or you can go ahead with any lighter blue that's available in your palette. And I've just added a little below the of Prussian blue color. And now I'm going to lift up again the same color and go ahead with the blending. Now next time squeezing out a little bit of divide caution. Go ahead with the lighter tones on top of this. Make sure that you have an opaque consistency of the colors and the underneath paper is not visible. So I just added little tinge of white below the blue color and granite till the top space, giving in the plane's going in smoothly. Now the other reason for using byte just underneath the blue and getting in the lighter tone is because I'm going to go ahead with the orange color at the bottom space of this guy. Now you can see I ran my brush with the blue color on it, onto the orange color and that has made the entire color muddy. I'm going to pick up some fresh orange color and mix it along with whiteout. You're on my palette. So fast, close it with a white color. I'm going to add in this mix of the white and the orange color. And then I will add in a very small layer with the orange color as well needed. To this, I'm adding in a very little tinge of the red color as well so as to get a little reddish orange tone. So just underneath the white color you can see I've added the orange mix. Now I'm using a damp brush and I'm going to go ahead and blend it well with the white color at the top space and get the blending and the transition between the palace mood. If I would have used a direct orange color closer to the blue shade, I would have gotten a lot of muddy tones by blending. So in order to avoid those muddy tones, I went ahead with the white color in-between for blending so as to meet the blending goes smoothly between the colors. Now I have squeezed out a little bit of fresh white gouache and I'm going to go ahead with the cloud effect as I told you in the skies piece. So I'm using my mop brush here, but you can go ahead and use your flat brush, round brush, or if you have a mop brush, then a mop brush. I'm going to blend these blue white clouds and do that blue color and try to show it as some fluffy cloud effect out there. So now using the damp brush, I'm just blending it well into the sky. Now, even on the edges, I'm going to go ahead and blend this into the background. So you can see I'm just running my brush in circular motion, making it look well settled into the background and giving him that effect of the smoky cloudy effect out there. Now in the same way, I'm just going to go ahead with some smaller cloud effects as well. And given the plain sight, you can see all of these are in circular motions, giving in the fluffy cloud effect out there. Now on to the white space, I'm just going to run in with a little more of the white and blue so as to get in the plane with the fluffy cloud space as well. So you can see the transition between the cloud and the blue space has happened smoothly because of the colors that we ran again, how they're blending. As soon as you reach closer to the orange color, be careful to not run only with the blue color you can use in a little white in-between so as to get the plans right. Now again, I'm going to run in with a little bit of the white effect onto the blue layer that we add it so as to show the transition happening in smooth. Now I'm lifting a little bit of the Prussian blue color and just going to give him little darker effects as well. So this is just a bit practice that you will understand how you can use the lighter and the darker tones to give him the effect in the clouds. You need to go ahead with layers on layers to build in the effect. That is if we are ready with us. But I'm just giving in the last blending of the whitespaces wherever I feel by just dabbing in the tip of my finger. And that is it. We are ready with the sky. Now. We're going to move on to the mountain ranges. So I'm going to begin adding in the mountain ranges one-by-one. Now, in the mountain range, we are going to be creating definitely also of the mountain first layer. I'm going to hit with the mix of the purple and blue color. Along with that, I'm going to give in a little off the orange and the white mix effect as well, so as to show the effect of the sky closer to the mountain range as well. So first let's beginning or step-by-step. So I've added a very small layer and the outline of the violet and the blue color mix. I'm just going to go ahead with a little more of the blue color tones so as to have it perfectly, you know, going in sync along with the sky. So just running over the violet color with a layer of the cobalt. Hello. Now I'm going to pick up this mix of white and orange color. I'm going to very carefully just add it closer to the civilian blue color and you can see how easily it has gone in there. Now in case for blending, if you need, you can use in a tinge of the white color as well. So as to get the blend and the transition between the blue and the orange of the mountain range. Smooth. But I'm using in a little tinge of the red color as well so as to get in a little pinkish tone out there. Now even using a little bit of the white tinge so as to get in the perfect transition. So this was the first layer of mountain. In the same day we are going to go ahead with three to four layers of the mountains. But as we move towards the bottom side, we even begin reducing the orange space because the mountains that are closer to the skies, peas are going to have in more effect of the orange color because it's the orange color in the sky. And as we move towards the bottom side, the effect of the orange and the red tones will go on diminishing because of the distance from the sky. Now I have mixed in more of the blue with the violet color. And I'm going ahead with the next mountain range. Now you can see my mountain range are all uneven and different. I'm going to follow the same process, but slowly step-by-step, I'm going to reduce the space of the orange color in this layer. You can see I've already added more of the blue color. And now I'm going to go ahead with the red, orange, white mix. Now going ahead with the blending using a damp brush, or if you want, you can use in a little bit of the white as well. So this time I have not taken much of the orange color so as to get into little pinkish tone out here. Now I pleases, you will see I ran again with the blue color as the second layer at the top so as to give him those finishing lines to the top area, mountain ranges. Now seeing the am going ahead with the next layer of mountain range. And as we will move further downwards, you will see how we will be taking in the shapes of the mountain. So this third mountain range you can see I'm not touching it completely till the right side. As well as I'm darkening the blue color with every layer. In the first video, we had a lighter tone mixed in with purple. In the second, it was more of blue. In the third layer, your, I added a very little tinge of the Prussian blue color. Now using little white at the bottom space. And now I'm just going to go ahead with the next layer. So far, the next layer, I have lifted up the Prussian blue color. And this time I'm going to begin in from the left edge and the right end, which we hadn't painted in the last layer till then I'm going to take in the fourth layer. So as I told you as we move towards the bottom space, I'm going to stop using in the orange color. So we use the orange and the red tones on in the first two mountain ranges. Now it's going to be only blue, which also we will keep darkening step-by-step and use little bit of white so as to show in the transition between the radiation of the color. Now you can see on the mountain range, I have a very uneven blending with white trying to show in slopes on the mountain range as well and try to keep it natural. Now for the next layer, again, I've lifted up the pollution blue color and I'm going to go ahead with a very dark paint. So I've just added a very little tint of the black color as well, so as to get a darker blue tinge, but make sure that you do not add very much of the black color otherwise it will turn completely black. Secondly, make sure that your previous layers are a little dry. Otherwise the colors may have a very soft edge or you may have to run with the second layer so as to make the colors and the top mountain range have a specific cut and sheep. So I've filled in this dark color till the bottom space completely. Once this dries, I will add in little details with the black color at the bottom space. Now I'm squeezing out a little bit of the flesh, white gouache and I'll go ahead with some details in the sky until my mountain ranges die for me to add in the final black details. Also in this class project. By the end of the class project, I'm going to show you the reference picture and how I break down the reference and consider it while painting. So make sure to watch this class project till the end so as to see the reference that I used on the painting that we created out of it. Now using a rough piece of paper, I'm going to cover up the mountain ranges and splatter some stars into the sky. Actually, you could have done that before painting the mountain ranges. You could have added in the layer of stars in the sky. But since I missed to add it, then you can simply cover up your mountain range and then splatter these tasks. Make sure that you splatter the stars from a little distance. You do not have excess liquidity color on your brush, otherwise you will get bigger patches. Also make sure that you've splattered it from a little distance so that you get spreaded star look. Now randomly to some of these patches I'm going to create in the growing spaces so as to add in little glowing star effect and make it look like a beautiful galaxy kind of look as well. So what I'm doing is off the white patches that we have from the splatters. I'm using them itself for creating and deploying space. I haven't added in fresh white spots to create in the growing space this time. Now let's wait for all of this to dry completely and then we will add in this platter and the final detail at the bottom space. So now everything is dried completely and I'm going to go ahead and add in the further details. So first I'm going to use in the white quotient that thick consistency and begin adding in this task on the glowing spaces that we have created. So you can see as soon as we add in these glowing stars, the entire space gets a beautiful look, and it turns out so beautiful. I'm adding in a small moon in-between the clouds here as well. Now at the bottom space you're using the black color. I'm going to go ahead and adding small details. So first I'm adding in a small mountain space are using the black color. Now from top of this black space, I'm just pulling out small strokes like these two actin as the trees. So I'm not going to go ahead with the detailed low pass. These strokes and I'm pulling out are going to be off different heights so as to get in the natural look of these pests. So you can see somewhere I'm going taller till the top mountain ranges and somebody or smaller, confined to a closer space of the black color. Make sure that if you're using the color that is deactivated, it is opaque enough. You can see I've been using the same black color since the past class projects, but I'm making sure that the color is opaque. So I do not use a lot of water for reactivating the color. I add in some water there and wait for it to reactivate and then use it so that it remains opaque and thick as well. Now let's remove the masking tape and see your final painting and then see it along with the reference that I chose for this class project. Make sure your edges are completely dried before you begin to remove the masking tape. And always remove the masking tape against your paper so that you do not tear up the edges. So our final painting for d 13 of this 30-day class project. I hope you guys enjoyed painting this beautiful mountain range with me today. Now, let's compare it to, along with the reference that I chose for this class project and how I selected the sheets and went ahead with the entire class project. So here's the reference that I selected from Pinterest. And now you can compare our painting along with the reference. So you can see we have that glowing light just beyond the mountain range, for which I've used in the orange color instead of the pink tones. And same day in the mountain range, I use the same orange color highlight which I used in the sky. And then you can see the mountain ranges that we have created. Even in the sky. You can see the glowing space of the white color and the star details. Plus I added the moon on my end. So that is how I select a reference and then create according to my visualizations. Thank you so much for joining me into this class. 16. Day 14 - Meadow: Hello everyone. Welcome back to day 14 of 30-day cross challenge. Today we are going to be painting a beautiful field, and this is one of my favorite class project from the 30-day series. So let's begin in with a very simple pencil sketch that is just going to be mocking the horizon line. So the topic is going to be a sky. The bottom media is going to be filled and on top of the horizon drying we'll just be adding in little of the bush effect has been lifted on with the greens. So you don't even need the pencil sketch for that. That is just to show you the thumbnail of the painting that we will be going ahead. So now let's begin to squeeze out the colors one-by-one. So the first color that I'm going to squeeze out is going to be a little bit of the background indigo. Now in case if you do not have the same shoe, you can simply just do your pollution blue with a little tint of the black color and you're going to get a darker blue tone. That is all what we need as one of the colors for painting in the sky. The next color is the Prussian blue color that I'm squeezing out. You're a bit. So these are the two shades of blue that I'm going to be using. Now after this, I'm going to be using in some shades of pink and yellow as well into our sky. So let's squeeze out the rest of the colors as well and then move ahead painting so that we do not have to wait in between for the thing. I'm going to head with the rose madder color. I'm just going to squeeze out a better fit. You can go ahead with any bright pink color that you have to these as it is, we are going to be mixing in a little bit of the whitewash to get admitted pistol towards so that the blending between the colors also happen smoothly. For the yellow, I'm going to use the permanent yellow deep color to this as well. I'm going to be mixing in a little fight while blending or into the paint directly. Squeeze out some fresh whitewash already on my palette so that in-between while blending and adding the news, I do not have to wait in between. Now that the colors are video tour on my palette, Let's begin adding them directly one-by-one. The first color that is the indigo color. I'm just lifting up a little of this and I'm going to begin in only in the top space. Now just below the indigo color that I've added, I'm going ahead with the Prussian blue color. And at this moment, if you see both of these colors looking very dark, but when you begin adding in the rest of the colors, and when you will blend each of the colors together, the white will come on top of these and make it look perfect, right? Evening sky color. Now I've lifted up lids off the white and I'm just going to lay it below the blue color and going to blend it till the top. So you can see as soon as little of the white is moving on to the Prussian blue, I'm the indigo color. The colors are getting upright pasting yet beautiful evening loop. So half of this guy is going to be these blue tones. And rest of the half, we're going to go ahead with pink and yellow tones. And then they're giving you a little of the cloud effect has been. Now I'm done with the blue color and the blending. You can see how beautiful and smooth the blending of the blue sides. Now I'm going to shift into the rose madder color and begin adding in this cargo. So just underneath the blue, I've left a very small gap where I'll be using in the right color for blending. And rest of this piece I've added in the rows middle. I've cleaned my brush, and now I'm going to pick up the white gouache with my fresh brush and apply it in the space in between and then blend the blue and rosemary are using in the white color in between. And you can see the transition from the blue to the pink happens so smoothly because of the white color in between. Also, in the pink color, you get beautiful. Dawn of the light pink as well in between. At the bottom space again, I've added a little bit of the white and gold ahead with the blending. Now in the rest of this piece, I'm just going to go ahead with the yellow and the white mix. So now in the remaining space out your I've just gone ahead with the yellow color and you can see how beautifully it has blended because yellow and pink go well together. So it's not necessarily that you need to use invite everywhere. If the Hallows go well with each other and if you do not want to have lighter sheets, you can simply blended. Now at the horizon line completely, you can see I've given in the yellow layer because the green color will still be visible on the yellow color when we added later on. So you need not worry about leaving in some species out there. Now I'm just using little bit of the white to give him little white highlights closer to the horizon line. So that's from behind the green spaces that we will be adding on the horizon line you have beautiful light sunset view. Now. I just felt like lightening up the colors a bit. So I'm just going ahead with little more of the white and just going ahead with the blending before beginning to add in the Cloud details. This is another benefit that even after adding all the panels, if you feel at any space you want to lighten up the sheets. You can go ahead and add in the details. I'm also adding in little cloud effect using in the white color but in adult consistency as you can see, I'm just using the tip of this filbert brush to add in these Cloud. Db is just moving the tip of my brush and blending it as well. And you can see every time after picking up the color, I'm dabbing it off onto the rough travel so that the excess paint is absorbed or based on the time. And I have very little pain so that I get in these Gulf cloud effect. Now, for the next layer of the clouds, I'm going to mix in the whitewash along with the Rosemarie dark color. And I'm going to begin adding in the clouds with this light pink color over on the blue color space. Again, as soon as I listed in the color you can see I dabbed it onto the roof tiles so that all of Texas paint is laid out there. And I have very little paint so that I can get in these lighter, cloudy days and not much of the prominent color patches that we want. Also my BCA is not completely dry. That is the reason I'm able to achieve these soft look into the Cloud. But in case if your paper has dried and you can simply use a damp brush. And if you want to soften up the edges and blend it into the background, you can do using a damp brush. So even at the bottom yellow space, I've given it enough of the pink. What effect does not everybody, some of these may get it in with the green tones, but from behind when you will see these clouds coming in, they've been making perfect sense out there. Now next I'm going to go ahead with the green tones and adding the base layer for the field space has been by us guide dries completely. I'm just going to squeeze out a little bit of the olive green color. I already have a greenish yellow on my palette from the previous class projects which we may use later on. For now I'm just going to begin using in the olive green color and begin adding it at the bottom space. So I'm just speaking in with the base layer on top of this, I'm going to go ahead with some grass strokes as well as little of the Florida. Now in-between, I'm randomly adding in little dots of the black color to give him some darker depths as well in the field space. So make sure you do not go ahead with a monotone is green tone. You can go ahead and mix in any two to three tones of the green layer on layer. So not necessarily that, you know, it has to be in a perfect set padding. You can simply just begin adding in one green. Then use white in-between for lighter tone or a lighter green if you already have it. Or as I use a little of the black tones or Niko color I used from your, given the darker green effect, you can even mix in the black tone if you do not have an indigo. Now at the bottom space, I'm going to give in for the darker death. In between. I've just given a little white and going ahead with the blending till the top and you can see how smooth the transition looks. Now I have the bottom space. I'm going to go ahead with a darker tone again. I'm going to blend it. So in-between just a little lighter effect with the Whitehead's into getting abbreviation again in the bottom space. So you can see how beautiful this piece is looking right now, even if you just add in little bush on the horizon line and leave this page. You are, it will still look out so beautiful because of the blends in the green color. Now I'm just going ahead with little drops of indigo and just giving him the darker shapes randomly. You can see just adding the color on the edges and blending it with the greens giving in the darker effect. Now if you do not have the indigo, I told you you can either use a darker green directly. All go ahead with any darker blue tone or black color. But make sure to use them in very little quantity. You just need to get at them as highlights and not as the predominant species. Now given the grass effect, I'm mixing in a lot of whites to the greens out here on my palette. So this is mix up the yellowish green, olive green, white, and a little tinge of the indigo. I've shifted to my liner brush. This is a size three by zero liner brush from the brand Princeton velvet touch series brush. So using this liner brush, I'm just going to begin adding in the grass strokes for that. Make sure that you're basically out of the field is completely dried so that you can get in these strokes. Now after one or two strokes, you may have to see whether you need to add in more of the white goulash or no. So I feel I need a little more off the white tones. I'm just we'll go ahead with a little bit more of the white color. So the white color, you can get an opaque consistency of the lighter tones which will be visible on these darker tones as well, easily even if in smaller sizes. So very carefully I'm just going to go ahead with fine strokes to actin as the grass strokes here. And you can see just very casually I'm going ahead. I'm just holding my brush perpendicular and going with very random calls, strokes as well, and just giving in the natural look as much as possible. So adding these classes can be a slow process as well as you need to go ahead with little patients so that you do not overdo the DTs. Also, you need to keep in mind the variations that you add them in. You can see I started with a base layer and moving upwards, I started adding in some bigger ones as well. So it's very important that you go ahead with the variations. Now you can see somewhere I'm adding in some thicker ones as well so as to get into balance in between the fine strokes. Now I'm just adding in a little more of the white to the same mix so as to get one phone for the lighter to add in some more highlighted strokes in the fields piece. So now you can see the base Leo was the doctors to one. On top of that you added in the class talks with two different layer of the palate tones. And you can see this already begins to look like a completely full spend. Because you already have it in the darker tone in the background, which acts as the shadow order of filling space for the lighter strokes of the class that you have added in. Now I've just mixed in the olive green, indigo, and very intelligent of the white color. And using this darker color, I'm going to begin adding in the grass, the deans on the horizon line till my grass strokes dice for adding in the flowers with this darker green tone. Now the reason of mixing the colors is because I already have a lot of different colors on my palette which I can reuse. That is the reason I'm mixing the colors from my palette to get in the darker tones. But in case if you do not like that, you can simply just squeeze out the darker tones if you have them or create your own tones depending on the color mixes possible. And if you want to reuse the colors on your palette, then simply you can add it new color tones to your green to get in the darker tones. Or you can even add in brown, DO pain to get in darker green tones, or even at the end of plaque. So that is how you can reuse the colors on your palette and not waste them. Plus that helps you in getting sometimes very different color tones which you may not have readily in your palate. And those color tones come out as beautiful color combination. I'm trying out like this from the colors available in your palette, you come across much more new color mixing of proportions as bell and plus, you get an insight of what possibility of color combinations as possible using in the fallows available. And so on the horizon line up just giving a little darker death using in the black color a little more so as to give him the darker effect. I'm just going to give all of these are perfect blend and then go ahead further. Now using the right flush, I'm quickly going to splatter some stars into this file before moving ahead further. Now if you want, you can cover up the field space so that the splatters are only in the skies piece. And if you are short of having the controls factors, you can just plug it in there. And major legal status is going to be just at the top dark space of this guy and not much at the bottom side. Now I'm spacing out a little bit of the permanent red color for the florals in the fields piece. So I'm going to be using in this permanent red color and a mix of the permanent red and the white gouache to add in the Florida, I've shifted to my size two round brush, which has a pointed tip. And I'm just going to go ahead with very simple poppy field kind of a detail out. You're also, you can see I'm not going ahead with much of the detail puppies. It's very simple patches that I'm creating into actin. Now make sure to leave in little spaces in between because we are going to go ahead with one color, lighter tone as well. That is, we are going to be mixing in the white color to this color mix so as to get one tone lighter. Now I've just mixed into white, wash out your and I'm going to begin adding in the light of Ella flat. So I've mixed invite along with the permanent red and you can see to stand out such a beautiful red tone. And using this, I'm going to add in the poppies inbetween so as to get in the follow-up up enough in space as bad. Now carefully just going to go ahead with some red splatters in the field space as well to show some very tiny flowers. Now to be careful, I'm just going to go ahead and cover my skies piece because I do not want the red splatters to go into the sky space, I thought. So. Be very careful about these little things otherwise. So red dots will look very weird in your sky space. Now be careful and make sure you have the funnel in a good medium consistency so that you can get the splatters easily. So that is it. We are done with the field space as bad. Now I'm just going to go ahead with a little more detail on the horizon line before moving ahead and removing the masking tape. So I'm just going to use a little of the black color and define this line bailout. We're ready with our class project for the 14 of this fatigue was challenged. Let's remove the masking tape and see your final painting with those clean edges. Make sure to remove the masking tape once you register completely dry. And always remove the masking tape against your paper so that you're not tear off the edges. So you also closer look at our final painting for the 14. You can see how beautiful the sky looks and the symbol feel the day. I hope you guys enjoyed painting this beautiful one with me today. I will see you soon into the D 15 class project. Thank you so much for joining me for this class and painting along with me every day. See you guys soon into the next class project. 