30 Day Gouache - Polaroid Series

1. Welcome to the Series: Hi everyone, welcome to the 30 day Polaroid series. This is gonna be a very interesting journey. We have 30 days of paintings. Think B's think we're occasion, think water, thank the sun, sunrise, sunset. That's what we're painting. We're going to capture all of this in 30 days. The medium that I've chosen for this workshop is gouache. If you're new to the medium, welcome to this class because I'm going to go into the basics. It's meant for everyone at a beginner level, anyone who's just starting out, the projects are meant to be super simple and has be progress. The projects we'll get into more techniques, more unique styles, and so much more information. Let's talk a little bit more about what the 30-day challenge actually means. You can take it as a challenge where everyday you try to paint for just ten to 15 minutes. Another option is where you can paint over the weekends. You can pick six of the paintings for the week and then paint them altogether over the weekend. Spend some time with your art, with your art supplies surrounding you and the pure bliss of having that brush in your hand. I invite you to go on and show any of painting pride features, both subsets, cool lotions, and calm pistol skies. Let's dive right into the content. 2. Materials - Everything you need: Now the first thing I want to talk about the materials super important. This is what we get started with, which is paper. I am using watercolor paper and there's a specific reason to it because it soaks in the paint. It's perfect in terms of using any other medium. And it's a grid. Start with gouache. When you're using gouache. Gouache is also known as opaque watercolors. Using a watercolor paper is definitely preferable. For this, I am using 300 GSM. It is a cold press paper and it's quite thick, which is Create. And we are going for a specific sites. So we are basically going for an E5 size in terms of measurement, that would be about 21 centimeters by 15 centimeters. So that's 15 by 21 centimeters. It's an A5 size. So all I did is I did point A4 sheet and I divide it by half and that's the size that I got far up Polaroids, we're going to be further dividing this so that we can fit in for Polaroids into the sheet. Now this is a BSW level size that I'm using. You can obviously go for any size that you prefer. Since there's minimal details, I would suggest not going for something that's too big, like an F5 or an A6 or four sides. You could go smaller, basically, you can go for an IV. Six sides, like a postcard size would work really well. Know how I did this was basically taking my A5 sheet. I divided it along the width and the length to get my Polaroid. I really like the size for a polar. I think it's not too big. At the same time, it's not too small. So it's really the perfect in-between sites for our project. Since we have different paintings over 30 different days, you're gonna need Coty of these. So you can keep them prepared before or you can cut them up whenever you need them, has your choice. Now here, I also want to talk about the fact that for a Polaroid, if you notice, the bottom part is big on right here. If you measure it out, it comes up to 21 fourth centimeter. And I actually don't really calculated every time what I did was make sure that I have a tip that I would be using for the edges. That is this width. So that way it makes my work a lot more easier. I do not have to calculate it every time. That is the another supply that will be that we would need foreshore. Very important, which is your tip. The tip. I've seen people using washi tapes somehow that never worked really well for me. People have used, like some artists use painter's tape. I think. It all depends on you testing and checking if the TPP drips out your paper, if it holds true, if the paint doesn't seep in, to just do a minute like a small mock trial with your tip before using it on your final paintings. In my case, I just use masking tape, which is basically the white tape over which you can kind of write out stuff. These are the tips that they use pretty much to label things. So that's the tape I use. It's pretty study. It works really well. I've not had any issues. And as you have seen, it's the size of 21 fourth centimeters. Next, let's talk about our paints. We are using gouache paints. The first one that you would need super important is white gouache standard. I think you should get a huge tube if you'd really want to get into collage because white is definitely something that we use a lot. So try to get a bigger tube of it because you would notice that you finish it up fairly quickly. Along with the white, the other colors that we're going to go into. And I'm going to just talk about each color. The first one is a red, also known as vermilion. It's beautiful, bright red color. If you don't have the exact same column name, you can get a college red, for example, very similar in color or crimson. Now there are different brands obviously that are available. I've got dollar row leaf for my rowi Sorry, I have trouble pronouncing names, excuse me. Bruce. True for anyone who's in India, it's a really great, I would say, good material to use. You also have Winsor Newton and there are a lot of new brands, I think are older brands who generally do watercolors that are also now offering gouache. So there is definitely more brands. I haven't used a lot of them, so I would still go back to a Winsor Newton or brushstroke. I think those are two good brands. Now in terms of blue, we're going to use two different sheets. You don't necessarily have to buy both of them. If you can just pick up one, That's fine. I just like having two different options. One, as you can see, was an ultramarine and the other one was Prussian blue. There's a slight difference in the colors of the shade of blue with these two, which is why I like to have it as an option, especially when I'm planning to create more monotone Polaroids. The next color we're gonna be using is a green. This is very dean. I really like this color is definitely one of my go-to favorite colors. I don't use any of the other greens because we are going to be going into mixing the colors that you specifically need. So I'm trying to give you the base colors that you are going to use and everything else is gonna be a mixture of what you already have. For yellow, I am using yellow chrome. You can see it's a beautiful like rich golden yellow. I try not to use the bright yellow, the one that you also get that is yellow ocher. I think. I felt like that's too bright. I like a little bit more of a warm yellow brown where using burnt umber. And then finally we're gonna be using black. Now, any color that we're using in terms of purples, mix of yellow, mixes OFF TO are all going to be form. These set of colors even up pings our skin tone. Everything is going to be from here. So as you see as we proceed, you will be going into each. Now, I should also mention that the mixes I will be doing, I'll be sharing each mix of the color that we're gonna be using for a specific project before the project begins so that it's not too confusing. And you're not mixing colors as you're not going to be using. We're going to do, they're going to cover a wide range of colors that are posible from Greece. Two blues, two purples. As I mentioned. Now, the next thing that we need is our brushes. We're going to be mainly using a flat brush. This is a size tool. There is no label on it. So I would suggest looking at different sizes and just making sure something that it isn't, it's not too small because we want to make sure that we cover enough of the space. If you're gonna be using a larger size paper. So you're not going to be doing polarized. You're maybe doing an ES6 or a postcard. Make sure that you get a brush that's slightly bigger so that you can paint the area faster. Whatever you're painting is directly proportionate to the brush. So they are very linked. Additionally, we're gonna be using a thin, round brush. As you can see, it's right, then it's a size 0. It's from the brand tax law. And because I wanted something that is not too expensive, just to show you guys it's weight, very sheep. And I would suggest that you have two of them if you have an old brush as well as create of that size. Because we're gonna be using couple of dry brush techniques which could damage your brush. If you have a slightly more higher invested brush, something that's a good quality brand, use them for the details. But when you're going into dry brush effects, it's better to use an older brush or something that's not, that's just like a student grade. That way you're not ruining your pretty, pretty brushes. But these are the main brushes that we're gonna be using for painting. Paintings, pretty day paintings. From here. Let us move on to some practice exercises to get a little bit more comfortable with the medium of guage, understanding, blends and so much more. A couple of things that I skipped is make sure that you have water, super important in case you forgot. You do need water cups. You can keep two with them if you don't want to get up too often to wash your paints off. I prefer just having one. It's a lot more easier for me and I just get up that way. I get a little bit of exercise. Otherwise, I just sit in the same spot. So it's very healthy for me to keep getting up to fill up my water. The other thing you would need is a paint palette. This is super important for us to mix up in. So just make sure that you have one that has enough space for you to mix up your colors. You will also need tissues. Again, very useful to dress, dry out any excess water on your brush. So just keep that in hand. The other thing would be I'm trying to think if there's anything else, but I think we covered most of it. Yeah, That's it. That's all we need. So keep them in hand before we start with our practice exercises. 4. Day 1 - Sunrise: This is our first project from the series. I wanted to pick one that I love. Obviously also something that had really cool colors. So that's the one V2. First, start off with mixing your colors. The first mixed we're gonna do is like a light yellow. It's like a pale yellow color. So I've taken my yellow Chrome and I'm going to add more white. So we have one portion of yellow chrome and about three or four of white. If you feel like it's not light enough, you can always add more white if you feel like it's too light, added a little bit more yellow. Now take a little bit of water and then just mix them through. You get this really pale white or pale yellow sheet. That's the color we're gonna be using. Today. Since our projects are quite small in size, I would suggest not mixing too much paint because otherwise you're going to have too many leftovers and gouache paint dries up after it's used. So you might as well use smaller portions are mixed smaller amounts, just so you don't end up with wasting too much of paint. The next color that we're gonna be using is a beach. It's a light quarter color is very light. And as you can see, we add a smudge of yellow, one pot thread and more of the white. Now, if you are going to add a little bit less of white, if you see the proportions of the red and the white was similar, and you would end up with this color. So it's a quarter. Please forgive me if the names you call the color is different. These are colors that I have researched, but I have noticed that sometimes I get my colors wrong and apologize for that. But this is the color that we're gonna be using. So it's like a reddish orange color. Now, with the same mix adding more white, you can see I've added almost two parts of white to that mixture to get a very light shade. It's a very, very light color that we're using, almost like a light pink. But because of the yellow tinge, It's a little bit more. I would say warm. This is a coral pink that we're gonna be using. The final color we're gonna be using is black. This is right off the tube, so I've taken a little bit of black adding a little bit off to the mix to get much more smooth mix. So I get a really bold black column. The full colors are pale yellow. Cto think quartile, black and white as always. Let's start with our painting. Take up your Polaroid paper or decides that you've got out. And we're going to first tape it down. Now I'm using my tape to just get a really nice crisp edge along the three sides. I keep about half centimeter, like 0.5 centimeters along the edges. I think that this gives a very nice crisp look to the painting. At the bottom. I'm going to be doing about 2.5 or 21 fourth centimeter. That I get a Polaroid effect. Make sure to press down your tape so that it is firmly stuck before proceeding to paint. Now for the painting, I'm going to start off with my flat brush. I've loaded my flat brush with pale yellow color. I'm starting about middle of the painting with this color. I did about two lines with it, maybe a third line as well. You can see how I'm trying to get it fairly straight, like fairly perpendicular. Now using the light coral, pink, Let's paint right below this yellow layer. Bring this light coral color all the way to the bottom and gently blend it with the yellow. There's not too much of a difference between the yellow and the pink. So you can see that it blends fairly easily. Once that's done. We're going to take white paint and then blend out the top of the painting. I just take a very opaque layer of the white and I blend out the yellow upward. Exactly like we practiced. Just trying to get a beautiful blend all the way to the top. Now, I love this to dry. And using a scale, keeping it pope and declare the sheet to the edges, draw out a straight line at the center of the yellow. This is going to be a division for the sky and the ocean. Now using our coral, the deepest pink color, Let's start doing some lines. Be attention to how I do the lines. It's the same effect that we had done before, just quick movements from left to right. But what I'm trying to do is get the null. Watch more lighter lines on top. This is very important to kind of bring through in the painting. As you can see, I'm trying to bring in broken lines to give you the effect of water. So it doesn't have to get like a straight line all the way through. You're just trying to get a very broken line. And as you call lower and lower, you're going to make those lines thicker. We just try to make them look like they're closer and hence they're thicker. This is the effect that you can bring to the water lines. As we go. We're getting more of the quarter along the bottom. Once that's done using white and add thin round brush, Let's do some lines along the center of the ocean. This is the reflections from the sun. You can see I'm trying to get just like quick movements and very controlled area. Just along the middle. I skip areas where I had all the painted the deep quarter line. Just to kind of avoid ruining that. I'm trying to paint little bit below that. You can also see how I start from bigger incised lines to smaller as it goes. Once that's done, take more white and just paint out a circle to represent the sun. Now using black lead, paint out some birds, I started with a circle for the body of the bird and then two inverted triangles for the wings. Let's do the same on the other side. Inverted triangles for the wings. This one is going to get a little bit more obvious. So I'm doing the whole body. But it's the same idea of the inverted triangle for the wing. Once you've got that, might add another one just to make it a little bit more interesting. This one I wanted to do it slightly different so you can see how I just painted it out like a C-shape or like a crescent moon shape with the body. Then let's do the edge of the ocean. Getting a little bit of the black slightly down, not too much. Just gently. Also want to add a little bit of the black along some of that quarter lines. You can see where I'm placing them. Not from the top. I'm just doing the bottom section. And right above or just like at the edge or the outline of those quarter lines. Placement is everything when it comes to the sea and the ocean. There you go. This is our completed painting. Feel free to remove the tape and we're done with our first Polaroid. 5. Day 2 - Cloudy Day: Now let's start with our next Polaroid. For this one, we are going to be using six different colors. The main color would be white for sure. Make sure you have that in hand. Along with that, let's go ahead and mix our next set of colors. Gonna be having two shades of peach pink. One which is a coral, and then a light color. We mix the same in the previous tutorial. Start with mixing a little bit of red. One part read about one part of white, and a little bit just a smidge of yellow. This is going to give us a lovely coral. Next, adding more white to get a light coral shade. Now for the blues, Let's start off with ultramarine blue as it is. Next, add in a little bit of white. This is going to give us, depending on how much, why do you use about 23 parts of white, you're going to end up with a baby blue. If you use much lesser, you're going to end up with cobalt. Now both the shades of what we're going to use. Just keep them in hand. Again, I had mentioned this before. If I get the color names different from what you're used to, don't worry about it, have a look at the color and use that as your main criteria while selecting your colors are while mixing your colors. That is your cobalt blue. You can see the three shades of blue that we're gonna be using for this exercise. For this painting. Start with our polaroid sheet and tip down the edges. Make sure to take down just maybe half centimeter along the edges. And at the bottom, we're going to tip about to 1 fourth centimeter. Now let's divide our paper into three equal halves. We're gonna basically taped down the bottom 1 third of the paper. I'm going to just make sure that it's straight. I don't want to have a diagonal lines which just make sure it's proper. And then just gently press it down so that we are gonna start painting the top half of our painting. Starting with a baby blue, Let's paint the top part of the sky. I'm going to just make sure that I get a really nice opaque baby blue layer on top. Next, using white gouache paint, let's blend out this layer. If you notice something like how I how it just happened to me, where it just looks dry. It's basically you don't have enough water. So just make sure that you add more water and come back to the painting. Once you have a really nice, gentle blend, we're going to add in the light pink, the light quarter color from the bottom up. Now notice I've kept a little bit at the bottom for the light coral because I'm gonna go in with the deeper coral afterwards. Let's start with this layer using white lip blend the top half. So gently blends into this light coral mix. Make sure to wash your brush. If your brush has paint and you're trying to go over those white areas. Next, let's take the deep coral and start from the bottom. What I'm going to do is try to gently bring it up. And how I'm gonna do this is make sure that my brush is completely washed up and take a little bit of that light pink light color and then just blend it gently. Now a lot of the layer to dry before removing a tape separating the sky and the ocean. We can now start with the ocean part of the painting. For that purpose, I'm going to use the cobalt blue. I'm going to paint all the way through. This is really important to get the edge really nice and crisp. That you have a really nice ocean line. For the next color, I'm going to use the light color and then blend the two together gently all the way to the top. Now for the last bit of the ocean, we're going to use BB blue again for a gentle blend. Just trying to bring in that color to the bottom. Now I'm going to start off with cobalt blue for the ocean. Starting from the bottom. You can see how I'm just doing my lines. The way I had discussed them. Just trying to get those quick lines from right to left. In this case, I'm trying to focus more to the edge of the painting. So on the right side and the left side and keeping the center neutral, naturally painting over the center bot. Let's take a little bit of that light coral and just go over that area a little bit to just soften, soften the lines more. Now for the most important part, Let's paint out the clouds. Now, I'm using a dry brush some, basically the brush is dry and I'm just painting outdoors shapes. You can use the dry brush, old brush that I had mentioned before. Just so you don't really ruin any new brush that you've already invested in. Also, the effect comes better when the bristles are in so perfect in the dry brush. As you can see, we're trying to focus on getting the Cloud in a specific area. So just right on top, you can follow exactly the placement that I am choosing. And also I'm trying to keep in mind that it's the same color that we used in the sky. So we can't really get too much going on in that middle portion. So just keeping that in the back of my mind. Now let's take the deeper CTL. And I'm first going to start off with just placing it in the areas that I wanted to, which is basically the below of the clouds or the bottom of the clouds. Once I've placed it there with the dry brush, I can continue to just blended so it doesn't look like it's just been pleased. Just try and get that color. Although the Cloud clouds. Now that this is done, let's get into the finishing touches of the painting. I'm taking ultramarine blue. I'm just painting the edge of the ocean. Using the same ultramarine blue I'm gonna paint along the edges, the right and left side of the ocean. Deepen the colors. Painting to completely dry before moving out your TPP. This is a completed project. 6. Day 3 - Purple Oceans: Let's start with our current painting. I love this color combination, which is why a hat to choose it as our third day project. The phi colors for this painting are white, black, lilac. We have a move color or a grip, and then a skin tone color, which is a bill yellow. Let's start with that mixing. For the first mixed, we're gonna do the lilac or they're very light mauve color. For this, we have to take equal parts of vermilion and ultramarine. Mix the two with two parts of white to get a very light shade of lilac. You can see that that mix of pink and purple, pink and blue. I know the paper says purpose, it's OK. Initially I call the color purple, but then I think. But let's just do generic. The next color that we'll be using is a great color. For that, Let's start with mixing equal portions of red and ultramarine, which is width equal portion of white. That's gonna be our first mixing. Let's mix and see how the colors come through. I need this color to be much more deeper and much more ritual. Once we mix them, we can add a little bit more of ultramarine to deepen the color, to get a really nice grip color, which will be using for this project. This is a lovely, vintage color. I think it just looks so nice. Now let's mix our skin tone or appeal yellow color. For this, I'm taking a dash or just a smidge of red of the million, in our case, use white and blend the two. You're going to end up with a very light pink color. Now form this, we're going to keep adding yellow ocher bit by bit to build up that skin tone. If you add too much of yellow right at the start of it, you might end up with more of a pale yellow. To avoid that, we first mix these two together and gather, get a Liping and then go ahead and add the yellow. I feel like this just works a lot better for mixing our colors. Once you've happy with the shade, add little yellow at a time. This is the skin tone color that we'll be using today. So make sure to keep them in hand along with your black and white. As we continue into our painting. To start with our project for today, take your polaroid sheet and let's start taping down the edges. I started with taping down though three sites. And then the bottom keeping 2.5 to 1 fourth centimeter to create the Polaroid effect. Now, I also added a tape midway through the center just to divide our painting so that we can do the sky first and then the ocean. The first thing I've done is starting off with this rich group color that is going right on top. Following that, I'm going to use white gouache. And starting from bottom up, I'm going to slowly blend in the colors. Now, what has happened here is as I blended, the color has started becoming the same through it. And this might be something that you face as well as you're trying to blend. If this happens to you, just go ahead and add the color again from top. Make sure you wash your brush. And then with a dry brush, gently spread the paint around. You will see that that gives you a gentle blend. And that's exactly the look we're going for. We really want to get like a very simple blend all the way from top to bottom. The next part, I didn't end up recording. Sorry about that. But basically I went in with its skin tone and started from down and blend it upwards. Once it slowly drying, what you can do is go ahead with the skin tone again and just do these quick lines to give that cloud effect all the way to the top. Just taking that skin tone directly as it is and just bringing it with those quick movements using your flat brush. I think this just fills out the sky a little bit more than just keeping it as a simple blend. Now, allow it to dry and then you can drum watch a tape. So we can proceed to paint the sea or the ocean. The ocean. I am going to start off with our lilac color. I'm going to just paint the lilac color from top. Similar to what we had done before using the white gouache, I'm going to blend upwards to get a gentle gradient. While it is too wet. Let's go ahead with a flat brush and add grep lines through the ocean. This is gonna give us a representation of the weaves and the movement within the ocean. How I do this is quick motions from right to left. I tried to concentrate more of the grip at the bottom. And as I move upwards, you can see how I'm trying to make it lighter and lighter by lifting up my brush farther away from the paper compared to at the bottom. This way you get a really nice differentiation of the water movement. Obviously, when something is closer, it's going to look bigger and when something is further away, it looks smaller. Once that's done, we can paint out our ocean bed. As you can see, I've taken black and I'm just doing a curve. We've effect at the bottom. I can then paint the bed just with this black color. Now that that's done, let's paint our next. We've, I want you to pay attention to how I paint the wave. What I tried to do is the area that is right at the bottom on the left side is thicker. On the right side. I'm trying to give that differentiation by showing that the shadow is more intense on the left side. This is what we're going to kind of follow through as we go along. The next wave. Again, you'll see how I kind of make it a little bit more thicker on the left side and much less than R on the right. At this point you can see I'm not even kind of painting all the way to the right. To again, give it that surely nice to show how the waves are moving, making it look more natural. Now using white acrylic paint and your thin round brush, Let's add those VBS. And the water movement. What I tried to do is generally get a very rough white gouache lead at the edge of the curve. As you can see. And generally wherever it dips, you add more compared to when it's higher up. Wherever you have that you bend that's going down. Just add more. As we move further away from that edge, you can see how I'm just doing these curvy scribbly lines to give