17. Day 15 - Sparkling Waves: Hello everyone. Welcome back to day 15 of the 30-day cost challenge. Today we are going to be painting one of my most favorite cityscape painting from this 30-day challenge. So let's begin with a very simple pencil sketch. This is going to be quite different from the rest of the water escapes that we may have painted so far in any of my classes. I have absolutely loved the result of this one. So let's begin in slowly step-by-step. If at any point you feel it's difficult for you to get in that texture, the field. Oh, entire loop, I would recommend you to go in slowly. You can rewatch this specific video multiple times so that you get in a bit of clarity and understanding of the process. Now the colors that you need will be yellow, orange, and a little tinge of brown. So I have to yellow and orange on my palette. I'm just going to squeeze out the light red color as well. And so if you do not have the light red color, you can simply using a little bit of the red mixed in with ground. Now next, I'm even removing in a, a bit of the Van **** brown color for the darker brown deck that we will be adding in. So it's going to be a very hot evening, dark sky and the sea that we are going to be creating it. So it's going to be a very warm painting today. So let's go ahead and beginning with the details one by one. I already have a little of the white butcher tour on my palette. And I'm going to begin in with the white color this time. I know Miss EMA little viewer beginning in with the white color. But believe me, as you move ahead for the antique, having a look, you will get into detail as to why we are going ahead with which color and how. Next I'm going to lift up a little of the orange color. And in case if you feel that your colors are too thick or if you're using the colors, make sure you do not add lot of water, otherwise you will get in or translucent consistency which we do not want. Now I'm just beginning to add in little off the orange color very carefully on the horizon line that we created. This time, you can see the horizon line is not straight because if the wave movement that we're going to have a head further. Now again after the orange, I've lifted little of the white and blending it well with the white again at the top. So just very little orange patch that I needed closer to the wave line. That is what I've added. And again, blend it with the help of white at the top space. Now I've lifted up the permanent yellow deep color and adding it at the top of the white area. Now again, I'm going to lift up white. So in this class project, you will see after every little piece I go ahead with white for blending, adding in the whitespaces, creating in very light tones. You can see the white hadn't eaten touch of yellow as well because I did not clean my brush and that was purposely. Now I'm picking up the vendor brown color and I will begin adding the brown at the topmost space. First. I'm pulling up the brown color from the top space a little diagonally. I'm even lifting up, lifted off the dark black thing that's there. Just very little on the same brown color and pulling it out downwards. Now at this point, if you see this is just adding in the or color out, you are, we're still going to go ahead with the blending and the TDL's in the sky as well. So do not worry as to how the things are, the blending or looking at this moment. Now, next time picking up the light shade color, as I told you in case if you do not have this, you can use one sienna mixed in with a little tinge of the red color. Now I've just added this lighter tone closer to the darker tone. We very carefully for your brush, lifts up the darker tone, you clean your brush and then lift up this color again so that the darker tones to not leak it on the lighter tones again. Now, let's again begin blending these one-by-one so forth. I'm lifting up a little of the white and blending it closer to the yellow on the right side. Now you can see my brush has a little tint of that light red color alone with the white. And you get in this very light skin tone because of the help of the white color that we're using for blending. So in this way, I'm going to go ahead and now blending till the top space. And now very randomly in between, I'm going to create in some cloud-like texture. So that is the reason you can see I'm running my brush just using the tip and creating those fluffy cloud effect in as well. Now again. Let's go ahead with little blending from the yellow till the brown color so that I can get in the transition between the colors also smooth. And then again, I'll go ahead with the Cloud details as well in between. In between for blending, you can see I lift up either the white color or at the top, I lifted a little off the brown color so that I do not lose the darker depth at the top space. And now some pages as well, you can see I'm simply pulling out little of the darker strokes now, but given that bold effect to the sky, I've lifted a little of the light red color again and just adding it up at the top space, giving in that effect and going ahead with the blending as well. Now, bowhead very slowly with these details because if, what do a lot and if you run with too many layers, the paper will begin to tear off. It's very important to go in very slowly with the color depth Fouchier. Now you can see at the top space you have a very dark brown color. In the center. You have in the effect with the white color, and then you have the light red color on the edges. Again, I just ran and little of the white on the bright light colors as well so as to give it a little lighter effect. And again, blended it till the yellow color well, and you can see at the bottom you have more of the light effects because of the white color that we've used a lot with the yellow and the orange Canvas. Now using the vendor bound in a very light consistency, I'm just going to begin adding in little details at the bottom space. So you can see I've added very little color and I'm just blending into the background and the revenue. I feel that the color is excess. I quickly clean my brush and lift up a little of the color as well. So this is how I'm just going to begin adding in little cloud effect into the sky. Now let's open places you can see I use my finger quickly to dab off the paint and creating that mistake effect. So at the bottom left side I'm going to give a little of the brown detail because they feel going to have in a beautiful sparkling wave effect. So there, I want that little darker effect in the background. Now I've just mixed in a little bit of the white color, and I'm just going to begin adding in little more Cloud effects on the lighter orange pieces with this mix of the black bended brown, and white color. So again, this is going very much layers on layers. Now I've lifted a little of the orange color and adding a little of the orange cloud effect at the brown spaces. Working with gouache, you can see even the orange color is popping out right enough on the red tones and creating the perfect growing species that we want in the Cloud space. Now Ivan keep alternating between the orange brown and the vendor account color and creating such effect for the Cloud effects. So you can see very randomly just using the tip of my brush, dabbing it in circular motion, creating in those fluffy cloud effects. I'm just going to hit blending, blending these pieces one by one. Because I liked a little bit to offer set and then clouds rather than those boards or sharp line clouds. So that is the reason I usually prefer blending the edges using the damp brush quickly. So you can see how slowly rebuilt in the top space of this tie giving in so much debt. In the same way I'm going to begin adding in the depth now at the bottom spaces as well. I'm using the same small size filbert brush and just using the tip of the brush, you can see we can add in so many of the details quickly. Now, I'll wait for this to dry before adding in further details in the sky. Let's begin painting in the base layer for the c. For that, I've just squeezed out a little bit of the fresh white because you will be needing this as well a lot in the area. Now in the CVA, going to go ahead with the same colors in the base layer and then adding a lot of the details later on. So first I'm just adding a little bit of the white and now I'll go ahead with the yellow, orange, brown sheets one-by-one and created the depth for the C. So closer to the horizon line, I'm going to go ahead with the oh, yellow color. Now in the center as well. I'm just adding in a little bit of the yellow space and keeping in. So this is just the base layer on top of this. Now I'm going to go ahead with the orange and brown sheets and create in the deck. So basically he has, is going to be a reflection of this dye colors will need. So the same colors that we had been using, we will be using. The planes. And then going ahead with the wave details, now I'm just adding in the colors first, and then I go ahead with the blending step-by-step. Again, the key here is while blending, you can either using the base layer colors or the white color to create the blending easily. Make sure that your color is in a smooth consistency. At times you can see that the colors do not spreading smoothly because of the consistency. And I quickly use a damp brush to spread them well enough if it's already made on the paper. Now I'm just going ahead with the blending using in the damp brush so you can see I've just blended in the brown color, creating a smooth blend with the yellow color out. I'm just using the damp brush. And you will notice after they've been little space, I clean my brush because a lot of the palace get lifted. And if you keep blending in with the same brush without cleaning it, it will so happen that all of the yellow will get covered up with the brown tones, which we do not want. So it's important to keep cleaning your brush in between. Now next, I'm going to head with little more of the white in the center again so as to create in the blends. Now wherever I feel that the brown is a little overpowering, I'm just going ahead with little yellow again from the edges and blending them well. So at the bottom you can see again with the help of layering, I've given him a little bit of the yellow color effect. Now, wherever I feel, again, to lighten up the brown tones, I'm just running my brush and lightening up the tones as well. This is just the base layer that we're still on for the CV and still be adding a lot of the wave details and the blending as well. So again, using invite, just creating little blend at the bottom space. Now to blend in this top space I'm using in the yellow color again, and you can see now the blending with the yellow. So now at the top you will see major yellow overpowering. Then in between you have the brown and the white color and add the bottom. You have the brown and the yellow color blends happening in. So that is about the base layer now actually fit to my size two round brush. Begin adding in further details using in the mix of the brown and the Venn diagram, black and the vendor Chrome. And I'm beginning to add in it's lots of details now. So at the top space I'm going to add in the beads in a smaller Lynn. And at the top in the center where we have that little mountain shape happening because of the water splashing waves that we're going to show it. I've left that space a little more towards the yellow side. And very randomly you can see I'm beginning to add in these wave effect first. Now at certain places you will see that I have in effect coming in a lot of waves together at certain places I have in very small ways all think you'll see from the left and the right side both the angles, the waves are moving in metal enough Colby are tilted manner towards the center site creating in a semicircle kind of look towards the center. So in this way, I'm going to go ahead with this darker tone first mix of the brown and the black color and keep adding in little of the wave effect. At certain places you will see bigger patches of the vape detail in-between again, you can see going ahead with very small weight filling in the spaces. So you need to have in all our balance of all the kinds of details so as to get into perfect looking detail out. Now again, at the bottom here you can see how I'm going ahead with the larger waves as very filling in the spaces. Now in the same way, just as we filled in the top spaces, I'm going to go ahead and fill in the bottom spaces. The bottom space here, I've given it a bigger batch of the data door. And in the rest of this base, I'm going to go ahead with the similar way as we have been going ahead at the top area. But as I'm moving towards the bottom side, you will notice the length of the waves is increasing much as compared to the top side. Because these waves are much closer to our view, hence giving them a little longer way. So adding these views can be a tedious task, but do not rush because this is going to be the beauty of this painting out to say it's very important that you go ahead very slowly with these details so that we'll do not overdo as well as to not miss out onto these details. Now, very carefully I'm just going to go ahead creating that we've line at the top space carefully. And then we are going to add in a lot of splashing movement here has been in-between vary randomly. I'm going ahead with neutral love the dry brush strokes at the top space as well. Now you can see how the base layer is creating in the depth Gautier. At the top are closer to the line. You can see the yellow color overpowering. Then you have a little of the black color look. Then at the bottom you have the yellow and the brown color blend in the CSP. Now everything is dried completely. So I'm going to go ahead with the further details. So now I'm mixing in the white and the orange color to begin adding in the further details in the wave space, make sure that your first year of the waves and the base theory is completely dried before you go ahead with this teal. Now I have to add in little bit of the highlight. So fast I'm going ahead with some random dots with the orange and the white color mix. So basically I'm going to show in a little crashing wave lookout for which I am going ahead with these details to show in this plateaued off the water. So this is the first layer of this plateau that we're adding in. After this, we're still going to go ahead with some brighter tones as well to create in the depth for this pattern out to in-between. I'm even going ahead with niche loved the VBE highlights. As you can see, our sky has a lot of bright orange colored as well, which we did not use in the base layer of OSI because I wanted to use them in the wave to add in the highlights into a wave spot. Now I've added a little more of the white to the orange and white mix. And going ahead with this further lighter tone, I'm adding in the second year of highlight. So basically the splatter of water, I'm going to show him one at the bottom space and taking it's going to be at the top line out there that we will be showing in the water crashing in and creating in this plateaus and those bubbles at the top space. I've just added little orange highlight at the top area as well. Now next time mixing in a lot of bytes to the yellow color as well. And I'm going to begin adding in the details or TR they handle on the white mix. So same thing. I'm going to go ahead with little splatters and little details has been so very randomly you can see just creating and very little highlight and that also much more at the top space and very little at the bottom and in the center spaces to add in as the highlights. So at the top you can see I've given a lot of the yellow highlights this time and giving you a little dry brush stroke as well so as to create in the depth in the center. Now you can see I'm beginning to create in that splattering space of the wave, the crashing we've looked at. I'm trying to show in your, alright, so I've just picked up a lot of yellow and add it in those dot, dot, dots at the center space of there. Now I'm going to cover the top space and I'm going to splatter literal thick yellow-colored dead so as to show that crashing wave effect. Make sure that your sky is completely covered, only that little space in the center, but you have that little mountain look of the wave. Then we are going to show in the crushing weight that that space you have to add in the yellow splatters. Now I'm going to add in this plot does with the same way with the orange and the white color mix. A little of this plateau will be at the top here, and a little will be in the top area of the beef, please. Alrighty. So in the crashing wave effect, and those are bubbles of water splashing. Same, they're doing the same process with the white color. Always make sure that you're using smallest size brush for these plateaus so that you do not have bigger size of the splatter. And also make sure that your paint is not in an extra liquid consistency. Otherwise you will get because part of the Palo, instead of getting in these small splatter. Now I'm just lifting up the mix of the brown and the black color. Brown, black and white color. And I'm just adding little splatter with this calendar as well. So since our water effect is also with the colors of the sky, that is the reason this platters spin up on ahead with the same formula. So we have been majorly using the same colors for the entire class project to create an all of the kind of details including the spicy and the water effect. Now you can see how those splatters are acting in as the watery effect of crashing wave effect at the shoreline Plaza. It's looking in perfectly after you remove that whitespace and see that area. Now I'm just going to go ahead with little more of the details before we removing the masking tape for this class project. I'm just using the white and the yellow color mix and giving a little wave effect out your, which I'm trying to show as if the waves are moving up. And you might even be, I'm going in that crashing movement. So just giving them a little rough loopOut, you're at the horizon lines so that they will not have that straight line look and try to look in as the splashing effect. Now again, I'll just go ahead with little blending out to her and given the details again to show in that unsettled. So you can see the wave is now not having in that straight line look, it's giving you that crashing wave effect kind of a loop. Now using the white color as well, just giving you little details out, you're at the bottom space where we added in the orange and the yellow Carlos previously. Also randomly on little of the vape details as well. I'm just going ahead with little of those white dots to create in the deck. You can see how beautiful these white dots are looking as if they are creating in the shining effect of the sky. Onto the v is in the light sparklers on the water area. So just added and it didn't highlight with the white candidate has been the center space on the wave speed. So we are almost ready because class project just a little more of the yellow touched randomly. Because I've seen the white dots are a little more. I'll just cover them a little with a yellow color. And then we'll be ready with this class project. Now how beautiful the sky looks in this one, and then how the splashing wave effect has gone out in this one. At the bottom is when you're, you can see I'm creating in that sparkle look of the water for which we've added in all of these dots trying to show the water splashing, crashing and creating in all those sparklers and the flow of water. Same beaches going to add in little more splatters of water TO, to show in the sparkling effect. We're ready with our class project for day 15. Let's remove the masking tape and C are fine and painting with those clean edges, make sure you remove the masking tape once you register is completely shy. I'll give you a closer look of the painting so that you can see how beautiful the details of the waves look closer to the horizon line. So you also final painting for the 15 of this statistic was challenged. And Joseph, closer look at all the splatters. You can imagine how beautiful and the effect of the crashing deep that we were trying to build in it that took a lot of time, but the result is quite beautiful. And I hope you guys enjoyed painting this with me today. Thank you so much for joining me into the class. 18. Day 16 - Floral Spread: Hello everyone. Welcome back to Day 16 of the 30-day gouache challenge. Today we are going to go ahead with another beautiful field, kind of a painting variant. The entire focus is going to be the only field. So let's begin with the colors. The first one that I'm going ahead with is the black color for the base layer. There is no pencil sketch as it did, everything is going to be covered up with black. So let's begin with a layer of an opaque black color on the entire space. Make sure you use the black color in a good opaque consistency so that you do not have the white layer off the paper underneath visible on, under the black tone. So this is just going to be our base layer on top of this, we are going to go ahead with a lot of green tones for adding in the leaves and the grass detail. And then we'll go ahead with some flower details on top of this. So now I'm just going ahead with the second layer so as to get the blending straight. You can either blended all horizontally or vertically depending on the type of blending that you want. This is just the base layer, so it wouldn't make a difference whether it is vertical or horizontal. But I'm just going ahead with a clean blending so that everything looks pretty even underneath. Now till the base layer settles in, I'm quickly going to squeeze out the green tones that we are going to be using in. So we're going to use in different color green tones for adding in the detail so that we have a little color pop on this black color. So the first one is the greenish yellow tone, which I'm going to squeeze out a bit. Now in case do not worry if you do not have so many of the green shades readily available. We can create all of these shades by mixing the colors. The next color that I'm removing is the dark sap green color. Now you can just have either a sap green or a medium green tone, whichever available. And through that you can create the lighter and the darker tones. Next, I'm going to squeeze out a little bit of the olive green color as well. Since I have multiple green color options, I'm squeezing them out directly. You can go ahead and mix them as well. And lastly, I'll squeeze out a little bit of the white color because I'll be further forming variations with these colors with the help of fight color so that they stand out well enough on these black color background. So first I'm using this greenish yellow tone. Now in case if you do not have this, what you can do is you can pick up your sap green or a medium green color and mixing a little bit of your permanent yellow deep or permanent yellow light or any tone of yellow color to the green and get this greenish yellow tone. Next up is the sap green color too, which I'm mixing in a little bit of the white as well. So that I get a little brighter looking green so that it stands out on this black background. So beginning with this mix, I'm first going to go ahead and very randomly created in foil age effect. So you can go in very freely. Your, you know, it's the best part wherein you do not have to worry about the placement, the shaved, the layout. You do not have to worry about anything. Just freely go ahead and keep adding these. So you can see I'm going ahead with different kinds of details somewhere. Going ahead with leaves, some wages dabbing in the tip of the brush. You can add in the Grass talks as well as the leaf effect a little longer. So it's completely your choice. Again, you are free to add in your creativity as you wish. But make sure and be careful about one thing you do not fill up the entire space is completely with just the one color because we are going to go ahead with multiple different colors after this as well. You can see I'm leaving enough spaces in between and adding these in very random angles and random shapes and somewhere I'm just dragging my brush to give him that effect. So that gives you an unwritten natural effect as well. Now the reason of leaving such pieces is as I told you, we are going to go ahead with different shades of green to fill in your and create the depth and for the foliage. So make sure you do not overdo with one color. You can later on go ahead and add in the details with any color again, if you feel the need to. Now for the next color, I'm picking up a little bit of the white and going to mix it with the olive green color. I'm going to use this little basal olive green kind of a tone for adding in the next layer of details. Now if you feel that the mix of white and the green is almost similar to the previous one. You can add in a little more of white and get it more 1to1 lighter so that it stands out right enough onto the space. You can see my green is looking different than the first layer green because the base, I have used an olive green. Now in case if you do not have to olive green color, you can just go ahead and using a lighter green tone out here instead of the olive green color. Now, you can see for the foliage, I'm going in very randomly. I'm moving my brush very roughly so as to get those details as much natural as possible. So you can see compared to the first layer as well, I'm going ahead very randomly this time I'm going ahead with more of these grass strokes. And you can see very random movement of my brush. I'm trying to keep it so much natural so that all of these turns out looking very natural. With the second layer, you can see how beautiful everything is turning out to be and getting in the natural shape. This is the main focus feel that we are painting today. And you can see how beautifully, without any specific direction or any specific shape, you can create such beautiful paintings with messy things as well. Now again, at this layer as well, remember to not overdo the things. Make sure that you stop at a certain limits so that there is enough space for the other details as well to pop in and you do not have one fallow overpowering the entire painting. Now for the third color, I'm going to mix in a little of the yellow to the light green already. So I had picked up the greenish-yellow color. And to that as well, I'm for the adding little bit more of the yellow and white so as to get it for the 1to1 lighter to add in certain more highlights onto the entire space. So you can see this color is a little different as compared to the previous tones that I've used. Make sure that all the three colors stand out differently. Now, in case if you do not have three different greens, do not worry. You can simply mixing yellow to get in your lighter tone of greens and white for one color or combination. And you can further add in little more white and yellow to get a different color. With this last fallow, you can see I'm adding in very listen highlights vary randomly and just going in very casually here again as well so as to add in the details. So adding these leaves can be a tedious task altogether. So if you want in-between, you can take breaks after each layer or if you are finding a joy and peaceful to go ahead with these loose strokes, then go ahead and keep adding them altogether. I absolutely find it very peaceful and calming to just sit and keep adding these random leaves moving in different directions. And then you can just beautified this entire painting with the kind of flowers that you liking. Now lastly, I'm just going ahead with little splatters so as to add in some very tiny grass details. So very little splatters on the entire space, majorly, more towards the bottom side, and very little at the top space as well, so as to make it look everything balanced together. Now after this, I'm going to begin adding in the flowers on top of this and then we'll be ready with this class project. So for the flowers, I'm going to use this permanent red color which is already on my palette. And to that I'm just going to add in white color so as to get it a paste and red pink tone. Now in case if you do not have the permanent red color, you can go ahead with Scarlett, Carmine rose matter, whichever shade of red or pink that you want. But make sure to not add too much of white altogether because we're going to add in the flowers as well into color combination. So it's going to be one with this little darker tint of red and white mix. Next one, I'm just going to add in more white to this color mix and get a further lighter tone. Now I'm just going ahead with a very simple flower shape you want. You can go ahead with roses, daisies, or any other flower for that matter of your choice. And creating that depth. These flowers as well. I'm going to go ahead and add them in little different angles as well. But first let's begin adding in the flowers slowly. Make sure you do not add one specific kind and size of flower closer to each other. Make sure to keep them all at a distance. Because as I told you, we are even going to be adding in the flowers with the lighter tone as well. So there should be enough space to balancing. Plus we also need to make sure that the underneath gracilis and the leaves are still visible because that was the whole reason of adding them. Otherwise, it wouldn't make sense wasting time to add on those leaves. So very slowly, I'm going ahead with these flowers one-by-one adding in. You can see I'm leaving in enough spaces. So I'm mad, I'm adding two closer to each other so as to show them as a bunch coming out together. I'm going to be taking these flowers till the top. Now at places you can see I'm changing the angle of the flower. Somewhere. I'm just adding half of the flower and some there I'm adding in full the full of the flower. So it's just an angle perspective view as to from where you are viewing it and how the flower is visible. So you can see I've not gone ahead with a lot of flowers. I've kept it a little minimalist so that the leaves are still take the major species and you know, the main focus will be on the leaves. Now with this lighter tone, I'm just going ahead with some more flowers closer to each other so as to form in bunch and some darker and lighter tones popping out together. So to this, a mix I had just added in the white you could see, and you can see how just one tone lighter color also creates a different impact and adds into the color pop off the entire picture and creates a beautiful gradient as well between the flowers. So just going ahead with some flowers more until I feel that they are enough. And then after this, we'll just be adding in small buds to these flowers are randomly and then they will be ready with this class project for D 16 as well. Now for the buds, I'm going ahead with this white color to which I just added a little tinge of the orange and yellow color. And to all of the flowers, I'm going to go ahead with the white part so that they pop out on the green and the black background, if you will go ahead with a yellow, but it may get mixed up with the leaves and may not stand out that right? That is the reason I'm going ahead with a white color because even brown color will not pop up much because of already the under layer darker tones. I'm almost done adding in the buds as well. Now lastly, I'm just going to go ahead with some green color details again. So I'm just going to pick up the mix of the sap green and the green color. And randomly I'm just going to add in some of the leaves coming out from the flask piece along with the flower so as to show them or joined with the flower details as well. So very randomly, just some leaves closer to the floss and connected to them. Make sure you do not overdo these leaf details going very little and just, you know, not too much to cover up the entire bottom spaces that we have created so far. So that is it. Let's remove the masking tape and see your final painting with those clean edges. Make sure to 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 our final painting for day 16 of this 30-day gouache challenge. I hope you guys enjoyed painting this beautiful simple painting for today. I will see you guys soon into the next class project. Thank you so much for joining me. And if you are liking this class for whatsoever reason, make sure to drop a review so that it can reach maximum students. Thank you so much for joining me. 19. Day 17 - Sunset: Hello everyone. Welcome back to day 17 of the 30-day cost challenge. Today we are going to be painting a beautiful landscape. It's going to be a pretty simple landscape with a little road side view. I had actually painted one of these for real. And I absolutely loved how it turned out. So I thought of turning it into a class project for you all so that even you all can paint along. So I'm going to be using in Miami or he may gouache set for this one, which is a set of 56 tones. So first I've picked up a little bit of this editor in blue and the white color. And I formed a pretty sky blue kind of a tone beginning in with this sky blue color at the top space. And you can see, I have made sure that the color is quite opaque. The underneath white paper is not visible. And in fact, because of the white color, the color tones more opaque. Now after adding in the blue color, the next color that I'm going to shift in is going to be a pink tone. And after that I will be shifting into a yellow tone. Now the reason I was using in a pink color in-between is because if the yellow and the green will be blended together, they may form in a green tone. I do not want that. One. Little pink highlights of the in-between my sky of the blue and the yellow. So this set already has a pastel pink color readily available, but in case if you do not have it, do not worry, you can simply mixing by two any of the things available in your palette. It can be crimson Rosemead, right? Or para, whichever pink color that is available in your set. I've blended the pink and the blue well together, do not worry after this, we are even going to be adding in the Cloud effects on top of these. But with each layer, make sure to go ahead with a clean blending. Now the next color is going to be a pistol yellow color. Again, we did not go ahead with any pencil sketch for this class project because I'm going to add in the details directly with the paint rather than giving in a crisp line with the help of a pencil or marking. Now, I have just added in the pistol yellow color. If again, you do not have to pay cilia locally, you can simply pick up your yellow light or yellow deep color and add in a little bit of the white quash. This will make sure that all of your color tones are in the same color. Theory. If you will see even our blue and pink is in the pastel tones. So it's better to go ahead with a little pasty yellow so that it all looks well in harmony together. Now this blending it with a little bit of the pink as well. So that was the base layer of the sky. Now I'm going to begin picking up the blue color and I'm going to begin adding in the cloud effect. So I'm just using the tip of my brush. This is the smallest size filbert brush. Again, this brush is also from the Mia, he said, and this is perfect for wash blending specifically. And I love using these billboard brushes because they given so much ease in adding in the detail. So onto both the sides I've added in its love the cloud effect using in the blue color over the Ping space. Now I'm going to go ahead with the pink color as well and begin adding in little cloud effects with the pink color as well. So on the yellow from the edges you can see him. We're going to add in the cloud effect with the pink color. Basically you can see I'm just dragging in the tip of my brush, giving in those strokes to form in the cloud effect. I'm using only the tip of my brush and I'm making sure that my base layer is almost dry. Otherwise it will begin to blend with the top layer and you will not get in the opaque look of the clouds. Now using the same pink tone, just adding in little highlights of the clouds even on the blue space. So I'm done adding in the Cloud details. Now next I'm going to shift into my green color. So I'm using the sap green color which is already out here on my palette, you can use sap green, olive green, or any other darker green tone. Now using the same filbert brush, I'm just going to create little bush space. So you will see a very irregular shape that I'm creating, trying to show us the bush effect later on, on top of this, we're still going to be adding in details with the black color. So this is just the base layer that I'm creating right now. Now I'm going to go ahead and add in a perfect straight line out here so that we get a little, you know, perfect spacing for the green area. Now underneath this green space, we are going to have in one pathway which is going to go diagonal. And then the next green path again, which will also be diagonal. And then again a pathway which will also be a little diagonal. So as I begin adding in the colors now, you can first have a look and understand the diagonal movement of the details that we'll be adding in. So for the pathway, I'm going to use a grayish blue tone. Now this grayish blue tone is already readily available in my palette. But in case if you do not have it, you can simply pick up your occlusion blue color, adding a little tint of the black and the white and get a bluish-gray kind of tone. You can make sure that you only added a very neutral tint of the Black. Otherwise it may turn to data. And you need a little bit of white to get it into the gray tone from the blue and the black. So now you can see the diagonal angle that I have taken in your four adding in the detail. So that is what we are going to go ahead with the second layer of the grass as well, which will be just below this pathway, which will also be going diagonal. And then again a pathway which will again be a little diagonal. So I've just marked out the space and now I'm going to fill in the top space with the green color till the pathway space, going a little carefully so that you do not run in the pathway. Later on, on top of this green color or area in between, we're going to add in little lighter green details as well, which are going to be very simple one. So you can see, even without the help of a pencil or a scale, you could simply get in the details plus they look more natural rather than having those straight lines or with the help of pencil and then restricting yourself to those lines. Now in the bottoms piece again, I'm just going to fill in this entire color which we use in the top layer pathway. So I'm done adding in the bottom layer as well. These are just the base layer. Now on top of all of these, we are going to be adding in details to get the depth into the painting at this spot, we are done with all the base layers. And now it's the time to begin adding in the details one by one. So for the first detail, I'm picking up the light green color and I'm just going to begin adding in random strokes on top of this center greenery way and given some light green stroke effect, so very randomly, just some light green strokes, nothing specific. You can go ahead randomly and just add them. I'm using the greenish yellow color in case if you do not have it, you can. Mixing a little of your yellow to your sap green color and get this slight greenish yellow tone. Now next I'm going to shift into my spoiled round brush for adding in the foil is detail with the black color on the top graph space. So I'm going to quickly shift into my round brush and I'm going to pick up some black color which I already have on my other palette. Now, make sure when you begin adding in this detail, you do not have excess water on your brush and even the paint has to be a little thicker as compared to the rest of the times so that you get in the dry brush effect. So now holding the brush perpendicular, I'm just beginning to add in the bush detail on top of the green color with the black color. So I'm just using this pointed round brush and using the color in a little dark, thicker consistency. Plus I only dip the tip of my brush in water because my paint was completely dried. I did not add any additional water to my paint. I just use the tip of my brush and began dabbing on the paint so as to reactivate the paint and add in this dry brush detail. So at the bottom side, closer to the pathway, I'm going to give him little darker death and I'm going to add another little black detail there more with the help of another brush, trying to show in some darker details there and giving it a specific straight line so as to distinguish it all well. Now again, using in the lighter green color, I'm just going to add in for the highlights onto this center pathway. Sorry, the center greenery space because all you're I guess the color did not stand out well because basically I was still wet, so it's settled a bit into the base layer. So now again, using the same light green tone, I'm just adding in little of the highlights again. Now I've shifted to my smaller sized round brush which has a pointed tip. This is a size two velvet touch Princeton series brush. Now using this, I'm just going to begin adding in little detail for each at the top species with the black color. So if you notice, I'm just going ahead and dabbing in the tip of my brush, adding very small detail and giving in the deck in the same way, even on the left side, I'm going to go ahead with the violates detail and begin adding them and creating the depth and a little detail look to the foil age. So you can see since we are using water-based squash, I can easily reactivate the paints which are on my palette and reuse them depending on the kind of detail I wish to work on. But whenever you are diverting the pains and using make sure that you do not add a lot of water, Otherwise they will lose opaqueness and Marathon transparent like watercolors. Now using the black color, I'm just adding in a form line at the separation point after this, I'll just be left to add in little details on the pathway using it a lighter tone of the same gray color. But before that you can see at the bottom space with the black color, I'm adding in some more darker details so as to give it a little more depth and the shadow effect. So I'm almost done adding in this darker depth of the green and the black color. I picked up a little of the green as well and blended it with the black color at the bottom space. Now you can see the bottom space tries to show the shadow of the top spaces giving in the darker depth out there. Now to the gray that we use on the path we have just added in a little more white to that to create a lighter tone. And now using my liner brush, I'm going to begin adding in the details on the pathway. So I'm going to give him those details of the path we're trying to show in the directions. I'm using my size three by zero liner brush. Again, this is also from Princeton velvet that series. And this is perfect for adding in these fine details. So I'm just adding in little more white because they find the colors still a bit darker as compared to the base layer. So to make sure that these details pop out on the darker tone of the base layer. I'm just going ahead with photo one tone lighter. So just added a little more of the white to the same mix to get the lighter tone. So first across the greenery way, I added in a thin line, leaving a small gap in between both of these. And now in between, I'm just going to go ahead with the smaller lines. In the same way at the top space here as well. Just going ahead with the fine lines and now just going to give a little more detail closer to the green Bay as belly button, thin line as you can see. That is it, we're ready with our class project for these 17. Let me give you a closer view of the details so you can see how beautiful everything is looking. Let's remove the masking tape and see your final painting with those clean edges. Make sure to remove the masking tape very carefully and always remove the masking tape against the paper. And also make sure that your edges are completely dried before you begin removing the masking tape. You can see since my paper is taped down on a movable surface, it's so easy for me to rotate, move, and getting the details right as well as removing the masking tape becomes an easier task. So here's a final painting or detailed close view of the entire painting. Another very simple landscape, but a beautiful one. I hope you guys enjoyed painting this with me today. It just took us 20 min to create this beautiful landscape. I will see you soon into the next class project. Thank you so much for joining me into the class and painting along with me. 20. Day 18 - Dreamy Landscape: Hello everyone. Welcome back to the 800s of the 30-day gouache challenge. Today we are going to be painting yet another beautiful landscape. And believe me, this landscape, the result of this is so mesmerizing and I absolutely loved the outcome, and this has become my most favorite class project. Let's begin squeezing out the colors one-by-one. So first-out you are, I'm spacing out the permanent yellow light color. You can go ahead with any medium tone of yellow that is available in your palette. I'm using the Magellan mission set here. Next, I'm squeezing out a little bit of the permanent orange color. After this, I'm going to be squeezing out a little of a pink tone and the violet color after that. So you can go ahead with any bright pink that is available in your palate. I'm going to be using in this bright or para color, which is by the name bright pink in my palette, you can go ahead with any medium tone of pink, or you could simply use crimson or rows middle with a little Tinto fight to get a little lighter tone of the pink color to this as well. I mean, adding a little of the white color if needed. And lastly, I'm going to use in the violet deep color. Now this violet deep color. I'm going to mix it with a little bit of the ultramarine blue. So I'm squeezing out a bit of the ultramarine blue as well, because the violet color from this set is a little towards a very dark side. So to cut that out a bit, I'm going to mix it with a little of ultramarine blue. Ultramarine blue is also in the tone of a little of the violet color. So it helps in getting all midtone of the violet color when mixed in with the darker violet tone. Plus it maintains the charm of the violet as well because of blue colors used in the pigment for the ultramarine blue. And lastly, squeezing out a lot of fight because that is what is main needed for blending out and getting that little paced field to the entire painting. That is about the colors that you will need. Now coming to the pencil sketch, I'm just going to mark out to horizon line nothing beyond that. If you want, you can even skip that, but just so as to give you the detail of where the sky will be invade the sea. I'm just marking this distinction line which is a little below the center line as well. So first I've mixed in a little bit of white along with my yellow, despite picking up a medium yellow, I'm still mixing in a little off the white to get a more beautiful pigment out there. I'm using my smallest size filbert brush and beginning to add in the colors one-by-one. So I've actually turned off the yellow color and now picking up the orange color, I'm going to add it closer to the yellow color and blend it well. Make sure you do not cover the entire yellow. You can blend in step-by-step slowly. Now for blending, I'm using a little of the yellow color so that the orange does not overpower the yellow completely. So you can see at the blending point, I used up a little yellow. Now I'm mixing in a little of the white to the pink color. So you can see I've got a beautiful pink tone. And now using this, I'm going to begin adding it closer to the yellow and the orange tones. Even a little over the yellow and the orange color. I'm just adding little highlights right now it says so as to keep on adding details, as in when you are lifting up the colors and just very little closer to the horizon line. Now next I'm beginning to mix in the ultramarine blue and a little tint of the violet color. And to this, I'm going to add in a little tint off the white color to get it in the pistol tint. Now make sure, as I told you, you don't need a very dark violet tone. So according to that, what kind of color composition that you have in your palette, you can decide whether you need to mix in the ultramarine blue or whether you can directly using the violet color. So you can see I've got a pretty pasty lavender kind of a tone, but a little towards the darker side. I don't want exactly a lavender color, but a little dark paste till violet color. The purple tone. Now with this color and beginning up at the top space. I've added this color out, you're at the top space now onto this. I'm just again going to go ahead with the pink color, just below the violet color, and then move on towards the bottom side. So for the pink again, mixing in white and the pink tone, and I'm going to begin adding it just below the violet color and blend it well with the violet color as well. Now again, after the pink line, a little bit of the violet again. So that is the reason you can see when I added the pink tone closer to the yellow orange color, then I did not pick it up completely because I had to take these steps. That is violet, then again pink, then again violet. And now again, I'll go ahead with a little bit of the white and the pink tones so as to blend the violet with the orange and the red and the pink layer. Now in this, if you will go ahead and directly without the white color or the pink tones, what will happen is the violet and the orange tones blending together will give you a muddy tones a bit. Not much because we've used invite in each of the colors, but still in order to avoid any muddy tones being formed, It's always better to use invite gouache for blending in a small space in-between the two colors. Now, over the white, I just added a little of the pink layer as I told you, because I did not want that much of the whitespace out there. Now I'm just going to go ahead with the colors over again, wherever I feel I need a little of the blending and the details, right? So this is the sky space that we are painting. My Sea area is going to be exactly a reflection of the sky colors. So indices pays for style beginning with the orange and the yellow tones. Then I will add in the violet and the pink tones and blend them well great, together with the help of the white and the pastel tones. Now, you can see I'm just going ahead with little of the orange and the yellow color tones depending on what is needed for blending in dry. So you need to go step-by-step and understand what is needed, where and when. And then decide as to how you need to go ahead with the blending. Now using the yellow color, I'm just beginning to create in some highlights into the Cloud space with rough strokes. So I'm just using the tip of the brush and adding in some clouds strokes randomly. Now in the same way with the pink color, I'm going to go ahead and begin adding in the Cloud stroke. So I've added in the pink and the white. And you can see just using the tip, I'm beginning to create in the debt. Now in the sky as well. We are going to have in a lot of black foil h on the top side and the right side majorly. So you will notice, I'm not going to add in much of the Cloud details on the right and the top side because they are asset is going to be covered. But we need to add in a little detail so as to show those details popping out well from behind those bush details do not leave it completely blind, but rather just adding little details to be visible. Now I'm going ahead with one bond darker color of the violet color to add in some violet cloud. You can see I've been using that same brush for adding in all the details. Whenever I want to add in the clouds, I just use the tip of the brush for adding in those details. Now I've just mixed in a little bit of the pink and the violet color to add in little highlights at the bottom space as well. You can see very small cloud detail and highlights that I'm adding in Europe. Now let's begin adding in the details in the sea. So I'm beginning in with the orange and the white mix at the bottom right side of this, at the top right side actually of the sea space. So just a small patch with orange color directly. I'm not going to add in much of the yellow in the sea at the moment. We'll see later on if it will be needed. Now next I'm going to add in a little of the pink closer to the orange color. Now the blending of the C may be a little tricky for some of you. If you are an absolute beginner in gouache, it may take you a little time to get such blending, right. But believe me, with practice, you can absolutely get this as well. Now, in the remaining spaces, I'm just going to add in the violet mixing with the white quash along with a little bit of ultramarine blue. And I'm then going to go ahead use and white and blend all of these. Believe me, this blending was a little tricky for me as well. So in case if you do not get it right in one God do not worry. Another simple way that you can go ahead with. You can have an entire line of the orange color, then the pink and then the violet color just as we went in the sky, exactly mirror reflection of the same in this area. I have gone ahead with a little different blending of keeping only small space, pink and orange on the right side. But in case of you are not confident with that. That is another way that you can try out. Have a complete line just in the z-space of the orange color, then blend it with a line of the pink and then move on to the violet tones. But makes sure to use in white colors in between for blending if needed. Now using the white color, I'm first blending in the violet and the pink selected. Now from the orange side, I'm pulling out the white color towards the violet color tone. You can see a little of the violet color gets lifted on the brush to make sure if it is excess, you clean up your brush. I'm just blending in from the right towards the left side now first I blended the pink and the violet and then the orange and the violet. You can see there are no muddy tones form. So I've got the Blending right and easy. Now let's begin adding in the details with the black wash. I'm going to squeeze out a little of the black wash-out you're on my palette and begin adding in the details with the black gouache. I'm using my round brush and using in it perpendicular motion. I'm just beginning to add in the foil edge detail. So this is the first layer of the foil age. After this, I'm going to add in little of the detail for each node using my smallest sized round brush. But you will notice I'm trying to give him the shape to the foil age as well. Some that you will see my foliage is moving more towards the center somewhere. It's restricted towards the right edge. So when you begin to add in this dry brush detail, make sure you give you a village the shape that you want it to grow into. And this way I'm just going to go ahead and add in this layer. Make sure that your base layer of the sky is completely dry before you begin to add this. And by lifting up the black color, you have to be careful that you do not have excess water on your brush or in the paint. Plus your brush has to be a little extra dye so that you get in this dry brush detail. Otherwise you will begin to get in big 0 patches of the black color, which will not give you this spoilage look. Now from the top side as well as I told you we are going to be having in the foliage. I'm just beginning to add in the foliage. You can see somewhere I'm taking it taller, somewhat shorter. And accordingly, when I'm going to go ahead with the detail look, you will see how everything takes the shape. This is just a filler details that I'm filling in for us so that we save in a lot of time and effort while adding in all of the detail together. This helps in filling up the space completely and also gives in a much better natural look. Now adding a little bit of this foliage on the horizon line as well, we will define the horizon line later on when we shift into our smallest size brush. Now at the bottom most right side, I'm going to add a little of the foil pouch. So basically this file is, I'm trying to show in the reflection of the topmost spoilage or some of the foliage at the top side, which is not enough view, but the reflection is visible in the sea. That is what I'm trying to create here. Now I'm shifting into my liner brush, which is the velvet touch Princeton series. Oh sorry, Princeton velvet touch series liner brush. This is three by zero. I'm using this. I'm going to begin adding in the detail for each loop now at the top and the bottom spaces and give this painting a more detailed look. So first time beginning to add in a few branches, you can see very simple branches that I'm pulling out, very thin ones. Make sure you use a very fine brush for adding in these details so that everything stays in proportion. One or size of paper is also very small, so we need to plan accordingly. Secondly, we are trying to create very delicate lookout. You're so even that you need to maintain the sizing of the details that you wish to add it. Now, adding in branches very randomly into the entire foliage first, then we'll go ahead with the detail for each loop. Now when you're adding in the foil age or this branch details as well, you have to be careful that you do not go out of proportion. So near the top space you could see I added in bigger branches and then the rest of the spaces I maintain the lens till the foil age and the shape that I've added in. So you need to maintain everything in balance. Now onto this, I'm beginning to add in the detail looks and I'm just dabbing in the tip of the brush the same liner brush that I'm using and giving in this smaller, tiny village detail onto the branches. I'm not going to add it to all of the branches, just to some of them at the top space first and then a little on the right side. So you can see how beautiful these detail for each loop gives him. So j is going to keep adding a little more. And then we'll just define the horizon line. And we're almost ready with this class project for the 800s as well. Now on the right side as well, I'm beginning to add a little of the detailed foliage. Look towards the center space. You can see how beautiful as soon as you begin to add in these details. For LH, it gives him so much more depth and detail to your painting. Now you can see I'm holding the brush much closer to the Brazil so as to get precision and more control over the brush for adding in these detailed look. So just adding in these spoilage detail out, you're at the top space, undiluted at the bottom space as well. Not much. You can see how quickly we could add the detail look in case if you hadn't added the foil it first with that spoiled round brush, it would have been very difficult to add in all of the detail without smallest size brush in a detail. Look. Now, with the help of this, you can add in just a little detail look and rest of the thing is taken care by that violation technique that we use for filling in the space. Now using the liner brush, I'm just defining the horizon line a little bit. After this, we're even going to add a little reflection to these details on the horizon line as well. So just adding in some last details out, you're at the top space before we move on to the reflection and then removing the masking tape. So randomly even on the right side, I'm just going ahead with a little more foil each detail. You need to decide when you need to stop and when you are completely satisfied. I just feel like adding in a little more. So I'm just going ahead with a little more of the details out here. Now I have picked up a dry filbert brush and I've lifted up a little of the black tin just on the tip of the brush and adapted clean. And now I'm just pulling out a little from the top, closer to the horizon line into the sea space. To add in the reflection to the grass detail that we have added on top of the horizon line. So you can see where the grass detail was told that reflection is also called. As you're moving forward, the deflection is turning shorter because it's the grass details also turning short-term in-between. I'm giving in very small thin lines using just the tip of the brush so as to give him that the water moving motion effect as well. So you can see how easy it is to add this reflection as well. Now make sure you do not add much of these lines. You need to strike a complete balanced very randomly at places, again, at the bottom space as well. I'm just adding in some of these to give him the moving water motion. So you can see just as soon as you added in that little reflection on the horizon line and goes very little light, white, black lines. The water has got a new life and that moving motion. Make sure again, when you are beginning to add in that black color reflection, you do not have excess water in your brush when you are adding in those guidelines are to actin as the moving water effect. Just use the tip of your brush and the black color and a little lighter tone consistency. So you could have noticed that I had dab my brush on the paper towel after as soon as I had picked it, lifted up the black color on my brush so as to get goes lighter effect for the reflection and those cutoffs when we're ready with our class project for D 18. This is absolutely my favorite from all the class projects till now. Such a simple one in just under 25 min. And yet such a beautiful outcome with those lively details. I hope you guys enjoyed painting this beautiful landscape with me. You also closer view for all the details about this painting. Thank you so much for joining me into this class. I will see you guys soon into the next class project. Thank you so much once again for joining me. Make sure to drop a review and upload your class projects. If you're painting along with me, I saw on into the next class project. 