it that ocean look where the water is. Forming. This gradation is what we're trying to create through all of our waves. Doing the same thing for the next one. You can see at the higher points where the waves are slightly higher, you don't really need to add too much of the white. It's just wet, it dips because that's where the C is coming forward. And that's the effect we're going for. At this point, what I also like to do is go ahead and add another layer of gouache white directly from either the tube or from the pan palette. Because we tried to want to try to brighten up that white even more. Sometimes when you add in the second layer, I feel like it just makes it shine out and that's so much better. You don't need to do the entire thing. We're just trying to get that edge of where the ocean comes forward by the waves come towards you. Now that we've completed that, let's allow it to dry before we remove our tape and get our Polaroid for the day. 7. Day 4 - Night by the Beach: This is my favorite project for the week. I absolutely love it. I love the colors, I love the sky, everything. I can't read for us to get started. The first thing, as usual is mixing our colors. I've taken a bit of Prussian blue and more of the white. You can see the proportions are about, I kind of started with little bit of white. So we can start off with maybe just equal portions of both and see how the color works out because we want to get a really bright color, not something dull. And that's the shade we're using for our sky, as well as our C, actually, to be honest. Now the next color that we'd be mixing is our pink. The pink I'm taking vermilion and white. The proportions for this is one part vermilion and about, I would say two parts of white. You can always start with a little bit and then just mix and see how the colors working out. If you're not really sure and you don't want to risk creating a large amount. Start always minimally and you can always add more red or more wide as you go into the mixing. As you can see, I've got a very bright color and I may not necessarily want to use something that's that pride. So I can always go in and add a little bit more white to make it much more lighter in color. For the painting, we are going into this pink. It's like a peach pink. If you have them other shades of red, I would say like a scholar tread or if you have magenta, you can go ahead and use that combination with white as well. Now it's starting off with our painting. We are basically going to need phi color or four colors. We have our Prussian blue, our pink that we just paint, that we just mixed black and white. Once you have your paints ready, Let's take our Polaroid, tape it down and get ready to start painting. Always makes sure to press down your tape formally that you don't have paint running through for this painting? I have paint a tape down just the bottom. I would say 1 fourth of the painting for the ocean, the sky itself is gonna take majority of our painting with Prussian blue LED start right on top. I'm going to do just about maybe 23 lines of this Prussian blue. Maybe going slightly more lower. Then. Let's wash our brush and take a little bit of white. With the white we start from down and move gently upwards. You can see how I'm trying to slowly lift my brush so that I don't end up getting too much off. I don't end up mixing up too much of that blue because I do want to have a gentle blend. But as you can see, what I've done is on the left side, I've brought in that light blue color downwards, whereas the right side has remained white. And this is just a very simple way to bring two colors together. For this guy. Once you're happy with that, you can take the pink and start from the bottom. Now with a bank, you can see how I'm just adding it with lines, trying to bring it all the way to the top. It's all about those quick wrist movements. Just side-to-side. When you are happy with that, you can go ahead and use white paint to just go over the pink so you end up having just not a bright shade of pink, but more of a light color, as well as the white, just creates a much more dynamic sky. I would say. Again, what I tried to do is just do those quick lines, trying to create that zigzag shape. This, I feel like it's just such a vibrant, bright sky. It's just so dynamic. And it was so simple to do in just a couple of quick movements. Now let's allow this to dry before you can go ahead and just remove the tape for the bottom so we can paint our C. The C, I'm starting off again with the blue, the Prussian blue. Now, let's paint the sea. I'm doing quick motions, but what I'm trying to get is blue just at the left side, just along the left side. We're going to have a bold line in the middle, which is gonna be the shadow for the wave. Just trying to get that blue along the edges on either side. Now that we've got it on the left, tried to do it on the right side as well. You can see the top. I'm trying to make it more darker. It's truly prominent. Going to do a little bit at the bottom just gently. Getting that light. Don't worry if you make a mistake at this point because we are gonna go in with the white and pink and things like that. So any mistakes can be fixed. It's not a problem. And that's a really great thing about gouache. Unlike acrylic dries and it cannot be moved. With gouache, you can actually move around the paint even after it dries, because it really acts like watercolors. Here you can see what I've done is with the pink. I've basically just gone around that line. Just below that line. Basically filled in the center of the ocean. You can now see that it's in two weaves. You can see the main verb and then you have the bottom one. I'm not really sure how else to say. Let's say the before we've and the front wave and the back wave. I think that makes more sense then up and down because they're in the same level. Really hard to explain this when you don't really have a technical terms. And it's all about what you see. Anyways, now that that's done, we're going to allow it to dry. Meanwhile, we can go ahead and add some mountains. I am just taking black as it is with obviously water to make it more fluid and just painting out some really fun mountains. One thing I wanted to avoid is having the mountain kind of take up so much of space that you miss out on the sky. So as you can see on the right-sided goes all the way down. That way you can see that white peeking through. When you're happy with the mountain. Let's use the same black for the shadow of the wave. And you can see how I'm doing this. I'm trying to just just add that black for the shadow. Drew Ali really makes a difference. Now that we've done that, we're going to add a very prominent palm tree leaves. I started with the branch. And then we can just go ahead and start painting out our palm tree. Don't worry, I'm going to explain how to do it and I'm gonna give you a couple of pointers as well on how you can do this to suit your painting and give it a more realistic look. First, start with the main center of the leaf, and then we can add in the leaf flats. This is simply just thin lines joining to the mean. I like to make this very random and not, as you can see, it's more broken. It's not just a straight line. I think that makes it very realistic. If you have just proper straight lines, it just looks fake. You want to have a bend a little bit more. When you're doing this. Another option is to just go over some of the places so you would just deepen the color. Once you've done that, we're going to add couple of more of these. Palm leaves. Just add to the painting. Look at how I add the leaflets. Another tip to keep in mind is a generalise for bond leaves. You start with smaller at the bottom and then it becomes wider in, around the middle. That's another thing to keep in mind. So at the bottom we just want to have it all coming together. And then you do these V shapes on either side, making them longer, making these leaflets longer. That proportion truly makes a difference to the painting and to the overall look. Keep adding more and more palm leaves just to fill up the entire top part of the painting. Now, as I go on top, it's you can't really just black paint to fill up more of the space. You don't just end up with empty gaps right on top. Now, once that's done, let's move back to RC. I am starting off with thin white lines along the middle of our wave. Mult going to do another set of lines from our front wave. You can see how that immediately brings in so much of life to the painting that light highlight. Moving from there. We can paint the edge of the wave with this form white. And I'm just taking it really easy. Lawmaking too much different to many variations in the size, the width of it in the previous project, beautifully short the difference of the distance with that width of the a form. Here, as you can see, I'm not trying to make that much of a difference. The line that we're using as much more smaller compared to what we had done before. And you can see how that form just makes the ocean lot more realistic. It makes it look like it's moving around that so much more just brings it to life. What I also like to do is because I want to show that the water is listening. Adding these small white dots with your gouache, white can really give that listening effect instead of just the lines. So these small tweaks. Just short so much brings so much of life to the painting. Let's gently tap our brush to get some splatters. Along the ocean. Just gently splatters. Adding more white spots to just really show that form for the ocean. Once you're happy with it and it's dried, you can go ahead and remove the tape on all four sides. This is my favorite painting, I would say for the week or attributes of the four that we've done to know. I loved the colors, I love the palm. I liked the glistening water. Just everything about it just reminds me off the ocean and that's just so relaxing. 8. Day 5 - Vibrant Sea: Today we are going to be painting something that's a lot more relaxing. I think the vibe of so many colors is just so pretty. Let's get started with mixing our colors. The first thing, the first color that I want to mix would be a pale yellow. To start off with failure though, I'm gonna be taking a little bit of yellow ocher and some white paint. Now the proportions for the two are about a dash, or let's say one part of yellow and about two pots of white. You can always start off with just one part of white and then mix and see how light the colors and then add a second pot of white. It's all about playing around with the colors you get the right mixes. The next color that I'm mixing, a color that we've used before, which is a peach pink. For this, I start off with the red vermilion. One pot. Just a dash of yellow. It's a very little yellow just to get that color a little bit more warm. And then two pots, white. This is going to give us a very nice light pink color for us to use. The next color that we're going to mix. This also a color that reefer mix before. This is skin to one. For this one I'm taking one part of a million and about two parts. I would say again another one pot of yellow and one part of white has put the requirements. You can kind of add in little bit more white if you need to just make it more skin tone. If you feel like the color looks more pink, added a little bit more yellow. Just play around to kind of get that right mix of color. Now that we've done the pinks and yellows, Let's move on to the blue. For the blue, I'm using a color that we had mixed before. It's a cobalt blue. Start with ultramarine, about one part of ultramarine and a dash off white. The white needs to be just very little, so not even one pot, just enough so you get this deep color. I'm calling it cobalt. That's the color we're gonna be using for our painting today. The phi colors for our painting is pale yellow, pink, skin tone, cobalt and white. Now let's start with our painting. Take down your polaroid sheet, taped down the three edges as you've done before, as well as the bottom at 21 fourth centimeter. Now, let's tape down this center over here. You can see I'm not truly doing it in the middle point. It's slightly up. So here we're going to do a little bit different technique where the ocean or the C is going to have a larger portion. The painting, it's going to take up more space. Honestly, there's not much difference between the sky and the sea. So it's great that we have more to the c and then we can add in more for the waves and just bring in so much color. To start off, I'm using the light pale yellow at the bottom. And as we go up, I'm going to try to bring in different colors. What I wanted to do initially is to keep the sky more white. So imagine like a bright morning with a sun has already come up on the sky. And you just have this bright white. I'm open sky for that using white from up to down so that the blend is mainly at the bottom. This pale yellow is just taking up that space at the bottom. Now, instead of just keeping the sky again just a pale yellow, we'll also be adding the skin tone and this is going to give it more warmth to a painting. For this purpose, I'm using the flat brush, keeping it perpendicular and just adding those thin lines. As I go up, I'm just trying to add lesser and trying to merge it and blend it more. As you can see, you've got a triangle happening. From the other end. You can bring it a little bit more of the PIL yellow and we go down. Just bringing that yellow packin together, you get a very dynamic ocean sky. Now let's allow it to dry and then we can drill more the tip that we can start painting our ocean. The ocean I'm using the light pink. Just a line of that light pink. What I'm trying to do is create again, some dynamic colors in water. For that purpose, I'm using white gouache to just blend in that thing. Even though this is just white gouache. Try to paint it all the way to the bottom. We want to have paint all the way to the end of the painting. There is a reason for it. When we move on to the next step, you're going to understand it better. While the painting is still wet, we're going in with our cobalt using the flat brush. I'm really adding those lines for the waves. Because the painting is still wet. You can see how it's almost blending through and you don't really have a crisp line which is created for the effect. We're going for. One thing I'm trying to do is with the cobalt to just do the edge. So we're trying to create a triangle effects. So it starts from bottom and it becomes smaller and smaller towards the right, all the way to the top. This is going to give it a much, much more interesting effect. Now as the painting is drying, we can go ahead and add more of the cobalt. And this time it's going to end up becoming much more deeper. Starting from the top, Let's do a thin line. You can see how I'm doing this. You will notice that it's much more spaced out at the top. As I go down, I am reducing the space between the lines. At the edge. We can go and directly with the cobalt. Now let's take yellow off. The painting has dried, so make sure it is completely dry before you add in this yellow, pale yellow, we're going to use again to just show the reflections of the sky on the C. Instead of doing the green, the yellow all the way through, we're just doing the left side of the ocean. This way, you can really see that the sky is reflected in that area. One thing is water is very dynamic. It catches a reflection of anything that's around it, it shines its pocket. And under the sun it is just swallow pretty and starting to look at. Because of that, we've just got this wide range of colors that we're using for ocean. Now you can see how with the yellow, I've again done it with lines with my flat brush just so I can drill the, get those details and show that effect of the waves. As we paint, if you notice a lot of empty spaces, Let's just add pink to cover up those spots. There shouldn't be many, but just in case you're getting too much of whitespaces just on top. You can just paint over it again with a pink. This also makes it look a little bit more natural and stuff just having the colors plotting on, on either side, that mix of colors just gives it a much more natural look. Now, using a, the white drawn, the brush, the brush, sorry, with white acrylic paint. Let's paint the edge of where the ocean meets the sky with a white color. Then we can add in some spot codes and some ketose to the sea to show that it's sparkling. For this purpose with the white, I'm going to go ahead and just try to add in those white lines. You can see how I'm trying to do this very rapidly. Just getting those thin lines through. Similarly as we go down, just adding more of the white to show the forming of the waves. The edge. Finally let go ahead and add the sun in the middle. Just to wipe dot because it's super bright. Just bringing in that freshness to the painting. Now, once you're happy with everything, just see if you want to add any additional details. If everything looks fine. And then allow it to dry before going ahead and removing the TPP along the edges. There you go. This is completed Polaroid from T5. The bold colors are just part of the look. I love how the shades come through. Now for D6, I again wanted to choose something truly special. See you tomorrow. 9. Day 6 - Laid back Beach: Another new project. This one is very interesting. It's very pasted, very mellow, and we're going for the fray for me. See, look. First thing is the colors. The first thing we can do is mix up the main color, which is black. But black is just one of the colors we're gonna be using. Two more additional colors, which is great and skin tone, along with white for this project. For the black, just add a little bit water to make sure it's a little bit flowy and more usable and kind of activating that gouache paints, you get this beautiful mix. Now to the black. If you add a little bit, just a dash off white. Very little I would just not adding too much. You would get gray. Now as you keep mixing, just add a little bit more white and a little bit more white and a little bit more way to do get the gray that we're looking for, which is like a mid gray. It's not too light, not too dark. Once you have gray. We're going to be mixing skin tone. Skin tone, use a little bit of vermilion as well as yellow ocher. I like adding a little bit of yellow alcohol with white mixing. And then as a girl head, I can add a little bit more of yellow so that I get a proper skin tone mix. This is very tricky because we try, we're trying not to go into the peach color shade where the red is more. We're going into the yellow shade, whether skin tone, color comes through. These other three colors, along with white that we'll be using for this project. Now let's take our Polaroid paper that we've already cut up and taper down. We're going to tape down the three edges and just make sure we taped down more at the bottom, about to 140 centimeter. Next, let's deep the middle of the painting so we can paint the sky first and then move on to the C. Press down your tape gently to make sure it's truly flattened. And that way no paint sleeps through. The first color that we're going to start off with is white. What I want to do is just basically paint that entire space with white. Make sure you cover up all the whitespace, all the empty spaces with this white gouache. Next, take skin tone on your pre-lab flag brush and add your sky details. What I'm trying to do is following this quick right-to-left movement for the sky. The previous paintings, if you noticed, what we tried to do is create a tapering effect. In this, we're going to try to concentrate our lines just at the bottom part of the sky. You notice that this is truly going to make sure that we get our details. Just like the sky, that yellow is just at the bottom. To ensure you get more soft lines. Clean out your brush completely and using a dry brush, gently go over the space again along the edges to get a more soft effect. As you can see, go yellow is just concentrate in, concentrated at the bottom for the sky. And it gives a very dramatic effect. Later on after we finished the C, we'll add some more details for the sky. Meanwhile, once it's dried, let's water tip and start painting the C. The C, I'm going to start off with our skin tone again. But notice the way that I paint, I'm using my flat brush because it is a lot more easier to use your flat brush for. Just painting these areas. I start off with just a very like a pop into CloudWatch. And now I'm adding the skin tone. Here. I'm creating a tapering effect where it's only over the top. Right. Corner. It's just that it's almost like the bottom C is divided into half diagonally. And then you've got 1.5 That's going to have the skin tone and the other half that's going to have your query. Keeping that in mind. Let's push our brush and loaded with gray so that we can paint the other half. Notice the way that I hold my brush. I get those thin lines. Let's go over the layer of skin tool again. Just moving from Midway, not all the way through, but just from the right side. Now let's take now what we're going to do is we're going to divide the c into very fixed to waves. We're gonna focus those waves and try to make them very prominent. You can see how I'm doing this. I do a very like a curved line, so it's not truly not straight. That's very important to remember. I also, as you can see, I'm adding those additional green lines along the edge, the left side. As I do that, I am creating more of those VBS and making them a little bit more prominent. Now at the bottom and again do wing making it prominent. What I always like to do, as you can see, is that over the shadow areas. Once I've done the shadow, it's easier for me to go back and then add the white for the create that effect for the sea. Knowledge generally what happens is whenever the leaves are closer, the shadow tends to be a little bit longer based on where the sun is. And as it is further away, the waves tend to be much more smaller and further away. And not that prominent. Again, all because of all depends on where the sun is in this painting would have done is made sure that the areas that are closer to us are and have more shadow. You can see how I've just made that much more wider and much more prominent. And the places that are away, you can see the leaves that are a V. They're just didn't lines and that's it. I am not adding too much depth to them. Once you're happy with this, Let's start adding our form. Similar to how the shadow changed the form as well, where change further away, the form would be much more lessor, not too prominent. And as it is closer, it would be taking up more space. It's a very similar concept to the shadow. Here you can see right on top, further away VBS and making them. I'm dense in terms of the white, again, following the white in terms of scribbled lines. So not just having the flat, you can see how I'm creating a more rough effect. For this step, I would suggest that you follow exactly what I'm doing. Pleasing where I am adding more white at the same place and where I'm adding just dry brush strokes at the same. Please. Just follow along and fill up the form for the sea. While the bottom C is drying, let's go ahead and add some more green to the sky. What I'm doing is I'm using a light layer, which means I've added more water to the mix. So it's just a gentle layer that I'm adding in. I didn't want it to be too prominent from our existing skin tone sky. Next for the mountains, Let's add simple mountains with black. Here you can see I'm doing it in gray, but I will be adding black leader because the color just does look a lot more deeper if you use black. But what I like to do is keep the center of the painting empty for the mountains. So you can see the mountain. Peaks are to the right and the left, but in the middle, it dips down pretty low. Once you've done the mountains. Let's add the shadow for the leaves. You can see using the round brush and black paint. I am just doing the areas that are up. So the curves that go upward are the ones that I'm painting now. Because those are the ones that are gonna be in shadow. It's really important to do this instead of having a continuous line because then there's no differentiation. Now, because of just adding black to those places, you can really see the effect that comes through. Once you're happy with the painting, allow it to dry before removing your team. To reveal our completed painting. 