21. Day 19 - Night Sky: Hello everyone. Welcome back to D9 of the 30-day gouache challenge. Today we are going to be painting yet another beautiful northern light, but it's going to be quite a simple one as compared to the previous northern lights that we painted. It's basically more of a nighttime scene rather than another enlight. Maybe. Let's begin with the pencil sketch. This time we have a little pencil sketch first mapped out the horizon line, a lot below the center space. You can see it's almost towards the bottom space that I've added in three mountain ranges. Now the top space is going to be the sky where we are going to be painting, then the mountain ranges and the bottom-most piece is going to be ASI space. So this is how our structure are. The basically out of the painting is going to be now for the sky I'm going to use in the background indigo color. So basically it's actually are indigo color, but it's a little more towards the darker side. So to get this tone a bit towards the lighter side, I'm again going to use in another blue so as to get in lighter tones. Because if I use this background indigo directly from this set, it will act almost as a black color, which is not what I want. For that I'm going to use in the Prussian blue color. Next, I'm going to squeeze out a little bit of the white as well because the white on my palette is already over. So I'll be using in these three colors for painting in the sky. And then the reflection of the sky with the same colors in the z-space, then the mountain ranges are going to be a smoky blue so that we will be using in black and the white question giving in the dry brush detail later on after that, at the bottom line of the mountain ranges that's at the horizon line will be giving in some light, glowing light details of the living spaces closer to those mountain ranges. And then some reflection. First beginning in with the indigo color at the top space. You can see, as I told you, it's almost like a black color from this set because that is the reason the name goes the background indigo. Now I've added in a little bit of the Prussian blue just below the indigo color. And now after this I'm going to use and only white color and get the gradients to this from the top till the bottom space. So now using in the white you can see I'm beginning to get into gradient. Now I'm going to pull this up till the top space and lighten up the top spaces as well and getting a perfect blending and the movement and the transition between the colors. So you can see how quickly when you blend in with the help of white, you get a perfect transition and the flow between the colors as well till the mountain range. I'm going to go ahead with this color now. I'm going to lighten up this blue color closer to the mountain and get it into a further lighter tone. Because from behind the mountain, I want a little of that glowing light effect. That is the reason I'm going to go in with fresh white just below the closer to the mountain range. Now, if the color goes a little into the tip of the mountain ranges, it's perfectly okay. We'll be able to cover them up later on when we go ahead with the details in the mountain range. So for now you do not have to worry much about the colors going into the mountain range, but as far as possible as much you can avoid it. Avoid it so that you do not have to be a lot careful. Mind going ahead with the layering technique. Now from the top, closer to the mountain range till the top space, I have gone ahead with a one layer blending. And you can see the different tones of blue that we've got with the help of indigo, Prussian blue, and the white color. Now, mixing the same three colors, I'm going to go ahead in the z-space as well. And in the sea I'm not going to have much of a transition, but just little darker tones at the bottommost space. And in the C later on we'll be adding in little details with the white color so as to give him a little of the wave movement effect. So we are done with the base layer for the C now using the white color and just using the tip of my smallest size filbert brush, I'm just going to begin adding in some texture in the sea very carefully. Just going to add in some very small white details for now. You can see very roughly I'm just creating a little texture. So just going to go ahead with a little more texture on the edges as well. So this is just a little movement of the water and little texture so as to show the effect of this skylights falling into the sea as well. Now next let's begin painting in the mountain ranges. So for the base here of the mountain, I'm going to go ahead with the black wash. I already have a little bit out on my palette from the previous class project. So I'm just going to lift that up and I'm going to first define the shape or the edge of the mountain range. I'm going to make sure that it is a very natural random shape and not going to go ahead with the straight lines. So you can see I'm giving him those coffee and unfinished shape out there. Now this first mountain range, I'm filling it completely with the black color. The second mountain range. I'm not going to fill it with the black color, rather, I will later on given the dry brush detail and the tall mountain range, now, I'm going to go ahead and fill it with the same black colors we filled in the first mountain range. The third mountain range is going to be the smallest one and the one you're at the right edge. Now to lease Leo's off the mountain range dry in. I'm going to go ahead, pick up some white gouache on my round brush and splatter the stars into the sky. If you want, you could have splattered it before moving on to the mountain ranges so that it does not go on to the mountain range. But since we're going to add in little of the dry brush detail with the white color on the mountains as well. So even if a little splatters go in there, you can always cover them up while doing in the dry brush technique. If you want, you can cover up the space from the mountain range and disease-based so that these plateaus do not go there. It's absolutely your choice how you wish to go ahead. Remember when you splatter through brush like this, you can see the mess that gets created on the rest of the space as well. That's around on the table. But you can absolutely clean it up quickly using in a wet towel or tissue. Now just adding little more, blending details at the bottom space your variable, the splatters have come in, I'm just blending it into the background. So we've done adding in this platters into the sky as well. Now moving ahead further, let's begin adding in the details in the center mountain range first. So I've shifted to my angular brush, which is the Princeton velvet touch series angular brush. Now first I'm going to just define a little off the shape using the black color and then randomly just going to go ahead, add in little dry brush detail onto the center mountain which we had left blank. After this, we're still going to be adding in a lot of light effect using in the white and the yellow and the orange tones. So make sure you go ahead very slowly and do not rush with the details. Now next one to the two mountain ranges that we painted black. I'm going to go ahead with the white color to add in the dry brush detail to give him the snow cave loop. So for that I'm using in my round brush and I picked up the white color in a good thick dark consistency and adapt or fall off the excess paint as well so that there is no excess paint and I do not get in patches of the color. Now make sure that your layer of the black color is completely dry. Plus f shifted into a smaller size brush so that I can get the details a little more fine. Now I'm just going to begin adding in the dry brush detail. You can see I am. Dabbing my brush so that I can get rid of all of the excess paint. And now you can see how beautifully I'm getting in those dry brush TTL to actin as the snow loop or to these black mountains. Later on we'll be adding in some good bold white lines as well. So as to actin as the perfect nor deposits. And now you can see these white lines which we are adding it in the bold we are looking in as that could deposit of the snow out there altogether. In the same way, I'm just going to add in little detail onto this thought mountain range as well. So in the center we have more of the snowy mountain and on the edges we have those mountain look wherein this noise less that is the reason more of the black color is visible. And in the center mountain, we added good dry brush with the black so as to show very less of the mountain being visible. Now in the center mountain range as well. I'm just defining the details well, that they look perfect and they'll blend into each other amongst all three mountains. Now just going ahead with a little more detail of the white color. After this, we are going to begin adding in the details for creating in the light effect on the horizon line and then a little of reflection of those into the Z space. So finding in the light, I'm going to go ahead and mix in the white quash along with a yellow color. You can use any medium tone of yellow that's available in your palette. And I'm mixing in both to create a bright shining yellow. And using this, I'm going to begin creating in the base layer for the growing space off the lights that we will be adding it. So along with the yellow, I'm just mixing in a little tent of the orange you as well, which was on my palette. And I'm creating it very small circles. First, I'm going to blend all of these into the background. So this is just the base layer that I'm creating. Once we blend this and give it a soft. This will act as a background growing effect for the final lights that we will be adding. Now using the damp brush, I'm just going to blend this on the edges and make it go look blended into the backspace. Same way on the right side as well. I've just lifted a little of the yellow and blending this piece. Because on this right side I'm going to show in more of the light effect. And on the left side I'm going to show the scattered light effect. So if you'll feel for blending, you need a little bit of the white color as well. You can simply using the whitewash as well so as to have it the perfect blended look with the background mountains. Now again, I've lifted a little of the orange and creating in this glowing space. Now to add in the light effect on top of this, I'm mixing in the white and yellow color. And I'm beginning to add in the reflection effect in the z-space. So let's pieces where we've added the white in those spaces, in the z-space, I'm just adding in small lines, pulling out lines to actin as the reflection. Same way I'm even going to use an orange color as well to given these highlighted effect. So now with a little tent of the oranges, well, just going ahead with those same lines. So in the top space, see if the height of the light is longer in the reflection as well, the height of the light will be longer at that space. So you can see accordingly the heights of the reflection waiting. So it's exactly in what the deflection of the lights on the horizon line looking out into the sea space. Now my background spaces has tried in, and now I'm going to go ahead and adding the final details so fast. I'm mixing in the orange and the white color and mixing in both of these, I'm going to begin adding in a few of the light details with this color. So just using the tip of this brush, I'm just going to begin adding in very small dots onto the growing spaces that we have created. Just going to show them as the light effect. Now you can see as soon as you add in these bold dots, the background blurry space begins to actin as the growing space amongst the light and everything begins to look so pretty. Now into this, we're still going to add a little of the light effect with the yellow colors as well. Now this light effect on the left side, it was looking a little dull. So I just went ahead with one more background layer and then add it in the light effect. Now randomly in the rest of the space is closer to the horizon line. I'm adding in a little more of the light effects to which the reflection we haven't added in. Now, I will give you, for those of you of all of this, once we are done so you will get a much better view of the lightings as well. For now, let's begin adding in some details using in the bowl yellow color. So this time I have not added in much white to the yellow, but I've picked it up in a ball consistency so that we get an opaque layer on top of older layers that we have added so far. Very randomly in the center spaces as well. Just going ahead with a few more dots. And that is it. We are almost ready with our class project. Lastly, just adding in some light effect with the pure white gouache color as well. So you have three major light effects, yellow, orange, and the white. Now, wherever I feel that I need a little more blending or dabbing, I just use the tip of my finger so that I can blend it in quickly and given the soft law randomly at the rest of the horizon line as well, just giving in some white dots. Now you can see how beautiful the background snow-capped mountains are looking after. They've dried out with all the dry brush effect, the black and the white alternatively. Now one last thing, I'm just going to add in some shining stars as well into the sky. So what you can do is you can either add enforced dots off white color and then blend it into the background, creating the glowing spaces. And once they're dry, you add in the details to them. So I've quickly added in a few dots. Now you can see using the damp brush, I'm just blending this into the background and creating in bigger dull white patch to actin as the growing space. Now to one of these, I've just added a little yellow effect. Now in the center of this, I'm just going to go ahead and add in white dots and you will see how beautiful these glowing star effect looks. If you want to learn more about these glowing spaces, the glowing star, glowing moon, you can visit my Skillshare class about the 30 days of galaxy therein. In the technique section, I've explained in detail about the glowing spaces, how we add in unpleasant that class, in lot of class projects we've used this technique to create in the growing space in our galaxies, as well as creating and deploying spaces across the moon. So you can see two, such a simple sky as well. Those glowing stars have added so much more depth and beauty to the entire painting. Now, I'm just going to add in some shining stars as well quickly. And then we'll be ready with this class project for D9. So here's our final class project for D9. Let's remove the masking tape carefully and see your final painting. You can see the reflection of the light we've only added for the major rights-based and one little light on the left side. The rest of the smaller lights, we've not added reflection and we need to let it be like that. Removed the masking tape very carefully so that you do not tear off the edges. So here's a closer look off our final painting for D9. You can see how beautiful the light space across the mountain and the horizon line is located. I hope you guys enjoyed painting this beautiful one with me today. I will see you guys soon into the D20 class project. Thank you so much once again to each one of you for joining me into this class and painting along with me. 22. Day 20 - Countryside : Hello everyone. Welcome back to day 20 of the 30 day gouache challenge. Today we are going to be painting another beautiful sunset and a beautiful sunset by the countryside. So we'll just have a little pencil sketch to give in the country how countryside, hard detail and a little of the foil HDD, little below the center space. I'm just going ahead with a very simple pencil sketch. The details will be adding indirectly with the colors. Now at the bottom side, we are going to be having in a lot of the greenery spaces coming over and overlapping the headspace as well. So I'm not marking out the border details. Plus here on the house, as I told you, will be using in the different colour shades off the colors that we'll be using to give him the details. Now the colors that we'll be using this time for the sky we are going to use in the yellow, orange, and the gray tones. And for the bottom greenery space, we are going to be using in the green tones along with for the house will be using in the brown tones. Let's begin with the sky first and then we'll squeeze out the other colors, whichever we need for the class project as we move further. So I just marked a little of the greenery space so that I do not have to add in the sky colors there. Now first beginning in with the orange mixed in with the white colors I've used in the permanent orange color from my palate, mixed in with a little bit of the white and got this beautiful paste till yellowish orange tone. And using this beginning in just about the house, Analytic all of the greenery space. Now next time using the medium tone of yellow directly closer to the orange color and blending it towards the top side. So basically just religion of the orange tint that we have at the bottom space. Now I've lifted and it's loved the white color and just getting in a gradient of the yellow color, moving towards the top side of the sky. Now the next colors that I will be using in for the sky is going to be the shades of pink and brown. So I'm going to squeeze out a little bit of the brown color. You can go ahead with any medium tone of brown that is available in your palate. I'm not add any pink in-between rather than directly go ahead with the brown mixed in with a little bit of white. So you want a very light brown shade of any pistol, kind of a brown shade exactly that you need. And I'm just going to add it at the top space. You can even use in the yellow ocher color directly if you want, with a little tint of white to it. Now along with that, to give him little off the gray tones, I'm lifting a little of the black in-between you can see and adding it along with the white so that you have little gray tones closer to the yellow color as well. Now using the brown tones and the gray tones, I'm going to begin adding in the sky, the Cloud details as well over to the yellow color as well. So just adding little highlights of the brown color as well. Now using the mix of the black and the white color, that is the gray color that we formed. I'm going to begin adding in the Cloud highlight over on the brown color at the top space as well. So you can see we are using in very simple strokes to add in the Cloud details to create in the depth into the sky. So skies going to be pretty with the base of the sunset color with those dark hovering clouds on top of it. Now the little pink and white mix that I have on my palette, I'm just using a little of that out. You're closer to the orange color to add in little highlighted clouds over the orange color. Instead of using the gray color here to give it a little break and getting a little softer tones closer to the sunset view. Now next I'm squeezing out a little of the sepia color. You can go ahead with any medium or dark tone of brown. And using this along with a little Tinto fight, I'll paint in the base layer for the house first. And then we'll add in the highlights or the picture on the house later on. So just beginning in with the base layer, with this sepia color into which I've added a little tinge of brown. If you want, you can directly use of burnt amber color or a bunt sienna color directly as well. Now fraud the front space of the house, I'm going to further add in little more of the white. I'm going to go ahead and define the shape. So now you can see as soon as you're using the two color variations, you automatically get to know little of the details of the house. So this is how we are going to go ahead. And then when we begin adding in for the texture details, we'll go ahead with the darker tones on the light color and the lighter tones on the dark color so that they're visible. Now I'm pulling out the palette here. I'm just going to quickly squeeze out the green color tones and begin adding in the detail for the grass. So fast here I'm using in the greenish yellow color. You can go ahead with two to three different tones and values of the green, one towards the lighter side, one towards the medium-sized and one towards the darker side. I'm using my mop brush here, which is from the series Princeton velvet touch series. And I'm just going to begin adding in very simple layer of this green color. You can see I'm going ahead in a very round circular motion giving him that fluffy effect so as to show the bush detail as how I'm beginning to add in the green tones. I'm going to fill in the entire whitespace with this, basically a green color. First. On top of this, we are going to add in a lot of different tonal values of clean. You can see how roughly I'm moving in circular motions to give that grassy effect as well. Now you can see the houses looking perfectly coming in from behind of these grasses. And they did not need that extra straight line to show the bottom of the house. Now from the left side here as well, I'm just pulling out a little of these strokes to actin as the grass details. So we're done with the first period of the clean. Now I'm going to squeeze out the next green color. So which is the dark sap green color from this set, you can go ahead with any medium tone of green for this layer. Now I'm going to shift into this point round brush, which is my magical wand actually. Now, using this in a perpendicular angle, I'm just lifting up the color. You can see I did not add any water to this color. And my brush also does not have any water. In case if you need, you can just dip the tip of the brush so as to get the paint moving easily. Now, I'm just going to go ahead and begin adding in these details out here. And given the grass detail in a dry brush effect matt pattern, I'm just going to go ahead and hold my brush perpendicular and keep dabbing in to create the effect. So you can see the effect that you're getting in using a simple brush plus it's filling in so quickly. Now if you feel that the paint is excess, make sure to dab your brush on the rough towel or paper tissue so that the excess paint and water gets absorbed by the paper towel or the plot and you get in the dry brush stroke easily. Now next time I just mixed in a little bit of the white along with the dark sap green color. And I'm just going to go ahead and add in this lighter green little detail at the bottom, space out your and fill in the rest of the lighter green tones. Now, you may feel the reason why we might have added in the bottom darker green, light green tone actually. But if you notice in-between the dark tones, a little of the lighter green tones is still visible in the background. And that is what will add into the filling effect of the background. If you would have directly gone in with this dabbing technique, you would have gotten white background, white spaces in the background, which would have looking place in the entire painting. So that is the reason. We had to go ahead with the background layer off the green color for us. So that was basically kind of color blocking layer that we did before beginning into adding the texture for the grasses. Now next using the black color, I will begin adding in the further details and given the details to the heart space first. So first I'm creating in a darker space out here so as to show it, you know, the space which is not actually in the heart, but the background darker space visible. And the rest of the details as well. I'm going ahead with very simple random detail. I'm just creating in an entrance and I'm going to add an attitude or detail to this. You can go ahead with any other kind of detail that you wish to go ahead for the house. It's not necessary to follow in the same detail that I'm going ahead width. Now for the rest of the detail, I'm shifting into the darker mix of sepia and the white color. And I'll begin adding in the details on the lighter tone with this darker color. So as I told you, that darker color will stand out well on the lighter tone. So you can see the details coming in, out. Now on both the sides of the black space that we've created as the entrance. I'm just adding in more details. So that is the reason I've created in a very simple block detail out there to actin as the door. I just added a little more darker highlights out there. Now using the lighter color mix, I'm just giving in very random details at the roof space of the house. So very simple details. You can see nothing much in detail, just simple details to give him that texture. Because there also we are going to add in a little more of the green details moving ahead photo. Now I'm going to begin in with the dark sap green color. So just using the tip of my smallest size round brush, I'm beginning to give him the detail look to the Bush at the top spaces. So you can see I'm just dabbing in the tip of my brush to give him the details out here. And creating in the detail look for the grass strokes are the bush space at the top area. After this, we'll be adding in little of the grass talks with the mix of the white and the green tones at the bottom space. To give it a little more detail, look at the bottom area as well. Now to the same green color. I just added a little tinge of the black and the white color and gotten this beautiful lighter tone. And using this, I'm going to begin adding in the details on the left side now. So on the left side, I added a little of the branches moving towards the top side. And now I'm adding in little of the bush detail. Now again, I'm just adding little more of the black to get the color little on the darker side, so as to have little color variations in the green tones on the left side as well, just about the heart space. So you can see how beautiful the details turn out when you just use different color variations of the same color. You can create in different color tones using in just one green color as well. Say if you have the sap green color, you can mix in a little tone of the yellow color to get in a lighter green tone, which is a yellowish cream color. You can add in brown are the blue color or the black color to get a darker tone, you can add in y to get a little pasty, bright tone. You can even mix in white and yellow to get a paste the light green color. So that is how using in one color you can create in different color variations. Now next I'm going to squeeze out a little of the olive green color. Now in case if you do not have the olive green color, you can just mixing a little of your brown green and a little tent of white. Because I'm mixing unilateral of the white to the olive green color. And using this, I'm going to begin adding in the grass strokes. So using my liner brush, I'm just beginning to add in very random grass strokes from the bottom space. So at the bottom is when you had seen earlier, we added in the middle of the grass details by just dabbing in the tip of the brush. So very randomly at all spaces. I'm just giving in literal of the details with this green, olive green and the white color mix and creating in the depth as well as giving in one more green tone variation. Now on the right side of the heart space, I'm just adding in little of the bush detail overlapping the heart space as well. So as to give it a little more adept out there. So on the heart space I've shown as if a bush covering the front of the house as well. We'll add in further details to that once the base layer dries. Now using in the mix of orange and white color, I'm just adding in a small space out here to add in the sun space. So I first creating in the growing space for the sun with the help of the orange and the white color. And blending it into the background and creating a very big patch and giving it a little look. So I've just listed a little more of the orange color to make it go bald and visible clearly. Now using a damp brush, you can see I'm blending the edges into the background and creating in that soft effect out there to give him the details. Once this dries, we'll add in the detail of the sun out there. So for that I'm mixing in the white along with the yellow. And using the bright yellow mix, I'm going to add a sun in the center of this orange space that we have created. So now basically you can see the background orange color is acting as the light of the sun coming out from behind. That is the reason we