10. Day 7 - Beach Vibes: Today is our seventh project, and that means we have completed one week, which is pretty amazing. All the lovely paintings that we now have with us. Are you ready for today's painting? I think what makes today's painting special are the colors. The color that we're mixing today is something that I absolutely love and I use it all the time. It is a beautiful peacock blue. For the mixing will be going to do is take an equal portion of green, which is a very deep green, and ultramarine blue and white. The white can also be an equal portion to the other two. And as we mix, we can add and change the colors as per requirement. Now when you mix, if you get a color like this, obviously it looks more blue. So let's go ahead and add a little bit more varied, a little bit more green to get that peacock green color. That is the color that we're going for. If you add too much green, you can always counter compensated with blue to get the color that we're looking for. Along with this color, we're gonna be using a pink for the pink. Just take a little bit of Berlin. Sorry, Will million. I think I can hit my own word, vermilion and two pots of white, mixed them together for a bank. The third color that we're gonna me mixing is gray. So let's take a little bit of black, a portion of white, mixed the two together to get our gray color. So in total, we need four colors for this project. Your peacock blue, pink, gray, and white. With your paints and hat. Let's get started with our project. First. Let's tape down our paper on all three sides and then leave more at the bottom. For a Polaroid template. Now let's tape down the center. It's putting it right in the center. Let's go little bit up. You can see how it's not exactly in the center. And then just gently press it down so that we can start painting our sky first. For this guy, I'm going to do the blending effect that we practiced before. So first I'm gonna start off with the peacock blue. That's gonna be from top all the way to the middle. Then we're gonna add white. And then at the bottom we're gonna have the pink. We're going to have all the three colors coming in for the sky. Now start with the blue right on top. Using white gouache, let's blend the blues that we get a truly nice even blend all the way. Next, now that we've kind of done the white, we can actually do a little bit more of the white before we continue to paint. To add in the pink. Wash your brush, loaded up with a pink and start from down and move up again with white dot in the middle and then move down to get that three color blend. Now once the sky is dry, remove the tape in the middle. Then we can get to the C. Right now. With this, see what I'm gonna do is focus on the blue for the water. And then we're going to have pink for the beach bed, the sand area. For that purpose. I'm going to first start off with the blue. You can see how I'm just doing in line. For this purpose, having a pope and keeping your brush pop into Cloud is just going to work a lot better. You can really get a very smooth line when you do that. In case you get this dry, as you can see, dry effect. Make sure to load up your brush even more and then continue. When I'm adding in the blue, you can see how I've just done that match. Now I'm going to use white to blend it. And I'm going to use the white has a buffer between the blue and the pink. Why am I doing this in all our other ones I've just used to directly. This is because if I actually mix the blue and the pink, I'm gonna get a pulpal. Thus, if I can use the white in-between, I'm not going to have that issue. So this is the reason I've added it. Once you've added enough of the white and how to soft blend, you can add in the pink for the bed portion. Now let's allow us seat portion to dry. Meanwhile, we can go ahead and add some clouds for the top, for the sky area. I'm starting off with the pink. And you can see how I'm using a dry brush. Keep in mind to use an older brush for this purpose so you don't damage any new brush that you've gotten. But with a dry brush, we're trying to get a tapered effect, almost in the shape of an oval. So you start from small or a thin line, make it much more rounded in the middle and then again smaller at the bottom. This gives you the clouded effect that we're going for. Here. You can see how I'm trying to get more of them and kind of overlapping them as well. Once you're happy with the look, we can go ahead with gray and add in the depth for the clouds. Now there are multiple ways that you can add depth. And it all depends on the light. Where is the light at that point of time? Is it above the cloud is at below. Is it right on top? That will determine where you're going to add the depth. In our case, if you can see the white line, which is where the light would be in the middle. Because of that, our HDRI shadow is going to come below. You can see how I'm adding the CRI at the bottom of our clouds. Now let's use green for the edge of C. Now, let's add in lines for the leaves of the scene. Just adding very thin lines with the Cree. You can always use the dry brush effect to get a more dry look. Instead of having these very crisp lines. It's also going to get it, make it easier to give a more natural look. Here you can see, because my brush is dry, I'm able to go right and left and create those movements. Now that we've added the grade to the c, we're gonna also added to the sand because we're trying to show that form coming through the waves. Moving forward. We have to add those grid lines over there as well. Now, let's use white gouache paint and start adding that form for the wave. You can see how I'm doing a very curved line. So it's not just a straight line. This is very, very important to notice. Also what you'll notice is I'm trying to change around the proportion or the width of where this form is seen. To the left, it's much more prominent. It takes up more space, whereas towards the right you're going to see much lesser of it. This is again to give the effect of distance within our painting. These small details make a huge difference and can truly change how your art looks. Again, in this, I'm completely using a dry effect to get more of scratch marks and very dry looking white lines instead of very crisp lines. Once we've used the white, let's go ahead and add gray shadows to the waves. Also gone ahead and added create to the sea again to give it a texture. Because when we added the white, it became too much. Just to balance it out, I added a little bit more of the Cree. Now, as you can see with the shadow of the wave, what I've tried to do is be mindful of where the light is. So in this case, anything that is outward has become darker compared to anything that was inward. What I'm also done is in the areas in-between the white lines. I'm adding a little bit more of Cree to give it a shadow effect as well. I always like to add a little bit more of the white at the edge of the waves because that's where it's the brightest. Our final painting. 11. Day 8 - Through the Rocks: For day eight, we are going to be playing with a different layout, as you can see. Now for the colors that we're mixing, we are using colors that we've mixed before. Just an additional two other colors that are new. So I just wanted to go over them again in case you've missed any of the previous ones. For the blue, just take a little bit of ultramarine dash of white to get a beautiful color. Additionally, we're also going to be using pale yellow, which is a mix of yellow ocher with a dash of white. I would say in this case the proportions would need to be one is to one. And then you can keep adding white based on how light you want the shoe to look. After yellow, the next color that we will be preparing is prone. For Brown would have done is I've taken Burnt umber in all the existing Brown. I've added a dash of blight to make the color a little bit more lighter in sheet to give it a more paste and look. In case you do not have burnt umber. You can pick up any other brown that you already have and then just add a little bit white. Additionally, you can also try mixing yellow ocher with a little bit of black, very little amount, and white to give you that brown color. Here you go. In total, we're gonna be using five colors for this project. We have brown, black, white, blue, and pale yellow. As always, take your polaroid sheet, tape down the three edges of your paper, as well as the bottom, making sure that the bottom is much more larger in space. Once you're happy with that, we can get into taping the middle of the sheet to divide the sky and the sea. Now in this case, instead of just typing it in the middle, I wanted to get a little bit lower just so we can concentrate more on the sky. We want more of that blue to come through with a very, I would say very dynamic sky. For this guy. I'm starting off with my flat brush with the blue color right on top. While the paint is still wet, I'm going to add white from bottom up to create a gentle blend. At this point, what I'm also doing is moving around the blue paint just with my brush with simple strokes. This might take a little bit of practice, but as you keep getting used to just moving your flat brush around, you'll see that the effectually changes. And it's very important that you actually use a flat brush, that you can truly make use of the entire brush. If you're using a round brush, that effect you get will not look similar. So just keep that in mind. And now you can see with that diagonal lines, I've created a quite dynamic sky. Something's really simple, but something that really captures your eye. While it's still drying. I like to go, I wanted to go ahead and add some clouds using the gouache white paint. I'm adding cloud clusters. Noticed how I do this. I first tried to do scribble lines of just the white, and then I ended with almost a dash. So that way it looks like the Cloud is becoming thinner as you move up. As you move towards the right side. If you've paid attention to the sky and clouds, you'll notice that clouds tend to have that proportion of small to big to small. Again, that's why we are trying to catch it in the painting. Once we have done that, we can go ahead and quickly paint a vase simple C, by using the blue and pale yellow. First start with the blue layer. Now let's add in the pale yellow. Now what is going to happen is when you mix pale yellow with blue, you're going to end up with green, which is also the look that we're going for in this case. Right at the bottom, we can go ahead and add blue again. Now, it doesn't really matter the bottom part because we're anybody is having that rock formation coming through. So it's not going to be seeing, so it's okay if you continue with the same column. Now using the flat brush, you can see how quickly doing quick lines to just give the wave effect for the C. Let's load our round brush with white gouache to give more of those waves. You can see how I'm doing small crinkle lines right on top. As you can see, I've made sure to just use that white crinkle lines right on top. I don't need to actually cover the entire space. Just giving, giving it on top is going to give that illusion of light reflecting on top. Wash your brush completely and loaded with problem. Let's do the overall shape for the rock formation. As you can see, I'm giving it a very more like a curved, very broken line effect. It's not perfect, it's not a perfect circle. I want to give it that rock like texture to it. No rocks are generally gonna be multi-colored because of the reflections and the texture on their surfaces though light hits them in different angles. Because of that as we're filling it up with, I'm gonna keep playing around with using brown as it is, and then adding a little bit white as well as we fill up the spaces. Just keep a close eye on what I'm doing and how I'm going about this. One thing to note while I'm going about painting the rock formation is that I don't want to take up too much of space with the rock. It should be just enough that it really shows that there is a rock formation. At the same time, it should be enough. It shouldn't be too much that you cannot see the sea and the sky through it. I've tried to make sure that I balanced it in such a way that maybe I have the raw protruding more towards the right side. Whereas the less, whereas towards the left it's gonna be much more, less so that way it balances out and I get the whole effect of the sky. You can see all the clouds peeking through. Then you can see me filling it up. I'm just filling up all the spaces. And I keep changing the colors in my brush to add a little bit more white than I take brown directly than a little bit more white, and so on and so forth. I get more texture for the rock formation. It's very important to make sure that you get the brown color all the way to the edge. Sometimes what happens is we end up missing out some of the areas. I'm just really near the tip. And when that happens, when you remove the tape, you would see that white spot. In order to avoid that, just makes sure that you go over the painting and get drawn all through the edge of the tape. To add more depth to the key rock formation. I've taken black on my round brush. Here. I'm just going over certain areas as you can see in a very haphazard manner. Just trying to give more depth to the cave formation. One tip that I can give you is to play around with dry brush strokes for this. Just so you get a more textured log. Once we've added that depth, let's add a little bit more along the edges of the key of the rock opening. Noticed where I paint the black. It's generally in areas that are at the downward. Please like areas that are below because that's where the shadow would come. I'm really trying to be aware of that. Additionally, we can add in some more highlights using white. Just to, again create more texture, more depth, more realism for the rocks. Once we're happy with the entire thing. Just check if that's any spaces that you've left that are empty. Just recheck, look at your painting a little bit further away and then closer to see if you're happy with the overall look. And then you can promote your team. This is a lovely painting. 12. Day 9 - Mountain View: For day nine, we're looking at a beach side view. Let us start with our colors for this class. Most of the colors we've mixed before. So I just wanted to run through them quickly in case you missed any of them. The first color is the peacock blue. I've taken equal portions of ultramarine blue, viridian green, and white. Now as per the look of it, I am adding more viridian green. That it's two parts of viridian green, one part of ultramarine, and one part of white. But I'm making sure that I bring it together so that I get that color of peacock blue. That's gonna be the first color that we're gonna be mainly using for the sky. The seat. Additionally, the next color we'll be using as a pale yellow, which is basically a mix of yellow, ocher and white. You can start with equal portions and then keep adding white to lighten up the color. The next color that we're gonna be using is black, as well as cree. For black, you can just use it as it is. Just make sure you add a little bit water. To get a more smooth blend. Add a dash of white, just a little bit of white to get creative that we will be using for the mountains. Now for the brown, use, the dash. Use a little bit of burnt umber with a little bit of white and mix them together to get a light brown color. This is the sandy brown that we're gonna be using for the beach. In total for this project, we'll be using six colors. Black, white, as well as peacock blue, pale yellow, and brown. Once you have your colors ready, Let's take a sheet of your Polaroid, tape down the three edges as well as the bottom. For this painting, since our focus is going to be the mountains, we don't need that much space for the seabed. So just make sure that you tape down. Much lesser for that for the sky, we're keeping it really simple because we already had the mountains that are going to take up so much of space. So let's start with our peacock blue. You can start right on top. I'm adding two lines. The next thing I'm going to take is white and then I'm gonna blend upward to get a smooth blend. Finally, I'm going to add yellow at the bottom, that we have a gradual blend from blue to white to yellow. Fill in your white with your flat brush to add a couple of clouds to sky. Make sure that you get it more towards the blue portion of the painting so that the white is actually seen. Also, if you think about the mountain taking up space, the white needs to be higher so that it's actually seen through. Now the painting needs to completely dry before you can add in your mountain layer. That is when you're going to have a really nice, clean, smooth mountain. If the painting is still wet and then you go ahead and add the black and gray. The colors will blend and you're not going to get that effect. Allow it to dry. Meanwhile, you can take your thin round brush loaded with gray. Now for the mountain, when I'm drawing it out, what I'm trying to do is make sure that I bring it all the way to the bottom of the sea bed. Not t but sorry, until the ocean touches it. Because I wanted yellow to be seen. If I'm going to just paint above, what's going to happen is that yellow shading that we did will not be visible. Just make sure when you're doing your line to bring it all the way to the bottom of that sky layer. I'm starting off in gray so that it shows that the greatest amount and that was behind. Now that that is done, Let's use black for mountain. In front. Use the black to add more texture to the back mountain to give it more depth. Now the path that I love, which is adding both cute little birds. As you can see, what I did is an n Oral downward trying of V-shape line. And then another one. You have two downward V shapes joined by a line. Then you have a smaller board. And that's enough features have to, that's gonna be the focus. Now let's get into painting our weaves. We're going to have a little bit of that sandy beach that comes through. And then you're gonna have the C on the other side. And then the waves. We want to be cautious about the police moment of both. So the first thing that I want to do is use our flat brush loaded with prone. This will be used along the left side. As you can see. When I'm doing this, what I'm trying to take up is 1 third of the space. And also notice the way I'm placing it. It's not just flat. I'm trying to create a more jagged effect. That way when I go with the blue for the C, I can really fill up those spaces in between. And so if you have an uneven wave happening, which is much more natural. Now that we've filled in the blue, Let's add the white details. For the C. First, I'm starting off with the form itself, the tides itself. You can see how I'm kind of doing that curve shape, giving it the very uneven finish, the uneven texture of just the dots and dashes and scribbles. Now this is something that I had done before in previous chapters, but we did it in a different angle. So that's why I picked this specific painting to show you how we can create the same effect on a different perspective. As we move along, you can see how I'm playing around with even how much of the form I'm creating along the lines. There's much more as you can see as we go lower. Just go over it again to get a more soft finish. Instead of just having white patches. Using white, I am adding more of those white lines just at that area where the mountain dipped to show the sunlight coming through, to show that reflection of light. Here to give more, for more natural effect. What I like to do is also add some splatters. First, keep another sheet of paper covering our protecting the mountain part. And then just add a little bit of white, a little bit of water to your brush and just gently tap it to give those splatters. No, use black to give the shadow effect. You can see how I'm creating shadow. Along the bottom. Basically better with the blue lines were coming. We can create shadows in-between those form even some of those white lines. You can see that makes it more realistic. Now let's remove the tip. We can get our completed painting. 13. Day 10 - Rocks and Pebbles: New day, a new project. For this one, we are playing around with two colors mainly, and then we have an additional black and white for the two colors. One is going to be peacock blue, basically, a mixture of ultramarine blue, verity in green and white, adding a little bit more 30 and green. So you basically get more of a peacock blue color. The proportions are one pot ultramarine to pods viridian green, and one pot white. The next color that we're gonna be using is a yellow. For this one, I didn't want to put too much off-white. So you will see me use much lesser white. So you get a much more bold yellow. It's very it's almost like the yellow ocher, just that white add just makes it a little bit more pesto. Now let's keep the full colors ready, which is your peacock blue, the pale yellow, black, and white. The first step that we're going to do is tape down on a sheet as always. And you can see in this case, we have the sky taking up more space. Accordingly, we're gonna use our tape in such a way that we don't centric, but keep it a little bit lower so we have more space to paint out our sky and keep that the focal point. Let's start with peacock blue, right on top. For this guy. Now on the other end, using yellow from down to up. Now, let's use white gouache and the middle to just blend out the colors on either side. Trying to be a little bit careful so I don't move around too much paint. Make sure to always wash your brush in-between the process. Just so you get clear mixes. If your brush already has an existing color, you're going to end up with a very muddy mix. On top of it. Remember, blue and yellow can mix together to give you a screen. And that's not what we're going for. So we want to be a little bit more cautious about that as we blend the colors. Always like to wash out my brush and then fill it with clean water or just white gouache to gently create blends. That way you have a free, simple movement of colors. I love this to dry before moving on to add clouds. For the bottom part of our painting, for the sky. Here you can see how I do this. Like I'm trying to get just quick lines with the blue. While this is drying, let's reward our tape and start painting through the bottom part, the sea. For the C, I'm going to use the yellow. As you can. Notice, I'm using my flat brush could be a lot more easier to control it. Then using white gouache paint, just blending through the colors. Let's focus on the moon. For the sky. Using gouache, I have used the white color to bring those lines in. Non washed my brush completely just to make it a little bit more natural. You can see how I'm trying to create those books. So trying to make it look like the sky, that hazy effect is actually on top of our Morning, the moon is below it. This gives it a more natural feel. Brings it together. Additionally, to continue the reflection of the moon. Let's add those white lines along the sea floor that you can see. I start off at a much larger lines, longer lines. As I go down, I make them much more smaller. Now using black paint and my thin brush, I'm adding rocks and mountains. The first thing I want to do is actually add rocks to the seas. You can really create a more interesting look. As you can see, I've got two mountains. On the left. On the right I have one small one and then one along the edge of the sea. Now, let's use the peacock blue to add the reflection of the mountains. As you can see, what I'm doing is I'm starting off with lines. And I tried to do it at the length of the mountain and then go smaller as I move of the let's do the deflection for the other side mountain. Once the painting is trying to get our Polaroid. 14. Mini Cloud Practice Exercise: Now before moving on to the next set of tutorials, I just wanted to quickly go into clouds. This is something that we would be using. This information will be using throughout the upcoming Polaroids. Let's quickly dive into Hadoop simple clouds. This is a very, very simple method, um, and it works really well. And just playing around with the same idea can help you in terms of clouds will be want to go for is a thin line. And then you can see how I'm creating a bulge around the middle. And then I make it thin again towards the end. When you do the down, we're following the same pattern. So you end up with a cloud shape. Now this is very similar to what we painted or drew and we were really young. But you can see how I've changed it around because I did not meet the curves very prominent. So they're more like small cubs. And I play around with that. So I start with smaller curves and then I do a bigger curve. The round shapes change. Also. Notice how I play around with the proportions. At the bottom. I've done smaller ones. And as I move up, I'm doing a bigger. This is something you can notice around you if you look at the sky. Generally there are differences within the clouds. Not everything is a siem size. We want to capture that and that's where you start moving into an artistic perspective. That's when you start looking at it from that point of view up until then, the shape of the cloud is something we've all done. But here, we're going into thinking about it more realistically. Practice this a couple of times to get very comfortable with the shape of the clouds when we go into painting the paint directly with our brush. If you're not sure about the shape, it's going to be a little bit more difficult. So practice drawing it with a pencil and then moving onto your pins. For the clouds, I always use a smaller brush. This is a round brush, it is a size 0, and it's also known as a detailer brush. Now, clouds can be different colors depending on the light reflection, depending on the density. If they're very heavy, they tend to be more of white and create if they're much more lighter, you can actually see through the sunlight and the sky. In our case, just for us to kind of practice it, we're gonna do gray. I'm using my round brush. I'm starting off exactly the shape that we just drew out. I'm following the same thing. Now as I move on to the bigger one, notice how I have moved my brush so it's flat on the paper, so the crystals are flat and so I'm able to move it around to give it a more dry brush effect. This v, I actually end up having a much more loose and very, very, I would say textured edge for the Cloud. So we're not ending up with like, you know, very nice, neat outline. It's more like a textured finish. And you can see how I'm doing that just by keeping my brush flat. I'm using the same color. This again for you to understand. We loaded up with secondary colors. But for now just using the middle gray color for the Cloud. Here you can see just this. With this step, we've already got a very cloud-like look. It looks exactly the same. It gives you that effect. And it was that simple. Now let's add in some shadows and highlights for the shadow I'm going in for a slightly darker black almost. But I want you to notice where I place it. It's just two at the top. Now this positioning off the height of the shadow depends on where the sun is or whether light is coming from. If this side is, let's say below the clouds, you would have the shadow coming up at the top edge of the cloud. If the sun is above the clouds, you would see the shadow coming below. It really makes a difference. Based on that heel. You can see how I've done the black on top and now lock the cloud. You can see how I just make sure that I don't make it very obvious. So it's not like I've just done the entire portion black. I've left gaps in-between going into the second one, again, following the same thing. I am making it very, very irregular, so it's not a perfect circle that I'm adding or laying out. I'm making sure that it looks a little bit more texture. To give it a better look. Now we can leave it exactly at this point and it shouldn't be perfect enough. But what I like to do is go in and add a lighter shade. This might come useful in some of our other paintings. For the lighter shade, you can just go in with a light cream. We stick it into the same color combination for the Cloud, for this purpose, for us to understand and practice. The light shared, again, fade that can be added. We don't need to add too much. What I'd also like to do is because gouache is quite thick for the lighter shade because I wanted to blend better. I am adding more water to it, so it gives you more of a watercolor look than a gouache. You have lighter shade. I haven't added it to the edge of the cloud because if I added there, then it's gonna become the white of the paper. You notice that you wouldn't see a difference. So I'm adding it slightly above. This is our cloud formation. Now I'm going to show you some samples of how we will be using it. The same technique is what we are going to be using across different Polaroids. For example, in this one, you can see I've gone and from photo a little bit more of a curved shape. There is no difference in the up to down sizing, but it's mostly from left to right. On the left you have bigger clouds. And on the right side the clouds have become lesser. Similar in this painting as well. In this Polaroid, all the clouds are in the middle. The clouds again pink color, so they are reflecting the light from the sky directly. You can see through it. And they're all around the middle area. Just that simple variation creates a very dynamic sky. This is another one where you can see how pleased and the sodium V, It's the same idea of having its small to pick too small. But the policeman of the clouds are different because we want to have that. Some of the other paintings we'll also be using white clouds. Instead of Cree. I'll be showing a technique on how to do that. But it's a very similar idea of the shape of the clouds that never changes. Here's an example of more, more like popular like deep purple clouds. And you can see again, it's curved so the clouds are not just straight, you're putting them in a curved shape. And again, playing around with the proportions gently. By just doing this, you're able to create so much practice clouds a couple of times before you proceed to the next Polaroids. 15. Day 11 - Bright blue Seas: Today we will be painting this pride blue, sun-filled beach painting. For the colors we are going to be using. Ultramarine, just as it is, will also be using ultramarine with a little bit of white. I would say about a dash of ultramarine and about one part of white. So it is quite a lot of white so that you get a very light mixture. This is gonna be our light, baby blue. We're gonna be using for the sky. The next color we'll be using is a mix of Prussian blue. So basically take a little bit of Prussian blue and maybe a dash of brushing Prussian blue and then a little bit of white. And you would get a very light mix. And this is basically like a turquoise, so it's a very nice, beautiful blue color. And that is what we're going to again use for our painting. Now that we have the two different blues, you can really bring out a lot of variation in our painting. So even if you don't have the exact same blue colors, just choose any blue color that you have and mix it with white so you get a much more peaceful tone for us to use for the painting. So in total, there are gonna be four colors, sorry, phi colors that we use for this painting. Three different types of blues. You have the actual ultramarine blue, the more baby blue. And then you have the turquoise, the light blue, followed by black and white. Together we're going to combine these to get this beautiful painting. Further. First step, as you know, take your polaroid sheet and tape it down, making sure that you deep down just about half a centimeter along the edges and about 2.5 or 2.142.5 centimeters at the bottom to give you a beautiful Polaroid effect. Now let's place our tip to divide the sky and the sea. The sky, as you can see, I'm starting off with white gouache. Paint, a simple circle, the center. Now once I've done that, I can go in with the light color, which is a light baby blue, and follow the circle with a secondary circle around it. Don't worry if you don't really have any good blend at this point, we can go ahead with the white as you can see and just fix the blend so you get a very nice wash. Now that we've got the blue, Let's add a little bit more of that Prussian blue light color to the mix. For the final color. For the sky, you can use an ultramarine along the edges. Now, the colors I've just placed them as it is. And the next step I am going to blend them so they give a much more smooth finish. You nod like this where it's just all over the place. For that purpose, just make sure you completely wash out your brush. Which you can do is start off with a center color. So start off with your light blue. Then slowly try to blend it along. You can then again wash your brush, take the Prussian blue mix, and again, try to bring the colors together. And we kind of do it that way. So we're going over the colors layer by layer just to make sure that the blend is very smooth and you get a very nice finish. An additional tip is as you go along this, if you feel like you've added enough color, but your colors are becoming lighter, you can go ahead and add your darker colors again. Another step is to wash out your brush and then using a clean brush that is dry, slowly try to move around your paint. Once that's done, let's start working on our C. The C I'm starting off with. Our blues again to Julie, create a very monotone painting. I start with the Prussian blue right at the top. Now to blend this out, let's use white gouache and gently paint all the way to the bottom. This way we can truly create very, very simple gradient from the blue to white all the way to the bottom. Now let's add some ultramarine blue again along the middle and just go over the layer one more time to make sure you get a very clean mix. Sorry, I clean gradient with white gouache. Let's go over the sun again and just make it a lot more parietal and just use some clean water to just blend it out. This way, we got a very bright white center for the sky. Now for the fun part, Let's add some clouds. For the clouds, I always start off with a thin DOD and then make it bigger and then thin again. This is a trick to painting clouds. And we've gone through this in the practice exercises as well for you to further understand how clouds look at how to just paint them accordingly. What I'm trying to do is having smaller clouds at the bottom. And as I move up, the clouds are becoming larger in size. Once you're done with the clouds, just shift to the round brush and taking in the ultramarine blue, the deep color. Let's go ahead and add lines for the waves of the sea. Now I don't want to add lines all the way through. I'm just going to be adding them in some areas. For this effect. I tried to kind of clear around with thin lines and just try to keep them very, very smooth all the way through. I'm trying to make sure that I don't have broken lines. So I'm gliding my brush all the way from right to left and then left to right. Now following that, use white gouache and gently paint some areas along the sea. This is to show the glistening where the sun reflection hits, whether sorry, by the sun, the light hits the water. The water almost pockets at this point and so we're adding that white to showcase it. Now width, black gouache. Just gently paint below the white area. The white lines that we just painted. This is because we're adding the shadow for those beads. You can see how I'm doing it. I'm not adding it all the way through. I'm just gently paintings just below that white. This also highlights the white more. And so it makes the C looks like it's sparkling even more. And that's why we add that. Once you're done with this, Let's go ahead and add our leaves for the painting. For the leaves, I wanted to go for something truly simple. As you can see, I've just picked out a very simple leaf. What the main focus for this part is that you need to know where to place the leaf. We're not gonna be putting leaves everywhere. It's gonna be too much and we're not going to add leaves all the way through. The focus is to have it just along the sites. So pay attention to that. If you are a very comfortable with doing leaves with a brush, go ahead and use a black pen. Because after all the work of creating such a beautiful Polaroid and beautiful painting and the leaves are just gonna highlight that even more. This is the set of leaves that we have along the right side. It starts from smaller and goes all the way to the top. Again, look at the proportions and look at the placement. For the left side leaves. I'm going to start a little bit lower. So it starting at the bottom of the Polaroid. Slightly above two mid-way. That's it. We don't need too much of these leaves, just enough for it to look interesting and for it to add onto the painting. But I'm trying to avoid placing it in key areas like the sun and the clouds in the sky that we are beautifully painted. I'm trying to avoid to avoid having them there. Once the painting is completed and it's dry. And watch your tip for the lovely, stunning Polaroid for today. 16. Day 12 - In between the rocks: Today we're going to paint this lovely Polaroid and so forth. The first color that we're gonna mix is a very pale yellow. This is even more lighter than the combination we used before. So it's very, very light online. It's also known as a banana yellow. Orange light yellow. For our purpose for this tutorial, I'm just going to use the name yellow so you understand what I'm talking about? So I've taken a dash of yellow ocher and white. What you can do is start off with a little bit wide and keep adding white till you get the shade that we're looking for, which is very pasted, very light and very pretty. Once you're happy with that combination, you can add a little bit of red. You can see how I've just added just a smidge of red. That yellow. It's a little bit more warm and it's not just P0. And that's the color we're going for. The next color we'll be using as black, dab, a little bit of black, add a little bit of water or just use a damp brush. And that's the color we're gonna be using. Black. This lovely black. Let's add white. Then we're going to get gray. And that's the color that we're gonna be using for the rocks. The next color that we're gonna be mixing is the baby blue, which is a little bit of ultramarine blue with white mixed together. The next color I'll be using is afraid pill, blue color. For this, I'm taking a little bit of ultramarine, white gouache, as well as little bit of black. Which you can do is start off with lesser white and then keep adding white to look at the color that you're looking for. The severity, very light mix and it's almost like I wouldn't call it pale blue, but it's more like sky blue. You can also call it snow white. Now that we've mixed our colors in total for this painting, we'll be using six colors. We have our black, gray and white, as well as our Snow White, Ultramarine blue, and the pale yellow. Having these in hand, but deep down, up. Alright, paper. What I'm first going to do is place a tape in the middle to divide the sky and the ocean. I'm going to place it equi, distance so that it's divided into two equal parts. We're going to first start painting the sky. First, let's use our flat brush and white gouache to paint a center circle. Next with pale yellow. We're going to paint out most of the sky. Just following the same curved like strokes drowned that whitespace. While it is still wet. Go ahead with white gouache and just blend the center that you end up with a much more even blend. I'm bringing this all the way to the edge of the paper. Now for the edge will be using Snow White. Just to give a hint of that blue color, this is going to make the painting look a lot more interesting. And B are going to use this color along the ocean as well. So that way it balances out just a gentle snow color along the edge. You can always wash your brush and then using a damp brush going over the layers again to make sure you have a very simple and very uniform blend. Always move in a circular form for this guy because we're trying to get it around. If you try to do it flat or perpendicular, you're not gonna get the same effect. So make sure you move your brush in a circular movement. Now remember your tape and let's start with our ocean. For the ocean, I'm gonna start with ultramarine right on top. So that's gonna be our first color because it's going to be deep. You can see the blue of the ocean coming through. As we go down, we're going to change colors to the pale yellow. So you get that mix of colors. Now let's add the pale yellow right below, the ultramarine blue. Now let's use the Snow White to just gently blend the colors all the way down. Make sure the layer is dry before moving on to adding drops. Using black and the thin round brush, I'm going to add trucks. Just going to have rocks along the bottom edge of the painting with the same black. Let's add some mountains along the ocean bed. I'm just doing very small mountains on either side. Now let's use crave along the top of the rocks to give it more more of a realistic look. What I'm doing is I'm making sure that I cover only the top part of the rocks with the gray color. Now to show the reflection of the sun over the rocks, we're gonna be using the thin line with yellow, the pale yellow around just the outline of the rocks. Keep in mind to not get it all the way to the edge because then it just covers up the ocean and you can't really see the difference. So I'm just bringing it slightly down, just a little bit down from the outline of the rocks. One tip is to make it a broken lines. So don't do a thin continuous lines. Just try to make dots because that's how the reflection folds on trucks. Trucks are jagged, they are drug or they're not smooth surfaces. Accordingly, the lines need to show that. Next, using odd. We can go ahead and add lines for our ocean. We're trying to give it more texture to make it look more realistic. To show those waves. Following exactly what we've done before, going back and forth with our lines. Now I'm mainly focusing in the area that has ultramarine. Right on top. As I call Lua, I'll just reduce the number of lines drastically. Now following suit with Appeal, yellow lines, Let's add them to our ocean as well. You can see how I'm doing this. I start with a thin line and then I add dots towards the edges to show that the reflection is a little bit more uneven. Again, when water reflects, the shine is very uneven. It's not very not an align. It gently sparkled. So that's kind of the look we're going for. When I'm adding the yellow, what I also like to do is make sure it's more towards the center instead of getting it all the way to the sites. Another tip is to place it in the area that has ultramarine. Because as you go lower, as already pale yellow, so pleasing it there you won't be able to see much of a difference. So try to bring them in areas that have that ultramarine blue. I love the painting to dry completely before moving ahead and removing the TPP. This is our finished Polaroid. 17. Day 13 - Pastel Palm Leaves: Are you ready to start today's painting? The first thing I want to do is mix the colors. So our first color is going to be pale yellow, which is equal to, I wouldn't say equal, let's say a little bit of yellow and then you can keep adding white till you get the intensity of yellow that we're looking for. So it's quite pasted. So you can see I add quite a bit of white to get it a little bit more dull. Next color we are going to be using is bank, which is a mix of vermilion and white. The proportions are just a little bit of vermilion and a lot of white. And you can keep mixing to look at the colors. Sheath is exactly what we're going for. So it's quite base till as well. The next color we're going for is lilac. An equal portion of ultramarine blue and vermilion width. White. Wood together form lilac, very light. The phi colors that we are using is pink, yellow, lilac, black, and white. So keep these colors ready before we start our painting, just so that it becomes a lot more easier during the process. As always, you can take your polaroid sheet and tape it down. Always making sure that the bottom has more space for the Polaroid template. To start off. Let's tape down the middle to split the sea and the sky. I've kept slightly below, so it's at 1 third of the space for the painting. For the C, starting off with a light pink color right on top. Next, let's add yellow and blend the tube. You can see how I'm doing broad strokes for the yellow, just trying to get in the color in that space. Now with white gouache, I'm going to go in and just go over the areas the white quash is going to do is blend the two colors together. It also gives you the dramatic sky effect that we're going for. Now with our pink, Let's add some clouds. You can follow exactly what we had done in our practice exercises, which is following the small, too big to small proportions. For the clouds. I'm trying to make sure that they are along the middle of the painting. I don't want to get them to opt because then it's gonna touch the area that already has the pink, just focusing in that white and pale yellow area. Now that I've kept the color flat, I just dried out my brush. And then with a dry brush, I am gently spreading around the paint to give it a more textured look to replicate the effect of clouds. Now let's remove the tip and start working on our scene. The first thing that I'm going to do is with the pale yellow. I'm going to paint the middle of the scene. This is where the light is falling. So thought spaces specifically lighter than the surrounding sea. Once you do that, change the color to pink and paint around the edges. It's okay if you don't get a really clean fish. We are going to be adding couple of steps and elements to just make it a little bit more subtle. To give a much more pleasant blend. Go ahead and take yellow again. And as you can see, I'm painting over the area again. What happens is because the colors are still wet. They all blend together and you do end up having a much more calming blend for the sea. Now without pulpal or lilac color and a round brush. Let's add, let's paint the edge of the scene. I like to just paint it on the right and the left side. And leaving the center where the yellow was empty. Now using the purple, basically the lilac, go ahead and add the texture for the water. What I did is I went over it one more time to just make it a little bit more soft. Now here you can see me with the lilac Charles bringing it all the way through. And I am actually bunching together the lines instead of painting the entire thing, how we would normally do. I'm just going to have them in a specific spot. And then another line, you're going to see what I do. So just pay attention to where I'm placing these lines for the overall look. You can see how this really brings together the water effect and just makes it look so cohesive. Now let's take black paint and add in our palm leaves. What I like to do is start off with a thin line and then add in the leaves on either side. For this, you can also use pen if you find that that's gonna be a lot more easier. And the point is to just add one leaf at a time, slowly moving up the branch. You can see how it just comes together. What a couple of tips that I can give you is what I'd like to do is make sure that the leaves are basically thicker in the middle and then has they reached the stem, they become thin. So around that stem area, you need to have much more thinner lines coming through. Another tip is to play around with the movement of the leaves sewn, not keeping them all in a straight line. As you can see, I have some of them overlapping, kind of coming down and up. And that is what comes together. Another really important tip is if you notice the leaves on top, a much more smaller and shorter compared to the ones that I've done has they are much more longer. So you can imagine if a leaf is basically following what would happen is the top edges to adopt spines would basically fall, whereas the bottom ones would be longer as per gravity. That's the reason I'm also making that change. For the pine leaves. Sorry, for the palm leaves. I realized I made a mistake. But there you go. Let's go step-by-step. We'll be adding just two more, just to kind of bring it together. After adding the two leaves. You can see we've got just one more that I wanted to add right on top. This is again, very specific. There is a reason behind it to really highlight that right side of the painting. And to also make it really natural, which is why we have it also placed in that way. You have two that are protruding and then one that's coming from top. Again, following all the tips that I shared before, making sure that you go from small to big. Making sure that you have your areas that touch the stem much more smaller. Now using a black you can see, let's add some rocks at the bottom. This is just going to trim the entire image. Once it is completely dry. Let's remove the tip. For our completed painting. 18. Day 14 - Midnight Magic: So today we're going to paint this really beautiful moonlight beach feel for it. Let's start off with our mixes. The first one is we kinda get into an indigo. If you have indigo as is That's create. Otherwise you can simply mix ultramarine with a little bit of white and black. Here the proportion of white is much lesser, as well as the proportion of black. So you just want a tinge of black. If you add too much black, your work, you're painting, which is, I mean, your mix will end up becoming completely black. Just a little bit goes a long way. And we need more of the ultramarine blue to come through, mixed them together to get an indigo color. There'll be big we're gonna be using in our painting. Next, let's mix our ultramarine blue with a little bit of white to give us a bold blue color. Next, let's mix our Prussian blue with a little bit white to get a baby blue color. Now for gray mix, a little bit of the black with white, just a little bit of white goes a long way to get a gray color that we're gonna be using for our rocks and mountains. For our painting, we actually have six colors. Black and white, as well as our midnight blue are ultramarine blue and baby blue. Now let's tape down up people that we can start painting. Once you've taped down to people also make sure to tip down the bottom portion so that we can paint the sky first and then get to the C. Let's start by adding the indigo or the deep blue color right on top. Next, let's paint a layer of the ultramarine blue, right below our midnight blue. Below our ultramarine blue. Let's add our baby blue color. I'm leaving a little bit of gap. But don't worry, we are going to blend it all out. Now using white gouache, Let's gently blend out our colors. You can see how I'm slowly moving up step-by-step. Once I reach the blue and I feel like that blend is neat, I can wash my brush. I'm gonna be taking my ultramarine blue as it is. And then again, going over that space to make sure that I end up with a much more smooth blend. Once I'm happy with that, washing the brush again and going over it with the midnight blue to create a blend. Now let's allow this to completely dry. And then using white mixed with water, we're going to add in our clouds. Here we are making, we're painting much more dramatic clouds. So imagine that the promote proportions are much bigger. In our practice, we're always done them small. But here you can see the similar small to big, but then it's at a much more larger scale. Once you're happy with that very dull BAs, we can go ahead and add in some highlights with white. If you're more comfortable, you can go ahead and use your round brush for this. For the highlights are making it more down at the bottom of the clouds because that's where the lighter shade size, sorry, the lighter part of the sky is. So paint those spaces with the white. Let's go ahead and add another layer of white here. I'm just taking bright white just as it is fresh from the palette. And I'm going to be adding it to some spaces to again highlight that white. Once your sky and clouds look exactly like the way I have painted them, uh, you have those highlights coming in. Let's add some simple mountains with our midnight blue. We can then remote our TPP and start painting the bottom. The bottom. Let's start with our baby blue color. Next, let's use white gouache and blend out the colors. Now let's add some rocks to the sea bed. With the rocks I'm starting off with black. Then off that I added white to create and create on the paper directly. This helps bringing in the texture for the painting. Zooming in so you can see this much more closer, again, following the same idea of black and then adding a little bit of white to give you more of texture. What brings, brings together the painting is the reflection. So that's what we're gonna do now. Using up midnight blue. Let's start with the reflections in the shadows of these rocks. What I like to do is paint right below the rock painting and then as well as adding lines to show the reflections for the rocks. Similarly, do the same thing for the sea next to the mountains. This step can be easily done with a round brush. Next, load your brush with white. Paint, white gouache, and add those white lines for the sea. Now to add the form for the sea bed, this can be done similar to what we had done in other projects. Just using white, just paint out the entire please. Very textural manner, but basically quickly moving your brush and stop doing slow strokes. Once the painting is done and dry, completely remote your tip. For the completed Polaroid for today. 19. Day 15 - Dramatic Skies: Another dramatic poetry from our three days. And this one is quite special because you can see it's got a beautiful dramatic sky. And this just so many elements to it, and I loved the colors as well. I'd, we've got going on for this. Let's start mixing our colors. The first thing is getting that yellow, which is basically a mix of yellow, ocher and white together to form a pale yellow color. The next color we're mixing is a pink, which is a mix of woman Lynn and white with a dash. Very, very small amount of yellow ocher just to warm it up a bit. The next color that we're going to be using as black just as it is. As well as Cree who have been mixing this color couple of times before. So I'm just going to skip ahead for the great. You're basically taking more of the black. I would say actually available amount of black but more of the white to get a lighter gray color. This is what we're gonna be using for our mountains. Last color that we're gonna be mixing is Snow White. Basically a little bit of ultramarine blue with white. This will give you a very pale white or pale baby blue color. And we're going to add a hint of black. This is going to make it a little bit more of a snore color than just blue. That's the color we're gonna be using for our sky, as well as for us. Thus in total, we're gonna be using six colors for this project. Black, Snow White, white, and yellow. Keep your colors of ready. And then you can take your Polaroid paper, tape it down, and then we can get started. Now using a tape, Let's divide the space. Bring it slightly lower. So about 1 third of the space is going to be covered. And we're going to have the sky on top and the C below. For the sky on top. We also have the mountain going on, which is why we also need more space for that area. Let's start off with our painting. Let's start with our pale yellow color. Gonna do it more towards the bottom. So it's not all the way touching the bottom, but it's just below. Just slightly above it. Once you have that painted out, we can go ahead and add the peach pink. Let's add the peach pink right above the yellow. And you can see how I'm just going over the area. It's okay if it's not blended perfectly. We're going to do that in the next step. Wash your brush and take some white gouache, starting from down gently move up, spreading around that color to create a very dynamic sky. At the white, all the way to the top. Gently blending in the color. Next while it's still wet, add in the Snow White, which is basically a very light baby blue color. I want to add it at the bottom as well as on the top. You get that color shown through. The reason I didn't add it before is because I wanted to make sure that the blue doesn't mix with the yellow to give a green. Because I loved it to dry a bit. I was able to add it without any of those odd colors coming in. And you can just see this mix that looks so much more pretty and much more interesting. Now, using green, Let's add clouds. I'm using my round brush and I'm adding in clouds for the sky. We're going to do is add more clouds over the left side and much more smaller ones as be moved to the right side. Once you have the overall bigger elements, Let's go ahead and add just some small clouds below to make it a little bit more natural. Usually when you see the sky, there's always a different variety of clouds happening. It's not just one Cloud, there's always a bunch of different size clouds. That's why having those smaller clouds at the bottom makes it come together. Let's allow this to dry. And then we can remove the tape so we can start painting the C. The C, We are going to start off with that white color right at the bottom. Next, let's add a yellow, blue it then just blend the two together. Now, the first thing is to paint our mountain using the gray. I'm going to start off with our mountain. What I'm doing is the mountain that's going at the back. So making it lighter. The area or at the spot that it's going to touch the other mountain that's in front. Once I painted that crea, I can go ahead with black and continue painting the remaining or the rest of the mountain. Once the backbones and it's completed, we can do our front mountain. For the front, I'm doing black and it's gonna be all throughout the space. One thing is, as you can see, is I'm bringing the second mountain Lord. What's, what I'm also doing it this point is trying to create a distance. So basically the front mountain is closer and then the back one is further away, which is why you have different placement of it. This is also going to give it a very interesting perspective. This is done with our peach pink. Let's go ahead and add the shadow for the first front mountain. How I do this is by basically using lines to showcase that shadow. Notice how I'm trying to get it all the way to the bottom. So not almost touching the bottom, but the equal distance of the equal height of the mountain is mimicked. Same thing for the other side, following that same idea of bringing those reflections. To blend it altogether. Let's add more of that peach pink at the bottom. Now we have the finishing touches for the painting using snow blue, Snow White. Let's add more of that. The sea because you have more of that sky reflection on the water. One thing that's amazing is that water is sort of reflective. And so you can really see the colors in the sky, in the land reflected on the water. That's what we are trying to capture. Now let's allow everything to dry before rolling out. For our completed. 