blended it into the background and gave it that del, glowing space effect. So that is it. We're ready with our class project for date 20. Let's remove the masking tape and see your final painting with those clean edges. Make sure to remove the masking tape once your edges are completely dried and always remove the masking tape against your paper so that you do not tear off the edges. So here's a closer look at a painting for D2L. Yet another simple landscape, but such a pretty countryside view. I hope you guys enjoyed painting this with me today. I will see you guys soon into the next class project. Thank you so much for joining me into this class and painting along with me. 23. Day 21 - Cotton Candy Cloud: Hello everyone. Welcome back to day 21, cos Theta dy dt equals challenge. Today we are going to be painting a beautiful sky. I'm just going ahead with a rough pencil sketch for the Cloud space because this time we are going to be painting of cotton candy cloud. Look, I want to keep that space empty because while painting the sky, I will try and keep the space empty as much as possible. In-between, we'll be having in some more lines, which is absolutely okay not to mark right now. So let's begin painting the sky first. So for this guy, I'm going to go ahead with this simple cobalt blue color with a little bit of the white tone. For the cloud effect, I will be using in the permanent orange color, yellow color, and a little bit of fight along with a little bit of the blue itself. So I'm just squeezing out and keeping all the colors Jedi so that we can go ahead and paint and altogether. So first mixing in a little bit of fight along with the cobalt blue color. And I'm going to pick up this light blue tone and add it to the entire sky. Now I will try to mark out the cloud shape as much as possible and try to create a rough outline for the pencil sketch, what we have added in. So around the pencil sketch, you can see I'm going ahead very carefully and just creating in that space rough shape. Actually, rest of the details can be corrected while adding in the color tones of the clouds as well. But as much as possible, try to create at least a rough shape. Now, I've got a little darker blue, which was on my graph. So I've just picked up a little more of the white and creating in the detail out here. After adding in the cloud effect, we'll just be adding in leaf effect for this painting into the sky. I have my skier ID at the top space. Now at the bottom space also, I'm going to go ahead with this same color and creating the outline space. Now the rest of the species, it's either going to be the leaves or the cloud effect. So let's wait for the base layer of the sky to try out. Only then we can go ahead with the Cloud details so that the colors don't mess up. So now my base layer is completely dry it and I'm going to go ahead with the further details and begin to add in the details into the Cloud. I first picked up the mix of the yellow and the white color. So it's the permanent yellow light along with a little bit of white. And now I'm just beginning to create in the outline for the clouds first. And you can see I'm going ahead with a very rough shapes so as to give him the natural look to the Cloud. So in the entire outline you can see I'm going ahead very carefully creating in the rough detail. Make sure you go ahead very slowly and swiftly so that you do not blend in a lot with the blue of the sky space. Otherwise you may have in legend off the green tones. Now, next mixing invite along with the orange color and beginning to add in little detail with this color mix as well, creating in the depth. Now wherever you feel the need, you can see I'm using my tip of the finger to blend in with the yellow color. So it's absolutely your choice if you wish to use a mop brush and other round brush, flat brush, or how you want to create in that soft transition happening in between each layer of the color. Now I'm picking up little of the white color. I'm going to add closer to the orange color and again, blend all of these well together. Later on we're going to add in little of the blue details as well into the Cloud space. So now I'm again lifting up blue mixed in with white. Now in the remaining space of the cloud out here, I'm just creating in the depth using in the mics off the blue and the white color. And you can see how beautiful all of the details are coming in together. Still will be blending in the blue and the orange is where we've just laid down the color so far. And now I'm going to use in the damp brush and you can see I'm blending at the meeting point. And at the top I added a little white so that the blending goes in easily and we do not have any muddy tones formed. Now at the top here I'm just going ahead with a little bit of the orange and the yellow tones so that there is a distinction line between the cloud blue and the sky blue color. So now you can see this entire patch that we have created looks like a separate cloud. Will still go ahead with a little more blending and beautification of this space before moving ahead further to adding in the details with the green tones. Now I'm just going ahead with a little mix of the yellow and orange color and creating in those little Many cloud inside the big cloud detail very little you can see. And I'm going to blend these as well so as to get into settle effect. Look. So you can see using the round brush and the tip of my finger. I've tried to blend these as well into the background creating in the deck. Now I already had the sap green color on my palette. I'm using the same color and beginning to create in the depth at the bottom space. So closer to the Cloud or the sky space, I've gone ahead with a little detail, look for the leaves, and then the rest of the bottom spaces. I'm going to quickly fill it up with the green tones. So very carefully just going ahead with some detailed leaves first, add the top line so as to show them perfectly overlapping on the Cloud and the sky space. And then the rest of the bottom space, you can fill it completely with the green tones. Now you can see I'm filling up the entire bottom space with the green color. That is the reason I left it white and not added any of the sky color there previously because I knew we are going to be covering it up completely with these green tones. Now you can see on top of this entire green patch, those few detail leaves are giving so much more depth and detail look. Now I'm squeezing out a little bit more of this green tone. And now I'm going to begin adding in this olive green color along with a little bit of white. And I'm going to add in furthermore, bigger leaves on the right side, closer to the cloudy sky that we have added in. So now at the top space here, I'm beginning to add in the detail leaf. I'm using my size two round brush and I am pressing the belly of the brush so as to get these leaves, I beginning with a pointed tip, press the value of the brush and lifted once I'm satisfied with the breadth and the height of the leaves. So depending on the lens that you want, you can keep dragging the belly of your brush and increase the length as well of the leaves, beginning with a pointed tip. So this is basically called the one stroke leaf. Now, very randomly, I'm going ahead with these leaves in-between. You can see I'm going ahead with fine strokes to actin as the branches among the leaves. Now just adding in a few of the leaves moving out from the top space as well. And then majorly, the entire right side is going to be covered up with these kind of leaves till the bottom space. And you know, the right side of this cotton candy cloud will be covered up with this leaf, giving it a much better view. So very carefully and slowly you can see I'm going ahead with different color tones of the same olive green color. So sum then I'm using the lighter tones mixed in with white somewhere. I have little of the darker tones there enough mixing very little of the white color to get in different color variations as well into the leaf. If you do not have to olive green color, no need to worry. You can simply go ahead with your sap green color and to get in different color variations to your leaves, you can simply mixing yellow, white to get into lighter tones, and you can mix in brown and blue to get in some darker tones. Now using in this lighter color, I'm even adding in some highlighted leaves, even at the bottom space here. Now CMV at the top space as well. I'm just going ahead with some of the darker, lighter leaves so you can see as soon as you use a second color to add in those popping details, everything begins to have such more detail look and plus, you get them more real life to the details. Now slowly I'm going to go ahead and add in the further details. Moving towards the bottom side, I first went ahead with watercolors so as to see as to how much more I need to add on the right side to get it to the down space and whether it's needed or how much. So you can see I'm still building in slowly and not filling up the entire right the leaves because I'm planning to leave a little of the space blank if needed. So I'm just going ahead with a little more leaf detail out here. I just add a little more of the dark blue tone at the bottom side of the cloud detail. You can see I missed a record that small little part of adding in the darker blue tones, but in case if you are satisfied with your Cloud detail, you need not add in that more blue tone. I went ahead and added that first so that I can add in these leaf detail. Now, you can see I've got the leaf completely till the bottom right side, making it blending along with the bottom side, Bush details. So now you can see the entire connection between the bushes and how it is moving till the top side yard as well. I've gone ahead with two color tones of the leaf is one darker and one liter. I have used in the olive green color and only used in the white fur getting in the tonal variations. Now just going ahead with some more leaf detail before moving into masking t. So that is it. We are ready with our class project for day 21 as well. Make sure to remove your masking tape once your edges are completely dried and always remove the masking tape against the paper. And going very carefully while removing the masking tape. Or it may tear off your edges as well as your entire painting that you've created. A simple painting for day 21 are beautiful glowing cloud and the leaf effect. I hope you guys enjoyed painting with me today. I will see you guys soon into the D22 class project. 24. Day 22 - Let it Swing: Hello everyone. Welcome back to day 22 of the 30-day gouache challenge. Today we are going to be painting yet another beautiful landscape. And this is again one of my favorites from this 30-day challenge. Let's begin in with the colors directly. So the first color that I'm using here is a grayish blue tone. For this class project, I'm using the hemophilia gouache set. Now the next color that I've lifted is a little bit of the ultramarine blue color. And I'm just going to add in a small Leo closer to the bluish gray color. Now in case if you do not have the grayish blue color, you can simply mixing your Prussian blue, a little tint of the black and the white color to get a grayish blue tone. Now underneath ultramarine blue color, I'm adding little bit of the white color. And now I'm going to blend all of these three colors and getting a perfect gradient. This time we are going to paint beautiful swing hanging in the sky with the help of a tree branch. So the details are going to be quite easy. You just need to follow in step-by-step and go ahead painting in. So I've just picked up a little more of the white and going ahead with the blending. Now the next color that I'm going to lift tap is going to be the shade of yellow color. In case if you do not have a lighter tone of the yellow orange color, you can just simply mixing your yellow, orange and white color. I already had little of the orange from my previous class projects, so I quickly lift to add it in little white and using in this yellow, orange mix, I'm just blending it well with the white color. So that is the reason I had used in white in between the blue and the yellow orange tone, so that we can get an easy transition between the colors. Remember, whenever two colors do not go well with each other, you can use white for blending and it makes a transition between the colors easier and you do not get any muddy tones in between. Next, I'm picking up a pistol yellow color from this set. You can simply pick up a yellow light color with a little tent of white in it. Just blended it well till the orange color. You can see the transition happening between the colors going in smoothly. Now next again, I'm going to lift up a little of the orange color and just add in highlight over the yellow color at the top space. Again, we're still going to be adding in a lot of the cloud details this time. And then the main focus will be the silhouette of this painting. Now next time using in the vermilion color just below the yellow color and I'm going to blend in. Now, you can see whenever I'm adding in the colors, the colors are not spreading in smoothly. The reason for that is I haven't gotten the colors in a perfect consistency. What I'm doing is I'm directly picking up the colors from the palette and adding it on the paper and then using the damp brush and blending it well on the paper itself. If you are not confident about using this technique, you can simply first pick up the color on your palate, get it in the right consistency, and then apply it out here. But since my palette is already a little messy and I do not want the colors to having on melatonin between or not mixing in properly. That is the reason I'm going ahead with the colors on the paper directly. Now underneath orange color again, I've gone ahead with the grayish blue color. And I'm just going to add in a little tent of the ultramarine blue as well. And now I will blend all of these well at the top space together. So now using the damp brush, you can see I'm blending it well with the orange color. Now this time, the reason why I have not gone ahead with the white color is because I wanted a little off the muddy tones in between the orange and the blue color to begin giving in the cloud effect. That is the reason I did not add any the white color in-between. And I'm blending these two colors together. So you can see in-between a little of the dark moody tone getting formed. Now with the help of white-collar, just added in little highlights at the planning point of the orange and blue as well. So you can see that lighter brown tone being formed. Now let's begin adding in the Cloud details. And for that I'm going to use in my smallest sized round brush. So I'm using my size two round brush, which is from the velvet couch Princeton brush series. I'm using this, I'm going to begin adding in the Cloud details. So for the Cloud, I already have a little of the violet color out. You are on my palette, so I'm just reactivating the same color with a little tint off the gray color mix. And using this, I'm just going to begin adding in simple Cloud detail. You can see whenever I begin adding in the Cloud details, after lifting the color, I dab a little off my brush onto the paper towel or the rough clothing that I'm using so that all of the excess paint gets lifted in there. And I have very limited paint on my brush so that I can get in the details right, and not excess of the colors dropping in some beginning to add in these Cloud details slowly here. Now next time also removed a little bit off the grayish blue color that I have been using. And now I've shifted into my filbert brush and over on the yellow color space, I'm going to begin adding in the cloud effect with this grayish blue tone. So I'm just going ahead with very simple clouds this time you can just follow along and keep adding in this. Make sure to not overdo a lot of cloud because our main focus is going to be the silicate that we'll be adding. So it's very important to go ahead very carefully and slowly and add in minimal details of the clouds. Now next time picking up a little bit of the orange and white color mix to add in little more Cloud details closer to this blue color tones that I've added in Europe. In the rest of the space as well. You can see I'm just adding in little cloud details and just giving it a little more depth. And then we'll shift into the main part of this painting that's creating in the silhouette. I'm sure you're going to love everything in this painting once it's completely ready. Now at the top-right space here you can see I'm just going ahead with a very big cloud space and at the top there is no blending. Do not worry, there will be adding in the black details for the bush area and the greenery, or sorry, and the bush detail that we'll be showing in. And that will get covered up well out there at the top space and you will see why that cloud makes a difference out there. So do not worry about that one big cloud that we've added at the top right side unevenly. So you can see this timer Cloud details are very minimal. At the bottom we've gotten just the very tiny cloud details in the center. We have loved this big clouds and then at the top, just little patches the clouds. Now I'm going to shift into my magic wand. That's the spoilt round brush. And using the black color. I will begin adding in the detail. Before that, I'm just going to go ahead and quickly fill in the bottom space with the black color, which is right now white. So I'm going to fill in this entire bottom space with the black color. You can see at the top, I've given it a very uneven detail. That is exactly what we wanted. Now let's shift into the spoilt round brush. I'm not going to dip my brush into water. I'm going to directly dip it into the paint out here and holding it perpendicular. I'm going to begin adding in the detail for the bush. Now, I would recommend you to first see as in how much detail for the bush that I'm going ahead with. And then go ahead adding in. Because firstly, we are working in with a very small space that's a bookmark size. So we do not want the entire paper to be covered up with only this black color. So we need to have in proper proportion for the details that we are adding in, going very slowly and just add in the details and limited spaces. At the top. Now you can see the black color has over, overlaid on the orange cloud that we added on the right side. And now you can see that cloud popping in from between off between off the bush details that we have added in. That is the reason why I've told you when you will begin adding in the detail there, it will all turn out beautiful out there. So you can see I'm just creating in the depth slowly. So the entire right side, you can see how thin I'm taking in the details. Because further there we are even going to add in few of the details. Look along with the detail look with the help of the smallest size round brush. So that is the reason you have to go in with a very fine detail. Now you can see I've not taken it completely till the bottom side of the Brightspace. I've left it to the center area. Only. Now I've shifted to my smallest sized round brush. This is a size two round brush from the Princeton velvet series. And you can see I'm just beginning to add in the details. Look with a round brush so you can see in the black space on the sender side that is the side which is visible. I'm just beginning to add in the detail leaf out here. So you can see as soon as you begin adding in this detail, lift, your entire black space begins to get in so much more of the detail, just with simply smaller leaf details that you begin to add in. The reason of using the round brush first fulfilling in this piece is because that helps in getting into details easily out there and filling in major of the space. Then you just have to add in this plaque detail only on the edges for getting into the detailed look. So in the same way, I'm just going to keep adding in these detailed leave till the top space and then we'll go ahead and add in the spring detail as well. And a little of the detail bush effect at the bottom black space as well. Later on, going very slowly if you feel tied in-between, you can certainly take a break and come back because working with gouache, it's very easy to take a break in-between and leave the painting as it is and come again further. Now from the top space here, you can see I'm pulling out simply some branches as well, giving you a little more of the depth look there. But in the center do not add in much of the details because from there we're going to add in a rope and the swing hanging in. So this may at times be a tedious job in adding in all of the details. But you can see as soon as you add in these details, look, the entire painting begins to look so much more detail. Now using the liner brush and further pulling out some smaller branches to give a little more depth. Even on the right side here you can see I'm pulling out little of the branches detail. Now using the liner brush, I'm going to add in the detail for the swing. Now in case if you're not confident about adding in the detail with this off the swing directly with the paint, you can first go ahead using a scale and a pencil and mark out the space for the swing and then using the color. I'm also going ahead with the same method. I'm first going to mark out a very light pencil sketch using a scale and a pencil or a black pen you can use, I will use an appoint one tip black pen so that I can just add in the swing lines first and then I will run it with the color again so as to give it a ball look. Now for this wing detail as well, I would first tell you to have a look at the complete swing and then go ahead and paint yours. So that again, you're as valued, not go out of proportion. So I have marked out two lines, each, leaving a gap in-between. And now at the bottom space, I'm going to mark out the shape of the swing as well with the black pen and then fill it in with the black color. Now the two lines that I have marked will not be filled in with the black completely. We are going to have in two ropes each. So basically we are trying to show us swing, which has four ropes, two on each side, hanging at the top, meeting at the top point. So you can see as we're moving further towards the top side of the bush space, the swing lines are meeting each other. Alright, so that is what I'm going to show him now using the liner brush, I'm just marking out these lines. So you can see when you use in our paper which has been taped down on a surface which is moveable. It's so easy to Tilton and just adjust your hand accordingly and getting the movement of the brush and the flow easily. So now you can see the four swing groups that we have added in. Now the bottom swing, I'm going to fill it completely with the black color. And from the bottom space, I'm going to move out some smaller details as well to show up the rope nuts falling at the bottom space off the swing. So very randomly at the bottom and at the side, I'm showing in some very random notes to show him the end of the rope that we have added and the knots two doors now at the bottom black space, as I told you, I'm just going to go ahead with a little of the detail bush effect. So using in the smallest sized round brush, I'm just adding in those details here as well. So you can see as soon as we've added in that swing detail, the entire painting has gotten such beautiful plus the, such a simple silicate, but you can see the effect of it along with the bushes. The details look to the bushes, the black details that we created and using in this coiled round brush, everything together is coming out as a beautiful picture. After I painted this one. This one also happens to be one of my favorite from the 30 days so far. So absolutely love few of the class projects so much that I'm just in all with how this turned out so beautiful. So that's it. Let's remove the masking tape. Make sure to remove the masking tape once your edges are completely dry. We adjusted days away from closing this challenge. And I hope you guys are enjoying painting this easy, but bookmarks and just like under 20 min, yet such beautiful and easy outcome for anyone to follow along easily using an easy techniques. So here's a closer view now of this painting for you. You can see how pretty the details are looking in the Cloud details altogether, the swing, the bush details at the top and this little leaf details. I hope you guys enjoyed painting this beautiful one with me today. I will see you guys soon into the next class project tomorrow. Thank you so much once again for joining me into this class and painting along with me till now. Hope to see you guys into the next eight days as well. Thank you once again for joining me into the class and painting along with me. 25. Day 23 - Palm Leaves: Hello everyone. Welcome back to day 23 of the 30-day cost challenge. Today we are going to paint a pretty simple piece of sky with some palm trees. So let's begin adding in the details directly. There is no pencil sketch. We are directly going to go ahead with our pains. So I'm just going to begin mixing the paints out here on the palette. I already have a little dark lavender kind of a tone from this makes me or he may wash set. But in case if you do not have this ready paste to color, you can simply mixing your violet color with a little bit of white and get this pasted lavender kind of a tune. So at the top I first gone ahead with this pasty lavender color. Now, the next color that I'm going to go ahead with is going to be a little bit of the white color that I'm going to pick up and blend it along with this lavender color mix that I already added and get a little lighter tone. You could even mix it in white along with this color on your palate and then go ahead. But I wanted a little radiation so you can see at the top you will have a little darker tone. And at the bottom where you added the layer of white there, you get a little lighter tone. So basically you get color variations like this. That is the reason I did not directly mixing the white force to the piston color itself. Now next test picked up this pastel pink tone from this set. Now again, if you do not have this, you can simply mixing your Rosemead or carmine color along with whitewash and go ahead and blend it till the top space. The meeting line of the purple and the pink color. So you can see in between where you add in the white color just below the purple tone there. When you blend the pink color, you get radiation from the violet to the pink tones. So you have to violate the lighter violet tone, then a lighter pink tone, and then the pink tone creating in the radiations into the sky giving or tonal variations as well. Now next I've picked up a little of the pastry yellow color and directly adding it below the pink color and blending it. Well. Now again, if you do not have the pace helping, you can simply mixing your yellow light color along with a little bit of the white color. Now at the bottommost space, I have again added a little of the violet tone. And you can see I've left a little gap in between the yellow and the violet. Then I'm going to lift up a little bit of the white color and go ahead and blend it till the yellow color. Now, before letting this dry, I'm just going to go ahead with what, little more of the yellow touch and given a little more blending between each of the colors and quickly than my brush from top to bottom so as to get all the Leo's blended well with each other. Now let's begin adding in little of the Cloud details for that. I'm going to pick up a little of this violet color that I already have on my palette and mix it with a little bit of this piece to blue, which is already on my palette. So basically you just need to mix in a little bit of the ultramarine blue, white, and the violet color. The blue and violet things have to be very literal because we need them in phase two tones. Now using my smallest size filbert brush, I'm just beginning to add in very simple cloud effect. I'm just using the tip of the brush. You can see I dabbed off all of the excess paint on the paper or on the plot tile already. So that takes us paint is dabbed out there and I get very little mineral color to add in these minimal cloud effect. You can see I'm adding in very little cloud effect with the same color and creating in very spreaded cloud effect somewhere very smaller ones, I'm very little bigger ones as well. Now I've picked up a little bit of the violet color and just adding in little color tone mediation to the clouds very randomly below at the bottom side of the cloud set I added in and giving it that little touch of the violet color. Now using a damp brush, I'm just going to go ahead and blend this all well together so as to give them a little soft subtle look blended into the background. So you can see I'm just using the tip of this **** brush and blending the bottom space into the background. If you want, you can use the base layer color as well to blend in. Now using the pink color, I'm going ahead with a little bit of blending as well. So as I told you, whichever base layer color you have closer to that cloud, you can use that color for giving in that effect. At the top space on the papilla has value. Can see I've added very many cloud effect with the pink tones. Now next I will shift onto the greens that's already on my palette and begin adding in the bush details. So I'm just using in the filbert brush and first creating in a very rough feel detail at the bottom space, giving in the bush detail altogether. I'm using a mix of the sap green and the olive green color here. In case if you do not have an olive green color, it's completely okay to only using the sap green color. And as discussed in the previous projects, you can create lighter tones and darker tones with just one tone of the green color. For the lighter tones, you can just mixing yellow. And for the darker tones you can mix in either black, brown, or blue, and getting different variations of the green color itself. Now next I've lifted a little bit of the sepia mixed in with white, which was already on my palette. And I'm just adding in little darker that at the bottom space of the green. Again, if you do not have a sepia color, you can simply use in any medium tone of brown out there and add a little depth into the bottom space. Now I've shifted to my liner brush and using the black color I will add in the palm trees and then we'll be almost ready with this class project. I'm going to add in two to three of the palm trees, but going to go ahead very slowly. Also, since I'm re-wetting the color which was already on my palette. I'm making sure I do not add a lot of water. Otherwise the colors will not stay opaque. So it's very important that you use the color in a good ball consistency so that you get the opaque loop. And in case if you're going ahead with the rewriting of the color tones, then make sure that you do not add a lot of water. What you could do is you could spray a little bit of the water and keep it for it to get activated and then blend it with the help of a brush. In that way, the color will stay opaque and the color will not turn to liquidity. So you can see my palm tree is having a perfect opaque loop. My black color has not turned out too watery or transparent. The first G I'm adding towards the right side, It's a little tilted. I'm using my three by zero. Well, with that series from the brand Princeton, this is a liner brush and it helps and adding in these fine details easily you can see how fine the palm leaves lines are coming out to you. I'm almost done adding in this false story out your, I'll just add little more of the depth and the foliage effect here. Now after adding the foliage, you can see I'm just giving you some bold lines as well so as to make those central lines of the palm leaves come out strong. Plus I'm adding in little more of the village effective as a second layer randomly so as to show it up nicely filled up tree. Now the next tree I'm adding here on the left side, this tree, I'm trying to show it as from behind the bush space, the tree on the right side, you can see I had added it in front of the bush space, trying to show it. The position is in front of the bush. This tree is behind the bush space, plus it's a very smaller ones. So you can see the details also I added in very quickly because I'm trying to show that this tree is a little far from our view. So just visible in minimalistic details. Now you are, I'm just adding in little bush detail with the black color, trying to show a little of the foliage of the trees which are not visible completely to us, are just very little foliage details. Now on the left side, closer to the center space, I'm going to just add in some of the families, again, trying to show the tree is not completely visible to our view, just some of the leaves that are visible. So you can see very slowly, I'm just going ahead and adding in these leaves out to you are trying to show half of the tree view out to you. Now. I'm just adding one small tree out. You're at the right side and then we'll be ready with the palm trees. Now after this, the only detail will be left to add in is some grass details. So for that I'm going to mix, invite along with the green tones and go ahead and using the liner brush, I'm just going to add in some grass details in the greenery space into the green colors that were already on my palette. I'm just mixing in a little bit of the white and I'm beginning to add in the grass details here. So you can see very fine lines that I'm adding in with the green color and moving in different angles and different direction. Now in case if you feel that your green is still on the darker side, you can just mix in a little bit more of the white color so that it pops out well onto the bush space that you have already added in. So very randomly you can see I'm just adding in little of these grass detail. And after this will be ready with the class project for D2 and D3. We are just seven days away from closing this 30-day gouache challenge. And I hope you guys are enjoying painting all the 30 different bookmarks with the different color combinations and the different silicates that we are painting alone. Now lastly, let's add a small moon in the center space here. And then we'll be ready to remove the masking tape. So I've added a very small mini half-moon D. Then you can see, now in case if you want, you can add this with the help of a white pen if you're not confident of adding it with a brush directly. So that is it. We are ready with our class project for day two and T3 are pretty simple pistil sky with a pretty rising moon effect. Let's remove the masking tape and see the final painting with those clean edges. Make sure to remove the masking tape only once your edges are completely dried or as it may tear off your paper and lift up the paints as well. The final painting for day 23. I hope you guys enjoyed painting this with me today. I will see you guys soon into the D24 class project. Thank you so much for joining me into this class and make sure to drop a review if you love this class for whatsoever reason so that it can reach maximum students. Thank you so much once again for joining me and painting along with me. See you guys soon into the next lesson of this class. 26. Day 24 - Country Side 2: Hello everyone. Welcome back to day 24 of the 30-day quash challenge. Today we are going to be painting, get another beautiful landscape. It's going to be kind of a countryside look, but this time it's going to be more of a field space. So let's begin with a very simple pencil sketch. The first thing I'm marking out the horizon line. Now next I'm just going to mark out a little of the gauche space just above the horizon line. And on top of that, I'm just going to add in ovaries, Small house detail. It's going to be a very tiny one. Now the second line that I marked just about the horizon line is actually not the bush line, but then we're going to add in a fence line at the end. So these details, later on, you'll have to add them directly with the paint. And the pins are the markers, whatever you use it. Because when we add in the colors there, it will all get hidden up. So this is the basic pencil sketch. Now as chi is going to be off the wall, blue, orange, and yellow tones. Alright, so let's begin with the sky first. So far. So I'm mixing in a little of the orange, yellow and the white tones, and I'm just going to add in little of the color tones here. Now, going very slowly for building in the sky because I'm going ahead with a little different kind of blending this time. So it may take you a little time to get into blends, right? In case if that is. So what you would do is try it out on a rough paper, see what works best for you, and then go ahead with your main thing. Now, next I've picked up a little bit off the surreal in blue color. I'm just adding in little of the tones. You can see just adding in little random patches. And now I will pick up white color and begin blending these all well into the sky. So now on my brush, I've just lifted up the white color and you can see I'm blending all of the blues. The reason of going ahead this method is you will see different tonal values of the blue being formed in the sky. When you go ahead with such a method, I'm filling in the blue color completely till the horizon line. I will just try and leave the house space empty in case if a little color goes there as well, Do not worry, we'll collect it on later on because since we are working in with quash, you know, it's an opaque medium and it's easy to get into blends right easily. Now using a white itself, I'm going ahead blending it till the top speeds. And then I'm going to clean my brush and blend it with the orange color as well. So I've cleaned my brush and I'm picking up a little of the white and applying it over the yellow, orange mix, I'm pulling it towards the blue color and blending all of this. So now you can see at the top space you have a little of the orange and the yellow space blending in with the blues. On the right side. We're still going to add in more of the cloud effect. And then all of these look much more prettier. But at the moment you can see how you have different blue tones in the sky. Some basic tones are quiet, lighter because of the more of the white tones somewhere because of the basically a blue color, there is a lot of a darker blue tint giving different variations in the sky, making it look more natural. Now I've just added a little more of the white tend into the same yellow, orange mix. And I'm beginning to add in the cloud effect on top of the blue color. The reason of adding in a little more bite is because the orange will mixing with the glue. It may give you a little muddy tone. So you have to go in very carefully. But since we've used in a lot of fight in the blues as well as in the yellow tones. So the muddy tune, chances going very less. The next color I have made up a little off the grid tone. So I mixed up a little of the black on my palette with a little tint of white. And I'm adding in little of the cloud effect with the gray color at the bottom space, and using the damp brush and blending it into the background space as well. Now again, you are, I'm going ahead with little of the darker tie-ins for the gray tones. So you can see for the gray as well, I've gone ahead with different tonal values so as to create in the depth out here. Now using the same gray mix, I'm just going to go ahead with a little bit of the gray cloud effect out here at the blending point of the orange and the blue tones, creating in the depth very randomly, you can see how slowly. Entire sky has come together with different Cloud effects coming in, different color variations coming in, and the different details creating in all the loop. So now randomly, I'm just going ahead with some last details, adding in little more of the random cloud effects urine there. Before we move ahead to the Father, you can see every time that I pick up the paints, I make sure to dab it on the cloth that I have beside that all it takes is paint is laid out there and I have very limited paint on my brush to spread out to you. Now to this cloud I've just added, lifted up the darker tones at the bottom space to create little more effect. So at the top I have the light tones and then at the bottom I created in some lighter tones. So that is it for the sky. Now let's move ahead to the field space for us. So for that, I'm going to directly pick up a dark green tone from the palette. So this is kind of an olive green color from this set. And I'm just adding in randomly. And now I'm just picking up a liter of blacks who has to give him the darker depth at the bottom space. At the top again, I'm just going to go ahead with the green tones or till the top horizon line space. Very carefully, I filled in the entire space with this base layer of the green color. Do not worry if you do not have the exact same green, you can simply go ahead with any darker green tone that's available in your palette. Now at the bottom you can see I've picked up a little of the black tones and added in little darker depth at the bottom space by just blending in the black and the greens together, creating the darker space at the bottom media. Now to this brown color that I already have on my palette, I'm just adding a lot of fights. So basically I'm just picking up a little tint of the sepia color, mixing it with a lot of white and a little bit of the yellow ocher. And using this creamish kind of a tone, I'm going to paint in the base layer for the house first. So basically you can just create a pasty looking cream tone for the base year of the house. And then at the top of it we'll be adding in the details with the black color once the base layer dries out completely. Now for the roof, I'm using the black color, marking out the outline first and then filling in the complete space with the black color. Now picking up a darker tone of brown color, I'm just marking the front piece also with this darker tone. So now you can see you have three color tones. The reason of making this side, the darker one, is so as to show the effect of the lights as well and turn it a little on the darker side. Now, after this dries, we'll add in little more detail to all of this. Then I'm going to begin adding in the grass details. So I'm mixing in the white and the greens on my palette randomly. Since I have a lot of green, as you can see, I do not want to waste the color. You can go ahead and form your own green tones. It's absolutely your choice. And I'm just going to begin adding in the grass strokes. This time the grass strokes are going to be a little longer because this piece is also quite a big enough space. Now you can see how the color pops up even on the darker base layer. Because if the white color and Plaza creates an opaque look onto the entire space. So I'm just going to keep adding in these details quickly out you. So just keep adding in some of these grass strokes. And now you can see some of the grass strokes. I'm taking them above the horizon line as well. And just that I'm not taking them much overlapping onto the house space there. You can see I'm trying to keep them below the horizon line itself. Now. Some of these cross strokes, I'm adding them a little more in the boulder way. So I added a little more pinched off the white so that they turn out more bold enough. So that is it. I'm done adding in the layer of the grasses here. Now on top of this, I'm going to add in very dried flower kind of an effect. So I'm going to use in the brown color mixed in with a little tender fight and adding very dull look onto these grass strokes that we've already added in. So just using my liner brush, I'm creating little of the wheat field lookout. You're giving in those green details, very simple ones. You can just go ahead and simply add in little of the brown grass strokes or if you want, if you do not want to go ahead with the detail looking field out here. Now at the top space, I'm just dabbing in literature of the pains you can see so as to create that these are far from our view and hence just giving in those little details out there. Now I further added little more of the white tint and just going ahead with little more details with this further lighter tone. So you can see very dull kind of a detail that I want to create on this field area. Now lastly, I'm even going to splatter a little of this brown tone and underclass field space so as to show a little of those tiny details of these plots. So I've just shifted into my round brush and lifting up the color. I will quickly a little out here. Now let's begin adding in the other details on top of the horizon line. So for that I'm going to shift into my black color and begin adding the details of the bush closer to the house and creating the details. So very carefully you can see at the top space added in the detailed look for the bush. And in the rest of the space, I filled it up with the black color completely. Same way on the left side as well. I'm going to go ahead with this detail or closer to the horizon line. Now you will see the horizon line. All of those grass strokes may get covered up because of this bush detail that we add in right now. And that's perfectly okay. So on the left side a little of the bush effect, you can see I'm adding it overlapping the frontispiece of the house, trying to show that this house is a bit hidden behind the bush space on one side. Now the bottom space till the horizon line, I'm going to fill it till the black color completely. Now with the black color itself, I'm adding in the details of the windows into the house. You can see with such simple details, you can get in such a detail view to all of the details that you add in little by little when all of it comes together, it turns out a beautiful picture. Now at the top space here, I'm just going ahead and giving in little more detail view, pulling out some branches, some PolitiFact, giving you a little more of the details on the horizon line. You very simply, you can see I'm adding in very tiny details at the top space of the bush and just added in some poll details as well to act as the ball's in-between the entire Bush space. Now my black space for the bush area is completely dried, so I've just lifted up a little off white color out. You're using this I'm going to add in the fence detail. You remember the second line that we added on top of our horizon line, I told you it's going to be the fence line. That is the line now, but I'm going to add in with a white color. Now if you want, you can add in that line using in a white gel pen or a white marker as well. But make sure that your black space is completely dried, otherwise, the white meat on into a grayish tone. So closer to the house you can still see a little of the black is still wet. I'll just go ahead and add in very carefully there. So I've added in blue lines first and now I'm going to add in some of the vertical lines onto these horizon line to actin as the fence. So you can see closer to the black which was wet, closer to the house piece. I've gotten very carefully and now I'm adding in these vertical lines to create the fence look out to you. So that is it. We are ready with our class project for D24. Let's remove the masking tape and see our final painting. Make sure all your edges are completely dry before you remove the masking tape. And always remove the masking tape against your paper so that you do not tear off the edges. A little careful removing the masking tape. You also final painting for the day 24 of the 30 days quash challenge. I hope you guys enjoyed painting this pretty cute bookmark. Here's a closer view. You can see how the field details with the brown color are looking very simple but yet so beautiful. I hope you guys enjoyed painting this with me today. I will see you soon into the next class project. 27. Day 25 - Monochrome: Hello everyone. Welcome back to day 25 of the 30-day cost challenge. Today we are going to be painting a very simple monochrome painting. So let's go ahead with the colors directly. We won't be having in any pencil sketch. We are going to be painting in mountain ranges in the monochrome color. Along with the color that I will be using. I'm going to use in little of the black to get in the darker tones. So first I've just picked up a very light tone of the black color with a little extra water and added a little layer at the top space. Now I'm going to pick up a bright bold pink color from this palette and begin adding in in the rest of the space and blend it at the top along with the black color. And that will automatically create in the taco depth at the top space of the sky. Now moving down further, I'm going to use in a little bit of white to get in the lighter tone. So the three colors that we will be using for this class project is going to be black, white, and this pink tone to create in different tonal variations and getting different transitions in-between the entire painting. Now at the top space, I'm just adding in a little more off the black to get in further darker debt and getting in the Blending right as well. So you can see at the top you have that dark pink look because it's the black color that you've added in. Now I'm just cleaning my brush thoroughly because I'm going to lift up a little of the white color just below the pink and blend them well. So make sure you do not have any black, otherwise you will get integrated out there. Instead of getting in this lighter pink tone. Now, moving from the bottom again, I'm just going to go ahead and blend in all the transitions so as to have a smooth layer of color and transition throughout. Now at the bottom, I'm just going to add in a little more of the pink tones so as to get in a little more darker variation out here. And then we'll be adding in the mountain ranges at the bottom space. So at the bottom you can see I've now, I'm not much worried about adding in the color details correctly out there. So I will just go ahead with a little moping because I feel that the bottom space is still a little light. So I just want to make it go a little more towards the darker side to just giving in little pink highlights whenever I feel to having little of the darker details. Now if you feel satisfied with the layer of the color, then you can stop here. But I still feel like having a little more darker. So I'm just running quickly with one more layer of the same colors so as to get a little darker effect in the top space. And at the top now you can see along with the black and pink, the color has turned quite dark and giving enough perfect dark pink tone out there than painting in the sky space. Now on this, I'm going to add in a lot of splatter of this task for that I'm going to use in a toothbrush this time for splattering this task. So using a toothbrush and the white quash, I'm going to begin splashing in this task. Now when you will begin splattering this task with the help of the tooth brush as well. Remember, it may create the table space around messy. So you can either lay out some rough tissues around so that the splatters gone to the tissue and your table does not be in a mess. Or you can go ahead with any other method for splashing in this task, whichever you find inconvenient as per your method of choice. I'm just quickly going ahead with this one because I want different variations of this task. Plus in this method, this task greatly vary randomly and you can see. The different consistencies as well. So I've added in a ton of these with this. Now I'm going to even add in little of the splatters using my round brush because I've gotten very fine splatters as of now. I want a little bigger ones as well. So for that, I'm going ahead with my round brush. I'm done flagging this taus as well. Now I'm going to begin adding in the mountain ranges. So for the mountain ranges as well, I'm going to be using the same colors. I've picked up the same thing that I used in for the sky and now I'm going to begin creating in the mountain ranges. So this is the reason why we used white at the bottom space. So now you can see at the bottom that pink color is of a lighter tone. So for the first mountain range, I'm going ahead with this tone out. You're without adding any white or the black color. As we move ahead for that, the bottom space will go ahead with different tonal variations creating in the deck. Now for the next mountain range, I added a very little tinge of the black color to the pink color. And now I'm going to go ahead and add in the second mountain range. So the first mountain range on the right side you can see I added a very smaller one and just halfway through. Now creating in the second mountain range. Now for the third mountain range, I'm going to further add in little more of the black to the pink color and go ahead with for the 12b1 darker color. I'm just giving you a little finishing touch to the second mountain range before we move on to the third one. Now for the third mountain range, instead of going ahead with the pink tone, I'm directly going ahead with the black color. I'll fill the entire bottom space with the black color. And then on top of this are given very simple tree kind of detail but just spiky strokes directly without giving it any detailed look. Now I'm shifting into my smallest sized round brush, which has a pointed tip. And I'll give him the details at top of this black color. Now, as I always tell you, since I have my paper taped down on a movable surface, it becomes so easy for me to just tilt out my paper or the board on which it is taped down and quickly add in the details. So I'm just going to go ahead and swiftly adding these details. Now as I go ahead, I'm going to keep on varying the height of this tree details that I'm adding in. I'm not going to keep them all of the same height, going very slowly, and make sure that you're basically a pink color of the second mountain range. He's completely dry so that the colors does not turn light. So I have these midway through and I'm going to go ahead in the same way till the right edge. So you can see I've got the pointed edge at the top side and at the bottom space it's blending with the bottom black space. Now I'll just give a finishing touch to the black space along with all the spikes that I've added. So that if there is any color variation, all of that will get blended to each other. Well, with this black layer, you can see the different height of those spikes that we have added is creating in the beauty of the trees that I'm trying to show in front of the mountain range. Now using the white color I'm going to create in some of the glowing stars and some of the biggest star details as well. So I've just added in some of the white spots, and now I'm just going to blend them into the background, create a double-space, and then add in the glowing star effect. Once this dries out, you may have. By now, if you've been following from D1, UV have created in the glowing stars quite a, quite a few times. And I am sure you would now be acquainted with this technique of creating in the growing space for this task or the moon. As soon as you add in these glowing stars pieces, your entire galaxy or the night sky begins to get in a completely different look and a charm in it. I absolutely love adding in these glowing stars whenever I'm painting in the night skies or the galaxies. Now I'm creating one big space for the moon as well. Until the spaces for this task dry out. You can see for the stars have created in this space to be dull enough so that they act as the growing space menu add in the final stars just in the center of these glowing spots that you've created. Now using the white gel pen, I'm just creating little glow around the moon with the help of this gel pens, I'm just adding in small spirals around the moon so as to create that eliminating effect. So this glow around the moon that I'm creating using in the white gel pen may not be clearly visible to you right now. Maybe I'll give you a little closer view going ahead further when we remove the masking tape so that you can see the details that I've added across the moon to create in that glowing space. Now since I'm walking on guage, little of the quash gets lifted onto the nib of the pen. That is the reason I'm cleaning it and I'm pointing it out onto the roof clots so that all of the x's pain that's getting onto the nib gets cleared off and I get the white paint or the white gel pen effect as needed. Now lastly, I'll quickly adding the stars and some highlights across the moon as well. And then we'll be ready with this class project for D 25. A pretty simple one, but yet a beautiful one to understand the different tonal variations and radiations of one color. Just using in white and black gouache. You can see as soon as to the stars you are adding in the glowing star detail, the entire background that look is spreading as if a shining light around. So this is how we've created in the glowing star effect. Now that is it. We're ready with our class project for day 25. I'll just add in a few more because past randomly and we are done. Let's remove the masking tape and see the final painting with those clean edges. Make sure all your edges are completely dried before you begin to remove the masking tape. And always remove the masking tape against your paper so that you're not tear off the edges. Otherwise the color may rip the paper off. So here's the final painting for D 25 years. The closer look for you from top to bottom. So at the bottom, even the moon details the spiral that I had created. I gave it a little highlight touch with the help of a very fine brush and the YJ white color as well, so as to make it bold and bright enough. So that is it for day 25. I hope you guys enjoyed painting this easy, simple monochrome landscape with me today. I will see you guys soon into the D26 class project. Thank you so much for joining me into this class and painting along with me will see you guys soon into the next lesson. 