20. Day 16 - Morning Boating: Let's dive into today's painting. This one is going to be really different because we're going to do a different effect. I'm excited about it. The first thing is mixing our paints. We're mixing colors that we've already used before, like the ultramarine. Another option that we're gonna be using often is our baby blue, which is a little bit of the ultramarine mixed with white. The next color we're going to be mixing is bank, which is 1 million and white together. Give you that lovely pink. In total, we have five different colors for the painting. Black, white, ultramarine, blue, and our pink tape down the Polaroid paper. And we are going to trust the bottom part of the painting, which is like 1 fourth of it. For the sky, I am painting pink color right on top. Once I've got two layers of pink done, I'm going to switch to the blue color, which is the BB blue color. Now we're going to do a little bit of a trickier. Let's paint round the basis of the Cloud. So imagine that you've got clouds. And we're painting around that area with the blue color, basically because we are trying to get white clouds. If you're going to do it with white gouache, it's not gonna be as bright as you saw in the previous painting. Hence, you will see a lot of difference by just painting around that space and then filling it up. You can follow exactly the way I am filling up the space that you get the effect that I'm going for. I have made sure that I have some areas that are smaller. But the one thing is I'm trying to keep it very jagged in terms of the lines. Once it's done, you can go ahead and using the small round brush. Start painting the coats. You can see how I'm going slightly around and above the spaces that we had left. This way you have a little bit more of a jagged edge. It's a little bit more undefined. What's happening is because there was white and the base, you can see that white surely coming through in all of our other examples, or sorry, in Olduvai other paintings, this kind of white wasn't really seen through. So it's really important for us to leave that whitespace and work on it this way. Additionally, use white clouds on top as well, even though we haven't lift left TO spaces out, it's okay, it balances together. But the main thing is to go over the areas that we did leave as well. And just make sure that the edge looks a little bit more natural. Now let's take an gently add a little bit more depth to the clouds. You can see how I'm just adding it in some spaces. And it's truly important to work while it's still wet and it's not dried up completely. So we can move around the paint. Once we have this bold, beautiful, dramatic sky, Let's then we can proceed to paint. For this. I wanted to follow the same colors that we have for this guy to show that it's reflected on the sea. Water reflects and that's why we're capturing that. Start off with right at the top, it's a scene BB, blue color. Next list, sorry. Next, let's add in the orange layer, like the peach bank layer right below it. For some reason it looks orange, even though it's Bank veto does that. So let's just keep it in mind that we are using pink. Once you have just a little bit of that using white gouache, we can gently blend upwards and just have that come through. Our main focus was right on top of that C and then gently coming down to a white. Also notice the lines just having very few lines at the bottom, just enough to show that it's still the sea, but not too much to take away from the painting. We already have very dramatic skies. The focus is going to be just that sky. We're going to add a board and we're going to complete our painting with that. For the board, Let's start with our thin brush. I'm using black to paint out the start off with the bottom ship deck. Then go on to the Mosque. Once the board is complete, let's add the shadow of the board on the sea. Using black, we can go ahead and just add lines. Generally when it is the reflection of the board. The CEO basically need to kind of create just loose lines In the opposite, like a mirror image of the board so you can see how it's becoming smaller and thinner as we go of V. Once that's done, we're going to add just some finishing touches using our ultramarine blue. Ultramarine blue is going to be used to just highlight and add more details to the c. The first thing is to add it to the edge of the sea where it meets the sky to really show that difference. Then adding some lines along the white, sorry, along the blue area. Adding a little bit more of that white below. Just to balance out the blue on top. Love them painting to dry out before rolling the tape to reveal our completed portrait. For the day. 21. Day 17 - Pastel Skies: After our amazing day 16, are you ready for the 17? So for this one, we're kinda, kinda start off with our colors. As always, we're mixing some really fun colors. The first one being afraid light blue. We've done this before, which is basically a lot of water, a little bit of ultramarine blue, and a dash of black that you get this null blue that we're gonna be using. The next color that we're gonna be mixing is pale yellow. So take about two parts of white, a little bit of yellow. I like to add a little bit of vermilion as well, just to get a tinge. So this is like a very pale yellow, but it has a little bit of a skin tone color going onto it. And that's the color we're going to use for our sky. The next important color that we're going to be mixing is a coral. So take a little bit of vermilion and white, mix them together and you should end up with a very light pink color. This is the color that we're gonna be using for our painting just to kinda bring it more depth. Finally, let's mix a gray which is two parts of white and just a little bit of black. Black is quite a strong color, so even a tad of black can really bring out that gray column. And so these are the colors we're gonna be using. As you can see, we've got our black and white. Then we have our snow blue are yellow, pale yellow. I know I haven't added that swatch. And then we have our peach pink. We have six colors in total for this painting. Now, let's get started. Tape down your paper as always, and we can tape down the bottom half of our painting at about 1 third so that we can really focus on our sky. For this guy, I'm starting off with our snow blue color right on top. Next, let's use peach pink at the bottom. Make sure that your paints are still wet when you go onto the next step of blending. For the blending, I'm just using white and just bringing through the colors so that you get a gentle color from blue all the way to the pH. Now using white, Let's add a center sun. As you can see, what I like to do is start off with this very light white, so it's faded in with the background. And then I add another layer of white to brighten up to give a glow effect. Now using Create, Let's add some clouds. Here. We're going for a more cloudy effects. So you're going to add more of the gray just towards the top, coming slightly downwards. So follow the method that I'm using, which is the dry brush effect. This is very important to get a more natural look for the Cloud. Also remember how we created the shape of the cloud from small to big. And this is the same process I'm using when I paint out my clouds. Once I feel like I've had enough of clouds, what I'm gonna do is darken it up at the bottom so you can see how I'm building in the color to make it look like. It's just darker, the shadow is downward, so it makes it also look like the clouds are much more heavy and they have a lot of waters, they maybe green clouds, right? So these small details make a huge difference. So just adding in that gray at the bottom. And then we can go ahead and add our peach pink along the other side. So this also shows the reflection of the clouds. It gives it a more dual effect. Once we're happy with the clouds, Let's remove our tape and start working on our ocean. I'm starting off with that skin tone, a very light color. Now, right at the bottom, I'm going to use snow blue just to give a slight tinge of that color along that bottom edge. Using Create, let's outline our C and then we can also add in some lines for the waves. Here the trick is to make sure that you add these dark lines along the edges instead of along the center because you're going to have the reflection of that sun. So just making sure you do the edges. And as you go lower, just giving more space between these lines. Now with white, Let's add the reflection. You can see how I'm doing this with just very thin lines along the center, along the middle portion. Now with black, let's add a very small mountain just on one edge. Remember, we're going to add some leaves and plants and things like that. So I just wanted to have a little bit of a mountain going. It doesn't need to be very big or bolt to something simple. Now let's start painting our leaves and plants. So what I've done is starting off with this very irregular shaped, It's basically a representation of the tree, of the leaves. So instead of going into individual leaves, it's better to kind of give a very rough effect like this. So a very broken down or very small scribbles is a great way to show that. And we want to make it as uneven as possible. Because if you're going to make it very circular or you do it that way, it's not going to look natural. So try to make the lines as crooked or as broken up as possible. And pay attention to the placement of this because this is important. If we have too much of this taking up space, we're going to miss out the sky. We do want to have it just towards the left end, not enough to take away from the painting. Now, on the other side to balance out our leaves, we're going to have a branch. We're going to draw out the tree trunk, some starting off with a very thin line. You can see how it's crooked. It's not perfect. Straight line. This is what makes it very natural in nature. You do not see just stiff looking plants. They gently bend and move and things like that. So that's the effect you're going for. So try to get an, a very broken look for the branch. So again, keep in mind that we are trying to get this more towards the right side. So in case you've middle, you painted in the middle. It's going to take away from our backgrounds, our background, our clouds. It's just going to take away from so much. So just be mindful of that. Once you've got that, we can continue with the same effect that we did before, which is a very thin, scribbly lines to showcase the leaves. I always like to start off with the branches because it makes it a lot more easier for me to plan where I want to add the leaves. And if you can see what the branches, what I like to do is kind of V-shape. I'm branches that are breaking into two midway. That again gives it a very natural look. Because if you notice branches, then do tend to branch off. And so as you can see, we've created this on the right side. We can do the same thing on the left side just to balance it out. And then we can go ahead and add those leaves just by using scribble lines. Now that we've done the the tree, we can do a couple of more just to balance out the bottom part of this cube. Polarized painting. Along with this, let's add in some strokes to represent the cross. Because this is where the land is, since you do have crossed, that comes through just these thin lines. And we are done. So let it dry for a bit before removing the tape from all four sides. And there we have our stunning D 17 painting. 22. Day 18 - It's a Boat: This one is definitely one of my favorite paintings for the series. I am so excited to get started. So the first thing is mixing our colors. These are colors that we've mixed before. So I'm just going to click in it up a bit. So we're going to be mixing our blue green color, which is our peacock blue, which is a beautiful color, equal portions of ultramarine blue and very dn with white. And so you've got this beautiful blue that comes through. Now, let's add a little bit more white to that mixture so we get it a little bit lighter so we can get this beautiful light. She of it, I call it to you, but again, depends on what you want to call the color. If you've got different names for it, because it can be very confusing. But we want this stunning shade of blue for our painting. And this is just one of the colors that we're gonna be using. The next color we're gonna be using for our painting is pale yellow. This is a mix of yellow, chrome along with white. So try to keep a little bit of the yellow and more of the white so we get a pale shade. That'll we're going to be using for our painting. The next color we're gonna be using is a color that we've used often. It is slowly turning into my favorite color, which is a peach pink. So starting off with a little bit of vermilion and white, mix the two together to get this very, very light shade. I like to add a little bit of yellow if required. Otherwise keep it as it is to get that pink color that we're gonna be using today. In total for this painting, we're gonna be using phi colors, which is our snow blue are pale yellow or peach bank, we're gonna be using also a brown as well as black. Have your paints ready, heavier mixes ready before we start, just to avoid the pain drying while you're painting. And let's get started. The first step as always, is to tape down your paper. And I have drawn out a line three-fourths of the length. So instead of taping down, as always, I've just drawn out the line, there is a reason for that. We'll get into it as we move along where you can see I'm painting the sky and C together before we used to divide the two. Now I'm just painting them at a time. Okay? So on top you can see how I just continue the line of this beautiful peach pink. Not to the bottom completely but a little bit to the bottom. Then we have our yellow that I'm doing for the sky. As they move up and up, making sure that it blends very gradually with the pink. Now let's take our snow blue and start from right on top. Making sure it blends very evenly with the yellow. We're going to use the snow blue at the bottom as well to blend it with the pink. Now, let's start by drawing out a boat. Just follow as I draw it out, I start with a curved shape from up to down. This is the base of the boat. Next, IMP, am drawing out the edges, then the entire side of the boat. It is a gentle curve upwards. We also have the back of the board which I just drew right now. We also can do a little bit of lines to kind of understand how long, because we want to make sure that there is a reflection for the board as well. Now that we've done our board, I also want to draw out some birds just to kind of understand where I want to please them. Because there's gonna be quite a few of them and I don't want to start painting it and then make any mistakes. You can skip this step if you're very confident, but this is just for you to also know that you can use pencil and just get clear on your composition before you paint. And I think that is very important to keep in mind. We are just starting, we're getting excited about the medium. So let's relieve some of the pressure by just drawing out a composition and getting very clear to ensure we end up with a stunning Polaroid. Here you can see the different shapes I'm using for the birds with the wings, I don't want to use the same boring shape repeated. So I'm playing around with it. And this is something I want you to look at, just pay attention. You can repeat this step a couple of times to practice it, or even practice it on a separate paper before starting off with your Polaroid. So at times I do the wheat, the two ends are basically like an M shape with a center for the body. At times, uh, use more of a U-shape or a V-shape for the wings. And I play around. The thing to remember is the birds that are closer to the board or more. I would say yeah, like try to play around with the proportions. So you have 23 birds that are gonna be bold. They're going to be bigger in size. And as you move away from the boat, you can make them smaller and smaller. This also gives the perspective that we need for our painting. Once you have all of that ready, Let's start by painting our boat. As you can see, I've started off with a brown color and I'm just gently painting the back part of the boat. Now that we've done the front, the back end of the board, Let's paint the front with black paint. Now let's paint the inside of the boats with the black again. Now using brown, Let's paint the swirls are the ripples that are created by the boat. So as you can see, I'm painting along the side on both sides. So I'm making sure that I paint out a straight line through the boat. This really shows where the water is and it shows how the board is kind of towards us, which gives that perspective. Then slowly having these lines coming all the way at the bottom along the front of the boat. Continue with the brown and add the edge that separates the sky from the sea. This is really important because at this point you can't really tell the difference between the two. So when you do the brown line, it really makes a difference. It kind of clears out what the painting is. We can add some just gentle lines of waves along the edge to again show that these are the waves of the ocean. Keep in mind, I've moved on to my round brush for these thinner details. I'm using also a black paint at this point. And I'm adding the reflection for the boat. Here you can see I'm following the exact shape that we used on top, downwards. So having that same V-shape pointed downwards to show the reflection of the boat. Continue these thin lines with black along the edge up to a certain point. Now let's start painting our buds. Now at this point, looking at my painting, I do feel like I need to add couple of morbid, so I'm just gonna go ahead and do that. Now. Let's take us know blue and we're going to basically add more white to the top of the SSI. Check to make sure if you like the overall look of the painting. I love it to dry and when you're ready, we can remove the tape. And this thus turning the 18 painting, which is it's just so pretty. 23. Day 19 - Morning Sunrise: So now let's dive into our 19th painting. The first is mixing colors. So we're going to start off with our turquoise peacock blue color, which is a mix of Prussian blue, viridian green, and white in equal proportions. Start with a little white. And then as you go along you can add more white if required. We're going for a really nice proper, I would say like a very blue color so we don't want it very dark. So keep that in mind when you start when you start mixing your color. The next color we're mixing is yellow. Pale yellow. So take a little of yellow, ocher, add a little bit of white and mix it together to get a really nice light shade of yellow. The next color by mixing is orange. For orange, take a little bit of yellow, as well as a drop or just a dash of vermilion. Now, mix them together to get a bright orange. Now you can play around with the mixing a little bit, so you can keep adding a little bit more yellow if you feel that it's too red, and if you feel like it's too yellow, add more red. So play around with it a little bit so that you get this really nice bright orange that we're gonna be using for our painting today. So in total for this painting, we're gonna be using six colors, starting with our peacock blue, black, white, sorry, seven colors because I forgot the skin tone which I haven't added in as swatch. The next three colors are yellow, ocher, orange, and Vermilion. So having a six colors ready, let's start with our painting. As always taped on your Polaroid on all four sides. And then had an additional tip in the middle to separate your sky and ocean. So as you can see, I've added the tape more towards the bottom so we can really focus on our sky and give it a lot of space. Now, what I want you to do is with your tape cut out a semicircle. What I like to do is not a full time is okay, but maybe like a 34. So usually get that oval shape happening and this is going to represent our son. So we're going to do is really fun technique here where we're going to be painting around and then go into the sudden, this is going to make sure that our yellow that we're using for this sudden remains. Alright. So starting off, let's use our skin tone right at the bottom. Now let's use white. And we're gonna basically blend through the skin tone from down to up. If you're not happy with the blend, just make sure you go over it a couple of times with a dry brush. Try adding a little bit of skin tone, just gently moving upwards to get a very gentle blend through it. Now from upwards began to use turquoise, peacock blue. So we starting from up and moving slowly downwards. Now the reason I added that white in the middle is because if I make skin tone and blue, I might not get a color that I'm very happy about. So the white as a buffer between the two colors. Gently blend your colors. Using white. Add in some clouds and just basically get the sky to look a lot more dramatic for that. Or you make sure that I use my brush perpendicular to the paper and just gently adding white lines along the middle. Now let's allow this to dry. And when it is completely dry, we can do more to tape where we had pasted the semicircle. Now we can go ahead and start painting the actual sun. For this purpose, I'm using a thin brush and using yellow ocher to gently paint the sun. What I'm doing is actually just painting the top half and then I'm going to use white to blend out the rest. Now, let's balance out our sky by adding a little bit of orange along the bottom. Here we want to keep in mind that we're trying to get them to come through the sun. So the sun is basically at the backdrop. It's just rising and you have these orange clouds that are there, just illuminating light. We're going for this classic sunrise. Look. As you can see, we have the downward clouds. And what I like to do is even up just having these thin lines come through for the tapering of the Cloud. This just makes it look like the cloud. The sun is basically behind. And just looks really nice. Once you're done with that, we can start working on our C using a thin brush loaded with orange. Let's paint just the top part of the sea. I'm doing it right on top. Now, let's use our yellow ocher directly from the tube and just paint the ocean C. And we're trying to also make sure that we paint the area that is going to reflect the sun light. So instead of painting it all the way through, I'm going to make sure that we'll be paying just the middle. So right below the sun, we just going to paint that part yellow using a lovely peacock blue. Let's paint out the edges or fill up the spaces with the remaining peacock blue. On either side. To keep in mind, is still, since my painting is still wet, the yellow and the blue are combining to give a green and that's fine. But if you don't want that green look, just, I love your painting to completely dry before you add in the blue. And that way you do not need these. You won't get these mixes of colors. Now we are on our final two steps. Start with black and just paint the line that divides the sky and the sea. This is really important because otherwise it can look a little bit confusing and it can just look unfinished. Now, let's use a thin brush and start with white for the reflection. I'm just making sure that I do it along the middle portion of the Sun. Trust below it. If you notice like me or colors becoming a bit dull, that's okay is because it's mixing with a yellow and then just giving that white shade or the pale yellow shade. Instead, if you want to avoid that, let the painting dry completely and then layer on the white. So it's all about just making sure you understand how quickly your painting and drawing and how to make use of it the best for the team. Using dots and other details. Let's add some glitter to the see how I do this. It's just making sure I do more of dotted lines instead of just straight lines. And I'm not gonna do it everywhere, just in some areas. Once you're done with that, Let's add some white along the sea on either side, just small scribble lines. Now let's love the painting to dry completely before drawing other T for our completed Polaroid. 24. Day 20 - Lighthouse Magic: Let's start with day 20. We're gonna do a quite interesting painting. As you can see, it's a really cute lighthouse. It's the first color we're going to be needing is our ultramarine blue. It is one of the colors that we're gonna be using, so make sure you keep that ready. Next, let's make some pale yellow, which is yellow chrome with a little bit of white. So you get a really nice light, pale shade. The next color is orange, so it's equal parts yellow and a little bit of vermilion and white. Mix them together, which you can do is start with yellow and white and then add 1 million little by little to get the shade of orange that we're looking for. The next two colors we've mixed fairly often, which is our black, as well as take your black at a dash of white for green. These are gonna be used for the lighthouse. So in total, we have seven colors for our lighthouse. We have our black, gray, ultramarine blue. On the other side we have our pale yellow, orange, and vermilion. So ready to get started. Let's dip down our people as always, the three edges and making sure that the bottom is a lot more about an inch. Then taping a paper at the bottom half of the Polaroid to make sure we have more space for the sky. Now I'm starting off with pale yellow right at the bottom. Now let's use white as a buffer color to gently blend out the yellow. Now, let's start with ultramarine. Try it on top. I'm just going to do one line. Then I'm going to use white gouache to just blend through the color all the way to the bottom. For a gentle blend, feel free to add a little bit more blue to just get that color fading out. Now, let's use a little wide circle for the sun. You can see what I'm doing is I'm starting off with a yellow and then I'm washing off my brush, taking a dry brush and gently moving around the paint that it merges into the backdrop. Now, let's start painting the clouds. We've done that in the previous exercise. So just follow the same step of getting our Cloud. Because of the sudden being right there, the cloud in that section is going to end up being yellow. So just keep that in mind. You can use skin tone to just pay in that section, right where the sun is. Now continue to add in your red orange clouds. Now let's start with our ocean. I start with the orangeish red right on top. Now for our ocean, just use your pale yellow right across. We don't need to make any any design at this point because we are anyway is going to have the lighthouse and all those elements coming up. So don't worry too much about getting any blends in. Here. You can see what I'm gonna be doing instead, which is with a thin brush taking our vermilion, I'm gonna be just adding thin lines right at the top. This gives the ocean a little bit of a shimmer. It shows that it has waves. Using our black paint. Let's add in some rocks. Now one thing to remember is I have loved the previous layer to dry before I do this. Otherwise, the black and yellow will mix and give a very messy color. I love it to dry. And then this is gonna be another layer right on top. So till now you can see with gouache how we are able to play around with the layers. Some can be layered on top, while others can be blended in. Add a line of black ride on top as well. Doesn't need to be a variable loan, just something simple. Now, let's start with our lighthouse. I'm using a pencil for this, so I really know the dimensions and proportions before I start painting. I'm using a classic shape for a lighthouse. You can see it's kind of like a chess piece, be just peace sheep. One tip I can give here is that instead of having something that is just one-dimensional, try to add three-fourths for you. This really makes your element very interesting and also gives a very artistic look to it than just doing it as a 1D. So just making it to d, as you can see, I've added that additional lines so it looks like a threefold view of the lighthouse. Now we can start painting our lighthouse with a thin brush. For this purpose, I am using black as it is. For the side that is right next to us. I'm going to just do the outline. They'll play around with the gray just to give some sheets. If you're struggling with painting this small area with black, with a round brush, try to use a pen instead, because that might make the world a little bit more easier. Use as convenient. Because after painting this beautiful sky and the rocks and the ocean, we don't want it to be ruined just because of the lighthouse. Naturally being thin enough, right? So it's okay if you need to use a pen at this point, give yourself that permission. Now, as you can see, I'm playing around with the colors, so I'm adding white at this point so that it shows that the sun is reflecting and that space, that wall is lighter in color. It's all about creating shadow. Continue with your round brush and black and adding those lines your walls. At the top of the tire. Next, paint, the V-shape ceiling. Now the next step is important. And again, use a pen if you're finding it difficult. We want to add the railing for the lighthouse. Now there's really needs to be really thin and this is what gives it the look of realism because we're getting those mini inner details. Using the black. I am just going over the outline. Starting from down upwards. I'm trying to give this painting more depth. So I'm going to add in our windows. So simply just follow my painting. Feel free to pause at anytime and rewatch so that you get the steps a lot more clear. Once that is done, we're going to just add our reflection of the sun by using our pale yellow or you can use white instead. We're just doing our quick lines through the ocean. Here we're going to add in a little bit of that yellow as it reflects onto different surfaces. So let's add that yellow to just the edge of our lighthouse. You can see how I'm doing this. Let's add it to the ages of the rocks to again show that it is reflected. Notice how I'm keeping a small space between the outline because if I'm just going to paint it as an outline, we already have the ocean. It's all going to mix up and usually won't get to see the effect. So just do that again gently showing that the light is reflecting. And there you go. I love this piece to completely dry and then remove any RT, remove out your tape to get a date 20 25. Day 21 - Magical Mountains: After 20 days, we are at 21. And if you've gotten this far, amazing seriously, that is dedication and I'm super proud of you definitely give yourself a pat on the back. And I'm sure at this point you can see your skills and your artwork massively improve. And you've got these donning pooled rides that you can stare at. For this painting, we're gonna be using a lovely combination of purple and pink for a bank, simply add in white with 1 million to get that light color that we're gonna be using. Now for our lavender, we're gonna be using equal proportions of ultramarine blue as well as vermilion with a little bit of white. So our painting is going to go in such way that we're going to start off with a light shade of lilac, so a lot more white. And as we move step-by-step, we're going to make it darker and darker. As you go ahead, you're going to have to mix. I'm just darker portions, which means less white to the mixture. But it's the same color just going from its different shades and different yeah, it would be different sheets. So we go lighter and then darker and darker and darker, which can simply be done by reducing the amount of white use in the mixture. Now, in total, for this painting, we are going to be using six colors. For this guy, we're gonna be using our lovely bank, as well as yellow for the sun, as well as white for the mountains. We're going to be using our lavender going into a darker shade of purple as well as black. The seat will reflect the same colors to make sure that the entire painting is much more balanced. Now let's get to painting. The first step is to tape down your sheet, make sure that you leave a small gap along the borders of the painting and a much more wider gap of about 221 fourth at the bottom for a Polaroid block. I've additionally added tape at the bottom to divide the sky from the ocean. So we can paint one at a time. Now for this guy, Let's start with our pink. So start with a very nice layer of pink right on top. Next, we're going to use white and gently blend the color all the way to the bottom. Now, in this case, because we have mountains that are happening, we do not need to bring it all the way down. So we can just get it midway. That is more than enough, but we want to make sure that there's a really nice blend that comes through because that's exactly what's going to be seen. We're not going to add any clouds. So it's really important to get the colors, right. I love this step to dry for a bit before going with your brush and adding a yellow circle in the top. Keep in mind we're going to have mountains. So if it's two at the bottom, your mountains up accordingly going to be shorter. So make sure you get it more upwards. What I'm doing is using a dry brush and just gently trying to blend in the yellow. Now using white, just gently giving it a glue along the edge. While it's still wet. Let's add white at the middle. Now, in the middle, when you're adding the white, what's going to happen is it's going to blend in with the yellow a bit more. So you get a pale yellow combination. Now using a dry brush, gently blend it through so it's a little bit more subtle. So it's not a very harsh blend. You can see how this looks compared to what it was before. Now, I love this to dry for a bit. Just give a couple of seconds and then go in with another layer of just pure white. And you can see how you're now getting a glow effect. Now keep your lavender shade ready for our mountains. I'm trying to get our mountains right on top, so I'm trying to get it closer to our sun. And you can see how I've just done a thin layer of that lavender color. Now let's add in a little bit of a white to that mixture and just add it right below so that we get a much more light blend. And so we can feed through this color. Now, it's really important at this step to make your blends very uneven. Generally, what we've done in the past has been very, very smooth. It's really nice transition. Here, we're giving it that patchy look. So you can see how this just looks like color, it's laying on top of each other. It does look patchy, but that's the look we're going for because these are mountains and mountains generally have a rocky terrain. As we go down, we can then add white and you can see the way I am blending the colors through it. Very, very rough. So it's like I'm almost doing a scribble with my paintbrush and giving it a very uneven blend. Now, I love this to dry. And then we can move on to another, to another set of mountains. Meanwhile, notice that the sun has dried up a little bit more so we can go in with a final layer of white just to bring in that law that we were looking for. Since our previous mountain layer was up to down. Here. We can go from down to up. We don't have to go all the way across the Aldi painted mountains. So I'm just trying to get a dry to that same point. For this one, we're going a bit darker, which means that we're using less white in the mixture when we're mixing our ultramarine and vermilion can see how this is a much more darker color. Again, exactly how we did before we start off with this thin line or thick line, however you want it to be. Here. I've used too much bone thicker line and then I go in with my white and then I blend it very uneven, giving it a very rough texture. Again, I love this to dry and we can go in with another layer. Here it is a very, very darkly or a mix of red and ultramarine, much more darker. And you can see how I'm trying to add in peaks so we don't want it to look very bland like a thin line. You have to bring in that rough effect, which is what I'm trying to do here. Now for this, we may not need to blend too much. I'm just using that dark color should be good enough that I love this to dry a bit before we can remove our tape. Once we promote our tape, we can gently paint our ocean. To paint the ocean, I'm using a reflection of the sky. So I'm using the same thing that we use for the sky. And it's gonna go down, but not all the way. Because right at the bottom we're going to use our pulpal and blend the two together. This point you can see that the two colors for the C are quite dark. So here I'm adding in white for a much more softer blend so that we end up having our colors more of a pastry shade than a bright shade. You can see how that actually dims it down. It makes it less, I would say, less bold. And that balances out the painting. So your focus goes back to your mountains, which is what we want. Using a flat brush perpendicular. Add in those thin lines for the waves I'm using are purple. Just going back and forth with these lines. Doesn't have to go all the way up and down just a little bit on the top and then just along the sides. And that's more than enough to give you the effect that we're looking for. Now for the reflection of the sun. Using white can go ahead and add in that reflection. Now to increase the contrast within the painting, and this is very important. You will see a huge difference when we move to the step. Just use black and add in another range of mountains right at the bottom. This can be a very small range, but it does make a difference because it's going to build the contrast within the painting and all the layers that we just painted are going to look very bright and very vibrant. For this step, it's really important that your previous layers have dried completely for it to gently smooth through this layer of paint. If your paint is still wet, you're going to have a little bit of a difficulty at this step. It's just give it some time. Then go ahead. As you notice, gouache tends to dry a bit quicker, so you don't really have to wait a long time for it to dry. Now, once the painting is completely dried, just rewatch your tape. I always pull out my tape in a 45-degree angle. This ensures that it doesn't drip the people. And once that's done, you have your completed painting for today. 26. Day 22 - Bright Sun: Today it's going to be a really, really interesting painting. I am so excited about this one. I think favorite of this week for me. We are in week three, almost towards the end. We just have one more week. And yes, you've got so many paintings under our belt right now. The first color we're going to be mixing it up, I think as always, a very lovely color with a little bit of vermilion and more of white. So we get this light peach color that we're gonna be using for our painting. The next color we're going to be mixing a color that we've done is just add skin tone, which is a little more formally and more yellow and a little bit of white. Start with a little bit white and keep adding until you're happy with the mixture you have for your skin tone. Eliminate the same spot. It's so funny. I got three all photos on social media. It's funny I got Tina and breath FaceTime me really. Yeah. Because they saw that we require for this color we are going to be mixing dark peacock blue. So it is darker than what we've used. So for this, let's take a little bit of ultramarine white and a dash just a little bit of black. The same need legally gonna give us an indigo. So it's gonna give us a dark blue color to the dark blue color. Let's add in viridian, you can add a portion of it, or you can just add a little bit and keep adding until you're happy with the mix of colors that you have. And that's the color we're gonna be using. So it's this beautiful peacock blue, but it's a little bit darker. So it's really pretty and that's color that I can't get enough. It's very pretty color. We're gonna be using it for our sky, for our mountains, for our see's, everything. So intuitive, as you can see, we have six colors that we're gonna be using. We have our black or blue and white. Along with that, we have our skin tone, our peach, pink, and yellow ocher, just as it is from the tube. You can add a little bit way to the yellow ocher just to make it a little bit more smooth to use. Now for our painting, tape down the painting along the four sides, making sure that you leave enough at the bottom. Now use your tip at the bottom, just making sure that you divide the sky and the ocean. Leave enough space. We're not just centering it, but just slightly lower than the center for the tape for the sky. Start with our blue right on top. Why this blue layer is still wet. Add in skin tone just below, and blend the two together. You don't want to make too obvious of a blend, so don't go too much up and down. So we're just trying to stay in that entire section. If required, wash out your brush and use a dry brush to just move around the paint. Instead of adding more paint to it. You can also add more of the skin tone if you feel like to brighten up the color as well. This is something that would come with a little bit of trial error. And as you keep practicing, you're going faster at it. So now that you've finished these two colors, Let's add our pink at the bottom. Before that, before it dries, make sure you also blend through the color right on top. Here, I notice that I've got too much of skin tone, so I'm adding little bit of the blue from up to down. So that's going to help me fix it. In case you're having too much blue, add a little bit more of the skin tone in case both are fine, then just go ahead and use a dry brush and just blend through the colors. So now that that's done, use our pink from down gently, up. To create a very dynamics chi lets add up pink also at that intersection between the blue and yellow. You can see how that tinge of being really makes this guy Very interesting. Now, let's start with our son. So we're going to use our yellow in the middle for our son. Placement is everything. So do pay attention to how big my proportion of the sun is, as well as where I'm placing it. Now, let's use a dry brush and just gently blend out the colors a bit more. So you don't really have the yellow just flat there. It's a little bit more blended into the cell backdrop. Now for the mountains, what I'm gonna do is start off with our yellow right below for that middle portion of the mountain that has the sun touching it, which means the reflections are there. It's a little bit more lighter in that section. Along the edge, you can add your blue for the remainder of the mountain. Gently blend the two. So you get a little bit more of a calm and balanced blend. But you can see how it's already forming, where just that portion is yellow. So it looks like the sun is just shining through and really brightening up that area. While a mountain is drying. Add white to the center of the sun. Just pride and all up. At this point, make sure to use a dry brush and just gently blend out the white so it doesn't look as flat as it looks right now. Just pressing down at the edge and just kind of going over it a couple of times. So it's moods into the backdrop. Let's allow us guy to dry. Meanwhile, let's start working on our ocean. We're gonna be using the same colors we used before for this guy to bring the reflections into the ocean. So starting off with a yellow right on top, then the skin tone and then the blue. Now, this is something I wanted to talk about. Now, in case you are at this step where you see this, where you're painting, but you can see the bottom of the paper. It almost looks like you're working with watercolors. It just means that you don't have enough blended or enough paint. It has more of water, which is giving it more of a watercolor look. So just make sure you quickly go ahead and mix the color so that you get more of it. Okay, So this is gonna happen and it's slowly starts losing its gouache effect of over lining that you've been seeing before. So just keep that in mind. Now. Using a thin brush. Let's add this deep blue lines. Along the ocean. Now here is our chance to paint the other mountain. Again, we're going to follow the same step as we did in the previous one where we start off with yellow in the area that is going to be reflected by the sun. So just adding a layer of yellow. Then you can add in blue and just blend it out. Now, the yellow I'm also using along the ocean, you can see how I'm doing this just quick lines. Make sure that your layer has dried completely before you attempt to do this. If it hasn't complete your mountain and then come back to it. So now that I'm happy with the yellow that I added to the ocean, I'm gonna go ahead and add my blue for the mountain and just gently blend it out to make sure we bring more depth to the painting. Add in black along the edge as you can see, of that mountain. So it looks like it is below the previous mountain that we just painted. Using black. You can also add it to the other end of the mountain, just giving it more depth. Good, Make sure it's a gentle blend. So if you feel like it's just flat, go ahead and add the blue again and then make sure you blend the two. This can happen because the layer has dried. So just make sure you just go over it. This is the final step in our painting. Using black, just add thin lines of shadow below. Our previous waves. Can see how I'm just adding that line and that immediately looks like that as depth for the waves, the waves are much more larger. So this is a small little trick that just makes it look really nice. Now I love your painting to dry completely and then you can remove the tape on all four sides to reveal your completed painting. 27. Day 23 - Windy Beach: Today we are going to be painting this lovely artwork. And as always, let's start with mixing our colors. These are colors that we've mixed before, but I'm driving through them again in case you've mixed it, miss them or you're starting from this day, whichever it is, I prefer kind of going over the colors. So you have it with you. So we're gonna be using a lavender shade, which is basically a mix of vermilion and ultramarine blue in equal proportions with a bit of white. Start with a little quantity of white and then you can keep adding on as you mix the colors to get the right shade of lavender. Once you're happy with that, make a good enough portion so that you can complete today's painting just a little bit, doesn't go a long way. So what might happen is while you're painting, you might end up with something very watered down if you add too much water. So just try to make sure that you get a good enough mix. Now that we've got our lavender, the next color that we're going to be mixing is pale yellow, which is a mix of yellow, ocher and white. So in total for this painting, we have four colors. Lavender, pale yellow, black, and white. So a very limited color palette, which is perfect because it's a simple painting, but it's gonna be so pretty once it's done. The first thing is to tape down your paper and make sure that you add a tape along the middle. This is to divide the sky and see starting with lavender right on top. I'm going to gently blend through the color with white. So the next shade we're adding in is white, making sure we blend the two colors. You might have to go over this a couple of times. If you feel like there's so much of color on your brush, make sure to just wash out your brush and take a dry brush and then continue with this motion to get a gentle blend. If your color ends up being more light, add more of the lavender at along the top side. If the color ends up being too dark, then add white from the bottom. Once that's done, go ahead and add yellow along the bottom. Now, if you mix purple, lavender with yellow directly, the color combination is not really pretty. So because of that, I've actually done that shaded effect of making sure that I do lavender to white and then add in the pale yellow upward. Once you have that, let's do our sun. What I'm doing is just simply adding white with my thin brush around the center. I love this mixture to dry. Meanwhile, you can take black with a thin brush to add in the mountain. One thing you might notice is if you're painting, your sky is still wet, you might end up getting a very uneven black because it starts mixing up. So you can allow it to dry before you add that black mountain. Now that it's dried, remote your tape before we move on to the next step. Now for the C, we're going to start off again with the same blending. So starting with our lavender right on top. Next Latin or, sorry. Let's add in our yellow ocher from down to up. Now for this, I am mixing it with a little bit of the purple as I move upward without adding that white in-between. You can see how immediately this transforms the look and you end up with something much more darker. Shades look brighter. So just to make sure that it blends a little bit better, we kind of make it a little bit more gradual. Just add white and blend through all of it. This is another way of blending. It wouldn't really suggested because in case you go wrong or the color has already dried up, you may not get the results you're looking for at the same time, I think in what we're doing today, it was a perfect way of blending it out. So adding a little bit of the yellow right on top just to give it a gradual effect and to show though beams. Similarly using lavender at the bottom to again bring, bring through that wave-like effect. Now, since our sky is dry, we can go ahead and add in a very bright layer of white for the sun right on top. As well as add the reflection of the sun on the sea. Once you're happy with the overall look, make sure everything is dry before you proceed to the next step. We're gonna be using black to add in some plants, trees, I mean, branches to the painting because it's quite simple, but let's add some more to just brighten it up. I'm starting right on top and I'm going to be doing these kind of curved lines. So notice the way I'm doing these lines, this is gonna be up branches. They are basically how we know where we are actually going to be placing leaves and where it's going to come. So what I've tried to do is on the left making them longer and as it goes to the right, making it shorter. Once that's done using the black paint, add in leaf to these stems. As you can see. Now, I tried to make it very abstract, so I'm not getting perfect leaves. It's more like lines on the right and left side. One thing I wanted to add in here is that generally when you're doing these leaves, one simple trick can make it look a little bit more natural. Which is, if you've noticed branches and there's wind blowing, what tends to happen is the branch moves to the opposite side of the wind. So the wind is coming from the left side. The branch would move towards the right. Also. The leaves on the branch also move towards the right. So that's exactly what we're doing here. So imagining that there's a cool breeze that's coming on from the left side. The branches have moved towards the right, so there's a curve towards the right side, as well as the leaves tend to be more towards the right side. So this is how you give a more natural effect and a more, a more natural effect that also makes it look like that's how the breeze is going and that's why it looks a certain way. Now that you've completed the main stem, just make sure you go right on top and just see if any of the other stems need to be added or more detailed needs to be added. Just recheck and check on all of it. What I also like to do if you're noticing, is making sure that the tip of the branches are thinner. So just a thin line there makes it look a little bit more natural. I'm seeing trying to cover more of the space right on top. So it looks a little bit more full. It's also a great thing. Remember that once we remove our tape, you're going to end up having that sky, the branches looking a little bit different. Now, we can also add the same thing at the bottom, we adding some branches. So first I'm starting off with cross. You can see how I'm doing these thin lines. What I tried to do is make sure that I start from down and move up to give it a more thick to thin look. And you can add in some wheat details. You can see those stocks. Again adding more details so that it comes together. After going over the grass. Let's add in some just add in the BSW. Okay, so for the base, I'm just doing a very irregular shaped piece. You can see how I'm trying to give a scribble effect. That way the edges are rough and it's not a clean, smooth edge. I love how stunning this looks at. If, again, this is something I should mention that start, But in case you are struggling with using a thin brush, go ahead and use a pen or even more thinner brush. This brush is called mini detail brushes that can make this process a lot more easier. But it's crucial because it's going to make sure your painting looks stunning. So trying to get those thin lines is part of the technique. Once you're happy with all of it, a lover to try, very, very important. And then you can promote your tip from all four sides to see the stunning Polaroid for today. 