28. Day 26 - Winter Landscape: Hello everyone. Welcome back to day 26 of the 30 day challenge. Today we are going to be painting a beautiful simple winter landscape with a snowy effect. It's going to be a pretty simple one in just under 20 min with very simple details for anyone to follow along. And getting this noise effect. There is not going to be much of the pencil sketch. I'm just going to mark out the horizon line. Top of page is going to be the sky space and the bottom of which is going to be the snow area. And on the horizon line later on, we'll be adding in the pine trees using the black color. So now let's begin with the fellows directly. So this time we're going to go ahead with the purple and pink tone sky. I'm going to squeeze out a little bit of the white gouache. I already have a little of the purple out on my palette from the previous class projects. And I'm going to reuse that color, mixing it with bytes so that I do not have to waste that color out on my palette. So this is how you can grieve at your pains and reuse them. And it's quite easy to reactivate water-based gouache paints. But make sure if you have any other color besides, like you can see in my palette, that is a lot of black and other tones as well. Some mixing in very carefully so that I do not lose the violet color. Now beginning with the violet color at the top space first. And then I will further go ahead with a little bit more of the white to get little more lighter tones to this violet color. Now I'm just lifting up more of the white paint and just adding it below the violet Leo that I've added in. You can see despite the color being on my palette and being reactivated, the color is quite opaque enough. Again, I've taken a layer of the darker tone at the bottom space. And now at the bottom, the whitespace that we have till the horizon line there will be adding in the pink tones. But first just getting in the plains and the tonal variations in the purple tone. At the top and bottom you can see we have a little darker tone and in the center because it's the white, we haven't introduced the lighter tones. Now I just squeezed out a little of the rosemary dark color out here and do that as well. I'm going to add in a region of the white tint. So I've squeezed out and it lost the white as well again. And now I'm going to mix both of these. And you need very little touches the pink. So since my pink is too bright and bold, I've just picked up a very small paint on the tip of my brush and mixed it along with white. And now using this mix of the white and the pink tone, I'm going to add it just below the violet color and then add the top with a violet color. Now at the blending point, I'm using a little bit more of the white and pink and overlaying it over the violet color. Because as you can see, the pink space has turned very small closer to the horizon line. And since there's going to be a lot of pine trees that will be adding on the horizon line. I don't want the entire unit pink color to be covered up with the pine trees. I'm just going to increase a little of the Ping space so that after we add in the pine trees, I have a little off or, you know, pink tones also visible in the sky. So as you can see, I've taken the pink tone a little below the horizon line, just approximately. Half to 0.75 or more below the horizon line. Now I've squeezed out a little bit of the white more. And now to this white, I'm just going to add in a very small things of the violet colors you can see I'm going to apply it at the entire bottom space, which is going to actin as the snow space. So you can see I just have a pinch off the violet color and rest is the white color. Now the reason of adding in this tinge of the violet colors is to show the reflection of this pie colors falling on the snow as well. So very carefully tilt the horizon line I've given in the violet and the white mix. And you can see it's more of pilot, very immoral fight, very less of the violet. I'm just going to go ahead and define the horizon line a little well. Now using a little darker than the violet color, I'm just going to begin adding in little highlights in this nullspace. So you could see I just touch the tip of the brush on the violet color so that I have very little thin and not go ahead with much darker. So slowly just adding in little details in the small space with the darker highlights. Now in the same way with the violet color, I'm just pulling out a little bit of a violet tones from the edge as well. And you can see just creating a little more texture in the snow space, giving in some dry brush detail using in the violet color. Now these little highlights seem to be too bold, so I'm just going to quickly blend them into the background and turn them lighter. Now next, using in the mix of the white and the violet color, I'm just going to add in some highlights into the sky as well with this lighter tone. So very simple details that I'm going to add into showing some cloud effect as well into this winter sky. So I'm using my size two round brush which has a pointed tip. And you can see how easily I'm able to add in these fine details creating in the depth. And you can see it's very less details of the clouds, just little urine there as highlights in-between all of the dark details that we haven't. So you can see randomly, I'm just creating some outline of the clouds sheet giving ingest those highlight of the outline and the rest of the cloud remaining as the base layer color. So just a little more off the cloud highlight before we move on to adding in the pine trees, now, make sure that the violet color that you're using in for the sky is just one tone lighter than your base layer of the sky. Otherwise it will not pop out and engage. If you will have an extra brighter color, it will stand out very distinctively and not blend in well with the entire basically all. You need to have a balance between the tonal values so as to get a perfect blending as well as a perfect transition between the sky and the clouds as well. Now next I've squeezed out a little bit of the black color. This black color, I'm going to go ahead and add in little of the pine trees on the horizon line as we discussed in the beginning. So now using the black color, I'm going to add in very small pine trees on the horizon line, which are going to be covering a literal of the Ping space of this guy. And then to these pine trees, we'll add in very little shadow effect in this new space. That's very neutral black line details, not of the detail of reflection that we'll be doing in. So first on the horizon line, I'm giving you a very small Bush space, which I will be covering it up completely with the black color. Then in front of this I'll be adding in the pine trees. So let's going step-by-step. If you want, you can first wait and watch the entire thing and then go ahead and begin adding in details. So I'm done filling in this entire space with the black color. Now, let's begin adding in the pine trees. The pine trees are basically going to be coming out from this new space and not exactly on the horizon line. So you will see I'm taking the pine trees and little in the slowest pace. That is the reason at the horizon line, I'd given in that bush area with the black color first and now showing in the pine trees coming up from the snow space. So to these pine trees that are coming out from this null space, we are just going to add in little shadow effect at the bottom. From there, the pine trees beginning. It will just be giving in very simple black lines and details there to actin as the shadow. So you can see I'm going ahead very slowly adding in the pine trees, giving them a lifted didn't look not much but very little detail look not rushing with those details. Also, you can see I'm wearing the height of the pine trees throughout. We're going to add the pine g's from left to right completely. So make sure that you keep on reading the height of the pine trees accordingly. Some are taller, some very short. In case if you get bored in between, then you can simply take a break and then join again Leto. Now at the bottom you can see I'm just giving him very simple black lines now on the right side I'm adding them pause so that you can understand the shadow effect, what we're adding in. So just very simple lines at the bottom space. If you want, you can use a damp brush and blend it into the base here, either a store effect and give it a little dull, grayish look out there to act as the shadow of these pine trees on the snow space, creating it a grayish kind of an area. So we're just left with last two to three of the pine trees and then a little more texture effect on the snow space. And we'll be ready with our class project for the 26 as well. A very simple winter landscape. So I'm done adding in the pine trees now I'm just going to go ahead and give it a little more of the shadow effect. So using in the damp brush, I'm just going to blend in a little of the base here, black into this null space, creating in some lighter gray effect blending in with the snow area. You can see the gray color being formed, blending in with the violet white of the snow space. Now with the black color just adding in little more of the dry brush effect in this little space as well. To give him little details, make sure that you go ahead very slowly with these details. Do not rush or add them to bold or uneven manner. Now, last P in-between the pine trees, wherever I'm feeling the need to give him little foliage detail or filling details. I'm just going ahead with very simple foliage for the pine trees and filling in those gaps in between. So that is it. We are ready with our class project for D26 as well. Let's remove the masking tape and see your final painting with those clean edges. Make sure to remove the masking tape once your edges are completely dried, specialty or pine trees. Otherwise, it may rip off the paper and we spoil your entire painting. Going very slowly, fold the paper or the base at which you are taping it down firmly so that it is not, you know, mishap by peeling it off. You also find painting for the 26 are pretty simple winter landscape. You can see the reflected shadow that we've added for the pine trees at the bottom space. Just very little black highlights. I hope you guys enjoyed painting this with me today. I will see you guys soon into the day 27 class project. Thank you so much for joining me into this class and painting along with me. 29. Day 27 - Roses: Hello everyone. Welcome back to day 27 of the 30-day gouache challenge. Today we are going to paint a pretty simple or landscape with a beautiful sky using this ultramarine deep color. So I've just squeezed out a little bit of the fresh paint along with this I'm going to be using in the white gouache. I'm going to squeeze out a little off the white gouache has well later on, using this color, I'm going to paint in the entire sky first. And then on top of this we're going to go ahead with a lot of leaf detail using the black and the green tones. And then we'll be adding in some roses using in the pride chip colour. Alright, so let's begin in painting the sky first. I'm first beginning in with the ultramarine blue color at the top. I have not added any white or any other color at this point to the ultramarine blue color. Now I have some white on my palette separately you could see, and I've just used up that white and added it just below the ultramarine blue color and run a layer of fat on the ultramarine blue color as well. Now, since the ultramarine blue color stoning a little light because of the white layer, I'm just going ahead with another layer. So basically what I want is two to three different tonal values of the ultramarine blue color in the sky. So majorly at the top and the bottom, it's going to be the darker tones of the ultramarine blue color and add the plot centers space. I'm going to keep it a little light with the white color because I want to give him a little moonlight effect there. So the reason of keeping the center space on the lighter side using white is to show the effect of moonlight falling onto the sky. Does that area being a little off the lighter tone because of the moonlight effect and the top and the bottom space, I'm going to keep it a little towards the darker side. So at this moment, if you see my blending is not looking even. It has all different kinds of strokes moving horizontal, vertical. Now till the bottom, I've added the color, and now from bottom till the top space, I'm going to run in one layer so as to get the blending and evenness in-between the layers, as well as transition happening in smoothly. Now while getting the Blending right, you can use either the base layer color again to get the blend stride, or you can go ahead with a damp brush as in your, you can see I just ran with a damp brush. Now in the center a little about this. And actually you can see the whitespace shining out there because there will be adding in the moon effect trying to show the moonlight making the sky look alike, little lighter on that space. So that is how we've created in our sky effect. Now we'll just wait for this to settle in. Until then, I'll just get all the other colors ready so that we can begin adding in the green leaf effect as well. So the false color that I've squeezed out is a little bit of the black tone. I already had a little on my palette. I just squeezed out a little more of the black color. Now my skies dried out, so I'm just going to pick it in with the black color and creating the base layer which will act as the shadow for the green leaves that will be adding and also acting as the philosophies. So I'm just going ahead with a rough space to be filled in with black completely. So now the bottom space of this line that I've mapped out, I'm going to fill it with a ball layer of the black color completely. Then using the same black color, I'm going to be adding in some of the leaf details as well so as to show the bowl leaf effect. Now, the important thing is to be kept in mind is that makes sure that you're using the black color in a bowl consistency. Otherwise, if you use it in a transparent consistency, the bottom layer blue color will be visible, which will not give you a nice effect. The second reason of adding in this ball layer of plaque is when on top of this you will be adding in the green leaf effect, there will be a lot of space which would have been left blank otherwise, and the black scar, the blue sky would have been visible. So as to add in the blue sky effect, I've just added a black layer which will act as the shadow. Now in the same way, I'm just going to go ahead with some detail leaves at the top space using the black color first before we shift into the green color. So you can see I'm going to go ahead with very random branches, very random placement. You have two options. You can go ahead with your own layout to oscillate for these leaves that we'll be adding in. Or you can go ahead and follow along as I'm adding in. I'm going to go ahead with different lens of branches of the leaves, different shapes, different angle, different proportions. And it's all going to be very random to create in the depth into the sky and the foliage effect. So at places you are, you could see I added in detail leaves on the left side and then I fill the entire right side with the black color quickly dabbing in the tip of the brush. Now again, I'm going ahead with a little detail branch. And you can see here again, I'm going in slowly. So it absolutely depends on how you get in the balance between the kind of details, some details you can go ahead dabbing in your brush quickly filling in the space and some detail. You can go ahead and add little detailed manner like this so as to strike a balance in-between the details of your painting. Now you're again, you can see to create a little different structure of the branch. This time I'm going ahead with a different technique. I went ahead with two bigger leaves at the bottom space and then at the top, I'm creating in that branch detail, giving in those little details often leaves coming out and just use the dabbing technique there. Now similarly on the left side as well, I'll just add in a little off the leaves with the black color and then we'll move on to the green color layer of the leaves. Also, since we are working with quash the green color, we'll still pop out on this dark layer of the black color because gouache is an opaque medium. And even the lighter tones pop out well enough on the darker tones until unless you use the colors in a very translucent consistency, they won't pop out. So it's very important when you're working with layering in gouache, your color has to be opaque tape, but still in a such a consistency that it can move on Feeney for helping you to add in the details. So you can see, I'm slowly building in the details with the black color first, go ahead very slowly. There is no need to rush. Rush. You will not get into detail. Look as I'm trying to get in, because in rush you'll just be able to add in the formulation a very simplistic way so as to create the depth here, I'm going ahead slowly and building in the details very carefully. You can see I'm not overdoing a lot of it because later on you can always add more. But subtracting will be very difficult because you'll have to hide it completely with the help of the base layer and place. It is going to be a tedious task. Now shifting into the green color I'm going to use in this olive green color from the Magellan mission set. Now in case if you do not have to olive green color, It's absolutely okay to use in any medium prone to dark tone of the green that's available in your palate. It need not be exactly the same shade as mine. It's always important to understand the techniques and the color sheets can be absolutely your choice even for the base layer of the sky. Say if you did not have an ultramarine blue color, what you could do is you could pick up your cobalt blue color, adding a little pink and white to it. And you could get in a little purplish tone. So if you notice an ultramarine deep color, It's a little towards the purplish blue kind of a tone. Or if you have a purple color, you can just mix in a little tent after popular and cobalt blue and a little tinge of white to get a similar looking tone. Now let black layer results almost tried using the green color, olive green color mixed in with a very little tint of white. I'm just beginning to add in leaves and random details out here. Now you can see as soon as I'm adding in these leaves, the black color is acting as the shadow to these leaves. And same day when we'll be adding in the leaves at the top layer as well, you will begin to understand the effect of the black color that we added in the base layer. So very carefully now I'm going ahead at the top space as well, beginning to add in the green details at the top area as well. Now, if you want, you can go ahead with two to three tonal variations of the green color as well. So I'm just going ahead with the first layer and then moving ahead further, I'll see if need be, I'll go ahead with one more layer. After this, the details that were left to add in will be the details of the rows, which is going to be quite a simple one. And then Moon as well, so as to show a complement the light effect that we've already added in the sky. And then we'll be ready with this class project for day 27 as well. So just going ahead with some leaf details at the bottom space here as well. By now you could have understand the different strokes that I'm using in somewhere. I'm just dabbing in the tip of the brush and creating in those details somewhere, just adding in little patches like this, some little detail looking leaf. And now when you see all of the green color on top of the black, you can see how the black color is creating in the shadow effect for the green leaves, giving in that perfect detail. So you can see I just added little highlights with a lighter tone of the green color and very little of it, not much. Now for the roses, I'm squeezing out a little bit off the rose, my dark color. So you can go ahead with the shade of carmine rose madder, any pink or pinkish red tone that's available in your palette, you need a very little tender feet because we are going to be using in white to get into effect out here, mixing it with the white color, I'm just going to create a very pretty shade for adding in the first layer of the roses. It's going to be pretty simple one now, in case if you're not confident about adding in these roses, you can go ahead with any other flavor of your choice. It does not need to be the same Florida, it's about again, uh, you know, creating in the entire composition using in the color combination theories or the detailing technique. So I'm just mixing in little tint of this color with the white. And now we are going to create in very simple roses. So this is going to be the first layer of roses. Now I'm using my size two round brush, which is again from the Princeton velvet touch brush CD's. Now I'm going to begin adding in the roses, makes sure that your black layer and the green layer is completely dry. So basically you just have to begin adding in half C strokes and creating the rose pattern. Once you add in the first layer of the half C strokes, in the next layer, the C strokes are going to begin from the center of one petal, move to the center of the next petal. Both the edges of the petals are going to be pointed. And for the center of the petal, you are just going to press the belly of your brush. I'm going to add these roses in a very small size, and I'm just going to keep adding in a few of them. So you can see how I'm beginning in from the center of the two petals for the next layer and going till the center to center. So with this darker tone, I'm just going to add in a few more and then shift into a lighter tone as well. Now in-between, I'm just adding in very simple detail to show some of the flowers which are not completely blown, just a few petal details, urine, they're randomly. So just in-between you can see I'm just giving in very small dots as well too. This is to show that some of the flowers which are not even yet bloomed about to bloom and not just a small detail. Or these flowers are basically far from us. So you can see the different tonal values that I've been using some better or they are a little darker, so I'm very little lighter. So I've just been adjusting it with the help of the white color and the rosemary dark color. Now we're not going to be adding a lot of these as well. So you can see I'm going very slowly so that I do not go much out of proportion. I'm just going to build in a very small detail of this. I'm almost done adding in the roses just a little more before we move ahead to the next detail, just giving in some color variations. So if you notice major and he had the top side I've given in the detail flower look. And at the bottom side I've given him more of a fido flower loop trying to show him that these flowers are actually a little far or not bloomed incompletely. So at this top leaf here as well, I just gave in some dark details trying to show that some flowers just about to bloom in same way. Just going ahead with these last details of the flowers. I'm done with the details of flower. Now I've squeezed out a little bit of the fresh white quash color firing in the moon detail. I've made sure that my brush is clean. And now using this, I'm just going to go ahead and add in a small moon closer to the whitespace of this guy that we've kept in light. So I'm just going to go ahead with a half-moon detail and asked me using my white gel pen. I'm just going to add in some study deal as well. Now you can go ahead with your white gouache and the pointed tip of your brush. But I want these quite small ones. So I'm going ahead with a white gel pen so as to have these very tiny stars out here. So that is it. We are almost done with our class project for day 27 of this Saturday quash challenge. Let's remove the masking tape and see our final painting. So just two of the stars that I've turned them a little bigger in size so as to make them a little more focused. Lastly, I'm just giving you a little highlight to these roses before we removing the masking tape. Now let's remove the masking tape. Make sure you remove the masking tape once your paper is completely dry. And make sure to remove it against the paper so that you do not tear off the edges. Our final painting for day 27 of this 30-day gouache challenge. I hope you guys enjoyed painting this beautiful one with me today. I will see you guys soon into the date 28 class project. 30. Day 28 - Snow Mountains: Hello everyone. Welcome back to day 28 of the 30-day quash challenge. Today we are going to be painting a beautiful snow-capped mountain change. So let's begin with a very simple pencil sketch. I'm just going to mark out the mountain range. The mountain range is going to be quite a big one. And from behind the mountain, we are going to give him a peaking yellow moon effect. Are left to the bottom space is going to be the mountain range. Now on top of the mountain range, we are going to have in sub movements for the snow as well. So I'm just giving you a very rough lines so as to help you understand. There will be giving in the darker effect and the darker details of the dry brush details. Now towards the right side from behind the mountain, I'm going to be adding in the moon peaking effects. I'm just adding in a moon roughly at the bottom of the moon is going to be hidden behind the mountain ranges. Now you can use a protractor or sorry, you can use in those circumstances, or you can use an accomplice to draw in this moon detail out here. But I'm just going ahead with a very rough sketch for now. This is how our moon is going to be looking. And this is all about the pencil sketch that we are going to be doing it. Now let's begin forming in the colors that we'll be using in the sky. I'm going to use in a bluish-gray kind of a tone. So I'm going to mix that color. And majorly for this entire class project, we are going to be using in only three tones. That is going to be the Prussian blue color, black color, and the white color. And then lastly for the sun will be using in white and the yellow color. That's all the colors that we'll be using in to create the entire detail. Now I'll quickly squeeze out the rest of the two colors as well. I've squeezed up all the three colors now I'll keep mixing them in different proportions. So first I'm going to form a grayish blue tone, wherein it's going to be more of blue. A little tint of the black, very neutral tint, and a little bit of white. So you can see we are getting an a grayish blue tone. Now I'm just going to add in little more colors to this because I want it in a little darker consistency. Plus I want the color analytic quantity to paint the entire base layer of the sky. So my grayish blue color is ready and now I'm going to paint it in the entire sky. I'm going to leave the moon space empty. So going a little carefully there, as well as I'm going to mark out the shape of the mountain range as well and not adding the colors there. So very carefully, I'm adding in the color to the sky. This is going to be the base layer of the sky. On top of this, I'm going to be adding in little of the Cloud details as well. And then we'll shift onto the mountain range. Now in case if you're not confident about adding this color around the moon using the flat brush or the filbert brush, you can simply shift into a smaller sized round brush, marked outline of the moon and then fill in the rest of the space. Now the reason of securing the moon here is because the moon is going to be awful quiet light tone, which is going to be the white and the yellow color. And since it is a big space of the moon, if you'll have in the blue layer there, it will be very difficult to hide the blue with the overlayer of the yellow and the white tones. So that is the reason as far as possible, I'm trying to keep it white so that it becomes easier to add in that Dr. looking moon effect. Now I'm picking up a little bit of the white color. And I'm using my smallest size filbert brush itself and I'm going to begin adding in the cloud effect. Now make sure you do not have access of water or excess of the white paint you have to create in very light cloud effect out there. So that is it for the cloud effect that we had to add in a very simple one, just little cloud details with the help of the white tone onto the grayish blue column. Now when mixing in white with a grayish blue tone that we have created and using this I'm going to paint in the base layer of the mountain range. And then on top of this we'll add in the debt. Now make sure this layer or this color that you created for the mountain dangerous is very light and consistency. You can see it's majorly white, just a tinge of the blue color. Now I'm forming the top shape of the mountain range and I'm going to fill it completely with this color first. Now I've just squeezed out a little bit more of the white tone because I have fallen short of the color. And this is the base layer of the mountain range. On top of this, we're going to go in with a lot of patches of the colors, well as dry brush detail. This class project is going to be quite different from the rest of the class project because in this one, we're going to use in an abstract or a painting method to create the depth onto the mountain range. To be the regular style that I usually walk with. It's going to be an abstract kind, giving in the strokes on the mountain range to create the depth. Now to the white mixing in the blue and the black, I've created one tone taco then the base layer, and I'm creating a little foggy effect at the bottom space. So at the bottom of the snow-capped mountain, basically I'm just going to show in a little foggy effect. That is the reason I'm using just one tone darker. And then again at the bottommost space you can see I'm using in white color to give him the second view. And you can see I'm just dabbing my brush to create in that very foggy kind of an uneven look. Now gently dabbing the tip out here and bending it into the background of the mountain range to settle down the fog effect that I'm trying to create it. Now further using the little darker tone of the same color mix, I'm just going to add in a little more depth to this fog effect that we are trying to create it. So now you can see the two tonal variations for the fog effect that I'm trying to create. Now, let's move ahead further. Adding in the further details. Now makes sure that your mountain range dries out completely. Till then, I will go ahead with the first layer for the moon as well. So I've squeezed out a little bit of the light yellow color. Next I've squeezed out a little bit of the white color. Now I'm shifting into my round brush and mixing in a little bit of the yellow and the white together and using this base layer, light yellow color as the base layer. And I'll begin painting in the moon first. So this is going to be the first layer for the moon. On top of this, we're going to add in a little texture with the different tonal values as well. So going very carefully and just fill the entire base layer of the moon with this color of the mix of white