28. Day 24 - Midnight Moon: Of all the paintings for this week or last week, this is my favorite. I think it's just so pretty. The colors are amazing, the vibe is amazing. It just is really, really stunning. And I think I would love to urge you to even try it on a much larger scale, because I think it's just going to look absolutely pretty. So. Before I continue talking about how much I like it, Let's start with actually painting it. And this is gonna be really, really simple because we are using some base colors and it's monotone. So that's gonna be super fun for us to play around with. The first color we're gonna be using is black. Suggest you a little bit of black with water to get a very bright color. The next color is peacock blue, which is equal proportions of ultramarine blue, viridian Creon, and a little bit of white or white. So start with a dash of y, just very little. Mix the colors together, make sure that you get the color shade that we are looking for. So something's really mid level, so it's not too light nor is it too dark. And that's the color we're gonna be using. Now take a little bit of this mixture on the side and add more white to it and we're going to end up with a light blue color. This is such a stunning shade of blue. The next color is pale yellow, yellow ocher with a little bit of white. Mix the two and keep adding white till you get the tone that we're looking for, which is a very, very light pale color. So in total for this painting, we are going to be using five different colors, which is black, our peacock blue, and light blue, as well as white and a pale yellow. So these five colors are going to mix and blend and bring together the entire painting. For the first step of the painting, as you guys know, taped down your sheet, making sure that the bottom is larger in size. So about you can keep a height of about 21 fourth inch or the size of the tape that you have, as well as make sure that you tape down the middle of the paper so that we can start off painting our sky and then move on to the ocean. Now, let's start by painting our sky. I've started with light blue along the bottom edge. Now, let's use black. Right on top. From black, we're going to be moving to peacock blue. So that's going to be the next color. This blend can take a little bit of time because it's fairly dark, the black. So make sure that you wash out your brush in-between. Take a dry brush and try to move around the color than trying to just blend through the same thing. Once you're happy with that, you can go ahead and bring it all the way to the bottom and blend through that peacock blue and light blue. In my case, as you can see, the light blue has become very small and space like it's not taking up that much. Some Additionally going to add a little bit more of light blue at the bottom and bring it up so that I get more of an even evenly spaced blend. It is very important to all of this to dry. Before you proceed to the step where we adding the pale yellow for the moon, I'm starting over that pale yellow than allowing it to dry. And then going on top width, all white, just directly with our own brush using white. Now, what we're gonna do is we're going to try to create a star light effect. The kind of if you look at some of the pictures or photographs, you would see the light kind of moving in all four directions. So that's what we're doing now, as you can see, for this, what I've done is I've dried out my brush completely and then I'm just pulling out the color that we just put on top along the along the moon. Now that we've done that, just add a little bit more white. We'll do one more layer of pulling, but not right now. Let's just brighten up the color a bit. Now, let's paint some pays simple pale yellow clouds on the sky just towards the right and left off the moon. We've learned how to use Cloud, so you guys should be very comfortable at this point to paint them out. Just make them look really natural. As you can see, it's all about placement. I've made sure to not add a cloud right next to the moon because otherwise it's going to distract it. So I've made sure there's enough of spacing between these clouds. Now, we're going to take yellow with round brush, and we're just going to add in some additional lines to make it a little bit more vibrant than how it is. Now. Notice how I do this. I am adding it actually in between the spaces that I had done the previous lines. So that way it is not, It's really seen through. The other thing that I'm doing is I'm making sure that they're much more smaller in height compared to what we had painted before. It really gives you that star. Star you effect. It's called something stub burst effect. I'm not sure. But you know what I mean? As you can see it already. Now, since our sky is dry, we're just going to let it dry, which is going to allow it to dressed. And we'll continue with our ocean. We'll go back to this guy and just fix a little bit as we go ahead. But for now, let's just do our ocean. The first thing, as you can see is to get that ocean waves right to the edge. We're going to have our beach sand. And then we're also going to add in those wave details. There's so much that's going to happen right now. It's going to look stunning. As you can see. I've just added a very unevenly or at the bottom for the edge of the wave. Once that's done, you can take black and just paint out our sandy beach. Now that we've finished this, Let's add a Vive. You can see how I'm doing this using black. I'm making a wave, so I'm doing rough shapes. And I'm trying to focus on the movement. So if you see I started with a straight line and then went up a bit and then straightened out again. So that's really important to notice, especially the width of the line as well changed. These small details that will make a difference as you move on. So I'm just really being careful you can follow exactly how I'm doing it. To get a very nice natural looking ocean bed. Sorry, ocean beach waves. For the edge, you can see how I'm doing that. I'm going to try to get some straight lines right on top. I know this looks a bit scattered, doesn't make much sense. So now we can go ahead and just fill in that actual wave form. So this is going to give you more and more understanding towards what we're painting. So don't worry about it if you're just like, oh, this looks like a mess, it's fine. In this step, you're going to make it look more appealing, right? So as you can see, what I'm doing is I am painting above our black painting that we had done before. So I'm painting above width. You can use pale yellow. Or in what I'm doing is I'm actually using pale blue to very, very light blue, The same that we use for the sky. That's the color I'm using right on top. Notice how I'm also doing the V If so, I'm doing it in a curved shape, so it's not just flat there. I'm trying to follow how we would actually look. Using the same round brush with pale yellow. You can go ahead and add those lines of waves. Adding more of those. We've details. Just bringing everything together. Let's continue with our form. Along the bottom are the last wave that we have, following the similar effect with the light blue. With the light blue, don't forget to also add some dots to show the spray of water. Especially in the top of those faiths. Don't have to all the way to the top one. But I think at least the middle wants to need to be seen because it might actually be visible. So we're almost done. We have just some finishing beds. The first thing is our moon. We're going to fix it because right now it just looks like it's all over the place. So go ahead with your round brush and using white, just go over it one more time. The stem, you can make it slightly bigger than what we had drawn before. That way you can cover up all those spaces where we had pulled the pin through and you end up with something that looks like this. I love that yellow that has been pulled through. It looks very, very interesting and just really natural as well. Because if you look at the moon, it's not gonna be exactly the same color that are reflections that come through that I've seen through. Now with the white. Or we can also additionally do is just add that reflection of the moon, long the ocean. Now one thing that I'm gonna be doing here is I'm switching it over to yellow, like a pale yellow. Instead of using white. The pale yellow is just going to give a little bit more of a warmer tone than a white. That's just maybe a bit to contrast with the blue that we already have. So using yellow, just add in those reflections. You can see how I'm just trying to curve through in those areas. Just trying to get some of that yellow there to show that. Once you're happy with the yellow, let's allow this to dry. It's very important at this stage to let the painting dry. Because the next step we're going to take white. We're going to use it to just brighten up the painting and the clouds a bit more. Without white. Just add in some thin lines along the middle of the moon. You can see how this is coming along and making sure that it has white. Just that once you have the white along the ocean waves, try to also bring it along the clouds. Here I'm adding the white more in the areas or the cloud areas that are towards the moon. Once you completed, I love the painting to fully dry before removing of the tape on all four sides to reveal our completed painting. 29. Day 25 - Pastel Rocks: Today we're going to paint this lovely pistol mountain Polaroid painting for the colors. Let's start with our pistil pink. We're gonna be using vermilion, a little bit of it, more of white mixed together to get this very light shade of pink. This is a very pretty color. And that's the one we're gonna be using for our sky. The next color that we're going to be mixing is pale yellow. We've been mixing it a lot, so I'm just going to run through it. A little bit of yellow, more of white mixed together to get a very pale shade of yellow. The next color is our blue. So take a little bit of ultramarine blue, a little bit of white. Keep adding white until you get a mixture that you're happy with. We want a mid color, blue, so more of a cobalt blue. We don't want something really dark because we're trying to go for a very paste, it'll look for this painting. So once you're happy with the mix, just make sure you swatch it out to check the color. Before we start with our painting. Intuitive for our painting, we are going to be using six different colors. We have are pasted bank pale yellow, and our cobalt blue that we just mixed. Along with that for the mountains, we're gonna be using black and brown. So here I'm using a burnt umber color for the brown. And additionally, we'll also use white to just blend things together. So keep your six colors ready. Make sure you take Cartier polarized paper, tape it down on all four sides. Also taped down the bottom half or the bottom part of your paper. So that we start with painting our sky and then we can move on to our ocean. And you can notice how I have divided it almost 1 third is only going to be for the ocean, and two-thirds is going for the sky. Now let's start with our sky. Starting with p sub pink, right on top. Just to a really nice thin line of peaceful thing. I've liked. Kinda paint a straight line through because it makes the blending a little bit better in case you try to do it. I'm stopping, like you keep lifting your brush, you will see lines coming through. So it's nice if you can get a complete line, shows all the way through, which is why you'll see me kind of paint in straight lines and then blending. I might play around with it a bit more. The next we're going to use white to just blend through the colors so you have a nice shade that comes through from the thing to the white. Along the bottom. Let's add in yellow, going upwards. Again, make sure that we blend through the colors so it's a very nice light shade. The reason I didn't want to mix pink with a yellow directly is because I want to avoid that skin tone color. Also, what happens is when you kinda keep a white base in-between the sky tends to look a little bit more relaxed. It feels a little bit more open and light because of that white being in the middle. Now using yellow, which you can do is just add some thin lines from the top, just quick lines. My painting, that layer has already dried. So when I add the lines of just stays on top flat. It's not blending in with the pink, which is exactly what we want. Similarly, let's take something and bring some lines. In the yellow section. Now at this point the sky looks a little bit. I'm just bland. There's no show of colors, so let's take a little bit of white and kind of walk through a little bit of white in-between the sky to make it a bit more dramatic. Now let's use our blue and add in some clouds. I'm using my thin brush for this. I've made sure that the layer has completely dried before I attempt to do this. So I'm following exactly what we had done in our session for clouds. The same exact technique where I'm trying to get a thin line, make it more rounded in the middle and then again, a thin line as it fades away. Having Cloud next to each other really brings through. The painting, makes it more realistic. I'm also makes it look. It gives a direction. So it's very important to kinda play with that as well. Now that I have some clouds on the right side, we can just add one in the left to just balance out the two. Once completed a loved the painting to dry. What we can do is just go ahead with brown and add a fun little mountain in that space. We're going to remove our tape in a little while and we'll add another mountain right below. Notice with the mountain how I am basically just making a very rugged edge for it. And also with the painting, instead of painting it into strokes, I'm painting, painting it more flat, so I'm giving it more of a textured effect even with the painting process. Now remove the tape. And let's get started on our ocean. The ocean we're gonna be using the same colors we used before. Let's start with blue and then move on to pink. So starting with it, line of blue, right on top. Once we've covered half the space with blue, let's take think and just blend the two colors all the way to the bottom. Now, let the bees dry a bit more before taking burnt umber with your round brush and painting out a second mountain. Now, while the painting is drawing generally, you don't really need to wait too long for it to dry. Gouache dries fairly quickly. So even if you just let it just Read for ten seconds. It generally dries off. So that's why it's a lot more fun to use. It's quicker to use because of that. So keep that in mind. You don't really need to wait for a day or two, because obviously then your painting would never finish. And keep in mind that this entire all the paintings in this are in real-time. I just tried to remove couple of bits if it's low or speed up couple of things. But most of the weighting bit odd. It's all in real time. So that's how long it takes me it for it to dry as well, which is badly a second or two seconds. Okay. So having said that, let's get into our mountain. As you can see, I am just making sure that I do a very rugged Bs and then just fill up the space in a very haphazard manner. Not just broad strokes, but more of layering the color on top of each other. Now using yellow, Let's add some sky waves like reflection of the sky on the waves just below the mountain. I'm just doing these thin lines. I think my yellow is mixed up with a little bit of color, so the color is not coming bright. I'm just going to go over it in a while with a brighter yellow. I'm just mixed with a little bit of white. Just to get a more brighter shade. You can see how that was so light and now it looks a bit more obvious. You can actually see that yellow. So I'm just doing this right below the mountain. Again, not too much all around. Just in that space. I like to concentrate in the middle of the painting using yellow. Let's add a sun reflection along the mountain. And I'm just doing it with the edge by creating a very uneven line. Don't forget to paint the smaller rock as well. As well as paint the other side. Generally, I do only the top portion. And either side of it, if I'm going to do the right side, right side, or the left side? Left side. Um, I don't go all the way to the bottom on both sides because then that again looks like an outline and we want to avoid making things look very symmetrical. Once we're happy with this, wash out your brush completely and taken black, we're going to add texture to our mountains and trucks. I don't think these are constant mountains, so let's call them rocks instead. I think mountains might be a bit more bigger. So let's avoid that. These are rocks and we're just going to use black. I'm trying to see if you need to add black with a little bit of white to give a tree Dutch just to bring through the texture. Now we move on to a very important part of the painting, which is the reflection of the mountain, the rocks on the ocean. Very, very important because otherwise your painting looks very two-dimensional. So make sure you do not miss the step. Using black, I'm adding thin lines in the ocean. And they are at the same height or same, same height as the rock and same proportions. You can see it's basically like a mirror image but inline form. So you have that overall it looks more like the ocean was, sorry, the rock was reflected. Now, once you're happy with the whole thing, I'm happy with all the details. I loved the painting to dry for a couple of seconds and then you can do more to tape to reveal today's tanning paste oh, painting that I think is just, it's so pretty, it is framework or the foreshore. You can definitely make it on a larger scale and frame it in your home. And there you go. I am so excited about tomorrow's. See you. There. 30. Day 26 - Moody Beachs: Today we're going to paint this turning blue and orange painting on Android that is just so pretty vibrant. Sunset. Sunset. So we're going to do that one. Just make sure you keep your paints ready. And it's gonna be really, really fun one. It's all about the colors for this. The first color that we are going to be mixing is orange. For orange tick equal portions of yellow and vermilion with a little bit of white mixed until you're happy with the proportions. If you feel like it's more orange, feel free to add more of thread. And if you feel like it's more red, feel free to add more yellow. So as you mix along, you will get the shape that you're looking for, that we are looking for, for our painting. The next color we are going to be mixing is our pale yellow, which is yellow. Little bit of white. Mix them together and add more white if needed, for a pale yellow combination. The next color we're going to be mixing is our snow blue. You can see I took a dash of ultramarine blue, more of white, and we're going to take a little bit of black. So it's more like a blue-gray. And that's what we're calling snow blue for our painting. There you go. Into tools for a painting. We're gonna be using seven colors. So we have our orange peel, yellow slope loop, as well as black, viridian, green, and burnt umber for the mountains. Additionally, we'll also need white for a couple of other details. And keep your colors ready. Make sure you tape down your pulled right paper. And let's get started. For this one. I'm not dividing the two. I'm just going to paint as it is. I'm starting with snow blue right on top. Next, let's add yellow, right below the snow blue. Easily blend the two colors. Let's use white in the middle. And this is going to just make a process of blending alert, but more faster. So with the white, I just spent a little bit down. So now we have that gradual mix. Again, taking white will go up. So then you have an equal blend from up to down. Now that we've finished a yellow, we are going to be adding up bright orange. Now, this may feel a bit scary because it's orange. It's going to just literally change our painting. But don't worry, we've painted so many, so this is going to be simple. So taking our orange, we're going to add a line through yellow. You can see how I'm doing this. This is the exact same technique we've used before. So don't worry, but it's all about just giving yourself that confidence to add those lines. And just making the sky even more dramatic, which I think it just needs it in case you add too much of orange and you're not happy with the mix. Just use white and blend it together. That's gonna give you a different, it's going to just soften the lines a bit more. It's really important in this case for you to use gouache beans because with acrylic, you'll notice that your paints tend to dry out faster. So this softening of colors does not happen. Whereas with gouache, since the color can still be lifted, the minute you add white, it lifts up the color and you end up with a soft. Now, as you saw, I just add a little bit yellow at the bottom, just to complete our sky. So our sky has taken almost two-thirds of the painting. We can then use the remaining space for our ocean. I'm starting off with our snow blue. Next, use y to blend it out. Finally, we can use yellow from bottom up to blend out our sea. Now, I love the painting to completely dry. Before going on to add our mountains. For the mountains, I'm actually going to be doing it with black paint. I'm using black wash first and then you will see me add in other colors to just bring more variation. So as you can see when I'm painting the inside, I'm adding a little bit more of viridian green as I paint in to get a more green color through the mountain. Let's add another mini mountain formation. Along like in the middle. I'm being very careful about placements because perspective is everything, if you please. The mountains and rocks in very unconventional means they may not look aesthetically pleasing. So we do want to be a bit careful of where we place the elements because these are the highlights of our painting. As always, you can see what I did similar to last time, which is fill in the space with green, viridian green, or brown, and just bringing them together. I'm using a mix of colors. Now for our final mountain, this one is going to be just on top of, I mean, if you think about it through the photograph just as a two-body, it's gonna be on top of the previous mountain in-person. Basically this one that we're painting is further, it's closer to us. Basically. With this mountain you can see how I'm bringing it all the way to the right side. So it's, I've taken that kind of a perspective to the Polaroid. Going all the way to that end. And again, filling it up with a mix of greens and browns to give it a very textured look. Now that we've done our mountains, Let's add our divider line between the sky and the ocean slightly above our previous mountain. What I'm also going to do is take clean off my brush, take a little bit of a snow blue and just paint the top of the mountain that is closer to us. The reason I'm doing this as one because if something is closer generally tends to be lighter in color. The next is because I want to differentiate differentiate it from the back mountains. So there has to be a difference. So when you add that blue, it's going to show that difference. Which is why it's a very important step. We're almost, almost done with our painting. We just have couple of very important things to add in, which are the reflections of our mountains. And Dropbox. This is such an important step that if you skip it, it can make your painting look very two-dimensional. To do the lines, notice what I'm doing. I'm just basically following the length of the mountain introverts. So the height of the mountain and the length, everything just imagining that it is a mirror image, keeping enough of space between it to just balance it out. Similarly, let's add some black lines right on top to show the waves, right where the sky meets the ocean. Now using white paint, Let's add some highlights to our painting. Some starting off right on top, neo, those thin lines that I just added, going to add some of the white lines below as well, just to highlight the ocean. Now let the painting dry for a bit. And then you can go ahead and remove the tip for all four sides to review our completed Polaroid for today. This is so pretty, I absolutely love how it turned out. The color of the sky is just so dramatic and so stunning. There's a favorite, I think all the paintings with this week are my favorites. I love all of them. Each one is unique on its own. And I can't wait to see your creations of these. 