and a yellow tone. Now my mountain ranges completely dried and using a 1D or darker tone that we use for the second year of the foggy range. I'm randomly adding in some spaces, creating in the darker debt. And you can see I'm quickly dabbing it with my fingertip to show it a little settle and well blended into the background, giving you the little much better blending effect. So I've just added in some darker depths, which will act as the shadows based on the mountain range. Now going ahead with a grayish kind of a tone which has little less of the blue and more of the white and the black tone. It's not exactly a black donuts. You can see a very dull grayish tone that I've been creating first. And using this I will add in the first layer of texture on the mountain range. So the line that we had created in the center of the mountain while adding in the pencil sketch the same line I've marked out with this grayish tone. And now I'm going to begin adding in some random texture detail. You can follow along with me or you can wait, see the entire mountain range coming to live and then go ahead with your own kind of texture or movement that you want for your snow-capped mountain. This is very random that I'm going ahead with. So the two kind of details that I'm using here, if you notice, is one, I'm going to head with some very random lines on the mountain range. And then in-between randomly, I'm using the dry brush stroke to given the depth and texture to the mountain range, somewhere you can see I'm creating in a lot of darker and thicker patches with this gray tone. After this, we're still going to be creating in some darker depth using the black color as well. So this is just the first layer of the texture on the mountain range. I'm first defining the top space of the mountain range. Well, that is the top lines distinguishing it from the sky and the moon space. And the center line that we had added. You can see from there, I'm showing the texture connected to that center line moving towards the bottom side. And from the top line, the picture moving towards the bottom side and very randomly just adding in texture going in forward creating in the deck. Again, creating these texture on the mountain range can be a tedious job as well as overwhelming. So going very slowly, you need not rush with the details. You can follow along any different reference if you wish to, or you can go ahead with your own layout on the mountain range. So basically what you have to do is you have to create in patches or to texture effect using N1, the gray color. And then next will be the black color. And very random texture. You can see my textures are not having any specific shape, movement or replacement. I'm just going ahead very randomly filling in the spaces with different kinds of structures somewhere, patches, somewhere lying somewhere, dry brush somewhere, or a laugh cluster together in branches format sandwiches, dry brush strokes. Now I will move on to the next color that is going to be the black color without adding in any white or a blue color to it. And now using this darker tone, I'm going to go ahead with the second layer of the details on the mountain range, but this layer is going to be a little less as compared to the first layer. If you see forced to be added in the lightest tone of the white mixed in with blue, which was on the complete space. The next color that we used was one tone darker, which was again in little lesser space as compared to the first layer that we went ahead with the texture of the gray color, which was much more or less so, but in a different manner. And now finally, the details with the black color, it's going to be in much more, less space than the gray details, the reason of this beam so that all the four layers that we've added be visible and have the effect. Otherwise, it would be no point adding so many layers if they had to be hidden out completely. So going in slowly, I've added in these now we're going to go ahead with the abstract method and create some abstract look to these mountain ranges as bell. So I'm going to shift into my filbert brush and move ahead with the details. So first using the damp brush, I'm just blending little of this texture giving some of them are little soft edge. Now till the layer of the mountain settles in, I'm going to go ahead and add in the detail to the moon. So I'm going to squeeze out a little bit of the yellow ocher color to give him the darker depth into the moon's piece. Make sure that your first layer of the moon is completely dried before you beginning with the second layer. So using the yellow ocher color, I'm just adding in small patches on the moon trying to create the texture on the moon. And you can see I'm quickly dabbing it with my fingertips so as to give it a little blended look with the base layer of the moon as well, fitting in the texture effect. So on the left side of the moon, I have more of the texture and on the right side I've kept it very limited and little. And now I've mixing the yellow coat color along with the white tone. And using this lighter color, I'm just going to add in little more depth into the moon. One more thing makes sure that your fingertip is clean. We may have dubbed a lot of times onto the mountain range. If you're using the same thing or you may have some blue black tones on your fingertip. And then using the same fingertip are filled up the yellow color, the blue black color may get get laid on the yellow space, making it go up very muddy and adult bone. So it's very important to make sure that your fingertip is clean before you go ahead with the dabbing on different colors. So that is it for the moon. Now using the white quash, I'm going to begin creating in the abstract detail on the mountain range, as I told you. So using the filbert brush and the white quash, I'm just going ahead with random strokes on the mountain range with the white color. And you can see going ahead very randomly creating in the abstract look. Also at places wherever I feel I'm not satisfied with the gray tones. I'm giving him more of the white patch detail just as the top space closer to the moon, you can see the gray tones are still visible, but now this white color is acting as much detail. The snow effect on the mountain range. That is exactly what I wanted to create your that is the reason I went ahead with this abstract pattern. First went ahead with the basic pattern of creating in the details, and then went ahead with this abstract style. So now you can see underneath the white color religion of the gray tones are still visible because you've not added a white completely. You've just added them patchy way using just the tip of the brush. So that is it. We are ready with our class project, a pretty simple snowy landscape. Let's remove the masking tape and see our final painting. Make sure that your edges are completely dried before you begin removing the masking tape. We are just two days away from closing this 30-day class challenge. I hope you guys enjoyed painting all the 30 beautiful landscapes and learned much more about quash with every class project. So here's the final painting for day 28 of this 30-day gouache challenge or snow-capped mountain. I'm just going to go ahead with Lipton. More darker tones are closer to the moon space because they feel it's turned a little too extra white. Just some abstract patterns there. But any which ways we're ready with our class project if you are satisfied with your mountain chains to not overdo it. Let it stay there for a while, come back with a fresh mind and I'm sure you'll fall in love with the creation that you've done. Thank you so much for joining me in to the class. I will see you guys soon into the day 29 class project. 31. Day 29 - Bold Evening Sky: Hello everyone. Welcome back to day 29 of the 30-day cost challenge. This is the second last class project. Let's begin squeezing out the colors. First. False color that I'll be using for today's painting is going to be the ultramarine blue color. We're going to paint a pretty simple evening sky and some little cityscapes. Hello, hey, that's it. What's going to be for the class project for today? Next, you would need a lot of fight gouache now coming to the rest of the colors I'm going to be using in the shades of orange and yellow. So I'm going to squeeze out a little bit of the permanent orange color. Now, orange and blue together may give you a muddy tones. So in order to avoid that, we'll be using white in between as well as a little of the pink tone so as to avoid any muddy tones in-between if needed. So I've even squeezed out a little bit of this red color tone. So I'm mixing this with the white tone. I will get a pinkish that tone. Now the next color is going to be a little tinge of the violet deep color, which I will be using along with the ultimately in deep color so as to get transition and gradation between the tones. And lastly, it's going to be the permanent yellow light color which I'm going to be using in. So let's begin with the ultramarine blue mixed in with white first. Now make sure you squeeze out only little of the tones because when we're walking on a very small size of the paper, and since we are going to be using so many color tones in our sky, you will not be needing much of the colors. Even a little pigment does a lot of the job because you will be needing modified to get in the color tones and variations. So along with ultramarine blue, I will even squeeze out a little tint of blue and use a little different variation as well. I'm just going to quickly squeeze out a little bit of the civilian blue as well. Now in the same vein, mixing a little tent off the white along with the serine in blue and adding it below the ultramarine deep blue and black. And now using a damp brush, I'm going to blend both of these well. Now you can see before moving to every next color, I'm using white in-between for blending so that we have a smooth transition. We do not have any muddy tones or unwanted tones being formed in between. Now the next color that I'm going to use is going to be this red mixed in with white. You can see we've got a beautiful paste to tone, which I'm just adding in below the blue tone. Now when this will mix in with the blue, you will automatically get a little violet shade. And you can see I've used in white to blend it till the top space. And now that little violet color being formed in between the blending point of the city in, in blue and the red tone. Now just below the red tone, I'm directly going ahead with the orange color. Now the red and the orange when mixed together will not give you any reward or unpleasant tone. So you can see when they bought blending together, they are having a perfect transition and go well along with each other. Now again, below the orange, I'm adding in a little tint of the red tone. And then lastly at the bottom we'll go ahead with the yellow color. So at the bottom I've given in the layer of the yellow color completely and blended it well till the orange tone. Now on top of this, we'll begin adding in the Cloud effects. I've mixed in a little tint of the yellow, orange and a little tint of red color altogether. And you can see we've got a little neon kind of a tone. Now using this, I'm going to begin creating in the cloud effect slowly. So you can see I'm just using the tip of my filbert brush and beginning to create in the depth into the sky. Now on the red tones, I'm going to go ahead with the violet color Cloud. Now when you use the violet color over on the orange color, be a little careful and mix it with a little bit of flight because orange and violet do not go well with each other. And they may give you muddy tones, which is not what we want in our sky and cloud effect. So be careful when you add the violet color over the orange and the yellow tones. But when you add the violet color on the red tone, it will not give you that muddy tone. So you can see I'm using the color tone in different color variations somewhere light, somewhere dark and just creating in the cloud effect. Now using the yellow color, I'm just going to add in some highlights as well into the sky. So just mixing in a little bit of fights so as to get a bright color. I'm just going to add in little highlights. After this, we'll just be left to add in the cityscape detail. So this time I'm going ahead with a very bold cloud effect in the sky. And the main focus being the entire bold effect of the clouds in a little abstract pattern. In the center. You are, I'm a little unsatisfied, so I'm quickly blending the colors well together a bit so that they have a little look and look a little or blended into the background. So just adding some clouds over on the yellow color as well with the mix of the orange and the red tone. At the bottom, we are going to be having in the cityscape, which will cover up most of the stuffs out there. The place where the blended the yellow and the purple tone there I have a little muddy tone on which I'm just going ahead with a layer of the retina again to hide those muddy tones. And you can see how easily I could hide them with the gouache colors. Because gosh, being an opaque medium, you can go ahead and correct your mistakes easily. Now on the top clouds, I'm just going ahead with a layer of the lighter tones of the clouds, of the orange color. So that is it for a bowl sky for this class project. Now the next thing that we're going to go ahead with is going to be the little cityscape detail that we are going to add at the bottom space. It's going to be a pretty simple one, not much in detail. We are directly going to be using in the black color for adding in those details. So now using a smaller sized round brush and the black color, I'll just quickly begin adding in the details out here at the bottom space and create the detail for the cityscape. Now, make sure you do not cover up the entire yellow space. Let a little of the yellow sky be visible. I first added a black patch at the bottom space, and now I'm just going to begin adding in the detail. So I'm just going to create one big house and then add some palm trees out till now for the houses. Well, I'm going to define the Windows well, and I'm going to leave the windows blank, not add the black color. So automatically you will be able to see the background sky from the windows. In this scene we decide space as well. Also, if you notice the structure of the house, I've tried to give it a little 3D effect by taking the side angles out there. One palm tree I'm going to show as in from behind of this house pace. So just adding it on top of the roof. I'm just going to give him very simple details. The other one out here on the left side. Now first I'll add the foliage effect of both of these, That's the palm leaves. And then after that we'll see if we need to add one more. Or rather I'll add one smaller one as well on the left side. Now to all of these, I'll quickly add in the palm leaf effect. Make sure you're using a smaller size brush and you're using a brush which has a pointed tip so that you get the details right on the left side, instead of adding in the palm tree, I've added a pole to which we'll be adding in the light effect. And on the rightmost side here again as well, I've added a silhouette of the street light pole. Now quickly let's begin adding in the palm leaves. So for that I've shifted to my size one liner brush so that I can get the fine details for the leaves. And then after this we'll just be Add to add in the light effect to the street poles that we've added. So you can see we're not going ahead with much detail. Look up the foliage, very simple details that we are going ahead with. So I'm going to quickly go ahead and add in the details here. I'm almost done adding in the details to the palm trees. You can see very simple foliage effect that I've created. Now I'll shift into my smallest sized round brush. I'm using the mix of the white and the yellow tone. I'm just going to add in the light effect. So I already have a yellow on my palette. I'm just going to mix in a little white and get a yellowish white effect more or fight very little tend to off the yellow color. And using this color in a bowl consistency, I will just add the light effect to the two poles that we've added in. So this time, I haven't given in any of the glowing effect to the lights. Very simple, basic light effect that I've added in. So that is it. We're ready with our bold evening sky, along with a very simple cityscapes. Hello, hey, let's remove the masking tape and see our final painting for deep 29. We are just one day away from closing this 30-day gouache challenge. I hope you guys have enjoyed painting all of the 30 paintings. And if so, make sure to drop a review for whatever reason you've liked this class or what could be improved. I would love to hear from you in the review section. So you'll also find a loop for our class project for day 29. I hope you guys enjoyed painting this bolt sky with me today. I will see you guys soon into the last class project of this class. 32. Day 30 - Glowing City: Hello everyone, welcome back to data t of the 30-day challenge. We are finally on the last bookmark. And today we are going to be painting a beautiful and simple seascape. So let's begin in with a little pencil sketch. I've just marked the horizon line a little below the center space. And now I'm going to mark out the beach space for the C that will be painting. So this area that we are marking out on the right side, it is going to be the entire cityscape where we'll be painting it completely with a black color and a little tint of blue and then adding the light effect. And on the left side it's going to be the area which will be giving in simple watered effect. And the top is going to be a sky area. So let's beginning with the sky first and then move on further. For the sky, I'm going to squeeze out a little tent off the Prussian blue color. I'm going to mix it with white so you need a very little tint. Next time squeezing out the resultant of the background indigo color, which I will be using in for adding in the details for the darker depth of the sky that is at the top space. Next, I need a little tint of the yellow and the red tones, which I already have a bit on my palette. And that much will be enough because that also will be adding in a little white color. Now let's begin painting in the sky. So I'm first going to mix in white along with the Prussian blue color and beginning with the top space. So you can see I'm not adding a lot of water. The color is quite opaque and I'm just going ahead with a little layer of this color at the top space. So almost 40 per cent of the sky is covered up with this blue color tone. Now picking up the background indigo color, I'm just going to give him little darker That's at the top space and blend it with the Prussian blue and the white color makes that Vivaldi be added. So you can see how easily I've just blend it a little of the darker background indigo color at the top space, giving in the darker depth at the top of the sky. Now I'm going to pick up a little of the white. I'm just going to add it below the blue color. Now, make sure you do not lift a lot of yellow color there. Since my wife was on the yellow, I have gotten a little yellow on my brush, but I have made sure enough that there's not excess yellow. The blue and the yellow mixed together gives you a green tone. Now next I'm mixing in the yellow and the white on my palette. And I'm going to add it just below the yellow whitespace that we added. Now you can see this is a little bright in color as compared to what we added first, closer to the blue space. So in that way you can avoid in the green tones, that may be fun because blue and green mixed together, oh sorry, blue and yellow mixed together will give you a green tone. So in order to avoid that at the blending coin, I used more of white. Now closer to the horizon line, I'm going to go ahead with the orange and the red tone mix for which I'm squeezing out some fresh white gouache to mixing. I had a little bit of the permanent storage covenant read, and I mixed it in white and I've got this beautiful pinkish tone. Now using this at the horizon line, I'm going to blend it well with a yellow color. So for blending you can see I'm using a damp brush because I do not want to leave most of this red color over the yellow and cover it up. That is the reason just use the damp brush and you can see how beautiful the blending has turned out there. Now let's begin and move on to the Prussian blue and the white color mix and paint the z-space. So I'm just going to paint this area carefully. Now, if a little of the color goes onto the right side, it's perfectly okay because the right side is going to be covered up with the black color. So I will still try to map out the space as much as possible. So for the entire area, I'm just going to go ahead with the simple layer of the blue color. But at the bottom, I'm going to lighten the colors. I'm just going to lift up a little of the white color and blend it till the bottom space. Using the Prussian blue color, I've just got a gradient wash for the Z space, moving from the top till the bottom space, giving in a very light effect of the blue as we move towards the downside. So that is it for us, the area as well. Now I'm going to add in little of the Cloud details into the sky. For that, I'm going to mix in further a little tint of the white and the blue tone and use this lighter color over the yellow and the red species and given very little minimal cloud effect. So you can see I'm using the blue color in a very light consistency, much of white and very little of the blue tone and creating a little cloud effect closer to the horizon line. First, I'm going to be adding in very minimum cloud effect much closer to the horizon line. So you can see very light and very little that I'm going ahead with slowly. Now moving further towards the top side, just adding in very little effect where you can see very minimal and simple Cloud, very simple lines that I'm adding into acting as the Cloud details. Now these top clouds that I added over the yellow space, I'm just blending them a bit so as to give them a little settle look into the sky. So that is it for us, sky and disease-based for now. Now, let's begin and move on to the bottom space of the cityscape area. Then I'm going to first add in a layer with the black color. So make sure you use a bold black color. I'm going to use in a little tint of the blue as well first at the top side. So first time mixing in the background and they go and the blue color so that I have a little bluish effect at the top area. Remember the pencil sketch that we have added a button literals the blue color had seeped in because we were painting this area loosely. Now I'm just defining the shape first. You can see I'm going ahead with a very rough detail. Now I'm picking up a little of this blue mixed with white color. That's the pollution Bluemix than that. Why? Because at the top area, I'm going to give in a little blue effect and moving down, I'm going to create a different space with the black tone. So in order to get this blue variation, I'm going ahead with the mix of the blue, black and white. So basically in this space you can see I have added a pencil sketch at the bottom area marking in the distinguishing space. So that means that the top area here we are going to have in a little of the blue tint along with the black color. And as we move towards the bottom side, it's going to turn out more darker. So in our cityscape as well, you're going to have in those two to three color variations with the blue and black tones creating in the deck. Now I'm picking up for the 1to1 darker color of the blue. So in the previous year you can see there was a little off the white tin that we added in to get that lighter tone. Now, I'm going ahead with one more darker tint that's only blue and black. That's more of blue, very little of plaque so as to get this darker tint and painting in the second layer. So you can see now the distinguished that is being formed between the color tones helping create the distinguishing Leo's of the cityscape. Now for the last layer, I'm going to go ahead with a bold black color layer completely and fill the space till the bottom area quickly with the black tone. So filling the entire bottom space with the black color. Now you can see the three different layers in-between the city space as well. Getting into depth through the color variations by just altering the three color mixes in different proportions. Now till the blue species die in for us to add in the city light effect. I'm just going to go ahead and add in little off the crashing wave detail. So I'm using invite coercion, giving it a little dry brush detail closer to the sea line trying to show in the waves crashing effect closer to the shore space. So very little you can see as soon as I pick up the color, I dab it on to the top so that all of the excess paint and pigment is absorbed out there and we have very less pigment to get in the dry brush details right and easy. Now first mixing in the white and the yellow color to begin adding in the city light effect. Now, make sure when you begin adding in this, your blue spaces are completely dry. So I'm just beginning in on the spaces which have tried out completely. I'm using my size one liner brush which has a pointed tip. And very randomly you just have to keep adding in very small dots of different sizes. You can see some are very tiny, some are a little bigger sum of the medium sizes and just keep adding them, but make sure you do not add a lot of them altogether because we're still going to be going ahead with the orange and the white tones to create these light effects. So you need to go ahead slowly with a little of the color tones of the yellow force, then a little of the orange, and then a little of the white. And then if needed, you can further go ahead with the same tones and fill in the empty spaces, but do not overdo all of them together. Otherwise, it will be very difficult to undo them. Now, moving further even at the below layers, you can see I'm going ahead with a yellow color first creating in the depth of the cityscape light effect. And then we'll move on to the orange color together. You can see in between I'm leaving in so much of the gaps. I'm going ahead very randomly with random spaces giving him the yellow effect first. Now next I've mixed in the orange and the white tone, and I'm going ahead with some orange lights in the cityscape. In the same way as I went with a yellow color. I'm going to go ahead with some of the orange lights. Some of them are going to be in-between the yellow tones, somewhere separately from the yellow tones. It's going to be a mixed so as to show all of the light colors popping out together. You can also see very randomly some of the spaces I've left it blank. That is the base layer of blue and the black tones are visible, especially in the black color tone. You can see I've mentioned he added the light effect only at the top edge, at the bottom space. I've kept it majorly empty, showing it as the dark space without the light effect. So make sure you have some empty spaces as well in between so as to have that mountain effect or the Sure effect or around this area as well coming in. So we're almost done with our class project for date 30th. This is the last class project for this 30-day challenge. I'm just going to add a little of the light effect with the white color and then we'll be ready with this class project. So in between the yellow and the orange, I'm just going ahead with little of the effects with the white color, just using the tip of the brush, you can see how beautiful this area is looking. You can imagine from an airplane view the satellite effect that you have at the nighttime. That's perfectly what I'm trying to create a near but not from an eye view. So let's remove the masking tape and CF final painting for data. Make sure to have a look at the next lesson, wherein we see all the 30 paintings together at a glance and see all the beautiful creations that we've created along the period of 30 days. I hope you guys have enjoyed painting all of the beautiful paintings with me each day. And here's the final painting for data t of this 30-day challenge. I absolutely love the simplicity and the beauty of this class project. I hope you guys enjoyed painting this with me. I will see you guys into the next lesson where we see all of our paintings together. Thank you so much for joining me into the class. 33. Thank you: So let's have a flip through of all the 30 paintings we did in this 30-day gouache challenge. I hope you guys enjoyed painting each of these beautiful different unique landscape bookmarks for the period of 30 days. I hope this helped you explore your medium gouache, in case if you were a beginner with this medium, I hope you enjoyed learning this medium and painting with this medium. I loved each of these Class Projects and I would love to see each of your paintings as well into the project section of this class. And in case if you liked this class for whatsoever reason, I would love if you could drop me a review into the review section of this class so that it can help me reach maximum students. Some of the class projects are really special to me and I loved the outcome of the same because it was the first time even me trying out something so integrate yet easy to paint alone. In case if you do not wish to paint all of them, I would love to see your most favorite ones from this entire class into the project section. Each painting has something different to learn about gouache. And with every painting we have different color combinations, different techniques as well. Thank you so much once again for joining me into the class.