31. Day 27 - Mini Rocks: Today, let's paint this stunning pole droid. I kind of love how dynamic this painting is, and that's why I chose it. It's truly interesting. We're going to really play around with blue, which is a favorite color of mine. So I'm excited to get started. Let's start with our mixing. As always, we're going to mix a color that we've been using pretty often since I first started this entire series. It's a color that I love, which is peacock blue. For the peacock blue, take an equal mixture of viridian green and ultramarine blue with a little bit of white. Mixed them together and add more white if needed, to make a middle of this beautiful peacock blue. The next color that we are going to be mixing is a snow. Blue is the color that we've mixed before. So take a little bit of ultramarine white so you can see us tad of Chad, blue light blue shade coming through and then take a little bit of black, just a little, hardly anything but you would get this kind of light blue gray mix and that we're calling snow blue, which we're gonna be using for our painting. Additionally, we're going to need black and gray fur create. Just take a little bit of black with a little bit of white to mix in the gray color. Keep all these mixtures handy before we get to our painting. So this painting is going to use five main colors, which is black, gray, white, as well as our snow blue and peacock blue. In this one, we are going to add our tip right at the top, so we're focusing more on the leaves. And that's why that is gonna be what we paint first. So what I've done here is taped the bottom, sorry, tape the top. Unlike how we've done all of our other projects. Let's start from the bottom. I'm taking our lovely peacock blue shade and painting right on top. We're actually going to paint the entire. See the wave width, this blue. For the ocean wave. Use a very curved line diagonally from the left bottom to the right top space. And just fill it with this peacock blue. I love this blue to dry before moving on to taking black in with our small round brush to add our rocks. Now you're going to see me kind of add and rocks in a little bit of an unusual way before doing that, to just make it a little bit more clear to us, let's just paint out our ocean bed, basically the waves, just kind of detailing that out so we know exactly where the waves are. And then accordingly we can plan out where we want to add our rocks. Since the painting is a limited color painting, we aren't using too many colors. We can go ahead and just use the same black gray mix for the sand part of the painting. So now that we've done that, let's get into our painting. I'm adding lots of rocks. The trick here is to add bigger rocks towards the Sure, and smaller rocks as you move away. Obviously, as you move away, the ocean depth increases. And so you're not going to be able to see big rocks. They might have actually, they might be much more smaller. To just keep that in mind. And notice where I'm placing the rocks. Notice how I'm planning them out. What I tried to do is actually make the base slightly curved. And then the top goes into a semicircle, a very rough semicircle. So it's not smooth surface. I tried to give it a couple of bumps to give it a more realistic look. You can have couple of them. It's right next to each other. So like the one that I'm painting now where it is behind. The first one, which is Create. We're trying to create a more natural look because in nature, nothing stands symmetrically apart from each other. There's no equidistant. This a, you will have overlapping under lapping stones and rocks and things like that. So try to keep some of them right next to each other. Some that are on top, sorry, some that are further away, some that are closer. And so and so once you're happy with the rocks added, and we can go ahead and add in our form for the waves. So let's start with this rock that I just baked right at the bottom. Using my thin brush and white paint. I'm just adding silk low waves. Notice how I'm not just doing a full circle, I'm using more of broken lines. This is very important because it needs to look more natural. Now, similarly, I'm going to be doing the same effect for some of the big stones. Maybe for the smallest ones. I don't need to really show this out, but we want to get some of it. So it does give you that illusion, that effect of those waves. One really important tip in this process is to make sure that you're using a small brush. If you're struggling to get these thin lines, try to get a brush that is even more thin out or use a white pen instead to avoid having thick lines. This is such an important process and it really can make or break the painting. If you look at something unnatural photograph of waves, you will see that the lines of very small. So if you are struggling with it, don't worry, just go ahead and use a white pen. You can get acrylic white pens. You can easily use or use a thinner brush. So try to find a very small thin brush. There are many detailer brush this that are out there that you can use for this process. Now, as you can see with the white, what I'm doing is going over that whitespace that I had left between the ocean and the bed. The seabed. Ocean bed. No, sorry, beach sand. I'm sorry. The terminologies are getting a little bit mixed up. But you guys know what I'm talking about because you can see the picture, you can see the painting. So I'm just going over those pieces again just to again bring in a little bit of that blue mixed into the white. So it doesn't look like just flat paint sitting there or flat spaces bidding sitting there. Notice how I'm just doing these kind of circular lines all around. Now that we've added the white lines, let's add another wave a little bit, keeping a bit of a distance away from our beach sand. So you have this wave that's a little bit of a, makes sure that you use bright white along the edge. And try to add in a little bit more of a scattered has you can see more rough look along the edges because we want to show the form and form as gender the lake. Very thin, rugged lines, just scribble lines. Basically. Take some time to add more of the white along the edges and just go over spaces and see that if you want to add more white. Generally, it's important to make sure you have white along the base of the rocks that you just painted. So keep that in mind. Now what I've done is I've completely washed out my brush and with a dry brush, I have taken more of the paint and then keeping it flat to the surface. You can see how I'm bringing more of a textural element to the painting, especially along the edges of our lives. Re-check all the details and make sure you're happy with the overall look. You can see I've added more stones and rocks because I wanted to fill up the space a little bit more. Now the important step, as you can see, is adding the depth to the waves. So I've added with a black, black round brush, I'm adding just the shadows. Notice how I'm just painting side that is towards us, not the areas that are perpendicular. So I'm just painting paddle sections and not the whole wave. Because if I painted the whole wave below, it looked like an outline. We want to give a shadow effect that's very important. Now, using gray, Let's make our rocks a bit more two-dimensional. Once you're happy with the entire thing, let's reward our tape and start with our sky. For the sky, Let's use our snow blue throughout. I'm just going to use a very simple backdrop because we already have so much going on at the bottom with the ocean, with the, with the drugs. So let's just keep the sky very simple. Now, I love this to dry completely. And then we're going to add couple of more details. Let's add in our mountain first, using are black. This is gonna be really nice and kind of bring together the painting. Make sure that your sky is dry. If isn't dry, you're going to end up having mixes of colors. So just keep that in mind. Are the color might just try to mix along, may not look that great. Again, you can notice how I'm doing a big mountain at the back. And then I have a small mountain or small drug in the front. So again, trying to create that more natural look. Now, let's add white below, right below the mountains that we just, mountains and rocks we just painted as well as the waves. We're going to at this point all to take a little bit more bright white and just go over R waves one more time to just brighten them up. Sometimes when you're painting the first time it kind of gets mixed in with the colors already existing and might look a little bit duller. So here we can take that opportunity to fix that. I'm so excited for the final review. Let's just add a small dot for our sky. I would say this represents the moon. Just like in a very, very early morning when the sun hasn't risen up properly. Anyways, I love the painting to dry. You guys know the drill. Wanted to try and watch your tip to reveal your completed painting. And this one is definitely a sterner love that it's monotone, loved the colors that came along with it. I love the movement. Yep. I am so happy that you went through this. We just few more to go before we end our series. So see you tomorrow. 32. Day 28 - Pastel Mountains: With just a few days left for our series to end. Let's tackle this fun painting. In this, we're going to explore how to build in depth with colors. And we're going to try to do that with just using a limited palette, which is just yellow and blue and white. For the yellow, we're using a pale yellow, which is a mix of the yellow, chrome and white. So you get this really nice pale color that we have used before in our previous projects. The next color we're gonna be using is our ultramarine blue. So squeeze a little bit of the ultramarine blue to your palette. Add a little bit water or take a damp brush and use that as our first shade of blue. This is gonna be the darker shade of blue that we'll be using. Next, let's add a little bit of white to get a slightly lighter shade. So a cobalt color that we're gonna be using. These are the two main tones of blue that we'll be using for this painting. In general, for the stunning Polaroid painting, we're gonna be using just four colors. We have two shades of blue, a pale yellow, and white. And that's all we're gonna be using to create depth in this. The first thing is as always, to tape down your four sides, making sure that you leave enough space at the bottom to give you a Polaroid template. Next to use tape in the middle to divide your sky and the ocean. In this case, I have made sure that the sky is slightly lesser in space compared to the ocean. The first layer is a layer of pale yellow. Then I'm going to use white to blend this yellow through to get a very subtle sky color. Now, allow this to dry. And meanwhile you can mix your blue. We're going to start off with one mountain range. Towards the right side. For this, I'm using the light shade of blue that I have, so that we get this really nice color that is just gonna be a nice backdrop for the remaining Mountains. Notice how I make the edges jacket, so it's not a smooth line. It does look rough because that's going to give it a more natural look. Now, I love this layer to dry for a bit. Before moving on to another shade of blue. Here you can use the shade of blue that we had used prayer in our mixing. Color palette, color swatches. So basically a little bit of the ultramarine blue as it is. That's the one that we're gonna be using now. And you can see how I'm placing it in such a way that is more flat. I'm just tapping down my brush so that I get a more textured look for the mountain. So now that we've done our second layer of mountains, Let's go ahead and do a third. For this one, we're going really dark with our blue. It's going to be the darker shade that we've used to. Now. One of the important things to keep in mind, It's placement. So we want to add in this final mountain range closer, obviously to the left side, since we have so much of it happening on the right side already, I've added this peak to the left side. And it's just gently moving downwards so as to not cover up a previous mountain ranges. It's really important to do this properly because in case you cover it up, then there's no point of having mountain ranges at the back, right? So we want to have those visible as well. So it gives you that beautiful illusion of fog. Once you're happy with that, Let's just paint over it again just to make sure it's running nice and thick. Sometimes it helps to go over the color a couple of times just to make sure that it is smooth and there's no gaps with it. I like also making sure that the edges are kind of broken down. So I don't do circles for the edges. They're not straight as well. You would see more of a geometrical shape to them. Once it's dried, let's promote a tip and start working on our ocean. The ocean, we're going to start off with our first layer, which is going to be our yellow. Now to blend out a yellow layer, we're going to use white and gently create a simple blend all the way from up to down. Right at the bottom. Let's use our blue and create a blend upwards. This makes it look like our ocean is a blend of two colors. And that makes it so much more interesting than just having a one-color painting. Make sure you have enough blue when you're mixing this. As you can see, I kind of ran out of blue, so I just made sure I mixed again to get a really nice smooth blend. I didn't want it to be too translucent. Want it to be more opaque. Once you've done that. Add a layer of white to blend it together. Always remember that when you're adding another color, start from a V from the previous color and then work your way towards it. You can see what I mean by that, which is FDIC and white with my brush, I'm starting above the blue and then I move downwards to the blue and blend it. If I started at the blue space, immediately, the blue and the white would mix and I wouldn't actually get a proper blend. So remember to start a way and then work your way downward. Now, let's switch to our thin brush. And I have loaded it with blue, cobalt blue. And I'm going to add in some lines for Aviv's. You can see how I'm doing this. They just slight wave lines, not too much, just gentle lines. And these are basically the reflection of the mountain, which is what I'm trying to do. Similarly, let's add some blue lines along the bottom just to represent the waves. So a tip to use over here is to make sure your bottom is darker compared to as you move upward. How do I make it darker? It is by going over that space, by adding more lines at the bottom compared to as I move upward. So you can see how I'm just making sure that more lines, more closer together so it gives a darker look. And as I have moved upward, it's lighter lines. It's more spaced apart. Now that we've added this effect, we can actually just stop here. But I wanted to add an another mountain range and we're gonna use our cobalt blue for that. Notice how I start that mountain range from in-between the ocean, making sure that the edge of that mountain ridge is more curved so it's not straight. This is how it looks naturally because waves tend to be curved, not straight. So your base would have that up-down effect. And then just paint out the entire space for the mountain. Again, been a little bit careful to make sure that you could still see the back mountains that'd be previously painted. That this layer is incompletely covering them. Placement and proportions makes a huge, huge impact on the painting. So just start slowly paying attention to those small details. When you're happy with the mountain painting, go ahead and add the reflection of the mountain. The mirror image on the opposite side, on the sea with thin lines. Now, let's add highlights to our ocean. We're going to use white. Using white, Let's add some thin lines near the mountain. And this is gonna be our reflection. Reflection. So it's gonna be the highlights. Add white also along the bottom. Just a couple of spots, just to bring a little bit of highlight, a little bit of color into the ocean because right now it's just yellow and blue. So the WIP gives it an added tinge. We are done with our painting. I love it to dry for a bit. And then you can remote your tea from all four sides to reveal our starting painting for today. 33. Day 29 - Red Sunset: Ready for a vibrant sun rise painting? This is gonna be so stunning. I can't wait to get started. The colors we're going to be mixing is pale yellow. We've done that so many times you guys would be an expert at this point, which is yellow and a little bit of white to give us this pale yellow color. The next color we're mixing is orange. So we've got a little bit of yellow, a little bit of vermilion and white mixed together. If you feel like your orange is to tread, add more yellow. But if you feel like your orange is too light and pale than add more red. So just mixing the two, adding a little bit of white, just a little bit if you feel like it needs it. I've kind of skipped the white part. I like the shade. And that's what we're going to go with. The other two colors by using is our beach bank, again, a color that we've mixed often. Million white and a little bit of yellow for our peach bank, add a little bit more of white to get a lighter shade of that pink. Now that you've mixed these colors, intuitive for this painting, we're gonna be using seven colors. We've got our pale yellow, orange, light peach, pink. And then you have your caudal, or you can call it light pink and then peach pink. And then our brown and black, as well as white as our seventh color. Now, the first thing we're gonna do is taped down up paper. Let's start with our painting. We've taped on all four sides. And instead of dividing the sky and the sea, which is going to paint it all at once, starting with a circle. So I'm using a pale yellow color and going more towards the right side. Just painting out a circle. Once that's there while it's still wet. Let's go ahead with our orange and paint around it. Now what I'm gonna do is take a little bit more of pale yellow just to get a much more smoother blend from the yellow to the orange. Remember to work a bit quickly so that your paint doesn't dry. Because once it's dry, you're going to not be able to give a very smooth blend. So try to work a little bit faster in getting that yellow to blend through. Since there are some bold lines of yellow, you can use a thin brush as well to blend through the colors for this. Now the next color we're gonna be using is up pink. So we're going to start off with our deeper pink and then we'll move on to our light pink. So starting with our deeper pinks, so we have a striation like a gradient of colors from yellow to orange to that pink. Notice how I'm painting around the previous circle. I'm making this layer slightly bigger compared to the orange layer. Now to make sure that we have a smooth blend, Let's use our orange in that same space again, going over it so that it blends with the pink. Will then take yellow so that we can again do those layers again just to make sure it blends with the orange. And we end up with a much more smooth blending all the way through. It takes a bit of practice. You guys have already done this before, but it's just more of going back and forth until you're happy with the Blend. If you feel like you already have too much paint in your brush or the colors or just adding in, just wash out your brush and using a dry brush, just move around the paint directly on the paper. Once we've done this, our final color is going to be. Feel bank colors, so it's the lightest shade of pink that we just mixed. And that's gonna be the rest of our backdrop. Let's go again with our orange layer. Oh sorry, our pink layer. To just make sure we have a much more smoother blend. So you just go over it one more time. As well as you can go over with the pink one more time. Wash out your brush. Just making sure that we have a gradual blend. It doesn't look so sharp like it does right now. Once you're happy with those blends, Let's move on to the center circle, just making it a little bit more light and shade. Again, using those blends that we've learned, which is basically just washing onto your brush and using a dry brush to move around the paint. Just to have a little bit more brighter yellow. There you go. Let this painting dry a bit. Just a couple of seconds, um, so that we can start off with our actual painting of the elements. So I'm using brown to add some mountains and also to distinguish between the sky and the sea. I've taken almost 3 fourth as a point below the sun to show as a reflection in the water. Once we've got that, let's add in some mountains, we've done this before, but just make sure you're mountains are a little bit more jacket and that you lay the color just as it is without really needing that, without really painting it, with just adding the paint, just flat. So that way you give a little bit more of texture to the painting. As we complete the mountain, making sure that the Sun is rarely seen through the mountains. Let's paint our sandy beach because it's going to be in a much more darker shadows space because the sun has just risen or set, I would say sunset. So what we're gonna do is just add that brown all the way to the end of the corner, bottom, right. So that it gives you that look. Now using the same brown, Let's add in the mirror reflection of the mountain on the sea. Add in some additional lines just to give more movement to the ocean or the sea. Now, let's add a standing wave. I am just using a very jagged line, as you can see, I'll be adding more brown along the bottom so that when I put in the water droplets, it looks a lot more realistic because it already has shadow is really important to keep in mind. Now let's use white to paint in the form. So we're just going to add white in very rough quick movements. Not any, no long lines required here, just quick movements of white. For the form of wave. Don't forget to add droplets as well as it moves away from that edge, just to give it a little bit more of a natural prey effect. Similarly using white, Let's add the highlight for the seabed. This is just when the water catches the sun and just ends up glittering. Once we've, once we've got that, let's continue with the white and add some more details to the ocean. Now, let's add the shadow for the waves. So similar to other pooled rides, we're making sure we add the shadow will lead to the area that is parallel to the bottom edge. We're not doing it all around that way. We avoid mixing up things and people feel a lot more better when they see the painting because it looks much more natural. Like the shadow is going in all different directions. Anyways, adding the shadow for the waves, for the seabed. As the painting is drying, use black to just add more depth to the mountains. What I'm doing is with the black, I'm just going over the bottom edge of the mountains just to give it more shadow. Now let us, I love the painting to dry for a bit. And once you're happy with everything, just make sure it's wet, dry. And if it's dry, you can do more to tape from all four sides to reveal our completed painting. We are so close to the Android now I can almost feel it. I'm excited for our last project of this series. It's one of my favorite, is super fun. Very interesting. 34. Day 30 - Layered Greens: Today is the last day of our series. And this painting that I've chosen is a really, really special one. It is so unique and it's a little bit more advanced. But we've got this. You guys have gone through so many days of paintings, so you can absolutely handle this stunning painting. It works really well as a Polaroid, but also you can attempt to do this on a bigger scale because it has so much of detail in it. Now for our color mixing, the first thing let's mix out are black. Once we have our black ready, the next color we're going to mix is our turquoise blue. Let's take a little bit of viridian green, a little bit of ultramarine blue and white. This is going to give us a lovely shade of turquoise blue that we're gonna be using for our leaves in this painting. Along with this stunning shade of blue, we're also going to be using a light cream. For light cream, take a little bit of viridian green. You can take a little bit of yellow and white to give us a really nice fun green that we can use for our leaves will additionally be using viridian green as it is as well, so that we have three shades of green for our painting. Now, let's move on to our background. For the background, we're gonna be using yellow and pink for the bank. Just take a little bit of million, a little bit of white, mixed them together to get a shade of light pink. Eye additionally, add in yellow to get a peach pink and a light pale pink. So it's a little bit more warm. The tone just suits and complements the pale yellow that we're gonna be using for the backdrop. For yellow. We've mixed it often You guys are good at this. You've got this just a little bit of yellow or yellow ocher with a little bit of white mixed together to give us a really pretty pale yellow for our backdrop. So in total, we've got a couple of colors we're gonna be using for this painting. We have about eight colors. So there is black, brown. You can use a burnt umber if you have that or any other brown that you have, along with white. We next have our peach pink, pale yellow, turquoise, blue, and our full and green. All these combined is gonna give us a stunning painting that we're going to jump into today. So as always, take your paper and then make sure that you have taped down all four sides to fit the Polaroid template. Template? Yes, it's a template. The template or however you pronounce it. That's fine. As far as you understand what I'm saying, which is very important. So I'm going to start with the sky and then work on the sea. So let's just make sure we taped down the bottom half of the paper. I'm dividing this by half. Maybe like as you can see, it's like a two-thirds, so it's a little bit below half. So you have more space for the sky. Because that's where we're going to add our hanging leaves. This guy start off with their peach pink right on top. We're then going to move into yellow and then white. Now gently add white foam all the way from the bottom and then gently moving upwards, blending through the colors. At this point, if you feel that it's not blended properly, as you can see, it's just flat. You can either go over it a couple of times to make sure it blends through or wash your brush and take a dry brush. Try to move around the color. As you keep practicing, you will get a little bit more comfortable with the medium and you will find ways to work around things that you've faced. This becomes a natural process of learning to use gouache, which after all these practices you guys will be very comfortable with. Now that we've painted sky, Let's remove our tape and start painting our C for the CV using a similar color combination to reflect the sky. Accordingly, Let's start with pale yellow, right on top, and then move towards the bank. To blend the two colors. Just wash out your brush and using a damp brush, gently move around the paint in that section to get a very soft blend. You can see how I'm trying to bring a little bit of the pink upwards, towards the left side. I love the painting to dry a bit. And then we are going to add a mountain. So using burnt umber, Let's start with painting out our mountain. For the mountain, I am also mixing around. So as I keep painting, you will see me add in a little bit of black to the mix to give a more undefined look. So it doesn't look like it's just a flat mountain and we're trying to bring in texture. I'm going to keep playing around with the shades of brown and black in that spot. So you will see me change my paint, add a little bit more brown, then I'll go in and add a little bit of black and then just kinda like play around with it. Also notice the edge is very jagged. It's got a very rough edge. I've not drawn a very smooth mountain. And I've also added an additional smaller like mini rock to suit the perspective. The overall aesthetics of the painting. Yes, that's the word he sticks. Now, don't forget to add your mirror, which is basically a thin lines on the sea, the middle reflection of our mountain, following the same height that was on top, following it downward as well. We also tried to get the shape of it. So just keep that in mind so you can see how I've gone up. Wherever there's a peak, I've just gone up to that much so that it also reflects that. Now using our phone green, Let's add some leaves. Now, I'm doing them randomly. On the top right edge. I know it doesn't really make sense, but as we layer on, you're going to get a little bit more clearer on what I'm doing. Also use this green along the edge of our mountain to get more of that greenery placement is everything. So you notice how I'm not doing it in the middle, I'm just doing the edge. Now that we've done this, let's use lines and stems to just bring all of this together. Now that we've completed this, Let's move on to turquoise blue and add in another layer of leaves. You can see how I'm doing the turquoise blue before the viridian green. So they are very green is towards the outside. Where's this blue is more towards the inside. This is very, very important to keep in mind. So just follow along as I've done so with the entire painting. If you're wondering how this is happening, a little bit struggling with it, I would I would suggest you watch the entire part and then attempt to paint it because that might give you a little bit clarity of what I'm trying to do here, what I'm trying to achieve while adding the turquoise blue, don't forget to also add it to the edge of the mountain. Because it's again, another crucial part of our painting. Finally, let's move on to our, our brown. Then go ahead and just fill up the spaces before the turquoise. This is the brown that is going to connect the edge of the paper to these stems. So you can see how I'm trying to bring them along all the way to the green, the first layer of green. It's really important to note that using this brown we're getting all the way to the edge of the people that usually get that anti-tax section. There are no gaps towards the edge. What I'm also doing is using the brown to just make sure that the mountains look a little bit more texture than having them flat. Finally, to add more depth to the painting, use black to add further shadows. Again, notice how I'm doing this. It is before or on the layer of the Brown. I am not touching previous layers of green that I've used before just to not affected. So the black is just coming more to the edge of the people. Uses black along the edge of the second set of branches and for the mountain as well. Hello, final step to bring the painting together is to add branches for our hanging. Leaps. See the way I'm doing this. I'm creating a network of kind of loose stems with our black. If you can't do these thin lines or you're struggling with it, just go ahead and use a pen so that you can really make sure you get those thin lines. I love the painting to dry. And then you can do them all at the tip to reveal our final painting of the series. I think this is my favorite off the entire series because it's beautiful, the colors are stunning. I actually have so many favorites. And I'd love to hear from you guys which one really stood out to you. But this one, this painting definitely took my heart away. I like the color combination, just so pretty. And I hope you enjoy that one. And let me, let's move on to talking a little bit of what you can do after you complete the CVs.